Chinese Rhythm by Alfredo Campoli

Chinese Rhythm, 78rpm Decca shellac disc by Alfredo Campoli and his salon orchestra

Thank you to our friends from the EMI Archive Trust for sharing this great piece from their collection.   The EMI Archive Trust holds an extensive collection of 78 rpm shellac discs from accross the Gramophone Company, EMI and other privately donated collections.

This is Chinese rhythm by Alfredo Campoli and his salon orchestra F.6659.

The Trust and the Hound welcome any factual information you may have about the disc. So please feel free to get in touch.

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Classical Music Sells Millions Of Records!!!

Times are tough in the recorded music business with sales revenues declining significantly and regularly this century. Times are particularly tough in the classical music part of that business with its decline outpacing the market at large.

John Culshaw and Solti (in Plimsoll’s) in the Studio working on The Ring.

We’ve been reading Norman Lebrecht’s marvellously pacey race through the history of classical recording in his book “Maestro’s, Masterpieces and Madness” and would recommend it to all people interested in the story of the record business.

At the end of the book, Lebrecht lists all the classical records that have sold over 1 million records. There are only 25 of them. The first record to do so – and clinging on to the list at #25 – is Gaisberg’s recordings of Caruso. Only ten classical recordings have shifted 3 million or more. The top 5 all time sellers are as follows

1. Wagner Ring – Solti (Decca) 1958 – 1965 18 million. Produced by Decca legend, John Culshaw, this is “a better record than Sgt Pepper” according to its fans. Here is an excerpt from a BBC documentary about the making of the records, starring Solti’s strange jerky style conducting and Culshaw’s calm comfortings. Style fact: Decca engineers (and Solti) wore white plimsolls when in the studio to avoid causing background noise.

2. The Three Tenors (Decca) 1990 14 million

3. Vivaldi: Four Seasons (Philips) 1959 9.5 million

4. The Three Tenors 2 (Warner) 1994 7.8 million

5. Canto Gregoriano 1993 5.5 million

Whatever happened to Decca Studios?

When The Beatles couldn’t agree to visit Everest for a photo shoot for their final album which they intended to name after the mountain and instead named it after the studio in which they had recorded much of their wonderful music, they bequeathed upon Abbey Road the greatest marketing gift of all time. Abbey Road Studios is still going strong and approaching its 80th bithday in rude health.

But there was another recording monster on the block in London in the 1960’s. Decca Studios at Broadhurst Gardens was the home of many great recordings and had the equipment and a team of engineers to rival The Beatles Studio. Take a look at this picture of Decca Studio 3 which was forwarded by a former Decca engineer “to prove Abbey Road No.1 (its rival for recording orchestra’s) was nothing special”

But whilst there is much information about Abbey Road, there is little on the web about Decca Studios, other than that it was the venue for The Beatles audition with Decca in 1962 – which they failed. Its Wikipedia entry doesn’t even list opening and closing dates for the studio (the building is now rehearsal space for ENO). I believe Decca owned the studios from 1920 until 1980 which means it predates Abbey Road by 11 years. Can that be right? Does anybody out there have more information, pictures, videos of the great Decca Studios?

I did find this picture of Django Reinhardt and Stephane Grappelli recording in Decca Studio 2 in 1938:

Roger Chaput, Naguine, Django, Eugène Vées, Stéphane Grappelli, Louis Vola

Please get in touch with your memories of Decca Studios. And see here for an obituary for former Decca staffer, Kevin Daly.

HMV 363 Oxford Street

This was the Daddio of record shops. HMV 363 Oxford Street, London in the late 1950’s:

The shop plays a part in The Beatles story. HMV, which was then part of EMI, had a small recording studio that members of the public could record songs for their sweethearts. In February 1962 Brian Epstein was in London doing the rounds of the London record companies trying (unsuccessfully) to get a record deal for the boys. He stopped at HMV Records at 363 Oxford Street to get some acetate discs made from the (unsuccessful) reel-to-reel Decca demo. The disc-cutter was Jim Foy who mentioned the group to publisher Sid Colman who in turn mentioned them to George Martin at E.M.I.’s studios in Abbey Road NW8. George gave The Beatles a recording test some months later and the rest is history.

People also bought music there!

You can browse more wonderful photos from HMV in the 1960’s here

The original HMV shop burnt down in 1937 to be rebuilt and reopened 2 years later on 8th May 1939. Sir Thomas Beecham, the famous conductor, opened the store. Here is his speech and photos of the fire.

The original shop was opened in 1921 by Sir Edward Elgar (who also opened Abbey Road Studios ten years later)

The shop closed down on April 2000. A certain George Martin was there to send it on its way with a Blue Plaque.

“No place for a woman in a recording studio”. Delia Derbyshire denied by Decca invents (soundtrack to) time travel.

There are not that many prominent women in the history of recorded sound. Indeed there are not that many women working in recording studios even today. Boffins and creatives have tended to have the odd Y chromosone or two. The recording studio can be like a gang hut. A step from Lord of the Flies in one direction and a hop and a skip from a soldering iron in the other. Not a place for a lady then….at least that was what the head of Decca Recording Studios in London thought in the late 1950’s. When recording enthusiast Delia Derbyshire applied for a job, she was told unequivocably that Decca did not employ women in their recording studios. (An executive from Decca Records would also famously turn down The Beatles a couple of years later as they thought guitar bands were on the way out…..)

Like The Beatles, Delia was not one to be put off easily. She landed herself a job at the BBC Radiophonic Workshop in 1962 and went on to create some of the most experimental music of the 1960’s and in doing so turned the recording studio itself into a star. The workshop is best known for having created the most famous theme music on British TV, Doctor Who. But there was way more to its story and that of Delia Derbyshire, one of its central characters.

In 1966, she founded a music entity/pop group called Unit Delta Plus with fellow Radiophonic Workshop member Brian Hodgson and EMS founder Peter Zinovieff. This organisation pre-dated the British Electrical Foundation by 15 years and Kraftwerk by 4 years and was a vehicle to create and promote electronic music. They played at The Million Volt Light and Sound Rave at which The Beatles’ “Carnival of Light” had its only public performance in 1967. Delia also helped set up the Kaleidophon studio in Camden Town with Hodson and fellow electronic musician David Vorhaus. The studio produced electronic music for various London theatres and, in 1968, the three founders made an album as the band White Noise.

Here is part one of an excellent radio documentary about Delia with appropriate images (you can find the other parts on youtube)

And here is a fascinating snippet of Delia playing the tape machines:

And finally here is Electric Storm by White Noise.