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.

Among the classical recordings released on Decca's " Gold Label " series were albums by Leroy Anderson, the Cincinnati Symphony Orchestra conducted by Max Rudolf and guitarist Andrés Segovia.

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.

* Decca's classical discography from 1951

It took the form to new heights using the London Festival Orchestra, a loose affiliation of Decca's classical musicians given a fictitious name adding the term " London " to sound impressive, to provide an orchestral linking framework to the Moodies already written and performed songs, plus overture & conclusion sections on the album including backing up Graeme Edge's opening & closing poems recited by Pinder.

Moving up the ranks in the 1950s, he landed in New York in 1959 and for the next 20 years made London Records, Decca's classical arm, the most significant label in the United States.

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.

Decca's country music branch was revived in 1994, with Dawn Sears being the first act signed to the newly-reformed label.

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.

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.

Many of these artists moved over to Decca in late 1934, causing Brunswick to reissue popular records by these artists on the ARC dime store label as a means to compete with Decca's 35 cent price.

In 1967 Regal Zonophone was revived again as an EMI label, featuring acts signed to music publisher David Platz's independent production group, Straight Ahead, several of which had seen chart action on Decca's Deram label.

At this time U. K. Decca was a completely different company from the Decca label in the United States, which was then owned by MCA Inc. Deram recordings were also distributed in the U. S. through UK Decca's American branch, called London Records.

His work has been released by Decca's Argo label, Sanctuary's Black Box label, BIS Records and Factory Classical.

Their first singles and album appeared on Decca's subsidiary label, Deram — see " Discography " below — but they left at the end of 1968 to join Immediate,

On Decca's British London label, which began in 1949, HL was at first used alone, but from 1957 there was usually a following letter denoting the original American label ; thus Atlantic and Atco were HLE, changing in 1960 to HLK, Sun Records was HLS, Jamie ( Duane Eddy's label ) was HLW, and Big Top Records ( Del Shannon, Johnny and the Hurricanes ) was HLX ; while HLU was used for a number of labels including Phil Spector's Philles, and Monument, home to Roy Orbison.

ffrr ( full frequency range recording ) was a spin-off devised by Arthur Haddy of British Decca's development during the Second World War of a high fidelity hydrophone capable of detecting and cataloging 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.

The Moody Blues agreed, but they insisted that they be given artistic control of the project, and Hugh Mendl ( as executive producer ) was able to provide this in the face of Decca's notoriously tight-fisted attitude to their artists.

It was recorded in her presence on October 21, 1958, at Decca's Pythian Temple, with Dick Jacob, Coral-Brunswick's new head of Artists and Repertoire, serving as both producer and conductor of the 18-piece orchestra, which included members of the New York Symphony Orchestra, NBC Television's house orchestra and Abraham " Boomie " Richman, formerly of Benny Goodman's band.

It frequently appeared on LP with a companion piece, Decca's 1941 adaptation of Dickens's A Christmas Carol, starring Ronald Colman as Scrooge.

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.

The distinctive reverberation on the early hit records by Bill Haley & His Comets was created by recording the band under the domed ceiling of Decca's studio in New York, located in a former ballroom called The Pythian Temple.

After this Verve closed their rock and pop division, causing Caravan to move to Decca Records for the release of If I Could Do It All Over Again, I'd Do It All Over You in 1970, from which the title track gained the band an appearance on Top Of The Pops, and then Deram ( Decca's progressive subsidiary ) for 1971's In the Land of Grey and Pink.

The name Philips Classics still exists but appears on no new recordings, and the Philips Classics Internet presence is within Decca's website.

In mid 1969 the band signed a deal with Decca's ' progressive ' sublabel Deram and released their debut album in March 1970 on their short-lived Nova series.

In 1929 the Decca record company was established by ( Sir ) Edward Lewis, and in May 1929 Henderson was recruited to record the work as one of Decca's first issues.

The recordings had remarkable sound for their time because they were made using Decca's " full frequency range recording " process, one of the first commercial high fidelity techniques.

A merger was first proposed with Decca of London in late 1945, but was rejected by Edward Lewis, Decca's owner.

Within a few weeks, the group was taken to England and into the Decca's recording studio in West Hampstead for their first recording session.

with most competitors not using stereo until 1957, the new technique was a distinctive feature of Decca's.

His interpretation of Wotan in the operas Die Walküre and Siegfried was documented as part of Decca's famous Ring Cycle in the early 1960s, with Georg Solti conducting and record producer John Culshaw officiating.

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.

* A page about Decca's digital audio recording system

Finally in 1943, came Decca's recording of Oklahoma !.

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 ).

The record was one of Decca's best-selling records in 1954.

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.

Talmy joined Decca Records as a record producer working with Decca's pop performers, such as Irish trio The Bachelors, leading to the release of the hit single " Charmaine.

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.

During 1963 Decca Records ’ chairman Edward Lewis sold a substantial share of Decca's interest in Record Mirror to John Junor, editor of the Sunday Express.

They had the support, however, of Decca A & R manager Hugh Mendl, who had been instrumental in the recent establishment of London / Decca's new subsidiary imprint Deram Records.

Murray initially released his records in the UK through Decca's London Records but switched to a licensing deal with Island Records in 1964.