Albums

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£11.49

Country - Released June 8, 2018 | Decca

Hi-Res
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Symphonies - Released July 6, 2018 | Decca

Distinctions Diapason d'or
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Symphonies - Released June 8, 2018 | Decca

Distinctions 5 de Diapason
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Symphonic Music - Released May 11, 2018 | Decca

Distinctions 5 de Diapason
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Ballets - Released May 11, 2018 | Decca

Distinctions Diapason d'or
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Solo Piano - Released April 6, 2018 | Decca

Hi-Res Distinctions 5 de Diapason
Born in 1975, the Italian pianist Robert Prosseda is without equal when it comes to discovering rare works, like previously unseen pieces by Mendelssohn; or compositions for piano by Salieri, Rossini or Caetani. And here he is with Charles Gounod's works for keyboards, after having exhumed the composer's Concerto pour piano-pédalier et orchestre, which he first performed in concert in 2011. Gounod's music for keyboards makes up about fifty pages, or rather uneven importance. He wasn't very interested in the piano, and many compositions are sketches or short pieces for his own use. For this album, Prosseda has selected the most substantial part of this corpus, with a charming Veneziana to open, followed by the equally famous Marche funèbre pour une marionnette in its excellent original version. The six Romances sans paroles are a welcome discovery, as are the Préludes et fugues which served as preliminary studies for Bach's Clavier bien tempéré and in which Gounod used "a clear writing for two voices, lifted by a chromatism that pushes the artist onward", as Gérard Condé put it in his monumental biography of Gounod (Fayard). The Sonate pour piano à 4 mains (with Enrico Pompili) in a Schubertian style is a pleasant youthful work, probably written in 1839 at the age of 21, during his stay in Rome in the Villa Medici. © François Hudry/Qobuz
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Classical - Released January 26, 2018 | Decca

Hi-Res
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Classical - Released November 29, 1988 | Decca

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Vocal Jazz - Released December 28, 1955 | Decca

Jeri Southern's second Decca session strips her music of pretense and artifice in favor of an unflinching honesty that crawls deep under the listener's skin. With its austere rhythmic backdrops and melancholy textures, The Southern Style casts a stark spotlight squarely on Southern's intimate vocals, and she responds with some of the most deeply felt performances of her career -- the nuance and depth she invests in songs like "One Day I Wrote His Name Upon the Sand" and "I Don't Know Where to Turn" are nothing short of remarkable. This is a record made for and by adults, articulating emotions and delineating experiences lost on the young. ~ Jason Ankeny
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Duets - Released August 12, 2016 | Decca

Distinctions 5 étoiles de Classica
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Classical - Released May 16, 2016 | Decca

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Vocal Jazz - Released January 1, 1991 | Decca

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Classical - Released January 1, 2002 | Decca

A sort of cross between Sex and the City and the Kronos Quartet as they might be remixed by Paul Oakenfold (actually Orion and the Beatmasters do most of the producing), Bond is a string quartet of toothsome beauties at least as concerned with their hair and makeup as their playing whose work on Shine is heavily augmented with dance beats. It's a formula that sits them atop the classical crossover charts, up there with Sarah Brightman and Josh Groban, and why not? As with their peers, the music is only ersatz classical, containing classical tunes here and there mixed in with classical-sounding new compositions. And the elaborate dance programming makes the music highly, well, programmable. Leadoff track "Allegretto" was quickly tapped for an upscale television commercial, a mark of success in this market previously achieved by the likes of Moby. Here and there among the oddly familiar melodies are actually identifiable ones. "Strange Paradise" is a much modified version of the same theme from Borodin's "Polovetsian Dances" in his opera Prince Igor that became the show tune and pop hit "Stranger in Paradise" from the musical Kismet; "Kashmir" is the Led Zeppelin song; "Libertango" comes from Astor Piazzolla; the bonus track, "Bond on Bond," is, inevitably, Monty Norman's James Bond movie theme; and "Space" sounds like the theme from every movie ever set in a Middle Eastern desert (although here it sounds like it comes from a Middle Eastern disco). The CD booklet, full of fashion-style photography, outdoes anything from Britney Spears, and, of course, there's nary a musical instrument in sight. The music may be the least of it, but as marketing, Bond is hard to fault. ~ William Ruhlmann
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Pop/Rock - Released January 1, 1965 | Decca

Her erratic, self-titled debut features lovely baroque arrangements by Mike Leander and decent tunes like "As Tears Go By," and Jackie DeShannon's "Come and Stay With Me" and "In My Time of Sorrow," and Bacharach/David's "If I Never Get to Love You," as well as fairly crummy covers of hits by the Beatles, Herman's Hermits, and Petula Clark. Look for the Japanese CD reissue: It adds six non-LP bonus tracks from mid-'60s singles, including a couple (the girl-groupish "The Sha La La Song," the melancholy "The Morning Sun") that rank among her best '60s recordings. ~ Richie Unterberger
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Pop/Rock - Released January 1, 1965 | Decca

When Marianne Faithfull released her first two albums for the U.K. market in the spring of 1965, she took the unusual step of issuing them simultaneously. One, simply titled Marianne Faithfull, was the pop-oriented collection that listeners of her hit singles would have expected. The other, Come My Way, by contrast was comprised solely of folk tunes, most of them traditional, the acoustic settings arranged by guitarist Jon Mark. Faithfull at this very early stage in her career still had the tremulous soprano common to many woman folk singers of the era. While her singing here is pleasant and competent, it's rather average when stacked against the emotional commitment and personality the best interpreters of such tunes brought to the material at the time. Indeed, Faithfull herself would do the same kind of repertoire, with considerably greater vocal imagination and more forceful musical backing, on her underrated third U.K. album, 1966's North Country Maid. Still, it's an OK record, Faithfull putting her pipes to reverent use on folk revival staples like "Portland Town," "House of the Rising Sun," "Once I Had a Sweetheart," and "Black Girl," taking on a contemporary writer with Ian Tyson's "Four Strong Winds." Her reading of "Lonesome Traveller" stands out for the propulsive backing, with hasty 12-string guitar strums and what sound like bongos. The CD reissue, available briefly in Britain in the early '90s and then in Japan in the early 2000s, adds four bonus tracks: the 1964 B-side "Blowin' in the Wind"; "Et Maintenant," from a 1965 EP; the poppy and bluesy 1966 B-side "That's Right Baby"; and her classic 1969 single "Sister Morphine," which predated the Rolling Stones' version by a couple of years. ~ Richie Unterberger
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Pop/Rock - Released January 1, 1966 | Decca

Faithfull was still known primarily as a pop singer when she put out North Country Maid, but this is in fact very close to a pure folk album, with a bit of influence from pop, rock, blues, and jazz. Largely overlooked even by Faithfull fans, it's actually a quite respectable effort, and probably her best LP (other than greatest-hits compilations) from the time when her voice was still on the high side. Ably backed by sessionmen including guitarists Jon Mark and Jim Sullivan, she interprets mostly traditional material on this record, including "She Moved Through the Fair," "Wild Mountain Thyme," "Sally Free and Easy," and "Scarborough Fair." There are some mid-'60s covers too, though, including Donovan's "Sunny Goodge Street" and Tom Paxton's "Last Thing on My Mind." Sometimes, when the bass gets prominent and the arrangements swing, this isn't too far from early Pentangle, as unexpected as that comparison is. The use of sitar on "She Moved Through the Fair" and "Wild Mountain Thyme" is adventurous, and she sings pretty well throughout, with dignity and purity if not utmost imagination or grit. The 1990 CD reissue on Deram U.K. adds three worthwhile bonus tracks: "The Most of What Is Least" (from a 1965 EP) and alternate versions of "Come My Way" and "Mary Anne" (the originals of which had appeared on her 1965 album, Come My Way). ~ Richie Unterberger
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Classical - Released November 1, 2015 | Decca

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Rock - Released May 1, 2015 | Decca

The Small Faces were at Decca for 18 months -- long enough to become stars, long enough to sow the seeds of a legend, long enough to cause enough confusion that would color said legend over the decades. The Small Faces left Decca when they left manager Don Arden, the towering impresario who signed the group when they were still in their teens, gave them enough cash to seem flush, found them songs he owned the publishing to, and looked the other way when the boys popped pills. Once the parents of Steve Marriott, Ronnie Lane, Kenney Jones, and Ian McLagan stepped in, ties were severed and the band bolted to Immediate, the label run by fellow teen mod renegade Andrew Loog Oldham, so Arden retaliated by cobbling together From the Beginning, a collection of singles, covers, and demos for tunes that would soon show up on their near-simultaneously released Immediate debut The Small Faces (the same title as the group's 1966 Decca debut, for those trying to keep track at home). While the band began galloping toward the psychedelic present on their final singles for Decca -- "My Mind's Eye" is a lysergic journey and "All or Nothing," their first number one, seems eager to shake off the confines of rock & soul -- the switch in labels provides a neat division between the group's early and mature work, so while Universal's 2015 box The Decca Years 1965-1967 lacks the band's biggest and best hits ("Here Come the Nice," "Itchycoo Park," "Tin Soldier," "Lazy Sunday," "The Universal," "Afterglow of Your Love," a run as good as any other British band of the '60s), it nevertheless provides an intensely concentrated blast of the band's mod peak and provides a useful companion to 2014's box Here Come the Nice, which it mirrors to the point of opening with a disc of "Greatest Hits" (aka the singles) before delving into the familiar and the rare. Although the period it covers isn't the band's peak, The Decca Years trumps Here Come the Nice by virtue of not focusing entirely on the unheard, a move that fates the 2014 set to the dedicated. These five discs contain all the singles, along with the two complete albums (alas, with none of the bonus tracks -- largely mono mixes, but some alternates -- from the 2012 reissues), a disc of BBC sessions, and a disc of rarities. Generally, the sound is improved from the 2012 reissues -- punchier, heavier, emphasizing how the group kicked up a bottomless groove (not much can save the shaky audio of the BBC sessions, though) -- and if there are duplications here, well, that's just part and parcel of listening to the Small Faces; even when they're given attentive care, there's no eliminating the mess. More than the various reissues or compilations, The Decca Years 1965-1967 winds up showcasing just what made the Small Faces special. Where the Who often seemed hell-bent on a stylish destruction, the Small Faces partied, laying into Sam Cooke with abandon, delivering the Arden-forced trifles with more wallop than they deserved, creating a noise so unholy Led Zeppelin ripped it off ("Whole Lotta Love" steals as much from Steve Marriott as it does from Willie Dixon) and then, just as these 18 months drew to a close, delivering a wildly original blend of pop art, overamplified soul, and impassioned rock. Here, on this big and sometimes unwieldy box, that evolution is not only clear, but seems vital. ~ Stephen Thomas Erlewine
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Classical - Released January 1, 2012 | Decca

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Classical - Released January 1, 2012 | Decca

The Collections

Label

Decca in the magazine