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There have been some comments on the www about Bob Crewe's contract arrangement were he ensured he shared publishing and comments from former staff re his financially favourable practices, and some former recording artists like Mitch Ryder have commented negatively re his management of their career. And he allegedly threatened the Four Seasons that he would set-up a new line-up at one stage in an internal dispute.Then he famously lost his relationship with Sandy Linzer and Denny Randell following a publishing rights dispute in early 1966. But for every negative sounding anecdotal story there is another side (which we don't know) and it would be good to see Bob Crewe publish his autobiography which we know he is working on with Steven Whitney and that we hope will correct some rumours.You only have to read 'Dirty Little Secrets of the Record Business' to see what has (and still is going on with regard to preferential contracts)
The fact that so many people still respect him for what he did for them speaks for itself and as Casey's article describes, his achievements as an artistic talent. After all the only thing that matters is the 'art'. It endures!
Ken Charmer

My goodness. I don't think it's fair to pit one against the other. I think they were very different types of producers, both had success and their share of failures.

I give major credit to Crewe for the success of The Four Seasons. His ability to produce "radio friendly" pop songs by scores of different artists is legendary. Gaudio, Linzer, Randall and Calello all learned a great deal from Crewe. Certainly, as far as The Four Seasons, Crewe needed Gaudio and vise-versa.

From my point of view, Crewe's creativity and industry connections were his greatest strenths. He was an inside guy who knew how to make a record and most importantly get it played. I guess his lyrics were also important, but the lyrics without
the music are merely poems.

Gaudio on the other hand was a musician as well as a performer (albeit a reluctant one). It can be argued that if he spent all of his time in the early years on songwriting and producing he was bound to have more success.

While Crewe took new talent and nurtured it, Gaudio
did the same but also attracted established performers like Sinatra, Striesand and Diamond. (I know, Crewe did some work with Bobby Darin)

Now, "Jersey Boys" success is pretty much a Bob Gaudio controlled project from the beginning. The
fact that he was able to pull this off in a totally different medium is perhaps a final testimony to his talents.

Success has many fathers, as they say, and The Four Seasons catalog together with the incredible experience that is "Jersey Boys" in no different.

Anyway, it's a great subject but let's celebrate both gentlemen's body of work.

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