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.
George Schowerer captured the magic of their relationship in dozens of studio photographs when they worked together in 1967 at Mirasound Studios and his production of her 45 sides 'I Want You To Be My Baby b/w Goodnight, Goodnight (What's So Good About It?)' on United Artists 5015. He also wrote the latter song for her using Jean Thomas, Mikie Harris and Valerie Simpson on backing vocals in March 1967 the same month he recorded 'Can't Take My Eyes Off You' with Frankie Valli. See the background video here
That relationship would strangely later spark the start of Bob Crewe's recovery to a new 'golden age' of songwriting and production and a re-union with past writing and producing colleague Bob Gaudio that would see them both achieve Number One Hits and go on to Crewe also collaborating with Jerry Corbetta and the writer, Ellie Greenwich, in producing the original cast album for Greenwich's Broadway musical, "Leader of the Pack" in the early 80s.
The contribution Ellie would make to his recovery in 1972 was after Bob Crewe had suffered a career collapse at the end of the 60s. Dan Crewe, Bob's brother had been with him in establishing Genius Inc in 1962 and they were Chairman and President respectively in the CGC Group of Record Labels that collapsed in 1970 and he does not have kind memories of his brother who overstretched himself when they were effectively partners. “He was the biggest pain in the ass I ever had to deal with in my life,” Dan Crewe recently said of his brother, whom he described as a narcissist “who did everything to excess. He was a real drunk. He could get out of hand. It’s the story of his life. It’s racing to the moon and then crashing. …” Dan was taking care of the business......“We were incredible together before the drugs and alcohol,” Dan Crewe said. “We were zooming. We had so many god-blessed hits, it was one right after the other. In the early days of the Seasons, we had three Top 10 records all the time. We were always on the charts. It was endless. We had so many different acts, all the time.” Eventually, alcohol gave way to pot, which led to cocaine. “And once cocaine came into the picture.........” Dan Crewe said, without finishing his sentence. “With my brother, you always worried what was going to happen.” But not everyone saw Bob Crewe so negatively and he consistently made good records like no other producer of the 1960s and 70s, although he had problems with Bob Gaudio and Mitch Ryder which have been anecdotally made public. Ellie Greenwich had a good relationship with Bob Crewe and commented on his ability and on how they first met 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'." But as they were siblings and Dan Crewe was jointly managing the business decisions, perspectives clearly differ, and drugs can create big issues within families.
Although he still held it together into the studio to produce great 4 Seasons songs by 1970, they became very diverse but always interesting. 'Lay Me Down, Wake Me Up' [originally titled 'Let This Time'] would be his last writing and production work in the studio with Bob Gaudio and the group in August, before his financial and addiction related break-down. His final recording at this time with Bob Gaudio will surface this year with the sublime 'I Need To Get To Know You', which they wrote and recorded together and he would co-write 'A New Beginning' with him which was done as an unreleased rock 'demo' in 1970 before it would emerge in full harmony by the Four Seasons on the 1972 'Chameleon' album with Bob Gaudio producing.
Bob Crewe would be in 'recovery' until 1972 when brother Dan helped him get back into writing and production with a contract at Motown Records whilst Frankie and the group were signed to their LA based 'MoWest' label. He quickly adapted in September 1972 with the commencement of productions with Bobby Darin. One of the key tracks was ‘Happy’ , the Smokey Robinson – Michel Legrande penned theme to Berry Gordy’s movie with Diane Ross, ‘Lady Sings The Blues’. He also created some very harmonic ‘Seasons’ styled backings on ‘Another Song on My Mind’ and ‘ I Won’t Last A Day Without You’ with Bobby Darin. [allegedly also recorded with Frankie Valli and in the Motown Archive]. Unfortunately a heart operation resulted in Bobby Darin's tragic and untimely death and the album was finished with infill songs and released in Feb 1974. ( Bobby passed away on Dec. 20, 1973)
Bob Gaudio had signed Frankie and the group to Berry Gordy's empire in October 1971 with a deal for 8 tracks with in-house producers and 12 stand-alone full group tracks with Bob producing. Only one track, from the May 1972 album release 'Chameleon', would get US single release and a 'Corporation' production of Walk On, Don't Look Back' in August 1972. Notwithstanding this lack of promotion and releases, Bob Crewe's return would change their lives and paths as they started to write and produce, together and separately in November 1972. Bob Crewe would start to write again with Alan Shatkin, and Bob Gaudio and both Bob's set aside past differences after traumatic periods in both their lives, to pen new songs.
And whether it was a favour returned or not, we don't know, but by 2nd November 1972 Bob Crewe was back in the studio with Frankie Valli and The Four Seasons. We still haven't heard it as it remains 'unreleased' but Bob Crewe's first registered and completed Master Nr 61633 at Motown on 16 track [Tape 2414] was a song contributed by him writing with Ellie Greenwich and ex Four-Evers member Steve Tudanger. 'Be My Lover, Be My Friend'. It would be a magic tribute to Ellie [and Steve] to hear it released.
Very soon the sessions and tracks were rolling and over a 5 month period some of the 'Bob's' best work together and in their own right as producers since the mid 60s were emerging from the mixing booths as completed recordings. 'With My Eyes Wide Open' was amongst the first of powerful driving songs which would not appear until post departure from the label on the album 'Inside You' in 1975. That title track was strong enough to interest the Motown Management and would eventually warrant an album release but only 'Listening To Yesterday' from these sessions at this time would be selected for single release [strangely twice!]. This song would also be mixed in two entirely different versions by Bob Crewe and Bob Gaudio as classy examples of this period and their ability. The latter previously unreleased version did not appear until the 2008 Motown Anthology.
Another song from these collaborations which will be released in late 2022 is 'Star'. A complex and innovative arrangement combining rock and harmony in a stunning production. By May 1973 Bob Crewe had completed the song from a movie [Tom Sawyer] 'How Come' [Motown 1255F] with soaring studio session vocalists and not the Four Seasons group which had temporarily been disbanded by Frankie whilst he recruited new members. Gaudio did the vocal arrangements with Crewe producing.
Bob Crewe also in the Spring recorded Frankie Valli solo on tracks which have not yet been released by 2022. 'Give Us This Day' and 'Turn It All Around' with arranger Dave Blumberg remain unheard which is criminal given the commitments made in preparing the Snapper Music Box Set. However Bob Gaudio's return to producing Frankie Valli in the middle of the year has produced three unheard tracks in that set as approved by Bob Gaudio. Previously 'You've Got Your Troubles' and 'The Skalawag Song (aka 'Silver Fishes') saw single release from those sessions and now we have 'Whatever You Want', a 1962 Crewe – Gaudio composition, 'You Can't Hold On' and 'Future Years' appearing this year. But for some unknown reason Bob Gaudio did not include 'Getting Over You” from the same Tape P2678?
Again lack of promotion and disarray at Motown meant the cancellation of a planned album MW788 [provisional title 'Inside Out'] and it is little wonder that all involved thought they had to find a way back to getting someone in a record company to believe in the music and promote it.!!
Motown made one final promise as a NEW Four Seasons group line up were signed up with a never before range of musicianship that would lead to two additional lead vocalists within the Four Seasons. The 'execs' at Motown committed to Bob Crewe sessions in November and December 1973 on new songs Bob Crewe had composed with '11th Hour' group member Kenny Nolan. He used the NEW Four Seasons with Nick Massi returning and Charles Calello arranging. 'Hymn To Her', 'Lovers', 'Charisma', 'Hickory', 'My Eyes Adored You' and 'Make Your Tomorrow Tonight' were completed and two released on Motown 1288F. 'Hickory b/w Charisma' got to Nr 96 in the US chart and an album was gathered from the 1973 sessions, but all too late. Bob Gaudio had his own new compositions registered at Jobete , the publishing arm of Motown and all of their contracts were running out. Bob Crewe was rolling too as Lady Marmalade hit Nr 1 with Crewe's production of 'Voulez Vous Couchez Avec Moi Ces Soi' in November 1974 and he subsequently bought himself out of his writing contract with Motown. Bob Gaudio appears to have waited for his to lapse and so left the publishing with Jobete for 'Who Loves You' and other tracks.
Only 'My Eyes Adored You' could be bought back when they left the Motown label with Bob Gaudio's unrecorded compositions The rest is history as they set up the contracts at Warner-Curb and Private Stock. Bob Crewe's production and writing effort with Kenny Nolan achieved the long wanted Nr 1 for Frankie Valli, with the 'TAPE SOLD BACK TO PRODUCER' song as their Artist Card records. The success for Bob Gaudio, who with co-writer Judy Parker had adapted and devoted his writing and production skills to the band, recorded and produced the songs that would hit the heights with 'Who Loves You' and 'December 1963(Oh What A Night).
Bob Crewe's production and writing effort with Kenny Nolan had at last achieved the long wanted Nr 1 for Frankie Valli. 'The Night' from the 1972 'Chameleon' album would also soar into the UK Top Ten upon it's re-release in the UK. A belated Motown success.
The 'Lost Era' would conclude finally with Bob Gaudio's success with the 'Who Loves You' album. However Bob Crewe's joys at the magnificent 'Swearing To God', and 'In My Eyes' for the 'Close-Up' album was ended by a hit and run driver, who nearly killed him in 1975 leaving him in a body cast for a year, and Bob Gaudio had to finish the album. Ironically this was as Crewe walked to an AA meeting [now titled NA(Narcotics Anonymous)] There are we were told by Bill Inglot other 'out-takes' from these album sessions but so far these have not surfaced.
So ended the LOST 'second coming' of Crewe – Gaudio. They never quite re-found that magic again although the 'Heaven Above Me' album and now the salvaged LOST DISCO ALBUM with the unreleased 'Back In Action' by Crewe-Corbetta will surface this year. 'Soul/Heaven Above Me' and 'Let It Be Whatever It Is' looked like being their last collaboration as Bob Crewe substantially retired by 1981 that is until their last effort, the prophetic 'What About Tomorrow' on the 1985 album 'Streetfighter'.......but Bob Crewe and Kenny Nolan take pride of place in our full restoration of those sessions with the unreleased 'Killing Time' in the Box Set. Bob Crewe however did not participate in the production of the album.
If justice could be done we would have all of the music from the 1973 Motown sessions and in particular the unheard productions by Bob Crewe [along with alternate versions and 'takes'] to demonstrate the road to what followed in terms of success in the 1970s post Motown. Bob Gaudio has the power to give us this and set the record straight. As he says....'if you believe ….you receive'. 2023 beckons and another project is 'believed in and awaited'.
Casey Chameleon – September 2022
The titles shown in RED indicate previously unreleased tracks with some available in the Snapper Music Box Set this December
These two albums remain two of the best selling Four Seasons albums ever and when ACE Records issued them on a Two-Fer in 1994 we had the best versions ever from the STEREO album Masters in the FSP vaults.
Now in 2022 as we are about to receive the MONO albums as well all re-mastered in the Snapper Music Box set the only problem is that some tracks on the STEREO albums are MONO and most STEREO versions of tracks are mixed 'wide' with the backing vocals separated in the right channel. But with Digitally Extraction software the music and vocals can be extracted and RE-MIXED to ensure all tracks are mixed consistently as on the Dawn album Tracks 3/4/5/8/11/12 and track 12 on Rag Doll.
So why not tackle this and see if a consistent vocal and instruments album can be created from the best Masters we have from the excellent ACE CD 554 from 1994. Particularly as we have a 1 Bit Studio transfer thanks to the late Stefan Wriedt to work from.
Here is a sample so far as we enjoy the 'together' sound of the Four Seasons for the whole album mixed this way. You will in time have the choice of the MONO....the original STEREO Mixes....and these NEW Centered Vocal Mixes in 2022. Enjoy!!!
Bob Crewe Late 1973 Sessions Frankie Valli[ Four Seasons]
[lncluding Kenny Nolan, Charlie Calello and Nick Massi and a Four Seasons including Gerry Polci and Lee Shapiro, Joe Long and Demitri Callas]
Core Tapes to be researched: P2664:
Track Title: My Eyes Adore You-Title on Artists Card!! [Alternative Mix found and proposed for release Summer 2020]
Artist: Frankie Valli
Producer: Bob Crewe
Motown Master: 62522
First Location Tape: P2664
Second Location: T5178
Additional Location: P5085[Album]
Notes
It's very interesting studying the Artists Card for 'My Eyes Adore You' which shows the first stereo mix done on 11th December 1973 and copies done to T tape 5178 but then again some 6 months later on 4th and 10th June.(the second one being to P5085 the mysterious album tape Motown assembled that month). So then there is the note “mixes out to producer” in red and “tune sold back to producer”.
This raises the question of 'when' was it sold?. Perhaps it was as late as June 1974 and that is when Crewe/Valli/Gaudio started 'hawking it around' to other Record Companies before signing Frankie Valli up to Private Stock.? Does anyone know more?
Charles Calello told us he put added strings on the copy purchased for release in late 1974. This copy remains in Motown’s vault as the original Master and we found a Tape Box of a ‘New Mix?’ version in the FSP Archives. It has a louder guitar in the mix and a different vocal outro from Frankie which is not as effective as the version later released on Private Stock. We have proposed this version for inclusion as a Bonus Track in the Box Set ‘unreleased’ tracks Disc 22.
Track Title: Hymn To Her [found and for release Summer 2020]
Artist: Four Seasons
Producer: Bob Crewe
Motown Master: 62523
First Location Tape: P2664
Second Location: T5198[78?]/T5767
Additional Location: P5085[Album]
Notes
The administrators that did the Artists Cards at Motown in 1973 didn't always get the right 'gender' message as the data for Master Nr 62523 shows.[Titled ‘Hymn To You’ !!] This magnificent Bob Crewe-Kenny Nolan song just oozes quality and the anthemic 4 Seasons which we know include Nick Massi lift it to another level. Frankie Valli may have wanted to get away from his falsetto hence the focus on 'My Eyes Adored You' rather than this but it is suggested he did try to buy 'other masters' from the label in Rex Woodard's article from Billboard in 1981. He now knows the superb master for this still exists and that fans would love it as we have put the acetate on You Tube since 2011 when we uncovered it. Mixed as early as 11th December 1973 and subsequently copied to album Tape P5085 which we now know had tracks added in May 1974 all too late for a frustrated group and producer and never released. Bob Gaudio already had plans to take this group in a new direction and Frankie Valli wanted to re-establish himself separately as a solo performer. Did Frankie Valli's solo ambitions eventually destroy the Four Seasons sound?.....answers on a postcard to......The Four Seasons Partnership c/o...!!!........it is however ESSENTIAL FOUR SEASONS. The mix approved by Bob Gaudio for inclusion in the Snapper Box Set is different to the copy we found in the FSP Archive....it had been there since 1974??....and is the same choir fade-in start as the acetate. It has been proposed for inclusion in the Box Set as an alternative Mix.
Track Title: Lovers [found and for release Summer 2020]
Artist: Four Seasons
Producer: Bob Crewe
Motown Master: 62524
First Location Tape: P2664
Second Location: T5198
Additional Location: P5085[Album]
Notes
This is one of the last unreleased recordings from the November 1973 sessions with Bob Crewe and Kenny Nolan and the Four Seasons that included Lee Shapiro and Gerry Polci. Charlie Calello was the arranger and Nick Massi also arranged the vocals and contributed to the harmonies. We have salvaged an acetate copy and posted the recovered version of this on You Tube since 2011, but this card confirms all we had from the Tape Index was correct. Bob Gaudio has mixed and approved a version for inclusion on the Snapper Music Box Set. It is on P2664 but was mixed and copied to P5085 in May 1974 which was the album assembled for release as Crewe/Valli/Gaudio decided to leave the label and try to take the songs they had done. It's a pity this one couldn't be bought along with 'My Eyes Adored You' as it would probably have sold well.
The FSP Archive actually contained an alternative mix with slightly different closing which we believe was the final mix selected for copying to the cancelled album tape. It has been proposed for inclusion in the Box Set.
Track Title: You've Got To Make Your Tomorrow Tonight
Second Location: T5198
Notes
This track has been found as an acetate demo but begs the question....Why?. It is a Wonder Who styled song of ‘novelty’ quality but was completed. It can be heard on our You Tube channel ‘Mowest Chameleon’. Maybe it is more a joke by Bob Crewe to wind-up Motown Execs.? But whilst interesting it isn't a strong addition to the groups catalogue although done at the same sessions as the above tracks and with the same personnel.
Track Title :Hickory [Extended Version]
Artist: Four Seasons
Producer: Bob Crewe
Motown Master: 62521
First Location Tape: P2664
Notes
Although a released 45 - Motown 1288FA we found an acetate in 2011 of the ‘Extended’ version with an extra verse and a superb Frankie Valli falsetto ending. Whether it has been found or reviewed by Bob Gaudio is unclear as he identified that he did NOT WANT the extended version of ‘Charisma’ included in the Box Set even though it was included in the 2008 Motown Anthology 2 CD Box set.!!! Obviously it should be.....but why a NO from him when I sent him the Master of ‘Charisma’ Extended?
There are rumoured other tracks from this session tape to be confirmed via listening tests which given the volume of Tapes involved may not have happened yet and most certainly Universal Motown are not allowing anything else to be included in the Box Set and Bob Gaudio is not approving anything else for this project
With Bob Crewe recovered from his breakdown in 1970 and being re-signed as a writer producer with Motown[for Bobby Darin sessions in October 1972], he and Bob Gaudio patched up past differences and resumed writing together and in late 1972/ early 1973 recording sessions with Frankie Valli [with perhaps the Four Seasons and/or Motown Session singers as the Four Seasons] took place.
The start of 1973 appears to be a low point for Frankie Valli and the Four Seasons with the imminent demise of Mowest and their allocation back to Motown, when Frankie actually sacked the group and recruited new members Gerry Polci and Lee Shapiro.by the middle of the year.
The return of Bob Crewe shows that they returned to the studio [in late 1972] as at the beginning of 1973 mixing of stereo tracks and registration of Master Nrs for potential release resumed. There is no indication in the filing systems if sessions were in LA or in NYC which was the location for their later 1973 sessions with Bob Crewe. The first P tape(16 track) to be listed in a clear run of sessions involving Crewe/Gaudio were P2388 and 9 with several mixes done to stereo masters in February 1973 and there was a new sound emerging and more importantly Crewe-Gaudio were writing and producing together again. 4th Feb 1973 saw 'With My Eyes Wide Open' (Master Nr 61749) a magnificent anthemic song which should have gotten the interest of Motown Execs. But they didn't see the single potential and this would not get release until the 'retrospective' 'Inside You’ album in 1975
Core Tapes to be researched: P 2388/89: 2414: 2511: 2656
Track Title: Be My Lover Be My Friend
Artist: Frankie Valli
Producer: Bob Crewe – Bob Gaudio
Motown Master: 61633
First Location Tape: P2414
Second Location: T3742
Notes
But the earliest Master Nr from these sessions was we know a song Bob Crewe composed with friends Ellie Greenwich (who we saw helping Bob in the studio in George Schowerer's photos of the 'Can't Take My Eyes Off You' sessions) and former Four Evers singer Steve Tudanger. The song 'Be My Lover, Be My Friend' (Master Nr 61633) is listed in Ellie's compositions on the BMI database, but we can find no record of it being recorded by anyone but the Four Seasons. It was completed and mixed and copied to T3742 as a safety copy. This would appear to be the start of plans for a new album and the start of very important sessions to revive Frankie and the group..
Track Title: Star [found and for release Summer 2020]
Artist: Frankie Valli
Producer: Bob Crewe – Bob Gaudio
Motown Master: 61746
First Location Tape: P2389
Second Location: T3728
Notes
Researching the 'unreleased' tracks and the Artists Cards, it proved impossible to find writing credits for a song called 'Star' as there have been so many with that title on the BMI and ASCAP databases. But the rumoured version as recorded by the Four Seasons was found to definitely exist by the Artists Card which lists the Master as 61746 and is located on Tapes P2389 and T3728. Produced by Gaudio-Crewe it now turns out to have been written by them and it's Master and Tape Numbers indicates it was recorded in December 1972 and January 1973 at the same sessions that produced 'Listen To Yesterday'(61747). But although it is listed as a Four Seasons track it may have been part of sessions involving Motown session singers as on later tracks during this period. It remains 16 track only according to the Artists Card but was confirmed as a salvaged track in the Motown internal memos of 2002 and a contender for CD release in the 2006 draft compilation. The supply to Snapper of a Tape Box scan showed it as on the same tape as 'With My Eyes Wide Open'(61749), and closely followed by 'Inside You'(61758) and 'How Come'(62130). It was the only Tape Box scan from the Motown period that we were supplied with during the box set research and it confirms so much and clearly why it was mixed and approved by Bob Gaudio. But interestingly it is the secondary location T3728 and not the original P notation session tape. That raises more questions from us? It is a very unusual song which starts with a driving rock vocal before it drops in to a slow harmonic Seasons harmony ballad with soaring falsetto by Frankie. It is a simply amazing song and production that will be loved by fans.
Track Title: Listen To Yesterday [Alternatives]
Artist: Frankie Valli
Producer: Bob Crewe – Bob Gaudio
Motown Master: 61747
First Location Tape: P2389
Second Location: T2389 and T3728
Alternative Locations: T4240/P4617[10 Stereo Mixes]
Notes
The reason for including this track is that although released in 2 versions, the original which had two 45 releases has never appeared in CD format. The version released on The Motown Years 2 CD set in 2008 was an alternative version with surf sound opening and Four Seasons type male backing harmonies whereas the original vinyl version [also available on the 'Inside You' 1975 album] features female backing vocals. The tapes need research to recover the original 45 mix
Track Title: Turn It All Around
Artist: Frankie Valli
Producer: Bob Crewe
Motown Master: 62131
First Location Tape: P2511
Second Location: P2656
Additional Location: T4162[24 Track]
Notes
As we attempt to 'Turn It All Around' (and get this music released) we found the Artists Card for this Bob Crewe production from the very important P tape 2505. At least we know the writers for this....Bob Crewe and Bob Hardwick who would also write for the Bob Crewe Generation a few years later (the ‘Motivation’ album). We have never heard the song but the tape contains the incomparable 'How Come' so was probably from the same spring 1974 session. Recorded in stunning 24 track this was copied to 2 different tapes so should have been found and approved in the Snapper Box Set. The question remains ‘how could this not be up to standard.?’
Track Title: Give Us This Day
Artist: Frankie Valli
Producer: Bob Crewe
Motown Master: 62132
First Location Tape: P2511
Second Location: T4162[24 Track]
Additional Location: P2656
Notes
This appears to be the remaining song from the 'How Come' sessions in Spring 1973 which is two Master Nrs later. This we found is a Bob Crewe-Alan Paul Shatkin composition. Shatkin had worked with Crewe as early as 1969 ( To Give/Who Am I – Karen Wyman) and they would team up again for Disco-Tex and the Sex-O-Lettes (I See Your Name) 'Up In Lights' in 1975. 'Anything and Everything'(ain't nothing without you) was published the same month as this recording and this one appears in Crewe's BMI listing.
This Artists Card once again fails to get Crewe's name correct. It was never mixed to Stereo but was copied to 24 track tape. Another mystery track from previously unknown sessions, its completion is evidenced by the Artists Card showing it being Motown Master Nr 62132
All of these sessions were moving to a planned August 1973 album release - Motown 788 [ titled ‘Inside Out’ – but not issued] and these titles are preceding the Bob Gaudio ‘Scalawag’ summer sessions and the Bob Crewe 'Hickory' sessions which we will come to in Parts 6 and 7.
Next Time......Part 6 – Bob Gaudio’s summer sessions
As our Frankie Valli and The Four Seasons Project [with Snapper Music] to create a catalogue spanning box set enters 'Mastering' we are already looking around as what is needed to improve on it in future projects . As well as tape sources we know with potential unreleased tracks, there are some new approaches to the way we hear the sound of our favourite group. The technology of the first half of the 60s left the STEREO albums 'very' separate in terms of the VOCALS as Frankie became separated from the group on the STEREO versions of their albums.
But today there is a NEW approach which seeks to give us, now and in the future, a better listening experience, particularly on headphones. They call it 'Upmixing'........Experts are using Artificial Intelligence [AI] to pick apart classic recordings from the 40s, 50s and 60s, isolate the instruments, and stitch them back together in crisp, bold ways.
Well we are not experts but we KNOW the Four Seasons SOUND and the catalogue.
WIRED Magazine covered the approach being taken by STEREO enthusiasts and Engineers with new skills earlier this year....
Specialist work by dedicated DES Engineers on the BSN Forum has shown what can be done with The Beatles and Beach Boys Catalogue and many other classic 45 releases from the 60s. Our resident Studio Researcher Casey Chameleon has got involved and created several classic Four Seasons tracks as DEMOS until a project for a full REVISED set of STEREO versions is available. That will take much studio time and the use of a top DES Engineer and we know a few but as we can't wait for Bob and Frankie to spend the money on hiring one so we have created our own very interesting DEMOS. The aim was to emulate the single version with the Four Seasons centred vocally with Frankie, with drums to the left, and instruments to the right. This can be best heard on headphones in the results we have created as new mixes.
We will feature some of these on You Tube and in our FB pages over the next few months as rare and collectible versions for members. We start with a song never produced in STEREO. But here is an example of what the AI software can do to create STEREO from MONO in a way never before possible.
The magnificent single of 'Ronnie'. A nice NEW STEREO mix in the style we believe Bob Crewe would have done it if the multi-tracks had survived.
And in our research we have seen who lost the multi-tracks......Frankie Valli haha.....
[Photo courtesy of George Schowerer - Mirasound Studios 1967]
Back is 2011 we published the research at the time re the 1969 release of the biggest and BEST EVER albums of the Four Seasons 1960s hits all in newly mastered Stereo mixes. That article can be found here
In conducting the FSP Archive research we advised Snapper Music that the inclusion of this Double Album was essential to the Box Set, if the original Master Tapes could be found ?. We had of course preserved via vinyl dub the 1972 high quality pressing versions and held these Re-Mastered in our own archive. But we have advocated and told Snapper that we wanted the original Masters.
Bill Inglot advised that two sets of tapes existed. A Scotch Tape Safety Copy and the same on Ampex Tape were found and transferred to the UK Sound Engineer for evaluation and Re-Mastering. The best sound quality versions will be selected for inclusion. Why these could not be found and supplied to ACE Records back in the 1990s has never been explained ?
Some fans were critical at the time of the past release of this album on CD by ACE Records of London in September 1997 as that was mainly Mono versions of their hits, but that was not really their fault as at the time the FSP could not find or provide these as the ORIGINAL FULL Master Tapes . Some doubted they had survived but we were delighted that 2 safety Copies do and Snapper's Sound Engineer has them.
Chuck Walker wrote the sleeve notes for that unfortunately 'inaccurate' release of the album by ACE on CD for the first time. Chuck has revised the information on the CD release here to create an accuratesummary of the original album tracks, there importance and highlights, especially those that were appearing for the first time in Stereo, and the other mixes used to create the vinyl album. The original Double Album reached # 38 on the US Billboard Album Chart. Chuck's notes.......
“The Philips Release of Edizione D’Oro in December 1968 marks the end of what some consider the Golden Era of The 4 Season hit single releases. It spans the years 1962-1968. Like many aspiring artists it took a while for the group to find their niche and unique sound which they became famous for.
'Edizione D’Oro' differs from the previous Greatest Hits Albums in both design and musical content. First pressings of the two record set came in a distinctive gold foil gatefold album cover along with a poster/calendar for the following year. This distinctive higher cost packaging was somewhat unique at the time for pop/rock albums, but became typical in later years. The album cover had their name and album title in gothic lettering which resembled a window in a cathedral. The album was released and first promoted during the 1968 Christmas season causing some consumer confusion as at first glance it appeared to be a Christmas album.
The Inner gatefold contained brief notes by Dick Clark explaining how he helped them promote “Sherry” and the group with an appearance on his nationally televised American Bandstand Show. Later pressings of the album changed the gold foil to a gold printed cover, the big 4 on the front from red to white and eliminated the poster/calendar.
The 4 Seasons, somewhat older than the typical rock record buyer, were finding it difficult to connect and having minimal commercial success in their later Philips years. They were playing concerts as the opening act for Frank Sinatra in Las Vegas. Youthful record buyers connected them more with their parent’s era than the youthful sounds of the late 60’s. This trend would continue to be apparent as radio transitioned from AM to FM Stereo stations. After the Woodstock Music Festival in 1969, it was clear younger people were into different styles of music than being offered by The 4 Seasons.
Record companies also made a dramatic shift in their marketing mid-1968. Historically nearly all singles had been issued in Mono. Albums were typically released in two versions Mono and Stereo. In 1968 production of Mono albums ceased and hence forward only a Stereo album with mono compatability was produced. Existing Mono records were dumped into the cut out bins by record companies and were available at deep discounts for several years.
This transition to all stereo may have been the reason Crewe and Philips decided on a new Greatest Hits Album. There was however, a problem. Bob Crewe, like many independent producers had focused on the Mono singles market. Mixes of singles he produced until 1968 were all done in Mono, and if there was enough success for an album it may have Stereo mixes or simply re-channeled mixes to simulate stereo. Actual true stereo versions were limited [particularly pre 1967 due to 4 and 8 track Studio Tape capability] and in many cases had a tendency to mix vocals primarily on one channel and instruments on the other. [and a separation of Frankie Valli from the 4Seasons]
Ten of the tracks are from the Vee Jay era (62-64). Seven were first issued as singles, “Peanuts” on an EP and later a single rerelease. “Stay” and “Alone” were released to take advantage of the market after the Group parted company and moved to Philips. Most are reworked mixes of various Vee Jay Stereo album versions. The only one with significant differences from the Vee Jay albums is “Ain’t That A Shame” which is missing Nick Massi’s vocals, which were apparently never included in the final [STEREO] mix.
The remaining 18 songs are from the Philips era (64-68). Seven appear for the first time in true stereo.
“Dawn (Go Away)” is based on the version cut at Atlantic when they were trying to negotiate a contract in late 1963. It has a more prominent guitar riff and is missing Frankie’s vocal introduction which was later spliced to the single master by Bob Crewe.
“Big Man In Town” is a modified mix with all vocals centered for a more balanced presentation.
“Save It For Me” is clearly a different take or mix as the vocals are slightly different and the organ different than the single version.
“Girl Come Running” is an alternate edit restoring the [final mix] vocal introduction not present on the single.
Sadly “Ronnie” is only in Re-channeled form as no known Stereo master was ever produced.
“Rag Doll” finally appeared in true Stereo. All previous versions were either mono or re-channeled. Even today this version is rarely heard on CD.
“Let’s Hang On” is an alternate edit without the spoken vocal introduction heard on the hit single version.
“Silence is Golden”, the flip side of the Rag Doll single and originally heard on the “Born To Wonder” Album appears for the first time in a true Stereo mix. It is a powerful early message song and could have been a successful single on its own right. In fact it was in 1967 by the British group The Tremeloes.
Eight of the remaining ten songs are updated Stereo versions from previous album releases.
“Watch The Flowers Grow” and “Will You Still Love Me Tomorrow” make their first true Stereo appearances, having not previously appeared on any albums.”
The benefits of the latter [post 1966] versions of the tracks 'Watch The Flowers Grow', and 'Will You Still Love Me Tomorrow' shows in their overall much superior 'soundstage' as Bob Crewe was able to benefit from the 16 track technology at Mirasound Studio [NYC] and the mixing skills of George Schowerer. We will write more re these days in a future blog post with an interview with George.
By 1968 Bob Crewe was able to review with the engineer at the time Ray Ciccala, six of the surviving Stereo mixes . A note found in the FSP Tape Boxes shows the Takes found and reviewed and selected as UNIQUE mixes.. Here is a tape of that search through the surviving TAKES. The sound file accompanying it lets you hear that audio review. This was uncovered as part of the FSP Archive research. The tracks found in this review of the multi-tracks and mixed to new Stereo mixes were....
Dawn
Silence is Golden
Girl Come Running
Save It For Me
Big Man In Town
The mixes selected are different to any earlier releases and The You Tube video file of this research is below.
The result of our research will, we hope, be by far the Best Ever HITS Collection of the groups 60s successes on CD and a totally essential part of this BOX Set and something fans have been calling for for decades.
It is not often that we come across a programme well researched and told by top DJ's in an entertaining and engaging podcast that you can enjoy or download. Last week Part One of this two Part Series hit the internet and it is highly recommended to all Four Seasons fans. This is their introduction.
“This is part one of our two-part salute to a group whose incredible career has been celebrated on stage and screen in “The Jersey Boys.” They’re the Four Seasons. We’ll chronicle all of their hit singles, as we track their tunes – collectively as a group – and individually as soloists from the 1953 to 2020.
On this episode, we’ll cover their music through the year 1966. We’re joined by one of our frequent guest experts – Nay Nassar – a leading authority on 1950s and 1960s vocal groups. And our resident Rockologist, Ken Deutsch, has sage perspectives on how the Four Seasons developed their distinctive sound. Plus, more of Ken’s customary factoids, including the Four Seasons unique connections with the Beatles and the Beach Boys. And Radio Dave will have more of the greatest rock and roll stories on record. Including some truly rare and scratchy answer songs by other artists who pressed platters in response to some of the Four Seasons greatest hits. Then there’s also the genesis of Frankie Valli’s solo career while simultaneously serving as the lead singer on almost all Four Seasons hit singles.”
The punchy DJ and Factoid experts fire facts from the early years of their career and feature all the hits in context as well as elements of the backing work pre Four Seasons and the key work of the members. The Unusual Instruments feature focused on Bob Crewe production style is really good
The Guys who research produce and deliver it have good credentials. "Radio Dave” Milberg is the host according to his biography, since 1965 he has worked as a DJ at stations 9n Detroit, Ann Arbor, Cincinnati (hence the reference to WLW-AM on this podcast), Chicago, Sarasota and Bradenton. He is also a lawyer. Ken Deutsch is a former disc jockey, former TV director and former owner of a recording studio that specialized in radio jingles.
As Music Detectives and collectors ourselves we have our own observations that are not criticisms, but just observation of the sound and factoids presented. It is not easy to assemble so much specialty knowledge in such a format and get everything right. We found only one error and that is that the Four Seasons-Beach Boys 'Duet' of 'East Meets West was a 1984 release and not 1980.
The presentation of so many works they backed artists on in Bob Crewe's collection of artists is really well summarised with great tracks as is the well presented 'road from 1953 to The Four Seasons birth' [but not in it's timeline in the presentation]
And it would have been good to have had the Four Seasons 'HITS” samples in MONO instead of STEREO [as they were heard in MONO on radio at the time]. But as these are not generally available except on the Jersey Beat Box Set from 2007[and these are poor quality MONO versions]......so STEREO was probably the only choice possible until the Snapper Box Set comes out later this year.
The only major factual error is that Tommy's debt problems with the Mafia did not arise in 1965 . They were uncovered in 1968/69. Frankie Valli going solo and creating the Wonder Who to pay the bills is not correct. Frankie always wanted a solo career and Philips were reluctant......so he and Bob Crewe and Bob Gaudio started recording him solo on Smash Records. Also the Wonder Who concept was an accidental novelty track during recording and Philips wanted it released but not to compete with 'Let's Hang On' in 1965 when it was flying high into the charts. Hence The Wonder Who.
Don't miss this, it is highly recommended. Click this link.
We have for many years researched the musical work of Bob Crewe with all of his musical recording artists but more intensely with The Four Seasons and Frankie Valli, Bob Gaudio, Charles Calello and Artie Schroeck. The fact that Bob never got the biography done he was planning was always a disappointment to me. His fall in 2012 and subsequent deeply sad passing in 2014 prevented that from happening, and the lack of a portrayal of his music production career apart from the long deleted 'The DynaVoice Story' was simply criminal.
So the news of the forthcoming Monograph book, Bob Crewe – Sight And Sound [Compositions In Art and Music] is very welcome.
Published on 26th March 2021 [see the Press Release above] it is dominated by his artworks which in themselves are quite stunning, and it gives a window into his flamboyant nature as well as his life and the highs and lows of being a top producer and a bisexual man during the less accepted times of homosexuality in society during his career. Donald Albrecht's essay particularly shows the life of a 'queer' [as he is described] as this was how society generally in mid 20th Century times identified his sexuality and labelled him, and others. His rise above this is well portrayed whilst his sensitivity to it stayed inside. He worked and mixed in 'gay' communities and was accepted and respected by singers and musicians he worked and associated. He made careers for many artists throughout the 60s. His battle with personal crises is documented as is his sobriety as he turned to art again in his post 1980 years.
The books documentation of his personal love of art and how he developed that is well explained and illustrated in beautiful plates of his best work. Andrew Loog Oldham's recollections are perceptive and sum up the relationships and respect Bob achieved in the music business over the years and his major hit productions are documented. It gives a more rounded view of a very special man and corrects the perception portrayed of the 'gay' producer in Jersey Boys. Bob's reaction to that is also made clear.
Of course as long-term fans of Frankie Valli and the group we have always known Bob's unique talent in delivering the groups hit sounds, and our in-depth research has published many aspects that made his contribution a cornerstone of their success. Much in the past has focused on the relationship between Bob Crewe and Bob Gaudio and perhaps a lesser role Bob Crewe had in that partnership. As the essays point out it was a perfect match. Opposites attract they say, but it was Bob Crewe's perception that facilitated it much of the time as producer as well as co-writer on many songs. I had learned this from an interview with arranger Charles Calello some years ago.....
“Bob 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."(i.e. As arranger and producer on hundreds of pop records). 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 if he ran into trouble.......... a lot of things took place after the arrangements were written. When we went into the studio and we recorded the music, a lot of the things that would happen, would happen as a result of Bob Crewe, who would hear something, where somebody made a mistake, or somebody hit the wrong chord, or while they were tuning up they got a funny sound, and he would create something from it. And he added the element of the bizarre. What he taught us was not to be afraid of going beyond what was normal. And some of the things that took place on the record, although we all had our dominant part within the process, in the studio you never knew where that ingredient was going to come from that created the thing that caught the attention of people. It’s been well chronicled over the years that the creative process in the studio, certainly between the two Bob's was often volatile, there was a lot of arguing....it’s a very interesting subject in itself because if you understood the personalities, the differences between the two Bob's. Bob Gaudio was very mechanical and methodical and Bob Crewe was being off the cuff. You put those two elements together and there was always going to be some kind of friction. Very early on, I learnt from this from Bob Crewe. Bob asked me to do something and I said, "You can’t do that Bob". [It was not musically correct!] He said, "Charles; if you can’t, someone else will". So we did it and it worked. There was no musical thought that Bob ever had that I didn’t try to create to give him what he wanted in a particular area. So if I went into the studio and he said, "Charles, the strings should go down" , and I thought he was going to make a mistake, we tried it anyway. But eventually after making a lot of records with him, I realized that he really had a direction and I would try to help him accomplish what he was hearing. And whilst doing so and watching Gaudio and Crewe work together as I said, : [Gaudio being extremely inflexible and Crewe being somewhat flexible], Gaudio (also knowing that this was primarily his 'melody' brain child) if he thought the idea was working he’d let it go. Bob Gaudio did not have the most positive outlook on any kind of change. So it took him a while before he’d settle into an idea and if he thought the idea was working then he’d back off.“
These essays capture this essence of Bob Crewe and Bob Gaudio and this quote by Charles helps show how they became arguably the most consistent and successful songwriters of the 1960s, after Lennon-McCartney, creating a lifetime result for both men and their talents that they may not have achieved on their own.
Jersey Boys did not portray Bob Crewe as we the long-term fans see him and this book is we hope the first of several projects to portray his superb talents as it focuses on his art and it's context in his remarkable life. Our own forthcoming Box Set with Snapper Records of London will illustrate even more his superb musical creations in the form of unreleased gems from the 1970s and 80s written and produced by him and matching in quality his best released work. And as we have maintained in The Four Seasons Motown Unreleased Campaign – on Facebook, there is more of Bob Crewe's work still to be uncovered and heard. Much of his work remains unpublicised in music collections/playlists/releases and is little known....and often hard to licence.
“When my love touches me and takes me to her skin, she melts my soul in her and loves away my sin, my very own Madonna I love to lean upon her and feel the glory of the reason of my own existence.”
My own tribute to Bob Crew on You Tube is the Next Generation medley never released but sent to his friends as part of a Celebration CD as a Christmas gift. It seems an apt complement to this book review.
As we enter the PRODUCTION STAGE of the Snapper box set of Frankie Valli and the Four Seasons Catalogue 1962 to 2010, I will be doing Blog posts relating to the highlights and this is the story of one UNIQUE CD which developed out of the Tape research. We were given unique access to the NEW transfer from the Four Seasons Partnership [FSP] Archive.
Some tapes emerged which seemed to be related to the 'Heaven Above Me' album from 1980 and several tracks were clearly Unreleased or Alternate Versions and so we tried to analyse what MAY have happened.
Whilst Frankie was at Warners for the FRANKIE VALLI IS THE WORD album Bob Crewe[ with Bob Gaudio] recorded Back In Action/Can't Be Too Much Music/ Stagger Lee according to Warner paper records of masters completed. During this period Bob Crewe wrote[ with Larry Brown] , recorded for Warner Bros [probably late 1978] and released Fancy Dancer as a 45. [Warner Curb WBS 8734] It reached Nr 77 on the Billboard Chart and Nr 36 on the Adult Contemporary Chart in the USA. In Feb 1979 'Doctor Dance' was mixed for release but would come out over a year later as a B side.
Only 'Back In Action' appears to have been copied to the Partnership Vaults from the Warner sessions . How or why we do not know.....nor does anybody know where the other two tracks are.? [In a studio archive somewhere ….we wish we had access but probably Sigma Sound New York.. If any tapes remain unclaimed they may now be held at Drexel University, Philidelphia as noted on Wikipedia.]
A number of tracks have been found in the FSP Archive as proposed versions. Most of these tracks are known but as other recordings. Those found here are UNRELEASED. A proposed album was prepared for release on 22nd May 1979. but only one side of the album has survived on Tape.
So as a NEW Record Deal with MCA was signed it meant a Crewe and Gaudio re-recording for MCA 5134 and the result was the Heaven Above Me album in 1980. The dates for these earlier recordings are indicated as mainly in mid 1979 according to tape box dates. A number of original versions with extended mixes and alternate vocals or arrangements were laid down and remained in the Partnership vault until now. We have carefully reviewed these and although at first they just had the potential to be BONUS tracks the idea of a CLUB disco album emerged and we looked at how they might fit together as a DISCO album. HEAVEN ABOVE ME stands iconically as the last CREWE/GAUDIO masterpiece but this set stands on its own as a CLUB SET.
The result is an album that builds slowly to the break-out in 'Let It Be Whatever It Is' and then rocks TOTAL DISCO before a gentle wind-down of ALL UNRELEASED versions.
BACK IN ACTION – THE LOST DISCO ALBUM
Track 1 – Back In Action – 4mins 53secs....with fade [Unreleased]
Track 2 – Fancy Dancer – 4mins 18 secs.....longer version than 45 with fade [Unreleased]
Track 3 – Let It Be Whatever It Is – 7mins 59 secs....longer version with extra vocals [Unreleased]
Track 4 – Dr Dance – 6mins 7secs – Extended 2nd Mix with extra vocals [Unreleased]
Track 5 – Eat Your Heart Out - 5mins 24 secs – Extended mix [Unreleased]
Track 6 – Passion For Paris – 9mins 20secs – Extended Mix [Unreleased]
Track 8 – Back In Action[Reprise] TV Instrumental [Unreleased]
Wind-down Track 9 – Where Did We Go Wrong – Original Long Version Extra vocal - 3mins 58sec [Unreleased]
Wind-down Track 10 – If It Really Wasn't Love – No female backing: Valli Solo [Unreleased]
Wind-down Track 11 – Just Say That You Love Me – Valli Solo [Unreleased]
The Master Tape that contained the proposed single of 'Soul' was mixed on 19th October 1979 with a longer version for 12”. But we found the tape damaged and so we edited what was remaining and the result was a combination of the two and it runs 11 mins 19 seconds. What is different re this version is it contains a 'Latin' background singer solo in the middle...which appears twice due to this edit......as a result it is a completely different[and unique] version to the 'Heaven Above Me' album song
We think overall this works as a totally UNIQUE album set and runs 54mins 48 secs of Dance floor music plus Wind-down. We have used up the remaining space on the CD with a set of unreleased ballads found on the tapes …....as a Wind-Down set from the DANCE SET [around 10 mins] …....these are all extra alternative versions of tracks which are entirely 'collectable' and are forerunners to the 'Heaven Above Me' album.
But there is more.......
We also had some really good ALTERNATE VERSIONS worthy of inclusion as BONUS Tracks which will fit comfortably at the end of the Heaven Above Me album but that ORIGINAL and final set of album mixes is the 'creme de la crème'. These tracks are just some 'icing' on the cake for fans as alternate versions
Heaven Above Me - BONUS TRACKS
Track 9 – Back in Action – 4 mins 53secs: Alternate version with New Ending[no fade]
Track 11 – Dr Dance - 3rd Alternate – TV instrumental Mix
We have extracted all the tracks and sent them as sets for Re-Mastering and as part of the BIG LIST they have been approved by Bob Gaudio and will be Mastered for the Box Set.
This was Bob Crewe's last major Partnership work with Bob Gaudio before his retirement from mainstream production that generated the Heaven Above Me album . These tracks show it's development......but mainly the PURE ENERGY and FUN in it's DANCE productions.
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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