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.
Analyzing the full story of Frankie Valli and The Four Seasons catalogue is still impossible!! With only 2 Track Master Safety Copies in the Partnership vaults of their catalogue, it is apparent very little unreleased material has survived. But what has is more than we could have hoped for!!!!!. There may be multi-tracks lying discarded and forgotten in the Mercury/Warner/MCA and Curb vaults...but such is life and we can only celebrate what we have. So the Partnership Archive is our source for 2 track MONO/STEREO Masters. The only source where any Multi-Tracks appear to exist that we have been able to identify is in fact Universal Music – The Motown Tape Archive. Even though we have paper records that are accurate and comprehensive re the Multi-track Master Tapes in the Motown vault, there are still so many questions unanswered.
With only 22 tracks released following nearly 3 years at the label and paper records indicating another 30 unreleased Masters and several alternate takes and other session songs partially completed, it has been a hard task to assess the importance and quality of this period in Frankie Valli's career as well as that of the group sound.
But as another 13 Motown songs emerge as 'approved' by Bob Gaudio for the Snapper Box set it has become apparent that these 29 tapes are the only known 'treasure' of stored Multi-Track tapes that can be located of any of the groups sessions. …....ever!!!!! They represent a huge find in the history of this iconic group and a bounty for fans........if only Universal Motown and The Four Seasons Partnership would share the rest of the finds with us. Maybe if we keep asking someday we will be able too enjoy them.
We did our research this last 10 years accepting that there may only be a few songs of adequate quality to go in any CD release. As Motown themselves had 'trawled' the tapes for the 'Inside You' album in 1975 and at that time given us an exceptional addition to the their only released album whilst at the label in 'Chameleon'....that was it. Apart from the handful of non-album singles that make up the rest of the 22 released songs captured on CD for the first time in 2008 on The Motown Anthology set......what could be left?.....particularly when both Harry Weinger and Bob Gaudio said at the time that they accepted that anything left was 'unfinished demos' and Frankie Valli's lawyer said these were 'harmful to his career and out of key'. This has proved to be a total lie and the forthcoming release of the 'approved tracks' in the box set demonstrates it.
We thought we knew better given the 2 alternative tracks on the 2008 Anthology CD Set......and this has proved to be the case. Never before heard, the extended version of 'Charisma' and the alternative version of 'Listen To Yesterday' shows how 'spoilt for choice' Motown are in Frankie Valli vocal selections. His recordings are not always with the Four Seasons maybe, but many tracks were 'laid down' by him but never heard since.
Tape Research this last year has revealed that the Partnership Archive ALSO contains 'remnants' of those days at Motown in Safety Copies. But what is of most significance from these finds is the story of how the group could have stayed at the label with at least an album of completed quality material ready for release. Motown assembled an album of tracks for release in May 1974. Tapes P 5084 and 5 contain this 'un-named' album of completed songs. And 2 tracks 'The Night'[mix39 – out of 43. The rest are still there!!] and 'You Can't Hold On' were 'pulled' for potential 45 release in June 1974.
Now we have heard and know the full quality of this album we can also see how the re-union of Bob Crewe and Bob Gaudio helped achieve superb material. Sessions together and as sole producers contributed to this set during sessions in 1973. And the hidden gem in this set is an alternative vocal ending version of 'My Eyes Adored You'. It is different to the one bought by Bob Crewe and subsequently released on Private Stock but in no way inferior. It is the Master lined up for release. If it had been Frankie would have been singing different lyrics since then......... But we are not getting that in the 13 approved for release with Universal Motown....... so as it was sold to The Partnership back then they can include it.........We have heard it now so it is in the box set too as a bonus track. And we won't stop asking for access to the rest of the known tapes and tracks.
We know that by 1974, the failure of promotion by Motown to push 'Hickory'[it barely broke the Billboard Top 100] had totally disenchanted Valli, Crewe and perhaps more so Gaudio who was driving towards new sounds and direction as the separate identities of The NEW Four Seasons and Frankie Valli 'solo' were beginning to emerge. Live shows and audience response was demonstrating the quality of the band. Bob Gaudio had a new writer/partner in Judy Parker. What was needed was the right material. New songs being written by Bob Gaudio with Judy and whilst registered at Berry Gordy's Jobete Music they would emerge at a new label and the well known story of them buying 'My Eyes Adored You' took Frankie Valli to a new 'Solo' career at Private Stock.
Motown were too late and had wasted several opportunities to generate hits during their contract and ignoring the output from sessions of great material remains inexcusable. They would get some financial success on the back of this 'walk-out' by Crewe and the Partnership as the re-issued 'The Night' soared into the UK chart on its re-release in 1975 [leading to the re-release of 'Chameleon' and the release of the 'Inside You' album] but as more quality tracks are now emerging the bad management at the label is ever more clear.
But as I said at the beginning we still can't capture the full story with at least 15 completed Masters of unreleased songs mainly from the MoWest period still unheard.We don't believe there is a lack of quality amongst this set.....it is just that we are unable to judge that YET? What will become apparent to fans with the forthcoming release is the superb quality of Crewe, Gaudio and Valli to deliver in the studio. 11 of the 13 approved songs are quite superb and a match for many that would follow at Private Stock with Frankie Valli. The Four Seasons feature[in various line-ups] on several tracks but the intense power of the NEW Four Seasons contribution[along with Nick Massi and Charles Calello] on the immense Crewe-Nolan songs 'Lovers' and 'Hymn to Her' [from December 1973] shows why Crewe and The Partnership wanted to buy more of the back catalogue from Motown at the end of their contract.
What we have achieved and will all get to hear is superb. The shame is that everyone involved has hidden this music from us [or even admitted it exists] for 45 years. As I said.....'it is all starting to unravel'.
Ken Charmer – The Four Seasons UK Appreciation Society
Coming soon......The Story Of 'The Night' and its 43 Mixes
It has taken a while to catch up with George Ingram who has been ‘motoring’ through his archive of articles and news of releases re The Four Seasons this winter. This is not ‘Jersey Boys’ but the real history……of the real group and their producer Bob Crewe. It celebrates their work and the teamwork that was necessary at all stages in their career and the success this brought.
Below are links to our Newsletters 61 and 62 and our web site is also updated to provide links to updated UK discographies and to Bob Crewe’s SOLO discography which now includes the recent discovery by Musicologist Mike Miler of a lost ABC Paramount 45 of Bob backed by the 4 Lovers on Come To Me and Another Day. Both are Bob Gaudio compositions the latter appearing by Chuck Jackson on his 1962 album ‘Encore’. It is amazing that even today unknown songs can surface like this. We hope to get these rare sides onto You Tube soon.
The Newsletters focus on late 70s articles and the last great ‘original’ hit band line-up of the group as well as obituaries and articles re Bob Crewe who passed away last year. Frankie Valli and Bob Gaudio have got a lot to thank George Ingram for as in his Newsletters there is a very collectible scrapbook of many articles not available on the internet. This record of articles interfaces with Frank Rovello’s page at the GILG web site and in Newsletters 47 to 62 we have a published library dating back to 2006.(and a digitized archive going back to 2000) This like all internet data is ‘transient’ and may not be available for too much longer in this digital form. Grab it while you can.
There will be a couple more Newsletters this year before George ‘officially’ retires having left the most comprehensive review of the group’s history and releases ever. We are all indebted to him.
We knew it was coming after his accident and dementia a few years ago but the passing of Bob Crewe (my real music hero) in a way brings an end to an era. Our deepest condolences go out to brother Dan and all of Bob’s family and friends. Personally as a man and a producer I respected him, his talent and work more than any other 60s producer.
For 15 years we have researched his career and discovered little known tracks that show his immense talent. As a reminder of Bob’s skill read the blog of Don Charles…by clicking …..THE POP CULTURE CANTINA. His career was awesome. It captures what we have been saying about Bob’s achievements in his production/writing career. He taught the Four Seasons how to make not just records…..but hits…he made Bob Gaudio a consistent musical genius…..he enabled Charlie Calello to become a top producer. He created success for others and gave hits to so many artists who will remember him with great affection
Despite the success of Jersey Boys his breadth of work remains relatively unknown and his achievements very much under appreciated.
With 8 bootleg volumes of 'Seasons' Connections compiled from our collection of his work it is such a pity a record company working with Bob couldn't have helped us celebrate this great producer with official collections of his work. Don Charles blog post is currenly the most comprehensive bio and sets the record straight for those who don't know of his work.
Our past posts on the blogs have paid tribute to him in many ways and below are just a few:-
But the research we did into his female answer to the Four Seasons for me showed the great man and producer he was. He picked the lady who was to become a dear friend ‘Jean Thomas’ to be lead singer of The Rag Dolls and the result was a string of great girls sound 45s. Jean's bio contains a quote by Ellie Greenwich which captures their special relationship……”Jean’s good friend Ellie Greenwich had met Bob Crewe before Jean got to meet him. Ellie had a good relationship with Bob Crewe and commented on his ability in an interview before her untimely passing in 2009….."I'm not exactly sure when I met Bob Crewe, but we always saw each other around the business from the very beginning. (We) had an affinity for each other (and) still do! He was a joy to work with on all levels . . . he's a perfectionist, he's open to any outside ideas, he really knows what he wants and gets it, and most of all, he is passionate about what he does. He puts all of himself into everything he touches . . . I always loved and still do love Bob! I can go on and on about this talented gentleman, and he is just that: A 'gentle man'."
I like to think that now Bob and his great friend Ellie Greenwich are together in Heaven’s Rock’n’Roll Hall of Fame and they are watching over successive generations discovering their music and stories.
Maybe his bio which we know he worked on will now surface. We know he completed many interviews and notes for this a few years ago. We can only hope that brother Dan can pull this together his wonderful life deserves this and we could all cherish his achievements and stories.
Finally to hear what Bob achieved with the Four Seasons and we didn’t get to have released catch Bob’s unreleased DEMO ‘Lovers’ which actually features images of Bob posing with a beautiful unknown girl. Bob Crewe at his best.
In our Chapter 7 of the Rise and Fall of The NEW Four Seasons, Casey Chameleon defended Bob Crewe’s ability re an article in Crawdaddy magazine back in the 70s in which Frankie Valli argued that the ‘genius’ of Bob Gaudio was the real talent of the Four Seasons success story. That claim and a recent article on the www prompted the question ‘Who was the best producer Bob Crewe or Bob Gaudio?’
Well for a fuller appreciation of Bob Crewe’s ability read Don Charles Goin' Places! the Bob Crewe Era (Part Two) to appreciate the sheer power and personality that enabled a ‘non-musician’ to succeed so spectacularly. It shines through in the Don Charles articles as it does in the photos of George Schowerer’s studio collection. It prompted me to revisit the recurring theme in our story of the ‘conflict’ between Crewe and Gaudio in the studio. In a 1972 interview, Bob Gaudio admits to the clashes in the studio that resulted in them not “working together in the studio” for periods in the late 60s and early 70s whilst still occasionally “writing together”. The clashes are understandable and people who worked with them have said that “it was like having two producers in the studio”….”
Don Charles describes Crewe’s production style very aptly.. . “His productions were always a patchwork affair; seldom did he ever cut songs "live" with all his musicians in the same room. The musical overdub was his favorite tool to use in the studio. He liked to spend a lot of time on details: A harp flourish here, a harmonica part there, a drum roll, a Flamenco guitar riff, a weird sound effect, a dramatic pause. Those details were often as important as the basic track, if not more, and they were essential to his production style.
(Bob Crewe photo courtesy of Aloma)
Arranger/producer Charlie Calello stresses that Crewe never began a recording session without first laying out his vision. "Before we would go into the studio, (Bob) would have other records as reference points and (he'd) explain how he wanted his song to sound. He would say that he liked the rhythm on one record, the strings on another . . . when he heard the concept in the studio, he would continue to make changes and adjust it until (he got) what he wanted. Crewe would move parts of a track to an earlier or later point on tape, or repeat it over and over again. His energy was always 'up', and he constantly came up with different ideas that would shape the record," Calello says. "If there was one thing I learned from Bob Crewe, it was (that) 'the impossible takes just a bit longer!'." Anyone who observed Crewe at work couldn't help but come away impressed by his creative ability, especially once they came to terms with the fact that he could neither read nor play music.”
In the early 60s Crewe's ambition and spontaneity clearly overshadowed Gaudio's. At the time, the feeling in the studio based on anecdotal information from those that worked with him was that Crewe really had a good handle on what he thought the market needed...and he had hits to prove it.
Gaudio cut his production ‘teeth’ (apart from some experimental projects with The 4-Evers, Jessica James and the Outlaws et al) from 1966 with the spectacular ‘I’ve Got You Under My Skin’ but would follow that with ‘Can’t Take My Eyes Off You’ with Bob Crewe before he took control of most of the Four Seasons output . What followed were the failures of ‘The Genuine Imitation Life Gazette’ and ‘Chameleon’ albums before he scored with the ‘Who Loves You’ album before the flop ‘Helicon’. Then came his series of excellent successes with Neil Diamond. But Bob Gaudio has maintained he never set out in many of his song-writing/producing situations to write a ‘hit song’.
Crewe would argue his ability brought Valli’s solo career back from the dead with ‘My Eye’s Adored You’ and ‘Swearin’ To God’ . Don Charles talks up Crewe’s achievements as he maps out Crewe’s fundamental grasp of the hit sounds people wanted.” It's not surprising that Bob Crewe scored several big Disco hits in the '70s; it was all but inevitable that he would. Clearly, productions for The Four Seasons like "Workin' My Way Back To You", "Opus 17" and "Beggin'" anticipated Disco music; they're the missing link that falls between Cameo-Parkway's dance novelties and Motown's big beat concertos. All three styles form part of a direct line which connects the mambo and the cha-cha-chá to the Bump and the Hustle. Crewe's tickets to dance music immortality were the glam Rock trio LaBelle, who rode his Creole hooker fantasy "Lady Marmalade" to the top of the charts in 1974; Frankie Valli, for whom he wrote and produced the 1975 club classic "Swearin' To God"; The Eleventh Hour, with whom he waxed the cult favorite "Hollywood Hot" (1975), a revamped Bob Crewe Generation, who came back strong with "Street Talk"(1976); and the infamous Disco Tex and His Sex-O-Lettes, for whom he crafted the high camp anthem of 1974, "Get Dancin'". His Disco Tex LP is revered by dance music aficionados; a concept album revolving around the androgynous stage persona of former Las Vegas headliner Sir Monti Rock III, it features guest vocals by Sugarloaf's Jerry Corbetta, Crewe's new songwriting partners Kenny Nolan and Cindy Bullens, old friend Freddy Cannon, and '60s beach movie soundtrack singer Lu Ann Simms. Without a doubt, this was the wildest party Crewe ever staged on wax.
As important as the aforementioned records are to Disco music, Bob Crewe made his most significant contribution to the genre not as a producer, but as an organizer. After moving to Hollywood in the mid-70s, he co-founded the Los Angeles Deejay Pool. In his book Turn The Beat Around, Disco historian Peter Shapiro explains the significance of these organizations: "The idea was that the record companies could save money by sending promotional material to one centralized office (and) the deejays would get all the new records without . . . being rejected because their club wasn't (considered) important enough." By ensuring that the best dance records would be heard in a large number of discothèques, deejay pools facilitated Disco's transition from an underground phenomenon to the cultural explosion that it became. As always, Bob Crewe was primarily interested in promoting his own product, but with LADP, he helped foment a musical revolution in the process.”
So was Valli correct in attributing the success of the Seasons sound of the 60s to ‘Gaudio’s musical genius’ in that 1970s article.?
Crewe, a non musician, surrounded himself with talented people encouraging them to achieve their best and succeeded time and time again and he gave others credit and inspired them. Gaudio never did apart from a nod to Crewe’s contribution of lyrics in a 1972 interview and his crediting his first wife Brit who did contribute full lyrics to two songs via her poems. Doubts however have been expressed re Judy Parker’s lyric writing contribution to the 1970s songs Bob Gaudio penned.
Jersey Boys gives no inkling of the ‘reality’ of Bob Crewe’s contribution to the Four Seasons success which was clearly a team effort led by Crewe.
As Charles Calello says….”the key thing is that the Jersey Boys show is centered on the Four Seasons and the original members….and so Crewe’s involvement is somewhat incidental to the shows main direction”
One photo from George Schowerer’s studio set paints a picture in their body language that doesn’t lie. Two big ego’s - they struggled to get on in the studio.
Charlie is quite clear that Crewe was the best producer…..”Well you’ve got look at what a producer actually does…a producer is someone that not only makes the records, but he also starts it from scratch. And if you look at Crewe’s history of success…Crewe was responsible for Freddie Cannon, Billy and Lilly The Rays …all before he met the Four Seasons….and then the success with the Four Seasons, Diane Renay, Mitch Ryder and The Detroit Wheels, The Bob Crewe Generation, Disco-Tex and The Sexolettes, Lady Marmalade and Frankie Valli’s career…so that is 9 artists he was responsible for developing in his career(as a producer) since he made the Four Seasons a success”
In Gaudio’s case he would offer up his success with Neil Diamond as a producer in the late 70s, but his production work with Diamond was when he was already a superstar.
“Gaudio doesn’t come close to Crewe as a producer’ says Charlie, “as a producer you have to get the song, find the artist, rehearse and record it and get it promoted by the record company. It is really hard work….. But one of the things I’ve noticed about Gaudio, to his credit, is that over the years, he didn’t score often, but when he scored he scored BIG….’Sherry’ launched the Four Seasons…and he wrote their first 3 hits…and some smaller hits(although ‘Rag Doll’ was a major hit I don’t credit him with that as it stemmed from an idea by Sandy Linzer and Denny Randell) before the next blockbuster that he wrote…which was ‘Can’t Take My Eyes Off You’ and that was brilliant and he didn’t score again until ‘Who Loves You’ and ‘December 63’ and although he did further records, that was that as far as blockbuster hits was concerned”
A top arranger and producer himself Charlie describes the collaborative but visionary skills of Bob Crewe in this comment….
“Back in the days when I was doing the Crewe records, Bob always had a lot to say about direction and what he wanted the records to sound like. He was one of my teachers that helped me learn how to make "pop" records. I would write the arrangements and Crewe would finish them himself. Although he wasn't a musician and would sometimes have the singers sing the wrong notes, the parts always seemed to work. Crewe is singing and doing the background voices on "My Eyes Adored You." There are sections the singers sing the wrong notes, which always seems to bother me - - but - - it worked. Crewe was more then capable and was a brilliant producer. Not to minimize my involvement, I just made his ideas work! Later on, with experience under my belt, I was able to do more and more and eventually became "Charlie Calello - Producer" In the beginning we needed Bob Crewe because he knew how to make "Hits." He taught us well and the records tell the story. Also, the songs were much simpler to record and there were usually a few people around that would help Crewe is he ran into trouble.”
And as Don Charles says Crewe has been mis-read. As a bi-sexual producer working with straight and gay artists throughout his career his contribution, as many believe, has been understated and his portrayal in Jersey Boys may have “ led some people to think of Bob Crewe as a King of Kitsch, Rock 'n' Roll's equivalent of an Andy Warhol or a John Waters. That's hardly an accurate assessment. They've mistaken embellishment for exaggeration! Crewe approached music making every bit as seriously as his contemporaries did; he just had a highly theatrical style. That style involved injecting a generous dose of humor into his songs when appropriate. It also involved giving records a larger-than-life quality, which all of his best productions have. His body of work reflects great conceptual vision, and would make any musician proud. What makes it all the more remarkable is the fact that Bob Crewe isn't a musician! He's a gifted audio-visual artist who possesses the power to dazzle you, regardless of which medium he chooses to work in.”
”What an amazing résumé he has! Singer, songwriter, producer, publisher, painter, sculptor, celebrity host, fashion model, consultant, entrepreneur and now, author . . . it's almost like he's lived several lifetimes at once.”
As producers they both have their fans and we all love Bob Gaudio’s melodies and creative ability. But thank God he did get to write and produce with Crewe, without whom, ‘Sherry’ and the rest of the Four Seasons story wouldn’t have happened. Bob Crewe added a dimension to the Four Seasons that they would not have otherwise achieved during the early 60s and he deserves to be saluted as a ‘pop genius’…and he would be the first to admit the contribution of Gaudio/Calello/Schroek/Hutch and others in the writing and producing of the fine music which is his legacy.
But who was the best producer is not really the key fact. They did their greatest work together and even during the 70s at Motown they found a way, together and apart to produce great material for Frankie and The Group some of which we have never heard. We’ll continue to push for the release of their separate and combined productions from 1973 and 74. More evidence of its existence has emerged and we will report on this later in the summer.
But for an example of classic writing and production by them both from the very early days is this gem …a Crewe-Gaudio lost classic written and recorded before ‘Sherry’ and beautifully delivered by Jerry Jackson on this 1962 Bob Crewe Production
And always being prepared to make the most of a good arrangement Bob Crewe re-used the Hal Miller and The Rays instrumental backing track for ‘An Angel Cried’ with a completely new Crewe-Gaudio lyric for Chuck Jackson on ‘King Of The Mountain’ in 1963. It just shows the imagination and innovation of this pop genius.
The real story of the Four Seasons music is NOT Jersey Boys but the collaborative skill of Crewe – Gaudio – Calello – Linzer – Randell and the incredible vocal performances of Frankie Valli.
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