The new voice of the Four Seasons UK Appreciation Society founded in 1971. We celebrate in this blog the history of the group using current research. We target the music back-stories the fans want to hear, and work to see all of the recorded material released and made available to fans.
As the UK Farewell Tour gets closer I thought it might be a good idea if we presented a book to Frankie at the end of the tour to thank him for the wonderful music and all the great concerts here in the UK with messages of thanks from all his fans. Although I initially referred to this as a “retirement” book Dean Egnator reminded me that Frankie is not retiring as he will still continue performing in the USA. So it will be a “celebration” of his music and if anyone would like to add a few words to the book then please email me. If you would also like to email me a photograph (the more obscure the better!) I will try and include as many images as I can. Many thanks to John Riley and Bill DeLoach who have already sent me some little crackers! If anyone is attending the shows or fan club get togethers at Leeds, Birmingham, London or Manchester you can sign the book personally if you wish. My email is: lynn.boleyn@sky.com
Bill DeLoach unfortunately will not be with Frankie on the UK Farewell tour and said he will miss seeing us all. We have also heard from Brian Brigham who said “Obviously we (The Modern Gentlemen) won’t be there for the farewell tour and we are gutted to not be able to see you all again. We just want to thank everyone for being so supportive of us and our journey. We will miss taking the UK stages for the final time with the Boss as those past tours were some of the best memories we had and will never forget it. Please give our love to everyone!” Thank you Brian, we will miss you all too – the UK Farewell Tour will not be the same without you, Craig and Bill. We are really looking forward to meeting the new members and, of course, some old friendly faces too!
Web Site Update
Many thanks to Ken Charmer who has now updated our Web Site. This is the first major update since 2013 and is designed for our new ID as an information site with historical data and music/collectors guides to products. – take a look – L’Eridata!
I was listening to the ACE CD transfers from the 1990s on my I-pod on headphones the other day and realised they were nearly all STEREO but were making me cringe!
Why? Well..... every track in STEREO from every album from 1962 to 1970 was in wide STEREO ,,,,in many cases the instruments were across the park and the harmonies in my neighbours garden and Frankie Valli's vocal was in my head!!!! I decided.....I've moved beyond that.
Here is a retrospective re the background as to why this happened.....what the sound engineers tell of the times the first STEREO albums were created back in the 60s......”those early stereo mixes were limited by the technology of the time. The industry was still learning how to bring this newfangled thing into the world. It is really common to hear a ‘60s stereo mix where all the guitars are on one side, the vocals on the other, and the drums in the middle with absolutely no bleed-through at all. This is called “hard panning” and it can definitely make for a challenging listening session, depending on your room setup and personal preferences. It may or may not be fun with headphones too. At first, Stereo was something of a novelty. It wasn’t commonly listened to, and therefore was a bit of a gimmick. The first Stereo mixing consoles were typically 2 track or 4 track mixing desks. This meant you were limited to separating only 2 or 4 individual elements in the Stereo image. Using The Beatles as an example, the first two albums in Stereo were 2 track, so if you listen to them, you will notice all instruments are on one side, and all vocals on the other. This is what people mean when referring to ‘hard panning.’ This even continued when they started using a 4 track desk (I Want To Hold Your Hand), and even the incredibly dense sounding Sgt Pepper was made using a 4 track desk. Mixing huge instrumentation arrangements was possible on 4 track by using a technique called ‘bouncing.’ I won’t go into that here, but you can google it to find out more.
Because Stereo on commercial pop records at this point was a novelty, and a new exciting technology, and because engineers and producers of popular music were new to the idea, early 60’s music in Stereo generally sounds quite primitive. When you have only 2 track Stereo, hard panning is the only option to create a crude Stereo image, and is essentially redundant. But even with the advent of 4 track stereo, you will find that instruments were still hard panned (i.e the drums all on one side, vocals one side, guitars in the middle etc….) It is only towards the latter part of the 60’s, and with 8 track or 16 track becoming more common, that Stereo mixes started to sound like what you would hear [created] today, with instruments placed in a realistic and pleasing stereo image.One danger today is that I know that for one or two big labels, once Stereo became the standard, they thought their mono masters were now worthless, and they destroyed them (or wiped them and reused the tape.) So the mono 45's of these songs are the only way to hear the best-sounding mixes of these songs.”
[Mirasound 8 track Ampex? tape console 1966- Courtesy of George Schowerer]
The main thing is that the whole production was geared to a MONO product. All the hits were made that way and heard that way....on record players and radio....throughout the first 7 years of the decade hardly anyone[fans] had a STEREO record player.....and as stated above that was the gimmicky alternative version. BUT what was the 'Best Mix'? Well in the case of the Four Seasons Catalogue we've been asking that for a long time!!
First of all it seems [or it has been stated in several anecdotal sources] that the 2 and 4 track masters did not survive a Bell Studios clear out. BUT STEREO masters in this 'crude' wide form have survived. Some are different to the MONO that appeared on 45 and album. They don't contain late dubs by Bob Crewe added at Bell after he had taken the MONO master from Stea-Philips or Mirasound studios [according to sound engineer George Schowerer]. And Vee-Jay supplied Philips with MONO and STEREO album mixes only[according to Philips Master lists]. We wonder if that means there are missing 45 MONO Master mixes? On the evidence of post 1987 CD releases that seems to be the case[eg I've Cried Before].
So detailed research of the Tapes surviving [in all potential locations] is necessary to preserve the radio sound that really is the Sound of Frankie Valli and the Four Seasons. With work, the STEREO versions would be a bonus to todays and future listeners. They could in a decent sound stage reveal more detail than the MONO and be more akin to a 'live' performance. One of the reasons why MONO has some renewed interest though is exactly because STEREO replaced it. By the time CDs arrived, the stereo 'wide' mixes of most albums had become the “official”[defacto]mix.[now on CD] As vinyl records went out of print, people were left with only this STEREO option when they bought a new copy on CD. Within 15 years of the advent of CD, many MONO mixes were more or less forgotten about.
But today my argument is we need top re-mastered versions of BOTH.! So I researched back what my best friend, Stefan Wriedt, a German sound engineer had told me several years ago about STEREO mastering.
But ‘how do fans make their own assessment of what is a good stereo mix?’,.................. we asked him.
“Stereo images are best assessed on headphones. You have to listen. Wide is 120 to 180 degrees, anything between 60 and 30 degrees is small[narrow], 60 to 120 is normal (90 degrees as usual). I haven't found any meter / display that can show this.[only our ears on headphones]”
So I started doing further research on the 'best mixes' in STEREO and the groups catalogue and realised all the 'best' sounding STEREO were recorded in the 1970s and obviously on vinyl. There are some rogue STEREO mixes that surfaced on 'special' vinyl HITS albums during the 60s[eg Edizione D'Oro] that improve the mix, but every STEREO version is different as the content is more detailed than the MONO and can be panned differently.
The 60s STEREO limitations are clear . CD's with WIDE STEREO can sound good on an 'old style' listening environment when the speakers are the right distance apart and the listener is in the 'sweet spot'. This represents only about 5% of anyones listening experience today as we all listen on headphones/ear-buds/in-car or on the go Boom boxes. The STEREO becomes just like MONO. And after spending 3 years collecting and restoring MONO mixes from vinyl it has become obvious how the groups PRIMARY catalogue elements should be delivered.In MONO with 'enhanced' STEREO versions as a bonus set.
This guide from the WWW to assess STEREO supports this idea.Mixing engineers should mix tracks with a live sound stage/concert stage perspective in mind . We found an audio blog that defines this.
“'Panning' is how the instruments are arranged within the stereo image. By properly using this mixing feature you can create a very realistic sound.
Vocals are always in the centre because the band lead singer is the star of the show. At the back of the vocals is the bass player. Typically at the back of the bass player is the drummer. The band's two guitarists are on the left and the right. Although, different panning arrangement are possible for additional instruments (such a band with piano or others), this concept illustrates the basic things on how to do panning in audio mixing to create a very realistic stereo image.
Live sound monitors for vocals and bass are placed up front facing the audience, so that fans can get a great feel of the vocals and the bass groove. On the left and right loud sound monitors are the guitars.
In the best commercial audio production and using software, panning can be controlled between -100 to +100. Where mostly -100 is the leftmost part of the stage and +100 is the rightmost part of the stage.”
Stefan agreed…..”In the case of the Four Seasons recordings that we have[on CD in STEREO]……….. listen to any track on headphones and see how much these principles are adhered to. Many of the early stereo recordings fall short of this standard (with instruments and vocals panned far left and far right with acres of space between occupied by ‘nothing’).Today the listening experience is different, Everybody who bought a Four Seasons CD already has got the wide-stereo version[except for the tracks NEVER RECORDED IN STEREO by the Engineers] which again goes to the root of the original purpose.....a RADIO 45 mix.”
["What do you think of that 'mix' Ellie?" - Bob Crewe to Ellie Greenwich late 1966 - Mirasound - Courtesy of George Schowerer]
With the ‘MONO only’ versions [that often don't exist in STEREO] we are listening to the only example of what the producers sought.....and record company put out originally on vinyl. So we might as well have that....well mastered with the punch and ambience of Bob Crewe's mixes....in the correct MONO 45 and album mixes. They sound great when mastered well. And the STEREO tracks can be the bonus if mixed perhaps to a 90 degree sound mix as identified above.?
There are 3 examples of Four Seasons tracks from the early 60s given this treatment by Bob Gaudio and that is on the 1988 CD 'HITS – Digitally Enhanced'. Bob Gaudio commissioned an engineer to prepare this type of 'modern' STEREO mix on 'Marlena', 'Sherry' , 'Why Do Fools Fall In Love' and 'Stay'...[check out the mp3 samples if you don't have the CD]......That is what the fans need by 2020...But with ALL the 60s STEREO in this enhanced form.. The technology is here in 2018 to do this for all our playing equipment and listening needs. A completely NEW set of Masters
As Stefan said and we found doing the MONO ARCHIVE......”. The fun is when you are re-mastering and you are trying different settings. Sometimes you suddenly find the groups sound just works better. That is such a ‘buzz’. ..a real adrenalin rush.”
[Bob Crewe with George Schowerer....Artie Schroeck in background - Mirasound - late 1966. Courtesy of George Schowerer]
Our research makes the case for the catalogue of the future to enable you to 'feel' the MONO original sound as intended by Bob and the Group or Frankie in his 'solo' efforts and to also create NEW 'life-like' performances from the STEREO Master[NEW STEREO MIXES - as appropriate]
This is a potential Box Set that needs doing that can be sold to the fans of yesterday and today. There is the 'traditionalist' argument to not change the 'original'....but would we buy that AGAIN? After all we have all the WIDE-STEREO already on CD.We should be able to fully appreciate the transition from MONO to STEREO and capture the punch and thrill of MONO and the 'performance simulation' of STEREO in a modern presentation of their music as it is now understood. So NO hard right/left panning STEREO for me....thank you.!
The possibility that some-one will listen to this option and take it on board is something we will consider and we'll no doubt debate. More soon.
As the visit of Frankie Valli and the Four Seasons for the UK Farewell Tour rapidly approaches we are working towards a big celebration and reinforcing the sense of connection with long term and new fans.
Lynn Boleyn has organised get togethers with the fans before each concert and I have updated the web site for the tour and to support research and fan interest into the future....as well as preserving free downloadable data about the past.
WE have big hopes for the future and after the unfortunate demise of the late Frank Rovello's Genuine Imitation Life Gazette Web Site we became the main fan club site remaining on the WWW. So we spoke to our web Hosting company Northbrook Web Consultants and they are moving us to a new server and helping make future updates to www.seasonally.co.uk easier. Everything is based on picture links on our web page to our data and we retain our 'pop-art' design.
We have now made access to our specialist collectors Facebook Pages re 'The Unreleased Motown Tracks' and 'Charlie Calello's 'Lost and Found' Tracks' and a link to our Twiiter page.
All our data pages are preserved with links to download George Ingram's Newsletters [Nrs 47 to 68] packed with newspaper and magazine articles from the past.
Our research into the history of the group is also preserved with our two blogs we've run since 2006 and our part drafted E-book based on the 60s and 70s 'Rise and Fall of The NEW Four Seasons.'
The list of all the Frankie Valli and The Four Seasons 'HITS' is on the web site in a special Page based on Charles Alexander's research which is the cornerstone of the groups 'legacy' and we have big plans to celebrate that in the future with a mega project we hope will completely re-vitalise the whole catalogue and it's history.
The 'Farewell' tour is not the end...nor the beginning of the end....but in the words of Bob Crewe and Bob Gaudio......A NEW BEGINNING.
Meet up from 6.00 p.m. in the River Bar at the Lowry Hotel and again after the show. As this is the last show of the UK tour if there is any change to the after show venue I will let you know.
Back in 2011 I started to document the travesty of mis-information that 'faithful' and 'trusting' Four Seasons fans have had to suffer for what was then 37 years. It is now over 43 years since we were told.......nothing was left in the vaults.
In one of my blog posts[15thJanuary 2011] I was able to reveal the existence of completed 'unreleased' tracks by the group still lying in the Universal Motown vaults when I said....
”Since The Four Seasons left Motown in 1974 and the subsequent release of the ‘Inside You’ album (Motown M6-852S1) in September 1975, fans have questioned whether any other tracks remained left in the vaults.
Rumour and myth have circulated since and it is amazing that no definitive answers have been found. But now in what is to me a ‘shocking’ disclosure we can prove that the answer is YES completed masters do exist and with examples and research we will show all fans the potential which has been wasted.”
Well I have been documenting and sharing data and music re this lost period ever since in a Campaign to get someone to act and preserve and release up to 50 tracks unheard since the 1970s.
And now just as another piece of evidence arrives, others realise the potential ....... there is a possible acknowledgement by Bob Gaudio to Universal Motown......and some hope emerges that, finally, these sessions will be researched. We've established real interest from Record Companies and some hope a project will ensue.
And coincidentally, as hope arises of a release, we are able to re-visit P Tapes 2105/2110/2111 and the rehearsal recordings for tracks that would eventually surface on the group's 'only' album release whilst under contract there. The Chameleon Sessions Re-visited is a set of rehearsals of tracks that would when complete comprise a very different and 'progressive' Four Seasons album. Critics and fans have said since how significant an album it was artistically and some [like me] rate it as the groups best ever album[notwithstanding the cult following of 'Genuine imitation Life Gazette']
11 tracks, 8 of which would [when complete] create a stunning album. One in instrumental form, raising the question of whether it was ever completed with vocals, and 2 completed and unheard tracks which have never been released which sound really good. Up-tempo driving Four Seasons songs completely different to the album eventually created[but none the less stunning]
This is also our chance to hear, for the first time ever, studio session work pre-release with missing dubs, differences in instrumentation and alternative vocal elements. We all know it has happened with the Beach Boys Sessions and this is a 'snatched' example of Bob Gaudio working up the songs to their final Masters. On our Facebook Campaign Group we will share these moments re-mastered as we bring to fans the Sound Engineers dubs[presumably the legendary Russ Terrana's acetates] salvaged from cassette tape.
And now these are perhaps a prelude to what Universal Motown can do with the support of the artists?. Is that support 'real' and will the project happen? Well in the words of the Bob Crewe penned song amongst these early sessions by the group at Motown......'Time Will Tell'?
I don't suppose he anticipated it but a new hero has emerged for music collectors. The release last week of 'Go Ahead and Back Up' the 'Lost Motown Masters' – Bobby Darin from Real Gone Music in conjunction with Second Disc and Motown Universal has produced the 'goto' CD of the summer.
Darin's time at Motown like several white artists Berry Gordy recruited post 1970 was never fully understood or appreciated until now. It can now be seen as a creative close to his life....which sadly he knew was coming. Any discovery of 'lost music' can be either a treat or a complaint[what the hell was he trying to do?]. But reviewing such art needs 'context' and 'timeline' When an archjvist and a fan combine the result is a flowing journey for a listener that the artist would appreciate.Andy Skurow, the 'librarian' [ie archive manager] responsible for the Universal Motown archive has provided a fully annotated review of the recording history of 24 tracks which surpasses anything seen in a Motown related release for many years. Joe Marchese of Second Disc has filled in the story. The music?......well it's not the Motown Sound[as it is 'defined' by many] or the Booby Darin trademark sound but a testimony to an artist,writers, musician,back-up singers and producers searching for new expression.
I'll leave the Amazon reviewers to assess the results musically......but they are refreshingly diverse. The interest for me and the importance for Four Seasons fans is in the process and the results achieved but also in the commitment. Harry Weinger Universal Motown's CEO enabled Andy with highly respected Sound Engineer Kevin Reeves to 'interrogate' the data bases and uncover the tapes this artist left in the vaults. What is so profound for me and I would guess for Bobby's family and friends is the list of material started but never finished. This is a common occurrence with Motown research. A song listed somewhere may only be a backing track with no lead vocal[in this case 29]. Completed tracks may be prepared for album release and then for vague or unknown reasons shelved.
This set was firstly committed to by Bobby's family as they have always wanted to find ways to celebrate his life and talent. That is the primary ingredient Motown Universal require if they are to undertake a project. Artist commitment! There is clearly here a commitment to apply Andy Skurow's skill in identifying, locating and salvaging the work. The result is a credit to his professionalism. The data in the sleeve notes encapsulate everything anyone would want to know about the recordings to enhance the listening experience. Andy even found the Tapes [P4325/6] containing the 'unreleased' album mixed and copied from the main 16 track session tapes.
These tracks immediately precede and overlap the known 'unreleased' tracks from the first Frankie Valli and The Four Seasons contract at Motown. What we also know of the Valli/Seasons sessions is that similar preparations were also made for [at least 2] unreleased albums whilst at Motown. One in August 1973 and one in May 1974[we even know the tracks on this one]. We'll keep Frankie and Bob informed that we have a Project Plan ready to share with Andy Skurrow and team when the time is right and there is commitment to such a project.
The question to Valli/Gaudio will be 'constantly' over the next few years......i'f they could do it for Bobby....then why wont you let them do it for you.?' Casey Chameleon
Most fans of Frankie Valli and the Four Seasons know that they had less than half the tracks they recorded released by Mowest/Motown during their contract there. So the collation of collected and researched data on the Four Seasons 'Lost Masters' at Motown from 1971 to 1973 has been drafted into a Project Plan to allow engineers and compilers to research the 16 track [multi-track] Tape Masters in the Universal Motown Vaults in NYC.
In summary the research has identified that there are:
28 Master Tapes[of released and un-released tracks, including multi-tracks and alternative 'takes'/'mix-downs']
36 identified and located 'mixed' tracks that have never been released[many with Motown Master Nrs]
12 identified alternative versions/mixes of released songs requiring research
9 individual producers as well as Crewe-Gaudio
8 listed titles for unknown songs with no location information.
Background notes to the sessions and the songs, their writers, producers and how they were covered by other artists
This information is collated from anonymous donation of lists from within Motown Universal's paper/digital records but gives no indication of whether the tapes still exist or what their condition is. This is basically a log of the analogue sources with no confirmation of digital recovery/preservation. The recently released Bobby Darin 'Lost Masters' CD confirms that such tapes still exist in good condition from this period when Valli/Gaudio and the Four Seasons were recording. This shows in some cases the same producers are present with each artist. So we can be pretty confident that the tapes are there.
The Project Plan will be made available to the artist and tape owner when confirmation that no barriers to such research exist. In the meantime we will be posting an updated Tape Index this summer.The Project Plan covers:-
Introduction – Background to the Universal Motown Vaults and Tape Index
Session Review Plan Part1 - Period 1971[Oct] – 1972[Aug] - Artist:Frankie Valli - Various Producers
Session Review Plan Part 2 - Period 1971[Oct] – 1972[Aug] - Artist:Four Seasons – Various Producers
Session Review Plan Part3 - Period 1971[Oct] – 1972[Aug] - Artist:Four Seasons - Bob Gaudio produced 'Chameleon' Sessions and other tracks
Session Review Plan Part4 - Period 1972[Aug] – 1972[Dec] - Artist:Frankie Valli Sessions Mid-Late 1972 – Various Producers
Session Review Plan Part5 - Period 1973[Jan] – 1973[May] - Artist:Frankie Valli - Bob Crewe Early 1973 Sessions Frankie Valli [with Motown Session singers as the Four Seasons]
Session Review Plan Part6 - Period 1973[Mid] – Bob Gaudio sessions - Artist:Frankie Valli
Session Review Plan Part7 - Period 1973[Oct- Dec] - Artist:Frankie Valli and The Four Seasons - Bob Crewe Late 1973 Sessions Frankie Valli[ Four Seasons][lncluding Charlie Calello and Nick Massi]
Further research this year will be based on more salvaged tracks from the sessions [copied and preserved during the sessions]and known information on the individual tracks and their background and web site updates will document their part in the 'Four Seasons Story'.
Ken Charmer – Webmaster/chief blogger and lead music historian[team leader] at The Four Seasons UK Appreciation Society. www.seasonally.co.uk
It was 1976 in the UK and music was exploding into the charts again. The excitement of collecting records and going to see it performed 'live' was everything to us. We'd had 'My Eyes Adored You' hit Nr 1, 'Who Loves You' change the Radio Airwaves and 'The Night' emerge from the club scene to rocket into the charts as a 'long-lost' oldie re-issue. Frankie Valli and The Four Seasons where about to hit the peak. Overnight top stars and their biggest ever hit was about to hit Nr 1.
They toured, we saw them, they were 'our' Four Seasons. We saw them on TV every other week . It was 'hedonistic' and the natural and only way to find out more about the music and the band was to join the fan club. Friends were made , expectations raised and support given to the group and their management. They were all great musicians, all but Don had been trained by Jazz musicians, and so their performances were superb then and remain historically important.
Well 42 years on it is a different world as we approach the end of the line in terms of Frankie Valli and the Four Seasons. The fan club died in 1981and the fan group that succeeded still hoped for whatever line-up Frankie Vall could employ to come visit and take us back to those times. There will be time to reflect on this life of fandom and The Four Seasons Story for old and new fans post the November/December UK tour but for now we can reminisce.
John Hornsby[a long-standing fan from the US fan club] sent me his cassette tapes and I have managed to salvage in reasonable sound the Midnight Special TV Shows from the mid 1970s. They don't do full justice to what we experienced 'live' but these tracks capture the essence of what I wrote in the opening paragraph. It's good to have been able to tweak these old tape recordings and share them with you in a CD Download.
And to finish as Bonus Tracks is what I have been shouting about for the last 8 years. It was 37 years since Valli/Gaudio left Motown and that music ended with the 'Inside You' album when these songs surfaced. Something Vall and Gaudio had nothing to speak about as they didn't own the masters. They still don't. Motown Universal do. No completed songs remained we were told. Jersey Boys was the big earner.......nobody wanted to know nor do they now. That is oficial as far as BG and FV are concerned. But we have these hissy old acetate recordings. I've re-mastered these again this last year with new tools to clean them without damaging the detail. The completed Masters are sitting in the Motown Vaults with up to 50 other unheard and unreleased tracks. We know exactly where and they could be recovered tomorrow. Motown Universal wont act without FV and BG support and that is not forthcoming. Hence our continuing campaign for their official release sometime. I spoke to Lee Shapiro back in 2011 when these acetate dubs turned up and he recalled the session, the fact that Motown musicians played and the Seasons[including Gerry Polci and Nick Massi sang, Charlie Calello arranged with Kenny Nolan] and Bob Crewe danced on the recording console! He also confirmed Bob Crewe had them complete union session contracts and the masters were completed and handed to Motown. As was ‘I Wonder Why’ . More re all the sessions down the line!!!!!
So as we head into the Farewell Concert Tour of the UK and US just enjoy what the 70s gave us and still could if sometime someone listens to our Facebook group – The Four Seasons UK Motown Unreleased Campaign. You'll find links there to this music for a short period. Enjoy. Casey Chameleon
As 2018 develops as probably Frankie Valli’s final touring year we are able to celebrate 2 anniversaries. This blog has been running for 7 years this month and February is the 2nd Anniversary of the formation of The Four Seasons Motown Unreleased Campaign on Facebook. Our 253 members are able to share news, views and music in a very easy way and Lynn Boleyn and I use the blog to regularly publish news and research re the group’s tours, former group members and the back catalogue of music.
But as we celebrate these 2 anniversaries in February 2018 two things stand out.
Firstly our ‘brand’ has become firmly established as a linked ‘fan club’ community and information centre for the few hundred international friends who want to share their common interest. The old style newsletters and e-mail groups have literally been ‘retired’. Facebook is too easy and powerful a tool today.
Secondly, our joint ‘positivity’ through Facebook and our blog that eventually our voice will be heard. Our focus remains strong on discovering and celebrating music we have never heard; and we continue to believe that we can one day convince the artist we admire and respect to help release this music unheard for over 45 years. That is perhaps because as a result of the shared objective we have in the last few years unearthed and shared more ‘unreleased tracks’ than in the whole of the previous history of the group. The recent release of the ‘Lost and Found Vol 3’ which followed our April 2017 CD of ‘The Best ‘Unreleased UK Collection 2017’ demonstrates this.
That in itself is a positive outcome. So over the next year I’ll be continuing our efforts [God willing!]. But we are adapting to change.
We now know from our Motown network that the release of the 50 plus tracks in the Motown vault at UMG by Frankie and the group is ‘just a phone call away’!!!!!
We have good reason to believe that it simply needs Bob Gaudio to pick up the phone and ring Harry Weinger at UMG and he would initiate the project to recover the tapes and the unheard music and release a second Motown Anthology – The Unheard Masters. Harry as he has previously shown wants to be a friend to ‘the stars’ and in so doing strengthen the Motown Brand. He has done it many times before and will do it again. It just needs the artist to give it the ‘green light’ and he will we believe empower the legal and commercial processes. With this in mind we will devote this year’s research to the project plan for when that happens.And we will 'reach out' and try to establish a dialogue with Bob, Frankie or their representative. Whether that achieves dialogue we'll continue to publish the latest we can for fans
That is the more positive approach than the alternative which is to wait till Bob and Frankie ‘pass away’ with the release to then be a posthumous tribute to their time at Motown.
In the forthcoming months we will outline the sessions from the groups Motown period and the tape research strategy for the engineers and compilers we know are ready to work on the project. BG/FV only have to say 'go' and we will be ready.
We will also continue our salvaging of re-mastered rare, live and ‘unreleased’ tracks to be shared on the Facebook group. It will take time but we hope to bring group members more treats during the year. Thank you all for your continued support and ‘likes’.
Ken Charmer
[Previously unseen photo courtesy of James DiNapoli: Photographer Bobby Valli]
Addendum April 1st2018
This will be our last subscription blog post with links to our web site. We'll explore News posts in the future
Lynn Boleyn and I have been discussing the future of our collaboration to maintain fan access to data and news re Frankie Valli and the Four Seasons given Frankie Valli's Farewell Tour and impending retirement. So as of today we are closing this blog and moving all support services to fans to our Facebook page ' The Four Seasons Motown Unreleased Campaign'.This has over the last 2 years become our research base and discussion channel for all historical research and data re the group. I'm mindful that the web site www.seasonally.co.ukis in need of an update to preserve and provide access to ALL the data and articles published since April 2006 in George Ingram's Newsletter and in Discographies, our 1970s E-Book and past blog posts.
The aim is to continue to supply this data long term as a key reference for the most accurate historical data for releases and recording sessions by the group and the articles and research published to date. 'Chameleon's blogand 'That 'Four Seasons' Sound' blog will still be accessible and our past articles will crop up whenever you do an internet 'search' re the 'Four Seasons'. Published blogs will be accessible through the web site and our on-going research will continue to be published on our Facebook page. We are also researching using the non-subscription Typed blog service or a possible Facebook Page totally devoted to the forthcoming UK tour for attending fans. Lynn and I will advise re this by Summer 2018.
When I was working through old cassettes in the studios this autumn I got to thinking that UK Fans of Four Seasons back in the sixties never got to see their group live[apart from a very brief 1964 UK tour visit that nobody i know ever saw!] and they never appeared on UK TV during the 60s as far as we know. Experiencing that unique 'live' atmosphere and Frankie Valli's stratospheric falsetto was something we eventually heard about from US fans. Those that experienced that live sound are now in their mid/late 60s and will struggle to remember the 'live' sound. In fact even during the 70s when many of us joined the fan club we had no 'live' recordings of their shows from the 60s and only the 'Live On Stage' album to judge from. The earliest audience recorded cassette tape was from Clearwater in Florida 1964 which hardly captured the ‘real’ in concert sound.
So when I picked up a tape titled 'Tommy De Vito Archive' I wondered what I might find. This tape it appears was given to Rex Woodard during his now 'legally' infamous interviews for Tommy's biography now known as 'The Work' and claimed to be the inspiration for the musical play Jersey Boys. What I found inspired me to collate as much as I could of the 'experience' of the group 'in concert' that would create the legend they are. A key collectors set was the result.
I recalled the script of Jersey Boys and Bob Crewe's response to a group disenchanted and wanting an identity and a hit of their own. “Bring me 4 songs......and I'll record you!” is the fictitious line in the play and fans have discussed whether this was true or not....and if so what were the songs? Well it could be that Bob Gaudio and the group presented Crewe with these songs as 4 demos....in late summer 1961. The opening four tracks of this set we discovered can be placed clearly at that time as two would be re-recorded and released in October by the group then named as Billy Dixon and the Topics on Bob Crewe's new label Topix 45 – 6002[I Am All Alone/Trance]. Here we present the original acetate demo versions taped by Tommy DeVito for preservation. This presentation was a big improvement on the Village Voices 45 they did during the Spring of 1961. Possibly recorded 'live' rather than using 3 track studio machines, they feature a group arranged by Nick Massi with a styling distinct from the 45 release versions.[We've finished the CD set with Re-mastered versions of the 45s for comparison]. But two other tracks emerged from these sessions surviving on this tape. 'I Still Care' also appears in Jersey Boys being sung by Miss Frankie Nolan[ABC 10231], with Frankie Valli's soaring falsetto backing and the rest of the group in harmony. This version is in a subdued harmony style that would be a feature of their early albums. The final unheard side was an early version of 'Like You'[which turned up as another alternative version unreleased demo from 1963 only in Spring 2017]. This earlier version by the full group has slightly different lyrics and probably went by the title 'That's You'.
Another discovery from the archive tape would prove to be the earliest good quality 'live' concert recording by the original group that we have ever heard. Featuring a sequence of four songs, 'Stay/Since I Don't Have You/Cry Myself To Sleep/Dawn' we believe this is from 1964 and presents Frankie and the group as we have never heard them...the 'original' superb live concert sound.
Wanting to develop a set worthy of collectors of Four Seasons music we set about gathering as many true live performances from VT recordings during the decade. We were able to gather a good number of songs and medleys that continue to illustrate the 1960s live concert sound of the group. We were even able to include 2 versions of the rare 'Sound Of Music' medley from TV shows. We finished the set with NEW creations in STEREO of some tracks that only ever featured as MONO tracks in their original form re-engineered by sound engineers in the USA.
We re-mastered the archive collections in Wavelab Elements 9 using our MEDSS mix sound treatment[Mono Enhanced with Digital Stereo Simulation]. This removes as much noise and crackles as possible without removing original music and creates a wider/deeper sound stage to enhance the raw MONO.
It is in our view a unique and enjoyable snapshot of the group we love and have collected since our youth. As a step forward it follows on from our late friend Stefan Wriedt's 'The Fantastic First Years'.....taking us through some of the most collectable performances of the 50’s/60s. This set is dedicated to the memory of the late Rex Woodard and Stefan Wriedt but also Frank Rovello and Stuart Miller....who would have loved it. We hope fans enjoy it as much as we we did assembling it. Happy 2018.[47 years on from when those Billy Dixon demos were recorded] . Thanks to John Hornsby and George Juba for their help with this collection. Special thanks to Jim DiNapoli for source tapes. Photo courtesy of Bobby Valli. The download is available for a short time to members of The Four Seasons Motown Unreleased Campaign Facebook Group.
A few UK fans met up with Gerry and Rhea Polci at the Tyneside Tavern in Haddington, near Edinburgh on the 2 December 2017.
Gerry and Rhea were in Scotland to renew their wedding vows at Cromlix Castle, Kinbuck, near Dunblane on the 1 December and were presented with a Scottish Quaich with a wee dram of Deanston whisky from the fans to celebrate this special day. A Quaich is a two handed cup often presented at weddings as a sign of friendship and Deanston, a short 20 minute drive from Cromlix, is the “local” whisky. We arranged for the Quaich to be engraved “Rhea and Gerry – Cromlix – 1 December 2017. A reminder forever of that very special day and Gerry and Rhea were really over the moon with this small gift and brought it along to the Tyneside Tavern where the landlord, Paul Kinnock, filled this with Famous Grouse for everyone to drink from – very nice it was too!
It was an absolute pleasure to meet Gerry and Rhea and they gladly answered questions from everyone from how they met, to working with Bob Gaudio and Judy Parker and the change of lyrics to “December 63”, Tommy Devito and Gerry’s first weeks pay check for $186 - for 7 shows - when he was employed as a drummer before he became a “4 Season”.
Gerry told us that his Father (originally from Rome) and Frankie Valli went to the same school in Newark, Abbington Avenue Elementary School, although they were a couple of years apart. His Mom and Dad used to go and see Frankie Valli when the band were The Four Lovers so when Gerry joined the Four Seasons “it was like joining The Beatles – the greatest thing ever!” He recalled one show that he did with Frankie in New Jersey when his Dad arranged to take 80 people, family and friends, in 2 buses to the show and after the show Frankie signed autographs and had his photograph taken with every one of them. Unfortunately Gerry’s Dad died young, age 50, and never heard “December 63” or “Who Loves You”.
Gerry serenaded his lovely wife with his beautiful version of “Love Me Tender” after which Gerry and all the fans sang “Oh What A Night”.
Gerry and Rhea were so warm, receptive and relaxed and we all entertained the diners with a rendering of “Can’t Take My Eyes Off You” whilst the group photo was being taken at the bar – Haddington probably wondered what had hit it – great hospitality at the Tyneside Tavern and Gerry and Rhea also gladly signed autographs and posed for photographs with the local fans from Haddington.
Gerry Forbes, from Scotland said “it was a pleasure to meet Gerry again and his gorgeous wife Rhea and to hear his intricate tales with the Seasons and a pleasure for me to sing along with him and for them - “She wears my Ring” - Gerry actually complimented me on my voice but most of all it was wonderful meeting our Seasonal friends again who had travelled from various parts of the UK to meet one of our musical heroes - a great night. “
A message from Gerry:
Rhea and I are still gushing how wonderful the evening at the Tyneside Tavern was for us. You went above and beyond to make Rhea and I feel so comfortable and welcome. It was a pleasure for us to meet again all of the friends that have supported me throughout the years. I’m most happy with the way you and everyone else made Rhea feel a part of this moment and celebrate our vow renewal and love for each other. I will never forget that and will always be grateful. Lynn, you will always be in our hearts and know you are always in our thoughts and prayers. All the gifts from everyone were quite unexpected and are greatly appreciated. I would like to say a very special thank you to John Pingree for obtaining the pictures and the records and to Ray Nichol for the singles that he presented to me.
You guys Rock!!!
Thanks again and all the best.
Sincerely,
Gerry Polci
We would like to say a very special thank you to Gerry and Rhea for taking time out from their Honeymoon to meet with the fans; to Paul Kinnock at the Tyneside Tavern for his hospitality; to Martin Weir, the wedding photographer for capturing Gerry and Rhea’s special time in Scotland both before, during and after the renewal of their vows and to Sharon Thompson at Cromlix for arranging to present the Quaich to Rhea and Gerry after their vows.
We wish Gerry and Rhea love, laughter and every happiness for their future together – a very special couple clearly very deeply in love.
We would also like to take this opportunity to wish you all a very happy Christmas and a happy and peaceful New Year. It has certainly been a great 2017 and we are all very much looking forward to 2018 and the UK Farewell Tour by Frankie Valli next December - wrap up warm though!
Martin Weir took some absolutely stunning wedding photographs and a selection are available for the fans to purchase by clicking the link below, the password is Polci
A true music icon - Frankie Valli and The Four Seasons announce ‘The Farewell Tour’ with seven UK shows in November and December 2018.
We have again arranged special front arena fan club tickets at all the venues – thanks to Dean Egnator, Kennedy Street, Regular Music – ensuring that the true fans get the best seats in the house!
The special fan club link to order tickets for Leeds, Birmingham, London, Bournemouth, Cardiff and Manchester is:
The Facebook group established in February 2016 is going strong and as the year ends we have sent Motown CEO Harry Weinger, [the executive responsible for the Motown Anthology 2008] our End Of Year : Status Report.
In it we outlined our aim which remains to research and recover all aspects of Frankie Valli and The Four Seasons recording career and share this with fans. Whilst our focus is primarily on the Motown tracks still in the vaults, we are now focused on ALL 'un-released' tracks. So this report tells fans what we have told the CEO of Motown responsible for the only 'Official' Motown CD release by Frankie and the group this century. The first 'official' release of their time at Motown.
The facebook group contains the data we have re the Motown vault but in addition we have made some astonishing finds on acetates dating back to the early 60s on Frankie and the group. Acetate recordings of early pre-Four Seasons have recently surfaced and will be 'released' [shared] next year with the facebook group and we now know of and have re-mastered the Motown acetates made by Bob Crewe and made Frankie fully aware we have these and we have informed him what Motown have in the vault.
We corresponded with Harry Weinger the UMe CEO before the 2008 Anthology [he asked for our help] as he did the tape research re the 'Released' tracks and we were able to confirm the tracks released in the US and UK on that collection. My intention in writing this time has been to update him on our research status at the end of 2017 and to ask him to ensure that our information is available to his archivists/researchers and of use, as and when he has the resources, approvals and support for a release of the many 'completed' but unreleased tracks we now know are on 16 track master tape or already digitally recovered. We know of several 'digitization' programmes this century but only know of one main researcher who currently does in depth work on the tapes and that is Keith Hughes. His work and reputation as a detailed Motown researcher is second to none. DFTMC web site is a 'work of art' documenting Motown releases. But he is, as far as we know, not an employee of UMe[on a permanent basis], and we are unaware of any current digitization or specific research programmes he is involved with for Motown [apart from the forthcoming Motown Unreleased 1967 download/CD set].The DFTMC database only extends to 1972 and includes limited Four Seasons releases and none of the 'un-released'
There is only one Motown researcher we trust implicitly and that is Paul Nixon and he is interested in our project aims. For that reason we've copied him with the latest version [July 2016 revision] of the key file on which we have collated information re Frankie Valli and The Four Seasons material recorded at Motown In our Excel spreadsheet we identify the P Tapes [and some T Tapes] and Motown Master Nrs[where known] with titles, songwriters, producers etc. This is, we believe, the most comprehensive record of the material by them at Motown to date and the essential reference point for any research into this period of recording by them. It is also almost certainly the biggest gap in their recording history and the [probably]biggest cache of 'unreleased' music by Frankie[solo or with the group] in existence. But if there are other paper records and information available we have offered to help and make this record of data as comprehensive as possible. It will need to be for the legal 'approvals' process. We are grateful for the anonymous donation of data sources that has enabled this data record to be compiled over several years but it is only a starting point. We also have full lists of the Motown Masters and Artists Cards for the period. These also detail the Stereo Masters [when mixed for potential release] and their location.
We will in our blogs next year be outlining how any future research projects should take place ….....and we know that will happen[Frankie Valli is just TOO IMPORTANT an artist] …...we are trying to ensure that team has the most comprehensive info available and a proper plan of research.
We will extend our research and explain how WHENEVER anyone researches these tapes they will be able to focus on the 6 specific phases of Frankie and the groups recording sessions from 1971 to 1973. For our next years blogs and research we are enlisting the help of an MBA in Project Management to design a strategy for research that is comprehensive but cost effective with sound engineering resources. We'll highlight the tapes relating to each phase and the producers involved and what they, Frankie and the group aimed to achieve. All this should direct research of the analogue tapes specifically rather than the more random research from general digitization programmes which we know have gone on in the past. We only know so much but we believe the internal research is incomplete. A specific artist project can be initiated by Universal Motown to extract known digital tracks and to research the analogue tapes for finished and unfinished[un-mixed] 'multi-tracks'. We have evidence of Digitally Mastered 'completed' tracks found to date but we can see not all the tapes have been 'found' or researched despite the work that uncovered un-released tracks for the Motown Anthology in 2008.....nearly 10 years ago. We'll say more re this in our publications during 2018.
But finding all the P and T tapes we list, we realise, may not be the easiest of tasks given what we have heard [even from Harry himself in interview] about the state of the tape vaults. Whilst the Detroit tapes have some order we believe the LA tapes are somewhat 'disorganised'. Obviously the source tapes are the final key research point but may well contain 16 track recordings not 'mixed down' but equally so these tapes may contain unknown songs NOT listed by the 'Motown interns' at the time. We have been told that many of these tapes have probably not been listened to since the sessions. The priority is to ID, find and gather ALL the relevant tapes from the vaults and verify and complete digitization for research. Informing this is our 2018 programme of research.
We do know that tape research was done for the Anthology set and that 2 previously unreleased versions of songs appeared on that compilation......which shows that not only the STEREO MASTER tapes of the original albums were the source tapes for that project and proves that what remains is not simply demos and incomplete rehearsals as has been maintained up to 2008 by Bob Gaudio. But we are now into the post Jersey Boys period and with the sad loss recently of Bob's wife Judy Parker it is impossible to judge how Bob will react or approach the group's history.
But moving past that followers of this blog will know we have approached both Frankie Valli and Bob Gaudio to try to assess if they[and their heirs] have ANY INTEREST in this music, and THE JURY.....remains out on that at present.....but we may get an answer as we keep them informed of our research.......ever the optimist.........'with Motown...you never know'!!!!
So as we approach the year end our next compilation of 'Best' sound quality 'Un-released' is 'in the studio' and more historic and rare 'live' material is 'in the works' for 2018. A Happy Christmas and Happy New Year to all our followers. Casey Chameleon
The button badge is from 1976 and the hey-day of the UK fan club when we would have raved about finding 'unreleased' Frankie Valli/4 Seasons tracks but amazingly another one has turned up from an unexpected period. The song discovered this year [2017]we now think dates back to Autumn 1961 and the sessions that resulted in 'I Am All Alone/Trance' -Topix 45 6002 released in October 1961. This is before the first appearance of the group as The Four Seasons in December 1961[Bermuda/Spanish Lace- GONE 112] More re those sessions in the future.
We believe it may be from the 'between labels' period when the group were in dispute with Vee-Jay. It appears that after their mid 1962 preparations for the Copa cabaret show they didn't go into the studio again except as back-up singers until they recorded 'Dawn' at the Atlantic Studios prior to signing with Philips in late 1963. They did work on several projects with other artists including the 4-Evers on 'Be My Girl' with Al Kasha producer and it has been suggested this may be from that period/sessions. But finding another version by the Four Lovers last week was a shock. I've asked Casey to carefully restore that version too and we'll share that in due course. This is a much more refined arrangement than the 4 Lovers version and is listed under Bob Gaudio's BMI listing as 'Like You'[Composition 100].
But to find this version after so long is truly the discovery of the year. Our 'music detectives' are always searching through old cassettes and looking for demo's and acetates and when this surfaced we wondered when it was recorded. Further research hasn't confirmed definitive information or it's source. Our continued investment in technology and sound editing software[and our buddy Casey]have enabled the recovery and sharing of this nice song and performance. He told me 'We owe much of the pre-Four Seasons history on CD to Stefan Wriedt who collected and re-mastered many of the earliest Frankie Valli recordings on The Fantastic FIRST YEARS CD on Sparkletone. He taught me how to re-master old vinyl dubbed in Wavelab and as collectors we owe him so much for preserving those early recordings from 1953 to 1961. His legacy is the on-going emergence of tracks like this we are able to restore and share”
For now let's celebrate another great find....and although it is unlikely much else survives from this period we do have some interesting acetates and 'live' material coming up to share with members of our facebook group as we assemble 'More UK 'Best' Un-released and 'Live' Tracks' by Frankie Valli and The Four Seasons.
Over the summer we've seen the emergence of one of the most successful 'Motown Unreleased' CD's for many years. Brenda Holloway's ' Spellbound' is full of rare and unreleased tracks many of which have surfaced during the last 2 years and have only been available as mp3 downloads. This CD set is fully re-mastered from 8 track and in great sound.
The anticipation[almost hysteria] in the build-up to it's release provided a substantial pre-order and fuelled by 'word-of-mouth' on speciality Facebook groups and the Northern Soul scene the CD achieved a UK Top Ten album position in the weeks following it's released and a second pressing as copies quickly sold out. In this day-and -age of dying CD sales this is pretty phenomenal.
But what are the lessons learned from this release and does it give hope to Four Seasons fans that the large 'cache' of unreleased Valli/Seasons tracks may soon achieve a similar fate?
Well to me there are five important 'lessons' to be learned from this release not only for collectors but for Universal Motown Group and the independent Record Companies that seek to license such tracks and invest in such release programmes.
Facebook groups are a clear market for unreleased material in new CD compilations. With ever increasing numbers of people gathering in interest groups that research Motown 'treasures' or rare and vaulted material it's pretty obvious that marketing is easier than ever .....thus targeting sales with little or no financial investment.
Quality control of 'sound mixes' is still an important consideration with 'hard copy' wav files preferred by collectors to mp3 downloads.
Artist involvement is a major marketing necessity. Brenda was fully involved with Cherry Red Records and producer Paul Nixon to help compile and approve this release.
Record Companies with belief in the project and the launch process are essential. ACE Records lost out to Cherry Red in licensing this music and they must be 'devastated' at getting that wrong. But the big future problem appears to be UMG[we are currently researching their policies and processes for future releases]
Such projects need a top compiler/producer with knowledge of the artist and the market[ie collectors like us]
What this demonstrates is that there is still a substantial demand for the release of tracks from the vaults of UMG [ie Motown Unreleased] and everyone we contact whether a Frankie Valli and the Four Seasons fan club member or collector of their music..... knows the strength of their 'brand' …...their 'image' is huge. They remain top stars of the 60s and 70s music scene. Their unreleased music is clearly in demand as the steady growth of members of this group has shown. This is a project waiting to happen. So what is the problem.?
There are Record Companies who license tracks from UMG and top compilers who would promote the project IF......UMG and The Four Seasons Partnership would support it.
BUT the recent decision by UMG to cease third party licensing of tracks to independent record companies not only threatens to stop ALL new projects but threatens perhaps the role and purpose of those collector labels. Some projects are in the pipeline and will 'probably' surface in time...... but this is a real threat to collectors of this material and a huge disappointment to Four Seasons fans.
Our role is to publicise the lack of transparancy by the parties[i.e. artists and track owners]. Our sister blog site 'That 'Northern Soul' Sound' will consider this in more detail as we bring the situation to the attention of the Four Seasons Partnership. Then there is the Corporate 'animal' that is UMG? Whether they respond or not only time will tell. We won't hold our breath based on past experience.......but past experience doesn't always shape the future. Times are changing and the Facebook groups are becoming stronger and more influential. More questions than answers again!!! Hope remains that sense will prevail and the UMG policy will change in the light of this clear enhancement to Motown's music image. More when we have it!
Live At The Marquee, Cork, Southern Ireland 8 July 2017
“I’ve worked here for 12 years and this was the best show I have seen here”- Security Guard – Live At The Marquee.
The show was fantastic as was the crowd – at times they were singing even louder than Frankie – especially “Can’t Take My Eyes Off You”. Considering we were in a “tent” the sound was very good.
Nothing new with the songs sung which were as follows:
Who Loves You/Dawn/Working My Way Back To You/Save It For Me/Beggin/My Eyes Adored You/Tell It To The Rain/Opus 17/Grease/Under My Skin/The Night/Harmony/Swearin To God/Fallen Angel/Rap/Spanish Harlem/My Girl/Groovin/Silence Is Golden/Stay/December 63/Can’t Take My Eyes Off You/Sherry/Walk Like A Man/Big Girls Don’t Cry/Bye Bye Baby/Rag Doll and Let’s Hang On.
Oh! What A Night
I went to Cork with Dawn Gates - the first time she had ever flown! Before we left she told me "I am getting excited about seeing Frankie, but not getting there. Oh what I put myself through for that man". Perhaps Florida next time then Dawn? It was good to also meet up with Feibe Zweers again and Kath and John Hogarty and Tom Cole.
We were lucky enough to meet up with Robby and his lovely wife Carla, the Seasons, Dean, Alan and the band back at their hotel after the show where they shared some fantastic stories and photographs of their time in Tel Aviv where they told us it was extremely hot so they were grateful for the cooler weather in Cork! They told us they were playing in London on the 8 July at a private wedding – obviously for someone very rich!
Don Ciccone may never have achieved the fame of Frankie Valli, but he was a vital member of the Four Seasons, and sang on some of their biggest hits and sang lead on the demo of “Who Loves you” which was prepared on 30th December 1974 for presentation to Warner-Curb to sell the song.....before Frankie Valli's lead vocal was added.
Don also led The Critters in the 1960s, with hits like “Younger Girl” and “Mr. Dieingly Sad,” and was a musical director and bassist for Tommy James and the Shondells in the 1990s.
As we now know there was an unreleased batch of songs he recorded in the early 1970s with his long-time friend Brian Gari. Brian wrote the songs and backed Don on piano on recordings they made as demos to interest record labels. Of 20 selections, several were produced and released as complete songs.
As recently reported in the New York Times Brian and Don would occasionally prod each other to dust them off and release them as a “Ciccone Sings Gari” album. In early October, Don contacted Brian and said hoped to finally do just that, but a week later Don died of a heart attack at age 70. Brian called the project bittersweet, bringing him both the joy of hearing Don’s youthful voice again, but also a twinge of sadness that he was not around to participate and enjoy the results.
The full article from The New York Times can be read here:
Let's hope we may also one day hear all the unreleased material of Frankie Valli & The Four Seasons still currently in the Motown Vaults.
Oh! What A Summer Music Festival!
The Redlands Bowl
The Modern Gentlemen played at the Redlands Bowl Summer Music Festival on Friday 14 July. The Redlands Bowl is the location of the oldest running music festival in the USA. You can check out the video and photographs on their web site:
We heard recently that Joey Long had been in hospital and he told me following his surgery that he was “feeling a little better, but still weak on my feet, so I'm taking it easy”. More recently he told me “I’m feeling much better, but recovery has been slow. We old "geezers" take a little longer to heal! Thanks to you and all the great fans in the UK for your thoughts and concerns”.
We all send our love and best wishes to Joe and wish him a very speedy recovery.
Demetri Callas, who has recently been diagnosed with Parkinson’s Disease, meaning he is no longer able to play the guitar, has asked me to pass on his thanks for everyone who donated following the fund raising event for him in February and said “I am sincerely grateful for all the support I have been given by the wonderful 4 Seasons fans. Love, Light and Joy to you and yours”.
Frankie Valli Memorabilia For Sale
There are still some items left for sale following the 2017 tour, including the tour brochure, tee-shirts, polo shirts, fridge magnets and mugs, and these can be ordered here directly from Big Hit Merchandising:
And finally, further dates have been added to the UK Jersey Boys Tour which now includes Stoke, Liverpool, Milton Keynes, Hull, Sunderland, Glasgow, Plymouth, Nottingham, Bradford, Norwich, Sheffield, Aylesbury, Southend, Newcastle, Aberdeen, Birmingham, Wolverhampton and Belfast. Full details are here:
This years UK Tour has provided us with an opportunity to let Frankie Valli know there are a number of unreleased songs in either acetate or 'live' show versions that are in the hands of fans. Some have been around for years and some are new discoveries. I promised to compile sleeve notes re the tracks so here goes.
Track 1 – Like You
Our latest discovery thanks to one of our longest standing 'music detectives'. Recovered from acetate this song he tells us comes from sessions Valli did at the same time as he did the 'Be My Girl' session with the 4-Evers. If so this would date the session as early 1964. Perhaps producer Al Kasha was involved but the writer was Bob Gaudio[see his BMI listing]. Perhaps Valli's earliest idea for a 'solo' career whilst with the 4 Seasons this remains our top find in recent years. A song and delivery reminiscent of solo artists of the time like Bobby Vinton. The acetate was clearly in good condition and we were able to clean and re-master to a very enjoyable version.
Track 2 – Hymn To Her
Again the same 'music detective' discovered acetates produced by Bob Crewe from the sessions in December 1973 after Bob persuaded Motown he could generate a 'hit'. Bob Gaudio was not involved and Crewe was confident that assembling past expertise would make a difference. He persuaded Nick Massi to come back to arrange vocal harmonies and Charles Calello to arrange and he had a bunch of songs he'd written with Kenny Nolan [a singer songwriter with a studio group Crewe was producing called The Eleventh Hour]. 'Hymn To Her' returns the Seasons backing sound to an anthemic harmony with Valli hitting falsetto in his traditional style. An unusual but intense lyric that hints at religious connections[“my very own Madonna'] this acetate dub was sufficient for us to recover a very listenable version. It remains in the Motown vault as a completed master Nr 62523 and although it didn't convince the Motown Execs it was slated [in mid 1974] for album release just when the group left the label.
Track 3 – You Are The Sunshine of My Life
This Stevie Wonder original was arranged as part of the NEW Four Seasons 'live' shows during 1974. Frankie Valli had promoted the young Lee Shapiro to be his musical director/arranger for live performances. It was a transitional period for Frankie and the group. He had enlisted Gerry Polci, Don Ciccone[who sings the lead in parts] and John Paiva had joined the backing band, joining Joe Long in what some rate as the best 'ever' Four Seasons. John Paiva's personal tape collection allowed us to salvage these tracks from their Bachelors III Cabaret Club show in mid 1974 at Fort Lauderdale. With many of Frankie's 'New Jersey friends' there this show contains more 'unrecorded' songs than any other we know of.
Track 4 – I Wonder Why
Mid 1974 with a new 'settled' line-up Lee Shapiro and Joe Long persuaded Frankie that they should show Motown bosses that this line-up were capable of good things and so the group whilst on the road, wrote and produced this song as a demo and presented it to Motown boss Susan De Passe. The full story is told here. This copy survived on tape which although somewhat deteriorated shows a great song and the groups ability as writers, producers and performers. We'd like to find a better copy for re-mastering and wondered if Lee Shapiro had one? But thanks to Joe Long at least we have this. I'd forgotten we had re-mixed a stereo version of this and I'll try to find it in September
Track 5 – Hickory[Alternative Extended Mix]
Whilst the shorter version of this was released in 1974, this original extended version with extra verse at the beginning and a falsetto ending comes from a Bob Crewe acetate. The Master tape we believe still contains this version from the December 1973 sessions. Motown Master Tape 2664 will reveal that.
Track 6 - Killing Time
This left-over track has been around for a while. It didn't make the 'cut' for the 1984 album 'Streetfighter'. We don't know why as it is a very strong song and performance. Perhaps it's length didn't allow it to fit the vinyl format. It's source is unknown and we have just added to the mp3 version some EQ and punch.
Track 7 – Michael and Peter
Bob Gaudio did a whole album of demos of the 'Watertown' project for Frank Sinatra and sang most of the songs himself but this track was done with Jake Holmes opening the song in spartan style before a tremendous fully arranged solo by Frankie Valli. This has been around collectors circles for many years and a cleaner version [with less clicks and pops] was not possible without a better original dub and top sound engineering skills.
Track 8 – I Got Love
This song was an fairly frequent opening 'live' show number from around 1970 till this concert in 1974. From the stage show 'Purlie' it was allegedly arranged by Charles Calello but never done as a studio recording. Always a favourite with the band members this slightly shortened version still rocks. Recovered from the Bachelors III Show tapes it has been specially cleaned and re-balanced by the late Stefan Wreidt and Ken Charmer.
Track 9 – Golden Slumbers
When the tribute movie/album to The Beatles was being done in 1977[All This And WWII] Frankie Valli appeared on TV doing 2 Beatles songs which he never did for the album. A fan at the time recorded the [to us in the UK] unknown song on we believe 'reel to reel' and it subsequently surfaced on cassette. This is the first of these. We've added EQ and Punch to improve this for CD and it once again shows Frankie Valli's vocal interpretation skills
Track 10 – If I Were A Carpenter
Another Bachelors III salvaged track done quite often in concert in 1974 this is another example of Lee Shapiro's arranging skills and the great playing skill of the NEW Four Seasons.
Track 11 – One Man
Discovered in the Mercury vault by a researcher looking for Lesley Gore tracks this was on a tape can that said, “One Man - Mono Master : The Four Seasons” it was donated to us in 1997 on the basis that we make it a free issue to fans. From the 1970 final sessions at Philips this Bob Crewe-Larry Brown song has a somewhat 'dated' lyric and unpolished production. Perhaps raw and unfinished it remains all we have of the 'several' unreleased Bill Inglot reported tracks discovered during tape research. This good tape transfer has been re-mastered from the original cassette copy for this CD.
Track 12 – Bridge Over Troubled Waters[Medley]
A big production 'live' track in shows since 1970, Joe Longs skills are all over this arrangement and although not the best group performance of this medley it is the best sound quality version we have. By combining the title track with The Long and Winding Road and McArthurs Park Valli and the group created a stunning mid-show classic.
Track 13 – We Had It All
Somehow a backing track surfaced 10/15 years ago of a song rumoured to be a Motown recording. Probably recorded to cassette at the session. Believed to be titled 'Walking In The Sunshine' for some time we had confirmation in 2016 it was completed by Valli as a Motown Master Nr exists for it. Nr 60769 means it sits between 'Touch The Rainchild' and 'The Night' in the Motown vaults. It's all we've got for now but is a demonstration of the 'treasure' still unreleased by Universal Motown.
Track 14 – All In Love Is Fair/The Way We Were [Medley]
A new arrangement in 1974 by Lee Shapiro for 'live' performances this medley survived through into the concerts of the mid to late 70s. This salvaged from tape version is from Bachelors III again and features great harmony support by The Four Seasons.
Track 15 – Close Your Eyes
During the early fan club days of the 1970s when audience recorded 'live' tapes were frequently in demand, the earliest cassette based recording of the 4 Seasons was from Clearwater in 1964. Poor sound of course but it contained this gem. When Nick Massi died and as a tribute to him this 'duet' with Frankie Valli was salvaged from tape and added to You Tube. It's amazing that we have managed to get as good a version of this from the tape as a demonstration of respect for Nick's unique contribution to the group.
Track 16 – The Fool On The Hill
The second Beatles song from circa 1977 recorded from TV by a fan. It is enhanced here for CD listening.
Track 17 – If
With 'Bread' amongst the most popular group's of the time in mid 1974 it was another chance for Lee Shapiro to show off his emerging arranging skills and for Valli to give a masterful vocal on this David Gates classic for the Bachelors III cabaret audience.
Track 18 – You're Never Too Old To Rock'n'Roll
This song was included in the early 1980s 'live' shows and was intended for album /single release. But with the record industry being in recession no company was prepared to offer Frankie and the group a recording contract and it remains unknown if a studio version of this exists. The writers are unknown but in concert Frankie Valli is said to have claimed he and Jerry Corbetta wrote it.
Track 19 – Natural Morning
I can remember the late Frank Rovello searching for this nearly 20 years ago as a relation to the writer[reputably an 11 year old?] was sure Frankie Valli had recorded it. Paper records discovered in 2015 confirmed it was recorded in 1968 with Artie Schroeck arranging but it seems it was never finished. This version is re-mixed to stereo from faded tape Mono versions and was in 2 parts....combined here. Not the best of songs but an interesting vocal and arrangement.
Track 20 – Lovers
Unfortunately this Bob Crewe acetate has been over-recorded during dubbing and the restoration of this superb Crewe – Nolan composition has been limited. It was recorded at the same session as 'My Eyes Adored You' and was slated for album release prior to the group leaving the label. Clearly a completed and superb recording it remains in the Motown vault. An alternative dub may be possible in the future but a Master Tape re-issue is our constant aim.
Track 21 – Make Your Tomorrow Tonight
The final acetate from the December 1973 Motown sessions this was clearly Bob Crewe taking a re-visit to the Wonder Who sound in 1973 as a joke for Motown execs. They were unimpressed with the result and although probably never intended for release we are unsure if a normal vocal was ever done. This did not make the 1974 proposed Motown album Master Tape.
With several of these tracks 'culled' from the Bachelors III concert in Ft. Lauderdale I thought the original article on this 'salvaged' concert would be relevant and interesting in the context of this 2017 collection. Here is the link.
Many thanks to all those who have contributed to this collection in terms of the music and the background. Anonymity is necessary for some but they know we appreciate their contribution and we are happy to have been able to share this with you to brighten your day. Casey Chameleon
PS The CD has been made available to members of our Four Seasons Motown Unreleased Campaign Facebook Group.
I've been complaining about the lack of good compilations of Frankie Valli/Four Seasons material[including bonus tracks] for some years and whilst it is easy to focus on The Four Seasons Partnership and a lack of understanding or action re this , it is not as simple as it sometimes appears. We often think THEY should relate to our wishes and design good compilations for us. But would we buy again when we have all the tracks on CD.?......and if there are not enough vaulted tracks to create a bonus to persuade buyers, is there any point in a release.? Music is after all a product.
Let's examine some of the fan views and some of the current music industry realities.
Here are some typical and understandable comments from fans.....”Frankie and Bob continue to not fully understand the true collector...their feeling is it doesn't have mass appeal and tracks need remastering or remain unfinished. The true collector DOES NOT CARE... a release of these songs would be for the true fansthat have stuck with them all these years...once AGAIN another volume of BEACH BOYS unreleased tunes has hit the market with all the flubs,mistakes,false starts,studio banter instrument tuning, alternate versions and yes even unflattering versions. so Frank and Bob need to get with it, we don't care if someones voice cracks or they coughed or sneezed during a take or that someone was off tempo,these make the recordings even more endearing to us” said Jim Valenti in our facebook group. In response Chuck Walker makes a good point.......”Jim has a perspective similar to mine. How about a challenge....back in January of 1964 Frank and Bob responded to "Surfers Rule" with "No Surfin' Today. Is it time to respond today, but instead of redoing the redo's provide something which clearly shows the creativity of the group. Granted they may not think everything is the best, but how many of the 4 Season 'also ran' songs have become hits for other artists. "Like You" from the recent [Unreleased free bootleg] CD shows they had creativity long long ago and the Motown stuff continues in that vein. Or could it be that the bad taste left by those problematic years over powers all else.? I for one think some of the"unreleased" I have heard via Casey Chameleon's work is better than what was included in some of the released albums. Just one persons perspective.”...and Jim agrees....... “Chuck you are 100% correct about some of the unreleased that has made their escape out, Frank and Bob are using the argument about the material not being up to their standards,standards what standards when nonsense like "GYPSY WOMEN" and most if not all of the Romancing the 60's and Hope and Glory were considered up to their standards and worthy of releasing.......for over 40 years now since the 70's they skimped on LP tracks, most having only 10 songs but some having 8.. just on that short coming alone the fans deserve some extras”
Good arguments perhaps....especially when we see collections like this from the Beach Boys
“This release, mastered for fine sonics by Mark Linett, is a worthy successor to such similarly collector-oriented collections as Hawthorne, California, and more recently, The SMiLE Sessions and the 50th anniversary presentation of Pet Sounds. Conventional wisdom has it that Brian Wilson abandoned his ambitions following the demise of SMiLE, but this release reveals that he instead channeled his considerable energies and remarkable musical instincts into a different but equally valid direction: one of apparent, back-to-basics simplicity – which is often the most difficult and complex quality to achieve. The creatively fertile music by Brian, Mike Love, Carl Wilson, Dennis Wilson, Al Jardine and Bruce Johnston on 1967:Sunshine Tomorrow was in many regards out of time, existing in a vacuum removed from the other sounds of The Summer of Love – hence, the original, poor chart placement of Wild Honey. Yet this rootsy, rocking, soulful, and quirky yet still unmistakable iteration of The Beach Boys has aged well in the context of the band’s entire career. Aren’t you glad for Sunshine Tomorrow?” says the second Disc review and is targetted at a known and well researched 'group' of fans.
So there is evidence of well managed archive releases and major pop artists farming their back catalogue and master tapes. A body of work that represents your musical life....your 'art'. The economic model for collectors sets for record companies remains based on both short and long term sales.
The biggest set of 'unreleased' Four Seasons/Valli tracks remains in Universal Motown's [UMe]vaults and their policy, in recent years as CD sales have declined, has been to move away from product release themselves leaving 3rd Party record companies to lease tracks from the vaulted archive. ACE have been the most prolific over the last few years. But the level of competition between such companies seems to have reached a damaging level for the collectors. Anecdotal evidence suggests recent projects have seen ACE, Caroline Records and Cherry Red vying for release of vaulted tracks with projects switching labels but failure to progress to release. Rumours have surfaced that UMe have suspended 3rd party licensing and that the CEO of archive material [Harry Weinger}has moved to California to a new role[possibly for Universal mainstream artists] and a potential void in personnel, and projects of archive material is a fear for us collectors for the future.
The CD market today has shrunk so much many fear for the future of re-issues/vaulted material particularly as older collectors pass away. The economics of re-issue/vaulted material remains a fine judgement. Companies need to feel confident a product can sell at least 1000 units in the first place. Any growth could take sales to 3000 units which would mean a very successful project in todays marketplace. Compare this with the noughties when Cellarful Of Motown Volumes were selling 7/10,000 units. Such sales today of rare older material seems impossible.
But there is a clear market that could enable both UMe and the 'independents' to successfully utilise the vault. Todays Facebook groups related to Rare Motown material contain nearly 2,300 dedicated members [whilst the main Motown group has over 64,000 members] all potentially purchasers of good product. They regularly share You Tube tracks and discuss artists rarities and classic tracks. Record company execs would argue that You Tube access to downloads and CD sharing are too damaging to sales to risk some projects and that may be true in some cases and some artists. Most facebook group members would want a product rather than downloads. They are 'collectors' and NOT casual music 'consumers' like the younger 'streaming' subscibers. Their interests and markets are narrow but they are coming together into an information sharing environment. A name like Frankie Valli and The Four Seasons is known to everyone today and not just Motown collectors. Many find it hard to believe no record company will tackle the subject. A fear that The Partnerships 'attitude' will be negative. But we believe that may not be the case as we speak to the 'inner circle' after concerts. The test of rare music sales we think will be the next few months as we see milestone releases testing the market and my personal theory re the future for archive and back catalogue material.
Cherry Red Records are about to release a 2 CD set of unreleased vaulted material of Brenda Holloway, a classic but little-known artist[outside Motown collectors]. This will contain properly re-mastered versions of poorer quality 'cheap' downloads recently issued. [a trend followed by UMe in recent years.]
The Motown Treasures Facebook group poll also found Cellarful Of Motown Vol 5 to be the most wished for release and rumour has it this is planned and that will, I believe, demonstrate that the best market for vaulted material is 'facebook groups'. Social media PR will I believe be the best avenue for sale of rare music wanted by collectors of classic 60s/70s material.
'Second Disc' the re-issue blog demonstrates the range of artists collections targeting such collectors. The problem remains the licensing of material and 'clearance' of such material for issue.
At UMe 'quality control' sessions review 'approaches' re potential compilations to assess their 'contribution' to the 'corporate' image and the available catalogue. This happens in both the UK and again in the US before any compilation can be put forward for approval. A lengthy process that needs careful management. Experienced compilers know this process is fraught with disapointment. And it seems to be getting worse! But what if The Four Seasons Partnership promoted the approach and if a leading music artist or producer championed such an idea?.... would the bureaucracy move better? I sometimes wonder if problem solving in the 'clearance' process is the real issue. When Harry Weinger stepped in in 2008 we got the Motown Anthology set.
The problem perhaps with the Four Seasons Partnership is that they have been locked into their Rhino licensing deal for so long and they appear to no longer have someone like Bill Inglot managing the masters and compiling collections. Compiling collections is in many ways 'an art form' and it needs a knowledge of your audience as well as your material. Thus the benefits of a social media group is vital to designing and compiling sellable CD collections as well as finding the best compilers who can manage the process.
In future blog posts I'll be revisiting how this nearly happened with the Motown unreleased and focusing on their best rarities collections in the CD era whilst trying to find an approach to generate a viable project for Four Seasons fans. Casey Chameleon.
Pulling together my collection of the best sounding 'unreleased' tracks has been a real treat this year and to make it available to as many people as possible who collect Frankie Valli and The Four Seasons music has generated great encouragement for the research to continue. With a recording history of 55 years it remains necessary to make Frankie Valli and Bob Gaudio aware of this 2017 collection as we press for research and release of those efforts left collecting dust in the Motown Universal vaults and in the Partnerships archive.
So before I move on to sleeve notes for this years UK 'Unreleased' collection, [our 'best' discoveries to date]let me sum up what we know today about Four Seasons 'related' unreleased tracks that need to be researched and released.
There is no evidence to suggest any tracks remain from the Vee-Jay days as all the masters were passed to Philips after the court settlement in 1964. All were released apart from a rumoured copy/re-recording of the Village Voices songs.
It is apparent some 'project' tracks could exist in demo/acetate form from the 1963 pre-Philips months when sessions were done with Larry Santos and the 4-Evers but whether these survived we do not know.The Four Seasons had no contract whilst in litigation but did backing work which seem to have created some Valli solo work which could have survived on 'demos'.
Philips sessions are documented and we have listed the unreleased recordings in our session masters listing on our web site where paper records have listed these. No listing has surfaced for the final sessions at Philips which we have heard have left several tracks in the Partnerships archive...some [we are told] may be incomplete.
The Motown period we now know contains the most completed but still unreleased tracks with at least 30+ tracks known to be on Motown Tapes or as completed masters [There is some evidence of partial 'digital' recovery of some]. The ownership issues around these tracks remains an issue [surfacing in 2008]with the Partnership lawyer[and allegedly Bob Gaudio] refusing to acknowledge their existence and Motown Universal not willing or able to negotiate over this. From 2021 these tracks if unpublished MAY revert to the Partnerships ownership under copyright law. Our Facebook group Campaign continues to publicise these and call for their release.
Private Stock recordings seem to be all released and we have no indication of 'lost' material but according to anecdotal evidence from the Four Seasons members at the time a full 'second' album was recorded at the 'Helicon' sessions and remains in Bob Gaudio's control.
Some evidence exists in paper records that suggests the Mercury vault has unreleased tracks from Bob Crewe's final sessions for the 'Heaven Above Me' album.
We have a track left over from the 'Streetfighter' album and we heard that before that an album was recorded in 1983 but was never picked up by a record company during a music industry recession. There are no doubt later sessions which remain unreleased and rumours abound of tracks no-one has heard throughout the 90s and up to today.[at Valli's private studio]
This all demonstrates the potential 'treasure' that exists for music detectives battling against a management that has always denied the existence of such material. Why? You may well ask. With so many artists today trawling their past for such material we continue to be amazed that we are the only researchers calling for such material to be issued. But if we keep the research going perhaps one day someone will agree this music should be made available to music historians and fans in a commercially produced series.
If anyone knows more or can add to this 'status report' then let me know and I'll keep the record of potential sources up to date.
It has been a huge year for the touring Frankie Vall and the Four Seasons with amazing summer dates this week in Tel Aviv, Israel[4th July] and Cork, Ireland on Thursday and a 'private' London wedding on Friday. Lynn Boleyn will be in Cork and will post this blog with her thoughts soon but as we reflect on the immense appeal of this 'live' show it is interesting to consider the big differences of a legendary career spanning 55 years since The Four Seasons first major musical success.
When the UK fan club started[1971] Frankie Valli and the Four Seasons were already an 'oldies' band and during the 1970s they became truly legendary as the 'renamed' Four Seasons hit Nr 1.
Live performances today and back then have their very different styles. We've accepted the development and celebrated the songs then and now.
This Tel Aviv performance is well videoed and recorded and captures what we enjoyed so much about the April concerts in the UK. When the UK fan club started[1971] Frankie Valli and the Four Seasons were already an 'oldies' band and during the 1970s they became truly legendary as the 'renamed' Four Seasons hit Nr 1.
But I was talking with John Paiva today about the 'aura' the whole group had back in 1976-78. We argued about then and now. 'Today' John said is the 'show sound' Frankie wants to project [an evolution of Jersey Boys]whilst I argued that the sound of a 'Band' not enhanced by technology with Frankie's voice at its peak is unsurpassed!! I experienced as will some of you reading this the stunning Four Seasons(featuring the 'sound' of Frankie Valli') during the early 60s (some may actually remember seeing them!)but [surely?]they never truly became 'legendary' till the mid 70s. John and I agreed the merits of both but as I've said before we celebrate all eras of the Four Seasons today [one joke going the rounds is that to date there may have been '4000 Seasons'....all but 4 'employees']
During the UK tour in April we told Robbie Robinson about our research to uncover 'unreleased' tracks for this historic 2017 Tour. We looked at how much the groups recording career and live performances have meant to us. Our research team of US and UK collectors had gathered 21 of 'collected' unreleased recordings from acetates/demos/masters and live performances for 'The Best of the 'Unreleased' UK Collection 2017'. A set assembled to preserve the rarities from the past in as good a quality as possible[given their source quality] We asked Robbie to pass it on to Frankie for him, his sons and to share with future generations of fans. Some tracks have been around for years and some are on You Tube but some are only recent discoveries, now digitally enhanced for CD /digital storage for the first time. Every track has a story behind it and we'll document as much as we know about their background in due course.
In a letter to Frankie we made it clear that our Campaign on Facebook continues in an attempt to persuade Universal Motown to act to preserve [and commercially release] the 30+ completed tracks which we now know are in their tape vault of recordings done by Frankie [with Bob Gaudio, Bob Crewe and the group] between 1971 and 1973 which have never been released. Bob Crewe prepared acetates of some of these Motown sessions in late 1973 and we have been fortunate enough to get hold of tape dubs to salvage a reasonable restoration of these. The masters we know are still in Motown's vault. Plus we have 'never recorded' songs from the 1974 Bachelors III shows at Ft Lauderdale which are in excellent sound. The resulting CD[with some recently discovered gems] is, we believe, an enjoyable and historic celebration of the tremendous career and the work of Frankie, the group and other collaborators.
Our research promises to uncover more salvaged songs from old fans cassette tapes over the next year.
Another project we have completed focused on digital preservation and took 3 years but resulted in digital copies of all the MONO 45 mixes recovered from best quality vinyl and re-mastered to preserve these often unique mixes which we know never survived the Philips contract. These are reference copies for anyone researching the 'original' music in the future. We've forwarded these to Bob Gaudio as a reference set. We have also archived all of the Vee-Jay 45 MONO mixes including the rare 'B' side version of 'My Mother's Eyes' done before the Philips 1967 LP version with a different arrangement.
We re-assured Frankie that as the 'unofficial' [but recognised and accepted] UK fan club we have never operated or intentionally acted in breach of copyright and will continue to do all we can to preserve and educate for new fans, the legacy of Frankie Valli and the Four Seasons, in all line-ups and in every decade. All our music restoration is focused on preserving/assessing the 'art' of Frankie and the group.
The hope is that one day maybe Frankie or one/all of his sons will agree that his legendary career could be better researched, documented and published with 'unreleased' tracks made available. [This has happened with Roy Orbison's sons who now manage his archives]
Further dates have been added to the UK Jersey Boys Tour including Plymouth, Nottingham, Bradford, Norwich, Sheffield, Aylesbury, Southend, Newcastle, Aberdeen, Wolverhampton and Belfast. Full details are here:
Fan Club Tickets For Cork, Ireland are available from 9.00 a.m. today for 24 hours when they will then go on sale to the general public. The link for the special fan club tickets is:
The real-life Jersey boy is coming to Cork, Ireland! Legendary singer Frankie Valli and The Four Seasons have confirmed they will play this year’s Live At The Marquee in Cork on Thursday 6 July.
Frankie and the Four Seasons kicked off in Birmingham on 20 April 2017 at the Genting Area. The energy Frankie and the guys had was a big factor, as well as the stage management, which made this such a great show. Carlos Etzberger and Claudia Fontoura arrived from Brazil who had tickets for all the shows as had Jim Davis from New York, Mike and Linda Taylor and Dawn Gates. Peter Petit from Holland was also attending this show.
We all laughed when Frankie sang the rap and asked “Do people really make love to that music” to answers of "Go on then" and “I’ll give it a go!”
The song list was the same at all shows as follows:
Who Loves You/Working My Way Back To You/Save It For Me/Dawn/Under My Skin/Beggin’/My Eyes Adored You/Tell It To The Rain/Opus 17/Fallen Angel/Grease/Spanish Harlem/My Girl/Groovin/Swearin’ To God/Silence Is Golden/The Night/Stay/December ‘63/Can’t Take My Eyes Off You/Sherry/Walk Like A Man/Big Girls Don’t Cry/Bye Bye Baby/Rag Doll and Let’s Hang On.
Interesting that after Swearin’ To God “Our Day Will Come” was listed but had been crossed out. We remember Frankie doing that song in the early 1980’s with Toby Tyler. Robby told us that Toby still sings at the event he organises every December where John Schroeder also plays. Other “extras” that were listed at the bottom of the sheet but not sung were “Native New Yorker” and “Streetfighter”.
We were lucky to meet up with the guys after the show at their hotel and to tell them how great the show was.
Photo at hotel - Bill , Jason and Rick
The next show was at Bournemouth International Centre which I think was even better than the show the night before. Mariette Chellew and Sue Mitchell arrived from South Africa for the show armed with the panties to throw at Frankie which resulted in lots of laughter when Jason picked up a pair and put them in his top pocket! It was also Craig Pilo’s birthday and everyone sang Happy Birthday to him.
Happy Birthday Craig - Photography by John Riley
Just when you think it could not get any better we were all treated to an amazing show at the O2 Arena in London with an audience of 12,849 people. My favourite show of the tour – why? Well have a listen to this and especially Frankie’s lovely words at the end of “Oh What A Night”:
"I wish you could feel what I feel inside every time I come to the UK. I love you guys out there" Frankie Valli
Frankie joked that he had got his sparkly jacket from Bruno Mars (who was in London the night before) and that Suzie Quatro was in the audience, sitting right behind Ken Charmer who had arrived from Spain for the show with his son Mark. Ken said he was “gob-smacked” at Frankie’s performance for a man of his age and that there were so many highlights but one of his favourites was the Spanish Harlem/Groovin/My Girl medley. Feibe and Hennie from Holland where there too. Frankie said that he aimed to get back to the UK at least once a year which he has done and hopes to be back again next year.
Mark Garvey met up with Frankie at his hotel in London where he signed Mark’s tattoo!
The next show was at Edinburgh and I am sure the lads enjoyed tasting the famous Scotch whisky and enjoying the beautiful sights there.
Leeds Arena was the next show on 26 April. Another fantastic show:-
We met up with Robby after the show at his hotel and discussed Frankie’s 83rd birthday on the 3 May. Robby said we should all sing Happy Birthday to Frankie at the final show at Manchester and said he would arrange for a birthday cake to be brought on stage.
Sure enough at the Manchester Arena the following night, after the group introductions, Robby announced Frankie’s up and coming birthday and everyone sang Happy Birthday to him. His sons, Francesco, Emilio and Brando wheeled the birthday cake onto the stage and Frankie blew out the candles. This was my second favourite show for that reason and again for the lovely words Frankie said about UK audiences.
Happy Birthday Frankie
“Of all the places we play in the world there are no audiences, since I have been doing this, quite like the audiences in the UK” Frankie Valli
Many thanks to John Riley for the great photos. John, as many of you will know, is a former Chairman of the UK Fan Club and one of the founder members along with myself, Ray Nichol, Bryan Lomas, and Paul Tavernor who were also at the shows. We started the UK Fan Club back in 1976 - 24 April 1976 - 41 years ago and, like Frankie Valli, we are still going strong!
Robby asked me to video the whole show for him which I did and I just hope that the recording came out OK! We were invited by Robby back to the hotel after the show for drinks with everyone and it was great to see Sir Greg and Lady Knight there and especially Ray and Avril Nichol – Ray had to miss the London show following a recent operation and it was great to see him looking so good and keeping up with everyone at the after show party!
Special thanks to Frankie, the Seasons, the band and everyone who made this UK Tour simply the best ever. Thanks also to Dean Egnator for arranging special fan club tickets again meaning that the true fans got the best seats in the house. Thanks to Mike Taylor from Exeter who provided very special gifts for Frankie, the Seasons, the band and the fans – thank you Mike from everyone – you are very kind and generous.
The best UK Tour ever - we wouldn't have missed it for the world!
"I can't tell you what a great time I have had and can't wait for the next time we can all do it over again" Dawn Gates
"Just wanted to thank you again for the fan club link for the Sunday show. We had such a great evening – can’t believe we had front row seats. I have never been to the O2 before and found it enormous" Kay Ailes
"I had more fun than I ever expected on this epic journey. The shows and the get togethers I'll never forget along with the new friends I met and all I knew before. Manchester was awesome. It was an experience I'll never forget. Thank you for all your hard work in putting it all together. It couldn't have been done without you. You're the best".
Jim Davis, New York
"How great to see you and the rest of the bunch, and what a fantastic show, I enjoyed every second" Peter Petit
Can't tell you how much we enjoyed the concert, we thought he was superb - Alan Page
STOP PRESS!
Dean tells us that Frankie and the Seasons are to play at this years Live At The Marquee in Cork, Ireland on Thursday 6 July. Tickets go on sale via Ticketmaster on the 4 May.
Don Ciccone, Brian Gari's friend of 50 years, unexpectedly passed away last year at the age of 70. He was the former lead singer of the Critters. He sang "Younger Girl" and wrote and sang "Mr. Dieingly Sad."
He joined The Four Seasons and played bass and sang on the hits "Who Loves You?" and "December '63 (Oh What a Night)."
He later became a Shondell with Tommy James and last performed in The Hit Men.
A week before he died, he sent Brian an email telling him his next project would be Don Ciccone Sings Brian Gari. His heart gave out before he could put it together. Instead of letting the project languish, Brian took the original demos and kept them intact when they had a rhythm section because it was mostly Don playing. When it was simply a bare vocal and piano (and/or guitar), he added the arrangements they had originally envisioned with the help of Peter Millrose, Lee Shapiro & John Paiva of the Four Seasons and the brilliant guitarist Dean Bailin ("Escape--The Pina Colada Song"). A special gift to this project was finding Don's gorgeous, original orchestration for "The Non-Affair Affair." He never got to hear it played, but the rest of you can now. Over 20 tracks & 66 minutes.
Many thanks to Brian for letting us have the details.
Don Ciccone with Lee Shapiro and John Paiva, Gerry Polci and Frankie Valli
We were originally going to meet up at the Genting Hotel but we will now be at the Crowne Plaza which I believe is just a short walk away from the Arena.
Bournemouth – Friday 21 April
Meet up from 6.00 p.m. before the show and again after the show at The Highcliff Marriott Hotel Lounge Bar.
Meet up in the bar at the Park Inn By Radisson Manchester City Centre which is directly opposite the Arena. As this is the last show of the UK tour we will try and arrange to meet up after the show or back at the hotel.
If anyone would like to make a donation during the UK tour then please let me have your donation in a sealed envelope with your email address and I will pass these directly onto Demetri along with any cards and good wishes.
LAST PERFORMANCE OF JERSEY BOYS, LONDON
The last show was on Sunday 26 March at 5.00 p.m. A very emotional experience. The good news is that the second national UK tour will begin in December at the New Alexandra Theatre in Birmingham – what a nice Christmas present! For updates click here: http://www.jerseyboysuktour.com/
THE TOUR SEASONS
The second national UK tour of Jersey Boys kicks off at the New Alexandra Theatre in Birmingham on the 16 December (until the 6 January 2018) and tickets can be booked here:
The tour will also visit Liverpool (9 to 20 January); Milton Keynes (23 January to 3 February); Stoke (6 to 17 February); Hull (20 February to 3 March); Sunderland (20 to 31 March) and Glasgow (3 to 14 April). Further dates and venues to be announced.
We have recently heard from Joe Long that Demetri ‘s health has been steadily declining and In the past year he was stricken with Parkinson’s Disease which developed very rapidly resulting in him no longer being able to play the guitar - music was his livelihood and so he is having a really tough time.
Joe has sent a message asking that “the great people in the U.K. who still remember Demetri when he toured here in the early 70’s, and who love him, to pray for him. He’s a special human being, and a super talented artist. Sorry to bring such sad news, Lynn. Stay well, and give all of the gang in Britain my love - you are all so warm and loving, and, as I have since the first time I visited Britain, I love you all”.
Demetri has also been in touch and says he appreciates our concern adding:
“Here's hoping all is well with you and yours. I chat with Joe LaBracio frequently.......have not seen Tommy DeVito since his 88th birthday party in June and I talk with Bill DeLoach regularly. Stay well........be happy. Love, Light and Joy! Demetri Callas”
A group of his friends from his home town, Frederick, Maryland, are having a fund raising event for him this Sunday 19 February at the FSK Holiday Inn Ball Room. Joe is going to attend the event to try to help out by speaking, and signing some photographs to help raise some money to help Demetri with his bills.Details below.
If you would like to help Demetri online donations can be made here - remember to put Demetri Callas as the recipient name - he will then receive a note of your donation and I am told that he will receive 100% of the donation made.
(If you are in the UK type in your postcode for the Zip Code and then I put WM in for the State - donations are made via credit card - I have just done this and it worked OK and I received an acknowledgement - Lynn)
If anyone would like to send a card or a message to Demetri please send them to Lynn Boleyn and she will pass them on for you.
We met up with Demetri in Raleigh in October 2008 with Joe Long and again in November 2009 in Las Vegas with Bill DeLoach and Joe Long.
At the start of the Raleigh convention in 2008 Charles Alexander opened up a large box of ‘Jersey Boys Fruit’ courtesy of Frankie Valli and Bob Gaudio and read out a message from them:
“Hi Gang, both Frankie and I are overwhelmed by your support through the many years of harsh winters, warm summers, and the spring and fall of our careers. Quite a ride and seemingly just beginning again. We especially want to thank Joe and Demetri for travelling that road with us and contributing much music and memorable moments to say the least. Yes, Joe and Demetri did add some highlights. Like Demetri walking through a major airport wearing Hot Pink short shorts in the dead of winter. And Joe engaging in an after-hour sport with Tommy Devito presiding as judge. Now that one I will leave to your imagination and Joe to deal with for the rest of the night … All and all, “Guys and Dolls”, this has been a real thrill for everyone who has ever cared about our music. And as someone from the fan club said, “Jersey Boys has Valli-dated Frankie Valli and The 4 Seasons and everyone who loved them” … We are humbled … Bob Gaudio and Frankie Valli.”
What an honour it was to spend time with Joe Long and Cheeky Demetri Callas (who outdressed us all!) and to hear just some of the many wonderful stories they had to tell - like the time the 4 Seasons were in the UK and their hotel bar was closed early – Joe was sitting in the lobby and Demetri got into the elevator – he said he was bored so he went up to the next floor and then pressed the button to come back down again, the doors opened and he had removed an item of clothing! He pushed the button to go back up to the next floor again and he continued to do this a number of times and said “each trip I removed one item of clothing!” Joe recalled that he got down to the final item!
Demetri’s impersonation of Frankie Valli caused howls of laughter from everyone at the convention (he walked into the room on his knees) just proving what a really warm, great and fun guy he is.
Demetri was with the 4 Seasons for 3 years, replacing Tommy DeVito and proved to be “an act all by himself". He joined the group in early 1970 following a call from an agent who told him the Four Seasons were interested in him becoming a guitar player – he said he was really excited as the Four Seasons “were a legendary act” although at that time he did not realise he was to be Tommy’s replacement. Demetri thought about the offer for a week and then said “Yes”. He said he was then “beckoned to Joe’s House in New Jersey” and it was Joe’s job “to break me in” – it was his job to teach Demetri all parts of all the songs in 3 days which he did. Not only that but they then switched parts and Joe sang Tommy’s parts and Demetri sang Joe’s!
The first recording Demetri sang on was “My Eyes Adored You” which they recorded for Motown in 1971. Demetri and Joe sang on all the Chameleon recordings and they said that the Seasons “never sounded tighter or more in tune” than at that time. Demetri left because in his own words “I am not proud of this but I must have been the most irresponsible erratic character in the group” and he got wind that he might possibly be dismissed. Demetri said that he loved every minute of the times he shared with Joe and everyone else in the group and that due to his time with the group he learned so much in a short time.
Another story told by Demetri was about “I Wonder Why”. Having too much time on their hands whilst on tour in Southern Marilyn, Virginia, he, Joe, Gerry Polci and Lee Shapiro composed a song called “I Wonder Why”. They all got together and put the words and the music together and took a cassette of the track and played it to Frankie and asked him if he would put his vocals to it after the show that night which he agreed to do. “Our biggest disappointment” said Demetri “was we took the only master tape of that recording to Motown/Mowest and left the tape with them - they said they would like to release it. We went back to New York but soon after the group left Mowest.”
I Wonder Why - Lost In The Motown Vault can be read here:
It was lovely to see Joe and Demetri again In Las Vegas in November 2009 when we also met up with Bill DeLoach who is currently touring with Frankie Valli again assisting Robby Robinson on keyboards.
Bill, like Demetri, joined the Seasons in the early 1970’s just after the release of Chameleon.
The full review of the meet up in Las Vegas is here:
Thoughts, much love and prayers to Demetri – all your friends and fans in the UK and across the world will keep you in their prayers and we will do whatever we can to help you. Keep that cheeky smile beaming and your wonderful sense of humour shining through and think of those Hot Pink short shorts whenever you are feeling down. Take care and love to you from all of us.
Another great year which saw the release of a brand new Christmas CD by Frankie Valli - very aptly named by Brian Brigham. Interestingly, Brian must be the longest serving member of the Four Seasons (apart from Robby Robinson of course who has been with Frankie for around 40 years). Brian has been singing with Frankie for the last 13 years; Landon joined at the same time as Brian but left for a couple of years before re-joining recently. Brandon has been with Frankie for about 11 years now and Todd is approaching his 10th year with the band having re-joined the band in 2007 after a short spell with them in 2002.
Oh What A Night! Hyde Park, London, Saturday 10 September 2016 saw Frankie Valli & The Four Seasons headlining at the patriotic Last Night Of The Proms in the UK with the BBC Concert Orchestra conducted by the very talented Robby Robinson in front of 40,000 people. Unbelievable!
The year was tinged with sadness, of course, with the news that sadly both Don Ciccone and Jerry Corbetta passed away and our thoughts and prayers are with their family and friends especially at this time of year.
Looking forward to next year we will see Frankie and the Four Seasons embark on their Greatest Hits Tour in the UK with concerts in Birmingham, Bournemouth, London, Edinburgh, Leeds and Manchester next April. Full details and tickets can be purchased here:
Sad that Jersey Boys on Broadway will closing on the 11 January after 11 years – but what a wonderful Joyride it has been for the Jersey Family and all the fans being the 12th longest running show in Broadway history and being the winner of 57 major awards worldwide. Jersey Boys is also closing in London on the 26 March after a run of 9 fantastic years. There will be a second national UK tour of Jersey Boys starting in December 2017 at the New Alexandra Theatre in Birmingham.
We would like to wish you all a very ‘Sherry Christmas’ and a very happy and peaceful New Year from the Four Seasons UK Appreciation Society – Lynn Boleyn, George Ingram, Ray Nichol, Ken Charmer and not forgetting Casey Chameleon. Seasons Greetings and enjoy the new Christmas CD “Tis the Seasons” or indeed, our favourite, the original "Four Seasons Christmas Album".
To modern day fans of the Four Seasons it may seem amazing that there was a time when we were scambling around for news, backstories and lost tracks on cassette tape. There was no internet and a quarterly newsletter was all we had and the group were regarded as an oldies group with no future. It's easy to forget how hard it was then to get information and even released music on vinyl or cassette..
But then came 'My Eyes Adored You', 'The Night', and 'Who Loves You' before their biggest ever success as a group 'December 1963(Oh What A Night)'. Back then during the early 1970s Rex was gathering research that would decades later lead to the record breaking show 'Jersey Boys'. Rex Woodard was a champion of today's Four Seasons 'music detectives' still gathering information and seeking out more 'lost' music by them than we could ever have imagined existed.
So it was with a degree of pride that I read of his widows success in establishing his contribution to the show 'Jersey Boys' was finally recognised. 'Then and Now' the jointly written bio by Rex and former Four Season Tommy DeVito was judged to have contributed to 10% of the shows success.
It's never been seen by the fans except in it's interpretation in the show. When will Rex's work finally go public? Well not soon it seems which is a shame as damages assessment by the court will take a few months and the case will probably go to appeal: it's not over yet!. But Valli and Gaudio will probably get pulled into it yet again for solid legal reasons. They licensed the play as owners!!! And they knew of Rex's contribution. He was never a 'ghostwriter' but the real 'author'.
Rex's contribution was based on years of research and 'foundation' articles that resonate today as we still fight to get the full story of the group's lives and music available to us. When he persuaded Tommy DeVito to 'dish the dirt' back in 1989 it should have been a coup for Four Seasons fans but back then their 'brand' was low key and after Rex's premature passing in 1990 the draft understandably didn't surface. It had lost it's champion. But we're all to be grateful Tommy DID make it available to the scriptwriters. We got JB and history made The Four Seasons 'iconic'.
But Rex also anticipated the continuing battle to recover the Motown unreleased without realising what we now know. Rex wrote in Goldmine in August 1981[A Lesson in Survival].....”The myth must die! For several years now, almost every rock and roll encyclopedic source has faithfully instructed it's readers that the legendary Four Seasons bit the dust sometime around 1969, only to be resurrected as an entirely new group in 1975. Lies!”
Well the 'myth' is dead BUT no-one wants us to hear the truth even as 2017 begins.
In the 1980 article he documented the history of those intervening years and the groups creative work during that time. Today with the inspiration of that work and data from some anonymous Motown connections we have in 2016 extended his work by subsequent research to reveal the deliberate suppression of between 30 and 50 tracks completed and left in the Universal Motown vaults unheard by the fans. Rex's research is at the heart of our campaign for their release.
And to follow that in June 1982 he published what is regarded as the definitive article detailing the history of the Four Lovers in the same magazine.
As we enter the post 'Jersey Boys' era.....now the shows in New York and London are closing.......we are hoping the bio that has been the subject of so much legal time over the last 10 years will finally be published. It is time to herald a new period of documenting and restoring the history of the group and their music over the next few years. Rex's legacy should be the cornerstone of that objective. And our battle to get the music left in the vaults will continue. He'd want us to fight for that.
This time of the year I can't wind things down for Christmas without thinking about the lost friends and music detectives who have helped create 'the body of knowledge' that exists about the Four Seasons which we have accumulated over the last forty years. So rather than comment on the latest effort by Frankie Valli and the Four Seasons – Tis The Seasons I'd rather reflect on the fans contributions to our musical knowledge and remember them.
Stuart Miller presided over the UK fan club in the early 1970s and this led to all that followed for the fan club during the 1970s. His legendary interview with Bob Gaudio remains one of the most insightful interviews he has ever given. Right in the middle of the Motown contract it shows the thirst for a new direction that would strike 'gold' by 1975. And the pressing of a bootleg album of rare sides by Stuart kept the fan club going through the darker days at Motown
Frank Rovello single handedly ploughed the furrow for US fans and collectors when the WWW arrived and founded the Genuine Imitation Life Gazette website and packed it full of articles, interviews and information that stretches back to the 70s.He was a great friend and collaborator we shall never forget.
Stefan Wriedt, my German sound engineer friend taught me how to use sound engineering software to restore vinyl gems. Through his work as a restoration engineer he brought us The Fantastic First Years CD of all the pre-Four Seasons tracks from his personal collection and the first CD release of the Motown tracks since they were previously only available on vinyl, with The Night/Inside You CD back in the 1990's. He also helped me establish the CD Discography Index at our website an invaluable reference for finding the best Four Seasons Masters on CD.
And finally Rex Woodard who did more than anyone to research the history of the Four Seasons and may well provide us with their first bio book in the next few years. We now know he contributed 10% to the success of 'Jersey Boys' . That's 'official'. I'll write separately regarding Rex and his contributions.
All these friends and former 'curators' are sadly missed by all as we close 2016. But their legacy lives on as we continue to seek more music and backstories to our favourite group. They'll never be forgotten.
I said in my last article we as followers and collectors of the brand known as 'The Four Seasons' are moving into the 'Post Jersey Boys' era claiming the group's history back as our collective ownership and identity. We are gathering in 'groups' of like minded people to 'curate' the history, memoribilia and music of our heroes and claim it for our own. We've been doing it for over 40 years.
So with that in mind let's identify what content is needed by fans and how it should be presented. We've more or less done this with the Motown vaults material paper records (subject to what UMe still have and with the hope of eventual release of this material) and we'll continue to 'curate' the history of Valli and co's unreleased efforts onto You Tube over the next several months.
A few years ago I reviewed the Four Seasons sound at the time Nick Massi left the group and Charlie Calello joined for a few months before Joe Long took over. This was a time of great change. 1965 saw pop music burst into new sounds led by the Beatles, The Beach Boys and Bob Dylan et al. So it had to be all change for The Four Seasons as Frankie Valli launched his solo career.
That review culminated in a curators compilation. 'I'm Gonna Change' – The End Of The Philips Era as I tracked the evolving sound of the groups productions from 1966 to 1970. I've re-visiting those tracks culled from vinyl and the ACE CD compilations of the 1990s and am re-mastering these using 2016 software to re-connect with the analogue sound from the 1960s using the Rescue sound processing plug-in in Wavelab Elements 9.
Some I'll get uploaded to You Tube to capture the 'feel' and others are already there.
I'll disclose and discuss these tracks on our Facebook group, 'The Four Seasons Motown Unreleased Campaign' as we seek to extend the story of the changing sound of the groups efforts from 1971 to 1975. Join us there as we revisit the days of the 45.
It seems that there is no-one listening to fans of the Four Seasons asking for unreleased tracks from the past to be issued. But that is nothing unfamiliar to long-standing fans of the group. Many would claim the Four Seasons Partnership have never been tuned into what fans want nor have they or their record companies listened to them. But should that position be accepted today? Can fan influence bring change?
A recent music industry blog said.....”There is no doubt that the music industries are a complex web of inefficiencies and that if they were being redesigned tomorrow that they would be a far more streamlined, effective and transparent proposition. This on the surface makes the music business ripe for disruption. But unlike fully open markets like the smartphone business, the music industries are interwoven with complications such as de facto monopolies, statutory licensing frameworks and global networks of reciprocal agreements. All of which shelter the business from the full impact of disruption. Change happens slowly in the music business.......None of this means that change is not happening and that the rate of change will not continue to happen. But the odds are heavily stacked against a single entity aiming to unseat the marketplace”
The Four Seasons UK Appreciation still exists through the efforts of a few and the dedicated following of a few hundred fans. Whilst we have always 'championed' 'THE FOUR SEASONS' as opposed to Frankie Valli and the Four Seasons this is because we see the contribution of all members of the group and the team that gave us so much good music. The problem has always been we think that way. 'Collaboration' versus 'Ego' some would say.
So with the end of the Jersey Boys 'era' how will fans be served/kept and created.?
It is becoming more and more apparent that The Four Seasons Partnership need to invest in 'curators' if they are to maintain and develop the marketing of their 'brand' through the internet world of today. A recent blog re the music industry compared the playlisting of streaming services with themed and researched CD 'playlists'........”The fact that 25% of music subscribers still buy compilation albums show that however a good job streaming playlists might be doing, there remains a big demand for compilations, even within the core of streaming music aficionados. Curated playlists will continue to gain importance but compilations are going to live alongside them for a good long time to come. And all the while the distinction between what constitutes a playlist and a compilation will continue to blur.”
With Facebook groups devoted to Four Seasons 'memoribilia', Motown's unreleased music and Charlie Calello's vast catalogue of arrangements and productions we have a place to be, to belong, to share and to collaborate all fuelled by our curation. This keeps the ID of the group, their music and their image firmly in the hands of us all. In 'From Bitcoin To Burning Man' there is a forecast that in the emerging social structures.....”The crux ….. is the insight by David Reed, formerly of the M.I.T. Media Lab, that on open networks such as the Internet, greater value is generated through groups that are progressively more coherent and collaborative – or what Reed calls “Group Forming Networks,” or GFNs.....the most valuable networks, says Reed, are those that facilitate group affiliations. “
Looking at the content of our web site and blog and the membership of our Facebook groups I realised we have have become a GFN......we have been 'curators' for The Four Seasons Partnership since the 1970s and on the internet since the 1990s and now the facebook group members have made us a GFN. Whether it be our group members, blog writers, newsprint and 'memoribilia' collectors or amateur sound engineers, 'curators' is what we have become. Wikipedia tells us that ….“Content curation is the process of gathering information relevant to a particular topic or area of interest. Services or people that implement content curation are called curators.” This 'collective' basically provides that service.
But it is alright talking about the back stories....what about the music?
The Four Seasons Partnership and their Partner Rhino no longer invest in compilations like they did. Future compilations must provide playlists akin to the Rhino Rarities CD's (Vols 1 and 2 September 1990). Curated collections with high quality digital masters.
But if not them WHO?
Well in the Facebook 'Four Seasons Motown Unreleased Campaign' we've documented 80% of the paper records af the sessions at Motown and revealed the background to at least 30 and upto 50 unreleased tracks still lying in the vaults. A massive curation job that even UME could not have achieved with their compilers. We are just awaiting the re-mastering and release.
Back in 2012 Ray Ricci and I exchanged notes on the non-existence of a good Four Seasons Archive as a set of full STEREO mixes don't exist. Some were never mixed and some lost(thrown out by Philips) but the problem of the final 'Bob Crewe' mixes surfaced....”Four Seasons aside - there's very few Crewe productions that exist anywhere in a multi-track format as we think of it. It's not really a case of studio capabilities or number of multi-tracks available: it's how a producer worked through the bouncing and mixing and overdubbing to get an orchestra mix that works in MONO. Stereo was secondary, and could only be loosely constructed with what remained after essential mixdowns with overdubs were already in place.
What's of concern is that MONO masters are lost!”
Well with the help of German Sound Engineer Stefan Wreidt a project to preserve the MONO masters as mixed to vinyl began in 2012 with the help of several UK and US collectors with access to original vinyl. Cleaned and re-mastered to give good quality MONO masters these digital masters contain all of Bob Crewe's great final productions.
Of course I can't share these as I don't hold the copyright, but the archive is available to any national preservation body. The copyright remains with the Four Seasons Partnership but we completed the 'salvage' operation in 2015. Some may appear on You Tube for purely educational purposes!!!
Of course The Four Seasons Partnership could have done this(and could still do so) , making it commercially available but they would need to get access to good vinyl copies and spend 3 man years, collecting, sifting, dubbing and re-mastering. No? They will continue to use the mis-match of masters they have served up before. Not faithful to the original in every case...but who will know the difference.? The fact Nick Massi's bass vocal is missing on 'Ain't That A Shame' or that there is no faithful MONO master of the 'B' side of 'Sherry' ….'I've Cried Before' ….are blatantly ignored.
Unfortunately Stefan passed away from cancer before I was able to complete the archive but it is now complete and testimony to his work and those of us who have become.....'The Curators'.
Well it clearly is the end of an era for both Frankie Valli and The Four Seasons and in our Autumn Newsletter update we cover the latest Four Seasons related news for 2016. Some sad, some re new music, some re 'lost' music, some legal, and some celebratory, and even news of a final tour. All contributing to the legacy of The Four Seasons
This last month has seen us sadly lose two highly respected and loved former Four Seasons. First we heard of the passing of Jerry Corbetta, former Sugarloaf founder and member of the Four Seasons from 1980 to 1984. He was a vibrant stage presence at concerts. Then last week we tragically heard of the loss of former Critters member and legendary Four Season, Don Ciccone. As a member of the group's most successful line-up and as a member of The Hit Men he will be dearly remembered. His demo of Who Loves You is fondly collected by his fans. Slip Away will always be remembered for his emotional 'live' delivery.
Another piece of sad news was the end of the 'Jersey Boys' shows runs during the next 6 months in NYC and London. Since 2007 it has brought the music of our favourite group back to world-wide popularity and acclaim and to the cinema with the Clint Eastwood produced film . It has been a 9 year explosion of the group's popularity like never before.
But this month also brought good news with the release of probably Frankie Valli and The Four Seasons final studio album(surely?). It was not only a surprise but the choice is puzzling to many fans. A Christmas Album and a track featuring Jeff Beck? But it may be a way to test the current market for his music? Well some fans will buy anything and love everything he does but others will critically say he shouldn't have done it. At 82 some fans have observed on this collection his voice is weak and the buried in the mix but if it makes people who buy it feel good over Christmas then it's a welcome gift. And each year he has fans it will maybe be a long-term 'earner'.
It is perhaps unfair to compare it with his past vocal performances but surely the legacy of his pending retirement will be a focus on the back catalogue and maybe on the large number of unreleased tacks that remain in the vaults at Universal Motown Enterprises(UMe). We continue to campaign for their release through our Facebook Campaign Group page
This remains the single largest collection of recored but unreleased material by Frankie and the group and we hope that in retirement Frankie may turn his attention to this curently 'lost' material.
Talking of 'lost'.....we heard that Charlie Calello's 'shelved' biography has been dusted off and is being reviewed by a writer and an esteemed editor for potential publication. So we thought it only fitting to celebrate Charlie's vast archive of arrangements and productions as they appear on You Tube in a new Facebook group. Charlie Calello's Lost and Found Tracks web page
A great former Four Season and a great friend to his fans.
But the era really concludes next Spring as Frankie Valli and the Four Seasons pay respect to their UK fans with (what appears to be) a final tour. Lynn Boleyn has already publicised this and UK fans have their designated 'fan zones' and there will be organised 'pre/post meet-ups' as we get our last big chance to re-unite and celebrate as fans and to say goodbye to Frankie and his band and in particular Robbie Robinson who has been Frankie's Musical Director for all his 'live shows' since the early 1980s. A magnificent record.
So the end of an era and as 'Looking Back' was a Four Seasons album we hope the next era will focus on just that. It is becoming more and more apparent that The Four Seasons need to invest in curators if they are to maintain and develop the marketing of their 'brand' through the music. A recent blog re the music industry compared the playlisting of streaming services with themed and researched CD 'playlists'........”The fact that 25% of music subscribers still buy compilation albums show that however a good job streaming playlists might be doing, there remains a big demand for compilations, even within the core of streaming music aficionados. Curated playlists will continue to gain importance but compilations are going to live alongside them for a good long time to come. And all the while the distinction between what constitutes a playlist and a compilation will continue to blur.”
And in this context and the content of our Facebook groups and our blog I realised we have become 'curators' for The Four Seasons Partnership since the 1990s. Wikipedia tells us that ….“Content curation is the process of gathering information relevant to a particular topic or area of interest. Services or people that implement content curation are called curators.” This group basically has and continues to provide that service. Unfortunately our top curator Frank Rovello has passed away and we no longer have access to our Four Seasons UK Appreciation Society web space to effect updates but for the foreseeable future that web space remains accessible at http://www.seasonally.co.uk
Hopefully future compilations will provide playlists akin to the Rhino Rarities CD's (Vols 1 and 2 September 1990). Curated collections with high quality digital masters and even unreleased tracks or live performances like the 'Bachelors III' concert from 1974.
And finally news that the long and drawn out legal case re the 'Jersey Boys' book written by Rex Woodard and Tommy De Vito come to a head this Halloween with a Jury Trial. Whether or not Valli/Gaudio et al are found to be in breach of copyright, at least the courts have recognised that Donna(Rex's widow) has a 50 % share of Tommy's royalties from the show. It will be good to see this settled and the next era of the groups legacy can move on.Maybe with publication of 'The Work'
For the future though we'll be updating our Facebook groups regularly and carrying this blog through the next year with news and reviews. Let's enjoy the end of an era!!
Oh What A Night! Hyde Park, London, Saturday 10 September 2016 – Frankie Valli & The Four Seasons headlining at the patriotic Last Night Of The Proms in the UK with the BBC Concert Orchestra conducted by the very talented Robby Robinson in front of 40,000 people. Unbelievable!
Live on Radio 2 and also streamed live across the world “Grease” started although only instrumentally at first due to something being wrong with the sound system – it would appear the microphones were not working - and then there were great cheers from the crowd when they could eventually hear Frankie singing!
Next was “Dawn” and then “My Eyes Adored You”. The live stream unfortunately for some reason cut out “Grease”, “Dawn” and also later in the show “Rag Doll”.
BBC Radio 2 fortunately has all 12 songs plus the short interview between Michael Ball and Frankie Valli after his spot and before crossing live to the Royal Albert Hall for the traditional “knees up”!
It as good to see Landon Beard back in the line-up but sorry Larry Lingle was not there.
Those at home certainly had a better view than the VIP guests who unfortunately were right at the back of the park – they said watching Frankie and the Four Seasons on stage was like watching ants in a jar!
A bit disappointing at £408 a ticket but as least they all have front row tickets for the up and coming shows in April next year when Mark Garvey is hoping Frankie Valli will sign his Jersey Boys tattoo he has recently had done – ouch!!
Some of them were lucky enough to meet with Frankie Valli, the Four Seasons and the band back at their hotel on the Friday evening and had a lovely evening chatting to them all including Bill DeLoach – a former member of the Four Seasons in the 1970’s. They were even treated to a rendition of "Surfer Girl" by the Four Seasons, a track from their new CD – details here:
http://www.themoderngentlemen.net/music
It looks like the guys had an awesome time too meeting Michael Ball, Alfie Boe and James Galloway.
Comments and Reviews:
Somehow watching 40,000 people singing along to Frankie brought tears to my eyes, only 40 minutes but well worth it. We left after Frankie's set but not before Mylo, our 7 year old Grandson, heard that there was a tour in April, he immediately asked if he could go, luckily thanks to Lynn we have front row seats in Manchester so now Mylo is working out how to shake Frankies hand and get his autograph!
Brian, Manchester
It was a good set but first couple of mins Frankies mike was dead. I did think a couple of times there was some heavy vocal enhancement going on electronically. Just once he missed a cue at it was noticeable that he wasn't singing but his vocals were there. Not complaining because for 82 he is doing really well.
Paul, Wales
I watched things from home in an armchair with a glass of whisky. I didn't care much for any of the support acts, so I was looking forward to the headline act, and as Michael Ball said the show was going to end on a high note, and it sure did, mind you I felt Frankie struggled on the first two numbers, especially Who Loves You, but after that it was top gear all the way and like Brian I got emotional halfway through just thinking of the times when the songs were released and also all the wonderful people I've made friends with through the music.
We have been informed by Kenney Street Enterprises – many thanks Nikki and Flick – that Frankie Valli & The Four Seasons are to tour the UK again next year and they have arranged special front arena tickets for the fan club. Details are as follows:
April 2017
Thursday 20th April - Birmingham Genting Arena
Friday 21st April - Bournemouth BIC
Sunday 23rd April - London - The O2 Arena
(Tuesday 25th April – Edinburgh Playhouse – Please see below re this event by DF Concerts)
Wednesday 26th April - Leeds First Direct Arena
Thursday 27th April - Manchester Arena
Fan club tickets for the above shows (except Edinburgh) will be ring fenced and are £75 and the link to purchase tickets will be sent out to fan club members. Tickets to the general public will go on sale on Thursday evening at 7 p.m. but the fan club tickets will be available until sales have either slowed down or sold out!
Frankie is also playing Edinburgh on 25th April but we do not have special fan club tickets for that show as this through DF Concerts and not Kennedy Street – sorry! Tickets for Edinburgh go on sale on Thursday morning 8 September at 9 a.m. and can be booked here:
If anyone wishes to purchase cheaper tickets please use the following link (however this is a general link and not ring fenced – these tickets are listed below the front row tickets mentioned above so you will need to scroll down to those tickets to order them:
Frankie Valli and The Four Seasons will be headlining the BBC Last Night At The Proms celebrations at Hyde Park in London on Saturday 10 September which will be broadcast live on UK TV on BBC.
They will be performing some of their best known songs at this open air concert accompanied by the 75 piece BBC Concert Orchestra.
Full details and how to order tickets - from £40 each - can be found by clicking this link:
Coverage on the BBC TV - Viewers can watch extracts from all four Proms in the Park via the Red Button and at www.bbc.co.uk/proms on the evening of Saturday 10th September from 19.15 p.m, as well as highlights from all of the events afterwards online, for 30 days.
One Show/This Morning
Frankie will be on the One Show on Thursday 8 September at 7.00-7.30pm
It has already been a summer of news for Four Seasons fans as Lyn Boleyn MBE reported already. Frankie Valli and the Four Seasons picked up a top booking as the headline act for the Last Night at the Proms. Lynn will obviously lead the UK fans in the VIP section.
But other news and rumours are bubbling this summer which will interest fans.
In a surprise turn of events in the on-going litigation between Donna Corbella and Tommy DeVito et al, “Plaintiff and DeVito have asked the Court to approve their stipulation for voluntary dismissal of Plaintiff's remaining claims against DeVito,”
This it appears is partly accepted by the other co-defendents although they are concerned as “since the Settlement Agreement appears to call for DeVito's cooperation with Plaintiff, .... their trial strategy may now change.”
The case will now proceed to trial with the remaining defendants having to win a jury decision against Corbello's(and presumably DeVito's) claim for breach of copyright. They could conceivably be called as witnesses. There may be a delay and whether this strengthens the plaintiff's case against Valli/Gaudio and others remains to be seen, but Donna had won the right to 50% of Tommy's JB earnings.
But from a fans perspective what it may herald is a joint decision by Donna and Tommy to publish the biography Rex Woodard wrote with Tommy back in 1990. A rumour recently was that Frankie Valli was working on his own bio?....Coincidence or competition?
And whilst the Four Seasons Motown Unreleased Campaign continues to gather membership, more than one reputable sources suggest that the salvaged versions of 50+ unreleased tracks in the Motown vaults could be made available for Bob Gaudio and Frankie Valli to assess if they wanted. They may just need to phone Vice President of Universal Motown Enterprises Harry Weinger and ask to hear them. Apparantly Harry has allowed this with other artists catalogues and so step one would be for Bob Gaudio to pick up the phone!!! We will continue to research and publish research re these 'unreleased' tracks into 2017 as our campaign for release continues.
And with news of a proposed 'Seasonal' album....'Tis The Seasons' supposedly coming out from Rhino confusion abounds. We hear this is not Frankie Valli with his current stage backing group nor is it the 'Christmas' album he was reputed to have recorded with Charlie Calello 2 years ago and was shelved. So we all wait with baited breath!!!.
With lots to happen this fall a new marketing strategy for the Four Seasons Partnership is clearly needed and new and old and written material looks like being on the agenda for 2017.
Is this the 'post' Jersey Boys era we see emerging.
Many thanks to Brian Brigham for the heads up on this event!
Frankie Valli and The Four Seasons will be headlining the BBC Last Night At The Proms celebrations at Hyde Park in London on Saturday 10 September. They will be performing some of their best known songs at this open air concert accompanied by the 75 piece BBC Concert Orchestra.
Full details and how to order tickets - from £40 each - can be found by clicking this link:
If anyone would like to order the VIP tickets (£420 each) to include food and complimentary bar with terrace overlooking the stage please contact Charles Webb who will do his best to ensure that the fan club members all sit together.
Charles email is: charles@arevents.co.uk or telephone: 01484 539432 (please remember to mention that you are part of the Fan Club).
It is somewhat ironic that The Four Seasons success story started with litigation and is finishing with a trial more than 50 years later!
After The Four Seasons burst onto the pop music scene with three Nr 1's they ended 1963 in litigation with Vee-Jay .The 1963 litigation over non-payment of royalties gave them control of their original master recordings which has provided an income stream throughout their careers whilst now they face potential losses of many millions of dollars if the current trial goes against them. Over 50 years later they find themselves once again locked in litigation after the second major success of their lives 'Jersey Boys', the show of the story and music of their lives . In a unique breach of copyright trial over their own story as compiled by fan Rex Woodard with Four Seasons member Tommy De Vito they find themselves in a trial for alleged breach of copyright of Rex's joint work.
Badly behaving record companies failing to pay royalties and abusing artists rights is a familiar story from the earliest days of the music industry but it was rife during the 60s. The Four Seasons with Bob Crewe took on Vee-Jay with such a claim in 1963.
And again in the 1970s with recording companies charging the cost of recording sessions against artists royalties it is claimed that during their stay at Motown in the 70s when they had no hits but recorded over 70 songs they ended their association (after a 3 year contract )after receiving no record label royalties in 1974. But at least they had their reputations intact and long-standing fans buying their early litigation proceeds and a new line-up setting the charts alight.
This current litigation puts those past money arguments into the shade though. The long running litigation over the Jersey Boys claimed 'source' document 'The Work' has been in and out of court for as long as Jersey Boys has been a major hit with some amazing revelations as Eriq Gardner summarises in his 'The Hollywood Reporter' article
That explains (with links to the court papers) how the case has developed and it is now coming to a jury trial in September . Several of us in the UK Society knew Rex Woodard as a fan, collector and writer since the 1970s and his articles re the Four Seasons 'history' provide more detail and inside knowledge of the group than any articles that have appeared in the history of the group. He was the fountain of knowledge re The Four Seasons along with Ed Engel and Walt Gollender. But Rex is the only man to write the history of The Four Lovers and The Four Seasons. He did this in Billboard magazine in the early 1980s. These articles remain the most in-depth description of their history. No biograpies have ever emerged of anyone 'connected' with the group. For many decades deliberate concealment was a policy.
Looking at the forthcoming trial,and the presentation of the facts and arguments from the long-standing fans perspective there are some observations that stand-out.
Firstly, it always seemed obvious that Rex was the main(or ghost writer) of 'The Work'. His notes and in-depth study of the group goes back to the 1950s and clearly Tommy De Vito was not skilled enough as a writer to produce the 'bio'. Frankie and Bob knew Tommy and must have known he did not posses the literary skills. So when Tommy changed the cover of 'The Works' to delete Rex's name was he being anything other than he is portrayed as in the Jersey Boys play.? Well Rex had passed away so what is the harm he may have thought? Even though there was a written contract saying profits from the story would be shared by both parties and their 'heirs'. But when Jersey Boys emerged Rex's widow (and lawyers) established the identical work had been handed to the scriptwriters. Rex's contribution has happily been confirmed by the copyright office and Rex's royalties share of Tommy's rights will (if this case confirms 'The Work's use in the play script) pass to Rex's widow.
Secondly, the consideration of 'thin' copyright due to the facts of the Four Seasons history being in the public domain is an arguable point. It suggests the 'story' within Jersey Boys was factual-historically and such facts are not subject to copyright but the judge does state that the story within 'The Work' did not exist before the collaboration by Rex and Tommy. Any long-term fan will confirm many aspects of this bio were not known or in the 'public domain' until the premier of Jersey Boys a fact that may see 'The Work' as a whole to have been utilised by the writers. Take for example the links to Gyp Di Carlo. The Four Seasons had for decades hidden any association with the mob for fear that this would damage their reputation with fans and subsequently record sales. In our study of the story of the group through the 1970s(The Rise and Fall of The NEW Four Seasons) we noted the one and only published reference in our huge collection of articles going back to the 1960s republished in UK fan club Newsletters since the 1970s(Nrs 1 to 68) . Even Rex in the 1980s helped cover it up.
I'm quoting now......“Rex Woodard again re 1973...”On 13 July convicted felon and “stoolie” Gerald Zeimanowitz testified before a US Senate Sub Committee that the Four Seasons were connected with the Mafia. Allegedly, according to Zeimanowitz, mobster Angelo “Gyp” DeCarlo of New Jersey owned a “piece” of the band. DeCarlo had been imprisoned in 1970 but pardoned by President Nixon in 1972. Zeimanowitz, however, really had his facts mixed up judging from his testimony, and probably confused the Four Seasons with another act (Valli, when asked about the charge kept his humour: He just wanted to know why his career was going so lousy despite these so-called friends in influential positions!).” Valli was very sensitive to this news and was concerned it would alienate his fans if found to be true. Now he admits involvement in the ‘Jersey Boys’ play and the association seems of little harm to him. In fact it is a core part of the play's storyline and success.
So any connection was covered up then and kept that way. It even extended to censoring the fans. Since the 1970s any connection with The Four Seasons Partnership was always fraught and during the 1990s their lawyer sought to control fan contact with former group members particularly during the early days of the internet when Frank Rovello, Stuart Miller and I were 'banned' from speaking to former members of the group if 'official' recognition of the fan club(s) was to be granted. Was this to suppress potentially damaging stories about links with the mafia?. Well they were suppressed and 'The Works' was the first time that the relationship was explored......but never published. That is until the Jersey Boys play was written. Did Valli and Gaudio tell the scriptwriters the story or is it derived from 'The Work'? That will presumably be the jury's job to identify.
Whether the 'story' told by Rex in 'The Work' was 'copied' in Jersey Boys and was a breach of copyright remains to be seen but the reputational damage caused by this case may be far reaching. Did Valli and Gaudio and De Vito rip-off a dead fan?.
The fact is that Rex did the most in-depth writing of any Four Seasons fan to tell the group's story and every 'true' fan will appreciate that. And Frank Rovello and Stuart Miller did their part in getting what they could into the public domain. Though they have all passed away now they remain to me the real heroes who wanted the truth for the fans. With one objective. To put the music recorded in the hands of the true fans and enable them to understand the context of it's creation and appreciate everyone's contribution. That has been the objective of the UK Appreciation Society and this blog. The music is all that counts....the rest is the back-story. The choices in life Valli, Gaudio, De Vito and Massi made are how life went for them and they are accountable for.
And ironically that back-story has made the 3 surviving members of the group multi-millionaires and earned them more than their music ever did in the previous decades before the launch of 'Jersey Boys'. The show however remains a wonderful entertainment and this case will show everyone's contribution.Without doubt that success has changed Valli and Gaudio as they have been heralded now as music 'icons'. Do they think a jury would never find against them? Did they know of Rex Woodard's contribution to 'The Work'?. And was this shows major success in good part on the back of a fans research? Whatever happens this case will be a sobering close to their amazing lives We'll watch and listen with great interest . Casey Chameleon
For some people 'Pet Sounds' is the 'ultimate' album....the best ever mixture of songs, sounds, melodies, harmonies and arrangements they have ever heard.
For me though it is the 'changing colours' Bob Gaudio saw in the 'Chameleon' sessions that match anything that Brian Wilson and The Beach Boys conjure up. Love them though I do.....'Chameleon' is just....'me'
I didn't feel it at the time (late 1972)......I didn't 'hear it' till 1975.....well not quite.!
I rejected it first time after hearing the 'Prelude-A New Beginning' and the opening chords of 'Sun Country'. I'd popped into Boots The Chemist in Runcorn Shopping City to sound test it in their record booths(yes they still had them back then). It was not the Four Seasons I knew from my 'Dawn' and 'Rag Doll' albums. They had moved on to adulthood and left me behind!!
But by 1975 I had changed and like a growing child I was taken by the 'changing colours' Bob Gaudio saw in the magnificent music on this album.
Watching the film 'Love and Mercy' based on the life of Brian Wilson this weekend and the traumas of Brian's life made me realise that Bob Gaudio may feel that the traumas they suffered during the Motown Years make re-visiting the 'unreleased' tracks from the period too much. The whole period from the end of their Philips tenure through Motown and the re-birth of Valli's solo career and the rise of a NEW Four Seasons 'sound' is almost another film script in itself. From the depression at Philips to the broken promises of Berry Gordy it was a rough ride. And with Bob Crewe's bankruptcy and aftermath, Bob Gaudio and Frankie Valli's marriage break-ups, Frankie's battle to save his hearing and the collapse of the group in 1973 it was a downhill spiral. But also a period of re-birth with Frankie's new love and marriage, Bob Crewe's return and Bob Gaudio's partnership with writer and soon to be wife Judy Parker…....together with a new and musically talented band …....it is all a great back-story to the music.
But the music largely remains unheard 'lost masters' sitting in an air-conditioned vault in NYC. Trapped and without the love of doting fans. Unlike The Beach Boys music!
How can this be.?
The reason whyBrian Wilson is 'iconic' is because of his motivation. There is clear evidence he was pursuing music for spiritual reasons, for the art and for the love of creating, to make a valid contribution to the world of music. Is there any evidence that this was the case with Frankie Valli and Bob Gaudio?
Some would argue 'yes' as evidenced by 'Genuine Imitation Life Gazette' and 'Chameleon'. Whilst the former is a 'social/satirical commentary', 'Chameleon' explores human and adult perspectives on love and relationships with great perception. And it is shaped by experience. Things didn't get to be an easy ride at Motown. Are the traumas of the time still too painful or are there so many legal and commercial barriers that art and creative talent can't surface to tell the story of the re-birth of what we see as an 'iconic' artist and group.
What we have we genuinely treasure. Well I do. The Motown Years remain my 'companion'.....my 'Pet Sounds'.....the 'unreleased' the equivalent of 'Smile'.
Gradually people are discovering these lost 'connections' hopefully through our 'facebook' group although so much remains unheard. Someday their time will come and people will wonder how so many great tracks remained lost for so long.
Ken Charmer
And it remains a mystery how artistic gems like this are not given a much higher profile.
The show on the 1 May 2016 in Cleveland Ohio will be Larry’s last show with Frankie Valli and the 4 Seasons.
A former Four Season, he told us “My tenure is up and I'm looking forward to enjoying my Summer hangin’ out with family, chillin’ on the beautiful beaches on Hornby Island BC, salmon fishing, composing and recording music, producing, doing the occasional local gig, finishing some overdue home projects, and most of all just appreciating life. For those friends that have perhaps already bought tickets in an effort to re-connect with me when in your area, sorry I couldn't have alerted you earlier to a last minute decision and I truly wish it could have worked out but things being as they are, it won't happen this time around. If you have purchased tickets, I still encourage you to see the show as it's not only a well put together show, but also features some of the absolute best musicians and friends that I've ever had the privilege to work with. I mean, every player in the band are some of the best in the business and the singers are stellar. The sound crew is also the best, having worked with some of the biggest name artists over that last couple of decades. I'm gonna miss these awesome guys ! That said, I hope all my friends and very supportive fans enjoy a great summer of fun, family, friends, and appreciation for all the positive things that make life so absolutely awesome “.
Thanks for the wonderful music and memories Larry – it was really great to see you back in the UK with Frankie Valli last year. Enjoy the fishing!
The Modern Gentlemen
The new CD by the Modern Gentlemen – Brian and Brandon Brigham, Landon Beard and Todd Fournier - is now available to pre-order on their web site here:
Brought together by Frankie Valli to provide all the background harmonies and choreography on his concert tours they have developed their own signature sound performing worldwide from Broadway to The Royal Albert Hall with The London Symphony Orchestra, to Asia and down under in Australia and New Zealand. They've shared the stage with The Beach Boys, Manhattan Transfer, Smokey Robinson, Tony Bennett and many other greats, as well as performed for presidents of the United States and the Duke of Cambridge, Prince William in London. This dynamic quartet feels fortunate to have worked alongside most of the artists they celebrate. When The ModernGentlemen take the stage, they perform with high energy, tight dance moves and spot on vocals with harmonic perfection – you can check out their tour dates on their web site - we are looking forward to seeing them perform in the UK soon.
I was walking around Waitrose today and was amazed to find the Ultimate Music Guide to The Beach Boys in the magazines. An album by album guide to their music and back-story(warts and all) and I thought.......”what a tribute!!” Having made it an essential buy, perfect to read on the flight back to Spain, I started thinking how it would be impossible to do one on The Four Seasons.....as the story is incomplete and distorted with Jersey Boys creating the myth and the masses of unreleased material being the unheard part of their story.
I reminded myself that Bob Gaudio and Frankie Valli have never felt able to claim their music was truly inspirational.........until the phenomena of 'Jersey Boys'. And even now I don't think they realise what they were to popular music and their long-term fans. But they have never had a strong enough brand or rapport with their fans. Oh don't get me wrong....their fan base have loved them even though poorly served with releases and bio material for many years, and that probably won't change. Leopards don't lose their spots. But it could be much better for them and us. They are going to find all the exposure in the courts in May. Why not capitalise on it whatever the result. See the big picture.! Apologise even!
Ironically their biggest 'commercial' success(JB) owes it's achievement (in part)to one of their biggest fans, (the late) Rex Woodard, as their long-drawn out legal action with his widow comes to a head in May. Whether Donna Corbella succeeds or not in her copyright infringement law-suit over her husbands co-written bio is irrelevant. It is to me testimony to how they(The Partnership) have been unable to escape the 'control' mentality to protect their 'roots' and their commercial ownership. So much so they have failed to credibly establish their 'Anthology' both musically and literally.....With credit to all the contributors. This History v Hollywood sums up how they will never convince anyone with the JB storyline and this just scratches the surface of what really happened.
There are no 'official' or 'unofficial' bios of their life and the most comprehensive documentation of their recording history is contained in fan sites like the GILG web-site and the UK Appreciation Society archives. I reckon there are somewhere in the region of 80 tracks unreleased by Frankie Valli and The Four Seasons (which probably include some with The Beach Boys). That is as many tracks as they recorded in 1964 and 65 at the height of their 60s success.
And not talking about your mistakes and bad periods honestly is not going to enhance or sell your image and brand. When the Beatles 'Anthology' was being put together and Bob Smeaton was gathering clips of the groups arguments that led to their dissolution, George Harrison was quoted as saying....”Oh we don't want to say that.... I hate that, I hate that period.”. To which Bob replied, “Yeah , but the fans want to see it!” and Bob prevailed and the Anthology sold 6 million copies within weeks.(it's still selling) It didn't harm their image or commercial 'brand'. The true frictions and conflict, the mistakes and errors of judgement are all sellable. The Motown period remains the great untold 'buried' history. Our research has exposed that. Brian Wilson and the Beach Boys 'Uncut' magazine tribute shows what their brand represents .The 'Four Seasons' brand is and should always have been the thing (even if it was Frankie Valli and The Four Seasons for many decades). Sell everything, all the stories...all the unreleased. It will all come to light eventually after were all dead and gone. Life is too short. And you can't hide in the internet world.
Here's another failure that has had little or no exposure. But it sounds and makes you feel 'good'.
Every Frankie Valli and the Four Seasons fan will have a specific memory of or relationship with the Motown period. For existing fans in 1971 after the excitement of the UK tour it was from all accounts a time of great optimism. By 1973 it was a time of perhaps great frustration at the lack of releases and promotion and a cancelled tour.....but by 1975/76 it was the most enthralling of times with the co-existence of so many Four Seasons identities. It was by far the most exciting time of their careers and the best of all times to be a fan. We had the 1960s Vee-Jay and Phillips sound being re-visited from 10 years before in The Four Seasons Story, The Close-Up album and The Who Loves You album with the NEW Four Seasons Sound and squeezed in we had the 'Chameleon' and 'Inside You' albums from Motown.
Truly an unbelievable and diverse range of styles and performances but all truly great music. That was the time to discover or re-discover the uniquely varied sound of Frankie Valli and The Four Seasons. And the 'Inside You' album was an amazing look back into the vaults at Motown to sample some of the unheard 'experiments' to find that 'hit' sound and the handful of singles that had been released since 1971. And to hear 'The Night' and 'Who Loves You' coming out of our radio's as they climbed the charts was fantastic. This was the peak, the moment, Top 10 again....and then along came December 63(Oh What A Night) to make them Nr 1 again. The culmination of years of dogged hard work and pain.
And that, it appears, is what Mowest/Motown was.
But we didn't know what had happened at the label(s) and we didn't know the musical journey. We still don't. But now we do know of and have heard a lot more, than back then. When we first heard 'Inside You' and 'With My Eyes Wide Open' which even Frankie and Bob Gaudio had not heard for 2 years and which was released without their permission/approval in 1975 , we were rightly blown away. Simply superb Crewe/Gaudio writing and producing at a new level and sound to anything before with Motown's superb studio and musicians and the most advanced 16 track recording.
But by 1975 they and Bob Crewe had moved on and they didn't want to go back. They had developed NEW material and signed to new labels so really couldn't look back with no ownership rights to the material. But fortunately for them, we hadn't forgotten this timeline, and like 'sweets' we relished the then 'recent relics' from the vault. Frankie and Bob hoped the Motown Years would just fade away and be consigned to the 'non-hit' era best forgotten. But 'The Night' (a Nr 7 UK chart hit and Northern Soul anthem) and The UK Appreciation Society have never let that happen.
And now (with us finally persuading The Four Seasons Partnership and Motown Universal to release their Motown 'released' material on CD for the first time in 2008 ) our latest research finds have provided the clearest picture ever of the 'Lost Motown Masters' by Frankie and The Four Seasons in their most diverse and most prolific experiments still in the vaults....unheard for 44 years.
We now have all the Master Nrs list completed from Motown records. It shows 53 Masters of which a massive 31 remain unreleased. And there are a rumoured 20 plus tracks not researched.
How differently fate might have been if Motown had realised what they had and been better at promoting and selling it. That 1975/76 euphoria may not have happened like it did? But it would have sometime as quality will always rise to the surface in music as long as someone cares enough to make sure it does. Well we are doing that in our Four Seasons Motown Unreleased Campaign on Facebook as we demonstrate the Motown Treasures being neglected in the Motown Universal vaults. What had been rumour has become fact. This is the unheard and unappreciated creative work from 1971 to 1973 which we now know exists. And our Campaign aims to generate enough interest and enthusiasm to make someone agree, the 'Lost Tracks' are the 'missing link' back to fame and glory. They should be preserved and RELEASED.
Below are just some of the songs we want to hear properly re-masterd from the vaults....BY FRANKIE VALLI AND THE FOUR SEASONS ...the fight for this goes on!!!!!
When I saw Michael Lomenda’s tweet I had to post this cute clip – who ever would have thought that Jersey Boys would feature in a school play especially with pupils so young, talk about little boys in grown up clothes – another great Four Seasons song too.
I hope you have all managed to take a look at the Four Seasons Motown Unreleased Campaign on Facebook to try and get these tracks released – there are some great unreleased tracks there including Hymn To Her; I Wonder Why and Lovers - and also a wonderful clip of a rehearsal of the group singing Hickory – Frankie’s voice is just superb. You can check out the site here:
One of my favourite songs from the Motown era is “Your’re A Song” and The Night, of course, is the most famous song from the Motown era. A superb cover version was done by The Franks – the original London cast of Jersey Boys – one of the best casts too accordingly to not just me but Frankie Valli too.
The Hitmen are proving to be a fantastic hit too – a good review here plus some great photos too:
When I joined the UK Four Seasons Appreciation Society in 1976 I would not have believed that by 2016 George Ingram would still be finding articles re Frankie Valli and the group or that the Motown period of the group’s history would keep me researching their music some 40 plus years later, but as George has said “all good things come to an end” and after 40 years of publication this is the end of the newsletter era and our regular web site uploads. Frankie Valli has outlasted us as he continues to tour at 81 albeit with technology enhancing his voice. This has for most fans been enough to enjoy the great legacy of his music in recent years. But inevitably a Four Seasons tribute band will be the only way in future to enjoy the past music ‘live’. Alternatively there is the Jersey Boys musical.
For most of us who kept this fine organization going for 40 years it is a milestone moment and so we bring you the final library of articles and research from George Ingram’s Archive. Ray Nichol our top vinyl and CD expert collector has retired to dispose of his collection (something us older fans will all have to consider unless we can leave it to our children), George Ingram has retired and no longer has access to the print technology needed for his scrapbook style publication design and Ken Charmer who has single handedly been our web publisher since 1997 has a moved onto a final project/campaign
The web site and previous blogs will all remain on the WWW for any researchers into the history of the group. Unfortunately over time so many distortion and inaccuracies have arisen in the story of the group and hopefully our data provides important reference points for any interested party. The web site will continue to be a good reference point and its longevity now depends on the continuing support our web space sponsor Rik Williams. But until the plug is pulled on us some of our activities will go on albeit changed.
The good news is our secretary Lynn Boleyn will continue to keep in touch with friends and fans through her network and Ken Charmer will through his facebook page. This is the last update to the web pages we will do and the blog will close in the near future making this one of our last posts.
There are dozens of great articles in these last downloads of Newsletters 63 to 68 and we hope this last set of information will be of interest to the 250/300 fans that have found us or followed us over the last few years via the blog and web site and it is a pity we failed to achieve our objectives. Never recognized by The Four Seasons Partnership as being of benefit we know the fans have appreciated our Newsletters and research and we have had on average 50 hits a day from web searchers over the last decade.
We had hoped to achieve a complete collection of Four Seasons recordings available to fans before our closure but as Bob Gaudio in a 2000 interview confirmed he is ‘adverse’ to going back and although he has a ‘dozen or so’ unreleased recording in his ownership from the late Philips and Warner/Curb period it would take something major to get him to release these. But there are the 40/50 unreleased tracks that Motown own that remain in their vault and the campaign to get these released will continue.
Losing Stefan Wriedt and Frank Rovello before this milestone was achieved left me as a lifelong ‘music detective’ – disappointed, disheartened and dis-illuissioned at the Four Seasons Partnerships lack of appreciation for what the UK and USA web sites have done to support the group over the years. But, I can put that aside as the friendships made amongst enthusiasts and collectors has been ‘priceless’.
The Jersey Boys trial in May will signal a new chapter in the group’s history and we will observe that with interest. All fans owe a huge debt to Rex Woodard who collected so much factual data re the group’s history and the eventual publication of his co-written book with Tommy De Vito would be a fitting tribute.
Oh !!!!!and as Lynn Boleyn MBE reminds me there is the 2017 tour to look forward too. Live long and prosper! But for now enjoy this last set of articles. Casey Chameleon
Keep the web site in your ‘faves’ as the dicog page is an essential reference point for all of the releases.
It's been a long time since I was able to write anything for this blog regarding research into the history of the Four Seasons and their rise to fame and to review what remains to fill in the gaps in our knowledge of their history.
Since the arrival of our internet presence(circa 1997)and 2012 we collected and collated a huge amount of data that can be found on our web site that documents the musical recording history of Frankie Valli/The Four Lovers and The Four Seasons from 1953 to today. Back in the 1970s we were novices and knew only 60% of the story. Now we know so much more. And continuing touring by Frankie Valli and the success of Jersey Boys has kept the music and our data research alive.
But as 2016 started and I received the very last Newsletter from George Ingram who officially retired last year I thought about changes necessary to our web based sites given that the prospect of adding factual data re the groups work seems remote. But is it time to wind things down or should we strive to fill the gaps we know remain.? And with the loss of great researchers like Rex Woodard, Frank Rovello and Stefan Wriedt do we have the resources and support to do any more?.
So at the start of 2016 what is left to find out.?
Big gaps in the groups music and history still remain unless we can collectively dig out unreleased music, articles and peoples memories: facts or stories they haven't disclosed or can even remember. On the face of it this does not seem realistically possible. There has always been a reluctance to talk about or publish stories re the history of the Four Seasons outside a bland storyline, firstly because back in the 60s/70s the Partnership worried about negative connections damaging Frankie's reputation as a celebrity.
Off course all that changed with the development of Jersey Boys in 2007 and these mafia connections were used to add grit to the story helping to make it the hit it became. Now the focus is on maintaining that as their story and continuing it's commercial longevity and financial success.
As fans since the 60s we've always sought to uncover the true stories and in our research over the last 40 years we've found out lots of personal stuff that we’ve not published as it is not relevant to the music's creation. But it has made us sensitiveto the effect on relationships between past members of the group and Valli and Gaudio and the often difficult circumstances in which the music was created.
Looking broadly at what has appeared in our newsletters we have a mixture of what PR the Partnership wanted to portray in the 60s and 70s and in our E-book The Rise and Fall of The New Four Seasons we feature quotes by group members which often reveals frictions and issues typically encountered by groups in the history of 60 and 70s pop music. I guess I never did forgive Frankie and Bob for sacking the Four Seasons in 1978 despite a subsequent short lived 're-union'. But life and the brand of Frankie Valli and The Four Seasons has gone on. In recent times we've had the benefit of the emergence of 3 former members from then in The Hit Men. It has been good to celebrate their sound with them in recent years. The conflicts happened and that is part of their life story. A background to the most important thing.....the music.
In Jersey Boys the writers selected the elements of the group history to create a musical drama........but who where the real writers? This years Jersey Boys Court case may lead to us understanding this more....but more re that later.
So what are the areas where we still would like to know more and what could we write about. Well firstly it would be speculating what happened between 1959 and 1961 before 'Sherry.' Rex Woodard in his Billboard articles said The Four Lovers had done some backing work for Bob Crewe (possibly with Freddie Cannon) before he signed them to a 3 year contract in 1960. But verifying this has been difficult as has identifying the recordings they did backing work on from 1959 to 1961. Our Master Tracks Section 2 on the web site contains the result of several years music detective work (thanks to all who contributed)which recently revealed a Bob Crewe 45 on ABC Paramount from 1961 “Come To Me/Another Day” with the Four Lovers on backing (thanks to Mike Miller). But memories and data are now very hard to uncover and those involved who might have contributed have passed away or can't remember clearly. Record Company records are very limited. The dates when Crewe released the Topix 45s remains a bone of contention as to whether they started in 1960 or 61, but some would say, 'Does it really matter?'....we know what came out.
So maybe what we have from this period with its little bit of guessing and speculation is the limit of what can be found. ?
The Philips period is pretty comprehensively documented (see Master Tracks Section 4) with data surfacing re late 60s unreleased recordings with Artie Schroeck found in recent years. But we haven't heard some of these recordings and there is no published record of the remaining recordings(like the previously discovered 'One Man' from the last Philips sessions) and a rumoured number of perhaps unfinished recordings from this period.
Now as we have known for sometime Bob and Frankie do not appear to take any interest in the large volume of research (in our blog and web site ) contributors have made over the years. And then there is little or no chance of us hearing the unreleased material given Bob/Frankie's attitude since Jersey Boys. Strangely this is reputed to be an aversion to 'look back' when Jersey Boys is just that. The aim now is clearly to protect the JB brand and perpetuate it. The unreleased tracks are judged not to do that.
I never did get Chapters 2-4 done of my E-book The Rise and Fall of the NEW Four Seasons. The period from 1967 to 1970 is hard to document as the story behind the music is hard to get in enough depth. I got a lot of notes re 1967 from sound engineer George Schowerer and interviews with Charlie Calello, Artie Schroeck and Larry Brown and our research has also uncovered some personal facts about drug and marital problems during this time which makes documenting the period hard to balance. And then 1969 and the Philips relationship is a bit strange. Philips appeared to totally dump the group after GILG and the master tracks list shows experimental/rogue recordings for other labels and unreleased material which eventually resulted in Half and Half coming out. Then there was the Northern Soul scene pushing 'You're Ready Now' to UK re-release and then the two UK tours and the move to Motown. I needed help to document and verify facts for this period as few articles disclose what was going on....and in this period the debt problem portrayed in Jersey Boys surfaced but exactly when?. Presumably this was before Tommy DeVito left the group before the UK tour of 1970.......hence the subsequent need to go where the opportunities for money arose. So I still see lots to be fully established and although I'd have liked to finish it. The work remains a 'might have been/could have been' wish.
The biggest musical gap though remains the Motown period from 1971 to 1974 because we now know as a result of an anonymous donor with access to Motown Universal data that only 21 tracks where released and up to 50 tracks remain in the Motown Tape Vault. We know the detail of what was recorded(Master Track section 5) and were able to verify and document this in 2012 but since then there has been no interest or expression that any record company would attempt to negotiate with the Four Seasons Partnership lawyer (still Peter Bennett as far as we know). Those we have corresponded with have not wished to take on what they regard as too difficult a process. Peter in the past has indicated that these recordings are 'not owned by the Partnership' and as a result are a matter of financial dispute. They are he alleged to be 'unfinished' or 'may not exist' on tape anymore and he asked how these could enhance the reputation of Frankie and Bob?. Having heard the demos of 'Hymn To Her' and 'Lovers' now on You Tube and given the quality of what was found for the Motown Anthology CD release by Hip-O-Select in 2009 we have evidence that some completed lost gems remain. How many has still to be established but certainly enough for an album/CD. But it has seemed impossible that these will see release within Frankie or Bob’s lifetime unless they had a change of heart.
And then there is the confirmation from Lee Shapiro that at least another album of material was recorded for the 'Helicon' sessions with several tracks remaining in the Warner-Curb vault and again there appears no interest or prospect of release. There are later tracks from the 80s that we know remain unreleased and there is likely to be other material only Bob and Frankie know about. So musically there is much Four Seasons fans can feel aggrieved that they have never got to hear. Unfortunately the Four Seasons catalogue does not have the sort of research and ownership or interest that the `Beach Boys' master tapes has allowed and how lucky are their fans as a result.? A good example of long-term market management.
And finally the long running saga of the Jersey Boys court case is still to reach a conclusion. Tommy De Vito's copyright submission has been overturned and Rex Woodard's co-authorship of the bio used by the JB writers has been confirmed but the decision of whether Rex's copyright was breached by the use of the book in the script has still to be decided.
The case is still scheduled for a May 2, 2016 trial. A decision in the meantime about what is protectable in Rex's book and what is not is awaited next month
The May trial, which will take 4 weeks, will be strictly about whether the Defendants are liable for copyright infringement and/or an accounting to Donna(Rex's widow). Depending on the result there could be a second trial a few months later that will focus strictly on damages (i.e., how much Donna is owed). Of course, these trials may not end the case entirely, because the losing party is likely to appeal, unless a settlement is reached. So there should still be some news about the case, at least through the summer, and possibly thereafter. Whether Rex's co-written story with Tommy De Vito ever appears in print remains simple speculation but if it did it would be a major event for fans.
So this is a summary of the most significant areas of research and interest we've focused on with our music detectives but my plans are to focus everyone once again on the Lost Period at Motown. What we have musically from 1970 to 1974 is not enough. There is a huge set of unheard and unreleased music by Valli and the group from this period and that will be our focus as we freeze the UK web site, and close the blog during this year. We plan to move our efforts to a new platform. Facebook
The web site and blog involve costs that we have carried for many years and given the prospect of 'no goodies in the cupboard' for the fans it seems time to 'draw a line' and 'park the bus' as far as the web site and blog are concerned. Personally I can't see any prospect of us receiving any more useful data or of writing of anything positive for fans based on the current status of things. But what we have published will remain on the www for some time and be accessible through search engines and our 'parked' web site. And we have a mass of data re what happened at Motown that we plan to share.
We're working on a final web site update to make the final Newsletters (Nrs 63 to 68)available for download. These feature the last of the 1970s articles in George Ingram's archive and the latest edits to Discographies featuring the primary releases on vinyl and CD over the years.
Plans are for Lynn Boleyn MBE to continue to maintain her role as news contact and secretary. She has become the public face of this group once again with the recent years get-togethers and concert tours and we could not have had anyone better. Over the last few years thanks to her contact with Dean Egnater. Frankie Valli’s Road Manager she has managed to get priority booking for the true fans at the UK concerts and indeed to actually meet Frankie and the "Seasons". Hopefully she can do the same and arrange to meet up with Frankie and the band again if the promised 2017 tour to the UK happens.
On-going fans of the Current line-up will still be able to push Valli to never retire!!
Many music artists from the 1950s to the 1980s with maybe only one hit or a handful of albums in their career have had their original recordings researched and compiled such that the art of their creative talent has appeared on CD in the last 15 years. So how could an artist with in excess of 80million records sold have around 45 studio recordings still languishing in storage vaults nearly 50 years after their creation?. This remains one of the enigmatic mysteries of the Four Seasons history.
Maybe because we have worked so hard as an Appreciation Society committed to research and the documentation of Frankie Valli's musical history we have been the benefactors of music data that others have stumbled upon and gifted to us which the creators strangely wanted to ignore. That seems to be the case with the story of the Four Seasons period at Motown. It seems we are almost the best equipped to tell the story of that period.
During the 1990s information was leaked from Motown UK that there were a number of unreleased tracks from the group and Valli in Motown's huge collection of tapes. This was confirmed during the noughties when a UK Motown CD compiler established these existed and proposed a UK CD release. The Four Seasons Partnership quickly reacted to quash such a project and it was not until 2009 that Motown Universal's CEO negotiated with the Four Seasons Partnership for a release of the Anthology CD collection of the 22 recordings by Frankie and the group that had been released on vinyl only during the period 1972 to 1974.
That was it.! Or so we thought. The tracks from the 1990s listing and the UK compilers project still remained unheard....unreleased. Why? It is a reasonable question. Do they no longer exist as the Partnership's lawyer has contended.?. Or are we to believe they are unfinished and not appropriate for release as has been contended by Bob Gaudio and accepted by Motown Universal?
Certainly not......because since then as a result of anonymous donations of data we have been able to document a long list of tracks, tape references and master numbers which we have made available via our website in the Motown Tape Index. The 2009 release itself confirms the quality with two previously unreleased versions replacing the vinyl versions. This data creates more questions than answers and as we finish our research we are able to share questions and analysis which makes the suppression of this music even more strange. We plan to do this over the next year.
Back in 1971 Bob Gaudio and Frankie Valli accepted Berry Gordy’s commitment to work closely with them and bring back the success they had achieved in the 60’s with a new sound. The deal signed with the label in the fall of 1971, following negotiations between Gordy and Valli himself, involved Gordy taking personal charge of guiding them back to the top, with his team of writers and producers, collectively known as The Corporation.(made up of Berry Gordy, Freddie Perrien, Alphonzo Mizell and Deke Richards)
There are four distinct phases of the groups contract at Motown. Originally signed to Mowest they worked intensely initially with existing producers A Valli solo album appears to have been considered too before the second phase and Bob Gaudio's own penned songs reflecting his thinking which resulted in a progressive adult contemporary album (he had failed to achieve commercial success at Philips with Genuine Imitation Life Gazette albeit some artistic acclaim) That album was to be titled 'Chameleon'. Not intentionally it became regarded as a 'concept' album. Single releases failed and Motown seemed to lose sight of this masterpiece’s strengths with failed promotion and mis-management. Such failure oft repeated during the 1970s by the company would contribute to the failure of the Mowest label. In 1971 when Motown moved to LA they had 9 Top Ten hits in the UK. By 1973 this was down to 4. Mowest’s failure to achieve much market success led Gaudio to somewhat abandon the group for his Motown in-house producer role whilst the group was troubled by internal conflict and changing personnel by 1973.
Phase 3 laid the seeds for potential success when Bob Crewe returned having signed as a writer/producer following recovery from financial troubles and nervous exhaustion after the collapse of his Crewe labels. He re-generated a new anthemic Seasons sound briefly before Valli sacked the group and started again recruiting a new line-up.
Phase 4 was the new album project Crewe and Gaudio seemed to have established with Motown which would lead to several top quality songs being demo'd in late 1973.With a quality 45 release in early 1974 success should have followed.
The failure of Motown executives at this time wasn't to be tolerated by Valli, Gaudio and Crewe as they saw potential being ignored or being under-promoted yet again. Leaving the label was the only option with a gem of a track and some potential tracks under consideration by Gaudio and Valli and the new highly skilled group line-up.
New deals for Valli's solo identity and the groups emerging new sound needed companies and Execs with insight and the distribution/marketing potential to create the success their talent deserved. Hence the Private Stock and Warner-Curb contracts that followed in 1974.
Quickly realising the error of their ways Motown rifled through the vaults to issue the 'Inside You' album as they owned all the tracks now left in rhe vaults. Two albums and a handful of single sides the legacy for3 years hard work
Nothing has appeared since with over 45 tracks now known to be recorded and on Tapes listed in our Motown Tape Index. A more detailed profile of all the work they did at Motown where they left 45+ tracks sitting in the vaults has been described in our Motown History of the group Parts 1 and Part 2.(see below) Check out the links. As we said initially, this is a most amazing situation in 2016 when the group's legendary status has been so reinforced since 2007 by the hugely successful musical Jersey Boys.
Would a release of this material prove successful?
If Bob and Frankie stepped back to look at the big picture of their career they would see this period as part of a journey from the desperate days of the debt crisis at Philips and their experimental attempts to revive the group and Valli’s reputation which led to the formation of a NEW Four Seasons band that gave the group their most successful hit ever and the finale to Jersey Boys. They will never be able to deny this fact or to have the world not recognise the achievements of Gerry Polci, Lee Shapiro, Don Ciccone and John Paiva. We just won’t let this happen.
Celebrating the rise from those desperate times was largely at Motown and we.can’t see how with the right Record Company and promotion that this would be a milestone collectors set. The quality of material has been demonstrated by the 'Inside You' album and the few demos that have surfaced since 2009. But more importantly this is a hugely important part of the groups and Motown history. It is musically a lost period.....'the missing link'. But whilst it would perhaps rekindle just what troubles surrounded the people involved during the period it would show how the individual brilliance of Valli, Gaudio and ultimately Bob Crewe created the second coming for two separate and brilliant acts, Frankie Valli AND a NEW Four Seasons which forms the finale of Jersey Boys.
But as with a Chameleon this group is changing colour as we close our focus on the history of the group in the 60s and start our CAMPAIGN TO FREE THE FOUR SEASONS FROM THE MOTOWN VAULT. Join our soon to be facebook group and help create the pressure necessary to bring this long overdue set of music to a deserving public. The fight to hear these lost productions is just beginning.
Ken Charmer
Read our detailed story of the time at Motown in our two articles
A good year for all UK fans with the tour back in June/July and the hope that there will be another UK tour in 2017 with talk of possibly four shows at the Royal Albert Hall in London.
A year also tinged with great sadness at the loss of our good friend Frank Rovello. However our wonderful memories of Frank will live on with his GILG website which will be maintained in the New Year in his honour following talks between Charles Alexander and Mary Rovello. http://gilgweb.com/initial.html
George Ingram, Ray Nichol, Ken Charmer and myself would like to wish all Frankie Valli & Four Seasons fans across the world a very merry Christmas and a happy and peaceful New Year.
I’ve been thinking for a long time how the collecting hobby of Four Seasons sounds was pretty exhausted and that with the passing of older fans that interest in their music and sound will ‘fall of the cliff’ as no-one younger seems to coming forward with interest and technical skill to carry on the research that we have been doing for the last 40 plus years. Keeping the sounds of harmony alive today and into future. How refreshing it was therefore to get the chance to speak with Kyler Schwartz in Philadelphia.
Kyler is a 23 year old avid 60s vinyl collector who is part of the Teensville Records team ‘bringing 60s rarities to the world’. I was sent for review one of their latest project releases on CD…… ‘A Sound For All (Four) Seasons –A selection of Jersey Harmony Sound-Alikes 1963 – 1967’. It’s a 32 track collection of Four Seasons imitators and contains many sides not heard before by even the most avid of Four Seasons collectors.
And the sound quality is excellent with tracks scoring generally DR10/11 on the Dynamic Range meter with RMS at or around -11 db loudness making it the best sounding set of such tracks since the ACE Laurie Sixties Vocal Groups CDCHD 346. The re-masters of even the well known tracks is an essential listen for any collector
The interview runs 25 mins and features clips from some of the tracks discussed and some of the rarer sounds. I can’t speak too highly of this set , if you like Four Seasons sounds and harmony groups generally. It’s a truly great set of rarities.
The UK fans have always been able to call on the friendship, help and support of Frank Rovello. Although we have always had independent web sites for UK and USA(GILG) fans since 1997ish we have never had to compete we just complemented each other and he did it all himself as did we. All Officially ‘Unofficial’. The Four Seasons have never appreciated what he did for them. Not really…..but it has been that way since the 70s as far as the fan base is concerned. It was 1997 back in the early days of the internet ’experience’ when I first corresponded with Frank Rovello. Frank wanted his data to be available to us and we were happy to return the complement.
He followed George Ingram’s Newsletters and contributed. We collaborated to get the CD set of The Adrian Baker Story compiled into ‘Harmony Gold’ and he mastered a few live show CD’s. He was always there for you………..always there to help verify a fact or a track and like us he always collected everything he could find and we were happy to add to his collection whenever we found any new ‘unreleased’ tracks and ‘live’ performances.
I got to meet up with him in 2007 when we had a ‘mini’ 4Seasons collectors get-together at the Roger Williams Hotel in NYC. He helped me compile the memories of the final Four Seasons show at Radio City before the now infamous ‘sackings’ for The Rise and Fall of The NEW Four Seasons e-book for our web sites with key photos of that performance. And like us he wanted the Motown Unreleased by Valli and The 4 Seasons to ‘escape’ from the vaults and now he never will. (nor may the rest of us until circa 2022-more re this in due course) He helped George Ingram and I with articles for the Newsletters tracking published articles through the years. Our UK fan club team hold fond memories of him.
George Ingram recalls…. “Frank did help me get two tickets for JB in NYC for Easter 2007 when the tickets were sold out. Apparently he managed to get Phil Ochs’s seats (don’t know how) because they were not being used at that time. Also he has been very helpful re releases, general information and related over the years. He will be sadly missed. I have dedicated newsletter no. 68 to him!”
Lyn Boleyn and Ray Nichol remember the convention he helped organize in Raleigh…..”What an absolute pleasure it was to meet Frank Rovello for the first time at the Four Seasons International Convention Weekend 24 – 26 October 2008, in Raleigh, North Carolina where the guests of honour were Joe Long and Demetri Callas. Our hosts were Frank Rovello, Johnny Hornsby, Russ McClelland and Charles Alexander who ensured that everything was just perfect for the whole weekend. Frank did a magnificent job on his web site covering the convention in his own unique and humorous way with not only photographs but audio footage as well. You can access this here: http://gilgweb.com/Raleigh.html Such very special memories of, as Joe Long described him “one of the good guys”; Demetri told us “he will be missed by many”. He was a gentleman, very kind and funny and he will certainly be missed by everyone whose lives he touched. A review of the convention can also be found here: http://www.seasonally.co.uk/News52.htm”
Ray recalls….”.I met him when I went to Raleigh and spoke to him for quite a while. You know we all have a degree of knowledge on the Seasons and Frank was quick to acknowledge this, I felt he was really into the music of the Seasons more than anything else as I gave him a piece of memorabilia which he appreciated and also a Motown double cd which(feat.The Night)was a freebie from the Daily Mail and that was most appreciated. He was an important part of the Season's email group and will be sadly missed by everyone.”
Well said all and thanks Frank for …..being there. Ken Charmer
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