I wonder how many DECCA logos there were?



I love this poster!



Edited 1 time(s). Last edit at 2021-10-13 13:59 by exilestones.

Quote
exilestones

I wonder how many DECCA logos there were?

Minimum 8 logos (1929-2021) - [Logos.Fandom.com] .

For more Decca-logos (36) see the pictures on: [www.Discogs.com] .



Edited 1 time(s). Last edit at 2021-10-13 17:45 by Irix.

Quote
Irix

Quote
exilestones

I wonder how many DECCA logos there were?

Minimum 8 logos (1929-2021) - [Logos.Fandom.com] .

For more Decca-logos (36) see the pictures on: [www.Discogs.com] .

36? WOW! I'd think companies would want to keep the same logo so people would recognize it.

This one looks a lot like London's logo.

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"London Recordings (or London Records and London Music Stream) is a British record label that marketed records in the United States, Canada, and Latin America for Decca Records from 1947 to 1980 before becoming semi-independent. The London name — as London American Recordings, often shortened to London American — was also used by British Decca in the UK market, for releases taken from American labels, which British Decca licensed.

The label is owned by Because Music, which also owned most of the post-1980 and post-1998 catalogues."

wiki


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The DECCA logo was always changing.



[decca.com]

Box Set Decca Sound - Mono Years 1944-1956
[www.fnac.es]

Short-lived Decca Records country music label logo
(Deccanashvillelogo)

1961








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[www.discogs.com]

Phase 4 Stereo was a recording process created by the U.K. Decca Records label in 1961.[1] The process was used on U.K. Decca recordings and also those of its American subsidiary London Records during the 1960s.

Phase 4 Stereo recordings were created with an innovative 10-channel, and later 20-channel, "recording console"[2] (actually a mixing console.) The concept of Phase 4 Stereo has no connection with Quadraphonic sound or "four channel stereo." But because there often are sounds in the extreme right or extreme left channels, the records may also give pleasing results when played on Hafler circuit systems or other simulated four channel systems.

Approximately two hundred albums were released with the process, including popular music, "gimmick" records engineered to make the sound travel from speaker to speaker, records featuring percussion effects, and historical sound effect records. In 1964, a light classical Phase 4 "Concert Series" was produced.

In 1996 a CD, The Phase 4 Experience, was released with classical and soundtrack recordings from 1966 to 1979 (London 444 788-2 LPX/PY 871). In 2014, a 41-CD boxed set of Stereo Concert Series classical albums was released, and in 2017 another 40-CD box set of soundtrack and Easy listening/popular recordings, called Spectacular: Nice 'n' Easy.

A space themed version, An Astromusical Odyssey, was arranged by Johnny Keating which included songs from the late 1960s to the early 1970s. A selection of these stereo effects can be heard on YouTube. [www.youtube.com]

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Phase 4 Stereo Sampler





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Phase 4 - Stereo Concert Series: Recording and Mixing Demonstration

Recording engineer, Philip Siney, demonstrates Phase 4 recording and mixing techniques and shows Decca's Neumann M49 and M50 microphones.



Phase 4 in 4 Minutes
[www.youtube.com]

Not to forget "No Stone Unturned" which was released as phase4stereo in Greece.

Quote
silkcut1978_
Not to forget "No Stone Unturned" which was released as phase4stereo in Greece.

yeS ! pic of my copy below

CTS

HMN

Interesting set of logos "exilestones"
Not only has the logo changed a lot through the years but you can find so many different labels as well. I have not only collected Stones on Decca but a lot of other music on UK Decca. The labels can also sometimes be connected to a production process, just like the Phase 4 Stereo mentioned above.

One thing that I had wondered about for years is why Satanic and Big Hits mono has light blue labels and stereo has green labels, when all other Stones Decca records from the time are red/ blue.
Well, I found out from one gentleman who worked at the production line back in the day. The light blue / green labels are on records pressed with "virgin vinyl". Kids pop music like The Them or The Stones got pressed with lower quality re-used vinyl and then the red/ blue labels!

Jan Richards

[www.stonesondecca.com]

Quote
Jan Richards
Interesting set of logos "exilestones"
Not only has the logo changed a lot through the years but you can find so many different labels as well. I have not only collected Stones on Decca but a lot of other music on UK Decca. The labels can also sometimes be connected to a production process, just like the Phase 4 Stereo mentioned above.

One thing that I had wondered about for years is why Satanic and Big Hits mono has light blue labels and stereo has green labels, when all other Stones Decca records from the time are red/ blue.

Well, I found out from one gentleman who worked at the production line back in the day. The light blue / green labels are on records pressed with "virgin vinyl". Kids pop music like The Them or The Stones got pressed with lower quality re-used vinyl and then the red/ blue labels!

Wow! You sure know your DECCA! Most interesting.

So, virgin vinyl is fresh vinyl whereas the lower quality vinyl is recycled vinyl? Recycled from what, I wonder?

Have the Rolling Stones as a hobby never ends!

"We Are Stereo, Hear Us Roar!"
Robert Baird | Apr 16, 2017





"Phase 4 stereo can only be described as a marvel of sound, a radically new and dramatically potent concept in the art of high fidelity reproduction . . . it stands for motion and an uncanny sense of spatial realism unapproached by conventional disc standards."

Uh huh. And we have a miraculous vintage tube amp out in the swamps, spanned by the Brooklyn Bridge, that we want to sell you!!!

Phase 4 Stereo, as described above in the liner notes to a newly released boxed set, was introduced by Decca Records and its American subsidiary London Records in 1962 and may have been a sonic bridge too far—at least to most modern ears. It revolved around a huge 20-channel mixing console (expanded early on from its initial 10 tracks) where each channel could be equalized or have reverb added, before being layered onto a four-track tape machine. A combination of Neumann, Telefunken, and Decca-designed and -built mikes were employed. The instrumental forces of Phase 4 were progressively enlarged and engineers got ever more gimmicky. Gain riding was widespread and instruments were spotlighted and moved left and right or backwards and forwards through an enlarged depth of field. The phrase, "kid with a new toy," comes to mind when listening to Phase 4 today. Everything was big and bright and impossible to ignore. It all screamed "We Are Stereo, Hear Us Roar!"

For audiophiles, this was music for testing out speakers or impressing the uninitiated with the ever- evolving miracle of stereo sound. After some initial successes with popular music, most by pianist Ronnie Aldrich, all pop music repertoire suddenly became fair game for a process that one reviewer in High Fidelity magazine said, "comes close to black magic."

The Phase 4 treatment was later applied to orchestral light classical recordings by conductors including Antal Dorati, Leopold Stokowski, and Charles Munch, all of which were assembled in an earlier 2014 boxed set, and remain the subject of much debate to this very day—"too contrived" being the most often heard criticism.

Those initial pop music recordings, however, which sold well and continued being released until 1974, have now been collected in a newly released Universal Music box, Phase 4 Stereo Concert Series which carries the subtitle, "Spectacular, Nice 'N' Easy."

Musically, everything on the popular side of the Phase 4 universe is exactly what most music aficionados mean today when they say (or perhaps hiss) "easy listening." Also known as "mood music," much of it also had a whiff of an Esquivel-like space-age bachelor-padness in its manipulated sound.

Again though, it's easy to see the market for this stuff. If you can transport your ears back in time for a moment, imagine that while the kids were upstairs banging away on their Beatles records—or worse, Led Zeppelin or the Stones—mom and dad, from the Big Band generation who won WWII, were kicking back in the living room, cueing up vaguely-hip-sounding collections like This Way "In" (CD 6) and reveling in the sound of their hi-fi. For those who grew up in the era of 78-rpm discs and mono recording, much of the music in this 40-CD box would sound, at least for a listen or two, like otherworldly sonic wizardry.



Speaking of the Beatles, their songbook, which even Sinatra had to finally break down and mine for material, was obvious catnip for the Phase 4 performers. Chacksfield Plays the Beatles' Song Book (CD 17) is a textbook illustration of the Phase 4 method. " A Hard Day's Night" opens with low brass spotlighted up front playing the melody while an ocean of strings swells in the background. A tambourine, which seems to the most ubiquitous instrument in the entire Phase 4 arsenal of sound, bangs away on the beat throughout the entire piece.

The lush factor increases to Warp 11 on "Norwegian Wood," which opens with a strummed acoustic guitar and flute before embodying the other major trend in Phase 4 popular recordings—massive, string-driven mock pathos. Plucked violins mix with vibraphones and surprisingly raw trumpets before flutes return to play the final notes. Spotlighted tambourines chatter away throughout.

While the Exotic Percussion disc (CD 10), which is all kettle drums, cymbals, harps, and massed wordless vocals, is a fun ride best used to stun non-audiophile civilians and Hair Goes Latin (CD 38) is nearly profound in its weirdness, the best use of Phase 4 may well be film music. Given the fact that film composers have always been able to get away with lush orchestrations and simple, sentimental tunes because the music is meant to accompany a moving image, it is not that big a surprise that Film Spectacular 2 (CD 13) and Film Festival (CD 16), actually work well and are very listenable. The gimmicks somehow fade.

Like its classical predecessor, and most of the Universal Music's classical boxed sets these days, this set is nicely packaged in a square box, with minimal sleeves emblazoned with original artwork and a slick 103- page booklet.

Yes, Jan it's exactly so.
Let's not forget that both records were treated like they were a sort of de-luxe edition with special prefix for catalog numbers, fold-open covers and additional bonus like the stapled booklet and the 4D cover, not talk about the inner sleeve of TSMR that might be a very first in DECCA's world.
On top of that, they used pure vinyl.
This does not mean that other records were pressed with re-cycled vinyl, but that
DECCA used a biscuit made of vinyl with some sorts of further elements mixed in.
That said, I believe one should separate albums from singles: it's common sense that the worst of vinyls was used for singles.
Bye, Jan

The "virgin vinyl" was new fresh vinyl in "puck" that they put in the pressing machine. You can see from some old videos on you-tube that when pressing the puck into a record, you will have som surplus material coming out and then cut loose by a cutting edge. This surplus waste material was not thrown in the garbage bin but melted down again and reused for "pop records"
I have also seen some pictures of a pile of records that never got so far that they left the factory. Some faulty production perhaps. These records were also melted down and the vinyl was reused, again for "pop-records"

Jan Richards

[www.stonesondecca.com]

Quote
Jan Richards
The "virgin vinyl" was new fresh vinyl in "puck" that they put in the pressing machine. You can see from some old videos on you-tube that when pressing the puck into a record, you will have some surplus material coming out and then cut loose by a cutting edge. This surplus waste material was not thrown in the garbage bin but melted down again and reused for "pop records"
I have also seen some pictures of a pile of records that never got so far that they left the factory. Some faulty production perhaps. These records were also melted down and the vinyl was reused, again for "pop-records"

I'd like to see those old youtube videos.

I found: [www.youtube.com]





I heard the vinyl is clear and they add color? They colored black vinyl?

Quote
Jan Richards
Interesting set of logos "exilestones"
Not only has the logo changed a lot through the years but you can find so many different labels as well. I have not only collected Stones on Decca but a lot of other music on UK Decca. The labels can also sometimes be connected to a production process, just like the Phase 4 Stereo mentioned above.

One thing that I had wondered about for years is why Satanic and Big Hits mono has light blue labels and stereo has green labels, when all other Stones Decca records from the time are red/ blue.
Well, I found out from one gentleman who worked at the production line back in the day. The light blue / green labels are on records pressed with "virgin vinyl". Kids pop music like The Them or The Stones got pressed with lower quality re-used vinyl and then the red/ blue labels!

UK Decca – TXS.103 1967
[www.discogs.com]



Canada ffrr
[www.discogs.com]




Is this the famous 1st US release in mono?
[www.discogs.com]


Is there more than one US mono?
[www.discogs.com]



Decca/London? Decca – TXS.103 Jamaica
[www.discogs.com]



Decca – TXS 103 UK 1972
[www.discogs.com]




London Records – NPS-2, London Records – 80021
"Old Abkco"
Remastered 1986 US virgin vinyl
I wonder if the Old Abkco LPs sound good?


London Records – NPS-2 US 2018
Probably DSD remaster from 2002?
[www.discogs.com]



ABKCO – NPS-2 US 2002
20 Gram vinyl - 100% Virgin Vinyl
Digitally Remastered from original master recording
[www.discogs.com]

Quote
Honestman

Quote
silkcut1978_
Not to forget "No Stone Unturned" which was released as phase4stereo in Greece.

yeS ! pic of my copy below

CTS

Could we get a HiRes image of the No Stoned Unturned SGLK 034 label? Thank you

Decca SGLK 034 Greece first pressing






Edited 1 time(s). Last edit at 2021-10-18 21:45 by exilestones.

[www.discogs.com]

NOVA Records By Special Arrangement with DECCA-Records, U.K.
Made in Germany - TELDEC »TELEFUNKEN-DECCA« Schallplatten-GmbH.
Heussweg 25, 2 Hamburg 19 (Western Germany) (P) 1973

Quote
Honestman

Quote
silkcut1978_
Not to forget "No Stone Unturned" which was released as phase4stereo in Greece.

yeS ! pic of my copy below

CTS

Very interesting ! ! !
I have never heard of this release . . . .
The obvious question must be : Can you hear ANY difference on this, -
when compared to the “normal” releases ?

[stonesworldcollection.blogspot.com]

[www.popsike.com]

Hey yeah mate .... Aussie releases ... ^^^^



ROCKMAN

HAVE YOU SEEN YOUR MOTHER LIVE! - ORIGINAL UK STEREO FACTORY SAMPLE TEST PRESSING (DECCA - SKL 4838)


The Decca No Logo

ORIGINAL UK STEREO FACTORY SAMPLE TEST PRESSING (DECCA - SKL 4838). Another extremely scarce original UK Stones LP factory sample test pressing, this time of the (export) December 1966 LP. Issued on pink and blue 'Factory Sample Not For Sale' labels with hand written/title/catalogue number/matrix information on the labels.




TEST PRESSING:
THE ROLLING STONES Have You Seen Your Mother LIVE!

Decca SKL 4838ZAL-7517 1WZAL-7518 1W



Edited 1 time(s). Last edit at 2021-11-10 21:51 by exilestones.