Embassy Records were cover (tribute) versions of current hits produced and manufactured
by Oriole Records for F.W. Woolworth & Co.Ltd. from late 1954 until 1965, when the Oriole company was sold to C.B.S.
The official Woolworth story, featured in the now defunct Woolworth virtual museum is reproduced
below. Many thanks to John Martin for this article and pictures.
Initially Embassy Records were available only
as 10 inch (25 cm) discs playing at 78rpm. Despite the dull plain brown overprinted sleeves, sales of the opening titles
were very encouraging - and before long they had come up with a better design for the sleeves and a strategy to develop the
label. A broad spectrum of music would be offered:
songs and instrumentals from films and shows
light classical
numbers, for example Gilbert and Sullivan
children's records
cover versions of the hits of the day, recorded by unknown
artists, session musicians or (occasionally) by stars working under false names.
Before long the company added a 7 inch (17.5cm) 45 rpm record, which gradually took over from the 78s - with each record
containing two hit songs, and long playing 33 rpm 12 inch (30 cm) records with ten to twenty tracks. They were
very popular and sold by the million.
Customer feedback
about the classical, instrumental and children's records was always positive.
This rare photograph shows a recording in progress at the Embassy Recording Studios in New Bond Street, Mayfair, which
were shared with the Oriole Label.
The challenge for Woolies and Oriole bosses was to predict which new release songss
would get into the charts (at the time called the "Hit Parade") and have cover versions ready for sale when they did.
More often than not, they got it right, successfully predicting the hits. But the occasional cover song that they recorded
was a bigger hit than the original that sank without trace.
The New Bond Street studios were fitted with the very latest
14 way mixers and A.K.G., Neumann and S T & C Microphones. But that counted for nothing if it was a bad song, or a bad
version of a good song !
Today the equipment looks like something out of the original series of Thunderbirds or "The Saint" - but back then readers
of the Woolies colleague magazine "The New Bond" were stunned to see how much technology went into recording the songs.
This
device is called a Neumann Disc Cutting Machine, which literally cut the grooves onto a blank record, automatically adjusting
the balance and treble, all at the touch of a button.
In 1959,Woolworths launched a new look for the Music Department - complete with listening booths and a substantial display
of back catalogue titles. After 50 years they dropped sheet music to concentrate on EPs (extended play 45 rpm records), and
Albums.
Surely, at some time, a relative bought you an Embassy record.
Did you love it and seek other recordings by the artiste in question?
Did you totally dismiss it as not the real thing?
or did you just hate it?
Good or Bad???
Please use the discussion board for visitor's views, and hopefully some facts to clear the mysteries of who did what on
various sessions at this label. To access, please click the link below.
There is a problem, at present, with the
discussion board, and that's the level of usage. March 11th, and 80% of bandwidth limit has been used.
Blog
stops at 100% and further use won't be available until next month. Sorry!!!
SIGN IN TO DISCUSSION BOARD
The Radio 2 programme, ironically, compiled to celebrate 100
years of Woolworths, whilst it's demise is heavily chronicled, has been broadcast.
The "Wonderful Sound of Woolies" was a rather well illustrated
story, presented by your old mate Brian Matthew.
On the negative side, it suffered a few gaps, due to certain parties
being on holiday, some wavering volume levels and generally poor sound quality.
There's my opinion, More are shown on the message board, why not
add yours? If you missed the show, it's no longer available on the BBC iplayer, but try clicking the link below.
Bob Lusty worked overtime, bringing together
contacts, but the permitted time schedule ruled out the appearances of Johnny Gregory and Ray Pilgrim.
Nevertheless contributions by Mike Redway
and Joan Baxter made excellent listening.
There are many reasons to thank Bob Lusty! (He's still working behind
the scenes, but more on that later)
THE WONDERFUL SOUND OF WOOLIES, SPEECHIFICATION
Embassy records were essentially cover versions of potential hits, but this one is rather special. Cover or Original??
Adam Faith had the hit with this song, but it was actually written by Johnny Worth under the pseudonym Les Van Dyke.
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The idea behind this website must have started when I spotted a copy of "Hoots Mon" by Gordon
Franks at a car boot fair. Gordon Franks was a well known name in the 1960's and 70's if you watched the credits at the end
of television programmes, it was his orchestra providing theme tunes and "incidental music"
I considered buying it as a curiousity, but somehow, I didn't.
The very next week, Brian Matthew mentioned Embassy Records on his "Sounds of the Sixties" show,
playing "Last Night was Made for Love" by Johnny Chester, inferring that this may be a more famous person under an assumed
name. It was certainly a more than acceptable performance.
Brian also stated that quite a few people recorded for Embassy under assumed names, suggesting
that one should seek out recordings by Matt Bryant. "Think about it" were his exact words.
So, I thought about it, considerably more deeply than Brian intended!
I couldn't find embassyrecords.co.uk, so I registered it and here we are!
Perhaps anyone who might know Phil Swern, (Producer of "Sounds of the Sixties") could suggest
an Embassy feature, we know there's loads of interest!
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The Embassy Story
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