Connection Complicated She Smiled Sweetly Miss Amanda Jones Cool, Calm and Collected Something Happened to Me Yesterday U. While being good for multiple playbacks, those World transcriptions were also of superior fidelity and often preserved numerous takes other than the master. She was the biggest selling female country artist of the 1960s and 70s. Ironically, the American Decca classical music catalogue is managed by sister Universal label. The Wizard of Oz 1940 The Judy Garland Souvenir Album 1940 George Gershwin Songs Vol. The early albums and singles released from 1963 to 1967 were originally on in the United Kingdom, and on their subsidiary label in the United States.
While Cline's contract was held by 4 Star, the deal allowed Decca complete control of the recording sessions, including choice of Producer and musicians. Within years, Decca Records Ltd. Decca Records Release date: June 11, 1965 Everybody Needs Somebody to Love London, Liverpool or Manchester, March 5-7, 1965 1st live audio vers. Among the international honours given Solti and Decca for his recordings were 31 awards — more than any other recording artist, whether classical or popular. It is against our company policy for an employee to accept any form of compensation in return for submitting music to one of our companies. Details on the editing progress on each company's masters is.
Release date: February 26, 1965 U. The House of Music: Art in an Era of Institutions. Johnson, Ronald Johnson, Albennie Jones, Grant Jones, Isham Jones, The Jordanaires, The Jubalaires, Dick Jurgens, K Louis Katzman, Greta Keller, Rev. Note: Alfred Lions founded Blue Note Records in 1939, later to be part of Victor. Time Is on My Side Newcastle, England, October 1, 1966 1st live audio vers.
The British label was renowned for its development of recording methods, while the American company developed the concept of in the musical genre. It enabled recordings to play for up to half an hour without a break, compared with the 3 to 5 minutes playing time of the existing records. Decca logo used on classical music releases Until 1947, American Decca issued British Decca classical music recordings. For all unofficial releases bootlegs, counterfeits. By the 1950s, many recording companies were releasing Broadway show albums recorded by their original casts, and the recording of original cast albums had become standard practice whenever a new show opened. It's All Over Now Santa Monica, California, October 29, 1964 1st live video vers.
To that end he got the singers to move about in the studio as they would onstage, used discreet sound effects and different acoustics, and recorded in long continuous takes. American Decca's catalogue is managed by , an imprint of. Nederlandse Vereniging van Producenten en Importeurs van beeld- en geluidsdragers. Love in Vain London, England, July 5, 1969 1st live video vers. The arm damping was via a viscous silicone fluid held in a well, and magnetic repelling force supported the arm, and provided anti-skate bias compensation. I'm Free London, England, July 5, 1969 1st live video vers. In 1960, she signed directly with Decca.
Because of the technical restrictions of recording on , none of these scores were recorded totally complete; they were shorter than cast albums made after were introduced. Twelve-year-old Judy Garland made her first studio recordings for Decca on March 29, 1935, when she and her sisters cut. We would appreciate any additions or corrections to this discography. For some years, these releases continued to be issued on 78rpm discs also. Honky Tonk Women London, England, July 5, 1969 1st live video vers.
After the start of the new century, Decca became actively involved in pioneering a new generation of high-resolution and multi-channel recordings, including and formats. Since the iron was placed very close to the tip within 1 mm , the motions of the tip could be tracked very accurately. The recording of 's was key in the development of full frequency range records and alerting the listening public to high fidelity in 1946. As you make use of Decca information provided here, please keep in mind a few things. The load is in progress. Get Off of My Cloud Newcastle, England, October 1, 1966 1st live audio vers. Martin's Choral Society, Dick Stabile, , Lewis Stone, Toby Stroud, Captain Stubby, Sugarfoot Shufflers, Lew Stone, Stubby, Joe Sullivan, Sunshine Boys Quartet, Sunshine Girls, The Sunshine Trio, Sunset Harmonizers, Roosevelt Sykes, T Billy Talmadge, Art Tatum, Leo Teel and His Tel Billies, Johnnie Temple, Pha Terrell, Harry Von Tilzer, Rosetta Tharpe, Rosetta Tharpe Gospel Singers, Dick Thomas, Joey Thomas and His Band, Floyd Tillman, Top Hatters Trio, Arthur Tracy The Street Singer , Travelers, Ernest Tubb, Joe Turner, Twelve Clouds Of Joy, Tune Twisters, U V Eddie Valencia's Beachcombers, Jake Vaughan, Joe Venuti, W Waikikians, Fred Waring, Gerald Wiggins, Jimmy Wakely, Williams Walsh, Ethel Waters, Paula Watson, Chick Webb, Ted Weems, Bishop Wells, George Wettling's Chicago Rhythm Kings, Georgia White, Frances May White, Lee Wiley, Audrey Williams, Mary Lou Williams, Foy Willing, Happy Wilson, Winnick Orchestra, Jimmy Work, X Y Joe Venuti and His Blue Four, Victor Young and His Orchestra, Z Eddie Zack, Eddie Zack and His Dude Ranchers, Zutty Singleton , Source: 78discography.
The Online Discographical Project, 2 Jul. His first major production credit was pianist. Culshaw was determined to make recordings that would be 'a theatre of the mind', making the listener's experience at home not second best to being in the opera house, but a wholly different experience. It is also the distributing label of , a joint venture between Universal and 's Euphorbia Productions that folded shortly after the merger that created Universal Music. The two Deccas became separate companies and remained so until 1998 when American Decca's parent company bought British Decca's parent company. He is credited with battling against Decca's notorious parsimonious treatment of their artists, ensuring that the Moody Blues had the time and resources to develop beyond their beat group origins into progressive rock, and he also used profits for pop sales to cross-subsidise recordings by avant garde jazz artists like.