The Lowdown on Decca's Jubilee Series: 6 Favourites plus the Polygram Takeover Saga

[@ThePressingMatters]

Thanks so much for shedding some light on this series. I've a few of them including the Chabrier, which I love. Great detail, fine selections. I always keep an eye out for Ted Burkett mastering. As always a great job! Thanks!

[@analogueanorak1904]

Thanks Scott for the great feedback. I think for collectors such as myself relatively late to the collecting classical game coming across well preserved JB's can be a real asset to a collection and to a bank balance. Obviously not as exciting as times when the charity shops god's are smiling on you but usually a good solid buy. You'll be pleased to know there are a few fascinating Burkett cuts coming up in the next video!

[@VinylBliss]

Excellent video and information as usual! Thank you for the clarification on the different versions, mastering engineers and pressing plants. This is a video I will need to view a couple times to absorb all the nuggets :) I have had great luck with the Julilee series and will continue to seek them. I will keep an eye out for the mysterious "x" pressings. Looking forward to more info on Walthamstow.

[@analogueanorak1904]

Thanks for the great comments. Do you tend to come across the UK and Netherlands pressed Jubilees? As I did notice when preparing that there seemed to be variants pressed in Mexico and a US variant London Jubilee (with understandably the crown removed!) I didn't cover the London's as the Discogs list is all over the place and very confusing, it did give the impression it might only consist of Polygram era pressings? Definitely keep an eye out for the mysterious X, when I looked back at all the Polygram new cuts that had impressed me most the ratio of X to V was about 3: 1.

[@VinylBliss]

@@analogueanorak1904 Ahh what am I taking about, the Canadian pressed Jubilees are not that rare, I just remembered I had a bunch off to the side. I have been listening to them, They are just ok, a good listen but just a bit recessed an second generation sounding (on white label with red ring), very similar to Viva and treasury . I pulled a holland pressed Decca Jubilee Kertesz (light blue with the red ring) dvorak 4 and it knocked the socks off the Canadian pressings.

[@analogueanorak1904]

@@VinylBliss Sad to hear the Canadian pressings disappoint but thanks for some very helpful information. I'm interested in that Dvorak 4 as my Baarn pressing of Dvorak 5 JB114 is X/X and has a much smaller amount of deadspace left than my other 1970's Decca New Malden pressings of No5 with a positive impact on sonics especially detail. I wondered if your Dv 4 looked similar?

[@VinylBliss]

@@analogueanorak1904 Mine have about an inch of deadspace on side 1 and 3/4inch on side 2. Machine stamped ZAL-7628-6G then hand stamped 411 1 ZAL-7629-3W then hand stamped 5 11 1 I'm not seeing any "x'x" in the deadwax.

[@nickmoys22]

Very helpful summary, and great music choices too, the Britten and Stravinsky are terrific.

[@analogueanorak1904]

Thanks for the lovely feedback. Another Polygram era Britten bargain banger pressing worth keeping an eye out for is the London Enterprise Britten Piano and Violin Concerto Richter/Lubotsky which was a reissue done in 1986 and both sides are mastered by Burkett. I bought it as my SXL version Violin side wasn't in great shape and was very impressed by both sides.

[@badvinyl4531]

Excellent and informative 👍👍.

[@analogueanorak1904]

@@badvinyl4531 many thanks for the lovely feedback

[@joseluisherreralepron9987]

I really enjoy these videos; I learn quite a lot. I have some Jubilee releases and now I want to look at the dead wax!

[@analogueanorak1904]

I'm really glad you are enjoying the videos. I try to avoid going into too much detail with the deadwax matrix codes in these videos but in certain circumstances like the Jubilee series it can give useful info to help with whether to buy or not. With the next video I'm doing (sadly I doubt I will finish it before next year) I'm so glad I bothered to look at the dead wax of a batch of unassuming vinyl in a charity shop as the findings were so unexpected I ended up buying as many of them as I could grab!

[@musiconrecord6724]

The earlier pressing history of Decca is covered so much, so to have this detailed information about this later era is invaluable. I have that Marriner/Stravinsky and it is indeed gorgeous. Here in the US many of these Jubilee records (under the London moniker) show up regularly in the used bins. I am still deeply attached to my OG WB and NB SXLs, but these are very viable alternatives to, for example, Ace of Diamonds. And, like you say, spectacular recordings. (I treasure all my Britten LPs - that Mozart is marvelous - done with all repeats).

[@analogueanorak1904]

Thanks Mark for the encouraging feedback. What we have with the JB's is great bang for buck and a way to augment an ongoing collection as good WB's and even some NB's are getting scarcer, although I think the situation is more pronounced in the UK compared to US. Sonically my preference is the early 70's SPA's but the restricted choice of titles and condition issues mean JB's are usually much less of a headache. I have been accumulating most of the best of the Decca RCA 70's and 80's reissues on SDD, ECS and SPA to do a future video for all of us in the UK frustrated by the cost of getting those lovely Analogue Productions Kingsway Hall Living Stereos. The working title is "Analogue Poundland"!

[@musiconrecord6724]

@@analogueanorak1904 I really look forward to seeing that. Those SPAs and Eclipses were how I first picked up many older Deccas when I was a teenager and just starting my collection. Still got 'em. They sound great!

[@analogueanorak1904]

@ thanks Mark I have had a little look around the topic of Decca digital and found a couple of really useful interviews in PDF from professional recording magazines during that period. I reckon there are more relevant PDF’s buried away on the net as there are so many questions I have unanswered especially why do my vinyl copies usually sound much better than the pure DDD cd versions?

[@jasonhoffer9017]

I was wondering if you might cover when digital first arrived with the major classical labels, your thought of them and how to determine the source. Not sure if this is an ignorant or overly complicated question. I love all your videos and thanks for taking the time to make them. Greatly appreciated (from Canada)

[@analogueanorak1904]

Thanks for the lovely comments. I do have the early stages of plans in line with your suggestion but solely from the Decca perspective. My video productivity seems to reducing rather than improving so it might be a bit of a wait. I have come across a few really helpful web articles on Decca and digital' would it be helpful if I dug out the names of those articles?

[@musiconrecord6724]

@@analogueanorak1904 I second this request.

[@analogueanorak1904]

Thanks for adding your interest Mark. Also I recently came across your superb TA article that included so much info about Gunter Hermanns thank you so much for writing that one.

[@stever7732]

Would be great to have your thoughts on the records currently available.

[@analogueanorak1904]

@@stever7732 A very valid request. It has been quite a while since I did a pithy short video on a current classical release. I do have one in mind for my next video that’s also linked to the content of this one . There’s an outside chance it will be out in December but more likely early Jan.

[@lollol7688]

Very clearly explained! I liked the fact that you include for example the covers of the originals! Now i know for which albums to look for:). How do you think the decca weeknd vinyl releases sound ? They also can be found easily and cheap

[@analogueanorak1904]

Thanks for the lovely feedback. I've got to admit I don't recall seeing any of the Weekend series when going through piles of vinyl although that might be down to early subconscious triage looking for my favourite labels. I wonder if Vinyl Bliss has any experience/comments as his channel goes amazingly off piste as far as trying classical labels. It looks like the bulk of the vinyl weekend versions are German DMM and I have mixed experience with those, rarely liking the EMI's but enjoying some of the Telefunkens so if I do come across some Weekend's I will give one a go!

[@Tojazzer]

Thank you for the information. I have an original London issue of the Offenbach which is stamped '2E', identifying Stan Goodall not Harry Fisher. Were the Jubilee lacquers recut by someone else?

[@analogueanorak1904]

Thanks for the great comments. Your Offenbach pressing sounds great. The earliest SXL and CS releases from 1961 have Goodall doing the mastering . I'm generally happier buying early Decca when it is Goodall rather than Jack Law (D) who with Goodall did most of the cutting the early stereos. Goodall seems to me to more frequently overcome the limitations of the earliest stereo cutting heads. It looks like there were a few Goodall represses in the 60's and then in the 70's the mastering for London and Decca changes over to Harry Fisher including the Jubilee series. i have included in the text of the description for this video a link to a lovely oral history by Stan Goodall that covers the relationship between the mastering department and New Malden there is also an hilarious anecdote about Alan Loveday losing his sh*t with workmen digging up the road outside St John's during the recording of the 4 Seasons!

[@RobertMittelstadt]

Ted Burkett cut JB 55, Kertesz’ LSO Kodaly spectacular HARY JANOS and DANCES OF GALANTA (Jubilee 1979, originally engineered 1964 by Ken Wilkinson). In every incarnation-SXL, Jubilee, digital reissues by Belart, Decca and Eloquence-it still sounds fabulous.

[@analogueanorak1904]

I totally agree Robert. I do treasure my JB55 copy and it definitely came close to getting in my favourite 6 choices. Another absolutely great copy I have is an original flawless condition early mono pressing LXT of Kertesz/Kodaly/Janos, cut as usual by Guy Fletcher; totally ignored as mono, nice and tubey early sound and came home with me for five pounds!

[@nattyco]

I have the Offenbach/Gounod on a ''Great Composers and their Music' record. I've no idea about the pressing but it sounds fabulous.

[@analogueanorak1904]

@@nattyco OK it’s time to fess up The Great Composers series is the unique series I’m doing in the new year and one of the absolute gems is the Burkett Offenbach/Gounod pressing. I must admit it’s transparency made me sit on the fence initially as it does exaggerate a slightly more cavernous quality to the Kingsway sound than usual in the Offenbach but on repeat listens I’m smitten. Although the Jubilee Fisher pressing is wonderful the GC one is for me a triumph of transparency. More gems from this series to come in the New Year!

[@nattyco]

@@analogueanorak1904 Thank you. That is so interesting. I have a few other records in the series but mostly tapes, as I was in my 'tape period' at the time I discovered the GC's, when living in the States. I'll certainly look forward to your videos of the GC series. Have a great festive season.

[@analogueanorak1904]

@ Hope you have a great break too! And the information that the GC series did make it to the states is really helpful to me that when I do the detailed video it won’t be just for UK based collectors.

[@davidgow9457]

Video is interesting on Decca’s late 70s into 80s history. As regards Jubilees you have to be careful when music is added to the original release since it makes the sides too long for good sound eg Karajan Strauss and Tchaikovsky.

[@davidgow9457]

Interesting video on Decca’s late 70s and 80s history. With Jubilee label you need to be careful when more music is added to the original issue making the sides too long for good sound eg Karajan Strauss and Tchiakovsky.

[@analogueanorak1904]

Excellent point. I am going to touch on this subject in the next video as one of the records I will be talking about is an example of a discs where Burkett pulls off cutting a hell of a lot of music while preserving the dynamics. He seemed to be the go to guy for Decca when this is required but doesn't always pull this off. Another Karajan record I avoided is JB71 which adds Tchaikovsky R and J to his mighty Dvorak 8. As the SXL's are very pricey I went for SDD 440 W mastered a great cut which just has the 8th but with it being mid seventies mine does have some raised noise floor from light interaction with inner sleeve plastic. There is a London Jubilee Karajan with just the 8th a Polydor Baarn pressing from the mid 80's G on one side X on the other that I will definitely snap up if I come across it! Burkett's JB59 Respighi I find mediocre due to the inclusion of the Birds on top of Fountains/Rome but not unique to JB as original SXL version has the same track choice issues.

[@davidgow9457]

As vinyl entered the cd era record companies often added music making the sides too long.Decca was not alone , EMI Greensleeves need to be bought with care. CBS were silly to release both the Szell Dvorak Slavonic dances on one LP. Mid 70s reissues eg Ace of Diamonds suffer less from extra music.

[@PhilGrahamPublishing]

Time to check through my old Jubilee series test pressings from my days at Decca (1978-80)? Never realized this series had any value!

[@analogueanorak1904]

Hi Phil great to hear from you; from the years you mention my guess is you worked at New Malden? Jubilee particularly in the UK is getting more important for collectors as old SXL's and the certain narrow band SXL's are getting more and more scarce as decent affordable alternatives. I suspect any G's and W's you have on Test Pressings will be the most popular on ebay. You might even get some offers from viewers of this channel!

[@PhilGrahamPublishing]

@@analogueanorak1904 I worked at the Albert Embankment head office and used to plunder discarded TPs to supplement others that came my way. All in pristine condition. They include a mixed collection of the JB series and although most don't have sleeves, the ones that do are JB52 (W) - pink label TP; JB53 (W) - final version; JB37 (G) - TP; 41 (G) - final; JB26 (G) - final. Others are all TPs without sleeves, and I noticed an 'A' and a 'Y' in there too, though they may not be JBs? Don't send me up to the attic again!

[@analogueanorak1904]

@@PhilGrahamPublishing I'm so glad you didn't reenact the National Lampoons Christmas Vacation attic scene while you were up there! I only have the limited experience on test pressing values of someone who spends an unhealthy amount of time trawling ebay for fun. My guess is the two Rach's are the most likely to shift relatively quickly but they wouldn't command the prices of SXL test pressings. So i reckon add around 5 to 10 pounds to the average asking price of the standard Jubilees. They do shift slowly on ebay and unless rare the one sided TP's hang around for ages. I'm very happy to be corrected if anyone has better knowledge and there is always eil.com. Finally I can't resist asking you don't happen to have any old contacts who might be able to solve the mystery of X's identity?

[@davidthom7127]

I'd love to know what your listening system is?

[@analogueanorak1904]

Sorry David I missed this yes happy to describe my system. Basically front end is modified vintage to try to get an enhanced version of the sound the engineers/producers intended at the time and knowing the Decca engineers modified John Culshaw's own hifi for him (lucky so and so!) and his turntable was a Garrard 301 idler drive. I have a beautifully serviced stock Lenco GL75 idler drive with loads of headshells for different cartridges for mono, 78's etc. My main stereo cartridge is a bespoke modified Goldring G800 moving iron which Dominic Harper did his magic with changing to boron cantilever and FGS tip. My phono stage is an Icon Audio PS1 and the integrated is a Creek Evolution with Acoustic Energy Reference 1 speakers. I used to run the phono stage direct into the creeks power stage which gave an incredible visceral realistic musicians in the room effect but have now moved back to using the preamp of the Creek after I discovered this gave much more of the Decca USP beautiful resonant Hall Acoustics. I bet Mike Creek would have said "and about time too!" I'm really happy with the sound I have as it really suits my needs at last and am just hoping my kit lasts for ever.

[@davidthom7127]

@analogueanorak1904 WOW. It's obviously an informed choice to go idler. I personally consider that severely compromised engineering, these days, but, your choice. Thanks for replying though

[@analogueanorak1904]

@ Yes definitely a very individual multi format historical enactment approach! It suits most of the stuff I love to play regularly but I must admit if I fancy listening to some Steely Dan I use my modded Technics DD.