|Parent company||Universal Music Group|
|Distributor(s)||Decca Music Group (in the United States and the UK)
Universal Music Group
|Country of origin||UK|
|Official website||Decca Records
Decca Records began as a British record label established in 1929 by Edward Lewis. Its U.S. label was established in late 1934 by Lewis along with American Decca's first president Jack Kapp and later American Decca president Milton Rackmil; however, owing to World War II, the link with the British company was broken for several decades.1
The British label was renowned for its development of recording methods, while the American company developed the concept of cast albums in the musical genre. Both wings are now part of the Universal Music Group which is owned by Vivendi, a media conglomerate headquartered in France. The American Decca label was the foundation label, which evolved into UMG.
The name "Decca" dates back to a portable gramophone called the "Decca Dulcephone" patented in 1914 by musical instrument makers Barnett Samuel and Sons. That company was eventually renamed The Decca Gramophone Co. Ltd. and then sold to former stockbroker Edward Lewis in 1929. Within years, Decca Records Ltd. was the second largest record label in the world, calling itself "The Supreme Record Company". The name "Decca" was coined by Wilfred S. Samuel by merging the word "Mecca" with the initial D of their logo "Dulcet" or their trademark "Dulcephone."2 Samuel, a linguist, chose "Decca" as a brand name as it was easy to pronounce in most languages.
Decca bought the UK branch of Brunswick Records and continued to run it under that name.
- For a list of artists on the Decca label, see List of Decca Records artists.
In Britain, Decca bought out the bankrupt UK branch of Brunswick Records in 1932, which added such stars as Bing Crosby and Al Jolson4 to its roster. Decca also bought out the Melotone and Edison Bell record companies. In late 1934, a United States branch of Decca was launched. In establishing the American unit, the founders bought the former Brunswick Records pressing plants in New York City and Muskegon, Michigan, which were shut down in 1931, from Warner Bros. in exchange for a financial interest in the new label.1 Decca became a major player in the depressed American record market thanks to its roster of popular artists, particularly Bing Crosby, the shrewd management of former US Brunswick General Manager Jack Kapp, and the decision to price Decca at 35 cents. The US label also brought back the discontinued Champion label (from Gennett), as well as a short-lived version of the Broadway label. The following year, the pressing and Canadian distribution of US Decca records was licensed to Compo Company Ltd. in Lachine, Quebec, a breakaway and rival of Berliner Gram-o-phone Co. of Montreal, Quebec. (Compo was acquired by Decca in 1951 although its Apex label continued in production for the next two decades.) By 1939, Decca and EMI were the only record companies in the UK. American Decca acquired Brunswick Records and its sublabel Vocalion Records in 1941 from Warner Bros., which had a financial interest in Decca.1
In 1939, British Decca head Edward Lewis sold his interest in American Decca because of World War II. In 1942, stock in American Decca began trading on the New York Stock Exchange as Decca Records Inc.1 Therefore, the two Deccas became separate companies and remained so until American Decca's parent company bought British Decca's parent company in 1998 (during this time, US Decca artists were issued in the UK on the Brunswick label until 1968 when MCA Records was launched in the UK). Artists signed to American Decca in the 1930s and 1940s included Louis Armstrong, Charlie Kunz, Count Basie, Jimmie Lunceford, Jane Froman, The Boswell Sisters, Billie Holiday, Katherine Dunham, The Andrews Sisters, Ted Lewis, Judy Garland, The Mills Brothers, Billy Cotton, Guy Lombardo, Chick Webb, Louis Jordan, Bob Crosby, Bill Kenny & The Ink Spots, Dorsey Brothers (and subsequently Jimmy Dorsey after the brothers split), Connee Boswell and Jack Hylton, Victor Young, Earl Hines, Claude Hopkins, and Sister Rosetta Tharpe.
In 1940, American Decca released the first album of songs from the 1939 film The Wizard of Oz. However, it was not a soundtrack album but a cover version featuring only Judy Garland from the film, with other roles taken by the Ken Darby Singers.
In 1942, American Decca released the first recording of "White Christmas" by Bing Crosby. He recorded another version of the song in 1947 for Decca; to this day, Crosby's recording of "White Christmas" for Decca remains the best-selling single worldwide of all time.5 In 1943, American Decca ushered in the age of the original cast album in the United States, when they released an album set of nearly all the songs from Rodgers and Hammerstein's Oklahoma!, performed by the same cast who appeared in the show on Broadway, and using the show's orchestra, conductor, chorus, and musical and vocal arrangements. The enormous success of this album was followed by original cast recordings of Carousel and Irving Berlin's Annie Get Your Gun, both featuring members of the original casts of the shows and utilizing those shows' vocal and choral arrangements. Because of the technical restrictions of recording on 78 rpm records, none of these scores were recorded totally complete; they were shorter than cast albums made after LPs were introduced. But Decca had made history by recording Broadway musicals, and the influence of these releases in the recording of theatrical shows in the U.S. continues to this day - in Decca's home country, the UK original cast albums had been a fixture for years. Columbia Records followed with musical theatre albums, starting with the 1946 revival of Show Boat. In 1947, RCA Victor released the original cast album of Brigadoon. 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.6
Decca throughout the 1930s and early to mid-1940s was a leading label of blues and jump music with such best selling artists as Sister Rosetta Tharpe and Louis Jordan (who was the best selling R&B artist of the 1940s). In 1954, American Decca released "Rock Around the Clock" by Bill Haley & His Comets. Produced by Milt Gabler, the recording was initially only moderately successful, but when it was used as the theme song for the 1955 film Blackboard Jungle, it became the first international rock and roll hit, and the first such recording to go to No. 1 on the American musical charts. According to the Guinness Book of Records, it went on to sell 25 million copies, returning to the US and UK charts several times between 1955 and 1974.
American Decca embraced the new post-war record formats adopting the LP in 1949 and the 45 rpm record around a year later while continuing to sell 78s.1 During the 1950s, American Decca released a number of soundtrack recordings of popular motion pictures, notably Mike Todd's production of Around the World in Eighty Days (1956) with the music of veteran film composer Victor Young. Since Decca had access to the stereophonic tracks of the Oscar-winning film, they quickly released a stereo version in 1958. Because American Decca bought Universal Pictures in 1952, many of these soundtrack albums were of films released by what was then called Universal-International Pictures.
In 1961, American Decca released the soundtrack album of Flower Drum Song, Universal Pictures's film version of the 1958 Rodgers and Hammerstein musical. In a reversal of the usual situation, in which American Decca had released original Broadway cast albums of three Rodgers and Hammerstein shows, this was the only film soundtrack album of a Rodgers and Hammerstein show ever released by Decca, while the Broadway cast album had been released by Columbia Masterworks.
The American RCA label severed its longtime affiliation with EMI's His Master's Voice (HMV) label in 1957, which allowed British Decca to market and distribute Elvis Presley's recordings in the UK on the RCA label (later RCA Victor).7
British Decca had several missed opportunities. In 1960, they refused to release "Tell Laura I Love Her" by Ray Peterson and even destroyed thousands of copies of the single. A cover version by Ricky Valance was released by EMI on the Columbia label, and it went to No. 1 on the British charts for three weeks.8 In 1962, Decca turned down a chance to record The Beatles with the comment "Guitar groups are on the way out", a historic mistake.9 Other refusals of note include The Yardbirds and Manfred Mann. Decca had earlier accepted London-born pioneer rock'n'roll singer Terry Dene, who was later known as the British Elvis Presley, and another Merseyside singer, Billy Fury. Delia Derbyshire, an early pioneer of electronic music and one of the founders of the BBC Radiophonic Workshop, was refused an interview for a sound engineer's job because Decca would not employ a woman in such a post.citation needed
The turning down of The Beatles led indirectly to the signing of one of Decca's biggest 1960s artists, The Rolling Stones. Dick Rowe was judging a talent contest with George Harrison, and Harrison mentioned to him that he should take a look at the Stones, whom he had just seen live for the first time a couple of weeks earlier. Rowe saw the Stones, and quickly signed them to a contract.
Staff producer Hugh Mendl (1919–2008)10 worked for Decca for over 40 years and played a significant role in its success in the popular field from the 1950s to the late 1970s. His first major production credit was pianist Winifred Atwell. He produced "Rock Island Line", the breakthrough skiffle hit for Lonnie Donegan, and he is credited as the first executive to spot the potential of singer-actor Tommy Steele. Mendl's other productions included the first album by humorist Ivor Cutler, Who Tore Your Trousers? (1961), Frankie Howerd at The Establishment (1963), a series of recordings with Paddy Roberts (best known for "The Ballad of Bethnal Green"), numerous "original cast" and soundtrack albums including Oh! What a Lovely War and even an LP record of the 1966 Le Mans 24-hour race, inspired by his lifelong passion for motor-racing. Mendl was a driving force in the establishment of Decca's progressive Deram label, most notably as the executive producer of The Moody Blues' groundbreaking 1967 LP Days of Future Passed. 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 John Surman.
British Decca lost a key source for American records when Atlantic Records switched British distribution to Polydor Records in 1966 in order for Atlantic to gain access to British recording artists which they did not have under Decca distribution.1112 The Rolling Stones left the label in 1970, and other artists followed. Decca's deals with numerous other record labels began to fall apart: RCA Records, for instance, abandoned Decca to set up its own UK office in 1971. The Moody Blues were the only international rock act that remained on the label. The company's fortunes declined slightly during the 1970s, and it had few major commercial successes; among those were Dana's 1970 two-million selling single, "All Kinds of Everything", issued on their subsidiary label, Rex Records.
Although Decca had set up the first of the British "progressive" labels, Deram, in 1966, with such stars as Cat Stevens and The Moody Blues, by the time the punk era set in 1977, Decca had pop success with such acts as John Miles, novelty creation Father Abraham and The Smurfs, and productions by longtime Decca associate Jonathan King. King had a hit, "Everyone's Gone to the Moon", on Decca, while he was an undergraduate at Trinity College, Cambridge and Edward Lewis recruited him as his personal assistant and "talent spotter".1314 Decca became dependent on re-releases from its back catalogue. Contemporary signings, such as Slaughter & The Dogs and the pre-stardom Adam and the Ants (whose sole single with Decca, "Young Parisians", would later be a UK Top 10 hit on the back of the band's success at CBS),1516 were second division when compared to the likes of PolyGram, CBS, EMI, and newcomer Virgin's rosters of hitmakers.
American Decca also released several notable spoken word albums, such as a recording of Charles Dickens's A Christmas Carol starring Ronald Colman as Scrooge, and a recording of the Christmas chapter from The Pickwick Papers read by Charles Laughton. These two separate 78-RPM albums were later combined onto one LP. Other spoken word albums included Lullaby of Christmas, narrated by Gregory Peck, a twenty-minute version of Moby Dick, with Charles Laughton as Captain Ahab, and The Littlest Angel, narrated by Loretta Young. British Decca released on LP, in 1968, the most complete version of Man of La Mancha ever put on vinyl records, a 2-LP album featuring most of the dialogue and all of the songs, performed by the show's original London cast. Keith Michell starred as Don Quixote and Cervantes, and Joan Diener was Aldonza/Dulcinea.
In 1934, Jack Kapp established a country & western line for the new Decca label by signing Frank Luther, Sons of the Pioneers, Stuart Hamblen, The Ranch Boys, and other popular acts based in both New York and Los Angeles. Louisiana singer/composer Jimmie Davis began recording for Decca the same year, joined by western vocalists Jimmy Wakely and Roy Rogers in 1940.citation needed From the late 1940s on, the US arm of Decca had a sizeable roster of Country artists, including Kitty Wells, Johnny Wright, Ernest Tubb, Webb Pierce, Wilburn Brothers, Bobbejaan Schoepen, and Red Foley. The main architect of Decca's success in country music was Owen Bradley who joined Decca in 1947 and was promoted to head its Nashville operations in 1958.17 In the late 1950s, Patsy Cline was signed to the US Decca label from 4 Star Records. As part of a leasing deal, Patsy's contract was owned by 4 Star; though she recorded for Decca as part of this deal, she recorded an album but saw little money. In 1960, she signed with Decca outright and released two more albums and numerous singles while she was alive and several more albums and singles produced after her untimely death in a 1963 plane crash. The Wilburn Brothers were ultimately signed to a lifetime contract with Decca. Doyle Wilburn of the Wilburn Brothers obtained a recording contract for Loretta Lynn who signed to Decca in the early 1960s and remained with the label for the next several decades. Loretta was also known as the "Decca Doll" till she was more known as the Coal Miner's Daughter. Owen Bradley was the A&R man for all of these artists. Decca quickly became the main rival of RCA Records as the top label for American country music by the early 1950s and remained so for decades.
Decca's country music branch was revived in 1994, with Dawn Sears being the first act signed to the newly reformed label.18 Other artists signed to the label would include Rhett Akins, Gary Allan, Mark Chesnutt, and Lee Ann Womack; of these, all but Sears would be shifted to the MCA Nashville roster after parent Universal Music absorbed PolyGram in 1998 and shut down Decca Nashville. Decca also was a label in 1997–98 for Dolly Parton.
In 2008, the Decca country division was revived, with One Flew South becoming the first act signed to the newly re-established label.
In classical music, Decca had a long way to go from its modest beginnings to catch up with the established HMV and Columbia labels (later merged as EMI). Decca's emergence as a major classical label may be attributed to three concurrent events: the emphasis on technical innovation (first the development of the FFRR technique, then the early use of stereophonic recording), the introduction of the long-playing record, and the recruitment of John Culshaw to Decca's London office.
For many years, Decca's British classical recordings were issued in the US under the London Records label because British Decca was not allowed to use its name there, there already being an American Decca. When the MCA and PolyGram labels merged in 1999 and created Universal Music, the practice was no longer necessary.
Decca released the stereo recordings of Ernest Ansermet conducting L'Orchestre de la Suisse Romande, including, in 1959, the first stereo LP album of the complete Nutcracker, as well as Ansermet's only stereo version of Manuel de Falla's The Three-Cornered Hat, which the conductor had led at its first performance in 1919.
The pre-war classical repertoire on Decca was not extensive, but was select. The 3-disc 1929 recording of Delius's Sea Drift, arising from the Delius Festival that year, suffered by being crammed onto six sides and was withdrawn before 1936, probably as a result of the standardisation on 78 revolutions per minute. However, it won Decca the loyalty of the baritone Roy Henderson, who went on to record for them the first complete Dido and Aeneas of Purcell with Nancy Evans and the Boyd Neel ensemble (Purcell Club, 14 sides, pre-1936); and Henderson's famous pupil Kathleen Ferrier was recorded and issued by Decca through the period of transition from 78 to LP (1946–1952). Heinrich Schlusnus made important pre-war lieder recordings for Decca.
John Culshaw, who joined Decca in 1946 in a junior post, rapidly became a senior producer of classical recordings. He revolutionised recording – of opera, in particular. Hitherto, the practice had been to put microphones in front of the performers and simply record what they performed. 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. 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. His skill, coupled with Decca engineering, took Decca into the first flight of recording companies. His pioneering recording (begun in 1958) of Wagner's Der Ring des Nibelungen conducted by Georg Solti was a huge artistic and commercial success (to the chagrin of other companies). In the wake of Decca's lead, artists such as Herbert von Karajan, Joan Sutherland and later Luciano Pavarotti were keen to join the company's roster.
However, Culshaw was, strictly speaking, not the first to do this. In 1951, Columbia Records executive Goddard Lieberson partnered with Broadway conductor Lehman Engel to record a series of previously unrecorded Broadway musical scores for Columbia Masterworks, including what Engel, in his book The American Musical Theatre: A Consideration, termed "Broadway opera", and in 1951, they released the most complete Porgy and Bess recorded up to that time. Far from being a mere rendering of the score, the 3-LP album set used sound effects to realistically recreate the production as if the listener were watching a stage performance of the work.
Until 1947, American Decca issued British Decca classical music recordings. Afterwards, British Decca took over distribution through its new American subsidiary London Records. American Decca actively re-entered the classical music field in 1950 with distribution deals from Deutsche Grammophon and Parlophone.19 American Decca began issuing its own classical music recordings in 1956 when Israel Horowitz joined Decca to head its classical music operations.20 Among the classical recordings released on Decca's "Gold Label" series21 were albums by Leroy Anderson, the Cincinnati Symphony Orchestra conducted by Max Rudolf and guitarist Andrés Segovia. American Decca shut down its classical music department in 1971.22 Today Decca makes fewer major classical recordings, but still has a full roster of stars, including Cecilia Bartoli and Renée Fleming. Its back catalogue remains one of the glories of classical music. The Solti Ring was voted the greatest recording of all time by critics with the BBC Music Magazine23 and Luciano Pavarotti remained an exclusive Decca artist throughout his recording career.
ffrr (full frequency range recording) was a spin-off devised by Arthur Haddy24 of British Decca's development during the Second World War of a high fidelity hydrophone capable of detecting and cataloguing individual German submarines by each one's signature engine noise, and enabled a greatly enhanced frequency range (high and low notes) to be captured on recordings.25 Critics regularly commented on the startling realism of the new Decca recordings. The frequency range of ffrr was 80–15000 Hz, with a signal-to-noise ratio of 60dB. While Decca's early ffrr releases on 78-rpm discs had some noticeable surface noise, which diminished the effects of the high fidelity sound, the introduction of long-playing records in 1949 made better use of the new technology and set an industry standard that was quickly imitated by Decca's competitors. Nonetheless titles first issued on 78rpm remained in that form in the Decca catalogues into the early 1950s. The ffrr technique became internationally accepted and considered a standard. The Ernest Ansermet recording of Stravinsky's Petrushka was key in the development of full frequency range records and alerting the listening public to high fidelity in 1946.26
The long-playing record was launched in the USA in 1948 by Columbia Records (not connected with the British company of the same name at the time). 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. The new records were made of vinyl (the old discs were made of brittle shellac), which enabled the ffrr recordings to be transferred to disc very realistically. In both the UK and the US Decca took up the LP promptly and enthusiastically, in 1949,1 giving the British arm an enormous advantage over EMI, which for some years tried to stick exclusively to the old format, thereby forfeiting competitive advantage to Decca, both artistically and financially.
British Decca recorded high fidelity versions of all the symphonies of Ralph Vaughan Williams except for the ninth, under the personal supervision of the composer, with Sir Adrian Boult and the London Philharmonic Orchestra. Benjamin Britten conducted recordings of many of his compositions for Decca, from the 1940s through the 1970s; most of these recordings have been reissued on CD.
The British Decca recording engineers Arthur Haddy, Roy Wallace and Kenneth Wilkinson developed in 1954 the famous Decca tree, a stereo microphone recording system for big orchestras. Decca started recording in stereo on 14–28 May 1954, in Victoria Hall in Geneva, the first European record company to do so, only three months after RCA Victor began recording in stereo in the U.S. Decca archives show that Ernest Ansermet and the Orchestre de la Suisse Romande recorded Tamara by Mily Balakirev; the overture to Benvenuto Cellini by Hector Berlioz; Stenka Razin by Alexander Glazunov; and Anatoly Liadov's Baba-Yaga, Eight Russian Folksongs, and Kikimora. These performances were initially issued only in monaural sound; the stereo versions were finally issued in the 1960s as part of the "Stereo Treasury" series.27 The Decca Stereo format was called (in succession to ffrr), "ffss", i.e. "full frequency stereophonic sound". with most competitors not using stereo until 1957, the new technique was a distinctive feature of Decca's. Even after stereo became standard and into the 1970s, Decca boasted a special, spectacular sound quality, characterised by aggressive use of the highest and lowest frequencies, daring use of tape saturation and out-of-phase sound to convey a lively and impactful hall ambiance, plus considerable bar-to-bar rebalancing by the recording staff of orchestral voices, known as "spotlighting." In the 1960s and 1970s, the company developed its "Phase 4" process which produced even greater sonic impact through even more interventionist engineering techniques. Big-band leader Ted Heath was an early pioneer of the Decca "Phase 4" sound. Decca recorded some quadrophonic masters that were released in Sansui's quadraphonic system called QS Regular Matrix.
Starting in the late 1970s, British Decca developed their own digital audio recorders used in-house for recording, mixing, editing, and mastering albums. Each recorder consisted of a modified IVC model 826P open-reel 1-inch VTR, connected to a custom codec unit with time code capability (using a proprietary time code developed by Decca), as well as outboard DAC and ADC units connected to the codec unit. The codec recorded audio to tape in 16 bits (although later versions of the system used 20 bits). With the exception of the IVC VTRs (which were modified to Decca's specifications by IVC's UK division in Reading), all the electronics for these systems were developed and manufactured in-house by Decca (and by contractors to them as well). These digital systems were used for mastering most of Decca's classical music releases to both LP and CD, and were used well into the late 1990s. After the start of the new century, Decca became actively involved in pioneering a new generation of high-resolution and multi-channel recordings, including "Super Audio CD" (SACD) and "DVD-Audio" (DVD-A) formats. Decca is now routinely mastering new recordings in these formats.
Decca Special Products developed a number of products for the audio marketplace. These include:
- The Decca Ribbon Tweeter
- Decca London phonograph cartridges: The Decca phono cartridges were a unique design, with fixed magnets and coils. The stylus shaft was composed of the diamond tip, a short piece of soft iron, and an L-shaped cantilever made of non-magnetic steel. Since the iron was placed very close to the tip (within 1 mm), the motions of the tip could be tracked very accurately. Decca engineers called this "positive scanning". Vertical and lateral compliance was controlled by the shape and thickness of the cantilever. Decca cartridges had a reputation for being very musical; however, early versions required more tracking force than competitive designs - making record wear a concern
- The Decca International tone arm: The Decca International tone arms were fluid-damped unipivot designs. They were designed to complement the Decca phono cartridges. They would enjoy a brief renaissance in the 21st century as they were almost a drop-in replacement for the pick-up arms of Lenco GL75 record turntables from the 1970s. 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). New Old Stock arms rapidly sold out by 2008 as vintage hifi enthusiasts sought them for refurbishment projects.
- The Decca Record Brush. The idea of using carbon fibre (CF) to clean LPs came from Tristan Cooper who obtained some CF for use in his GRP racing car body. CF is very fine, stiff, and conducts electricity, making it ideal for cleaning narrow record grooves and conducting away any static electricity build-up. Tristan's brother Warwick developed the manufacturing process for the brushes, producing hundreds of thousands of "Million Bristle" CF brushes under the Decca brand.
Decca Special Products was spun off, and is now known as London Decca.
The American branch of Decca also marketed its own line of home audio equipment.28
American Decca bought Universal-International in 1952, and eventually merged with MCA in 1962, becoming a subsidiary company under MCA. Dissatisfied with American Decca's promotion of British Decca recordings and because American Decca held the rights to the name Decca in the US and Canada, British Decca sold its records in the United States and Canada under the label London Records beginning in 1947. In Britain, London Records became a mighty catch-all licensing label for foreign recordings from the nascent post-WW II American independent and semi-major labels such as Cadence, ABC-Paramount, Atlantic, Imperial and Liberty. Conversely, British Decca retained a non-reciprocal right to license and issue American Decca recordings in the UK on their Brunswick Records (US Decca recordings) and Coral Records (US Brunswick and Coral recordings) labels; this arrangement continued through 1967 when a UK branch of MCA was established utilising the MCA Records label, with distribution fluctuating between British Decca and other English companies over time.
In Canada, the Compo Company was reorganised into MCA Records (Canada) in 1970.30 In Taiwan, PolyGram acquired 60% of Linfair Magnetic Sound (founded in 1961) in 1992, and renamed to Decca Records Taiwan. The name remains until 2002, when it decided to sell its 60 percent stake, and changed its name to Linfair Records, making the company independent from Universal Music. In addition to Decca label, Linfair Records also distribute V2 Records' releases, and some independent labels. However, Linfair Records' releases outside Taiwan will continue to be released internationally via Universal Music.
The Decca name was dropped by MCA in America in 1973 in favour of the MCA Records label. The first-run American Decca label went out with a big bang with its final release, "Drift Away" by Dobie Gray in 1973 (label No. 33057), reaching No. 5 on the Billboard chart and receiving gold record status.
PolyGram acquired the remains of Decca UK within days of Sir Edward Lewis's death in January 1980. British Decca's pop catalogue was taken over by Polydor Records. Ironically, PolyGram descended from British Decca's former Dutch distributor Hollandsche Decca Distributie.
In the mid-1990s, MCA Nashville Records revived Decca in the US as a country music label. The Decca label is currently in use by Universal Music Group worldwide; this is possible because Universal Studios (which officially dropped the MCA name after the Seagram buyout in 1997) acquired PolyGram, British Decca's parent company in 1998, thus consolidating Decca trademark ownership. In the US, the Decca country music label was shut down and the London classical label was renamed as it was able to use the Decca name for the first time because of the merger that created Universal Music. In 1999, Decca absorbed Philips Records to create the Decca Music Group (half of Universal Music Classics Group in the USA, with Deutsche Grammophon being the other half).
Today, Decca is a leading label for both classical music and Broadway scores although it is branching out into pop music from established recording stars: its most recent hit was Motown: A Journey Through Hitsville USA (2007) by Boyz II Men, which reached No. 27 on the Billboard Top 200 Albums chart. In 2007 they won the race to sign English teen jazz sensation Victoria Hart and released her first album Whatever Happened to Romance in July.31 In December 2007, it was announced that Morrissey would be joining the Decca roster. In August 2009, it was revealed that American Idol alum, Clay Aiken, had signed with Decca.32 It reentered the American country music scene in 2008. There are two Universal Music label groups now using the Decca name. The Decca Label Group is the US label whereas the London-based Decca Music Group runs the international classical and pop releases by such world famous performers as Andrea Bocelli and Hayley Westenra. The London Records pop label that was established in the UK in 1990, run by Roger Ames, and distributed by PolyGram became part of WEA in 2000 when he was hired to run that company.
It is also the distributing label of POINT Music, a joint venture between Universal and Philip Glass's Euphorbia Productions that folded shortly after the merger that created Universal Music. Ironically, the American Decca classical music catalogue is managed by sister Universal label Deutsche Grammophon. They include the recordings of guitarist Andrés Segovia.33 Before Deutsche Grammophon founded its own American branch in 1969, it had a distribution deal with American Decca until 1962 when distribution switched to MGM Records.34 Éditions de l'Oiseau-Lyre is a wholly owned subsidiary specialising in European classical music of the 15th to 19th centuries. American Decca's jazz catalogue is managed by GRP Records, an imprint of Verve Records. The American Decca rock/pop catalogue is managed by Geffen Records. The Decca Broadway imprint is used for both newly recorded musical theatre songs and Universal Music Group's vast catalogues of musical theatre recordings from record labels UMG and predecessor companies acquired over the years.
On 10 January 2011, Universal Music Group, which owns the masters to Decca Records, announced that it was donating 200,000 of its master recordings from the 1920s to the 1940s to the United States Library of Congress. The collection of master recordings will be cleaned and digitised. Included in this group are Bing Crosby's original recording of 'White Christmas' and thousands more by Louis Armstrong, Ella Fitzgerald, Billie Holiday, Judy Garland, Tommy Dorsey, Jimmy Dorsey, the Andrews Sisters and other famous and lesser-known musicians who recorded during this time period. Because of this transaction, once the Library has organised and cleaned the collection, the public will eventually have some degree of access to thousands of recordings that have been commercially unavailable for decades. According to the Los Angeles Times, "[a]s part of the agreement between UMG and the library, Universal retains ownership of the recording copyrights and the right to exploit the cleaned-up and digitized files for commercial purposes."35
Today, Decca distributes UMG's jazz holdings led by Verve Records along with the classical music holdings led by Decca Classics, Philips Records and Deutsche Grammophon. They also distribute recordings from the Concord Music Group and Rounder Records.36
Selected affiliated labels
Personnel & staff
- Owen Bradley (1915–1998), head of Decca's Nashville operation and credited with helping to create the Nashville sound
- Paul Cohen (1908–1970), longtime executive widely attributed for helping Nashville flourish in the recording industry
- Milt Gabler (1911–2001), American Decca executive and producer from 1941 to 1971
- Henry Jerome (1917–2011), music director at Decca Records in the early 1950s; and A&R director for Coral Records beginning late 1960s
- Jack Kapp (1901–1949), American Decca founder
- Edward Lewis (1900–2000), financier who led Decca recording group for 5 decades
- Tony Meehan (1943–2005), drummer turned A&R
- Mitch Miller (1911–2010), joined Decca in 1965
- Alex Murray (born 1939), A&R
- Dick Rowe (1921–1986), A&R executive
- Nat Tarnopol (1931–1987), former president of Brunswick Records
- Bob Thiele (1922–1996), headed Coral Records
- Nielsen Business Media, Inc. (28 August 1954). Billboard. Nielsen Business Media, Inc. p. 14. ISSN 00062510. Retrieved 27 July 2013.
- Christopher Gray "An Improbable Cradle of Rock Music", New York Times, 18 June 2009
- Al Jolson, who had recorded for the Victor Talking Machine, Columbia Records, and Brunswick Records, made a series of recordings for Decca from 1946 until his death in 1950, following the success of Columbia Pictures Technicolor film biography The Jolson Story (1946).<citation needed>
- "Imageshack.us: Best Selling Single". Img827.imageshack.us. Retrieved 27 February 2013.
- However, because of the fact that the U.S. did not begin making these types of albums until 1943, the original Broadway cast versions of all Broadway musicals prior to that year are now lost to history. The closest we can come to them are the 1936 film version of "Show Boat" and the 1951 studio cast album of "Porgy and Bess", both of which use many original cast members.
- dead link
- Song Facts. Retrieved 2 August 2012
- The Beatles (2000). The Beatles Anthology. San Francisco: Chronicle Books.
- Mendl was sidelined by a heart attack in 1979; during his convalescence Sir Edward Lewis died and Decca was taken over by PolyGram, and when he returned to work he discovered that his office had been cleaned out and his diaries—which would have provided a vital insight into the company's history—had been thrown away.
- Nielsen Business Media, Inc. (26 March 1966). Billboard. Nielsen Business Media, Inc. p. 34. ISSN 00062510. Retrieved 27 July 2013.
- Charlie Gillett (1984). The Sound of the City: The Rise of Rock and Roll (Da Capo Press).
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