That 'Four Seasons' Sound

The Four Seasons Catalogue. What will we get in 2020?

I was listening to the ACE CD transfers from the 1990s on my I-pod on headphones the other day and realised they were nearly all STEREO but were making me cringe!

Why? Well..... every track in STEREO from every album from 1962 to 1970 was in wide STEREO ,,,,in many cases the instruments were across the park and the harmonies in my neighbours garden and Frankie Valli's vocal was in my head!!!! I decided.....I've moved beyond that.

Here is a retrospective re the background as to why this happened.....what the sound engineers tell of the times the first STEREO albums were created back in the 60s......”those early stereo mixes were limited by the technology of the time. The industry was still learning how to bring this newfangled thing into the world. It is really common to hear a ‘60s stereo mix where all the guitars are on one side, the vocals on the other, and the drums in the middle with absolutely no bleed-through at all. This is called “hard panning” and it can definitely make for a challenging listening session, depending on your room setup and personal preferences. It may or may not be fun with headphones too. At first, Stereo was something of a novelty. It wasn’t commonly listened to, and therefore was a bit of a gimmick. The first Stereo mixing consoles were typically 2 track or 4 track mixing desks. This meant you were limited to separating only 2 or 4 individual elements in the Stereo image. Using The Beatles as an example, the first two albums in Stereo were 2 track, so if you listen to them, you will notice all instruments are on one side, and all vocals on the other. This is what people mean when referring to ‘hard panning.’ This even continued when they started using a 4 track desk (I Want To Hold Your Hand), and even the incredibly dense sounding Sgt Pepper was made using a 4 track desk. Mixing huge instrumentation arrangements was possible on 4 track by using a technique called ‘bouncing.’ I won’t go into that here, but you can google it to find out more.

Because Stereo on commercial pop records at this point was a novelty, and a new exciting technology, and because engineers and producers of popular music were new to the idea, early 60’s music in Stereo generally sounds quite primitive. When you have only 2 track Stereo, hard panning is the only option to create a crude Stereo image, and is essentially redundant. But even with the advent of 4 track stereo, you will find that instruments were still hard panned (i.e the drums all on one side, vocals one side, guitars in the middle etc….) It is only towards the latter part of the 60’s, and with 8 track or 16 track becoming more common, that Stereo mixes started to sound like what you would hear [created] today, with instruments placed in a realistic and pleasing stereo image.One danger today is that I know that for one or two big labels, once Stereo became the standard, they thought their mono masters were now worthless, and they destroyed them (or wiped them and reused the tape.) So the mono 45's of these songs are the only way to hear the best-sounding mixes of these songs.”

[Mirasound 8 track Ampex? tape console 1966- Courtesy of George Schowerer]

The main thing is that the whole production was geared to a MONO product. All the hits were made that way and heard that way....on record players and radio....throughout the first 7 years of the decade hardly anyone[fans] had a STEREO record player.....and as stated above that was the gimmicky alternative version. BUT what was the 'Best Mix'? Well in the case of the Four Seasons Catalogue we've been asking that for a long time!!

First of all it seems [or it has been stated in several anecdotal sources] that the 2 and 4 track masters did not survive a Bell Studios clear out. BUT STEREO masters in this 'crude' wide form have survived. Some are different to the MONO that appeared on 45 and album. They don't contain late dubs by Bob Crewe added at Bell after he had taken the MONO master from Stea-Philips or Mirasound studios [according to sound engineer George Schowerer]. And Vee-Jay supplied Philips with MONO and STEREO album mixes only[according to Philips Master lists]. We wonder if that means there are missing 45 MONO Master mixes? On the evidence of post 1987 CD releases that seems to be the case[eg I've Cried Before].

So detailed research of the Tapes surviving [in all potential locations] is necessary to preserve the radio sound that really is the Sound of Frankie Valli and the Four Seasons. With work, the STEREO versions would be a bonus to todays and future listeners. They could in a decent sound stage reveal more detail than the MONO and be more akin to a 'live' performance. One of the reasons why MONO has some renewed interest though is exactly because STEREO replaced it. By the time CDs arrived, the stereo 'wide' mixes of most albums had become the “official”[defacto]mix.[now on CD] As vinyl records went out of print, people were left with only this STEREO option when they bought a new copy on CD. Within 15 years of the advent of CD, many MONO mixes were more or less forgotten about.

But today my argument is we need top re-mastered versions of BOTH.! So I researched back what my best friend, Stefan Wriedt, a German sound engineer had told me several years ago about STEREO mastering.

But ‘how do fans make their own assessment of what is a good stereo mix?’,.................. we asked him.

“Stereo images are best assessed on headphones. You have to listen. Wide is 120 to 180 degrees, anything between 60 and 30 degrees is small[narrow], 60 to 120 is normal (90 degrees as usual). I haven't found any meter / display that can show this.[only our ears on headphones]”

So I started doing further research on the 'best mixes' in STEREO and the groups catalogue and realised all the 'best' sounding STEREO were recorded in the 1970s and obviously on vinyl. There are some rogue STEREO mixes that surfaced on 'special' vinyl HITS albums during the 60s[eg Edizione D'Oro] that improve the mix, but every STEREO version is different as the content is more detailed than the MONO and can be panned differently.

The 60s STEREO limitations are clear . CD's with WIDE STEREO can sound good on an 'old style' listening environment when the speakers are the right distance apart and the listener is in the 'sweet spot'. This represents only about 5% of anyones listening experience today as we all listen on headphones/ear-buds/in-car or on the go Boom boxes. The STEREO becomes just like MONO. And after spending 3 years collecting and restoring MONO mixes from vinyl it has become obvious how the groups PRIMARY catalogue elements should be delivered.In MONO with 'enhanced' STEREO versions as a bonus set.

This guide from the WWW to assess STEREO supports this idea.Mixing engineers should mix tracks with a live sound stage/concert stage perspective in mind . We found an audio blog that defines this.

“'Panning' is how the instruments are arranged within the stereo image. By properly using this mixing feature you can create a very realistic sound.

Vocals are always in the centre because the band lead singer is the star of the show. At the back of the vocals is the bass player. Typically at the back of the bass player is the drummer. The band's two guitarists are on the left and the right. Although, different panning arrangement are possible for additional instruments (such a band with piano or others), this concept illustrates the basic things on how to do panning in audio mixing to create a very realistic stereo image.

Live sound monitors for vocals and bass are placed up front facing the audience, so that fans can get a great feel of the vocals and the bass groove. On the left and right loud sound monitors are the guitars.

In the best commercial audio production and using  software, panning can be controlled between -100 to +100. Where mostly -100 is the leftmost part of the stage and +100 is the rightmost part of the stage.”

Stefan agreed…..”In the case of the Four Seasons recordings that we have[on CD in STEREO]……….. listen to any track on headphones and see how much these principles are adhered to. Many of the early stereo recordings fall short of this standard (with instruments and vocals panned far left and far right with acres of space between occupied by ‘nothing’).Today the listening experience is different, Everybody who bought a Four Seasons CD already has got the wide-stereo version[except for the tracks NEVER RECORDED IN STEREO by the Engineers] which again goes to the root of the original purpose.....a RADIO 45 mix.”

["What do you think of that 'mix' Ellie?" - Bob Crewe to Ellie Greenwich late 1966 - Mirasound - Courtesy of George Schowerer]

With the ‘MONO only’ versions [that often don't exist in STEREO] we are listening to the only example of what the producers sought.....and record company put out originally on vinyl. So we might as well have that....well mastered with the punch and ambience of Bob Crewe's mixes....in the correct MONO 45 and album mixes. They sound great when mastered well. And the STEREO tracks can be the bonus if mixed perhaps to a 90 degree sound mix as identified above.?

There are 3 examples of Four Seasons tracks from the early 60s given this treatment by Bob Gaudio and that is on the 1988 CD 'HITS – Digitally Enhanced'. Bob Gaudio commissioned an engineer to prepare this type of 'modern' STEREO mix on 'Marlena', 'Sherry' , 'Why Do Fools Fall In Love' and 'Stay'...[check out the mp3 samples if you don't have the CD]......That is what the fans need by 2020...But with ALL the 60s STEREO in this enhanced form.. The technology is here in 2018 to do this for all our playing equipment and listening needs. A completely NEW set of Masters

As Stefan said and we found doing the MONO ARCHIVE......”. The fun is when you are re-mastering and you are trying different settings. Sometimes you suddenly find the groups sound just works better. That is such a ‘buzz’. ..a real adrenalin rush.”

[Bob Crewe with George Schowerer....Artie Schroeck in background - Mirasound - late 1966. Courtesy of George Schowerer]

Our research makes the case for the catalogue of the future to enable you to 'feel' the MONO original sound as intended by Bob and the Group or Frankie in his 'solo' efforts and to also create NEW 'life-like' performances from the STEREO Master[NEW STEREO MIXES - as appropriate]

This is a potential Box Set that needs doing that can be sold to the fans of yesterday and today. There is the 'traditionalist' argument to not change the 'original'....but would we buy that AGAIN? After all we have all the WIDE-STEREO already on CD.We should be able to fully appreciate the transition from MONO to STEREO and capture the punch and thrill of MONO and the 'performance simulation' of STEREO in a modern presentation of their music as it is now understood. So NO hard right/left panning STEREO for me....thank you.!

The possibility that some-one will listen to this option and take it on board is something we will consider and we'll no doubt debate. More soon.

 

Casey Chameleon

A NEW Beginning

As the visit of Frankie Valli and the Four Seasons for the UK Farewell Tour rapidly approaches we are working towards a big celebration and reinforcing the sense of connection with long term and new fans.

Lynn Boleyn has organised get togethers with the fans before each concert and I have updated the web site for the tour and to support research and fan interest into the future....as well as preserving free downloadable data about the past.

WE have big hopes for the future and after the unfortunate demise of the late Frank Rovello's Genuine Imitation Life Gazette Web Site we became the main fan club site remaining on the WWW. So we spoke to our web Hosting company Northbrook Web Consultants and they are moving us to a new server and helping make future updates to www.seasonally.co.uk easier. Everything is based on picture links on our web page to our data and we retain our 'pop-art' design.

We have now made access to our specialist collectors Facebook Pages re 'The Unreleased Motown Tracks' and 'Charlie Calello's 'Lost and Found' Tracks' and a link to our Twiiter page.

All our data pages are preserved with links to download George Ingram's Newsletters [Nrs 47 to 68] packed with newspaper and magazine articles from the past.

Our research into the history of the group is also preserved with our two blogs we've run since 2006 and our part drafted E-book based on the 60s and 70s 'Rise and Fall of The NEW Four Seasons.'

The list of all the Frankie Valli and The Four Seasons 'HITS' is on the web site in a special Page based on Charles Alexander's research which is the cornerstone of the groups 'legacy' and we have big plans to celebrate that in the future with a mega project we hope will completely re-vitalise the whole catalogue and it's history.

The 'Farewell' tour is not the end...nor the beginning of the end....but in the words of Bob Crewe and Bob Gaudio......A NEW BEGINNING.

Enjoywww.seasonally.co.uk…....dedicated to our lost friends and Four Seasons.

Ken Charmer and Lynn Boleyn

Press Release July 2018: The Four Seasons UK Appreciation Society.

Most fans of Frankie Valli and the Four Seasons know that they had less than half the tracks they recorded released by Mowest/Motown during their contract there. So the collation of collected and researched data on the Four Seasons 'Lost Masters' at Motown from 1971 to 1973 has been drafted into a Project Plan to allow engineers and compilers to research the 16 track [multi-track] Tape Masters in the Universal Motown Vaults in NYC.

In summary the research has identified that there are:

• 28 Master Tapes[of released and un-released tracks, including multi-tracks and alternative 'takes'/'mix-downs']

• 36 identified and located 'mixed' tracks that have never been released[many with Motown Master Nrs]

• 12 identified alternative versions/mixes of released songs requiring research

• 9 individual producers as well as Crewe-Gaudio

• 8 listed titles for unknown songs with no location information.

• Background notes to the sessions and the songs, their writers, producers and how they were covered by other artists

This information is collated from anonymous donation of lists from within Motown Universal's paper/digital records but gives no indication of whether the tapes still exist or what their condition is. This is basically a log of the analogue sources with no confirmation of digital recovery/preservation. The recently released Bobby Darin 'Lost Masters' CD confirms that such tapes still exist in good condition from this period when Valli/Gaudio and the Four Seasons were recording. This shows in some cases the same producers are present with each artist. So we can be pretty confident that the tapes are there.

The Project Plan will be made available to the artist and tape owner when confirmation that no barriers to such research exist. In the meantime we will be posting an updated Tape Index this summer.The Project Plan covers:-

• Introduction – Background to the Universal Motown Vaults and Tape Index

• Session Review Plan Part1 - Period 1971[Oct] – 1972[Aug] - Artist:Frankie Valli - Various Producers

• Session Review Plan Part 2 - Period 1971[Oct] – 1972[Aug] - Artist:Four Seasons – Various Producers

• Session Review Plan Part3 - Period 1971[Oct] – 1972[Aug] - Artist:Four Seasons - Bob Gaudio produced 'Chameleon' Sessions and other tracks

• Session Review Plan Part4 - Period 1972[Aug] – 1972[Dec] - Artist:Frankie Valli Sessions Mid-Late 1972 – Various Producers

• Session Review Plan Part5 - Period 1973[Jan] – 1973[May] - Artist:Frankie Valli - Bob Crewe Early 1973 Sessions Frankie Valli [with Motown Session singers as the Four Seasons]

• Session Review Plan Part6 - Period 1973[Mid] – Bob Gaudio sessions - Artist:Frankie Valli

• Session Review Plan Part7 - Period 1973[Oct- Dec] - Artist:Frankie Valli and The Four Seasons - Bob Crewe Late 1973 Sessions Frankie Valli[ Four Seasons][lncluding Charlie Calello and Nick Massi]

Further research this year will be based on more salvaged tracks from the sessions [copied and preserved during the sessions]and known information on the individual tracks and their background and web site updates will document their part in the 'Four Seasons Story'.

 

Ken Charmer – Webmaster/chief blogger and lead music historian[team leader] at The Four Seasons UK Appreciation Society. www.seasonally.co.uk

The Midnight Specials and Bonus Tracks

It was 1976 in the UK and music was exploding into the charts again. The excitement of collecting records and going to see it performed 'live' was everything to us. We'd had 'My Eyes Adored You' hit Nr 1, 'Who Loves You' change the Radio Airwaves and 'The Night' emerge from the club scene to rocket into the charts as a 'long-lost' oldie re-issue. Frankie Valli and The Four Seasons where about to hit the peak. Overnight top stars and their biggest ever hit was about to hit Nr 1.

They toured, we saw them, they were 'our' Four Seasons. We saw them on TV every other week . It was 'hedonistic' and the natural and only way to find out more about the music and the band was to join the fan club. Friends were made , expectations raised and support given to the group and their management. They were all great musicians, all but Don had been trained by Jazz musicians, and so their  performances were superb then and remain historically important. 

Well 42 years on it is a different world as we approach the end of the line in terms of Frankie Valli and the Four Seasons. The fan club died in 1981and the fan group that succeeded still hoped for whatever line-up Frankie Vall could employ to come visit and take us back to those times. There will be time to reflect on this life of fandom and The Four Seasons Story for old and new fans post the November/December UK tour but for now we can reminisce.

John Hornsby[a long-standing fan from the US fan club] sent me his cassette tapes and I have managed to salvage in reasonable sound the Midnight Special TV Shows from the mid 1970s. They don't do full justice to what we experienced 'live' but these tracks capture the essence of what I wrote in the opening paragraph. It's good to have been able to tweak these old tape recordings and share them with you in a CD Download.

 

And to finish as Bonus Tracks is what I have been shouting about for the last 8 years. It was 37 years since Valli/Gaudio left Motown and that music ended with the 'Inside You' album when these songs surfaced. Something Vall and Gaudio had nothing to speak about as they didn't own the masters. They still don't. Motown Universal do. No completed songs remained we were told. Jersey Boys was the big earner.......nobody wanted to know nor do they now. That is oficial as far as BG and FV are concerned. But we have these hissy old acetate recordings. I've re-mastered these again this last year with new tools to clean them without damaging the detail. The completed Masters are sitting in the Motown Vaults with up to 50 other unheard and unreleased tracks. We know exactly where and they could be recovered tomorrow. Motown Universal wont act without FV and BG support and that is not forthcoming. Hence our continuing campaign for their official release sometime. I spoke to Lee Shapiro back in 2011 when these acetate dubs turned up and he recalled the session, the fact that Motown musicians played and the Seasons[including Gerry Polci and Nick Massi sang, Charlie Calello arranged with Kenny Nolan] and Bob Crewe danced on the recording console! He also confirmed Bob Crewe had them complete union session contracts and the masters were completed and handed to Motown. As was ‘I Wonder Why’ . More re all the sessions down the line!!!!!

So as we head into the Farewell Concert Tour of the UK and US just enjoy what the 70s gave us and still could if sometime someone listens to our Facebook group – The Four Seasons UK Motown Unreleased Campaign. You'll find links there to this music for a short period. Enjoy. Casey Chameleon

Fan Club Anniversaries and The Motown Unreleased

As 2018 develops as probably Frankie Valli’s final touring year we are able to celebrate 2 anniversaries. This blog has been running for 7 years this month and February is the 2^nd Anniversary of the formation of The Four Seasons Motown Unreleased Campaign on Facebook. Our 253 members are able to share news, views and music in a very easy way and Lynn Boleyn and I use the blog to regularly publish news and research re the group’s tours, former group members and the back catalogue of music.

Our initial posts in 2011 [when re-visited] show a situation of ‘The more things change….the more they stay the same!’ with us reflecting back then on the paucity of releases and management of the Four Seasons brand. The values we advocated back then have still not been achieved by the Four Seasons Partnership, but in the meantime the ‘Jersey Boys’ cash-cow has made Bob and Frankie a fortune. I guess that ‘trumps’ everything?[if you'll excuse the double entendre]

But as we celebrate these 2 anniversaries in February 2018 two things stand out.

Firstly our ‘brand’ has become firmly established as a linked ‘fan club’ community and information centre for the few hundred international friends who want to share their common interest. The old style newsletters and e-mail groups have literally been ‘retired’. Facebook is too easy and powerful a tool today.

Secondly, our joint ‘positivity’ through Facebook and our blog that eventually our voice will be heard. Our focus remains strong on discovering and celebrating music we have never heard; and we continue to believe that we can one day convince the artist we admire and respect to help release this music unheard for over 45 years. That is perhaps because as a result of the shared objective we have in the last few years unearthed and shared more ‘unreleased tracks’ than in the whole of the previous history of the group. The recent release of the ‘Lost and Found Vol 3’ which followed our April 2017 CD of ‘The Best ‘Unreleased UK Collection 2017’ demonstrates this.

That in itself is a positive outcome. So over the next year I’ll be continuing our efforts [God willing!]. But we are adapting to change.

We now know from our Motown network that the release of the 50 plus tracks in the Motown vault at UMG by Frankie and the group is ‘just a phone call away’!!!!!

We have good reason to believe that it simply needs Bob Gaudio to pick up the phone and ring Harry Weinger at UMG and he would initiate the project to recover the tapes and the unheard music and release a second Motown Anthology – The Unheard Masters. Harry as he has previously shown wants to be a friend to ‘the stars’ and in so doing strengthen the Motown Brand. He has done it many times before and will do it again. It just needs the artist to give it the ‘green light’ and he will we believe empower the legal and commercial processes. With this in mind we will devote this year’s research to the project plan for when that happens.And we will 'reach out' and try to establish a dialogue with Bob, Frankie or their representative. Whether that achieves dialogue we'll continue to publish the latest we can for fans

That is the more positive approach than the alternative which is to wait till Bob and Frankie ‘pass away’ with the release to then be a posthumous tribute to their time at Motown.

In the forthcoming months we will outline the sessions from the groups Motown period and the tape research strategy for the engineers and compilers we know are ready to work on the project. BG/FV only have to say 'go' and we will be ready.

We will also continue our salvaging of re-mastered rare, live and ‘unreleased’ tracks to be shared on the Facebook group. It will take time but we hope to bring group members more treats during the year. Thank you all for your continued support and ‘likes’.

Ken Charmer

 

[Previously unseen photo courtesy of James DiNapoli: Photographer Bobby Valli]

Addendum April 1^st2018

This will be our last subscription blog post with links to our web site. We'll explore News posts in the future

Lynn Boleyn and I have been discussing the future of our collaboration to maintain fan access to data and news re Frankie Valli and the Four Seasons given Frankie Valli's Farewell Tour and impending retirement. So as of today we are closing this blog and moving all support services to fans to our Facebook page ' The Four Seasons Motown Unreleased Campaign'.This has over the last 2 years become our research base and discussion channel for all historical research and data re the group. I'm mindful that the web site www.seasonally.co.ukis in need of an update to preserve and provide access to ALL the data and articles published since April 2006 in George Ingram's Newsletter and in Discographies, our 1970s E-Book and past blog posts.

The aim is to continue to supply this data long term as a key reference for the most accurate historical data for releases and recording sessions by the group and the articles and research published to date. 'Chameleon's blogand 'That 'Four Seasons' Sound' blog will still be accessible and our past articles will crop up whenever you do an internet 'search' re the 'Four Seasons'. Published blogs will be accessible through the web site and our on-going research will continue to be published on our Facebook page. We are also researching using the non-subscription Typed blog service or a possible Facebook Page totally devoted to the forthcoming UK tour for attending fans. Lynn and I will advise re this by Summer 2018. 

Our e-mail response address remains seasonally@btinternet.com

Thanks to Typepad for their support. See you on Facebook

The Four Seasons - Lost and Found Vol 3

When I was working through old cassettes in the studios this autumn I got to thinking that UK Fans of Four Seasons back in the sixties never got to see their group live[apart from a very brief 1964 UK tour visit that nobody i know ever saw!] and they never appeared on UK TV during the 60s as far as we know. Experiencing that unique 'live' atmosphere and Frankie Valli's stratospheric falsetto was something we eventually heard about from US fans. Those that experienced that live sound are now in their mid/late 60s and will struggle to remember the 'live' sound. In fact even during the 70s when many of us joined the fan club we had no 'live' recordings of their shows from the 60s and only the 'Live On Stage' album to judge from. The earliest audience recorded cassette tape was from Clearwater in Florida 1964 which hardly captured the ‘real’ in concert sound.

So when I picked up a tape titled 'Tommy De Vito Archive' I wondered what I might find. This tape it appears was given to Rex Woodard during his now 'legally' infamous interviews for Tommy's biography now known as 'The Work' and claimed to be the inspiration for the musical play Jersey Boys. What I found inspired me to collate as much as I could of the 'experience' of the group 'in concert' that would create the legend they are. A key collectors set was the result.

I recalled the script of Jersey Boys and Bob Crewe's response to a group disenchanted and wanting an identity and a hit of their own. “Bring me 4 songs......and I'll record you!” is the fictitious line in the play and fans have discussed whether this was true or not....and if so what were the songs? Well it could be that Bob Gaudio and the group presented Crewe with these songs as 4 demos....in late summer 1961. The opening four tracks of this set we discovered can be placed clearly at that time as two would be re-recorded and released in October by the group then named as Billy Dixon and the Topics on Bob Crewe's new label Topix 45 – 6002[I Am All Alone/Trance]. Here we present the original acetate demo versions taped  by Tommy DeVito for preservation. This presentation was a big improvement on the Village Voices 45 they did during the Spring of 1961. Possibly recorded 'live' rather than using 3 track studio machines, they feature a group arranged by Nick Massi with a styling distinct from the 45 release versions.[We've finished the CD set with Re-mastered versions of the 45s for comparison]. But two other tracks emerged from these sessions surviving on this tape. 'I Still Care' also appears in Jersey Boys being sung by Miss Frankie Nolan[ABC 10231], with Frankie Valli's soaring falsetto backing and the rest of the group in harmony. This version is in a subdued harmony style that would be a feature of their early albums. The final unheard side was an early version of 'Like You'[which turned up as another alternative version unreleased demo from 1963 only in Spring 2017]. This earlier version by the full group has slightly different lyrics and probably went by the title 'That's You'.

Another discovery from the archive tape would prove to be the earliest good quality 'live' concert recording by the original group that we have ever heard. Featuring a sequence of four songs, 'Stay/Since I Don't Have You/Cry Myself To Sleep/Dawn' we believe this is from 1964 and presents Frankie and the group as we have never heard them...the 'original' superb live concert sound.

Wanting to develop a set worthy of collectors of Four Seasons music we set about gathering as many true live performances from VT recordings during the decade. We were able to gather a good number of songs and medleys that continue to illustrate the 1960s live concert sound of the group. We were even able to include 2 versions of the rare 'Sound Of Music' medley from TV shows. We finished the set with NEW creations in STEREO of some tracks that only ever featured as MONO tracks in their original form re-engineered by sound engineers in the USA.

We re-mastered the archive collections in Wavelab Elements 9 using our MEDSS mix sound treatment[Mono Enhanced with Digital Stereo Simulation]. This removes as much noise and crackles as possible without removing original music and creates a wider/deeper sound stage to enhance the raw MONO.

It is in our view a unique and enjoyable snapshot of the group we love and have collected since our youth. As a step forward it follows on from our late friend Stefan Wriedt's 'The Fantastic First Years'.....taking us through some of the most collectable performances of the 50’s/60s. This set is dedicated to the memory of the late Rex Woodard and Stefan Wriedt but also Frank Rovello and Stuart Miller....who would have loved it. We hope fans enjoy it as much as we we did assembling it. Happy 2018.[47 years on from when those Billy Dixon demos were recorded] . Thanks to John Hornsby and George Juba for their help with this collection. Special thanks to Jim DiNapoli for source tapes. Photo courtesy of Bobby Valli. The download is available for a short time to members of The Four Seasons Motown Unreleased Campaign Facebook Group.

Casey Chameleon.

'Un-released' - Find Of The Year 2017

 

The button badge is from 1976 and the hey-day of the UK fan club when we would have raved about finding 'unreleased' Frankie Valli/4 Seasons tracks but amazingly another one has turned up from an unexpected period. The song discovered this year [2017]we now think dates back to Autumn 1961 and the sessions that resulted in 'I Am All Alone/Trance' -Topix 45 6002 released in October 1961. This is before the first appearance of the group as The Four Seasons in December 1961[Bermuda/Spanish Lace- GONE 112] More re those sessions in the future.

We believe it may be from the 'between labels' period when the group were in dispute with Vee-Jay. It appears that after their mid 1962 preparations for the Copa cabaret show they didn't go into the studio again except as back-up singers until they recorded 'Dawn' at the Atlantic Studios prior to signing with Philips in late 1963. They did work on several projects with other artists including the 4-Evers on 'Be My Girl' with Al Kasha producer and it has been suggested this may be from that period/sessions. But finding another version by the Four Lovers last week was a shock. I've asked Casey to carefully restore that version too and we'll share that in due course. This is a much more refined arrangement than the 4 Lovers version and is listed under Bob Gaudio's BMI listing as 'Like You'[Composition 100].

But to find this version after so long is truly the discovery of the year. Our 'music detectives' are always searching through old cassettes and looking for demo's and acetates and when this surfaced we wondered when it was recorded. Further research hasn't confirmed definitive information or it's source. Our continued investment in technology and sound editing software[and our buddy Casey]have enabled the recovery and sharing of this nice song and performance. He told me 'We owe much of the pre-Four Seasons history on CD to Stefan Wriedt who collected and re-mastered many of the earliest Frankie Valli recordings on The Fantastic FIRST YEARS CD on Sparkletone. He taught me how to re-master old vinyl dubbed in Wavelab and as collectors we owe him so much for preserving those early recordings from 1953 to 1961. His legacy is the on-going emergence of tracks like this we are able to restore and share”

For now let's celebrate another great find....and although it is unlikely much else survives from this period we do have some interesting acetates and 'live' material coming up to share with members of our facebook group as we assemble 'More UK 'Best' Un-released and 'Live' Tracks' by Frankie Valli and The Four Seasons.

Ken Charmer

Five Lessons Learnt From A 'Successful' Motown Unreleased CD Release

Over the summer we've seen the emergence of one of the most successful 'Motown Unreleased' CD's for many years. Brenda Holloway's ' Spellbound' is full of rare and unreleased tracks many of which have surfaced during the last 2 years and have only been available as mp3 downloads. This CD set is fully re-mastered from 8 track and in great sound.

The anticipation[almost hysteria] in the build-up to it's release provided a substantial pre-order and fuelled by 'word-of-mouth' on speciality Facebook groups and the Northern Soul scene the CD achieved a UK Top Ten album position in the weeks following it's released and a second pressing as copies quickly sold out. In this day-and -age of dying CD sales this is pretty phenomenal.

But what are the lessons learned from this release and does it give hope to Four Seasons fans that the large 'cache' of unreleased Valli/Seasons tracks may soon achieve a similar fate?

Well to me there are five important 'lessons' to be learned from this release not only for collectors but for Universal Motown Group and the independent Record Companies that seek to license such tracks and invest in such release programmes.

• Facebook groups are a clear market for unreleased material in new CD compilations. With ever increasing numbers of people gathering in interest groups that research Motown 'treasures' or rare and vaulted material it's pretty obvious that marketing is easier than ever .....thus targeting sales with little or no financial investment.

• Quality control of 'sound mixes' is still an important consideration with 'hard copy' wav files preferred by collectors to mp3 downloads.

• Artist involvement is a major marketing necessity. Brenda was fully involved with Cherry Red Records and producer Paul Nixon to help compile and approve this release.

• Record Companies with belief in the project and the launch process are essential. ACE Records lost out to Cherry Red in licensing this music and they must be 'devastated' at getting that wrong. But the big future problem appears to be UMG[we are currently researching their policies and processes for future releases]

• Such projects need a top compiler/producer with knowledge of the artist and the market[ie collectors like us]

What this demonstrates is that there is still a substantial demand for the release of tracks from the vaults of UMG [ie Motown Unreleased] and everyone we contact whether a Frankie Valli and the Four Seasons fan club member or collector of their music..... knows the strength of their 'brand' …...their 'image' is huge. They remain top stars of the 60s and 70s music scene. Their unreleased music is clearly in demand as the steady growth of members of this group has shown. This is a project waiting to happen. So what is the problem.?

There are Record Companies who license tracks from UMG and top compilers who would promote the project IF......UMG and The Four Seasons Partnership would support it.

BUT the recent decision by UMG to cease third party licensing of tracks to independent record companies not only threatens to stop ALL new projects but threatens perhaps the role and purpose of those collector labels. Some projects are in the pipeline and will 'probably' surface in time...... but this is a real threat to collectors of this material and a huge disappointment to Four Seasons fans.

Our role is to publicise the lack of transparancy by the parties[i.e. artists and track owners]. Our sister blog site 'That 'Northern Soul' Sound' will consider this in more detail as we bring the situation to the attention of the Four Seasons Partnership. Then there is the Corporate 'animal' that is UMG? Whether they respond or not only time will tell. We won't hold our breath based on past experience.......but past experience doesn't always shape the future. Times are changing and the Facebook groups are becoming stronger and more influential. More questions than answers again!!! Hope remains that sense will prevail and the UMG policy will change in the light of this clear enhancement to Motown's music image. More when we have it!

The 2017 'Unreleased' Sleeve Notes

This years UK Tour has provided us with an opportunity to let Frankie Valli know there are a number of unreleased songs in either acetate or 'live' show versions that are in the hands of fans. Some have been around for years and some are new discoveries. I promised to compile sleeve notes re the tracks so here goes.

Track 1 – Like You

Our latest discovery thanks to one of our longest standing 'music detectives'. Recovered from acetate this song he tells us comes from sessions Valli did at the same time as he did the 'Be My Girl' session with the 4-Evers. If so this would date the session as early 1964. Perhaps producer Al Kasha was involved but the writer was Bob Gaudio[see his BMI listing]. Perhaps Valli's earliest idea for a 'solo' career whilst with the 4 Seasons this remains our top find in recent years. A song and delivery reminiscent of solo artists of the time like Bobby Vinton. The acetate was clearly in good condition and we were able to clean and re-master to a very enjoyable version.

Track 2 – Hymn To Her

Again the same 'music detective' discovered acetates produced by Bob Crewe from the sessions in December 1973 after Bob persuaded Motown he could generate a 'hit'. Bob Gaudio was not involved and Crewe was confident that assembling past expertise would make a difference. He persuaded Nick Massi to come back to arrange vocal harmonies and Charles Calello to arrange and he had a bunch of songs he'd written with Kenny Nolan [a singer songwriter with a studio group Crewe was producing called The Eleventh Hour]. 'Hymn To Her' returns the Seasons backing sound to an anthemic harmony with Valli hitting falsetto in his traditional style. An unusual but intense lyric that hints at religious connections[“my very own Madonna'] this acetate dub was sufficient for us to recover a very listenable version. It remains in the Motown vault as a completed master Nr 62523 and although it didn't convince the Motown Execs it was slated [in mid 1974] for album release just when the group left the label.

Track 3 – You Are The Sunshine of My Life

This Stevie Wonder original was arranged as part of the NEW Four Seasons 'live' shows during 1974. Frankie Valli had promoted the young Lee Shapiro to be his musical director/arranger for live performances. It was a transitional period for Frankie and the group. He had enlisted Gerry Polci, Don Ciccone[who sings the lead in parts] and John Paiva had joined the backing band, joining Joe Long in what some rate as the best 'ever' Four Seasons. John Paiva's personal tape collection allowed us to salvage these tracks from their Bachelors III Cabaret Club show in mid 1974 at Fort Lauderdale. With many of Frankie's 'New Jersey friends' there this show contains more 'unrecorded' songs than any other we know of.

Track 4 – I Wonder Why

Mid 1974 with a new 'settled' line-up Lee Shapiro and Joe Long persuaded Frankie that they should show Motown bosses that this line-up were capable of good things and so the group whilst on the road, wrote and produced this song as a demo and presented it to Motown boss Susan De Passe. The full story is told here. This copy survived on tape which although somewhat deteriorated shows a great song and the groups ability as writers, producers and performers. We'd like to find a better copy for re-mastering and wondered if Lee Shapiro had one? But thanks to Joe Long at least we have this. I'd forgotten we had re-mixed a stereo version of this and I'll try to find it in September

Track 5 – Hickory[Alternative Extended Mix]

Whilst the shorter version of this was released in 1974, this original extended version with extra verse at the beginning and a falsetto ending comes from a Bob Crewe acetate. The Master tape we believe still contains this version from the December 1973 sessions. Motown Master Tape 2664 will reveal that.

Track 6 - Killing Time

This left-over track has been around for a while. It didn't make the 'cut' for the 1984 album 'Streetfighter'. We don't know why as it is a very strong song and performance. Perhaps it's length didn't allow it to fit the vinyl format. It's source is unknown and we have just added to the mp3 version some EQ and punch.

Track 7 – Michael and Peter

Bob Gaudio did a whole album of demos of the 'Watertown' project for Frank Sinatra and sang most of the songs himself but this track was done with Jake Holmes opening the song in spartan style before a tremendous fully arranged solo by Frankie Valli. This has been around collectors circles for many years and a cleaner version [with less clicks and pops] was not possible without a better original dub and top sound engineering skills.

Track 8 – I Got Love

This song was an fairly frequent opening 'live' show number from around 1970 till this concert in 1974. From the stage show 'Purlie' it was allegedly arranged by Charles Calello but never done as a studio recording. Always a favourite with the band members this slightly shortened version still rocks. Recovered from the Bachelors III Show tapes it has been specially cleaned and re-balanced by the late Stefan Wreidt and Ken Charmer.

Track 9 – Golden Slumbers

When the tribute movie/album to The Beatles was being done in 1977[All This And WWII] Frankie Valli appeared on TV doing 2 Beatles songs which he never did for the album. A fan at the time recorded the [to us in the UK] unknown song on we believe 'reel to reel' and it subsequently surfaced on cassette. This is the first of these. We've added EQ and Punch to improve this for CD and it once again shows Frankie Valli's vocal interpretation skills

Track 10 – If I Were A Carpenter

Another Bachelors III salvaged track done quite often in concert in 1974 this is another example of Lee Shapiro's arranging skills and the great playing skill of the NEW Four Seasons.

Track 11 – One Man

Discovered in the Mercury vault by a researcher looking for Lesley Gore tracks this was on a tape can that said, “One Man - Mono Master : The Four Seasons” it was donated to us in 1997 on the basis that we make it a free issue to fans. From the 1970 final sessions at Philips this Bob Crewe-Larry Brown song has a somewhat 'dated' lyric and unpolished production. Perhaps raw and unfinished it remains all we have of the 'several' unreleased Bill Inglot reported tracks discovered during tape research. This good tape transfer has been re-mastered from the original cassette copy for this CD.

Track 12 – Bridge Over Troubled Waters[Medley]

A big production 'live' track in shows since 1970, Joe Longs skills are all over this arrangement and although not the best group performance of this medley it is the best sound quality version we have. By combining the title track with The Long and Winding Road and McArthurs Park Valli and the group created a stunning mid-show classic.

Track 13 – We Had It All

Somehow a backing track surfaced 10/15 years ago of a song rumoured to be a Motown recording. Probably recorded to cassette at the session. Believed to be titled 'Walking In The Sunshine' for some time we had confirmation in 2016 it was completed by Valli as a Motown Master Nr exists for it. Nr 60769 means it sits between 'Touch The Rainchild' and 'The Night' in the Motown vaults. It's all we've got for now but is a demonstration of the 'treasure' still unreleased by Universal Motown.

Track 14 – All In Love Is Fair/The Way We Were [Medley]

A new arrangement in 1974 by Lee Shapiro for 'live' performances this medley survived through into the concerts of the mid to late 70s. This salvaged from tape version is from Bachelors III again and features great harmony support by The Four Seasons.

Track 15 – Close Your Eyes

During the early fan club days of the 1970s when audience recorded 'live' tapes were frequently in demand, the earliest cassette based recording of the 4 Seasons was from Clearwater in 1964. Poor sound of course but it contained this gem. When Nick Massi died and as a tribute to him this 'duet' with Frankie Valli was salvaged from tape and added to You Tube. It's amazing that we have managed to get as good a version of this from the tape as a demonstration of respect for Nick's unique contribution to the group.

Track 16 – The Fool On The Hill

The second Beatles song from circa 1977 recorded from TV by a fan. It is enhanced here for CD listening.

Track 17 – If

With 'Bread' amongst the most popular group's of the time in mid 1974 it was another chance for Lee Shapiro to show off his emerging arranging skills and for Valli to give a masterful vocal on this David Gates classic for the Bachelors III cabaret audience.

Track 18 – You're Never Too Old To Rock'n'Roll

This song was included in the early 1980s 'live' shows and was intended for album /single release. But with the record industry being in recession no company was prepared to offer Frankie and the group a recording contract and it remains unknown if a studio version of this exists. The writers are unknown but in concert Frankie Valli is said to have claimed he and Jerry Corbetta wrote it.

Track 19 – Natural Morning

I can remember the late Frank Rovello searching for this nearly 20 years ago as a relation to the writer[reputably an 11 year old?] was sure Frankie Valli had recorded it. Paper records discovered in 2015 confirmed it was recorded in 1968 with Artie Schroeck arranging but it seems it was never finished. This version is re-mixed to stereo from faded tape Mono versions and was in 2 parts....combined here. Not the best of songs but an interesting vocal and arrangement.

Track 20 – Lovers

Unfortunately this Bob Crewe acetate has been over-recorded during dubbing and the restoration of this superb Crewe – Nolan composition has been limited. It was recorded at the same session as 'My Eyes Adored You' and was slated for album release prior to the group leaving the label. Clearly a completed and superb recording it remains in the Motown vault. An alternative dub may be possible in the future but a Master Tape re-issue is our constant aim.

Track 21 – Make Your Tomorrow Tonight

The final acetate from the December 1973 Motown sessions this was clearly Bob Crewe taking a re-visit to the Wonder Who sound in 1973 as a joke for Motown execs. They were unimpressed with the result and although probably never intended for release we are unsure if a normal vocal was ever done. This did not make the 1974 proposed Motown album Master Tape.

With several of these tracks 'culled' from the Bachelors III concert in Ft. Lauderdale I thought the original article on this 'salvaged' concert would be relevant and interesting in the context of this 2017 collection. Here is the link.

Many thanks to all those who have contributed to this collection in terms of the music and the background. Anonymity is necessary for some but they know we appreciate their contribution and we are happy to have been able to share this with you to brighten your day. Casey Chameleon

PS The CD has been made available to members of our Four Seasons Motown Unreleased Campaign Facebook Group.

A 'Legendary' Touring Year - 55th Anniversary

It has been a huge year for the touring Frankie Vall and the Four Seasons with amazing summer dates this week in Tel Aviv, Israel[4^th July] and Cork, Ireland on Thursday and a 'private' London wedding on Friday. Lynn Boleyn will be in Cork and will post this blog with her thoughts soon but as we reflect on the immense appeal of this 'live' show it is interesting to consider the big differences of a legendary career spanning 55 years since The Four Seasons first major musical success.

When the UK fan club started[1971] Frankie Valli and the Four Seasons were already an 'oldies' band and during the 1970s they became truly legendary as the 'renamed' Four Seasons hit Nr 1.

Live performances today and back then have their very different styles. We've accepted the development and celebrated the songs then and now.

 

This Tel Aviv performance is well videoed and recorded and captures what we enjoyed so much about the April concerts in the UK. When the UK fan club started[1971] Frankie Valli and the Four Seasons were already an 'oldies' band and during the 1970s they became truly legendary as the 'renamed' Four Seasons hit Nr 1.

But I was talking with John Paiva today about the 'aura' the whole group had back in 1976-78. We argued about then and now. 'Today' John said is the 'show sound' Frankie wants to project [an evolution of Jersey Boys]whilst I argued that the sound of a 'Band' not enhanced by technology with Frankie's voice at its peak is unsurpassed!! I experienced as will some of you reading this the stunning Four Seasons(featuring the 'sound' of Frankie Valli') during the early 60s (some may actually remember seeing them!)but [surely?]they never truly became 'legendary' till the mid 70s. John and I agreed the merits of both but as I've said before we celebrate all eras of the Four Seasons today [one joke going the rounds is that to date there may have been '4000 Seasons'....all but 4 'employees']

During the UK tour in April we told Robbie Robinson about our research to uncover 'unreleased' tracks for this historic 2017 Tour. We looked at how much the groups recording career and live performances have meant to us. Our research team of US and UK collectors had gathered 21 of 'collected' unreleased recordings from acetates/demos/masters and live performances for 'The Best of the 'Unreleased' UK Collection 2017'. A set assembled to preserve the rarities from the past in as good a quality as possible[given their source quality] We asked Robbie to pass it on to Frankie for him, his sons and to share with future generations of fans. Some tracks have been around for years and some are on You Tube but some are only recent discoveries, now digitally enhanced for CD /digital storage for the first time. Every track has a story behind it and we'll document as much as we know about their background in due course.

In a letter to Frankie we made it clear that our Campaign on Facebook continues in an attempt to persuade Universal Motown to act to preserve [and commercially release] the 30+ completed tracks which we now know are in their tape vault of recordings done by Frankie [with Bob Gaudio, Bob Crewe and the group] between 1971 and 1973 which have never been released. Bob Crewe prepared acetates of some of these Motown sessions in late 1973 and we have been fortunate enough to get hold of tape dubs to salvage a reasonable restoration of these. The masters we know are still in Motown's vault. Plus we have 'never recorded' songs from the 1974 Bachelors III shows at Ft Lauderdale which are in excellent sound. The resulting CD[with some recently discovered gems] is, we believe, an enjoyable and historic celebration of the tremendous career and the work of Frankie, the group and other collaborators.

Our research promises to uncover more salvaged songs from old fans cassette tapes over the next year.

Another project we have completed focused on digital preservation and took 3 years but resulted in digital copies of all the MONO 45 mixes recovered from best quality vinyl and re-mastered to preserve these often unique mixes which we know never survived the Philips contract. These are reference copies for anyone researching the 'original' music in the future. We've forwarded these to Bob Gaudio as a reference set. We have also archived all of the Vee-Jay 45 MONO mixes including the rare 'B' side version of 'My Mother's Eyes' done before the Philips 1967 LP version with a different arrangement.

We re-assured Frankie that as the 'unofficial' [but recognised and accepted] UK fan club we have never operated or intentionally acted in breach of copyright and will continue to do all we can to preserve and educate for new fans, the legacy of Frankie Valli and the Four Seasons, in all line-ups and in every decade. All our music restoration is focused on preserving/assessing the 'art' of Frankie and the group.

The hope is that one day maybe Frankie or one/all of his sons will agree that his legendary career could be better researched, documented and published with 'unreleased' tracks made available. [This has happened with Roy Orbison's sons who now manage his archives]

More from Cork soon

Casey Chameleon

Rex Woodard - Music Detective

To modern day fans of the Four Seasons it may seem amazing that there was a time when we were scambling around for news, backstories and lost tracks on cassette tape. There was no internet and a quarterly newsletter was all we had and the group were regarded as an oldies group with no future. It's easy to forget how hard it was then to get information and even released music on vinyl or cassette..

But then came 'My Eyes Adored You', 'The Night', and 'Who Loves You' before their biggest ever success as a group 'December 1963(Oh What A Night)'. Back then during the early 1970s Rex was gathering research that would decades later lead to the record breaking show 'Jersey Boys'. Rex Woodard was a champion of today's Four Seasons 'music detectives' still gathering information and seeking out more 'lost' music by them than we could ever have imagined existed.

So it was with a degree of pride that I read of his widows success in establishing his contribution to the show 'Jersey Boys' was finally recognised. 'Then and Now' the jointly written bio by Rex and former Four Season Tommy DeVito was judged to have contributed to 10% of the shows success.

http://www.nj.com/entertainment/index.ssf/2016/11/the_four_seasons_jersey_boys_copyright_lawsuit_tom.html

It's never been seen by the fans except in it's interpretation in the show. When will Rex's work finally go public? Well not soon it seems which is a shame as damages assessment by the court will take a few months and the case will probably go to appeal: it's not over yet!. But Valli and Gaudio will probably get pulled into it yet again for solid legal reasons. They licensed the play as owners!!! And they knew of Rex's contribution. He was never a 'ghostwriter' but the real 'author'.

Rex's contribution was based on years of research and 'foundation' articles that resonate today as we still fight to get the full story of the group's lives and music available to us. When he persuaded Tommy DeVito to 'dish the dirt' back in 1989 it should have been a coup for Four Seasons fans but back then their 'brand' was low key and after Rex's premature passing in 1990 the draft understandably didn't surface. It had lost it's champion. But we're all to be grateful Tommy DID make it available to the scriptwriters. We got JB and history made The Four Seasons 'iconic'.

But Rex also anticipated the continuing battle to recover the Motown unreleased without realising what we now know. Rex wrote in Goldmine in August 1981[A Lesson in Survival].....”The myth must die! For several years now, almost every rock and roll encyclopedic source has faithfully instructed it's readers that the legendary Four Seasons bit the dust sometime around 1969, only to be resurrected as an entirely new group in 1975. Lies!”

Well the 'myth' is dead BUT no-one wants us to hear the truth even as 2017 begins.

In the 1980 article he documented the history of those intervening years and the groups creative work during that time. Today with the inspiration of that work and data from some anonymous Motown connections we have in 2016 extended his work by subsequent research to reveal the deliberate suppression of between 30 and 50 tracks completed and left in the Universal Motown vaults unheard by the fans. Rex's research is at the heart of our campaign for their release.

Part 1

Part 2

Part 3

Part 4

Part 5

And to follow that in June 1982 he published what is regarded as the definitive article detailing the history of the Four Lovers in the same magazine.

As we enter the post 'Jersey Boys' era.....now the shows in New York and London are closing.......we are hoping the bio that has been the subject of so much legal time over the last 10 years will finally be published. It is time to herald a new period of documenting and restoring the history of the group and their music over the next few years. Rex's legacy should be the cornerstone of that objective. And our battle to get the music left in the vaults will continue. He'd want us to fight for that.

 

Should Old Acquaintance Be Forgot....

This time of the year I can't wind things down for Christmas without thinking about the lost friends and music detectives who have helped create 'the body of knowledge' that exists about the Four Seasons which we have accumulated over the last forty years. So rather than comment on the latest effort by Frankie Valli and the Four Seasons – Tis The Seasons I'd rather reflect on the fans contributions to our musical knowledge and remember them.

Stuart Miller presided over the UK fan club in the early 1970s and this led to all that followed for the fan club during the 1970s. His legendary interview with Bob Gaudio remains one of the most insightful interviews he has ever given. Right in the middle of the Motown contract it shows the thirst for a new direction that would strike 'gold' by 1975. And the pressing of a bootleg album of rare sides by Stuart kept the fan club going through the darker days at Motown

Frank Rovello single handedly ploughed the furrow for US fans and collectors when the WWW arrived and founded the Genuine Imitation Life Gazette website and packed it full of articles, interviews and information that stretches back to the 70s.He was a great friend and collaborator we shall never forget.

Stefan Wriedt, my German sound engineer friend taught me how to use sound engineering software to restore vinyl gems. Through his work as a restoration engineer he brought us The Fantastic First Years CD of all the pre-Four Seasons tracks from his personal collection and the first CD release of the Motown tracks since they were previously only available on vinyl, with The Night/Inside You CD back in the 1990's. He also helped me establish the CD Discography Index at our website an invaluable reference for finding the best Four Seasons Masters on CD.

And finally Rex Woodard who did more than anyone to research the history of the Four Seasons and may well provide us with their first bio book in the next few years. We now know he contributed 10% to the success of 'Jersey Boys' . That's 'official'. I'll write separately regarding Rex and his contributions.

All these friends and former 'curators' are sadly missed by all as we close 2016. But their legacy lives on as we continue to seek more music and backstories to our favourite group. They'll never be forgotten.

Casey Chameleon

 

The Changing Sound Of The Four Seasons 1966-1970

I said in my last article we as followers and collectors of the brand known as 'The Four Seasons' are moving into the 'Post Jersey Boys' era claiming the group's history back as our collective ownership and identity. We are gathering in 'groups' of like minded people to 'curate' the history, memoribilia and music of our heroes and claim it for our own. We've been doing it for over 40 years.

So with that in mind let's identify what content is needed by fans and how it should be presented. We've more or less done this with the Motown vaults material paper records (subject to what UMe still have and with the hope of eventual release of this material) and we'll continue to 'curate' the history of Valli and co's unreleased efforts onto You Tube over the next several months.

A few years ago I reviewed the Four Seasons sound at the time Nick Massi left the group and Charlie Calello joined for a few months before Joe Long took over. This was a time of great change. 1965 saw pop music burst into new sounds led by the Beatles, The Beach Boys and Bob Dylan et al. So it had to be all change for The Four Seasons as Frankie Valli launched his solo career.

That review culminated in a curators compilation. 'I'm Gonna Change' – The End Of The Philips Era as I tracked the evolving sound of the groups productions from 1966 to 1970. I've re-visiting those tracks culled from vinyl and the ACE CD compilations of the 1990s and am re-mastering these using 2016 software to re-connect with the analogue sound from the 1960s using the Rescue sound processing plug-in in Wavelab Elements 9.

Some I'll get uploaded to You Tube to capture the 'feel' and others are already there.

I'll disclose and discuss these tracks on our Facebook group, 'The Four Seasons Motown Unreleased Campaign' as we seek to extend the story of the changing sound of the groups efforts from 1971 to 1975. Join us there as we revisit the days of the 45.

Casey Chameleon

 

The Age Of The Curators is Here!

It seems that there is no-one listening to fans of the Four Seasons asking for unreleased tracks from the past to be issued. But that is nothing unfamiliar to long-standing fans of the group. Many would claim the Four Seasons Partnership have never been tuned into what fans want nor have they or their record companies listened to them. But should that position be accepted today? Can fan influence bring change?

A recent music industry blog said.....”There is no doubt that the music industries are a complex web of inefficiencies and that if they were being redesigned tomorrow that they would be a far more streamlined, effective and transparent proposition. This on the surface makes the music business ripe for disruption. But unlike fully open markets like the smartphone business, the music industries are interwoven with complications such as de facto monopolies, statutory licensing frameworks and global networks of reciprocal agreements. All of which shelter the business from the full impact of disruption. Change happens slowly in the music business.......None of this means that change is not happening and that the rate of change will not continue to happen. But the odds are heavily stacked against a single entity aiming to unseat the marketplace”

The Four Seasons UK Appreciation still exists through the efforts of a few and the dedicated following of a few hundred fans. Whilst we have always 'championed' 'THE FOUR SEASONS' as opposed to Frankie Valli and the Four Seasons this is because we see the contribution of all members of the group and the team that gave us so much good music. The problem has always been we think that way. 'Collaboration' versus 'Ego' some would say.

So with the end of the Jersey Boys 'era' how will fans be served/kept and created.?

It is becoming more and more apparent that The Four Seasons Partnership need to invest in 'curators' if they are to maintain and develop the marketing of their 'brand' through the internet world of today. A recent blog re the music industry compared the playlisting of streaming services with themed and researched CD 'playlists'........”The fact that 25% of music subscribers still buy compilation albums show that however a good job streaming playlists might be doing, there remains a big demand for compilations, even within the core of streaming music aficionados. Curated playlists will continue to gain importance but compilations are going to live alongside them for a good long time to come. And all the while the distinction between what constitutes a playlist and a compilation will continue to blur.”

With Facebook groups devoted to Four Seasons 'memoribilia', Motown's unreleased music and Charlie Calello's vast catalogue of arrangements and productions we have a place to be, to belong, to share and to collaborate all fuelled by our curation. This keeps the ID of the group, their music and their image firmly in the hands of us all. In 'From Bitcoin To Burning Man' there is a forecast that in the emerging social structures.....”The crux ….. is the insight by David Reed, formerly of the M.I.T. Media Lab, that on open networks such as the Internet, greater value is generated through groups that are progressively more coherent and collaborative – or what Reed calls “Group Forming Networks,” or GFNs.....the most valuable networks, says Reed, are those that facilitate group affiliations. “

Looking at the content of our web site and blog and the membership of our Facebook groups I realised we have have become a GFN......we have been 'curators' for The Four Seasons Partnership since the 1970s and on the internet since the 1990s and now the facebook group members have made us a GFN. Whether it be our group members, blog writers, newsprint and 'memoribilia' collectors or amateur sound engineers, 'curators' is what we have become. Wikipedia tells us that ….“Content curation is the process of gathering information relevant to a particular topic or area of interest. Services or people that implement content curation are called curators.” This 'collective' basically provides that service.

But it is alright talking about the back stories....what about the music?

The Four Seasons Partnership and their Partner Rhino no longer invest in compilations like they did. Future compilations must provide playlists akin to the Rhino Rarities CD's (Vols 1 and 2 September 1990). Curated collections with high quality digital masters.

But if not them WHO?

Well in the Facebook 'Four Seasons Motown Unreleased Campaign' we've documented 80% of the paper records af the sessions at Motown and revealed the background to at least 30 and upto 50 unreleased tracks still lying in the vaults. A massive curation job that even UME could not have achieved with their compilers. We are just awaiting the re-mastering and release.

Back in 2012 Ray Ricci and I exchanged notes on the non-existence of a good Four Seasons Archive as a set of full STEREO mixes don't exist. Some were never mixed and some lost(thrown out by Philips) but the problem of the final 'Bob Crewe' mixes surfaced....”Four Seasons aside - there's very few Crewe productions that exist anywhere in a multi-track format as we think of it. It's not really a case of studio capabilities or number of multi-tracks available: it's how a producer worked through the bouncing and mixing and overdubbing to get an orchestra mix that works in MONO. Stereo was secondary, and could only be loosely constructed with what remained after essential mixdowns with overdubs were already in place.

What's of concern is that MONO masters are lost!”

Well with the help of German Sound Engineer Stefan Wreidt a project to preserve the MONO masters as mixed to vinyl began in 2012 with the help of several UK and US collectors with access to original vinyl. Cleaned and re-mastered to give good quality MONO masters these digital masters contain all of Bob Crewe's great final productions.

Of course I can't share these as I don't hold the copyright, but the archive is available to any national preservation body. The copyright remains with the Four Seasons Partnership but we completed the 'salvage' operation in 2015. Some may appear on You Tube for purely educational purposes!!!

Of course The Four Seasons Partnership could have done this(and could still do so) , making it commercially available but they would need to get access to good vinyl copies and spend 3 man years, collecting, sifting, dubbing and re-mastering. No? They will continue to use the mis-match of masters they have served up before. Not faithful to the original in every case...but who will know the difference.? The fact Nick Massi's bass vocal is missing on 'Ain't That A Shame' or that there is no faithful MONO master of the 'B' side of 'Sherry' ….'I've Cried Before' ….are blatantly ignored.

Unfortunately Stefan passed away from cancer before I was able to complete the archive but it is now complete and testimony to his work and those of us who have become.....'The Curators'.

Onto the compilations we need next.

Casey Chameleon

 

Frankie Valli/The Four Seasons - The End Of An Era

Well it clearly is the end of an era for both Frankie Valli and The Four Seasons and in our Autumn Newsletter update we cover the latest Four Seasons related news for 2016. Some sad, some re new music, some re 'lost' music, some legal, and some celebratory, and even news of a final tour. All contributing to the legacy of The Four Seasons

This last month has seen us sadly lose two highly respected and loved former Four Seasons. First we heard of the passing of Jerry Corbetta, former Sugarloaf founder and member of the Four Seasons from 1980 to 1984. He was a vibrant stage presence at concerts. Then last week we tragically heard of the loss of former Critters member and legendary Four Season, Don Ciccone. As a member of the group's most successful line-up and as a member of The Hit Men he will be dearly remembered. His demo of Who Loves You is fondly collected by his fans. Slip Away will always be remembered for his emotional 'live' delivery.

Another piece of sad news was the end of the 'Jersey Boys' shows runs during the next 6 months in NYC and London. Since 2007 it has brought the music of our favourite group back to world-wide popularity and acclaim and to the cinema with the Clint Eastwood produced film . It has been a 9 year explosion of the group's popularity like never before.

But this month also brought good news with the release of probably Frankie Valli and The Four Seasons final studio album(surely?). It was not only a surprise but the choice is puzzling to many fans. A Christmas Album and a track featuring Jeff Beck? But it may be a way to test the current market for his music? Well some fans will buy anything and love everything he does but others will critically say he shouldn't have done it. At 82 some fans have observed on this collection his voice is weak and the buried in the mix but if it makes people who buy it feel good over Christmas then it's a welcome gift. And each year he has fans it will maybe be a long-term 'earner'.

It is perhaps unfair to compare it with his past vocal performances but surely the legacy of his pending retirement will be a focus on the back catalogue and maybe on the large number of unreleased tacks that remain in the vaults at Universal Motown Enterprises(UMe). We continue to campaign for their release through our Facebook Campaign Group page

This remains the single largest collection of recored but unreleased material by Frankie and the group and we hope that in retirement Frankie may turn his attention to this curently 'lost' material.

Talking of 'lost'.....we heard that Charlie Calello's 'shelved' biography has been dusted off and is being reviewed by a writer and an esteemed editor for potential publication. So we thought it only fitting to celebrate Charlie's vast archive of arrangements and productions as they appear on You Tube in a new Facebook group. Charlie Calello's Lost and Found Tracks web page

A great former Four Season and a great friend to his fans.

 

But the era really concludes next Spring as Frankie Valli and the Four Seasons pay respect to their UK fans with (what appears to be) a final tour. Lynn Boleyn has already publicised this and UK fans have their designated 'fan zones' and there will be organised 'pre/post meet-ups' as we get our last big chance to re-unite and celebrate as fans and to say goodbye to Frankie and his band and in particular Robbie Robinson who has been Frankie's Musical Director for all his 'live shows' since the early 1980s. A magnificent record.

So the end of an era and as 'Looking Back' was a Four Seasons album we hope the next era will focus on just that. It is becoming more and more apparent that The Four Seasons need to invest in curators if they are to maintain and develop the marketing of their 'brand' through the music. A recent blog re the music industry compared the playlisting of streaming services with themed and researched CD 'playlists'........”The fact that 25% of music subscribers still buy compilation albums show that however a good job streaming playlists might be doing, there remains a big demand for compilations, even within the core of streaming music aficionados. Curated playlists will continue to gain importance but compilations are going to live alongside them for a good long time to come. And all the while the distinction between what constitutes a playlist and a compilation will continue to blur.”

And in this context and the content of our Facebook groups and our blog I realised we have become 'curators' for The Four Seasons Partnership since the 1990s. Wikipedia tells us that ….“Content curation is the process of gathering information relevant to a particular topic or area of interest. Services or people that implement content curation are called curators.” This group basically has and continues to provide that service. Unfortunately our top curator Frank Rovello has passed away and we no longer have access to our Four Seasons UK Appreciation Society web space to effect updates but for the foreseeable future that web space remains accessible at http://www.seasonally.co.uk

Hopefully future compilations will provide playlists akin to the Rhino Rarities CD's (Vols 1 and 2 September 1990). Curated collections with high quality digital masters and even unreleased tracks or live performances like the 'Bachelors III' concert from 1974.

And finally news that the long and drawn out legal case re the 'Jersey Boys' book written by Rex Woodard and Tommy De Vito come to a head this Halloween with a Jury Trial. Whether or not Valli/Gaudio et al are found to be in breach of copyright, at least the courts have recognised that Donna(Rex's widow) has a 50 % share of Tommy's royalties from the show. It will be good to see this settled and the next era of the groups legacy can move on.Maybe with publication of 'The Work'

The latest pre-trial synopsis is here

For the future though we'll be updating our Facebook groups regularly and carrying this blog through the next year with news and reviews. Let's enjoy the end of an era!!

Ken Charmer

 

 

Summer News and Rumours

It has already been a summer of news for Four Seasons fans as Lyn Boleyn MBE reported already. Frankie Valli and the Four Seasons picked up a top booking as the headline act for the Last Night at the Proms. Lynn will obviously lead the UK fans in the VIP section.

But other news and rumours are bubbling this summer which will interest fans.

In a surprise turn of events in the on-going litigation between Donna Corbella and Tommy DeVito et al, “Plaintiff and DeVito have asked the Court to approve their stipulation for voluntary dismissal of Plaintiff's remaining claims against DeVito,”

This it appears is partly accepted by the other co-defendents although they are concerned as “since the Settlement Agreement appears to call for DeVito's cooperation with Plaintiff, .... their trial strategy may now change.”

The case will now proceed to trial with the remaining defendants having to win a jury decision against Corbello's(and presumably DeVito's) claim for breach of copyright. They could conceivably be called as witnesses. There may be a delay and whether this strengthens the plaintiff's case against Valli/Gaudio and others remains to be seen, but Donna had won the right to 50% of Tommy's JB earnings.

But from a fans perspective what it may herald is a joint decision by Donna and Tommy to publish the biography Rex Woodard wrote with Tommy back in 1990. A rumour recently was that Frankie Valli was working on his own bio?....Coincidence or competition?

And whilst the Four Seasons Motown Unreleased Campaign continues to gather membership, more than one reputable sources suggest that the salvaged versions of 50+ unreleased tracks in the Motown vaults could be made available for Bob Gaudio and Frankie Valli to assess if they wanted. They may just need to phone Vice President of Universal Motown Enterprises Harry Weinger and ask to hear them. Apparantly Harry has allowed this with other artists catalogues and so step one would be for Bob Gaudio to pick up the phone!!! We will continue to research and publish research re these 'unreleased' tracks into 2017 as our campaign for release continues.

And with news of a proposed 'Seasonal' album....'Tis The Seasons' supposedly coming out from Rhino confusion abounds. We hear this is not Frankie Valli with his current stage backing group nor is it the 'Christmas' album he was reputed to have recorded with Charlie Calello 2 years ago and was shelved. So we all wait with baited breath!!!.

With lots to happen this fall a new marketing strategy for the Four Seasons Partnership is clearly needed and new and old and written material looks like being on the agenda for 2017.

Is this the 'post' Jersey Boys era we see emerging.

More when we have it.

Casey Chameleon

 

Some Observations On Litigation

It is somewhat ironic that The Four Seasons success story started with litigation and is finishing with a trial more than 50 years later!

After The Four Seasons burst onto the pop music scene with three Nr 1's they ended 1963 in litigation with Vee-Jay .The 1963 litigation over non-payment of royalties gave them control of their original master recordings which has provided an income stream throughout their careers whilst now they face potential losses of many millions of dollars if the current trial goes against them. Over 50 years later they find themselves once again locked in litigation after the second major success of their lives 'Jersey Boys', the show of the story and music of their lives . In a unique breach of copyright trial over their own story as compiled by fan Rex Woodard with Four Seasons member Tommy De Vito they find themselves in a trial for alleged breach of copyright of Rex's joint work.

Badly behaving record companies failing to pay royalties and abusing artists rights is a familiar story from the earliest days of the music industry but it was rife during the 60s. The Four Seasons with Bob Crewe took on Vee-Jay with such a claim in 1963.

And again in the 1970s with recording companies charging the cost of recording sessions against artists royalties it is claimed that during their stay at Motown in the 70s when they had no hits but recorded over 70 songs they ended their association (after a 3 year contract )after receiving no record label royalties in 1974. But at least they had their reputations intact and long-standing fans buying their early litigation proceeds and a new line-up setting the charts alight.

This current litigation puts those past money arguments into the shade though. The long running litigation over the Jersey Boys claimed 'source' document 'The Work' has been in and out of court for as long as Jersey Boys has been a major hit with some amazing revelations as Eriq Gardner summarises in his 'The Hollywood Reporter' article

http://www.hollywoodreporter.com/thr-esq/frankie-valli-faces-trial-ripping-828584

That explains (with links to the court papers) how the case has developed and it is now coming to a jury trial in September . Several of us in the UK Society knew Rex Woodard as a fan, collector and writer since the 1970s and his articles re the Four Seasons 'history' provide more detail and inside knowledge of the group than any articles that have appeared in the history of the group. He was the fountain of knowledge re The Four Seasons along with Ed Engel and Walt Gollender. But Rex is the only man to write the history of The Four Lovers and The Four Seasons. He did this in Billboard magazine in the early 1980s. These articles remain the most in-depth description of their history. No biograpies have ever emerged of anyone 'connected' with the group. For many decades deliberate concealment was a policy.

Looking at the forthcoming trial,and the presentation of the facts and arguments from the long-standing fans perspective there are some observations that stand-out. 

Firstly, it always seemed obvious that Rex was the main(or ghost writer) of 'The Work'. His notes and in-depth study of the group goes back to the 1950s and clearly Tommy De Vito was not skilled enough as a writer to produce the 'bio'. Frankie and Bob knew Tommy and must have known he did not posses the literary skills. So when Tommy changed the cover of 'The Works' to delete Rex's name was he being anything other than he is portrayed as in the Jersey Boys play.? Well Rex had passed away so what is the harm he may have thought? Even though there was a written contract saying profits from the story would be shared by both parties and their 'heirs'. But when Jersey Boys emerged Rex's widow (and lawyers) established the identical work had been handed to the scriptwriters. Rex's contribution has happily been confirmed by the copyright office and Rex's royalties share of Tommy's rights will (if this case confirms 'The Work's use in the play script) pass to Rex's widow.

Secondly, the consideration of 'thin' copyright due to the facts of the Four Seasons history being in the public domain is an arguable point. It suggests the 'story' within Jersey Boys was factual-historically and such facts are not subject to copyright but the judge does state that the story within 'The Work' did not exist before the collaboration by Rex and Tommy. Any long-term fan will confirm many aspects of this bio were not known or in the 'public domain' until the premier of Jersey Boys a fact that may see 'The Work' as a whole to have been utilised by the writers. Take for example the links to Gyp Di Carlo. The Four Seasons had for decades hidden any association with the mob for fear that this would damage their reputation with fans and subsequently record sales. In our study of the story of the group through the 1970s(The Rise and Fall of The NEW Four Seasons) we noted the one and only published reference in our huge collection of articles going back to the 1960s republished in UK fan club Newsletters since the 1970s(Nrs 1 to 68) . Even Rex in the 1980s helped cover it up.

I'm quoting now......“Rex Woodard again re 1973...”On 13 July convicted felon and “stoolie” Gerald Zeimanowitz testified before a US Senate Sub Committee that the Four Seasons were connected with the Mafia. Allegedly, according to Zeimanowitz, mobster Angelo “Gyp” DeCarlo of New Jersey owned a “piece” of the band. DeCarlo had been imprisoned in 1970 but pardoned by President Nixon in 1972. Zeimanowitz, however, really had his facts mixed up judging from his testimony, and probably confused the Four Seasons with another act (Valli, when asked about the charge kept his humour: He just wanted to know why his career was going so lousy despite these so-called friends in influential positions!).” Valli was very sensitive to this news and was concerned it would alienate his fans if found to be true. Now he admits involvement in the ‘Jersey Boys’ play and the association seems of little harm to him. In fact it is a core part of the play's storyline and success.

So any connection was covered up then and kept that way. It even extended to censoring the fans. Since the 1970s any connection with The Four Seasons Partnership was always fraught and during the 1990s their lawyer sought to control fan contact with former group members particularly during the early days of the internet when Frank Rovello, Stuart Miller and I were 'banned' from speaking to former members of the group if 'official' recognition of the fan club(s) was to be granted. Was this to suppress potentially damaging stories about links with the mafia?. Well they were suppressed and 'The Works' was the first time that the relationship was explored......but never published. That is until the Jersey Boys play was written. Did Valli and Gaudio tell the scriptwriters the story or is it derived from 'The Work'? That will presumably be the jury's job to identify.

Whether the 'story' told by Rex in 'The Work' was 'copied' in Jersey Boys and was a breach of copyright remains to be seen but the reputational damage caused by this case may be far reaching. Did Valli and Gaudio and De Vito rip-off a dead fan?. 

The fact is that Rex did the most in-depth writing of any Four Seasons fan to tell the group's story and every 'true' fan will appreciate that. And Frank Rovello and Stuart Miller did their part in getting what they could into the public domain. Though they have all passed away now they remain to me the real heroes who wanted the truth for the fans. With one objective. To put the music recorded in the hands of the true fans and enable them to understand the context of it's creation and appreciate everyone's contribution. That has been the objective of the UK Appreciation Society and this blog. The music is all that counts....the rest is the back-story. The choices in life Valli, Gaudio, De Vito and Massi made are how life went for them and they are accountable for.

And ironically that back-story has made the 3 surviving members of the group multi-millionaires and earned them more than their music ever did in the previous decades before the launch of 'Jersey Boys'. The show however remains a wonderful entertainment and this case will show everyone's contribution.Without doubt that success has changed Valli and Gaudio as they have been heralded now as music 'icons'. Do they think a jury would never find against them? Did they know of Rex Woodard's contribution to 'The Work'?. And was this shows major success in good part on the back of a fans research? Whatever happens this case will be a sobering close to their amazing lives We'll watch and listen with great interest . Casey Chameleon

The Ultimate Music Guides

I was walking around Waitrose today and was amazed to find the Ultimate Music Guide to The Beach Boys in the magazines. An album by album guide to their music and back-story(warts and all) and I thought.......”what a tribute!!” Having made it an essential buy, perfect to read on the flight back to Spain, I started thinking how it would be impossible to do one on The Four Seasons.....as the story is incomplete and distorted with Jersey Boys creating the myth and the masses of unreleased material being the unheard part of their story.

I reminded myself that Bob Gaudio and Frankie Valli have never felt able to claim their music was truly inspirational.........until the phenomena of 'Jersey Boys'. And even now I don't think they realise what they were to popular music and their long-term fans. But they have never had a strong enough brand or rapport with their fans. Oh don't get me wrong....their fan base have loved them even though poorly served with releases and bio material for many years, and that probably won't change. Leopards don't lose their spots. But it could be much better for them and us. They are going to find all the exposure in the courts in May. Why not capitalise on it whatever the result. See the big picture.! Apologise even!

Ironically their biggest 'commercial' success(JB) owes it's achievement (in part)to one of their biggest fans, (the late) Rex Woodard, as their long-drawn out legal action with his widow comes to a head in May. Whether Donna Corbella succeeds or not in her copyright infringement law-suit over her husbands co-written bio is irrelevant. It is to me testimony to how they(The Partnership) have been unable to escape the 'control' mentality to protect their 'roots' and their commercial ownership. So much so they have failed to credibly establish their 'Anthology' both musically and literally.....With credit to all the contributors. This History v Hollywood sums up how they will never convince anyone with the JB storyline and this just scratches the surface of what really happened.

There are no 'official' or 'unofficial' bios of their life and the most comprehensive documentation of their recording history is contained in fan sites like the GILG web-site and the UK Appreciation Society archives. I reckon there are somewhere in the region of 80 tracks unreleased by Frankie Valli and The Four Seasons (which probably include some with The Beach Boys). That is as many tracks as they recorded in 1964 and 65 at the height of their 60s success.

And not talking about your mistakes and bad periods honestly is not going to enhance or sell your image and brand. When the Beatles 'Anthology' was being put together and Bob Smeaton was gathering clips of the groups arguments that led to their dissolution, George Harrison was quoted as saying....”Oh we don't want to say that.... I hate that, I hate that period.”. To which Bob replied, “Yeah , but the fans want to see it!” and Bob prevailed and the Anthology sold 6 million copies within weeks.(it's still selling) It didn't harm their image or commercial 'brand'. The true frictions and conflict, the mistakes and errors of judgement are all sellable. The Motown period remains the great untold 'buried' history. Our research has exposed that. Brian Wilson and the Beach Boys 'Uncut' magazine tribute shows what their brand represents .The 'Four Seasons' brand is and should always have been the thing (even if it was Frankie Valli and The Four Seasons for many decades). Sell everything, all the stories...all the unreleased. It will all come to light eventually after were all dead and gone. Life is too short. And you can't hide in the internet world.

Here's another failure that has had little or no exposure. But it sounds and makes you feel 'good'.

 

Casey Chameleon

 

 

The Last Of The Newsletter Downloads

When I joined the UK Four Seasons Appreciation Society in 1976 I would not have believed that by 2016 George Ingram would still be finding articles re Frankie Valli and the group or that the Motown period of the group’s history would keep me researching their music some 40 plus years later, but as George has said “all good things come to an end” and after 40 years of publication this is the end of the newsletter era and our regular web site uploads. Frankie Valli has outlasted us as he continues to tour at 81 albeit with technology enhancing his voice. This has for most fans been enough to enjoy the great legacy of his music in recent years. But inevitably a Four Seasons tribute band will be the only way in future to enjoy the past music ‘live’. Alternatively there is the Jersey Boys musical.

For most of us who kept this fine organization going for 40 years it is a milestone moment and so we bring you the final library of articles and research from George Ingram’s Archive. Ray Nichol our top vinyl and CD expert collector has retired to dispose of his collection (something us older fans will all have to consider unless we can leave it to our children), George Ingram has retired and no longer has access to the print technology needed for his scrapbook style publication design and Ken Charmer who has single handedly been our web publisher since 1997 has a moved onto a final project/campaign

The web site and previous blogs will all remain on the WWW for any researchers into the history of the group. Unfortunately over time so many distortion and inaccuracies have arisen in the story of the group and hopefully our data provides important reference points for any interested party. The web site will continue to be a good reference point and its longevity now depends on the continuing support our web space sponsor Rik Williams. But until the plug is pulled on us some of our activities will go on albeit changed.

The good news is our secretary Lynn Boleyn will continue to keep in touch with friends and fans through her network and Ken Charmer will through his facebook page. This is the last update to the web pages we will do and the blog will close in the near future making this one of our last posts.

There are dozens of great articles in these last downloads of Newsletters 63 to 68 and we hope this last set of information will be of interest to the 250/300 fans that have found us or followed us over the last few years via the blog and web site and it is a pity we failed to achieve our objectives. Never recognized by The Four Seasons Partnership as being of benefit we know the fans have appreciated our Newsletters and research and we have had on average 50 hits a day from web searchers over the last decade.

We had hoped to achieve a complete collection of Four Seasons recordings available to fans before our closure but as Bob Gaudio in a 2000 interview confirmed he is ‘adverse’ to going back and although he has a ‘dozen or so’ unreleased recording in his ownership from the late Philips and Warner/Curb period it would take something major to get him to release these. But there are the 40/50 unreleased tracks that Motown own that remain in their vault and the campaign to get these released will continue.

Ken Charmer’s Campaign facebook page can be found here

Losing Stefan Wriedt and Frank Rovello before this milestone was achieved left me as a lifelong ‘music detective’ – disappointed, disheartened and dis-illuissioned at the Four Seasons Partnerships lack of appreciation for what the UK and USA web sites have done to support the group over the years. But, I can put that aside as the friendships made amongst enthusiasts and collectors has been ‘priceless’.

The Jersey Boys trial in May will signal a new chapter in the group’s history and we will observe that with interest. All fans owe a huge debt to Rex Woodard who collected so much factual data re the group’s history and the eventual publication of his co-written book with Tommy De Vito would be a fitting tribute.

Oh !!!!!and as Lynn Boleyn MBE reminds me there is the 2017 tour to look forward too. Live long and prosper! But for now enjoy this last set of articles. Casey Chameleon

Keep the web site in your ‘faves’ as the dicog page is an essential reference point for all of the releases.

The link to the updated discographies by George Ingram is here

The Newsletter Download Page Is here

http://www.seasonally.co.uk/

The End Of An Era

It's been a long time since I was able to write anything for this blog regarding research into the history of the Four Seasons and their rise to fame and to review what remains to fill in the gaps in our knowledge of their history.

Since the arrival of our internet presence(circa 1997)and 2012 we collected and collated a huge amount of data that can be found on our web site that documents the musical recording history of Frankie Valli/The Four Lovers and The Four Seasons from 1953 to today. Back in the 1970s we were novices and knew only 60% of the story. Now we know so much more. And continuing touring by Frankie Valli and the success of Jersey Boys has kept the music and our data research alive.

But as 2016 started and I received the very last Newsletter from George Ingram who officially retired last year I thought about changes necessary to our web based sites given that the prospect of adding factual data re the groups work seems remote. But is it time to wind things down or should we strive to fill the gaps we know remain.? And with the loss of great researchers like Rex Woodard, Frank Rovello and Stefan Wriedt do we have the resources and support to do any more?.

So at the start of 2016 what is left to find out.?

Big gaps in the groups music and history still remain unless we can collectively dig out unreleased music, articles and peoples memories: facts or stories they haven't disclosed or can even remember. On the face of it this does not seem realistically possible. There has always been a reluctance to talk about or publish stories re the history of the Four Seasons outside a bland storyline, firstly because back in the 60s/70s the Partnership worried about negative connections damaging Frankie's reputation as a celebrity.

Off course all that changed with the development of Jersey Boys in 2007 and these mafia connections were used to add grit to the story helping to make it the hit it became. Now the focus is on maintaining that as their story and continuing it's commercial longevity and financial success.

As fans since the 60s we've always sought to uncover the true stories and in our research over the last 40 years we've found out lots of personal stuff that we’ve not published as it is not relevant to the music's creation. But it has made us sensitiveto the effect on relationships between past members of the group and Valli and Gaudio and the often difficult circumstances in which the music was created.

Looking broadly at what has appeared in our newsletters we have a mixture of what PR the Partnership wanted to portray in the 60s and 70s and in our E-book The Rise and Fall of The New Four Seasons we feature quotes by group members which often reveals frictions and issues typically encountered by groups in the history of 60 and 70s pop music. I guess I never did forgive Frankie and Bob for sacking the Four Seasons in 1978 despite a subsequent short lived 're-union'. But life and the brand of Frankie Valli and The Four Seasons has gone on. In recent times we've had the benefit of the emergence of 3 former members from then in The Hit Men. It has been good to celebrate their sound with them in recent years. The conflicts happened and that is part of their life story. A background to the most important thing.....the music.

In Jersey Boys the writers selected the elements of the group history to create a musical drama........but who where the real writers? This years Jersey Boys Court case may lead to us understanding this more....but more re that later.

So what are the areas where we still would like to know more and what could we write about. Well firstly it would be speculating what happened between 1959 and 1961 before 'Sherry.' Rex Woodard in his Billboard articles said The Four Lovers had done some backing work for Bob Crewe (possibly with Freddie Cannon) before he signed them to a 3 year contract in 1960. But verifying this has been difficult as has identifying the recordings they did backing work on from 1959 to 1961. Our Master Tracks Section 2 on the web site contains the result of several years music detective work (thanks to all who contributed)which recently revealed a Bob Crewe 45 on ABC Paramount from 1961 “Come To Me/Another Day” with the Four Lovers on backing (thanks to Mike Miller). But memories and data are now very hard to uncover and those involved who might have contributed have passed away or can't remember clearly. Record Company records are very limited. The dates when Crewe released the Topix 45s remains a bone of contention as to whether they started in 1960 or 61, but some would say, 'Does it really matter?'....we know what came out.

So maybe what we have from this period with its little bit of guessing and speculation is the limit of what can be found. ?

The Philips period is pretty comprehensively documented (see Master Tracks Section 4) with data surfacing re late 60s unreleased recordings with Artie Schroeck found in recent years. But we haven't heard some of these recordings and there is no published record of the remaining recordings(like the previously discovered 'One Man' from the last Philips sessions) and a rumoured number of perhaps unfinished recordings from this period.

Now as we have known for sometime Bob and Frankie do not appear to take any interest in the large volume of research (in our blog and web site ) contributors have made over the years. And then there is little or no chance of us hearing the unreleased material given Bob/Frankie's attitude since Jersey Boys. Strangely this is reputed to be an aversion to 'look back' when Jersey Boys is just that. The aim now is clearly to protect the JB brand and perpetuate it. The unreleased tracks are judged not to do that.

I never did get Chapters 2-4 done of my E-book The Rise and Fall of the NEW Four Seasons. The period from 1967 to 1970 is hard to document as the story behind the music is hard to get in enough depth. I got a lot of notes re 1967 from sound engineer George Schowerer and interviews with Charlie Calello, Artie Schroeck and Larry Brown and our research has also uncovered some personal facts about drug and marital problems during this time which makes documenting the period hard to balance. And then 1969 and the Philips relationship is a bit strange. Philips appeared to totally dump the group after GILG and the master tracks list shows experimental/rogue recordings for other labels and unreleased material which eventually resulted in Half and Half coming out. Then there was the Northern Soul scene pushing 'You're Ready Now' to UK re-release and then the two UK tours and the move to Motown. I needed help to document and verify facts for this period as few articles disclose what was going on....and in this period the debt problem portrayed in Jersey Boys surfaced but exactly when?. Presumably this was before Tommy DeVito left the group before the UK tour of 1970.......hence the subsequent need to go where the opportunities for money arose. So I still see lots to be fully established and although I'd have liked to finish it. The work remains a 'might have been/could have been' wish.

The biggest musical gap though remains the Motown period from 1971 to 1974 because we now know as a result of an anonymous donor with access to Motown Universal data that only 21 tracks where released and up to 50 tracks remain in the Motown Tape Vault. We know the detail of what was recorded(Master Track section 5) and were able to verify and document this in 2012 but since then there has been no interest or expression that any record company would attempt to negotiate with the Four Seasons Partnership lawyer (still Peter Bennett as far as we know). Those we have corresponded with have not wished to take on what they regard as too difficult a process. Peter in the past has indicated that these recordings are 'not owned by the Partnership' and as a result are a matter of financial dispute. They are he alleged to be 'unfinished' or 'may not exist' on tape anymore and he asked how these could enhance the reputation of Frankie and Bob?. Having heard the demos of 'Hymn To Her' and 'Lovers' now on You Tube and given the quality of what was found for the Motown Anthology CD release by Hip-O-Select in 2009 we have evidence that some completed lost gems remain. How many has still to be established but certainly enough for an album/CD. But it has seemed impossible that these will see release within Frankie or Bob’s lifetime unless they had a change of heart.

And then there is the confirmation from Lee Shapiro that at least another album of material was recorded for the 'Helicon' sessions with several tracks remaining in the Warner-Curb vault and again there appears no interest or prospect of release. There are later tracks from the 80s that we know remain unreleased and there is likely to be other material only Bob and Frankie know about. So musically there is much Four Seasons fans can feel aggrieved that they have never got to hear. Unfortunately the Four Seasons catalogue does not have the sort of research and ownership or interest that the `Beach Boys' master tapes has allowed and how lucky are their fans as a result.? A good example of long-term market management.

And finally the long running saga of the Jersey Boys court case is still to reach a conclusion. Tommy De Vito's copyright submission has been overturned and Rex Woodard's co-authorship of the bio used by the JB writers has been confirmed but the decision of whether Rex's copyright was breached by the use of the book in the script has still to be decided.

The case is still scheduled for a May 2, 2016 trial.  A decision in the meantime about what is protectable in Rex's book and what is not is awaited next month 

The May trial, which will take 4 weeks, will be strictly about whether the Defendants are liable for copyright infringement and/or an accounting to Donna(Rex's widow).  Depending on the result there could be a second trial a few months later that will focus strictly on damages (i.e., how much Donna is owed).  Of course, these trials may not end the case entirely, because the losing party is likely to appeal, unless a settlement is reached.  So there should still be some news about the case, at least through the summer, and possibly thereafter. Whether Rex's co-written story with Tommy De Vito ever appears in print remains simple speculation but if it did it would be a major event for fans.

So this is a summary of the most significant areas of research and interest we've focused on with our music detectives but my plans are to focus everyone once again on the Lost Period at Motown. What we have musically from 1970 to 1974 is not enough. There is a huge set of unheard and unreleased music by Valli and the group from this period and that will be our focus as we freeze the UK web site, and close the blog during this year. We plan to move our efforts to a new platform. Facebook

The web site and blog involve costs that we have carried for many years and given the prospect of 'no goodies in the cupboard' for the fans it seems time to 'draw a line' and 'park the bus' as far as the web site and blog are concerned. Personally I can't see any prospect of us receiving any more useful data or of writing of anything positive for fans based on the current status of things. But what we have published will remain on the www for some time and be accessible through search engines and our 'parked' web site. And we have a mass of data re what happened at Motown that we plan to share.

We're working on a final web site update to make the final Newsletters (Nrs 63 to 68)available for download. These feature the last of the 1970s articles in George Ingram's archive and the latest edits to Discographies featuring the primary releases on vinyl and CD over the years.

We'll be back in due course during this proposed final year of research and but as webmaster I felt it was fair to provide all fans and collectors a full status report of what we have achieved(and still hope to achieve).I'll not retire till the Motown Unreleased is in our hands. Join our campaign on Facebook discussing just what happened and might have happened at Motown and beyond 1971 to 1976

Plans are for Lynn Boleyn MBE to continue to maintain her role as news contact and secretary. She has become the public face of this group once again with the recent years get-togethers and concert tours and we could not have had anyone better. Over the last few years thanks to her contact with Dean Egnater. Frankie Valli’s Road Manager she has managed to get priority booking for the true fans at the UK concerts and indeed to actually meet Frankie and the "Seasons".  Hopefully she can do the same and arrange to meet up with Frankie and the band again if the promised 2017 tour to the UK happens.

On-going fans of the Current line-up will still be able to push Valli to never retire!!

For now my best wishes to you all. Ken Charmer

Being There!

 The UK fans have always been able to call on the friendship, help and support of Frank Rovello. Although we have always had independent web sites for UK and USA(GILG) fans since 1997ish we have never had to compete we just complemented each other and he did it all himself as did we. All Officially ‘Unofficial’. The Four Seasons have never appreciated what he did for them. Not really…..but it has been that way since the 70s as far as the fan base is concerned. It was 1997 back in the early days of the internet ’experience’ when I first corresponded with Frank Rovello. Frank wanted his data to be available to us and we were happy to return the complement.

He followed George Ingram’s Newsletters and contributed. We collaborated to get the CD set of The Adrian Baker Story compiled into ‘Harmony Gold’ and he mastered a few live show CD’s. He was always there for you………..always there to help verify a fact or a track and like us he always collected everything he could find and we were happy to add to his collection whenever we found any new ‘unreleased’ tracks and ‘live’ performances.

I got to meet up with him in 2007 when we had a ‘mini’ 4Seasons collectors get-together at the Roger Williams Hotel in NYC. He helped me compile the memories of the final Four Seasons show at Radio City before the now infamous ‘sackings’ for The Rise and Fall of The NEW Four Seasons e-book for our web sites with key photos of that performance. And like us he wanted the Motown Unreleased by Valli and The 4 Seasons to ‘escape’ from the vaults and now he never will. (nor may the rest of us until circa 2022-more re this in due course) He helped George Ingram and I with articles for the Newsletters tracking published articles through the years. Our UK fan club team hold fond memories of him.

George Ingram recalls…. “Frank did help me get two tickets for JB in NYC for Easter 2007 when the tickets were sold out. Apparently he managed to get Phil Ochs’s seats (don’t know how) because they were not being used at that time. Also he has been very helpful re releases, general information and related over the years. He will be sadly missed. I have dedicated newsletter no. 68 to him!”

Lyn Boleyn and Ray Nichol remember the convention he helped organize in Raleigh…..”What an absolute pleasure it was to meet Frank Rovello for the first time at the Four Seasons International Convention Weekend 24 – 26 October 2008, in Raleigh, North Carolina where the guests of honour were Joe Long and Demetri Callas. Our hosts were Frank Rovello, Johnny Hornsby, Russ McClelland and Charles Alexander who ensured that everything was just perfect for the whole weekend. Frank did a magnificent job on his web site covering the convention in his own unique and humorous way with not only photographs but audio footage as well. You can access this here: http://gilgweb.com/Raleigh.html Such very special memories of, as Joe Long described him “one of the good guys”; Demetri told us “he will be missed by many”. He was a gentleman, very kind and funny and he will certainly be missed by everyone whose lives he touched. A review of the convention can also be found here: http://www.seasonally.co.uk/News52.htm”

Ray recalls….”.I met him when I went to Raleigh and spoke to him for quite a while. You know we all have a degree of knowledge on the Seasons and Frank was quick to acknowledge this, I felt he was really into the music of the Seasons more than anything else as I gave him a piece of memorabilia which he appreciated and also a Motown double cd which(feat.The Night)was a freebie from the Daily Mail and that was most appreciated. He was an important part of the Season's email group and will be sadly missed by everyone.”

Well said all and thanks Frank for …..being there. Ken Charmer

Newsletter Update Winter 2015

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.

 

• Newsletters 47 to 60
• Newsletters 61 and 62
• Updated UK Discography
• Updated Bob Crewe Solo Discography

 

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.

And see our web site for even more on the groups history in The Rise and Fall Of The NEW Four Seasons as well as Master Track information for the groups recordings from 1953 to 1974 and a CD discography upto 2011 compiled by the late Stefan Wreidt.

 

Our good friend and Rag Doll ‘Jean Thomas’ is also featured on her own web site.

 

Casey Chameleon

Newsletter 60 -The End of The 70s

We've had Jersey Boys and lost Bob Crewe.....both events left me completely numb but for entirely different reasons. The tenuous link with the past may have been created with 'The Movie' but losing the 'iconic' Bob Crewe was a reminder that none of this......Four Seasons Appreciation Society is forever. But then we still have some Newsletters to go.........

The latest Newsletter from George Ingram’s extensive archive of published articles is motoring through the 1970s and it is clear that control of the image and media for fans is sanitized and restricted. We shine the limelight on Gerry Polci, Lee Shapiro, Don Ciccone, and John Paiva as as well as Frankie Valli and Bob Crewe as  their musical contribution is recognized. Our legacy for a great group.

 Great days…..so enjoy the download page by clicking here or on the image above.

Casey Chameleon

PS Please note at present this Newsletter is NOT ACCESSIBLE VIA OUR WEB SITE.........ONLY VIA THIS LINK.

The Four Season Movie – A UK Perspective by Casey.

When I saw the trailer to Jersey Boys-The Movie I thought the translation of the hit show to the silver screen was going to be a sort of ‘Boardwalk Empire meets Mad Men’.

According to The Telegraph it is “a film so grey and musty, it should probably be inspected on public health grounds for mildew.…. ….I entered with low expectations….and came out thinking “ some nice moments but Clint Eastwood rushed the film too much and missed/sacrificed the group's magic”

On the positive side I had to agree with The Independent’s assessment…..”One of its pleasures is its recreation of post-war America. It is shot in widescreen. The early scenes are in desaturated colours which give the sense that we really are back in the 1950s…..There are quiffs, cars with fins, and scenes set in bowling alleys but the film never lapses into Grease-like caricature. The device of having characters talk direct to camera, commentating on events in which they themselves are participating, isn’t as jarring as might have been imagined. As in House Of Cards (in which Kevin Spacey’s rogue politician tips the audience the wink) we quickly become accustomed to this style of storytelling.” (it happens in every episode of ‘Modern Family’)

But I did realize that this may not be enough to hold the attention or create the excitement of 1960s music for a big audience. As The Guardian says…”this version of the Four Seasons story appears to take place in a vacuum; for all the period detail (good to see a solid '56 Dodge Coronet in the street scenes alongside the more camera-friendly car cliches), there's scant sense of the pop world outside the boys' own four-part bubble.”. This is to many fans I am sure entirely unfair. Given the story context and length it would not be possible to do justice to the 1960s music scene. The theatre and audience appearances are authentic and the studio scenes are well matched to photos we have of Bob Crewe and the group in the studio.(even to Bob Gaudio's 1967 goatee- although he never had hair that long till the 70s.)But some of the key stage show effects are sadly missed.(The 'Dawn' stage climax before the intermission for example)

Some critics have panned the film and anticipating seeing it I was asking….”what should I expect ​?”……a story of four guys trying to succeed as the 50s crossed over into a changing 60s?….or a portrayal of the music scene of those early years of the decade?…….well, Clint Eastwood went for the former …..but seeing that I recognized missing aspects of the 60s music making that no-one has tackled. The NYC music scene is becoming increasingly difficult to capture and the unique style, creativity and personality of those times......but at least Bob Crewe's portrayal was visually accurate and his dynamic production style was partly achieved...and they included his infamous Dakota Building parties....wonderful stuff. Perhaps the film falls between two stools achieving neither an effective piece of entertainment or a portrayal of musical development. But I didn't like the lack of credit 'musically' to Bob Crewe......he only did the lyrics.....and no production credit?. Same old problem with The Partnership......lack of credit to the teamwork. Others seem to agree. Eddie Rambeau who worked with producer Bob Crewe and wrote for the group had a valid perspective….”having lived through it myself, although the film will appear entertaining to most, it really wasn't that factual”..It is also clear from information received that Bob Crewe's family will not be too thrilled with the film. They and we, I am sure, recognise that Crewe “ was the real brains behind the success of The 4 Seasons”. Eddie, I and many others believe Bob was the driving force behind their career even if Gaudio's music was an integral part of the success. Jersey Boys doesn't capture this but the movie goes further than the stage show. Crewe was far from perfect but he did teach them their craft and this doesn't come over enough.

The Independent review also focuses on how the storyline is too predictable…....” Eastwood can’t escape the clichéd nature of films about bands. Inevitably, there are the years of struggle. Then comes the giddy period of early fame and success. Next follow the recriminations, broken marriages and unpaid tax bills. It’s at this point that the band splits up and its members tell each other they won’t perform together until hell freezes over. Then, in the final reel, the band is bound to be inducted into the Rock and Roll Hall of Fame amid scenes of semi-sincere reconciliation. You can’t blame the screenwriters for following a hackneyed old formula. This is simply the way that it always seems to happen.”

It is easy to agree that…..”The film is structured a little untidily. There aren’t climactic moments”….something the show never suffers.

The film does have a major problem according to The Telegraph…”The problem is immediately and heartbreakingly apparent. Rather than embracing the jangling song-and-dance numbers that made the live version box-office catnip, Eastwood sheepishly tidies them into the background, treating the project instead like a standard music-industry biopic” And unlike the show, the MUSIC loses out…”On screen, they (the songs) feel a tad flat – not something you could ever say about the records (look at the electrifying use Philip Kaufman made of them in The Wanderers).” …says The Guardian…..”Instead, it’s the band’s fantastically tedious internal squabbles that the film obsesses over”. “This is Eastwood’s major mis-judgement.” ….observes The Telegraph. Not an over-whelming approval from the UK quality press.

But we know it is a false storyline and didn’t happen(we accepted this in the stage show back in 2005)……..in many ways this 'inaccuracy' is where it works for its target audience. Whilst the early portrayal of a struggling band is backed up by some fact and research ….the later story line is some facts and fictions strung together in an out of sync timeline for theatrical effect……..” based on an almost true story’ is I guess the label it needs. But this has always been Jersey Boys ‘entertainment strength’ and ‘historical weakness’. You either accept the entertainment or feel cheated….I guess? Perhaps the most successful dramatic effect was the Francine storyline. It is well done throughout and although the adaptation was sensitive to the loss of a child, it is just not the real timeline

Personally I can't forgive the music production. Here was the chance to recreate ‘the sound’ of Frankie Valli and The Four Seasons in ‘surround sound’. But this production fails to realize Bob Crewe’s majestic productions of the unerring vocal harmonies of the 60s hits. And even worse, as Rolling Stone says ” the immediacy(of the show) is lost. The camera keeps the music at a distance, a bitch when you're aiming for raw vitality. The result is a golden-oldies valentine sent by a well-meaning tribute band.”.The opening Prelude fails to capture any energy or excitement.(as the stage show does)...and I wasn't comfortable with the ending as the whole cast pranced around as part of the closing credits resembling the end of 'Shrek'.

But inevitably the conclusions of the USA's Daily Variety perhaps hit the spot….” Though Eastwood didn’t have the best of luck with musicals as an actor, this property ought to have been well within his directorial wheelhouse. As a helmer, he’s always had an astute ear for music; he excels at regionally specific ambiance and period studies, and here he avoids the music video shooting style that has turned so many recent film tuners into brightly coloured slurry. But as handsome as his compositions are, Eastwood’s filmmaking simply doesn’t have the snap or the feel for rhythm that the script’s rapid-fire theatrical patter requires, and the relative dearth of prominent musical performances turns what could have been a dancing-in-the-aisles romp into a bit of a slog.”

For many perhaps the film works as a piece of entertainment. A well staged and well acted drama with music......and although 5 songs are missing from the stage show it still almost worked....as a drama. ..not a music portrayal. And what happened to give us the 'crazy' trombone in 'Can't Take My Eyes Off You'?...I was embarrassed that it was sooooo bad. Significantly I found myself staying for all of the credits to hear Sherry and Rag Doll....the 'original sound' in surround sound. A highlight. It is no surprise the 'original hits' CD's are selling like hot cakes

But I do agree with John Hornsby… “the film nonetheless has its own peculiar charms”

As he says…”I think the big difference is that the play is like a live concert with the story of the group tying it all together, while the movie is the story of the group with the music tying it together.  I have heard people coming out of the stage show saying "I could sit through that again"......because it's live music, like re-living a Seasons concert in the 60s.  There is a difference.  The two entertainments aim for different things.”

But my mixed feelings come down to one serious failing apart from the presentation of the music. The film suffers from a lack of time spent with attention to detail.......'8 track' recording was not available at the time of 'Sherry' and the recording sessions are not correct in several respects....and neon signs denoting 'Frankie Valli and The Four Seasons' above their heads during 'Walk like A Man' are simply wrong. They were 'The 4 Seasons' at that time.......but this to many is just technical detail. The acting by all the main characters is quite strong, and John Lloyd-Young is as good as anyone has got to Valli. ….but could a film actor have caught the drama better? Some stage show fans will be outraged because 5 songs are completely dropped,'Big Man In Town', 'Let's Hang On', 'C'Mon Marriane', 'Beggin' and 'Fallen Angel' but the drama doesn't suffer, even if the excitement does. Again that points to the lack of musical impact highlighted by The Telegraph comments above

But final judgement goes to two ladies in their 60s coming out of the cinema who spoke to me and I asked them if they enjoyed it......'Yes' they said...'Frankie Valli and Bob Gaudio seemed like nice people'. So....notwithstanding my and others mixed feelings re the movie.....perhaps mission accomplished guys.?.......Surely most people who have seen it and the Stage Show will agree...The Stage Show rules!!

Casey Chameleon

 

On The Road' – The Movie.

We don't write about cover bands.......but one band we have experienced in recent years was something special......You may remember a Four Seasons sound-alike group that briefly appeared as 'The Franks'.. and their awesome version of 'The Night'...it is the best ever 'cover' version of that song and proved what we thought back in 2008...... that they are the best Jersey Boys cast members...EVER..notwithstanding the JB movie. Well you don't have to believe us even if you haven't seen that long lost video on our London JB tribute DVD. Although their JB contracts finished....and they disappeared from You Tube.......they haven't disappeared totally.

 

Back in April 2013 Philip Bulcock who played Nick Massi in Jersey Boys, London production, told us he had produced and directed a short film with the rest of the guys who played along side him when the show opened back in 2008, (Ryan Molloy, Stephen Ashfield and Glenn Carter).  He told us then that whereas Bob Gaudio was inspired by a film to write a song, Philip was inspired by a song to make a short film.

That song is 'Everybody Knows My Name' (from the 'Working My Way Back To You' album December 1965) and the film bears the same title. Although none of them had the opportunity to appear in the current Jersey Boys feature film, they all feel his film kind of makes up for that in a small way.  Not only did Bob Gaudio really like it but now we and the world have the opportunity to see it . NOW we can reflect on their extraordinary acting and musical talent as the film goes public. Click the link text above or here....

https://vimeo.com/98780013

The film is so much more than the music in it and it captures perhaps 1965 and the desolate creativity of being 'on the road' as The Four Seasons.

Well perhaps it was a promo ahead of casting for the film....and even if it was it remains a stunning visual and vocal promo. But we believe this performance is vocally so good that they should complete their role as portrayers of `That 'Four Seasons' Sound' with a CD album. Their own sound is such a close modern alternative that captures the emotion and intensity in a way no-one has done in any sound-alike bands. Experience and judge it for yourselves. Some very authoritative music business people agree with our reaction.

This movie makes you want more....just like their London JB performances did.....their creativity and personality shines through......whatever they want to call themselves we want more

Casey Chameleon

The Bob Gaudio Enigma

You know as I get older I am amazed at how much we forget.....well me really.
After all of the excitement of Charles Alexander’s compilation quiz and the final release of the track listing…….I stumbled across something I wrote back in 2011 whilst Charles was still thinking his project was a dream.

Funny thing is it is still very relevant to Charles project.
The fact that so many artists regarded his songs as worthy of their interpretation is for me a key point in this collection and the 4Seasons songs chosen   illustrate my contention that his best material was in collaboration..

But look back at this article as it is not my words but those of some of the people who worked with him that dominate. You can doubt them and their perspective but it is totally credible. I am sure Charles notes and explanation of the 7 year odyssey will also provide further insight into the extremely hard job of writing great songs and Gaudio was a master even though it was hard work . It certainly paid off…..and this collection only scratches the surface.

http://thatfourseasonssound.typepad.com/seasonally/2011/08/bob-gaudio-songwriting-genius.html

and I also back then had the effrontery to compare Crewe-Gaudio as producers. I'd forgotten about this as well.

http://thatfourseasonssound.typepad.com/seasonally/2011/06/best-producer-bob-crewe-or-bob-gaudio.html

Of course I am not taking back a word of it….otherwise I’d have deleted or corrected it. I really should archive such great stuff.

Come June I’ll review Rhino’s releases and the film.

Casey

It's Just The Way It Is!

We’ve been running the Four Seasons blog now for several years and our team of music detectives have un-earthed a mountain of data which is mind-boggling in comparison with what we knew about the group during the 70s when the fan club was at it’s peak as was the group’s music. Looking back through George Ingram’s recent newsletters has been a fascinating window on the past and as we reach the end of the articles library it again reminded me of the joy and the pain of being a fan during the 1970s. The joyful success of The Four Seasons and seeing them for the first time and the complete dismay when they broke-up (they were unceremoniously sacked – as had happened to Joe long back in 1975 after 10 loyal years).

 

Some people have commented recently about a ‘negativity’ in the blogs I post and is maybe something they don’t like to see. Maybe it is uncomfortable reading. I’ve always been careful to be supportive of the fans needs for accurate data and the contribution of the group/band members and of the Jersey Boys show and actors. But hey let’s get real and look at what you may want to praise or criticize …..lets ‘Walk Like A Man’!!!

Here’s some alternative perspectives from fans on their forums…….

Quote…..”I must say that your site has been a godsend for many of us fans who have begged for releasing older material albeit Motown or anything else.  Your research and persistence in this area is truly amazing. As an American, I wish that this pursuit was heavier in this country where you would think that the resources would be greater.

Without your efforts we would never have been able to have access to some of these gems. (I Wonder Why, Lovers, Hymn To Her, Make Your Tomorrow Tonight, etc.) I only hope that it continues.”

“I know that it’s been frustrating that the partners(The Four Seasons Partnership) haven’t been any help in this pursuit. “

Response….”When we set up the web site back in 1997 we tried in vain to establish some sort of relationship with The Partnership to help the fans learn more about the past history of the group. That failed due to the Partnership’s wish to control what was said re the past,,,,,,,after all we now KNOW the past was to some extent (dare I say) ‘shady’and it was their right to control disclosure. They have done this as they wish in ‘Jersey Boys’. What was inexcusable was sending out ‘cease and desist’ orders when we were trying to communicate and accommodate them back in 1997. We at that time withdrew any support for the Partnership and have since focused on The Four Seasons as a group and all the members and collaborators who played a part in their story……independently of anything in the ‘fiction’ of Jersey Boys. What we have achieved has been for me truly amazing thanks to collaborators all over the world. A network of music detectives and collectors. I thank them all on behalf of anyone who benefits in the future from our research.

Question…Do fans have a right to hear the unreleased tracks?

Quote received….”I must take issue with this. Artists have the right to approve the release of their work. Apparently, they don’t think that any of these tracks are worthy. If I didn’t feel that if I produced a product that wasn’t good enough…I wouldn’t want to release it.  Sure, many of us don’t really care and I love what I’ve heard so far!! It’s really not for us to say.

On top of that, there isn’t a real demand and from what I understand, the work involved outweighs any benefit….except for a few. “

Response…..This is an accurate comment but remains a bone of contention amongst artists and fans throughout music. My position is this……I am a music collector/detective and my interest is art! It happens to be popular music and is not restricted to The Four Seasons but I have recognized the importance of their creative body of work achieved with others irrespective of who instigated paid for or owns the work. Legally such things are clear. Artistically and historically there is much to debate. Have we the right to read Shakespeare’s unpublished plays? Go figure!. The fact is that Motown Universal have ownership of these recording and they have little or no commercial value to either them or the Partnership. Only when there is enough artistic value involved to enable historians to assess the full body of work will they appear. The one thing that US law does require is that they are preserved. So I believe they should be heard and added to the body of knowledge. We aren’t going to agree on this one, and I believe it is for us to say. Art for Art’s sake.

Quote……Regarding their loyalty to past members, John Paiva, Joe Long et al. Let’s not forget that the 1975 Four Seasons didn’t want Joe Long. The decision was made to launch a new band that would appeal to the current record buyer. I think Gaudio/Valli did everything they could to promote the Four Seasons with lots of product. It just didn’t work. Plus, it was their money!!! They took the risk…not the band members. I commend them for having tried. Sour grapes to those who complain.

Response…..The sacking of Joe Long must inevitably have stemmed from frictions within the band and Joe’s age may have been against him. The decision to market a youthful line-up without Joe was ultimately Valli/Gaudio’s whatever the influences and was sad and unworthy of the man’s loyalty and contribution.

Equally so the sacking of the band when we had all been told they were to be a NEW Four Seasons was ‘shabby’ and ‘disloyal’. But hey this is the music business and ‘the owners’ of the name needed to protect their finances/brand. But there was another way….why not carry on or at least give the guys a choice? Last night I was watching ‘Moneyball’ and Brad Pitt said to his assistant that he should call a baseball player in and just tell him they had to ‘let him go’. He couldn’t…..and Brad Pitt said “When you shoot a guy which is worse….A bullet to the head or five to the stomache and let him bleed out?” It’s a familiar perspective in business……but not all of us agree with it. Ultimately this goes down to Valli’s chosing his solo path…..for whatever reason?....he ultimately ‘cherry-picked’ Lee Shapiro reversed the decision and re-formed the band …and it has been that way since.

With John Paiva and Joe Long the expectation was not so much ‘sour grapes’ but a ‘lack of loyalty’…but hey this is the music business….come back Nick Massi!!!

Subject quote…..”Regarding Jersey Boys being the official Four Seasons legacy?

Take what you can get!! A play that involved a revolving door of past member in true chronological would have been a mess and uninteresting. Again, the partners took the risk for this project…no one else. After many failed tries…..they struck gold. That’s the coincidental story line here that mirrors their career.  They could have had a one-off movie of the week years ago that would have faded in a month. Now look….almost 10 years running!!!!. What Jersey Boys does tell us is that persistence and determination can still pay off. I can’t tell you how many times they probably thought about giving it up over this 50-60 year span. It’s inspiring.”

Response…..Jersey Boys has been a great show and thanks to a Four seasons fan…Rex Woodard getting Tommy to ‘dish the dirt’……and we know from the court papers what happened. But would we have wanted it to not happen….NO way….and didn’t the writers do it well. We’ve all had many hours of joy this last 10 years thanks to that chance being taken. My problem is that we need to keep it as ‘A Four Seasons Show’……part of the legacy but not the whole story and I have had others say the real story behind the music is being sub-summed by this commercial ‘juggernaut’

I’ve always respected Frankie Valli’s tenacity/drive and determination to please his audience and to be so committed to them and his music. For me Bob Gaudio’s tremendous talent as a writer and producer are diminished by his limited recognition of the ‘team members’ who helped him achieve success……particularly his debt to Bob Crewe…..and I’ve said what I’ve said re ‘The NEW Four Seasons’ of the mid 70s….they deserve better recognition. Even if only in the credits.

But these are all just stories along the path of life……..just Four Seasons stories and whilst we will always respect and highlight the collaboration and creativity of the ‘members’….I think it is valid to be critical and concerned re the portrayed history of the group and access to their art.

We made the decision back in 1997 to not commercially support The Partnership after their treatment of us(me directly). I think since then we have done a substantial amount of commercial support in keeping fans informed. The research info is really valuable historically as has been the preservation of vinyl masters. No thanks is expected or wanted. No commercial gain of any kind has been made. But enough is enough and the research and web work will be wound up. The site and blog will eventually close-down probably next year. Someone else can champion the legacy if they are perhaps able to find a patron …..maybe someone who cares about truth and loyalty. Now that would be inspiring.!

 Casey Chameleon

 

 

Newsletter 59 - April 2014

Some people are waiting with baited breath for The Jersey Boys movie and dreaming of such a resurgence of interest that record companies will be keen to dig out the unreleased material for old and emerging fans. Well whilst the movie may increase interest in their download archive the likelihood that any effort will go into a documentary(as with the Beatles Anthology) or issue of any unreleased material...... there is little evidence of this given the past approach of the Partnership.

The latest Newsletter from George Ingram’s extensive archive of published articles is motoring through the 1970s and it is clear that control of the image and media for fans is sanitized and restricted. With the now established story of the group immortalized in Jersey Boys (soon to be on general release as the movie…based on the stage play) there will be little appetite in the Partnership for sharing any of the limelight with Gerry Polci, Lee Shapiro, Don Ciccone, and John Paiva as they  get no mention in the show /film….nor is their musical contribution recognized. A sad legacy for a great group.

But at least on the UK Four Seasons Appreciation Society web site fans can collect articles on the reality of their 1970s music and of that great line-up. For me perhaps the best line-up was before Joe Long left and whilst John Paive was doing lead 'fill-ins' making him a natural to move forward into the line-up (an event suitably reported in Newsletter 59.) and just look at the list of vinyl releases from 1976 to 1980. Great days…..so enjoy the download page by clicking here or on the image above.

Casey Chameleon

Will the JB Movie be the Four Seasons faithful ‘legacy’?

As we now have the movie trailer of the forthcoming ‘big screen’ version of the stage show it seems appropriate to ask the question as this snippet of action, script and music emerges, carefully crafted to entice followers of the stage show.. OK there is not enough to make a full critical assessment of the production but there are certainly enough indicators of the style and presentation to make some observations.

Clearly the structure and approach of the individual group members giving their perspective (as in the stage show) is retained and developed to take advantage of the benefits of a movie production rather than the stage. And the vocal presentation known to most of those who have followed the show will enable people to relate to John Lloyd-Young’s lead vocal. The similarity with the JB Cast CD sound is apparent as soon as the trailer starts.

Show fans will be excited at the prospect of the movie version from this 2:19 sec snippet.

But as a long term music historian maybe I won’t feel that the interpretation actually captures the essential legacy of the group and their unique sound. And I don’t think I will be alone.

But first there are several attractions to the film version apparent in this trailer.

1. The Casting

Each of the group members characters immediately connect with personality and attitude reminiscent of the best stage performances. And two surprises immediately strike home. Firstly Christopher Walkden’s presence as Gyp De Carlo hits straight away. Secondly Bob Crewe’s portrayal is so like him that it is uncanny in appearance terms. The scene of him in the studio is a close copy of the photo set by George Schowerer taken in 1967. (albeit five years earlier) The actor , make-up and studio design capture the appearance of Bob in the Mirasound Studio.

1. The Sets

Clearly care and good design have been used to create the sets for each scene taking advantage of extensive 60s simulation in design to portray the locations, cars and atmosphere. These will certainly enhance the action. The glamorous appearance of girls in 60s fashion it appears will be a feature.

1. Additional Dialogue

With the opportunity to develop the play’s stage dialogue and to complement a more natural context the script writers have elaborated. How effectively this works  remains to be seen and can’t be judged from this trailer?.

But like I said earlier doubts remain for me as a ‘purist’ studying the sound and its creation. Inaccuracies in the script/storyline are part of theatrical and movie productions and we know of the many fictions in the ‘play’ storyline from interviews. But the different arrangements of the songs (ie  keys/tempo/harmony etc) have worn thin for me. Maybe it is working on ‘original’ sound of The MONO Archive ‘restoration project’ for 3 years but once again this sounds like a tribute group which I guess is a good as it could be. How could anyone re-create Bob Crewe’s overdubbed masterpieces? And Charles Calello’s masterful arrangements?. Appropriately adapted for stage and screen I guess Bob Gaudio will maintain!! But  it also comes down to my allegiance to MY Four Seasons and the lack of respect shown to Gerry/Lee/Don and John…..The NEW Four Seasons we grew to love back in 1975 and 76. The mis-portrayal of these guys in the presentation of Who Loves You and December ’63 continues to rankle with me.

Saying that the show maintains an interest for successive generations of new fans doesn’t work for me. Would the portrayal of Frank Sinatra in a movie singing in such an ‘out of context’ way be accepted by anyone who loves his music.? No way.

We’’ll  be able to fully judge the movie when it ‘premieres’ in June and although a chorus of fans will enthuse it……I’ll monitor the critics response and we’ll gather opinion for then.

Casey Chameleon

Newsletter 58 - February 2014

Another year and another Newsletter from George Ingram has arrived chronicling the latest and the past data for Four Seasons fans. But the one thing that has changed since Newsletter 50 is that the identity of what the Four Seasons were/are has ‘morphed’ into the Jersey Boys(in what must be the biggest ever ‘tribute band’ franchise) and  Frankie Valli and his Band impersonating both the Jersey Boys and The Four Seasons. And just to confuse matters even more we have two of the 1970s Four Seasons ‘hit group’ performing as the ‘Hit Men’.

So if this Newsletter No 58 is somewhat confusing  for fans new and old then you are forgiven as a read through brings home how much things have changed not only since 1977 but since 2007. The LP and Singles information is laid out for 1977 and so to the recent 2013 releases. With download only collections abounding now and ‘out-of-copyright’ re-issues surfacing keeping a log of these and updating the CD discography at our web site is proving to be impossible. What is there on the web-site is a reference file(compiled by Stefan Wriedt from George Ingram’s Newsletters) for what came out between 1986 and 2011 and we will leave it there.

One of the landmark articles of the 70s is included in this newsletter(although as it appears on the GILG web site we have simply linked to it rather than re-scan).This article pulls no punches on the difficulties the group had. Also  the differences in the story of the writing of ‘Sherry’ between Bob Crewe and Bob Gaudio are perhaps symptomatic of their on-going ‘different perspectives’ as is  their dispute over Bob Gaudio’s credits on the long-list of hits. Bob Gaudio is painfully honest re his ‘call’ to get the group to do ‘Genuine imitation Life Gazette’ as well as the aftermath. But although Valli’s extensive recording efforts at Motown are mentioned no-one back then knew what we know now in terms of the unreleased material amazingly still in the vaults at Motown. Far less successful groups have had their tape history poured over and documented and preserved over the years yet it is still down to this group of ‘music detectives’ to unearth the real story and the list of music. As for their release….well (as usual)‘dream on’.

The final section with the listing of ‘Frankie Valli On Record ‘ shows just how far we have come. With the advent of the internet it has been possible to gather so much more detailed data on the releases of the group both before and after their first success as the Four Seasons. There are still gaps and our ‘music detectives’ continue to seek ‘the final word’. That information is down to us….not The Four Seasons Partnership. But one question remains………is there enough interest to keep the research going. Maybe the time is coming to leave the Four Seasons Story to the Jersey Boys fans?

Another great effort by George but clearly we are reaching the ‘last knockings’

Casey

Connect to the download page here

The Four Seasons MONO Archive Is Completed

It seems to be slowly dawning amongst collectors that ‘preservation’ is the name of the game for the Four Seasons catalogue. A US mastering engineer told us….”the Four Seasons kept the “group sound” alive into the 60s, even after the British Invasion hit American shores, so their significance in their  legacy of pop music is monumental.  Personal taste aside, some music is worth preservation if only for historical purposes and The Four Seasons’ mono single mixes are the way listeners remember them being played on the radio, not those sloppy Philips throw-togethers(STEREO or MONO Mix-downs).  Hindsight is 20/20, and had the group thought of KEEPING the multi-track session masters, we could have accurate stereo remixes that match the mono single mixes.  Alas, that is not to be, so the mono mixes rule.Another issue I have with stereo is overdubs being added during the mix to mono for the singles.”

In our last blog we promised we would finish the archive soon and the results are now being reviewed to select the best versions. These MONO mixes  have excited us enough to commit a set of 26 tracks from Volume 2 (13 of their Philips 45s) to CD which has produced a great listening experience. I asked our own sound engineer about the technical process.

“The key was the network because without that you can’t access enough pressings to find good clean copies…..and dubbing and cleaning presents issues with the sonic integrity of preserving the vinyl. What format to dub to and what bit rate? But perhaps fundamentally……What is MONO? Well when the songs where originally issued on Philips 45s and MONO albums the expectation was that they would be played with a MONO stylus on a MONO amplifier, reproducing Bob Crewe’s radio focused mix. But since then and particularly today most people playing vinyl will use a STEREO stylus and cartridge. So, two slightly different signals result. In fact, this is a form of STEREO. So unless you use a MONO cartridge and stylus,,,it’s not true MONO. Another factor is that although a digital MONO signal can be generated this will be a mix of the two channels thereby averaging the sound. And when burned to CD the process re-generates 2 channels of MONO….that is what CD’s contain…so you can argue about integrity till the cows come home. The Four Seasons first Philips MONO album PHM 200-129 contains the following comment from Philips…..”Own a stereo phonograph? You’ll find playing this Philips regular Monoaural long-playing recording on it a revelation. In fact a stereo phonograph considerably heightens the natural clarity and brilliance of any Philips long-play recording.” That is because of the effect I already mentioned of the slight differences in the left and right channels.

We decided that in the interests of consistency and ‘hi-fidelity’ we would reproduce this effect for this period of music. The results we believe have the ‘heightened clarity and brilliance’ Philips advertised.

The aim has been to capture and optimize the dynamic range(the difference between the quietest and loudest sounds) and to preserve the ‘sound of vinyl’ from the analogue age.”

And why is the first CD you’ve compiled from the Archive the first half of the Philips era? “ Simply because we have overcome our biggest hurdle with the Philips set (finding the different mixes in MONO)and these are of the group at their peak. We started at the beginning with ‘Bermuda’ the first Four Seasons record and completed the Gone/Vee-Jay set last year but we have had far more problems with the Philips set. This is because with Vee-Jay, many of the 45 mixes are the same as the albums so we had more choice and quality vinyl sources. Bob Crewe shortened the first 2 nr 1 singles by a few seconds compared to the LP (and any Stereo mixes) so we had to use the 45 versions but the rest are generally as the MONO Lp’s. He also in the Philips era took final mixes to Bell Studios and overdubbed or sweetened the tracks before the MONO mix was done to get the ‘radio’ sound he wanted….so some of the STEREO masters that are on CD today do not match the MONO hit sound. We eventually got ALL the original Philips 45 mixes.

The other key point was the people who worked on this project loved and knew the music  so much and they had the 45 sound burned into their memory banks from the 60s. As a listening and testing group they added a unique talent to the exercise. We couldn’t have done this without them

The complete archive is therefore a baseline set for anyone wanting to analyse the ‘true’ sound of the Four Seasons as experienced by record buyers during the 60s.

We’ll eventually compile the archive to  CD’s in sets of 2 each for the ‘Gone/Vee-Jay’ and the ‘Philips’ releases from 1962 (well really December 1961) to 1968.”

And anyone who is interested in these results will know someone in the ‘network’ of Four Seasons fans and can get to hear them. The preserved digital files will not be perfect as they are not from the master tapes but they are pretty clean and the challenge will be to continue to review demo’s and promo’s to get as clean and as close a sound as we can to the original master. Remember we do not believe these exist in the Four Seasons Partnership’s archive.(in such a complete set). The Archive(in our library) will remain a work in progress but we are happy that we have it, as the first step in the preservation is now complete.

We’ll follow up with notes on what are the significant facts behind the MONO mixes in due course

Here is a sample…..

Casey

chameleon@seasonally.co.uk

Download WMWBTY Mono Sample

 The Philips Archive listing

Newsletter 57 - Summer 2013

With the on-off? UK tour and summer holidays the blog has hiccupped this year and we are only now catching up. George Ingram’s Summer Newsletter was bouncing in through our post boxes before we could draw breath  in July and it is only now the digital download is available. So apologies to all our world wide followers for the delay….but what a treat.

34 pages packed with reviews of the live concerts, articles and past releases as usual. Perhaps the most striking thing historically is how the media regarded the Four Seasons then with Frankie Valli and the Four Seasons now. THEN was 1975/76 and the group were a ‘band’….well almost a rock band…and an oldies group too with 14 years of success since Sherry. In fact this was over a decade before their induction into the Rock ‘n’ Roll Hall Of Fame. And their biggest ever record was just coming out….a world wide NR 1. The record reviews are somewhat ‘understated’ and the articles interesting in the view of their history and abilities at that time. Bob Crewe has a rare article reviewing his successes and no-one could have appreciated that by 2013 the group from then and before would be legendary and still high up in the public’s heart.

The key of course is the success of Jersey Boys and these pages do contrast the current ‘JB’ style of show with the previous high profile recording career of the group and the different ‘group’ sound. Perhaps what shines through is the great comradeship amongst the current ‘backing group’ to Frankie Valli and the band. A very different approach and presentation to 1976 but still generating a great night’s entertainment for the public. The showmanship of Frankie Valli and his team shows through and almost always has……that is the secret of his longevity as a performer. The batteries are still charged.

Access the Newsletter download page here.

(Downlowdable in 6 Parts)

Newsletter 56 - April 2013

Having been our editor since the 1970s it is good to welcome back George Ingram with Newsletter 56. Continuing his format of featuring latest releases, with reviews of key year releases in the history of Frankie Valli and The Four Seasons, George is back with 1975 and the published article highlights from the magazines of the day.

The interesting feature of this 1975 review is how the attitude of some was that Frankie Valli was an ageing pop star rejuvenating his career with a new solo hit and his group with their continuing touring schedule to ‘old’ adoring fans. He denies it is his ‘comeback’ year and hints at a separate career for the then Four Seasons.

Here we are nearly 40 years on and he is still going albeit on a much reduced touring schedule and with a very different band and sound. No-one back then would have believed it possible and the writers of those articles would be left speechless at his durability. The article’s, contain some factual errors but give some insight into his marriage to Mary Anne Hannigan and to Bob Crewe’s resurgence as a producer all wrapped up in the PR stories of the day..

To go to our web page with the downloadable pdfs in 6 Parts…. click here.

34 pages of free Frankie Valli and the Four Seasons memorabilia. Enjoy!

And for more on this period read our epic e-book The Rise and Fall Of The NEW Four Seasons (see Chapter 5).

'Talking Seasonally'.....with Artie Schroeck

To end what has been a great year for UK Four Seasons fans we are able to bring you a special audio treat. Artie Schroeck was the arranger who took over the duties of translating Bob Gaudio’s musical ideas into the hits of 1966 and 67 for Frankie and the group. Ken Charmer recently had the chance to chat with Artie re those times and ask him about his career. Artie was kind enough to allow this Skype conversation to be recorded so we could share it with you.

Below is the list of questions we posed for Artie and you can hear him and Ken ‘Talking Seasonally’ about those great times during the mid 60s plus some news of things he and Frankie have been doing recently which could be very exciting.

The Questions…………..

“You were at school with Charlie Calello and followed him into music arranging. How did this happen.?

You started working with the Four Seasons in mid 1966. What other notable work did you do before that which fans should be aware of.?

How did you get recruited as arranger before the ‘Skin’ sessions?

Bob Gaudio came up with the idea of the ‘Skin’ arrangement at a Frank Sinatra concert. He applied what is now regarded as the ‘Four Seasons’ formula to the song.  Did he have it all constructed in his head? How difficult was it to develop that arrangement with him.?

By late 1966 the Beatles had made huge advances in recording and writing as had the Beach Boys. When you went into the studio to record ‘Tell It To The Rain, were you  aware that there was a risk the group’s sound and style were being left behind or were Bob Crewe and the group still confident that their formula could deliver hits?

At the start of 1967 ‘Beggin’ was recorded. It seemed a departure in style by the group. Do you recall anything about this session and the song’s distinctive arrangement.?

‘The Puppet Song’ was a song you wrote and arranged. How and when did this happen.?

What was it like working with Bob Crewe on the ‘Can’t Take My Eyes Off You’ session….and generally, as a producer?

You probably don’t know it but one song you did with the group in early 1967 would become a huge UK dance floor hit in 1973 in the UK. ‘I’m Gonna Change’ was a big Northern Soul anthem and remains popular today. It was again a different approach and style/arrangement. Were you aware of this at the time and why wasn’t this approach /style of song repeated do you think?(Note 5 of the 10 tracks on the LP New Gold Hits –May 1967 - were arranged and conducted by you)

Do you think the group missed out in 1967 by not having a focus on the emerging LP market and lost their way by not developing a concept album earlier than GILG(Gazette 1969)? ‘

You went on to record some solo tracks with Valli in 1967 but seemed to have only worked with them for about a year. What happened after that and how did your career develop?”

The conversation can be heard or downloaded in seven parts below…….and connect to Arties ‘Home Page’ here for more details re his arranging work with Frank Sinatra and others.

• Part 1
• Part 2
• Part 3
• Part 4
• Part 5
• Part 6
• Part 7

 

Artie sends Christmas wishes to all fans as do we.

Casey Chameleon

A Man For Four Seasons Fans

It seems only a short time ago that we were sitting together at the UK fan club get-together  and  I shared my ideas for new projects. I mentioned at the time that we would like to speak to Frankie re the next project for CD and that I would suggest a 'Gold' selection of the tracks from 1965 and 1976.


Stefan and I had talked the day before about this with him saying the vinyl sources (or the best CD masters from the 1990s) would make a good approach if the Partnership didn't want to re-visit the analogue tape masters. Then we moved onto the Royal Albert Hall and the front row together for one of the most memorable performances of the tour. We never got to speak to Frankie as he was too busy or tired after concerts but he did stop long enough to sign a hundred or so autographs at the concert hall entrance

We had only been back a week in Spain in September when we heard from Stefan's wife Christine that he had passed away from the liver cancer he had been fighting for 5 years. You often don’t realize how people change you and your life in subtle ways without you realizing it. Collectors of past music and particularly Four Seasons fans do this all the time for each other with a generosity and selflessness that should never be under-estimated. The loss  of my dear friend and Four Seasons fan Stefan Wriedt put this into true perspective for me. Collectively all fans owe him a huge debt.

From a simple piece of information or advice to a sleeve note, CD or photocopy he has helped music fans like me for the last 20 years since we first started corresponded. Without doubt he has helped every fan reading this by ensuring the ‘network’ of our fan club was fed it’s lifeblood – information.

As a professional sound engineer he was outstanding , but as he was the only one I know I am biased. He enabled through his caring about the collective body of fans for us all to experience the rarest of Frankie Valli and The Four Seasons music. Back in the 70s most of us could only imagine owning a copy of Frankie Valli’s earliest recordings. Stefan through his professional role gathered and collected them all and helped make the CD ‘The Fantastic First Years’ a reality. Frankie Valli and Charles Calello sat around together back in 2007 listening and reminiscing their earliest collaborations as a result of Stefan’s collecting. He sought no credit for what is today a rare (and unique)collector’s item.

And the collection of released tracks at Motown first got to appear on CD thanks to his efforts. He made sure through his contacts that it was produced to such a professional standard that it remains the best mastered versions of these songs even surpassing (in dynamic range) the Hip-O-Select Anthology that followed it 10 years later. He did similar work to preserve and protect the legacy of many music collections often without credit but all with a loving attention to quality and detail. And in many ways he has enabled the Four Seasons UK Appreciation Society to be the group it is today by facilitating and supporting collections of rare and salvaged music from the past. He taught me how to master sound engineering software and to have the confidence to feel, like him, that I was able to preserve the music we love.

Simply put he was a huge and irreplaceable friend with a talent beyond words. His legacy is in everything we have generated or reviewed in the last 10 years. It was Stefan’s concept to have a comprehensive CD discography on line and he worked hard to help me achieve this along with the sound tests and evaluations.

You can never take for granted how such simple things become the cornerstone of your day to day information and well-being. Getting the music you love may seem unimportant but scientific studies into the effect of music in our lives has revealed its power to sustain and feed the human spirit. Stefan did his part in the network of fans but was simply being a good and supportive friend. He remains part of all we do in adding to the body of knowledge we share. His work continues and his friendship continues to inspire our collections and the preservation of music and information for fellow fans.

BLESS YOU STEFAN

 

Ken Charmer

DVD Celebrations

As the 40^th anniversary year of the Four Seasons rise to fame comes to an end we are happy that UK fans are still celebrating after their summer tour partying with the ‘band’. Frankie Valli and Bob Gaudio may not have celebrated this ‘special’ year with any ‘mega’ releases for the fans but the UK fans have once again done their own thing. This week we received two celebratory DVD’s compiled by fans.

The first is ‘The Frankie Valli and The Four Seasons 50^th Anniversary DVD Set’. It is a collection of 24 You Tube videos (which don't appear on commercial DVD) in an easy to play menu format that features four sets of tracks. The first set features 4 from the 60s, including Let’s Hang On……..A Medley of Hits….and 2 jingles. Then there is a set of the 7 Un-released tracks featured on You Tube including the Motown Unreleased and the ‘Watertown’ demo.

The third section covers the performances by the NEW Four Seasons of the mid 1970s with 10 live performances including the ‘Top Of The Pops’ appearances and ‘Down The Hall’…plus 2 of the Hit Men of 2012. The final section features the ‘Beggin’ re-mix and a 1990s live clip. These may not be in the greatest of video quality but they are generally not available (some now deleted from You Tube) so this is a real collectors set. It’s value as a reminder of what great performances we have had over the period but also what we haven’t heard commercially as unreleased tracks that languish in the vaults.

Every collector reading this would have invested in a collection of unreleased Four Seasons material but frankly there just aren’t enough of us around and commercial gain still rules the Partnership’s direction through their relationship with Rhino.

The latest rumour’s suggest Frankie is focusing on two CD projects at present…..The Hi-Los style Sinatra covers with the current Four Seasons…..and a new collection of ‘B sides’ (but as we pointed out some of these don’t appear to exist in their original form other than on vinyl - viz ‘I’ve Cried Before’). Whether these will surface in the presently declining CD market is debateable.?

The second DVD set is a celebration of Jersey Boys London’s Original Cast with a collection of interviews and live performances spanning their first 2 years of TV and promo appearances. Totally entertaining, it captures the excitement and dynamism of this line-up and comes with their single appearance as the 3 man ‘Franks’ group singing their great interpretation of ‘The Night’. No longer available on You Tube or I-Tunes it is worth having this 50 minute DVD for this alone.

So as the song “Celebrate good times…come on!” blasts out of our TV adverts at this time of year we can spend it remembering nostalgically how we have best enjoyed our favourite songs over the last 50 years and still do today.

Casey

The Real Story Behind The ‘Live On Stage’ Album

 

Ever since the mid sixties fans have wondered how a cool harmony group clocking up ‘pop’ hits in 1964 could allow an album of supposedly ‘live’ corny 50s style songs to appear on album. At the time the story was that they were meeting a contractual commitment to Vee-Jay who they left in 1963 before suing the company successfully to acquire their master recordings. But why such an old fashioned and out of context style which did nothing to endear fans to them?

Billboard research shows the group went into rehearsal for their summer 1963 Copa date for a month (probably May). Given the style of their presentation on the 'Live On Stage' is there a connection?.

The 'Ain't That A Shame ' album was recorded in May 63 according to our
sessionography  and that continues the doo-wop harmony style they had brought from their Four Lovers days, and which had brought them success

This is the Billboard clip

So is it credible that Crewe recorded the rehearsals for the Copa show (maybe with the intention of an album release post the show) and that he subsequently submitted this set to meet their contractual commitment to leave VJ which saw release in 1965

By 1964 it appears they changed their 'live' output to suit a more teen based audience. The earliest 'live' recording we have is 1964 by which time they appear to have dropped this 50s styled 'Live On Stage' style of numbers and presentation(and of course they had more hits material) and we will keep researching this period.

One track recovered from this 1964 show which reflects their Four Lovers doo-wop style is on You Tube.

But Charlie Calello was kind enough to confirm and clarify this experimental period in the group’s career.

“I actually conducted the band at the Copa for that show and several others like it. The 4 Seasons didn't play their instruments, they just sang. We did record the show in the studio at Olmstead Studios on 80 West 40th Street in NY.   

My recollection as to why the recording was of their live show is…..The 4 Seasons sued Vee-Jay and won back their masters. I believe Vee-Jay was entitled to one more album and since the contract didn't mention what type music they would receive and since they didn't want to give them any more "pop" recordings, Crewe decided to record the Copa show and give it to them.  Crewe had very little to do with the live act. The Seasons had the show written by a professional show writing team. The music did not reflect the 4 Seasons or the 4 Lovers. They recorded songs like Brotherhood of Man and I Can Dream Can't I. It was actually like doing a show with the 4 Aces or the 4 Lads.  In the 60's the bigger rooms were still hiring people like Johnny Mathis and Tony Bennett and their managers were trying to get them into those type rooms. I think the whole experiment lasted around a year.  In between those dates they still performed as the (‘pop’)4 Seasons, playing their own instruments so the experiment was not a total loss.

Hope the above helps.CC”

So that is how it happened. An experimental adventure - that fortunately was just a distraction from their real identity. Their Philips writing and recording continued and the studio recording was probably doctored by Vee-Jay with addition of ‘beatlemania’ style audience sounds dubbed on. Whether masters of the original studio recordings without this overdub still exists remains a mystery. ACE’s and Collector’s Choice CD’s reproduce the original vinyl sound with audience and a search of The Partnership’s vaults is the only way to verify what we suspect and that is that Crewe’s original recording in the studio is lost.

Casey Chameleon

Why 'Jersey Boys - The Movie' may be delayed

Could a huge Four Seasons fan be responsible for part of the script of Jersey Boys? Fans have always been passionate about finding out and telling the story of the group and one good friend to all Four Seasons fans, Rex Woodard went so far as to write a biography based on taped interviews with Tommy De Vito and Nick Massi. The trouble was that although Rex was an attorney and set up a legal document with Tommy agreeing to share profits, as he sought a publisher, he tragically died before he could find one.

So when his widow discovered that the script of Jersey Boys closely resembled the ‘Book’ her husband had written, she filed a law suit in Texas. She claims the unpublished book "inspired the form, structure, and content of the musical."

Details first appeared on Playbill.com back in 2008 and a long and complex court battle has ensued.

Tommy DeVito, Frankie Valli and Bob Gaudio and all associated with the financial and legal rights to ‘Jersey Boys’ suffered a major setback last year in Nevada District Court when one of several Summary Judgements acknowledged the co-authorship of Rex Woodard to the book Tommy DeVito made available to the script writers for the show. The Judge instructed accounting procedures re Rex’s co-authorship be put in place but did not rule on the extent of the book’s use in the script.

Legal blogger Pamela Chestek  summarises some of the issues in her 2012 blog following these summary judgement’s handed down by the courts, but the case continues under several heads and although a court trial was planned this year no dates for this or the appeals appear to have been set.

It is all a bit reminiscent of the un-savoury legal suits that arose between The Beatles and their management after their ‘break-up’ back in the 70s which dragged on for several years. But with so much money at stake it is not really surprising.

Several of us knew Rex well back in the 70s and 80s and he was a warm friend with great integrity. He contributed to a number of articles in our 70s and 80s Newsletters.

The trouble in 2012, as far as fans who dream of seeing Jersey Boys as a movie, is that it may be some way off. Publicity articles and forecasts for the film coming out may be just ‘hype’. The courts were told in November 2012 that no deal with GK films had been signed and it would, it appears, be difficult to transfer the script lines into the film if they are still subject to litigation. Elice and Rickman are not signed up, we understand, to do the film script, so make your own judgement!! The case continues and for some time it looks as if we will have to look to Jersey Boys ‘on stage’ for our favourite ‘interpretation’ of the Four Seasons music and story……or is it becoming the definitive story?……for now maybe……. as we research more on The Rise and Fall of The NEW Four Seasons over the next year. Check out Chapters 5 to 11 here.

 

 

A Second 'Summer Of Love'

Not 1967 but 2012 in the UK with Frankie Valli and his fans!!!!

UK fans have by now calmed down after Frankie's 14^th UK visit(someone will know for sure and correct me if I am wrong?). Considering that period covers nearly 50 years we can't say we've seen too much of him. But at 78 the performances this summer in the UK were stupendous and for that we are very grateful. So from Lynn's collection of 'gushy' tributes from fans in this 'Summer Of Love' ...directed at Frankie it is time to move on to the real historical research we have been generating over the last several years.

 

This visit like all the others brought the Partnership's and Frankie's PR machine in to action telling us what they wanted us to hear. Well not quite!! Frankie was asked how he continued to hit the hi-notes at his age.......and he simply didn't answer!! He was unable/unwilling to credit the group/band and the technology that makes this current delivery so exceptional. But we also were unable to talk to him about fans wishes and hopes in terms of the music releases of his past catalogue. Most of the 25,000 or so fans who turned up at the concerts won't care, as what they wanted was 'the sound' live and only the 450 who follow this blog and our web site will perhaps be interested in our attempts to delve down into the catalogue and history.

 

The Four Seasons at the Mirasound studio in 1967. Photo courtesy of George Schowerer.

I met a group of young people in Amsterdam this summer and speaking about the Four Seasons....as you do.....I mentioned Jersey Boys and the history we celebrate in this blog and web site. Some of the 40 year olds 'thought' they remembered 'December 63' but the '20 somethings' didn't have a clue who I was talking about. I wondered how many would recognise the songs if they heard them whilst not knowing the source. At least they all recognised 'Beggin' but not by The Four Seasons. But this is the reality of today and why this summer tour was so important to celebrate what we have had over the last 50 years. So on with the history and this winter's project's.

Not getting the chance to speak to Frankie on his visit meant we were unable to promote to him our ideas for future fans focused releases. All the fans we spoke to re this at the pre-show meetings echoed the need for a Frankie Valli 'Solo Gold' release....covering all the key singles and LP and B side gems 1965 to 1976. This would start with 'The Sun Ain't Gonna Shine' and finish with 'Fallen Angel'. Our article on why this is such an important project to promote will be out soon on this blog and if no-one at the Partnership or Rhino responds we will (you can be sure) find an alternative project manager.

Our research this summer has focused on the Rise and Fall of The NEW Four Seasons Chapters 1 to 4 as we cover the period 1966 to 1970. When did the Four Seasons start to change and how did their music keep pace with the changing times.? We''ll gather interviews and historical data to tell the story with Chapter 1 coming soon.

George Schowerer tells us how he sound engineered the 1967 recordings of Frankie and the group at Mirasound soon in Chapter 2 of our e-book

The vinyl 'dub to digital' archive continues to grow as we work with vinyl researchers trying to capture the original vinyl sound in the latest HD sound formats. The Philips singles will be the next focus.

Our web pages will be updated later in the year summarising the important data regarding releases and hits over the life of the group.

And to celebrate the 50^th anniversary of the groups first hits we will be getting a copy of a special DVD of performances over the years. We'll review this.

Plus fascinating questions delving back into the groups history; we'll cover......

• The 10 myths of Jersey Boys

• Why Jersey Boys The Movie is still on hold?

• Why Frankie may not want the Motown Unreleased to appear?

• The Beach Boys or the Seasons....who were the best?

These and more will be appearing here for the benefit of fans. Whatever the story we will try to get it.......helping to keep the music alive.

Casey Chameleon

Legendary Fans, Legendary Performer!

It has been so long since Frankie Valli has visited the UK with his touring band (in fact 18 years) so it is perhaps understandable that many of us were somewhat concerned that given his advancing years and the changing line-up of his backing band, that we would be having to accept a lesser performance than we remembered. 

Well the concert at the Royal Albert Hall, demonstrated that those misgivings were unfounded and we were treated to a performance and sound that matched anything we had previously seen. The shock of seeing how well Frankie has adapted to the demands of a modern touring band and maintaining the quality of performance he is renowned for, is quite remarkable. We have known for some time that auto-tune is used by Frankie to achieve consistent delivery of perfect pitch (see here) and not everyone in pop music advocates its use particularly in live performance. The electronic effect can for many give the sound a synthesised effect. Used extensively on most modern recordings(including the Beach Boys latest album) and in live performance by groups like 'Take That' (and even The Hit Men), it enabled Frankie Valli in this performance to confidently tackle all of his catalogue of hits and deliver a sound consistently acceptable to nearly 5000 ecstatic UK fans in this quite unique venue.

 

Some were seeing him for the first time whilst a hardcore group of around 100 were reflecting on the history of visits since 1971 when the UK fan club was first formed. A legendary group of fans met a legendary performer and the result was my 65^th birthday party.!!! It couldn't have been better. And we even had Jimmy Page of Led Zeppelin and Ryan Malloy of Jersey Boys in attendance.

So reviewing the night let me comment on 3 things......the event.....the fans......the show.

Many thanks to all those who singled me out with birthday wishes or to express thanks for the blog notes and historical articles/music. Lynn Boleyn our fan club secretary since she was a young girl in the 1970s had worked tirelessly co-ordinating us being together and visitors from America and Europe had joined us for the concert and pre-show fan re-unions. Charles Alexander and his wife Cathy joined us from the USA as did Stefan Wriedt and his wife and daughter from Germany and we had friends from Holland. But also UK fans who have been dedicated since the 70s to celebrating the music and history of the Four Seasons were able to renew old friendships and as the concert fell on my 65^th birthday I received warm wishes and gifts from many people who appreciate how the appreciation society tries to help fans everywhere. It makes our efforts to continue to search out stories and unreleased tracks very worthwhile. And a special thanks to Frankie Valli for signing my birthday card.

I've already commented on how the shows sound was excellent, but it takes more than good sound to impress a UK audience. The show has been accused of having a Las Vegas styling in some UK news reviews but I would reject this. Because the music spans so many decades and styles (doo-wop, pop, disco, ballads) it needs a consistent and full set of instrumentation and vocals. Robbie Robinson must be one of the most experienced live arrangers anywhere in the world and his expertise arranging and conducting a brass, guitar and percussion ensemble with his own top quality keyboard skills meant the instrumentation was perfect. Frankie Valli's vocal was amplified and equalised to give a faithful delivery of the sound he pioneered and the young Four Seasons provided perfect harmony backing throughout. It was clear that this event and the arena was almost overwhelming them at times and they loved the crowd's appreciation. Frankie was cool. He has seen it and done it all before but his warm appreciation of how the UK music buyers have contributed to his success and career was highlighted in his comments to the audience and his delivery of key UK hits.

The night before we had commented as a group on the cynicism of record companies and their exploitation of fans. We've seen it since the 70s and the appearance of a NEW CD re-issue of the 'Working My Way Back To You' 2CD set with the replacement of 'The Night' with a RE_RECORDING of a new Robbie Robinson arrangement was felt by some to fit this exploitation....particularly as the set has doubled in price since May 2012. Ray Nichol was amongst the most vociferous re this and ironically when Frankie was promoting the CD on stage to the audience he handed a copy to a fan on the front row......who happened to be Ray Nichol....”I was going to wait to pick it up for a few quid in a car boot sale”, he told me, “but this is great”.

And so to the songs. No-one could feel cheated at 29 songs delivered consistently in this unique live setting. Starting with 'Grease' in an opening half laced with hits, the show hummed along and only dropped when the tracks from the 'Romancing The Sixties' set of cover versions slowed the momentum. The first half saw the 4 Seasons (Frankie's young back-up vocalists) sat together at stage left while Frankie bonded with his audience.'Swearin' To God' was a stand-out vocal and band performance.

The new arrangement of 'The Night', (a song Frankie has never performed in the UK live until this tour) really picked up the second half of the show and once the 4 Seasons joined Frankie on centre stage things really started to hot-up. By the time we had got on our feet to dance through 'December 63', 'Who Loves You' and the early 60s number 1 hits the hall was rocking and so closing with 'Rag Doll' and 'Let's Hang On' left new and old fans satisfied and forgiving of the 18 year absence.

Frankie and Robbie Robinson commented that they don't know why it has taken so long to come back. Maybe it needed us to prove we still love them by our support for the Jersey Boys UK stage show over the last 4 years.

Whatever....it was for me the best 65^th birthday party I could have dreamed up. With such great music and friends I could only be intensely happy. Thanks to all.

Ken Charmer

Below The Four Seasons UK Appreciation Society presents Frankie Valli at the Royal Albert Hall with a special plaque to celebrate 50 years since the release of 'Sherry'. Left to right: Lyn Boleyn, George Ingram, Ray Nichol, Phil Elms, Ken Charmer and of course with the plaque Frankie Valli.

 

A Four Season In Spain

It was an honour and a privilege to entertain my friend and former Four Season John Paive this weekend in Spain. We reminisced about the first time I saw them on 9^th April 1976 at the Southport Theatre England and John said, “We were a tight band and had been together for a couple of years so we knew each others style of play and we just played the songs without monitors. Frankie’s job was easy and he just had to focus on his own performance. Musically, were we the best Four Seasons ever? Maybe…and we should have gone on and done more work together. I keep in touch with Lee (Shapiro) and follow the Hit Men’s growing success. They are getting lots of bookings now and great reviews from the venue managers. People are once again seeing what a great band we were. I really hope they continue their success and that you guys in the UK someday get to see them. “

John still plays regularly as a Jazz musician in his home town of Munich Germany and recently completed an album of funky jazz tracks with Lee Shapiro even though they never actually went into the studio together. Below we feature John on a Four Seasons song in his own modern Jazz styling.

http://www.seasonally.co.uk/Workin%20My%20Way2.mp3

 

 

 

More Frankie Valli UK Tour Dates 2012

A further date has now  been added to the UK Tour by concert promoters Kennedy Street   Enterprises —Manchester Arena on 1 July.

The Special UK Fan Club link to order tickets to see Frankie Valli at Manchester Arena is as    follows :

http://www.ticketline.co.uk/frankie-valli-and-the-four-seasons?presale=rzlcqv2

The above link is for tickets right at the front of the Arena in Blocks A, B and C.

If you require tickets in another part of the arena then please use the general link below:

http://www.ticketline.co.uk/frankie-valli-and-the-four-seasons?presale=4oq6cdq

So now we have two Birthday parties where Frankie Valli will be playing —Ken Charmer’s 65th on the 26 June at the Royal Albert Hall and now Ray Nichol’s 66th Birthday at Manchester on Sunday 1 July (it is actually Ray’s Birthday on the Saturday but don’t tell Frankie!). 

Special thanks once again to Frankie’s Road Manager, Dean Egnater, and to Flick and Danny at Kennedy Street Enterprises for allowing the Fan Club to have such great tickets reserved for the Royal Albert Hall and Manchester Arena shows.  We are very, very grateful to you.  Just the hotels to organise now!

STOP PRESS!! 

We have just heard that another date has now been added CLYDE AUDITORIUM IN GLASGOW.  Promoters for this concert are D F concerts in Glasgow.  We know Ally Annand in Perth is delighted and is getting a big party together for this one!

Date:  Tuesday 3 July at Clyde Auditorium in Glasgow.  Tickets can be obtained by telephoning 08444 999 990 or from www.gigsinscotland.com

STOP STOP PRESS!! 

Keep an eye on the following venues who are also advertising Frankie Valli and The Four Seasons :

Newmarket Racecourse—Friday 29 June

www.newmarketracecourses.co.uk

 

Tickets for Friday 29th June - Frankie Valli and The Four Seasons available here:

 

http://www.newmarketracecourses.co.uk/concerts/2012-concert-dates/adnams-newmarket-nights/friday-29th-june-frankie-vall-ykq8jv2w/

 

and

Epsom Racecourse—Thursday 5 July

www.epsomdowns.co.uk/live

Frankie, of course, is also playing at the Hampton Court Palace Festival on Saturday 23 June—details here:-  www.hamptoncourtpalacefestival.com. 

Details to follow shortly for a big get together for all the fans in London.

Compiled by Lynn Boleyn   

www.seasonally.co.uk    8.2.12

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Frankie Valli - Now Available for Birthday Parties?

How do you get Frankie Valli to perform at your birthday party!

Just book him into the Royal Albert Hall London.!!!

That is what has happened for our music historian and blog writer Ken Charmer who is 65 on 26^th June 2012 and with the great news that Frankie Valli is to perform at The Royal Albert Hall on that date and at the Hampton Court Festival on the 23 June, Ken very quickly moved his party from his home town of Torrevieja in Spain to London’s Royal Albert Hall.

So Christmas has certainly come early for all UK fans and we are all really excited at Frankie’s first UK performances since 1994. It will certainly be a busy time in London in 2012 with the 50th Anniversary of “Sherry”; the Queens Diamond Jubilee, the London Olympics and a 65th Birthday Party to attend.  Now just how did Ken manage to get Frankie to perform at his Birthday Party?  Probably because we are always writing about his career so Frankie … my Birthday is in September!

OK so the important bit—how to get your tickets.  Well the first show on 26th is sold out but the theatre has anounced a second concert on 27th. Dean Egnator, Frankie’s  Road Manager, who has been absolutely brilliant, has helped to secure for the Fan Club a reservation of the best front Area seats in Blocks A and F which can only be booked via this special link:

This link has been set up so only the people who use it can access these ‘special’ tickets.

Our thanks go to Dean Egnater and to Flick and Danny for allowing the Fan Club to have such great tickets reserved from them.  Next thing to arrange is the get-together but more news on that next year!  It will be really great to see Frankie, Robby Robinson and everyone once again.

If you require tickets in another part of the Royal Albert Hall then please use this general link

We now have  details  re the Hampton Court venue 

www.hamptoncourtpalacefestival.com/artists/frankie_valli

With the success of Jersey Boys all tickets are sure to sell very quickly.

So get my Christmas Newsletter here and keep following us on this blog for more news. 

Seasonal Greetings, Lynn Boleyn

The Four Seasons 'Lost' Recordings Updated Version

As we see in the stage show ‘Jersey Boys’ The Four Seasons were signed up as ‘backing artists’ by producer Bob Crewe under what has been described as ‘a personal services contract’.

In 1960 the then Four Lovers, four New Jersey guys - 2 of whom had a shady background - were going no-where and it looked like it would stay that way. Their backing work with Crewe has largely gone un-noticed and unknown and although much of it is pretty poor pop music by 1960s high chart standard (and their subsequent ‘Four Seasons’ catalogue), it is still never the less historically interesting. Through our research over the years we have been able to compile a sessionograpy that logs in time their efforts in this respect along with some of the other side projects they undertook.

We have all read lists of songs that (perhaps) ‘featured’ the group on backing vocals as shown in Jersey Boys (on ‘Trance’ and ‘I Still Care’) but this is the first time a fully comprehensive collation of these efforts has been attempted and published.

The sessionography appears at our special web-site and can be downloaded here. (revision 5)

 

After the RCA contract of the Four Lovers in 1956 and 57 they did attempt to find a new identity as ‘Frankie Tyler’ and ‘Frankie Vally(e) and The Romans with 45s that didn’t find success. Changing line-ups which included Charlie Calello (who contributed the excellent ‘Comme Si Bella’) continued until they embarked on their contract with Bob Crewe in 1960. This initially saw them work as The Village Voices, Turner Di Sentri (Bob Gaudio on piano) and Billy Dixon and The Topics (incorrectly portrayed in Jersey Boys as a singer other than Frankie Valli) on 45s that they always tried to forget during their hey-dey. Understandable perhaps when you hear them but by this time Bob Gaudio was developing his song-writing skills and this would be the big platform for the group’s eventual success. The group line-up had settled to Valli-Gaudio-DeVito-Massi and their name was changing by the session.

Backing efforts for other artists continued throughout 1960 and 1961 including what appears to be an effort with Freddie Cannon, with Hal Miller and The Rays and Danny and The Juniors. Many 45s show clear vocals that obviously include Frankie Valli’s falsetto to ‘sweeten’ the mix but some necessarily sound like them on backing. However we have included all tracks ‘alleged’ as having their involvement. Many have appeared on CD re-mastered for the first time from vinyl in our ‘Seasons’ Connections series and a quick search on You Tube for the titles listed will enable readers to sample the sound of much of  the listing.

1962 saw them appear as the Four Seasons for the first time (Dec 1961 – ‘Bermuda/Spanish Lace’) before they appeared again as the Topics in May.

With the success of ‘Sherry’ in August 1962 we might have expected the group’s work as backing vocalists to end but Crewe had them under contract and many backing tracks had been laid down before their first #1 hit and kept in the can by Crewe. Their appearance on the mid 1963 45s by Hedy Sontag (‘Anymore’) and Cholie Maye(‘Cry For Me’ – the first appearance of the ‘Jersey Boys’ Bob Gaudio ‘sign-up’ song) are illustrative of their work but the actual recording dates remains questionable.

Crewe’s ‘services’ contract ran out in 1963 but it remains unclear how much backing work they actually recorded after their success as the Four Seasons in August 1962. However there is no doubting that Valli and Gaudio embarked upon side projects to develop their own production skills and Wade Flemons 1963 outing on ‘Watch Over Her’(penned by Valli and Gaudio) is a clear example of these side projects.

Even as 1963 closes and they had left Vee-Jay we find them recording as Larry and The Legends(‘Don’t Pick On My Baby’) the day before they recorded ‘Dawn’ at Atlantic Studios.(19^th and 20^th November)

Data from the Atlantic Larry Santos sessions allows us to hear them appearing on ‘Someday’ and ‘True’ whilst the archive shows several recordings unreleased and (we presume) lost in an Atlantic archive fire.

But even more surprising is their involvement as late as 1964 on the Four-Evers local NYC/Philly hit ‘Be My Girl’ and as Scott Oberle (‘Cupid’s Poison Dart/You’re My Dream Girl’)

It is not until 1965 that we finally run out of sessions with them appearing as producers or backing vocalists and by then Nicky was about to leave the group. Joe Long has commented that they never did any side projects after he joined the group and that was when Bob Gaudio appears to have taken over the production of the group with Bob Crewe accepting a less dominant involvement. However Frankie Valli’s solo sessions studio shots show Crewe still dictatorial in the studio as late as 1967.

  

Above: Crewe takes Valli through the harmony on the session for ‘Can’t Take My Eyes Off You’ – Photo courtesy of George Schowerer

There are as many questions, as illuminating possibilities, presented by this sessionography but memories are dim and these 45s so old that little more can be accurately established. Our thanks go out to Tom Cramlington for his original research, to Mike Miller for collecting and sharing so many of these 45s and to Russ McClelland for researching the 45 issue dates that enables us to log and appreciate the timeline.

New additions and corrections have rolled in since our first publication including Bernadette Carroll confirming that The Four Seasons DIDN’T back her on ‘Nicky’ (a long believed rumour) but was in fact The Four Winds.

But check out this Freddie Cannon 45 as we can clearly hear Frankie’s falsetto in harmony with the rest of the PRE-FOUR SEASONS.

We will continue to research and edit the information which remains an important window on the background work of an historic group and their ‘lost’ recordings.

Next time we’ll have the Philips catalogue fully documented

Casey Chameleon

 

 

We Owe Stuart Miller A Lot -Story of a Bootleg

The collapse of Frankie Valli and the Four Seasons as a hit-making group started in 1967 and lasted several years. But strangely by 1971 whilst out of contract with Philips, the few dedicated followers of the group in the UK and USA had formed fan clubs.

The failure of singles like ‘Electric Stories’ (Philips 40557) and the concept album ‘Genuine Imitation Life Gazette’ are striking examples of this era. By 1970 very few copies of the group’s 45s were being issued and none in the UK although one unique British release would occur - become lost and would eventually re-surface for fan club members thanks to Stuart Miller - the early 1970s UK fan club President who recently passed away.

 

The 1973 Bootleg LP(A Much Camp and High Falsetto production) is famous amongst long-standing Four Seasons fans and we pay tribute to Stuart’s efforts here.

The history of bootlegs is even documented in Wikipedia which highlights the importance of the medium. It says….” Most artists have made little effort to pursue legal action about bootleg recordings, viewing such "rarities trading" as harmless provided that it is not being done for profit. The benefits of interfering with such trading are fairly minimal compared to the potential ill-will generated against the artist, as the illicit works are generally circulated among the artist's most loyal fans, which have the most interest. Most record companies also have not shown an interest in pursuing or prosecuting small-scale bootleggers, but this could change at any time.”

This album is now available on released CD sets so anyone seeking to hear this material today can hear it (see our CD discography). But in 1973 the titles were mysteries to most of us and a friend’s music cassette tape copy was our only hope of obtaining it. It is still illegal today to copy such recordings, which perhaps shows the ridiculous state of copyright law. Stuart at least agreed with me on that subject .

John Hornsby has a copy of the album and told us….” The material that follows is a transcription from the liner notes to the bootleg L.P. produced by Stu Miller for the U.K. 4 Seasons Appreciation Society.  The original pages on which these notes appeared have deteriorated significantly over the past 40 years, and I have done my best to fill in the gaps where the words are simply not legible.  I have also made minor corrections in spelling along the way.

I first became aware of the existence of this L.P. a few years after it was produced, but not until 2009 did I ever even see a copy of it.  The copy I now own is the gracious gift of Ray Nichol, who presented it to me at our gathering in Raleigh, North Carolina.  As a fan from the southern United States, I can affirm that Stu’s analysis of the rarity of the later Philips releases is exactly as he describes.  It was virtually impossible to obtain the vinyl 45 rpm records. 

I never met nor corresponded with Stu, but I know that we early fans benefited from his love and dedication to this music.  May he rest in peace. Johnny Hornsby  Mandeville, LA  USA November, 2011 “

The album included the following tracks….

Side 1

1.Where Are My Dreams (Sandy Linzer)  Five Arts Music.  A Crewe/Gaudio production.

2.Lay Me Down (Crewe/Callelo)  Saturday Music/Seasons Four.  A Crewe/Gaudio production.

3.Heartaches and Raindrops (Petrillo/Cifelli)  4 Seasons Music Corp.  A Crewe/Gaudio production.

4.You’ve Got Your Troubles (Cook/Greenaway)  Mills Music.  A Crewe/Gaudio production.

5.Dream of Kings (Gaudio/Holmes)  Seasons Four Music/Montage.  Produced by Bob Gaudio.

6.Sunday Kind of Love (Belle/Nye/Prima/Rhodes)

7.Singles Game (Brown/Bloodworth)  Saturday Music.  A Crewe/Gaudio production.

Side 2

1.The Stranger (Sherman) Sheldon Music.

2.Honey Love  (McPhatter/Wexler)

3.Jambalaya  (Williams)  Acuff Rose Music.

4.Lovey Dovey  (Harrison/Carroll)  Roosevelt Music

5.Apple of My Eye (Blackwell)  Shalimar Music.

6.Whatever You Say (Gaudio) Kinney Music.  A Bob Gaudio production.

7.Sleeping Man (Gaudio) Kinney Music.  A Bob Gaudio production.

8.Theme to the Joey Reynolds radio show  (Gaudio).

Thanks to John Hornsby and Jon Pingree we are able to bring you Stuart’s full notes from the album sleeve. 

“Pressure of time demands that these notes be written before I have actually received the finished product from the factory, but if the original tapes were anything to go on the quality of this L.P. will be quite good.  As you all know by now, the original idea was to produce a “Live” recording and although this fell through on account of the quality of the original tapes, there are still hopes that sometime in the future we will go ahead on that score.  This L.P. was decided on as a substitute for the original idea because when the bulk of the orders initially received in lieu of the Live album were received mainly from UK members, the track listing here was constructed primarily with them in mind.  There is only one person that I know of in this country who can boast of already having every single song here and that’s not myself but Diddy Dave Quick.  At this point, a brief history of the tracks would be pertinent.

          Unlike side 2, none of the tracks on side 1 were ever released outside the United States.  Tracks 1-5 were recorded during the group’s last 1 ½ years with Philips.  “Lay Me Down” and “Heartaches and Raindrops” came out towards the end of 1970 and achieved little in the way of success.  A surprisingly short time later, “Where Are My Dreams” surfaced only to follow the same path.  “You’ve Got Your Troubles”/”Dream of Kings” also came out in 1970.  The flip was originally intended as the theme tune to the film of the same name starring Anthony Quinn.  For some reason this never came about and neither has the film ever been shown in the U.K.  What makes these five tracks so interesting is their rarity which is due to the state of the group's relationship with Philips at the time.  Nothing was going right between them when these were recorded with the result that Philips weren’t so hot in pushing the group’s products.  Consequently few copies were pressed and as such, despite their relatively young age they quickly achieved a rarity value.

          The story behind “A Sunday Kind of Love” is a strange one.  It initially appeared on the first few thousand U.S. copies of the “Entertain You” L. P.  But at that time, “Toy Soldier” was out and as soon as that began to move, Philips took “A Sunday Kind of Love” off and replaced it with “Soldier.”  “Love” was never again to appear on the Philips label at all (although it was recently resurrected on Pickwick’s “Brotherhood of Man” L. P.) and was one of those selected band cuts such as “Ain’t That a Shame” and “Little Boy” which the company chose never to make capital out of.

          “The Singles Game” appeared in 1969 as the flip to “And That Reminds Me”, the Seasons only cut for Bob Crewe’s “Crewe” label.  The record was a minor hit for them and was interesting because of the highly coloured pictured sleeve in which it was packaged - depicting the group in way-out clothes.  The reason for the one-off switch to the Crewe label was because their contract with Philips had just expired and negotiations for a new one were taking a long time.  A single was needed and so this was the result.

          The picture of the 4 Seasons on the sleeve was taken about the time tracks 1-5 and no.7 on side 1 were recorded and features the line up as it was then and as it has been since.  Left to right: Tom Devito, Joe Long, Frankie Valli, Bob Gaudio.

Of the fifteen tracks on this album, the only two ever to be definitely released here are contained on the second side. (There is the possibility that some 4 Lovers material was issued in Britain but this is far from certain at the moment).  

Tracks 1-5  on side 2 were recorded by the 4 Lovers between 1956 and 1958.  They all of course feature Frankie singing although this was not always the case with the Lovers.  There’s not an awful lot to say about them.  Only one was ever a hit—“Apple of My Eye”—but they are of interest from an historical point of view in that they demonstrate the group’s early influences and background.  As singles on today’s market they are practically impossible to find or buy because of their high collector’s value.  The photo of the Lovers on the front depicts the group that cut the tracks here.  Left to right: Frankie Valli, Nick Devito, Hank Majewski, Tom Devito.

          Side 2 -Tracks 6 and 7 came out as a single in this country only on the Warner Bros. label.  Most of you will remember the facts behind this.  It was at the start of the group’s early 1971 tour and they were without a record company here.  They needed a follow up to “You’re Ready Now” so they signed another one-off deal with W.B.  No one was happy with the result but the company, after losing the tapes, managed to find them again in time for the group’s second tour later that year.  The record achieved absolutely no success at all.  Few copies were pressed and those quickly disappeared so that the record is now impossible to obtain.  The lead guitar heard on both cuts is played by Bob Grim who briefly stepped in as a replacement for Tom Devito.

          The last track, no. 8, was recorded for American dee jay Joey Reynolds when he was on a radio station in Philadelphia.  Although it was meant as a theme tune, it was pressed and made available free  of charge to anyone who cared to write into the station.  The year of publication is uncertain but it must be beween ’66 and ’68.  Notice that it uses as the musical backing the cut off the “Bob Crewe Plays the Hits of the 4 Seasons” album.

Credits 

I have to thank two people without whose help this L.P. would not have been possible.  Firstly my sincere appreciation goes to John Riley who developed the photos that are to be found on the sleeve.  And thanks must also go to the Sultan of Walworth, Dave Quick, who filled in the gaps in my record collection to make this selection possible, and who also was brave enough to accompany me in my car ON THE MOTORWAY to John Riley’s house in Manchester.                 

Hope you enjoy this album

Stu Miller (signature)

President, 4 Seasons Appreciation Society

©  1973,  Much Camp and High Falsetto productions.  World copyright exists on all material contained herein.  Written permission must be obtained in order to reproduce any part by sending a written request accompanied by an exceedingly large cheque to me.  You know, I’ve received a large number of letters from people demanding to know why I always insist upon spoiling things like this by adding ridiculous copyright clauses at the end.  It could be because I have a very low regard for copyrights as a whole (witness this L.P.) but also because I’m an extremely silly person who is absolutely besotted by the idea of seeing his highly suspect views and opinions in print.  Add to this also the fact that I’ve still got to find some way of filling up another third of a sheet.

IMPORTANT

THIS L.P. IS IN NO WAY MEANT TO BE TAKEN TO BE A SANCTIONED RECORDING BY THE FOUR SEASONS OR THEIR RECORD COMPANY TAMLA MOTOWN.  IT IS IN NO WAY MEANT TO BE INDICATIVE OF THE QUALITY OF ANY NORMAL SEASONS/MOTOWN ALBUM.  IT HAS BEEN MADE WITHOUT THE PERMISSIN OF BOTH THE AFOREMENTIONED PARTIES.

Thanks Stuart: your efforts made many of us Four Seasons fans for the rest of our life as well as allowing us to hear these otherwise ‘lost tracks’

Casey Chameleon

 

 

 

A Distinct Lack of Storyline - Biographies and the Four Seasons

(Revised 10th Dec 2011)

Biographies are an amazingly difficult thing to find when it comes to the Four Seasons. It has always been that way. Since compiling Newsletters during the 1970s it was always a case of very little detail and a lot of evasive PR.

But suspicions arose during their successful revival years when we researched the back stories for ‘The Rise and Fall Of The NEW Four Seasons’.

This is a quote…..” Rex Woodard again…”On 13 July convicted felon and “stoolie” Gerald Zeimanowitz testified before a US Senate Sub Committee that the Four Seasons were connected with the Mafia.  Allegedly, according to Zeimanowitz, mobster Angelo “Gyp” DeCarlo of New Jersey owned a “piece” of the band.  DeCarlo had been imprisoned in 1970 but pardoned by President Nixon in 1972. Zeimanowitz, however, really had his facts mixed up judging from his testimony, and probably confused the Four Seasons with another act (Valli, when asked about the charge kept his humour:  He just wanted to know why his career was going so lousy despite these so-called friends in influential positions!).” Valli was very sensitive to this news and was concerned it would alienate his fans if found to be true. Now he admits involvement in the ‘Jersey Boys’ book and the association seems of little harm although it may be ‘fictionalised’ in the stage show.”

 We also know Bob Crewe and the Four Seasons had a rocky relationship and friction was something Bob had to deal with. We heard that at one stage Bob Crewe threatened the group that he would sack them and get a new line-up. It has been a well hidden fact but evidence of it can be found here as Artie Wayne comments on this on his blog in an article recollecting his meetings with Bob Crewe

http://artiewayne.wordpress.com/2007/06/02/brief-encounters-with-bob-crewe/

 And we know that friction led to Sandy Linzer and Denny Randal walking away and eventually in litigation with Bob Crewe which effectively ended their working relationship as Four Seasons writers. This left Crewe and Gaudio without a background team by mid 1966. 

How this happened and how they recovered will appear in Chapter 1 of ‘The Rise and Fall of The NEW Four Seasons’ in our e-book soon.

 But this only demonstrates that we have half of the story and we need the people who were there to elaborate and let us fully understand the difficulties of making and selling 81 million plus records.

And an example of how we know so little background came in recently from song writer Larry Russell-Browne……” In your article reviewing my dear friend and teacher Bob Crewe's credits, one other amazingly talented and highly successful artist, was left out:Oliver. Crewe produced 2 chart smashes with a singer who has an obvious speech impediment. After ‘Good Morning Starshine’ had sold a million records, Crewe was trying to figure out what single to release next. I implored him to put out the song ‘JEAN’, which he did with spectacular success. This earned me a hefty raise at the time. Crewe had faith in my ability to spot a hit record and in the final analysis, I proved him right. When I attended the Grammy's, I took him as my guest. He was brimming with pride when they announced my song ‘TIE A YELLOW RIBBON ROUND THE OLE OAK TREE’ as one of the nominee's for song of the year. Needless to say we lost to my dear friend Charlie Fox and his classic tune ‘KILLING ME SOFTLY’.

L.Russell Brown”

Many thanks….great story Larry.

One biography will surface soon and that is by Charlie Calello, who has frequently been very open about the back story to the Four Seasons. Bob Crewe also (reputedly) has a biography writer but Tommy De Vito’s draft, (some say was used for the Jersey Boys script) has been the subject of litigation for some years with Rex Woodard’s wife over the late Four Seasons historian’s draft.

But factually Tommy had mob connections from the early days. We recently collected two songs from the Variatones recorded in 1955. Check out this link to hear  ‘I’ll Always Love You, Dear’  which features an Italian singer, Bill Cecere backed by the Variatones. The story here we were told is that the Variatones (Valli, T.DeVito, N.DeVito, Majewski) did these sides backing Bill but “before the songs could get an official release the mob murdered Cecere and stuffed him into the trunk of a car”. Instrumentaly, these songs feature Tommy DeVito’s distinctive style in the 50s and are not dissimilar to the ‘Joyride’ album. The other song was ‘Jealous Heart’. This story has been challenged (see Comments below) so we can't verify it or otherwise account for the track or its origins. For a better perspective on the mob’s involvement with entertainers like Valli and DeVito check out ‘Frank Sinatra and The Mob’ to realise how the real stories have been suppressed re music makers involvement and why Frankie Valli rightly has kept his distance from them.

But hopefully we’ll have Charlie Calello’s bio focusing on ‘making music’ (which is our primary focus) soon and hopefully our work with Rare Rockin’ Records of Australia will result in the release of a CD project next year featuring the best of Charlie Calello’s (non-Four Seasons) arrangements. Tentatively titled ‘Arranged For You: From Doo-Wop To Northern Soul’, it is planned to feature the best of his diverse arrangements and productions. More re this soon.

Casey Chameleon

 

 

Will ’Northern Soul’ surpass ‘Jersey Boys’ The Movie.?

It may seem a ridiculous question to some Americans reading this but the hold of Northern Soul in the UK psyche MAY be stronger than that of the Frankie Valli and The Four Seasons stage show which will soon become a movie.

A forthcoming MOVIE about the UK’s unique dance club ‘craze’ is coming, and Guardian writer Bob Stanley has been in at auditions. The reasons perhaps why this MOVIE will take audiences by storm is that in many ways it will celebrate American music BUT in a uniquely British way. It is the music America rejected!!

Just as importantly as Stanley comments re the films creator Elaine Constantine…”For Constantine, though, Northern Soul was about comradeship. "So few people understand what it's all about unless they've been involved in the scene," she says. "When I've tried to explain to people how incredible the music is and how great it is to dance to en masse, when you know everyone in the room is going through the same experience emotionally as you ... it's hard to sum up in words alone. I knew a film would give anyone the experience almost firsthand."

Those of us who experienced the scene (or it’s pre 1970 gestation in Northern underground clubs) a listen to the music and a video of the dances captivates the mind and the heart.

And amongst the core tracks are two featuring Frankie Valli which have made him ‘iconic’ on the music scene. ‘You’re Ready Now’ and ‘The Night’

By comparison ‘Jersey Boys’ on the big screen is going to have to change a lot to avoid being a sanitized presentation of ‘a story’ loosely based on the Four Seasons rise to fame laced around a phenomenal music catalogue.

It will be an interesting battle if they both come to the ‘big screen’ at the same time.

Bob Stanley’s report (Read the whole article here) makes it clear that this film has the capability of creating ‘new generations’ of Northern Soul fans. ‘Jersey Boys’ by comparison could be seen as a blatant ‘cashing-in’ on the success of the show. That’s OK commercially……..as far as The Partnership is concerned….but what will be the legacy this film leaves us. One thing that is apparent from this article by Stanley is that ‘spiritually connecting to the music’ is what ‘Northern Soul’ will do for a lot of people.

Both Frankie Valli and Bob Gaudio have commented on how surprised they were (and probably remain) at their UK success on this music scene. They have never really connected with it in my opinion. The 1970 and 1971 tours made an attempt though and created the cult following we represent today. But it is the way the ‘music’ (yes…their music) connects at an emotional and crowd level that has made the songs ‘anthems’ of the scene. The success of ‘Beggin’ on the European club scene was just an extension of this phenomena.

Let’s hope the ‘Jersey Boys’ MOVIE doesn’t slip into a ‘Grease’ like style which portrays the 1960s (and the Gerry Polci led Seasons of The 70s) music scene in a distorted presentation of reality. ‘Northern Soul’ THE MOVIE we are sure will do justice to the scene….the dancers ….and most of all THE MUSIC.

And of course we still have Gerry and the guys performing as the ‘Hitmen’ if we need a reality check. So guys get to the UK soon!!

Casey Chameleon

 

'Arranging' Stories

In our last post we commented on how getting everyone’s take on the past allows the ‘truth to wash through’. Well we got an example this week in an interview sent to us and conducted in August 2011 with Artie Schroeck by Bernhard Vogel.

 

Bob Crewe (left) Artie Schroeck (centre) and sound engineer George Schowerer (right) in the Mirasound Studios NYC 1967. Photo courtesy of George Schowerer.

Artie came to the fore as a Four Seasons/Frankie Valli arranger after Charlie Calello left the Four Seasons for a Head of Production role at Columbia in December 1965. At the time Charlie had just arranged and produced Lou Christie’s mega Number One Hit ‘Lightnin’ Strikes’. Or did he?

When we saw the comments below we wondered what the correct story was…..

Question by DSS:
 You then continued to work as musician and arranger.
 
 ARTHUR SCHROECK:
 Yes, in 1965, I started working as a studio musician and arranger. For Lou Christie, I wrote the arrangement for his #1 hit record 'Lightnin' Strikes' (MGM Records 1965, BV.)…
 
Question by DSS:
 …which originally got credited to Charles Calello?
 
 ARTHUR SCHROECK:
 I know you are familiar with the term 'ghosting'. Back in the 1960s, I just had come off the road, and Calello, whom I basically taught arranging to and who had been to High School with me, was into arranging for recordings at that time. He had a lot of hits with The Four Seasons. He helped me to get into arranging for recordings by having me ghosting arrangements for him. 'Lightnin'  Strikes' was one of them. My reputation as an arranger got so noticed, that it came out that I was the arranger. Calello was the producer and conductor.
 
Question by DSS:
 Charles Calello later also worked on a very special Sinatra album, 'Watertown', released by Reprise Records in 1970.
 
 ARTHUR SCHROECK:
 I'm not at all familiar with 'Watertown', but I know Chas arranged it. Calello is a brilliant arranger. I had many encounters with him in our recording days. He was producing an album, 'Eli and the Thirteenth Confession' for Laura Nyro (Columbia 1968, BV.) He wasn't happy with the drummers on the tracks that had been recorded so far, so he called me in to replace them and finish the album on the drums for Laura. Callelo and I later shared arranging jobs on a Frankie Valli album called 'Romancing The 60s', released in 2007 (on the Motown label, BV.)
 

Question by DSS:

What moments, if looking back now, would you count as highlights among your professional work?

ARTHUR SCHROECK:
 I worked with Frankie Valli & The Four Seasons. I arranged their hit recording of 'I've Got You Under My Skin' (Philips Records, 1966, made it to US Billboard's Top Ten, BV.), and Frankie Valli's solo of 'Can't Take My Eyes Off You' (1967, reached #2 on the US Billboard Charts, BV.), for which I have a gold record hanging on my wall. I also did arrangements for Paul Anka and Neil Diamond. And for The Lovin' Spoonful, I orchestrated the movie 'You're a Big Boy Now'

So what did Charlie think as the ‘Original Sinner ‘ CD clearly credits Charlie Calello with Producing and Arranging, ‘Lightnin Strikes’?

Charlie Calello responded……

“Hmmmm - - - For the record - I had spent 3 days rehearsing Lou and the Angels so I had the record laid out. I booked the musicians and hired the rhythm section and horns. In my instructions to Artie I told him what records of mine to copy the sound from and NOT stray from the piano vocal demo. I recorded Lou and the girls on tape and gave that tape to Artie. who because of playing on my records as a musician knew my style. All he had to do was copy the demo and keep my style. But in fact, yes he did "orchestrate" the music but in FACT the arrangement was already written when I played it on the piano. All he had to do was not screw it up. So - yes - I did 'arrange" the Lou Christie #1, Artie "orchestrated" for me. Most of my arrangements were written on the piano and after I rehearsed the song with the singer I'd take my tape copy home and write from my tape. ‘After the Lovin', ‘My Heart Belongs to Me’, ‘Native New Yorker’ and many other songs I arranged were all written the same way. 

Artie is correct in mentioning that he inspired me when I was 13 years old. He was also my mentor in high school. After high school we worked in a band together and that band was where I started honing my arranging skills. As far as the guys we played with they considered Artie to be a great player and a great copier of other people's material. What they recognized in me, as Frankie did, was my originality.  It's easy to copy someone's style - - it's hard to develop a style. The reason Artie wasn't more successful as an arranger was because, although he had the craft, he lacked originality. For as much as I love and respected his musicality as kids, it was unfortunate he never grew. It's funny how people remember the past. “

Charlie Calello and 'you know who'!

Subtle differences in perspective in this fascinating background to two great arrangers. When Charlie left in December 1965, and the Four Seasons needed a new arranger they used Artie because he knew their way of working. This interview is surprising too in not mentioning Artie’s contribution to the mega-hit ‘Beggin’ which is probably the best known Four Seasons songs to young people today!. The group also did great work with the legendary Herb Bernstein during 1966 and 67. Now Herb did have originality. Check out his Northern Soul classics.(eg ‘You’re Ready Now’ March 1966 and ‘Fireman’)

 

And we have news of two potentially exciting Charlie Calello products soon as his new biography is due for completion and publication as an e-book in October and we are working with Rare Rockin’ Records of Australia on a possible 2 CD set ‘Arranged for You: From Doo-Wop to Northern Soul’ which will track the diverse arrangements and productions of this uniquely talented man during the early to late 60s. More re these soon.

Casey Chameleon

 

Musical History Preservation

Ironically as The Beach Boys plan a mega release for November of the ‘Smile’ sessions from 1967 (see here), Four Seasons fans are forced to continue to tolerate the paucity of quality of the groups back-catalogue (it simply isn’t available on vinyl or in a re-mastered HQ sound)

 And this is so much more frustrating when we know that at least 40 unreleased tracks lie in the Motown vault and we know of around 10 tracks from the last Philips sessions and a full album of material from the ‘Helicon’ sessions still remain unreleased and unlikely to see the light of day. Equally so no biographies from key people who where part of the Four Seasons Story are emerging and there is amongst some of us a disturbing but not unsurprising ‘conspiracy theory’ as to why this is.

Perhaps the executives behind ‘Jersey Boys’ – The Show and possibly The Movie are  suppressing any attempts at an alternative story line emerging as they continue to rake in mega-profits from this production.

Having read ‘Dirty Little Secret’s of the Record Business’ and ‘Appetite For Self-Destruction’: excuse us for once again fearing the dominance of financial objectives over artistic preservation.

 In a week when we lost iconic people from the 60s music industry in Jack Ashford(of Ashford and Simpson), Jerry Leiber and Motown Matriach Esther Gordy Edwards it remains depressing that there is evidence of a lack of open-ness re the back catalogue from both the Four Seasons Partnership and Motown Universal. It continues to be a surprise why Record Companies remain so secretive about what they have and their potential projects and releases. They may argue it is about ‘managing expectations’ and the complex and costly legal and production costs of bringing original masters from the vaults today. Even Capitol issued a hasty denial when Al Jardine ‘leaked’ the news of the project for ‘Smile’ earlier this year. Surely someone somewhere cares about the true story of 60s and 70s music and that of the Four Seasons (apart from us)? For 40 years Motown Universal have hidden the history they have in their vaults and they still wont speak about it even when Frankie Valli has admitted recently that he and Bob have no ownership rights to the material and he can see no reason why a record company couldn’t release it.

 At least Capitol found a way to get the Beach Boys to acknowledge the importance of the ‘Smile’ sessions but perhaps it was the lucrative financial rewards from the spectacularly packaged box sets for collectors : and with master engineer Mark Linnet doing the re-mixing the result will be a collectors dream. Unlike the Jazz scene where an artists history is honoured, it seems things only happen in the ‘pop’ market when there is ‘big money’ to be made. And if that means promoting a fictional history, so be it!

Whatever the actions of The Four Seasons Partnership or the JB Executives, we will continue to campaign to dispel the myths of Jersey Boys and to get the truthful story out to the world. In fact much of this can be found in the Melcher Media – The Jersey Boys Book and in our series of article ‘The Rise and Fall Of The New Four Seasons”.

 OK I hear you say but “you ask four guys and you get four different stories” as the Jersey Boys script argues. Well we would rather believe Esther Gordy Edwards approach as told to us by Motown Alumni President Billy Wilson in his recollections of this great lady….”. Though few fans knew of her, historically she became one of the primary driving forces in the Motown camp. The eldest sister of Berry Gordy, Edwards worked part time with Berry Gordy in the early years of Motown's development, until in 1962 she decided to work full time with the label.  She was one of the original corporate board members of Motown Record Company along with Raynoma Gordy (Berry's second wife). She was the manager for virtually all of the Motown stars through the formation of the companies booking agency, Senior VP of Motown, and held numerous other jobs. She was also the founder of the Motown Historical Museum which she created in the 80's”…….He continues…”. "When I started moving with the alumni association she gave me so much insight on what the company was all about, I had to adjust my frame of thinking on what was true about the company and what was fiction; it was that conversation that still holds true to this day on how I look at Motown Record Company back in the day" said Billy Wilson President of the Motown Alumni Association. He went on to say ...The greatest advice she gave me was to quit reading the fiction that was put out, and ask the people that were there, then blend the stories, she said two people can be in the same room and see two different stories, the truth will come through the wash. I've held on to that advice like the gospel, and found it to be absolute; nobody could have given me better advice,”

So watch out for our research publications as the year closes as we publish our list of myths in Jersey Boys…..more on the Motown Tape vaults and the response to our plea for the digital preservation of the unreleased tapes. Plus we hope to unearth the story of how the Four Seasons nearly ended as a hit making machine in 1966. Taken from interviews with ‘the people who were there….the truth will wash through’ …believe me…and as for what is in the vaults…well if the ‘conflicted’ Beach Boys can be brought together to see the light and preserve their sessions, then maybe Bob Crewe, Bob Gaudio and Frankie Valli can do a deal with Motown Universal?

 Casey Chameleon.

Check out the unreleased below:

–       16 Track Master Tape 2664

Hymn to Her

Lovers

You’ve Got to Make Your Tomorrow Tonite!

Plus…..their own master….

I Wonder Why

Bob Gaudio – Songwriting Genius?

In our last post we compared Bob’s Crewe and Gaudio as producers and Ray Ricci thought this somewhat unfair (see his comments on our last post). So we asked Casey Chameleon to redress the balance with a perspective on Bob Gaudio’s biggest strength – that of a songwriter.

“Wikipeadia describes a Songwriter as….” an individual who writes both the lyrics and music to a song. Someone who solely writes lyrics may be called a lyricist, and someone who only writes music may be called a composer. Although songwriters of the past commonly composed, arranged and played their own songs, more recently the pressure to produce popular hits has tended to distribute responsibility between a number of people.”

Although the composer is the most important element in the writing of a hit song, the need for a good arrangement and good lyrics are vital. Bob Gaudio was fortunate in the collaborators he had during his career as a songwriter

He has said on many occasions that he was lucky…but so too were his collaborators and we were the beneficiaries of their creative combination.

As well as being a performing member of The Four Seasons, Bob Gaudio was on most occasions also their main ‘composer’, and sometimes their lyricist, but if you  examine the hits in his BMI listing , it becomes apparent that by collaborating with other lyricists he achieved his greatest successes. And he didn’t always give credit in interviews…but he probably feels his contribution was somewhat under-estimated. So let’s redress the balance and examine what really happened with the help of two men who know his work very well – Charlie Calello and Larry Russell-Brown.

Bob Gaudio found by working with Bob Crewe initially as his lyricist and producer (or co-producer) that he was able to create pop songs that really struck a chord with the record buying public of the 60s and 70s

His own compositions, when he wrote the lyrics too, tended to be somewhat ‘doom-laden’ or morose and his approach has been described as “very mechanical and methodical” but it is his collaborations that found a counter-balance, it seems, and achieved greatest success. His approach whether alone or in collaboration, as he said in interview with Stuart Miller in 1972, was not always the same. He had a different focus at different stages in his career.

During the early 60s he did sit down specifically to write a hit song for The Four Seasons (“I was writing a record” and one for Frankie’s voice) – but  as the 60s progressed  he often didn’t sit down with the intention of writing a ‘hit’ song at all…. he often just decided to write with a collaborator (and in that interview he used the example of him and Bob Crewe sitting down to write a song and the result was ‘Can’t Take My Eyes Off You’…arguably their biggest songwriting success together). The songs since then he said just came out of the ‘process’. He even commented that if you stripped the 60s hits back to their ‘bare-bones’, there is not much there. The strength was in the arrangements. Much of these he wrote with Charlie Calello’s help.

The best example of how a song changed as result of this was perhaps ‘Dawn’. Charlie Calello tells the story….

“Although I was working on the 4 Seasons records, I really didn't have a chance to have complete input until "Dawn." In the beginning I was there mainly because I knew how to write music and I worked with Gaudio writing the arrangements together. "Dawn" was originally written with a totally different feel than what is on the record.” In fact originally it was a slow folk-ballad. 

Charlie again….” How that happened was: Frankie Valli and I were in a car when "More," the Kai Winding record came on. Frankie said, "that's the kind of feel we need on our next session," which was in two days. When we recorded "Dawn," we recorded 5 other songs on the same date. I usually worked on the arrangements with Gaudio the day before the sessions and the night before the sessions, when it came to "Dawn" I asked Gaudio to give me around 10 minutes as I felt the song wasn't happening. After around 10 minutes Frankie, who was sleeping on one of the desks in Crewe's office jumped up and both he and Gaudio come into the writing room and said, "what's that?" I said “I'm working on "Dawn." It blew them away. In 10 minutes I had come up with the basic figure that was the glue to the song and the bell sound that became part of the Seasons' sound for the next few years. I changed all the chords, wrote the whole tone scale rise at the end of the bridge and wrote all the instrumental parts in around an hour. The next day I made my "first" Calello track for the 4 Seasons. Although my input was important on the other records that I worked on, "Dawn" was the first record I felt I really made the track and controlled the musical taste of the record.”

Collaboration took Bob Gaudio’s composing qualities to a new level and allowed others a chance to innovate and contribute to make a good composition a great song. This happened not only with Charlie but others like Linzer and Randell but it is clear Charlie was the one in those early Philips days that made a big difference, as he told us…

“Another record I really loved was "Let's Hang On." I had the Stones….."Satisfaction" fuzz guitar sound added on the intro. I not only wrote the arrangement for the band but also wrote the vocal parts. The Seasons were in Atlantic City performing and after we made the track, Denny Randell took the vocal part down to them to teach them the song. The intro was added when the guys came into town to do the vocal. The intro was also good - I think it was Crewe's idea. (Denny Randell’s description of this recording makes interesting reading too and expands on Charlie’s memory)

The cool part about the instrumental is, I basically wrote the melody off "The Sun Ain't Gonna Shine, " which we had recorded a few months earlier.  I didn't realize it until I heard it on the radio. “

Gaudio, actually got the idea for Rag Doll from Sandy Linzer and Denny Randell. He and Denny were writing in one of the writing rooms at Crewe's office and Gaudio popped in. He asked what they were working on, so they played him the song.  The lyrics were not complete so when they sang him the song they did ooh's and ah's - - - thus two weeks later, "Rag Doll".  Crewe helped Gaudio finish the lyric and arrangement and The Seasons made that record on there own. They actually made it as a demo but it turned out so good they didn't re-record it. "Rag Doll" maintained the bell sound from "Dawn" “

But Charlie is clear that the composing and songwriting driver of these hit songs was Bob Gaudio. He continues…..

“No doubt about it, Gaudio was the main guy! Crewe was talented and was very instrumental in keeping us on our toes but Gaudio was the 4 Seasons.”

 Larry Russell-Brown another collaborator and co-writer  on songs like ‘C’mon Marrianne’ ,’The Singles Game’, ‘Watch The Flowers Grow’ and ‘The Girl I’ll Never Know (Angels Don’t Fly This Low ) has a huge respect for Bob’s ability.. “When it comes down to his input to any and all creative projects, he involves himself ‘in-depth’. He has that amazing ability to recognise greatness, uniqueness, and the commercial value of music.

He has that God given magic ‘unschooled’ touch, when it comes to the creative process. Lyrically his input is oftentimes quite basic but earthy and youthful. Unlike Bob Crewe who is a modern day Cole Porter, Bob Gaudio can at times find it laborious to write a clever lyric, thus the combination of Crewe and Gaudio, produced spectacular results.(ie Crewe’s creative ‘genius’ mentioned in our last blog article)

My own area of expertise seemed to be parallel to Bob Gaudio’s, in that like Gaudio, I too found writing the music, a God given gift, however, I also possess the ability to tell a story in a song, as good as anybody has ever done. When I wrote with Bob Gaudio he leaned on me for the lyrics just as he did when he wrote with Crewe. Although Bob Gaudio and I enjoyed writing together, we at times laboured at the process. Crewe and I employed a different method when writing together. We basically threw the ball back and forth and completed all parts to our songs in tandem”

But Larry is quite sure about one thing…….”Bob Gaudio is no doubt one of the finest creators of classic melodies of all time as well as a superb arranger. Truth be told, Gaudio had his hand in nearly all the arrangements ever written of his hit songs as well as most other hits involving the 4Seasons, Frankie Valli and the brilliant Neil Diamond.

(Above Bob Crewe and Bob Gaudio at the 'Can't Take My Eyes Off You' session - Photo courtesy of George Schowerer)

For instance, with Frankie Valli, had it not been for Gaudio's editing and instruction, the chart for “Can’t Take My Eyes Off You” would have been nowhere near as BRILLIANT as it is on the record. I know this as a solid fact!

I also know that Neil Diamond brought many of his songs to the recording sessions Bob Gaudio produced for him, in a disjointed condition and Bob had to not only clean them up and edit the hell out of them: he actually wrote bridges where needed and "NEVER" took credit for his writing in these instances. In essence,  Bob Gaudio is truly deserving any, and all praise heaped upon him, and more.”

The fact that we can see how the collaborators brought out the best in him doesn’t diminish that original ‘composing’ and ‘arranging’ brilliance that made the songs hits.”

For the final word though, Charlie Calello (being an arranging collaborator who worked so much with him and so closely) perhaps best sums up Bob Gaudio’s ability ……”Today, we don't speak that often, but whenever we do, he is still the same guy he was when we were kids. Whenever I'm in his company, I never lose sight of the fact that he is one of the best song writers and creative minds I have ever worked with; he truly was a "pop" genius!”

Casey Chameleon

PS Following on from our last post and Bob Crewe’s contribution to the Four Seasons hits and his general contribution to songwriting we are not the only ones that believe this is understated. Check out this Goldmine Magazine article.

 

Postscript query…..

A confused Phil Elms asked……”Gaudio has repeatedly told the story of his inspiration to write Rag Doll(traffic lights, little girl in tattered clothes washing car windscreen) and that Crewe contributed to the second verse. Now we are told that Randell and Linzer came up with the idea and that Crewe and Gaudio merely finished it off. Is Gaudio being economical with the truth? Did Crewe get a writing credit for not very much? Should Randell and Linzer have got composing credits? Has Calello mis-remembered? Or is the reportage sloppy? I realise all this happened (or didn't happen) nearly half a century ago, but Rag Doll remains such an iconic recording that I'm sure a lot of us would like to know the ultimate version of how it came to be written. Or is this another unanswerable case of "You ask four guys, you get four versions"?

 

And Charlie Calello was able to clarify the situation…

 

“Ahh - - ya see how things get twisted! Linzer and Randell played Gaudio a song they were working on that didn't have a lyric so when they performed the song they sang it with oohs and ahhhs. As far as the melody of Rag Doll- - That's Gaudio!!!! He may have even been inspired by the girl washing car windows but the idea of the oohs and ahhs was what inspired it. Gaudio didn't steal the song - - he just used the concept.

Both Linzer and Randell relayed that story to me. They were never upset and/or thought that Gaudio stole the song or idea from them. They were just proud knowing they sparked the Gaudio idea, whether he was aware of it or not. 

Keeping in mind we all influenced each other and that's what helped make Crewe, Frankie, Bob, Tommy, Nicky, myself and Linzer and Randell all part of the 4 Seasons recording team.

CC"

And what a great team….thanks Charlie

And finally......

Ken, that was one of the most incisive articles I have ever read about the

incredibly talented Bob Gaudio. I hope he gets the opportunity to read it.

 

L.Russell Brown