That 'Four Seasons' Sound

The Search For The BEST Masters – The Sound Test Results

In the last blog I outlined how I wanted to review the sound test results with both ‘ears’ and software for the Snapper Box Set. I tested all of the CD’s for Dynamic Range[DR] and Loudness[RMS or Lufs] and for clarity and separation in mixes. Well, the good news is that all CD’s from Disc 19 on are [Dynamic Range] DR10 or higher which is spot on the mark for an Archive of Frankie Valli and the Four Seasons. All but one Disc in these discs had ‘Full Frequency’ sound, whilst some varied based on the source quality of the ‘Masters’. Good to excellent ‘Re-Mastering’ from the ‘variable’ source tapes as we had hoped and planned for.

 

Also we found excellent re-mastering in 99% of the ‘Bonus Tracks’ throughout the compilation that have come out really well given that most were from a wide range of sources including cassette tape and not ‘full frequency’ versions. But unfortunately poorer results were found on several of the early era discs. Back in 1988 Bill Inglot had to ‘Re-Construct’ the Sherry album from the Delivery Tapes supplied by Vee-Jay in 1966 when there were liquidated and the HQ Masters were returned to Bob Crewe[Genius Inc]. The original Safety Tape was below ‘full frequency’ for CD re-issue.

 

 

The aim therefore has been to focus in on the 1960s tracks specifically Discs 1 to 18 and to try to understand any differences that have indicated a sub optimum sounding result.? This was because in several cases there are puzzling tracks with poor Dynamic Range and EQ results [i.e.DR7 to DR9].

 

Transfers from these ‘analogue’ age tapes were done in 2019 and 20 for re-mastering with modern software tools for the Snapper Box Set. Problems appear to be with ‘Safety Copies’ around 60 years old. They have only been issued previously in STEREO format on CD [apart from a handful of independent label issues of 3 albums and some hits in MONO – e.g. Real Gone Records and the Jersey Beat Box Set]. The STEREO tapes had been previously transferred in 1988 and later in the 1990s for both Curb and ACE Records album re-issues on CD, (so multiple transfers since the start of the CD era of 1988) and the original and oldest tapes may have suffered wear and deterioration. But in this box set we have for the first time transfers and inclusion of the MONO Masters from the original tapes. In some ways, it has provided a baseline digital set [like never before] of the original albums back in the 60s and we are able to hear them on CD for the first time providing a listening experience comparable with our original vinyl MONO albums. However, as a ‘first to digital’ MONO LP set of albums, it is not possible to compare the results in the Snapper Box Set of the MONO Masters with previous CD issues in a consistent or complete way. But we know that the MONO mixes from the original 4 track session tapes involved compression during mixing so whilst a DR10 is an optimum reading some mastering from the MONO tapes will inevitably only be able to achieve a DR9/8 reading on a proportion of the MONO album tracks.

 

As purchasers and listeners to the Box Set you may not notice this or perhaps just feel that the instrumentation is louder than you remember. [burying Frankie Valli’s lead somewhat?] This is a sign of compression.[i.e less distance between the loudest and quietest sound] which changes the relationship with the vinyl masters

 

In testing the Snapper Discs we used two reference digital sets:

 

• ‘Golden Hits’ of The Four Seasons – MONO album 1963 – studio digital dub [DR10]

• 25^th Anniversary Box Set – 3 CD STEREO 1988 [DR12]

 

They represent the best levels of sound [with full frequency wav files of 18/20kHz max]

 

I outlined these standards in my last blog post and have since used ‘listening tests’ to focus on clarity and separation and the output of the DR meter readings on a range of past CD album releases in STEREO to measure differences and to grade the results. The Tests rated the original album content from….

 

• ACE Records [1990s issues]

• Curb [1990s issues]

• Collector’s Choice [2000s issues]

 

….compared to the Snapper Box Set for these 18 albums. Results were graded as follows …..

 

• Best to date

• Good and Essential for Collectors

• Some tracks only OK and with minor flaws

• Problem Discs but still listenable

• Plain Badly Mastered

 

And I reviewed Snapper Music Discs in comparison, noting those with missing or wrong tracks to the approved listing. This is of partly a subjective evaluation but based on a recognized and accurate evaluation software tool as well as the listening tests.

 

Of the first 18 Discs in the Snapper Music Box Set 8 have ‘less than optimum’ mastering with 8 of the Discs at DR9 and even some tracks as bad as DR7. Only one Disc is classified as ‘bad’ and that is ‘New Gold Hits’. But we noted the Tape Box Scan indicated the MONO tape should NOT be used for Mastering!!!

 

 

However, both the MONO and STEREO versions of ‘Genuine Imitation Life Gazette’ [GILG] proved to be the ‘Best To Date’ and set a top standard. Of the remainder only 2 surpassed the ACE albums issues. It was disappointing that there was such a lack of consistency and although all but Disc 12 are listenable in acceptable sound quality this is all a big contrast to the rest of the Box Set

 

The findings of other past masters can be summarised as follows:-

 

• ACE Records - Of 16 original albums in STEREO covered during the 1990s transfers, ALL but 3 of their issues are ‘Good and Essential Collectible’ [DR10] with 2 with minor flaws and 1 with problem tracks.

• Curb – Criticised at the time for missing some tracks from original album titles we were only able to acquire 7 of the 18 Discs in the Snapper Set. Of these we found Discs 1 Sherry and Disc 4 Ain’t That A Shame to be ‘Best To Date’ and a very desirable Collectors Items.

• Collectors Choice – We tested 8 in comparison with the Snapper Discs and found that CCM provided the ‘Best To Date’ version of ‘Live On Stage’ [Disc 9]. Of the rest 4 Discs were an acceptable DR10 with 2 below optimum with minor flaws.

 

So if you have any of these ‘Past Masters’ rated as good and collectible then hold onto them as the equivalent Snapper Discs are a not so good a match. I am personally replacing the album Masters in the UK Four Seasons Appreciation Society ARCHIVE LIBRARY [which I will cover in a future blog] and in my personal Discs and ‘playlist’ with NEW STEREO and MONO Mixes based on the BEST MIXES from the ‘past masters’ CD album releases for the following album Discs in the Snapper Music Box Set – 1/2/3/4/6/7/8/9/10/11/12/13/15/18. A total of 15 discs with adjusted sound to achieve the best balance of STEREO sound and new MONO mixes all in full frequency sound. This is what Bob Fisher and I set out to achieve.

 

Bob’s sad passing during the project meant that we had no dialogue with the Engineer regarding the tape quality issues nor of the final approach to ‘mastering’ quality. We did provide the list of Approved Masters after submission to Bob Gaudio locating the 830 plus tracks involved. If communication had been better with the Sound Engineer post the Covid period and we had known of how many tape quality issues existed we could have supplied ‘alternative’ masters from this library and corrected the somewhat disappointing results on some of the first 18 Discs in the Box Set. There are also 10 wrong Masters in the 44 CD Box Set and one ESSENTIAL track was missed by Snapper which cannot now be put right.

 

However most purchasers will be happy that 70% of the set is as good as we set out to achieve and were Bob still here he would agree that ‘we done good’. I am personally proud that we got the Motown Unreleased CD and created THE LOST DISCO ALBUM and were able to supply and include so many unreleased demos, acetates and LIVE tracks. It was a mammoth achievement and includes superb design work. As for more ‘unreleased tracks’…..well there are more alternative versions [The ‘Out-Takes’ Archive which we have] and of course the ‘still unreleased’ Motown tracks not included as ‘not approved’ by Bob Gaudio…….and the 200+ Unmarked Tapes in the FSP LA Storage.

 

The Comparator Chart of our findings is a download attachment to this post. If we get more past Masters of albums to compare we will update our chart but we believe this is the best anyone will ever find. CD re-issues are a small market now and do not justify the high cost of research as this project provided.

 

Download Snapper Disc Comparator Sound Tests Nov 2023

 

I will be discussing the process and all of the major positive achievements on the catalogue in our video podcasts 4 Seasons On Saturday with our team of collector experts over the next few months as we also consider the ‘out-takes’!!!

 

Ken Charmer – Four Seasons UK Appreciation Society – Snapper Music Box Set ‘Master Track Advisor’

The Frankie Valli and The Four Seasons ‘Legacy’ Project

Yes I know!!!…..the Snapper Music Box Set is a ‘landmark’ moment in the careers of Frankie Valli and Bob Gaudio [the ‘FSP’]….and it was originally labelled as the ‘Legacy’ Box Set. Well, whilst it was a privilege to compile it with Bob Fisher with Bill Inglot’s Tape search and it may be good to have all the albums and Bonus/Unreleased material included in a nice shiny Box, but unfortunately not all of the mastering has the Dynamic Range and sound quality I would like, namely some of the 1960s material [which is for us all an important personal listening choice],

So I have a NEW project which is based on the legacy left by renowned but little known Sound Engineer Stefan Wriedt. It was Stefan who conceived of a NEW set of Four Seasons and Frankie Valli Masters back in the ‘noughties’ after his ‘salvage’ work with Bear Records and other EU ‘independent’s to digitize all of Frankie Valli’s earliest records The result of his work as a professional sound engineer was the release of the earliest of Frankie Valli’s performances on CD with the RCA Four Lovers Tapes with Bear Records in 1989 and the First Fantastic Years on CD in 1995. All subsequent CD releases of pre Four Seasons tracks are taken from [or are inferior to] these German Studio ‘Masters’. He also brought us the Motown Bootleg ‘The Night- Inside You’ CD in 2000.

So my project is probably the last ‘sound quality’…... ‘Chapter’ of the recording career of Frankie Valli and the Four Seasons. [Unless unknown Tapes surface….and they always do!] so I am starting my MEGA LIBRARY with those MASTERS salvaged from vinyl and the RCA Tapes to form my FIRST ARCHIVE Volume of the Pre-Four Seasons. But it doesn’t finish there.

"Discussing the CD Discography Ken Charmer and Stefan Wriedt at the Royal Albert Hall Concert 26^th June 2012"

The CD discography [in this link] is Stefan’s work and it takes a critical view of the releases and ‘sound quality’ of CD Mastering since the advent of CD releases of the groups work from 1988 up to 2011, on the majority of CD original album issues in the US, and then EU [which then included the UK].

Back in 2009 as Charles Alexander says in the ‘Jersey Beat’ booklet…….”Millions of people from all walks of life have bought 4 Seasons recordings and attended concerts for decades- as loyal a group of followers as any artist could ever hope to have”. I quoted this in my blog back then and said....”they deserve to know ‘what are the ‘best mixes’ 'and where to find them. Maybe someday the whole catalogue will be re-mixed to the very best sound standards?”

Well we now have the Snapper Music Box Set as an ‘anthology’ reference point for the sound of the group and Frankie as recovered from tape and re-mastered in 2023, and it has taken awhile since Paul Bigelow was quoted in our blog saying in 1997… “I have never heard anything on CD by them (The Four Seasons) that I would call superlative…..(sound quality) The ACE reissues sound OK and look good, but I think they’re working from the same tapes Rhino worked from - just mastered better.”…..and I asked …..’So who will find that ‘Definitive’ compilation of the 60s “Sound Of Frankie Valli and The Four Seasons” and should it be in MONO or STEREO.?’ ….But the real question re the 1960s is…...DOES GREAT SOUND FROM THE MASTER TAPES STILL EXIST?

Well the answer is ‘NO!!!!…We have seen all of the Tape Box Scans as marked up, but there are no multi-tracks….’Superlative Master Tapes’ do not exist [apart from 2 that we found at 24 bit 192Khz] and now we have proof and know the surviving Masters both MONO and STEREO for nearly all of the 60s tracks and the rest of the ANALOGUE TAPE period up to Streetfighter are 2^nd to 5^th generation SAFETY COPIES.

STEREO MASTERS from the 1962 to 1970 for all ‘album’ CD releases since have been digitised since 1988 and derived from these analogue tape versions as copied to storage during that period. The best STEREO mixes on tape where created from 1967 when vocals were centrally placed in most cases. This was due to the earlier in the decade technical limitations of 3 and 4 track recorders whilst 8 and 16 track tape decks were used after studio equipment upgrades by 1967 and from then Bob Crewe mixed them that way[only 2 songs at Atlantic Studios had the benefit of 8 track…..but that is another story]

Balanced STEREO recordings and releases on vinyl took over gradually from 1967 and now we have a ’reference set’ by Snapper Music to enable us to understand the status of what has survived.[in MONO and STEREO]. As Sound Engineer George Showerer told me of his saved Masters at Mirasound Studio in 1967...“Bill Inglot told me that when he received tapes from all the songs [in storage], he noted that in some cases the record company had destroyed the multi-tracks, thereby causing only the famous mix heard on the radio to be the defacto recording heard by everyone.[and that was the MONO]’

So most of the STEREO versions up to 1967 do not have the ‘balanced’ sound of later in the decade. The Snapper Set has now also provided the MONO Album archive for the first time on CD. It is simply what has survived, but still it is the original Mix from radio and LP. But with no surviving multi-track the evidence of Bill and Georges comments was clear re the STEREO. So in my project I am going to examine and answer the question whether the tapes transferred and Mastered in 2023 are in the same quality NOW as was achievedback in the 1980s for the first CD releases of the albums in STEREO?. What are the best STEREO Mixes?

Although 'incomplete', the Snapper Music Box Set 'Anthology' is a box set representing 98% of surviving MASTER transfers [to CD] that still exist [plus all of the salvaged 'unreleased' and LIVE shows we could find by 2021]. Now we have them re-mastered and presented in a beautifully designed and produced package with books and notes represents the best ever ‘comprehensive’ single box set of our fave groups work since 1961 when the Four Seasons brand was created. Re-mastering has been completed 'independently' by Snapper's sound engineer Peter Reynolds and we can relax and enjoy as consistent a set as is possible. Well maybe???. …...as indications are that the previous Tape Transfers for CD release in the late 1980s and 90s may be better masters of the 1960s safety copies.?.... Tapes deteriorate and flaws and mistakes happen and no mastering is the same.! Hence the need to collate and TEST the primary album releases on CD since 1988 in STEREO

So what should we make of the this important set of music given our sound tests analyses 12+ years ago in the midst of the 'Jersey Boys' phenomena?. Stefan’s CD reviews were always focused on an optimal Dynamic Range and this enabled us to set a ‘marker’ based on Stefan’s CD Discography and tests to verify what constitutes a ‘comprehensive library of the ‘BEST MASTERS’…[well…... as good as will ever be possible]….and I will collect them together in our FOUR SEASON UK APPRECIATION SOCIETY[FSUKAS] DIGITAL ARCHIVE

So in a series of Sound Tests these NEW RE-MASTERS and ALL of the album Masters I collected on CD over the period between 1988 and 2010 are being examined and tested against my own recently researched reference points[i.e.from both the vinyl and CD as much as is practically possible.] As Stefan passed away from cancer in 2015 the legacy he left is a method of testing CD quality. I am going to use these ‘digital’ sound evaluation tools and my ageing ears. My blogs since 2008 have been about the fans needs for a comprehensive catalogue including all of the rare and ‘unreleased’ and we have a lot now whilst still hoping we get to hear the rest of the MOTOWN UNRELEASED from Bob Gaudio and Universal Motown in the near future.

The evaluation through our METER TESTS can however can be seen by some as somewhat academic as ‘hearing’ experts know.....”Whereas a person in their twenties will be able to hear up to 17,000Hz or more, by their thirties this will have declined to about 16,000Hz. By the time an individual is in their 50s, their hearing range will usually have declined to around 12,000Hz. After 70 this will inevitably drop below 10,000 Hz. None of these changes are particularly problematic and are a normal part of aging.”

Therefore the full frequency of a recording as shown below is what should exist if the recording is a ‘true master’ [the brightest being the loudest/noticeable [red]

But in some cases much less sound exists due to the source limits...or poor mastering with sound cut-off at 16kHz or 11kHz so not reaching the as shown above FULL Frequency of up to 20kHz. Whether you can hear the higher frequencies depends on age and health. So we have taken a pragmatic view that whatever 'sound content' exists/survives we must use our ears and the criteria below.

Without getting too techy…...it is worth looking at these basics of ‘sound testing’ again even though re-mastering has moved on substantially since the advent of the CD and our expectations in 2010. Looking back we have found some clear definitions as we have always been the amateurs, relying mostly on Record Companies and as I have said [with other engineers in the past] not always with good results......”Basically, mastering is balancing, equalizing, compressing, and just trying to get the most out of a musical performance,” says Steve Hall, chief mastering engineer at Future Disc “It's smoothing out all the rough edges to make a polished, finished performance.” The idea, he explains, “is to make it as musical and exciting to listen to as possible. In the course of their work, mastering engineers have to do all kinds of sonic doctoring, including matching levels from song to song; adding shimmer to the top and punch to the bottom; adjusting the levels of individual instruments by using precise EQ (remember, they're working with a mixed master); goosing up the overall loudness; and much more.”

We used Steve Hoffman’s definition of a BEST Mix from 2009 as how we wanted the Four Seasons Catalogue to sound….

“Defining a good mix is ‘subjective’?......well perhaps but we think 80% of it……..is a mixture of technical…..and ‘feel’……”

Firstly the characteristics that make it sound great are……

1. Clarity – that sharp clear shape to each element in the sound

2. Content – the sound stage and it’s constituent parts

3. Separation – the difference or space within the sound between the elements.

4. Depth – the position of the sounds in terms of the distance they appear from the listener and each other. The last two can apply within both a MONO and STEREO mix

We believed back then that the definitive versions were being stored in the best digital form for future generations of collectors. Now in 2023, we know that has not been the case even though mastering has improved along with technology to process the sound. The Snapper project went back to the stored tapes in the clear hope we would be able to enjoy the Four Seasons sounding as never before? Well now we have our wish, with this reference set for Frankie and the group to compare with many ‘past masters’ that I own.

Back in 2010 we set up the CD Discography and our own SOUND TEST page on our web site. Stefan and Ihave added additional tools and tests since. The most significant achievement since the advent of CD releases in 1988, is that now we have new technology and software and both the MONO and STEREO albums from the 1960s to compare and assess the ‘BEST MIXES’. I am compiling the results of sound tests of dynamic range and loudness as was highlighted back in 2010…on everything whilst for others maybe ..”it is a case of your preference and mode of listening”. As one engineer put it….”A song that provides noticeable variations in level is almost always more engaging than one that stays pretty much the same from start to finish”.

It remains appropriate today to adhere to such standards as although technology and the change away from physical media storage continues, that is not for me and many music collectors. Streaming may be the easy and preferred mode of listening for many as listening has moved from predominantly speaker based listening to ear-pods and headphones…the resulting sound should be right for every output ...whilst for some it is back to vinyl for straight through ‘analogue’ sound. It is personal choice . Also ‘Digital Sound Processing’ [DSP] software is present in many apps today to enhance sound as individuals choose. The most significant test of all is human [your ears] and that is where you as readers can express your view via our blogs and FB discussion groups. You can share your own findings of the CDs available covering the original albums.

But MY ARCHIVE is drawn from the digital world of CD as a major ‘physical collecting method’ as we trawl the past for the BEST surviving WAV MIXES.

Bob Crewe back in the 60s had used the available compression tools to grab the listener on his 45 mixes [with big limitations as to what could be ‘squeezed’ into the grooves] on vinyl. With the advent of the CD format such limits were no longer there and as a result digital mastering by record companies [wanting 'hot' sounding discs] caused ‘abuse’ of such tools as 'compression' of Dynamic Range became prevalent. Such mixes became dominant in the 'noughties' and defined 'The Loudness Wars'.

In our search for the 'BEST' mixes of the Four Seasons we have always been looking for good 'Dynamic Range' [i.e. DR - the difference between the quietest and loudest sounds in a track]. From our sound test page we defined this using the 2009 software [Dynamic Range Meter 1.1.1] which confirmed ‘a DR reading for 'pop music' of DR12 [as potentially best] down to DR9 [as adequate] with anything below DR8 too difficult to listen to for any length of time due to excessive 'compression' of the instruments and vocals. Major companies such as Yamaha have confirmed this general concept. Each track will depend on it’s style and musical content [dynamics] and the average for the 60s albums should be around DR10 or higher. Frankie Valli’s lead vocal should always be higher than the level of the instrumentation and the group. That is my reference point.

The other 'measure' essential to a CD set is the LOUDNESS [or RMS reading]. Experience shows that aconsistent level on all tracks should be peaking between -13db and -10db for easy long time listening.Similarly, sound volume [‘peaks’] must not exceed [on a minus scale] peak volume getting too close to -0.00db. Many CDs in the 90s and 00s hit this zero level which can cause distortion and/or ‘clipping’ of sound on some players.

The Peaks that the Snapper Music Box Set achieves is on average -0.75db which is a good level. Here is a link to one of Stefan’s evaluations of ‘Off-Seasons - Criminally Ignored Sides’ from 2001 which shows the problems we found and led to the Box Set we have today.

You can via our FB groups send us any comments re the past original albums[not the Hits Collections] as you wish as I continue such tests on ……

• the 25^th Anniversary Box Set Masters [which is for many fans still the definitive first CD of ‘hits’ digitized by Bill Inglot from the FSP Master Tapes] …….. and the original albums since on CD from…….

• Rhino

• Japanese releases

• ACE Records

• Warner-Curb, Rhino and

• Collectors Choice

…….along with the Snapper Box Set Masters. I will test all I have which involves different mastering and maybe different tape transfers from tape.

Listening Tests of our full library of CDs will be conducted in the foobar2000 player at 50% volume on headphones for clarity/separation and depth evaluation. It is always about what you hear and the 'feel' of the music. My personal focus will be on ‘how close to the original vinyl sound do we get on CD?’ with some level of modernity as a result of the greater frequencies we got from the CD era and digital sound. CDs are digital sound at 16bit sample rate and a frequency of 44kHz, and whilst other digital formats [24 or 32 bit 96 kHz and 24/32 bit 192kHz] have been promoted in the last 20 years, generally consumers and many engineers accept the CD format as adequate. However there are increasing numbers of sound enthusiasts who favour the latter HQ formats for clarity and separation resulting in richer sonic textures with increased clarity and enhanced dynamic range. But we only have what we have and the archive will be constructed on the basis of THE BEST ‘Mixes’ digitally. [that you can hear comfortably – as I said already] and CD quality[wav files] are the main content apart from a few High Quality Mixes from a few tapes.

The other test included in my project will be comparison with the 'approved' list of tracks back in the summer of 2021 for the Snapper Box Set as the agreed [with Bob Gaudio ] 'Master Track List'. There are I know some errors in production of the Box Set. So this analysis will identify all of the known Masters found since 1962 and with your comments will input to the structure of my FOUR SEASONS UK APPRECIATION SOCIETY[FSUKAS] DIGITAL ARCHIVE as over the next year I evaluate the ‘true story’ of the Four Seasons Partnership’s MASTERS on CD

More soon…..Casey Chameleon - October 2023

Lost Masters Searching - Frankie Valli and The Four Seasons

The Lost Tape still somewhere in the FSP Storage

For those who have the Snapper Music Box Set and wonder how we found material for inclusion, and the problems we faced, then you should watch the Podcast below in which legendary Sound Engineer Mark Linett and Alan Boyd with Darren Paltrowitz discuss their role as ‘Music Detectives’ as they assembled the Beach Boys ‘Catalogue’ from all sorts of sources. It is a fascinating window into historical research and finding surviving Tapes and very reminiscent of our experiences.

Both Mark and Alan led the drive to find more sources of lost tapes for the Beach Boys and it has paid off. The message is that such research projects are not necessarily profitable in the short term, but history and museums are profitable in the long term if backed by the owners. But the Beach Boys ‘owned’ and ‘preserved’ most of their Master Tapes, and whilst the Four Seasons Partnership[FSP] owned most of their ‘masters’, the Snapper Music Box Set has been the first and only time a record company has committed the cost to do an in-depth research project of their catalogue. Back in 2002, Bob Gaudio indicated in interview that this was a big task…...and he has said before receiving the tape transfers of the Motown tracks ‘with no guarantee that Frankie is on them or in what condition, [he] believes this is not worth the chase.’ Well by now he knows the ‘Gold Mine’ of music he has….and he responed enough to give you 13 tracks.

He may be right regarding the rest [but I doubt it] and my aim in these blogs has been to get connections on the www to find us the tapes and videos in good condition [that fans want] and so maybe there is a way to spread the word and find the still ‘lost’ tapes. Listen to the experts here……

https://www.youtube.com/watch?v=AlXZqM8XrCM&t=632s

Maybe this BOX SET is the best that will ever be possible as at 76, I don’t have enough ‘lifetime’ or appetite to keep pushing for the fanbase anymore without a 100% financially and emotionally committed team. My years in my chosen profession as a Project Manager have shown me this is what is needed. The achievement of the Box Set issue after over 4 years work and the many unreleased tracks included [at least 30% unreleased from fan sources] does not out-way the still missing Motown tracks. Also we experienced the decades of lack of empathy from the FSP during which time I lost several fan friends including close ones in Stefan Wriedt and Bob Fisher who missed out on this ‘overdue’ release. Decades in which millions were made by the FSP from re-releases and Jersey Boys. Universal Motown were ‘leery’ to supply us the Tape Box scans and only Bob Gaudio was supplied with tracks for review. Snapper would not even ask why we did not get more tracks when we knew they were with Bob Gaudio and complete recordings. But after 25 years of denial that they existed it was familiar treatment.

In compiling the Box Set, although the Motown ‘Unreleased’ was to be the cornerstone, Bob Fisher and I only had access to the FSP Storage in LA and we did not have the time to fully research all Tape Boxes there, as Bill Inglot had a commission to find the Album Tapes only and the potentially ‘unreleased’ tracks surviving. 98% were 2 track Safety Copies with only a few Multi-track tapes were found. As I now remain the FSP’s main ‘Archivist’…...more by accident than by intent…….I had an opportunity to gather nearly all of the released Masters as ‘Master Track Adviser’. I was able to discover and salvage and advise Snapper and now fans[via this blog and the Box Set ‘Collectors Notes’], in terms of what did and might still exist as ‘unreleased’ and where these tracks may be. There are still many good recordings which remain ‘unreleased’. Maybe a future Project Manager will believe the music is worth the trouble and be paid for the research.

Alternative versions and different ‘takes’ may not be on the FSP or many fans agenda’s now, as we follow a band that never had the surviving ‘charisma’ of the Beach Boys. I really think that without some level of support from the FSP, that seeking more is a fairly pointless ‘campaign’ now as the COST of research and engineering time is regarded by the FSP as an issue when the return on investment is mainly ‘reputational’. The research needs a tape researcher, transfer engineer, archivist/collator/historian and a re-mastering engineer and of course access to the tapes and the cost of buying or claiming ownership of the source recordings. If that sounds expensive then it would be. I did the Master Tape Research without any paid contract arrangement, but now, enough is enough, when the owners just want to secure an easy ‘copyright’ [as in ‘The River Runs Deep’]

‘Working OUR Way Back To You’ was an apt title by Snapper Music but will the FSP or anyone else in the Music Business regard the fan base as significant or the material recovered marketable? Snapper currently have to sell the rest of the 2500 limited edition sets with around 1000 sold nearly 3 months after release. But for them the hopes are it will prove a good Christmas present …...for grandparents from there grandchildren …..which it will...it remains a superb achievement!!! It was their investment and we are all grateful they gave us the opportunity to share it with you.

Recovery of the still unheard tracks for historical reasons seems unimaginable given that it has taken 20 plus years of campaigning to get what we got in the Snapper Music Box Set…...and that was short by 20 to 30 tracks available….BUT ….we couldn’t get them. We provided all tape and rare vinyl sourced and salvaged tracks that were original or unheard important recordings [including HQ LIVE only recordings] from our Four Seasons UK Appreciation Society Archive which has collected salvaged tracks since 1990 and Rex Woodard’s interviews with Tommy DeVito…...for ‘THE WORK’ [as their draft bio of the original Four Seasons biography was labelled by the Jersey Boys Court Cases]

So for those who want to know what are the remaining sources of ‘unreleased’ tracks here is what I know there could be as ‘historically important recordings’……

• The Motown Session Tapes – 16 and 24 track recordings of which at least 15 unheard and completed songs remain plus alternative versions. We still have a few that survived as ‘test’ mixes from the FSP Archive but Bob Gaudio, now, should have been supplied all of these and it remains up to him to judge if these can be heard. He already withdrew ‘I Will Love You Like A Man’ for reasons not disclosed but perhaps due to Bob being socially aware of feminism and a response to the ‘woke’ culture? None of the paper record researched unreleased tracks were shared with the Snapper Music Team during the project other than the 13 approved for release. The remaining BONUS tracks found in the FSP storage were ‘alternate’ mixes found by our team.

• Bob Gaudio’s personal ARCHIVE. This is known to exist from a 2002 interview with the late Stuart Miller re recordings transferred by Bob Sobo to digital storage, none of which was shared with the Snapper Music team.

• Frankie Valli’s Personal Studio - Recordings with Artie Schroeck and The Modern Gentlemen

• Bob Crewe’s Personal Archive. Bob Crewe did, before his accident and subsequent dementia, commission Crewe Studios team to digitize on Pro-Tools all of his remaining vinyl and acetates which may include tapes from past decades. Dan Crewe who inherited Bob’s Estate has never been prepared to discuss any access or research to this material despite requests, but he has not blocked re-release of any of Bob’s published/recorded material with royalties going to the Bob Crewe Foundation which supports young ‘local’ musician’s

• Drexel University – Sigma Studio Tapes Archive[NYC storage] This contains 2 tracks formally registered and copies of session tracks which became the LOST DISCO album. More recordings may exist including multi-tracks.

• The FSP Storage in LA – It is known that Bill Inglot could not complete any further ‘in-depth’ research of tapes which contained some 192kHz [HQ] reels and some 16 track ‘1970’ Philips reel transfers plus the 200 plus ‘unmarked’ 5 inch reels which would include the 5 lost ‘Philips registered’ titles marked on a Tape Box that contained the wrong tape.[See image above]

All of these sources would, I believe, reveal many ‘unreleased’ tracks and there are also ‘fan collectors’ out there that have never disclosed or shared tapes rumoured to have been salvaged from the 1960s and 70s. [e.g. The ‘Close-Up’ album session ‘unreleased’]. There may be tapes from the Vee-Jay and Philips sessions ‘smuggled away’ at the time but this seems unlikely to me after all of this time.

Perhaps the release of the Snapper Music Box Set will have satiated the appetite of the ‘core’ fan base for any more of this material.? If not the ‘OUT-TAKES’ collection left over from before and during the Snapper Music Project Research is over 60 titles and I feel confident this will be collated to salvage the remaining tracks of sufficient quality for ‘preservation’. If there are ‘Curators’ of Frankie Valli and The Four Seasons tracks out there then they can maybe contribute to the MASTER DIGITAL ARCHIVE which is being assembled as the Fullest Preservation SET of the vinyl[and previously unreleased commercially] as a digital library of all recorded material. It will include the Snapper Music Set as DIGITALLY preserved but much more. This will be passed on to the next generation of fans…...my version of potential ‘succession planning’.

Our Facebook group as a Campaign for the release of the rest of the Motown Unreleased track will remain a research base as it has been since 2016 and you can have your voice heard there. I have completed the last 4Seasons On Saturday video podcasts and as the up to 2000 or so dedicated fans slowly absorb the reality of the Box Set, I remain satisfied we did as much as we could to bring all of the music to you. Enjoy the music folks …..wherever you are. As Frankie Villi sings ‘ come back and make the music play’. I know most will be available on ‘streaming’ some day….but as for the rest….in OUR archive…….I am passing the ‘baton’ on as the ‘relay’ teams do….but will the FSP drop it?…...or will they continue to be WORKING their way back to you all?

I will remain a rare and unreleased ‘blogger’ as information or tracks surface giving my own commentary on any NEW discoveries including a potential Northern Soul Mix previously unheard.

Ken Charmer

Iron Mountain's GOLD

For those who have covered my many ‘musings’ re the Universal Tape Storage and the Unreleased and Library of Masters of Frankie Valli and the Four Seasons here is a chance to see just how they have survived for nearly 52 years to see another 13 released this year in the Snapper Music ‘Legacy’ Box Set[The ULTIMATE Collection]. Below is the link to ‘Tracking Angles’s’ visit to the facility in a unique and nearly 2 hour video tour. Here is what they say of their visit…..

“TrackingAngle's exclusive visit to Universal Music Group's Iron Mountain tape vault outside of Pittsburgh also includes a tour of Iron Mountain Entertainment Services' facilities. You'll get to go deep within the former limestone mine where Universal Music Group has one of its worldwide tape storage facilities and see how, with the help of Iron Mountain Entertainment Services, the company catalogues and keeps track of its vast audio and video tape holdings. The visit also includes a ride through other parts of the labyrinthian, underground facility where governmental agencies we can't identify also store data, safe from natural environmental damage as well as from acts of war. You'll see the process by which a licensee gets selected assets for a music album reissue, whether it's the tape for an all-analog reissue or a digital file for a digitally sourced reissue. You'll see the action from finding the tapes in the vast facility to cataloguing it and preparing it for reissue. The visit was like going onto a science fiction movie set, only this was real! For most people this will be a first and only opportunity to see this facility in this almost two hour long presentation. Watch as much or as little as you wish, but if you don't watch all of it, you'll be missing out on some amazing footage shot deep within the mine. UMG also prepared for TrackingAngle.com a series of displays showing existing master tapes that The New York Times claims were burned in the tragic 2008 fire atop Universal Mountain outside of Los Angeles including the Buddy Holly catalog, which did not burn—as anyone who's purchased Analogue Productions' AAA reissues cut from original master tapes of "Buddy Holly" and "The Chirpin' Crickets" knows still exists—I've seen pictures of the tapes used for the cut. The newspaper refuses to correct their mistakes. The visuals UMG provided will appear shortly on The TrackingAngle.com website. Watch for the story! Tracking Angle thanks Universal Music Group, Iron Mountain and Iron Mountain Entertainment Services for allowing us into the usually off-limit facility and for everyone's hospitality and cooperation. It was an experience I'll long remember! “

Some have said it is like something from the ‘Arc of the Covenant’ being stored in Indiana Jones movies (actually shown in this 36 mins in). The vault is said to house about 80% audio and 20% video with audio tapes stored upright and video flat.  There are film versions of all types, audio from cassettes to all the MANY different lengths, speed, widths, reels, no reels, reels with songs literally taken out over the years and missing from originals now. ‘The Tape Boxes as well as all of the audio AND video tapes are stored in a totally random order and can only be found by use of their computerized catalog system, which is great, but sure seems like a nonsense system to me’ says one commentator who has experienced it. “I know there are 100's of 1000's of tapes there, but just a BIT more genre organization would be great.” Early on, our host jokes of how he is seeing The O'Jays mixed in with classical tapes.

https://www.youtube.com/watch?v=vxZPFNpB6yY

For me the video only needs a few ‘skips’ into the experience to realise how lucky we have been to enable the Frankie Valli and The Four Seasons MOTOWN Master Session Tapes to be salvaged as a result of our forensic research of the old paper records over the last 12 years, that guided the UMG Vault Services people[i.e. Andy Skurow and co.] to the material we wanted released. First we needed a project with enough money in it to fund the retrieval of the tapes. We had compiled since the noughties a list of 29 Master Session Reels with 16 track recordings and Mix-down’s to STEREO of the two ‘released’ albums from the early 1970s which along with microfiched Artists Cards provided and confirmed completed MASTERS existed of UNRELEASED TRACKS and somehow the records showed where these were as P [Production] Tapes. Andy did not seem to have this information as the Box Set annotation notes re the tracks only reflect the Tape Box info.

Although Andy was somewhat disparaging of my spreadsheet it enabled him to order the Tape Boxes [I had estimated potentially between 38 and 50 tracks remained unheard] and to have them sent to the Universal Motown NYC base from Iron Mountain for research and digitizing is an amazing achievement. Somehow the Iron Mountain TEAM found them [or most of them we hope??]. Whilst Bob Gaudio wanted mix-downs to STEREO for listening tests for him and Frankie he was initially provided with Tape Box Scans and this listed ‘vocals’ as being completed on 19 tracks with 11 still to be researched back in 2019. Snapper advised that Bob Gaudio was concerned that if there are no 2 track STEREO Mixes for him and Frankie to review, this would be a financial and time consuming problem. I had confirmation that there were 24 track titles found but with no guarantee that Frankie is on them or in what condition they were in. This was troubling Bob and at this point the whole project was in jeopardy. There were song titles that Bob vaguely remembered, with his and Crewe’s name as producers. However, these were16 track recordings and would require mixing down and studio time to listen to.

Bob proposed a way forward and whilst he wanted 2 track mix downs but I think the result was all of the recovered tapes being sent to him [ I hope so], but I have no confirmation of this. However I believe he must have had 16/24 tracks sent as that resulted in him listening to[and perhaps mixing] tracks only ‘rumoured’ to exist. Time and cost [and his involvement with the Neil Diamond Broadway Musical] may have restricted what was researched and approved as only 13 tracks of the potential 30 indicated as existing have arrived and Andy Skurow, we now know, found another 15 completed tracks still unheard and of the same quality as what has been approved. Bob however knew there was a world of fans waiting for these tracks and thanked us all for our interest and support in reviewing and approving the 13. We added alternate mixes copied into the FSP Storage in 1973 found during our tape research of their archive. We have a few more salvaged and stored for the out-takes ‘collection’.

So whilst the campaign to have all of the tapes researched remains in place, targetting to get more UNRELEASED tracks issued ……...we are all just happy that Iron Mountain….revealed GOLD…….and you will see from this video…..it is a treasure trove…...but clearly TOO EXPENSIVE to search for any more Valli/Seasons. We have what was researched and sent to Bob Gaudio……. What that is may never be revealed….but we hope he sees the value and comes through.

You can read more detail on the ‘finds’ in this link……

https://thatfourseasonssound.typepad.com/seasonally/2022/03/motown-unreleased-the-final-wordfor-now.html

And below is the latest spreadsheet data ‘edit’ re all of the tapes that we know about, for anyone’s interest…..and if you can add knowledge or information let me know.?

Download MotownTapeIndex Tapes_Credits_Locations Ver 6 Feb 2023

Ken Charmer – for The Four Seasons UK Appreciation Society

The Snapper Music Box Set - The Post Project Review - Part Two

Having recovered from my own ‘grand opening’ of my Box Set with my son Mark, I have started to realise the ‘enormity’ of our achievement since 2018 in this ‘work of art’ by the team I assisted as ‘Master Track Adviser’ and what we learned in the process.

Last time in my first ‘Post Project Review’ I covered the concept and research work and how Bob Fisher and I worked with Bill Inglot to get a full list of tracks approved by Bob Gaudio and Frankie Valli. Ian Crocket had convinced Snapper that this concept could be a reality.

In this blog I start to cover the written work and content as was achieved in the final issue. In many ways these blogs are a continuation and are complementary to my Collectors Notes…….and this remains the Box Set that keeps ‘giving and giving’ and those who have it are finding that. To some this review process may seem an irreverent and somewhat irrelevant commentary. But in the world of Collectors and curators facts are facts [unless told by ‘four guys’!!]

Paul Sexton ‘book’ included in the box set as a history of the Four Seasons has been long overdue and a superb effort. The Graphics and Design by Rachel Gutek are wonderful throughout, as are the photos, illustrations and memorabilia, many provided by our own John Pingree, Lynn Boleyn, Ray Nichol and myself but perhaps none are better than George Schowerer’s [Bob Crewe’s Sound Engineer] studio photos in 1967 at Mirasound Studios. The photos and memorabilia used are often very rare and outstanding throughout and it was pleasing to see all the full page album illustrations. Paul Urbahns who helped superbly on the project as one of our research team commented on the Book before we move onto the other blog reviews and comments across the internet.

“Paul [Sexton] puts a positive spin on everything, not really telling it like it was in Jersey Boys….and in the process some things fans and Paul may not know have arisen and been noted by the network of Collectors.

As was the original Box Set concept Paul does focus on the original albums, some have said a little too much as ….” we all know the 4 Seasons were a singles band and their albums were not generally big sellers. As Bob Gaudio famously pointed out they were not the Beach Boys or the Beatles. The various ‘Greatest Hits’ sets (Golden Hits, Gold Vault of Hits, Edizione D Oro, Story, etc) of the 60s are given the 'short shrift’. Those were their [and Philips] biggest sellers. Paul does admit Vee-Jay's Golden Hits, "which peaked at number 15 in the US, nevertheless spent 56 weeks on the chart - far longer than any original set in the group's entire history." From Paul Urbahns library of research we are told “the album remained a standard store stock item even after Vee-Jay ceased operation. ‘One Stop's’ around the country (that was the national record distribution network) had new copies in stock for years throughout the end of the 60s. In fact, two years after Vee-Jay closed, and Gold Vault of Hits had been issued, Billboard still listed Golden Hits of the Four Seasons in their ‘Guide To Basic Inventory’ for all record stores. The other Vee-Jay album that sold well after they closed was the ‘Best of Jerry Butler’. ‘Introducing The Beatles’ also outlived the label. But it was soon bootlegged. In fact most used copies available today are bootlegs.

The ‘Live On Stage’ (Vee-Jay album) goes largely unnoticed and unmentioned, except for a brief paragraph on page 50. [It is however put in context in my ‘Collectors Notes’ ed.] It is briefly mentioned that the group owing Vee-Jay an album and two singles in 1965 ‘to be issued 90 days apart.’ As one Collector noted…..”actually Crewe only provided one single (Little Boy in Grown Up Clothes) as for the second single Vee-Jay had to issue ‘My Mother's Eyes’ …..hacked crudely from the live sound album master. The very important mention of the Copa Club engagement in 1963 is in the Collectors Notes which is where the album came from isn't there. But it is so good to see the crazy ‘ad’ on page 33 for the June 27th Copa show. It looks like a Christmas show, complete with "Season's Greetings." The zodiac symbols in the background could easily be confused with snowflakes. But now we know the popular ‘Pat Cooper’ was the stand-up comedian on the same bill. It's too bad the Partnership did not open their files to Paul as there is much backstory they could have provided. The book is largely based on recorded interviews, as I understand it.”

“One thing that may mislead fans is reference to ‘Tommy Divito in playing excellent guitar on ‘Teardrops’. Collectors know from interview with Charles Calello and his book ‘Another Saeson’ that it was session player Vincent [Vinnie] Bell who used the same watery sound to make a big hit of the ‘Airport ‘Love Theme on DECCA in 1970. So apparently, he did not know that generally the 4 Seasons did not play on their songs. We know generally Bob Crewe hired NY session players and the 4 Seasons added vocals. There are a few places where individual musicians, mostly Tommy did play small parts. Primarily overdubs. Joe Long and Bob Gaudio clearly stated on the BB Saga Radio show, that the ‘Genuine Imitation Life Gazette’ was the first album the band actually played on.”

“There is almost no mention of Nick Massi leaving except what you would read in a press release and I learned more about Charles Callello's time as a "Season" from his book. No mention of three of the Seasons landing in jail in Columbus Ohio (not Cleveland as stated in Jersey Boys). So naturally no jail mug shot of Frankie Valli. It would be interesting to fans to see the mug shots of Bob and Tommy. As we all know Nick had left the group by then and wasn't arrested.”[notwithstanding the story in ‘Jersey Boys’]

There is one other mystifying comment which may have come from some old Philips ‘press release’. It is the assumption that Philips recorded and issued the Four Seasons song ‘Girl Come Running’ in four different languages, or that Philips issued their records through their 33 worldwide affiliates.(page 50). Paul suggests the group recorded the song in French, German and Italian. In 50 years collecting no-one as we know has ever found or heard foreign language recordings by the group, though it would have been a smart move for a company like Philips. In a five volume hardbound books re discography on Mercury and related labels which lists many foreign releases of US masters, there are no [foreign] listings. “Not even the Four Seasons Greatest Hits sets received any kind of routine overseas release. It appears to be very hit and miss,” one curator tells me. Basically Philips issued ‘Four Seasons’ material in English speaking countries/territories which number about 10 at the most….and in some countries like Spain, Italy and Japan, as their English recordings. Such information may clarify the ‘foreign picture sleeves’ in the 45s pics book.

“There are a few other mistakes but basically it is a well done and much needed book on the 4 Seasons which we fans have never had. There are several new excellent books issued every year on the Beach Boys and Beatles but the Four Seasons Story doesn't generate that type of interest. Probably why Rex Woodard could not find a publisher for his book with Tommy deVito. Now that is a book I would really like to read.”

There will be an attempt on the back of this Box Set release to get that book released as well as a book tracking the rise and fall of the group during the 1970s.

But back to the ‘concept’ that Ian Crocket ‘sold’ to Snapper. When we were asked to help Snapper back in 2018 it was clear that when the first album list from Bill Inglot arrived that once a MONO ‘unissued’ version of Genuine Imitation Life Gazette’[GILG] was found in the preliminary archived album list, they wanted to make GILG a focal showcase of the set as a vinyl insert. Hence, the inclusion of the vinyl copy, but after all our work, sadly a fan found the final vinyl pressing in the Box Set has a ‘speed’ flaw in the tape mastering process, that was corrected in the CD version. Mistakes can happen!!

it was also unfortunate that there is a supposed bonus from the ‘Close-Up’ album sessions of unreleased tracks. Do they exist? We later found that the ‘tape collector’ who had these denied they existed.

Snapper have spent so much time and money on this release (and it's been delayed several times due to Covid and production issues), but I am sure they are glad it's just out of the door. I am in a ‘review’ stage with regard to conflicting listing information and discs and the way forward re customers of a ‘very expensive set, at a time of a great cost of living crisis’. We will review and hopefully agree a process regarding the discrepancies later in the year for all customers, I am informed.

The Second Disc Review by Joe Marches drilled down into the highlights and the questions. But he recognises our main aim…...as Lynn Boleyn was asked by Snapper at our first meeting in London….’What do you want included?’…...’The Motown Unreleased’……..and as Joe says….. “The crown jewel of the box is Disc 22, premiering an album's worth of "lost" studio recordings from the Seasons' Motown tenure, all hand-selected by Bob Gaudio for the box”

The REVIEW continues as an expansion of my ‘Collectors Notes’ paying some high complements to the set as we work through our and forum responses of fan expectations and observations. Future blogs will cover facts not understood during the process of compiling and researching anomalies in the ‘masters’ as well as our ‘sound quality’ tests.

https://theseconddisc.com/2023/07/10/review-frankie-valli-and-the-four-seasons-working-our-way-back-to-you-the-ultimate-collection/

But we are all happy that we achieved what we have and Snapper have advised after only six weeks since release more copies have been asked for by Bob and Frankie with 25 delivered for family and friends ……..and sets have been delivered to Kenny Nolan, Charles Calello, Lee Shapiro and John Paiva who all helped make this set happen in major yet individual ways……..with Billy Joel, Paul McCartney and Brian Wilson wanting copies along with major label executives who know and respect Frankie Valli and the Four Seasons history.

[Brian Wilson about to open his copy of the Box Set]

The final word on our Part 2 review though goes to Bob Gaudio and his message to our team through Snapper…..”To anyone who made the remotest contribution to this legacy tribute that we are hopefully worthy of...I can only say “brilliance “ I will always have an undying respect for you. Thanks to all

Bob G”

The Snapper Music Box Set - The Project Review - Part One

When as as longstanding Four Seasons fan you get an invite to a Record Company in London with the offer to help with a Mega Box Set of their catalogue including any unreleased tracks you could find!!!!!…you are not going to say NO …...BUT it happened and we thought [Lynn Boleyn and I] we were in dreamland…..particularly when you have loved and collected the music for nearly 60 years.

But for us, it had been an idea back as members of the Four Seasons UK Appreciation Society [FSUKAS] in 2006 to find a way to rescue the catalogue from vinyl. The Four Seasons Partnership at the time were totally locked into the success of ‘Jersey Boys’ and unfortunately the ‘Jersey Beat’ Box Set [June 2007] was not up to the sound quality we expected. I had agreed with the late Stefan Wriedt [renowned German Mastering Engineer] that the Four Seasons Catalogue needed to be 'salvaged' from either Master Tapes, vinyl or CD. The search by 2011 resulted in a plan…...but with Stefan passing away in 2015…..it was very much a ‘lost dream’.

https://thatfourseasonssound.typepad.com/seasonally/2011/05/the-search-for-the-masters.html

After the offer by Snapper Music in August 2018, the project plan we and they implemented (and supported by Warner-Curb, Rhino, Universal and the FSP) was to ‘interrogate’ the FSP tape storage to produce new digital transfers for Snappers UK based Sound Engineer to re-master based on selections conducted by Bob Fisher and I from transfers [analogue tape to digital] by Bill Inglot and his engineers. With John Pingree’s memorabilia, Rachel Gutek’s design and UK collaborators Ken Sharp and Paul Sexton, the aim was to get the BIG PICTURE on a big career of Frankie Valli and all of his Four Seasons since the year that name was settled upon for them[well almost!!] . They did appear again as Billy Dixon and the Topics between the release of ‘Bermuda b/w Spanish Lace’ and SHERRY.

The BIG picture regarding the compilation and sound quality involved 2 objectives for Bob Fisher and I, to assist Bill Inglot and Peter Reynolds, who has mastered the set.

1. To find and decide upon the BEST Masters to be used in the Box Set....for each of the albums. ‘Compilation’ albums were only ‘raided’ for ‘unique’ alternative mixes [except for the never before ‘properly’ released Bob Crewe Masters 2 LP set ‘Edizione D’Oro’ from 1968]. We had to check the tapes were complete with no tracks 'pulled' and not returned. Also with other non-LP tapes we had to establish if the versions were unique and alternative to the album versions

2. To find as many Unreleased Tracks as possible...from ‘sessions’, LIVE Tapes or ‘other sources’ so that the Box Set was sufficiently different to past releases....and was as comprehensive an Anthology as is possible

This was also necessary to justify the price as the aim was ‘top quality’ re both artwork and sound quality. A daunting, and some would have said impossible task given the years and sessions since 1961.

Obviously we did not completely achieve this given the fact that virtually all of the 1960s multi-tracks have been lost or destroyed. Also, of the number of tapes in the FSP Storage examined, 95% proved to be ‘Safety Copies’ at 15 ips, or lower [rather than the studio session tapes at 30 ips] and in some cases they were clearly 4th/5th Generation copies. With ‘tape baking’ necessary for many tapes it is a wonder that Analogue to Digital transfers were possible.

Then even scouring fan archives and the limited number of known 'other sources’, less unreleased tracks were found than we hoped for. No ‘studio based’ [e.g. Philips, Private Stock, Sigma Studio etc] ‘other sources’ could be researched [although we tried] and the rest of the content came from the FSUKAS Digital Archive of tracks salvaged from a network of Collectors. This included cassette tapes of former Four Seasons, now sadly no longer with us. Unfortunately, we did not get to interrogate the Motown period archive [1971 to 1973]. BUT we knew from over 10 years of searching paper records within Universal that this archive of 29 Multi-track session tapes contained potentially 30+ completed tracks and alternate mixes. These were the only ‘known’ remaining 16 track session tapes still existing from Frankie Valli’s whole career. The project involved getting copies of these to Bob and Frankie for review which we did, but they only approved 13 for release. These plus the ‘unheard’ Bob Crewe ‘LOST DISCO ALBUM’ remained our key finds for the unreleased content. Fortunately the quality of content and sound for these was the best we could have hoped for.

Adam White did a good review of the 3 Motown Discs here.

But what of the rest?

With the 60s album tapes being such a risky venture ‘sound wise’ we found that the BEST sounding quality tracks from the Vee-Jay era were on the ‘Delivery Tapes’ from the ‘Masters’ surrendered when the company went bust in 1966 and Bill Inglot had in previous work in the late 1980s created a ‘RECONSTRUCTED’ version of the ‘Sherry and 11 Others’ album in STEREO. We asked Reynolds Mastering to re-construct all of the Vee-Jay albums from these excellent Master Tape copies [both MONO and STEREO]. As for all of the Philips albums from the 1960s we discovered and also included all of these in MONO for the first time. We even replaced ‘lost’ 45 Masters from MINT collectors vinyl at high sound quality capture.

After 4 years work and 2,000 plus hours of track reviews and salvage work by Bob Fisher and I, a final list of MASTERS was approved by Bob Gaudio.

But then my good friend and co-compiler Bob Fisher suddenly passed away and with production delays, the project was at risk during Covid and pushed to its limits by the sheer size and licensing requirements. Inevitably in such circumstances some tracks were cut due to space limits and quality issues and ua handful of previously ‘unreleased’ tracks were accidentally omitted.

My ‘post project reviews’ will document these few ‘errors’ as well as final sound quality results/limits we were able to achieve as a team. And then there are the ‘Out-Takes’ DISC’s 45 and 46, which Bob Fisher and I started work on before his untimely passing. All tracks are fortunately digitally stored for the future. Whether ‘licensing’ and funding will ever see these released ‘commercially’ remains to be seen?

What we have however in the newly released BOX SET, is a massive achievement like nothing before…... celebrating a great career. Sometimes achieving 98% of your objectives in a ‘project’ has to be very satisfying given the problems the team faced. Happy listening and reading. The REAL story of the Four Seasons and Frankie Valli is here.

More soon.......Ken Charmer

 

Artificial Intelligence[AI] meets Frankie Valli and The Four Seasons!

As a music historian and researcher for a few decades now I have, with network colleagues, always looked for the next step and more stories from the past relating to Frankie Valli and the Four Seasons. Whilst compiling the Box Set I started to explore AI. The world of sound engineering has for a few years started to experience AI tools that allow separation of music and vocals in songs and not just for the benefit of 'karaoke'.

Today there is now much 'furore' re the risks and dangers of the potential hazards whilst some praise it's ability to compile amazing text from simple questions. There is much more to it's ability to process and analyze data, but for fun I thought I would test it's ability to 'correctly' provide feedback re our favourite group. ChatGPT has recently caused a lot of reaction on the www and it has been banned in Italy. Frankie's influence....?....haha

Well we joined and asked it a couple of questions to test it out. We know it uses vast amounts of text data from internet sources and we all know that the Wikipedia data re the group and Frankie is pretty accurate. So we asked it a simple question......

“Define the core appeal of Frankie Valli and the Four Seasons”

Its response was reasonable and what we would all expect.......

“Frankie Valli and the Four Seasons were a popular American rock and pop band in the 1960s known for their unique vocal harmonies and catchy melodies. The core appeal of Frankie Valli and the Four Seasons was their ability to blend different musical genres, including doo-wop, rock and roll, and soul, into a distinctive sound that captivated audiences of the time.

One of the main attractions of the group was the high-pitched and powerful vocals of lead singer Frankie Valli. His unique falsetto voice, which he used to great effect on many of the band's biggest hits, such as "Sherry," "Big Girls Don't Cry," and "Walk Like a Man," made him a standout performer in an era of memorable vocalists.

The band's signature sound was also characterized by their tight harmonies, intricate arrangements, and catchy hooks that made their songs instantly recognizable and memorable. This made them popular with a broad range of audiences, from teenagers to older adults, and helped them achieve lasting success and influence in the music industry.

Overall, the core appeal of Frankie Valli and the Four Seasons was their ability to create music that was both musically sophisticated and accessible, with memorable melodies and lyrics that touched on universal themes of love, loss, and heartbreak.”

So far so good......but next we delved into the subject of our research to see what it knew about 'what we know' of the “Motown Unreleased”.........

“What is known of Frankie Valli and the Four Seasons Unreleased Tracks at Motown”

Its reply and the data collected was such complete 'garbage', that we can all see the weakness of this AI tool......

“Frankie Valli and The Four Seasons are a popular American rock band that rose to fame in the 1960s. While they are best known for their hits like "Sherry," "Big Girls Don't Cry," and "Can't Take My Eyes Off You," they also recorded several unreleased tracks at Motown, the famous Detroit-based record label.

Some of the unreleased tracks recorded by Frankie Valli and The Four Seasons at Motown include "Angel Don't Fly Away," "When the Morning Comes," "Sun Country," and "You're the One." These tracks were recorded in the mid-1960s, but for various reasons, they were not released by the record label.

In 2019, a collection of these unreleased tracks was finally released as part of a box set titled "Frankie Valli & The Four Seasons: The Motown Years." This box set contains 52 tracks, including the previously unreleased songs and a number of alternate takes and demos.

The Motown recordings showcase a different side of Frankie Valli and The Four Seasons, with a more soulful and R&B-influenced sound. The band's harmonies are as tight as ever, and Valli's unmistakable falsetto shines on many of the tracks.

Overall, the unreleased tracks recorded by Frankie Valli and The Four Seasons at Motown offer a fascinating glimpse into the band's creative process and evolution during a pivotal period in their career.”

The para's above in 'RED' are totally incorrect and show the danger of using such tools at present and the need to focus on the facts we have researched and presented in our FB Page....'The Four Seasons Motown Unreleased Campaign' and this blog. There is still much to discover as recent blogs show and the Snapper Music Box Set will establish more of this nearly lost music, which we hope will see further research and release in 'Future Years' [one of the songs on Disc 22].

In the meantime we will continue to experiment with AI ….BUT …...in the form of the 'Moises' Digital Extraction Tool to create 'new mixes' of our favourite artists. These tools have allowed us to create TRUE STEREO versions of songs like 'Ronnie' which have only ever survived as a MONO recording with the master tapes lost back in the 1960s.

https://moises.ai

You will find our efforts over the last year or so at the MowestChameleon You Tube site.......along with our Seasons On Saturday Video Podcasts exploring the history of the Four Seaons and Frankie Valli's recordings.

Here is one of our fave creations taking the original MONO only version of 'The Sun Ain't Gonna Shine' from 45 to create a new 'first time EVER version in STEREO' of the of the pre Walker Brothers recording by Frankie Valli.

The lesson of this article is as with any tool or search engine.......use human skills to test and fine tune the results so the data is accurate. But there is much more to come as we explore the DES AI tool further this year as it continues to learn and improve. ….....Never damaging or destroying any aspects of the original sound......but simply allowing it to be heard in a different 'mix'

Casey Chameleon

Lost and Not Found – Motown remains 'The Holy Grail'

It all goes back to 2011 and Bill Hollands article titled - 'Labels Strive to Rectify Past Archival Problems' in which he highlighted the problems of the Motown Archive in New York State.......but also to the shock of us finding 3 songs from a cassette tape of Bob Crewe acetates that showed that the Tape Index sent to us by an ex-Motown employee was totally correct......the tracks existed and were not all 'out of key demos' as Peter Bennett, the FSP lawyer had told us in 2008. As the Artists Card shows there are 43 SMX[Stereo Mixes.....all saved to safety T Tapes] of the Four Seasons biggest hit at the label and one of their most loved UK Hits, 'The Night'. They have certainly not been 'pulled' and supplied to Bob Gaudio as the Motown Librarian Andy Skurow hasn't found this Artists Card in Motown's Microfiche Library.

Legendary Motown Sound Engineer Russ Terrana mixed the first 14 STEREO Mixes on 1^st February 1972 and the last of those mixes was probably the one selected for the 'Chameleon' album. But as the need for a single release increased after the album release in May 1972, it was mixed 7 more times on 6^th June. Motown hesitated over a single release but did Mixes 22 to 34 on 8^th July and again Mixes 35 to 39 on 13^th and a demo/acetate was done. But MoWest chose 'Walk On, Don't Look Back' for US release and pushed the track to a UK release in October 1972. This would ultimately lead to it becoming a hit. Only 'we', can reveal this story from the above Artists Card. It's success was made as an essential playlist track at the Northern Soul Club, Wigan Casino [a former theatre] in 1974 which led to it's re-release in March 1975 and a Nr 7 UK Hit.

Motown asked Russ Terrana to revisit the Master Sessions and he found an Alternate Take featuring Frankie Valli's intro[instead of the Four Seasons] for Mixes 40 to 43 in August 1975 for their 'Inside You' album after the group had left the label. These various unreleased mixes although of interest to fans have not been recovered from Motown's vaults as I write this. Maybe it is deemed 'not worth the cost or trouble'. Just another track with alternative Masters we would like to hear.

Bill Holland captured the problem of Motown and other 'majors' back in 2011 when he said.......

“The Motown vault, now owned by Universal, is estimated to be about 30,000 tapes, and is "typical of a smaller company of that era," said one veteran whose first-hand observations were corroborated by other sources. A peek at the Motown vault serves also as a description of the holdings of other once- small labels that came to prominence in the '60s.

The good news in the case of Motown is that they have most of the masters and most of the multitrack reels, but engineers and producers taped over a lot of sessions. Tape was expensive. They'd get a master and then use the rest of the reel for the next session. So there aren't many alternate takes. There never were.”

That however isn't the case with the FV/4S tracks listed as 'unreleased' except perhaps for the ones with the same songs recorded by Michael and Jermaine Jackson or The Jackson Five. Many session mix downs from the Valli/Seasons sessions were copied to safety 'T' Tapes as was normal at the West Coast Studios......in Detroit these were DM tapes. Bill Holland again.......

"Also, there are safeties or copies of probably everything on so-called DM (lesser quality, backup) reels. They'd copy these copies off when they sent the production masters to the pressing plant. Some are on standard 1/4" tape, but 300 or so mono tracks are stripped onto three-track reels, like 36 songs, 12 squeezed on one track, end to end.

"Some of the mixed masters are missing or hard to find--I wouldn't say gone," said another source. "A lot of them have been recovered over the years, those left stored at outside mastering labs. Most acetates and metal parts (not as necessary in a tape-era vault) are long gone, though.”

“Other masters are just worn from use, so to get the best sound, you have to remix," said a source. "And the problem of remixing from the multitracks is that it's very hard to duplicate the 'Motown mix' sound-- they had their own custom EQ boards, custom reverb.

"If you look hard enough, though, you can find a substitute (of the era). Take Stevie Wonder's 'Fingertips': there might be like 20 mixes, done at five sessions, all stored in different places. They'd do a song until they got it right. The problem is finding the right version."

All the sources said that the Motown vault has many unreleased masters of both well-known and lesser- known artists, and many reels of live shows. "They used to bring a three track machine down to the Twenty Grand Club in Detroit to record on weekends for years."

Overall, the various sources said, the Motown vault is in good shape. "But trying to find the definitive master can be a problem," said a source. "Remember, the label has gone through four owners, three cities, and seven addresses, if you include Detroit."

"Other indies, especially smaller companies, had the same 'tape-over-it' policy to keep costs down," said another source. "But even RCA, Capitol, ABC, Mercury-Smash,[Vee-Jay] and Philips-Mercury had policies in place throughout the '60s and '70s of reusing, scrapping or not storing multitrack session tapes, and just keeping mixed masters.” This has been the policy for the FSP storage for all of the analogue history of recordings by 'The Four Seasons' and 'Frankie Valli' as our tape Research revealed with just Safety Copies from the Studios.

Stuff is just missing and no-one knows where it may be..but we found what we could with Bill Inglot. It is a common problem with many artists.

”Sony can't find some Bang label multitrack masters. On the other hand, somebody opened a mystery box at BMG the other day and found some unreleased 'Hot Tuna'. It happens all the time in the industry." ...said a Bill Hollands source.

There is no evidence the FV/4Seasons recordings as dentified as existing in the Tape Index were taped over but the tapes need research to find their efforts with the various producers. Also tracks not known to be completed [but were listed] have been found with producer Michael Masser. I did not get to share the extensive data I had found on Artists Cards with Andy Skurow when he ordered the tapes down for review from Iron Mountain based on the Motown Tape Index. Just some confirmation from his partial scan of tape box data of what should have been there from the index and a few surprise tracks with vocals like 'Chained' and 'Starvin For Your Love' being found[but not approved for release]. The fact is they all needed 'listening tests' …......but clearly Bob Gaudio did some as we got 13 approved although not the 30 plus we expected to be found. Such is life as a music detective!! Bob Gaudio did not share the findings of his review of the Master Tapes nor do we know if he received all we had listed.

We were however given full access to the tapes Bill Inglot was rummagind through and those he digitized for us...well almost!!!...we did not get any of the 16 track tapes that he found for listening....but in a last push he found the best of the pre-Motown 'unreleased' and sent them.

Also when searching the FSP Storage Tape Box Scans we found a 5 “reel Master can with five 'unreleased titles'.......but when we played the tape it unfortunately turned out to be a 'distorted' two track MONO version of the Studio Masters recordings of 'Timeless'.......so with one track still intact we recovered the recordings for inclusion as the only surviving 'Timeless' MONO 'LIVE' recordings....recorded before the final mix 'takes' used in past releases.

Of the original tape of 5 lost 'unreleased' tracks ????......maybe in another box or possibly 'stolen'!!!!!...and when did this loss occur....maybe back in the 1960s!!!!......we never got to search anymore. The budget for transfers 'ran out'....and there are 200+ unmarked tapes still there 'unresearched'.

So you have to find and play the tapes......Bob Gaudio said that he couldn't remember [the titles at Motown] we advised him of and he would 'go through them with Frankie at the weekend' …....Frankie of course has a great memory......as he was on all of the tracks with several different producers......some Stereo and Mono mix-down test versions made it to 'Evaluation Tapes' in 1973 and got copied to the FSP storage and we found them and they will no doubt appear in due course as alternate takes as they have slightly different orchestra and vocal...[hopefully in the Snapper Music Box Set as we asked]...but all are complete session master mixes. We even know of two whole albums mixed and assembled for release and abandoned at Motown. We know the Production Tape numbers .....Do Bob or Frankie know this ? The tapes just needed finding and none have surfaced yet.....but 'listening tests' are needed for all of the identified tapes and should be shared with the 'curation' team. We know the Tape Numbers......are they still there?

We have found 90% of Frankie Valli and The Four Seasons Catalogue.......but not all......and not the alternate takes and mixes..and 13 of a potential 30 unheard songs at Motown. As another collector said of the problems with finding masters: "I've found tapes in every imaginable place, not just vaults. In basements, even unheated garages. Unmarked boxes, no track sheets, the works.” There is more to be found.

Bill Holland again as he interviewed researchers......"We found the tapes for Leiber and Stoller's indie labels, Daisy, Red Bird, Tiger, Blue Cat masters, in the old Brill Building. In an unoccupied room on top of a file cabinet by an open window. Exposed to New York summers and winters since probably 1963. They were like linguini in the boxes. Believe it or not, once we re-wound them and worked on them, the tapes played fine."

The reason to act is because as Bill Holland put it.....”Most of the 65 experts interviewed for this article expressed concern about the future of archiving recorded sound. First, they were concerned that with the CD reissue boom of the late '80s and early '90s apparently leveling off, [and now receding by the 2020's as streaming and downloads grow in dominance].......funding for archiving and preservation efforts at some companies are already becoming a lesser priority.[this is now known to be the defacto situation post pandemic] And they are also worried about reliable preservation in a digital universe.”

And as was stated by 'Second Disc'....”With the end of every year comes 50th anniversary batches of classic past outtakes and ephemera surreptitiously dumped onto digital music services - all to preserve the copyright to prevent the 50 year European gray-market from taking advantage of lapsed copyrights.” Pink Floyd/The Beatles and The Beach Boys are all taking care to protect recordings with digital downloads as are many other artists from the 1970s. We have supplied many unreleased and salvaged LIVE tracks for the FSP now, in the Snapper Music Box Set from decades of collecting......and at Motown tracks like the unheard and unreleased 'Chained' and 'Save The Children' by Frankie Valli will have dropped out of copyright and more will as the year ends......but there is no movement from Universal or the FSP re more Motown so the question arises......who owns these 1971 to 73 'Unreleased' Motown vaulted tracks? The rest drop out of copyright for Universal as the original owners at the end of 2023.

We are still on course for the FSP and Snapper Music to deliver the NEW SET of the 'Whole Catalogue Masters' in April/May and for this eventually to be available also in the strengthening digital streaming/download age in time. And we look for more to be added as the 'Out-Take' CD' [Disc 46] of tracks salvaged that did not make it into the Box Set. We still have many tracks and by investing in SSD.......[Solid State Disc Storage for digital masters] ….....THE NEW LIBRARY of Frankie Valli and The Four Seasons will be created from 2023 onwards by us[in the best sound quality avaialble] as we have collected since 1988 from our CD discography....

https://www.seasonally.co.uk/CDDiscog_files/Page685.htm

We are lucky to have had the opportunity to help salvage this music since 2018 for all of the fans.....it is a set curated by the fans and for the fans. We also already have THE MONO 45 Archive from 1961 to 1970 and have now recovered more MONO 1970 mixes........More Motown unreleased?????? Only Bob Gaudio can say YES!.....will he and Frankie invest in recovering the art for art's sake? The future beckons.......

Casey Chameleon

PS.....Our research enabled me to create a re-mix of an underdub recording of 'The Night' from the many mixes done. It captures more of the instrumentation and minus the 'dreaded' tambourine in the official mix. An interesting 'mix'.

Happy New Year everyone.

https://www.youtube.com/watch?v=cgxYNbX7Scc

The FSUKAS End Of Year Report – 'It’s CHRISTMAS'

Well another year gone and all a bit older but after previous FINAL TOUR visits since 2017 we had the joy of another UK visit and a chance to enjoy Frankie Valli [with his music, singers and band]. A final chance to see him perhaps, but also a broadcast PBS show at Mohegan Sun [which many have seen] was also a treat for fans.

Our aim has, since 2018, been to get the 'Unreleased' tracks and the issued albums and singles out in the LIMITED EDITION Snapper Music Box Set. The delay to the issue from December to [we hope no later than] April was a big disappointment. The confirmation of the content [as finalised and approved with the late Bob Fisher and I] has not been updated on the web site either. We did it all to celebrate the work of Bob Crewe and Bob Gaudio in the studio with Frankie Valli. We even found a LIVE studio recording of 'Can't Take My Eyes Off You' for inclusion as the photo below illustrates them recording [Photo courtesy of George Schowerer - Sound Engineer: Mirasound Studios].

But with so much income for the labels and FSP from this £875,000 project, it makes it the biggest and clearly the best ever presentation of their career......and maybe amongst their last CD based release as the music industry boast a major growth in streaming access?. Check out some of the forecasts here.

https://victrola.com/blogs/articles/what-is-the-future-of-music-in-the-digital-age

Global News tells us........”There is something very, very wrong with today’s music. It just may not be very good.” This is NOT actually correct as there are some brilliant new voices and stylists around today, but taken generally they make a good point........“Current” music 'is becoming progressively less popular' when measured by the number of streams and sales. Whatever is being released today just isn’t resonating with the public the way it did in the past. People are showing a growing interest in listening to older music instead. And there’s still more to consider. Cast your mind back to 1962. Music that was thirty years old then 'sounded' old. Not only was modern pop music still developing, but we’d barely begun to use things like electric guitars and proper amps. Effects pedals hadn’t been invented yet nor had synthesizers. Recording studios were primitive things compared to today, capable of only producing material in mono [like 'Sherry'...ed.] But then starting sometime around 1969, the sonic quality of recordings reached new levels. A song recorded in 1972 sounds every bit as good as something recorded this year. (In fact, you can make an argument that because of over-production, digital technology, and too much compression, older records sound 'better' than what we have today.)” That is certainly true of the coming Motown Unreleased in the Snapper Music Box Set.

Though streaming may provide 82% of the Music Industry income, with the massive number of tracks needed to maintain growth, it has work to do. The Hype Magazine says that, less noticed, are .....“the shortcomings of the music streaming market. A less known effect is related to the pay for the artists. It seems that the division of the fee does not favour the artists, no matter how frequently their songs are played. The streaming channels, the major labels and the most famous artists are getting a higher percentage of the fee. Smaller and medium size artists, even though popular, come last. This is because the fans don’t have a say in the way fees get allocated.”

But CD Box Set releases are the in-style releases on line but generally because they sell between £25 and £50 for mini sets of up to 6 CDs. To those used to owning a disc or download, the forthcoming Box Set will provide the Four Seasons Partnership and the fans with a new set of masters rather than waiting for them to choose to 'stream' them sometime in the future. But whether we consume our FV/4S music as files or as streamed consumption we want it when we want it via instant access now. Our role as 'curators' of the 'Four Seasons History' has been revitalised by the research we were able to do for the Box Set and it opened up so much information to introduce new fans to the music and as a source to find out more. Although we haven't updated our web site since 2018, [www.seasonally.co.uk] it remains an essential source re discographies and reference articles....so it answers many needs and our two Facebook pages offer places to post videos and You Tube tracks as well as regular discussion, blogs and videocasts. We intend to keep this flow of information as a free resource for all fans and collectors.

In the 'Seasons On Saturday' videocasts we will continue to explore with our panel of expert collectors/fans/former Seasons the research we have done into the 'real story' of the Four Seasons MUSIC..[NOT the 'Jersey Boys' one.].. ...focussing on how it was created.....how it succeeded [or failed] in each decade of the last century since the 1950s. We as the 'curation network' are predominantly the BABY BOOMERS......and whilst we do not have an infinite 'value', we are 20% of the UK population...we are as old as we are and want the product we want......we are tech 'embracers'...so in the UK 13.6m of us love music and if only 50% know and love Frankie Valli and the Four Seasons as they were 'enshrined ' as the Jersey Boys'.....then over 6m will be interested in a GOOD and INTERESTING product like the Snapper Music Box Set. Data showsthat boomers are active on social media, spending around one hour 48 minutes a day browsing Facebook and Instagram. They are 19% more likely to share content than any other generation, and 58% more likely than millennials to click through to a brand’s website from a social media post. and make up one of the wealthiest generations, with one in five classed as millionaires.[not in our network unfortunately....at the moment......well no-one is admitting to that!!!]

According to a report published in The Financial Times, it’s estimated that of every £1 of household wealth in the UK, boomers own 36 pence. Brands that offer high-quality products or services will win the hearts of baby boomers and will turn them into brand advocates. There’s already a whole host of baby boomers smashing stereotypes on Instagram, showing people they can be who they want and dress as they like at any age. Baby boomers believe their glory days are still ahead of them. Therefore, marketers must tap into these desires to effectively sell their services and products. Boomers are influencers.

BUT a 'lethargy' has developed in the Music Industry and it has stopped the Record Business!. For example majors like Universal Motown are taking several years to get projects to the Record Companies for their issue [and doing none internally] and so everything has ground to a halt. The Music Business 'Big Three'.....[Universal/Sony/Warner] only want mega video and sound projects selling millions of copies and short term revenue. The laws of the universe will change this as it is a short term fix to get annual revenues. It can't last. We see the big picture and what we have achieved in the last 12 years. Artists need to take control of their catalogue and copyrights.......and if it costs money then please invest.

We as a network of 'curators' have enabled Snapper Music to create the most in-depth representation of a 'brand' from the Four Seasons in 1962 to Frankie Valli up to 2010, in a unique and very comprehensive catalogue of music/pictures/memorabilia and stories, ..although the music will remain the same...just the original mixes [but so much more of it] will be re-mastered... in a CLASSIC ANTHOLOGY The FSUKAS world- wide network want to be 'influencers' with a knowledge base better than any through their career. We are continuing to push for more visionary 'projects' to bring what we know is unheard and unreleased music from the past into all futures. The Motown Tapes remain the biggest [and only known] set of 'session tapes' and mixes, but we know that other sources....including Bob and Frankie have unreleased music stored. Universal and the other two 'majors' are finding the costs of recovery and digitally re-mastering the stored 'unreleased' tracks even by classic established artists like Frankie Valli difficult to deliver due to the costs of extraction, mixing and re-mastering. It is unclear just how many of the Motown session tapes Bob Gaudio has been sent? We will keep asking to be told and have our research verified [as the Box Set shows] or proved wrong. We will not accept otherwise. BUT....The Snapper Music Box Set is coming out next year, after 4 years...... it is too close to GO!!! Collect your Box Set here.!!!!....the full catalogue.

With our own 're-mixing' efforts using AI we hope to deliver new ways to hear what exists on tape/disc and we will generate more Digitally Extracted Stereo [DES] mixes in the future. We don't do 'cover groups/versions' in our FB groups but are happy to hear previously unheard or live tracks including the creation of different ways to hear the original...[we hope to have the 'Dawn' and 'Rag Doll' albums in full and balanced DES next year]...... 'That Four Seasons Sound'...will live on and get stronger as more younger people want to know more re how this amazing music was made. Our focus remains on discussion/research and sharing the information and making sure all the very best 'mixes' are preserved and available. And we have the backing of one of the world’s TOP RESTORATION SOUND ENGINEERS willing to help us find ways to research and deliver new projects. It is an offer we can't refuse.

This is the essence of 'curation' in the 21^st Century, via the expert network we have developed. But as has become obvious from the Snapper Music Project, “the artists and followers will need to have a much closer and mutual interaction. They will be able to influence each other for the benefit of good quality music.”.....Hopefully Bob Gaudio and Frankie Valli are listening. The days of'Alexa …..play me Frankie Valli and The Four Seasons Rare and Unreleased?' are coming........!

Next year our Seasons On Saturday videocasts will cover the Motown period in the early 1970s and the second 'hit making' iteration of Frankie and the group through to 1980. How a misguided Berry Gordy lost control of his move to LA, to create the West Coast Sound of pop......or soul.....but created a 'goldmine of productions the world is demanding we should hear. We will keep 'Campaigning' for their release. Our message to Bob Gaudio is 'If you want to maximise profit?....Join the Record Companies, and wait for years”......but if you want to recognise 'art'.......join the 'Curators'. You know where we are. We can help you develop your own approach.....and maybe this is it?

So it has been a good year and hopefully next year’s release will be as 'big' as many of the long term collectors believe. A real platform for Volume 2 of the Music Detective work we want to help lead.

Our audience is growing and when they see and hear the results in the Snapper Box Set, the next phase will launch, as the fans will want more.

Here is one of our best DES mixes from 2022

https://www.youtube.com/watch?v=mpXHrDxcpM0

And the group's accapella version from 1992

https://www.youtube.com/watch?v=yIfif0KOe7c

And this new DES Mix works so well with centered vocals

https://www.youtube.com/watch?v=w4QMPFAZ5-c

Join us on Facebook for news of rare recordings and the research......

https://www.facebook.com/groups/1049892628364291

and to catch recordings of LIVE concert clips from Carlos and Carmine visit the OFFICIAL 'fanzone' at.....

https://www.facebook.com/groups/frankievallifans

Happy Christmas and a Healthy New Year to all readers and contributors via our Facebook pages.....from Spain.........Ken Charmer

 

The Four Seasons at Motown – The UNRELEASED Story in 2022

As we approach Thanksgiving, which is not a ‘holiday’ we celebrate in Europe, I recognize it is a time to celebrate as a family of fans what we have achieved in researching and finding the Unreleased work by Frankie Valli….AND The Four Seasons…..either as a group or solo entity and much of that research has resulted in the transfer of many 16 track Masters to Bob Gaudio [The Four Seasons Partnership – FSP] for his evaluation and for the approval of 13 previously unreleased tracks for inclusion in the forthcoming Snapper Music Box Set coming to release in 2023.

Even allowing for the delays, it will be the biggest and best release ever of their work after revisiting their analogue tapes. But it will not be the full story as I will document re potential sources of stored masters in the future from our research. For now, here is the latest known research of the Tapes at Universal [Motown] as we advised Snapper Music and the Universal Library Manager and Bob Gaudio [via Snapper].

There seems to be little in terms of paper records re the Four Seasons with the Universal Library Manager re this peiod apart from tape Boxes wheras we have Spreadsheet Records and Database Printouts as well as Artists Cards that detail the recordings done and the registration in many cases. We know that Tape Box research was done and Tapes Ordered from the Iron Mountain Storage for checking but only one tape box scan was supplied to the UK research team which confirmed what we knew of that tape to be correct. The issue of the cost of mixing down 16 track songs was admitted to by Bob Gaudio when it was clear the limits of visual Tape Box Review showed ‘listening tests’ were necessary. The budget issue arose. The songs that 'appear' [from the partial Tape Boxes inspection by the Library Manager] to have vocals.....were listed....BUT..... 'This is not a guarantee.  They could be demos or scratch vocals, or miss-marked.  They will need to be transferred and played to see if they do. [exist] ‘.  We had a Database and Artists Cards which coincided with these titles but our records of mixes and Masters were not used in this research.

Working through the Tape Index in numeric order now, this is the latest information we have of what UNRELEASED tracks MAY exist based on paper records and demonstrates what remains to be confirmed or not.

Recordings started in October 1971 on a contract for 8 potential tracks by Frankie Valli solo with various in-house ‘producers’ and a ‘self-contained’ group effort of 12 songs as confirmed by Bob Gaudio in interview in 1971. Below are our finds from paper records gathered over the last 22 years re the 16 track session Master Tapes for tracks identified as potentially complete and ready for release[i.e.with a Motown Master Nr] either from SMX [stereo mixes done at the time] or Mix-Downs from the 16 track Master. The Motown Master Tape Database indicates that there are 32 UNRELEASED tracks given Master Nrs as completed/registered tracks in sessions.  Tapes not highlighted below remain unknown from the Librarians Tape Box review. As far as we are aware Bob Gaudio was sent copies of 16 track tapes but we have no knowledge if he or the Universal Librarian have conducted full ‘listening’ evaluation or if Bob Gaudio has received all of these tapes. As was said...'Lastly, there are songs with possible alternate vocal takes, but it depends on if Bob Gaudio wants these alternates available'........Clearly some completed tracks have been found and mixed down and approved for release which we are all happy about. This current Motown Master Tape Review is solely based on my records and reported Tape Box lists.

The big benefit of the last 12 years work was to demonstrate a ‘goldmine’ of LOST tracks by Frankie Valli and The Four Seasons at Motown and now both Bob Gaudio and Frankie Valli know the inherent value of these tracks. They are in my opinion exceptional and well worthy of release in what I believe will be groundbreaking Catalogue Review. Whilst they did not get any royalties from their contract at Motown they have we assume gained some agreement with Universal for the release as expected of 13 tracks in 2023 as highlighted, and we believe and have been told that over 20 tracks as highlighted should exist in some form. The remaining tracks are listed in paper records at Universal Motown but have not been revealed as existing. However as I have said we have no evidence from Snapper that full listening tests have been done by either the Motown Tape Librarian or Bob Gaudio [and possibly his son Shannon]. This is not a complaint…just what we understand at this point in time. However enough have been reviewed for Bob Gaudio to have mixed the 13 approved tracks for inclusion. The rest MAY NOT be deemed good enough for release….but what about  any of the alternative or extended versions found on acetate or in FSP storage as evaluation copies.? We know of several such versions. We have been able to ensure knowledge of some of the above as acetate dubs on You Tube…just search …. Four Season Motown Unreleased You Tube.

Any issue of such ‘unreleased’ material is, of course, the right of the FSP but it is worth considering that any unreleased tracks at Universal Motown will drop out of copyright by December 2023 [under UK Law], although these would have to be purchased for anyone to release them and extend the copyright. The UK Government website says of sound recordings that copyright exists for …”50 years from the year in which the sound recording was made. If during that period the sound recording is published or made available to the public (e.g. by being played in public or broadcast), copyright lasts for 70 years from that year.”  That means that unreleased tracks due for release in 2023 start to fall out of copyright as ‘sound recordings’ this month.

This is our final listing of the paper records at MoWest and Motown and a listing for further review of the tapes stored at Iron Mountain regarding Frankie Valli and The Four Seasons, and a reference point for any ‘listening tests’ to see what has survived. This is an ‘aide-memoire’ for anyone wishing to do further research in the future.

Ken Charmer – November 2022.

Music Historian – The Four Seasons UK Appreciation Society

The FULL and Final list of Unreleased Tracks and the known status can be downloaded here.

Download Final List at Motown Nov 2022 as pdf

The ULTIMATE Box Set is not coming soon!

An Apology.

I wrote a post back in June this year as I completed corrections with Snapper Music to both tracks included, and Collectors Notes which had been supplied a year earlier for the Box Set and I wrote with so much optimism as Snapper/Madfish announced the release date of December 9th 2022. This week I have had to completely re-visit the blog posts as we are told, with no explanation, that the release date has moved to 14th April 2023....after an unknown number of fans have ordered and in many cases paid full price in expectations they would stand by this promise. This sad position follows over 4 years of hard work by me and a network of fans in the UK and USA providing tracks and research to Snapper Music.

Back in August 2018 we were asked by Snapper 'what do you want to have in the planned Box Set most of all?'....and before I could think?.........Lynn Boleyn said 'THE MOTOWN UNRELEASED'........!!!!!.....In retrospect this is ironic as the Motown Unreleased Campaign has been going now since 2011, due to my research, but no-one related to Bob Gaudio and Frankie Valli's music has ever asked us that question before....or been prepared for the answer …... ever!. And it was maybe painful for them to revisit that period in time. It has been 51 years this month, Frankie and the group signed to Motown and began recording sessions with at least 15 tracks announced as completed in a Motown Newsletter in January 1972 as they prepared for a UK tour. It remains the only record label storage of comprehensive Master Session Tapes found to date. But ….like it did not exist until I proved it did.!! It's existence was denied in 2008 by Harry Weinger of Universal and Peter Bennett, former lawyer to the Four Seasons Partnership.

Since 2018 I worked tirelessly with Bob Fisher to research and gather tracks from the FSP storage facility in LA and after nearly 4 years and a huge review of tape transfers, the memorabilia, photos, picture sleeves and paper records regarding releases from our fan network, we have the storytelling done and some of the unheard tracks found...with superb artwork...and a good bunch of UNRELEASED and LIVE tracks....and some of the MOTOWN UNRELEASED of the 30+ we demonstrated are there and complete.

Some US music historians/sound collectors on the Steve Hoffman Forum accused me of being somewhat 'anal' re wanting these tracks from a largely non-existent period in Frankie's career whilst at Motown. One top collector believes many US fans have little interest in this or even later periods saying......”It's obvious from the Partnerships reactions or 'non action' [over the decades] that they would rather forget Motown ever …."never happened" for them”. For me that also revealed the US/UK fan 'disconnect' with regard to the UK fan groups 'holistic' view of the career of Frankie Valli and The Four Seasons...THEY WANT EVERYTHING and feel they deserve it.....and Frankie himself has come to realise that in recent years with the adulation shown by UK show audiences how important we have been to his career.

We revitalised his career in 1970 taking 'You're Ready Now' into the charts for the first time as we did 5 years later with 'The Night' thanks to the Northern Soul Dance scene. We also [as did other countries around the world] gave them hits with 'Fallen Angel', 'Silver Star', and 'Down The Hall'. The US market and record companies did not see the worldwide support they deserved during this period.

Frankie and Bob Gaudio's commitment to this Box Set we believed was testimony and trust that the UK fan group.....now over 51 years old.......could tackle such a project with Snapper Music. And we worked hard to deliver after a difficult 4 years and the loss of our ex-Motown set producer Bob Fisher who sadly passed away before its completion. Unfortunately despite requests for reconsideration we could not get more of the Motown Unreleased Tracks we have researched...other than the 13 tracks Bob Gaudio chose to approve..nor could we get access to the tapes to confirm their suitability or verify our more extensive paperwork than was found by the Library Manager at Motown....or any inclusion in the tape research process. It was for Bob Gaudio and Universal Music a no-go area for the research team.

What was to be included always was and remains the choice of Frankie Valli and Bob Gaudio who own the music and the rights to release it or not. The fans network knew that but contributed some 50+ tracks from decades of sources which the FSP now have copyright and total control of....as is there right. We, the fans, made that happen. The rest came from delving into the FSP archive as far as we were able to achieve within the funding of this project.

Whilst no music set can ever be truly ULTIMATE ....Certainly this is not final as to what exists [we know there are more tracks]....but this is pretty good ....but it is 'the best of its respective kind' and more comprehensive than ever before, thanks to many dedicated [and patient] 'music detectives' over the decades.....and in both the UK and US. Even Tommy DeVito's archive has been 'mined'. Classic sounds and stunning finds abound through every decade of the 'analogue' tape era from 1961 to 1986 and some we found. All of the subsequent CD era original albums and 'special' re-mixes of the CD and Dance Mixes are collected up to 2010.

In June we had a release date given of 9^th December and pre-ordering started, with the design of the package complete as far as we knew. This is now delayed to 14^th April 2023. A sad and unexplained delay.

I have been asked to show 'integrity' and not criticise anyone involved in the project. But my integrity is to the fans as they are the 'customers' but also to the quality of the 'curation' process. I personally apologise to all readers for the delays in getting our research to completion as we had planned but it is not down to the commitment and work of me or Bob Fisher and those in our 'collectors' network who helped us so much. Everyone in the Snapper production team, I believe, worked hard to achieve release including the engineer, designer, writers and admin.

I believed in the commitment of Bob Gaudio and Frankie Valli in this compilation and believed and told many fans this could be the start of a series of Unreleased and LIVE concerts as has been done with the Beach Boys Catalogue and career. However the experiences over the last 4 years has left me feeling dismayed, disappointed and disenchanted by the Four Seasons Partnership and the senior management at Snapper who promised Lynn Boleyn, Bob Fisher and I so much back in 2018. This is not a criticism, just how I feel.

As a former Fellow for the Association for Project Management and having completed several multi-million pound projects during my working life, I know that of the 3 objectives of a project [TIME/COST/QUALITY] .......the one that must be maintained is QUALITY and that is is based on the record and reputation of Snapper Music. It will/has been a long wait but the quality is/will be unsurpassed if the content remains as we agreed with Snapper and Bob Gaudio in June 2021 and as the promised sound engineering standards.

We do deserve an apology for the delay and an explanation, given the love for the music we, the fans have shown.[and the pre-orders placed, many on my recommendation]. I know I have done all I can to make the project successful.

However, as our resident music historian, I will in our FB group continue to publish research of known sources of quality tapes and maybe as with the Beach Boys and Beatles, more will be funded to bring rare and unheard tracks, demos or rehearsals to the fans. [possibly in our lifetime]. I will enjoy The Beatles 'Revolver' Box Set this Christmas instead.

The Seasons On Saturday podcasts will continue the 'panels' views on the career of Frankie Valli and the Four Seasons as we reach 1970 in the next few weeks and we will move through the 1970s over the next few months. And I am also using the research and collated information to re-write and update my former e-book, The Rise And Fall Of The NEW Four Seasons and eventually to publish this.

And as the the rest of the unheard catalogue and LIVE sound board tapes show more recordings are out there. As I have said ….the Campaign goes on.

Ken

 

The Lost 'Golden Era' of Crewe – Gaudio

Ellie Greenwich loved Bob Crewe.

George Schowerer captured the magic of their relationship in dozens of studio photographs when they worked together in 1967 at Mirasound Studios and his production of her 45 sides 'I Want You To Be My Baby b/w Goodnight, Goodnight (What's So Good About It?)' on United Artists 5015. He also wrote the latter song for her using Jean Thomas, Mikie Harris and Valerie Simpson on backing vocals in March 1967 the same month he recorded 'Can't Take My Eyes Off You' with Frankie Valli. See the background video here

That relationship would strangely later spark the start of Bob Crewe's recovery to a new 'golden age' of songwriting and production and a re-union with past writing and producing colleague Bob Gaudio that would see them both achieve Number One Hits and go on to Crewe also collaborating with Jerry Corbetta and the writer, Ellie Greenwich, in producing the original cast album for Greenwich's Broadway musical, "Leader of the Pack" in the early 80s.

The contribution Ellie would make to his recovery in 1972 was after Bob Crewe had suffered a career collapse at the end of the 60s. Dan Crewe, Bob's brother had been with him in establishing Genius Inc in 1962 and they were Chairman and President respectively in the CGC Group of Record Labels that collapsed in 1970 and he does not have kind memories of his brother who overstretched himself when they were effectively partners. “He was the biggest pain in the ass I ever had to deal with in my life,” Dan Crewe recently said of his brother, whom he described as a narcissist “who did everything to excess. He was a real drunk. He could get out of hand. It’s the story of his life. It’s racing to the moon and then crashing. …” Dan was taking care of the business......“We were incredible together before the drugs and alcohol,” Dan Crewe said. “We were zooming. We had so many god-blessed hits, it was one right after the other. In the early days of the Seasons, we had three Top 10 records all the time. We were always on the charts. It was endless. We had so many different acts, all the time.” Eventually, alcohol gave way to pot, which led to cocaine. “And once cocaine came into the picture.........” Dan Crewe said, without finishing his sentence. “With my brother, you always worried what was going to happen.” But not everyone saw Bob Crewe so negatively and he consistently made good records like no other producer of the 1960s and 70s, although he had problems with Bob Gaudio and Mitch Ryder which have been anecdotally made public. Ellie Greenwich had a good relationship with Bob Crewe and commented on his ability and on how they first met in an interview before her untimely passing in 2009....."I'm not exactly sure when I met Bob Crewe, but we always saw each other around the business from the very beginning. (We) had an affinity for each other (and) still do! He was a joy to work with on all levels . . . he's a perfectionist, he's open to any outside ideas, he really knows what he wants and gets it, and most of all, he is passionate about what he does. He puts all of himself into everything he touches . . . I always loved and still do love Bob! I can go on and on about this talented gentleman, and he is just that: A 'gentle man'." But as they were siblings and Dan Crewe was jointly managing the business decisions, perspectives clearly differ, and drugs can create big issues within families.

Although he still held it together into the studio to produce great 4 Seasons songs by 1970, they became very diverse but always interesting. 'Lay Me Down, Wake Me Up' [originally titled 'Let This Time'] would be his last writing and production work in the studio with Bob Gaudio and the group in August, before his financial and addiction related break-down. His final recording at this time with Bob Gaudio will surface this year with the sublime 'I Need To Get To Know You', which they wrote and recorded together and he would co-write 'A New Beginning' with him which was done as an unreleased rock 'demo' in 1970 before it would emerge in full harmony by the Four Seasons on the 1972 'Chameleon' album with Bob Gaudio producing.

Bob Crewe would be in 'recovery' until 1972 when brother Dan helped him get back into writing and production with a contract at Motown Records whilst Frankie and the group were signed to their LA based 'MoWest' label. He quickly adapted in September 1972 with the commencement of productions with Bobby Darin. One of the key tracks was ‘Happy’ , the Smokey Robinson – Michel Legrande penned theme to Berry Gordy’s movie with Diane Ross, ‘Lady Sings The Blues’. He also created some very harmonic ‘Seasons’ styled backings on ‘Another Song on My Mind’ and ‘ I Won’t Last A Day Without You’ with Bobby Darin. [allegedly also recorded with Frankie Valli and in the Motown Archive]. Unfortunately a heart operation resulted in Bobby Darin's tragic and untimely death and the album was finished with infill songs and released in Feb 1974. ( Bobby passed away on Dec. 20, 1973)

Bob Gaudio had signed Frankie and the group to Berry Gordy's empire in October 1971 with a deal for 8 tracks with in-house producers and 12 stand-alone full group tracks with Bob producing. Only one track, from the May 1972 album release 'Chameleon', would get US single release and a 'Corporation' production of Walk On, Don't Look Back' in August 1972. Notwithstanding this lack of promotion and releases, Bob Crewe's return would change their lives and paths as they started to write and produce, together and separately in November 1972. Bob Crewe would start to write again with Alan Shatkin, and Bob Gaudio and both Bob's set aside past differences after traumatic periods in both their lives, to pen new songs.

And whether it was a favour returned or not, we don't know, but by 2^nd November 1972 Bob Crewe was back in the studio with Frankie Valli and The Four Seasons. We still haven't heard it as it remains 'unreleased' but Bob Crewe's first registered and completed Master Nr 61633 at Motown on 16 track [Tape 2414] was a song contributed by him writing with Ellie Greenwich and ex Four-Evers member Steve Tudanger. 'Be My Lover, Be My Friend'. It would be a magic tribute to Ellie [and Steve] to hear it released.

Very soon the sessions and tracks were rolling and over a 5 month period some of the 'Bob's' best work together and in their own right as producers since the mid 60s were emerging from the mixing booths as completed recordings. 'With My Eyes Wide Open' was amongst the first of powerful driving songs which would not appear until post departure from the label on the album 'Inside You' in 1975. That title track was strong enough to interest the Motown Management and would eventually warrant an album release but only 'Listening To Yesterday' from these sessions at this time would be selected for single release [strangely twice!]. This song would also be mixed in two entirely different versions by Bob Crewe and Bob Gaudio as classy examples of this period and their ability. The latter previously unreleased version did not appear until the 2008 Motown Anthology.

Another song from these collaborations which will be released in late 2022 is 'Star'. A complex and innovative arrangement combining rock and harmony in a stunning production. By May 1973 Bob Crewe had completed the song from a movie [Tom Sawyer] 'How Come' [Motown 1255F] with soaring studio session vocalists and not the Four Seasons group which had temporarily been disbanded by Frankie whilst he recruited new members. Gaudio did the vocal arrangements with Crewe producing.

The video is here

Bob Crewe also in the Spring recorded Frankie Valli solo on tracks which have not yet been released by 2022. 'Give Us This Day' and 'Turn It All Around' with arranger Dave Blumberg remain unheard which is criminal given the commitments made in preparing the Snapper Music Box Set. However Bob Gaudio's return to producing Frankie Valli in the middle of the year has produced three unheard tracks in that set as approved by Bob Gaudio. Previously 'You've Got Your Troubles' and 'The Skalawag Song (aka 'Silver Fishes') saw single release from those sessions and now we have 'Whatever You Want', a 1962 Crewe – Gaudio composition, 'You Can't Hold On' and 'Future Years' appearing this year. But for some unknown reason Bob Gaudio did not include 'Getting Over You” from the same Tape P2678?

Again lack of promotion and disarray at Motown meant the cancellation of a planned album MW788 [provisional title 'Inside Out'] and it is little wonder that all involved thought they had to find a way back to getting someone in a record company to believe in the music and promote it.!!

Motown made one final promise as a NEW Four Seasons group line up were signed up with a never before range of musicianship that would lead to two additional lead vocalists within the Four Seasons. The 'execs' at Motown committed to Bob Crewe sessions in November and December 1973 on new songs Bob Crewe had composed with '11^th Hour' group member Kenny Nolan. He used the NEW Four Seasons with Nick Massi returning and Charles Calello arranging. 'Hymn To Her', 'Lovers', 'Charisma', 'Hickory', 'My Eyes Adored You' and 'Make Your Tomorrow Tonight' were completed and two released on Motown 1288F. 'Hickory b/w Charisma' got to Nr 96 in the US chart and an album was gathered from the 1973 sessions, but all too late. Bob Gaudio had his own new compositions registered at Jobete , the publishing arm of Motown and all of their contracts were running out. Bob Crewe was rolling too as Lady Marmalade hit Nr 1 with Crewe's production of 'Voulez Vous Couchez Avec Moi Ces Soi' in November 1974 and he subsequently bought himself out of his writing contract with Motown. Bob Gaudio appears to have waited for his to lapse and so left the publishing with Jobete for 'Who Loves You' and other tracks.

Only 'My Eyes Adored You' could be bought back when they left the Motown label with Bob Gaudio's unrecorded compositions The rest is history as they set up the contracts at Warner-Curb and Private Stock. Bob Crewe's production and writing effort with Kenny Nolan achieved the long wanted Nr 1 for Frankie Valli, with the 'TAPE SOLD BACK TO PRODUCER' song as their Artist Card records. The success for Bob Gaudio, who with co-writer Judy Parker had adapted and devoted his writing and production skills to the band, recorded and produced the songs that would hit the heights with 'Who Loves You' and 'December 1963(Oh What A Night).

Bob Crewe's production and writing effort with Kenny Nolan had at last achieved the long wanted Nr 1 for Frankie Valli. 'The Night' from the 1972 'Chameleon' album would also soar into the UK Top Ten upon it's re-release in the UK. A belated Motown success.

The 'Lost Era' would conclude finally with Bob Gaudio's success with the 'Who Loves You' album. However Bob Crewe's joys at the magnificent 'Swearing To God', and 'In My Eyes' for the 'Close-Up' album was ended by a hit and run driver, who nearly killed him in 1975 leaving him in a body cast for a year, and Bob Gaudio had to finish the album. Ironically this was as Crewe walked to an AA meeting [now titled NA(Narcotics Anonymous)] There are we were told by Bill Inglot other 'out-takes' from these album sessions but so far these have not surfaced.

So ended the LOST 'second coming' of Crewe – Gaudio. They never quite re-found that magic again although the 'Heaven Above Me' album and now the salvaged LOST DISCO ALBUM with the unreleased 'Back In Action' by Crewe-Corbetta will surface this year. 'Soul/Heaven Above Me' and 'Let It Be Whatever It Is' looked like being their last collaboration as Bob Crewe substantially retired by 1981 that is until their last effort, the prophetic 'What About Tomorrow' on the 1985 album 'Streetfighter'.......but Bob Crewe and Kenny Nolan take pride of place in our full restoration of those sessions with the unreleased 'Killing Time' in the Box Set. Bob Crewe however did not participate in the production of the album.

If justice could be done we would have all of the music from the 1973 Motown sessions and in particular the unheard productions by Bob Crewe [along with alternate versions and 'takes'] to demonstrate the road to what followed in terms of success in the 1970s post Motown. Bob Gaudio has the power to give us this and set the record straight. As he says....'if you believe ….you receive'. 2023 beckons and another project is 'believed in and awaited'.

Casey Chameleon – September 2022

The titles shown in RED indicate previously unreleased tracks with some available in the Snapper Music Box Set this December

The Limitations Of 'Four Seasons' Fan Club Life and the Catalogue

We only got to see this one Tape Box scan from the Universal Motown Storage but it tells us what we had told Bob Gaudio and Frankie Valli and members of this group existed . Although we have researched and provided tape source information for over 10 years, we never got to see the rest of the 29+ Motown Multi-track Tape Box scans from Snapper during the project. You could ask why?....as we did. But we moved on and finished the full catalogue research based on what we had access to.

Taking a breath on a sad day and now waiting for final production and issue, some of our team members think...”This is only the beginning!.......'A NEW BEGINNING' …..in terms of the Motown Catalogue perhaps. Thanks you to all our readers for your comments and support for the Snapper Music Box Set to date, via social media and personal communication with me. It really was a labour of love from my perspective, both for the range and creativity of the music and of course Frankie Valli's awesome voice, but also for the relationships amongst fans and collectors we have developed since the 1970s and working with the late Bob Fisher, a dearly missed friend.

I was talking with an 'iconic' sound engineer recently re how he has achieved historic 'curated' projects with major artists and I was sharing with him the long and frustrating 'life' of 'Seasons' fan club members who have in the experiences of the Four Seasons UK Appreciation Society [FSUKAS]been both 'joyous' yet 'limited' and in terms of releases often left us feeling 'disappointed' and frequently 'let down'. Not however by Frankie and his commitment to tour and entertain the fans. Frankie spoke in interview about his love for sharing his music 'LIVE' but also the magic of creating in the studio and this box set will reveal that more fully than ever before. But what we have gathered is not enough, particularly in comparison with the legendary Beatles and Beach Boys. The passion and obsession of some of their fans and their large fanbase numbers has meant that their 'brand' has become a major commercial project. Feeding the fans every conceivable mix and bit of studio chatter has however been an expression of their 'art' and an important part of music history. The difference is of course that they retained their 'multitrack' session tapes. We found none in the FSP storage.......only at Motown do such 16 and 24 track masters survive.......and we scraped the barrel to find all we could of 'out-takes'

As we await the Snapper Music Box Set release it is with some frustration that after the release of the Beach Boys 'Surf's Up/Sunflower' Bonus CD Box Set and the 'Sounds Of Summer' set we are told.....”All 30 tracks on disc 1 of 'Sounds Of Summer' have been mixed in immersive Dolby Atmos, joining the group’s 'Christmas Album' which was mixed in spatial audio and released this past holiday season, and continuing the initiative to present the group’s catalog in the enveloping and exciting new audio format.“,..........we now have to see the announcement of another step in exploring the back catalogue of The Beatles with the forthcoming release of 'Revolver'......”The new special edition of 'Revolver' album from 1965, complete with tons of bonus tracks and alternate takes, comes out on October 28, 2022. The super-deluxe version will be a 5-CD set. You can pre-order that set for $139.00 at the official Beatles store.” This package [it has been revealed] will contain a 'restored' Mix of the album using AI powered digital extraction[DES] from the old four track tapes plus alternate Takes as Bonuses. This is restoration not previously possible and enabled by ever improving technology. Even I have been able to demonstrate how this type of AI software can provide enjoyable alternatives versions of the 60s Stereo Tracks on my You Tube Channel with some of Frankie and the groups classic recordings.

What these Beatles and Beach Boys releases reveal is that if you are regarded as a 'legendary' group, you develop a huge and generationally renewing collectors base. The Frankie Valli and the Four Seasons Full Catalogue release was always a major way for us fans to catch up [with everything].......but even now to still be left behind by other 60s groups [unfortunately by understandable delays].

As you will all know this set has been designed and built around 'rare and unreleased' sides, both MONO and STEREO'. But as I have said from a collectors and fans perspective it is not enough and is only levelling up to some extent the catalogue of the 'mega groups'. 'Working Our Way Back To You' is a very apt title for the set. As fans, many of you have trusted my commitment with the late Bob Fisher to the content, by ordering the limited edition. We both said we would see this production through to final mastering but with his passing and other pressures that has not been possible. We always planned to check the final mastering.

I have always been open and transparent with the fan base as my allegiance is to the network that helped us so much to achieve the set we have gained approval to. That is limited in a number of ways and the content does not include as many completed and unreleased Motown [and other]Tracks as I and you would have wanted. I am not angry or negative re what we achieved [at long last] but only asking a question many have asked me......."as you have evidence that more tracks are there and completed and in good sound quality why could they not be included"?. Time and cost pressures and particularly the pandemic made the planned approach impossible. The problems of getting 2 track Stereo versions of 16 track masters from Universal Motown during lockdown made it difficult to get songs to Bob Gaudio for approval and his commitment to the Neil Diamond stage production limited the 'mixing' he could do for this set. But lack of communication at times particularly since Bob Fisher's passing has meant that I am only 'Track Advisor' although I did contribute the Collectors Notes with the help of key knowledgeable music detectives. Snapper accepted these with little edit which I guess I should be grateful for and I hope they explain the release history and meet your approval but I have had no opportunity to collaborate with the Sound Engineer or check the sound quality of the final product. Hopefully the final quality [from 'best available sources' Snapper say] will meet all our expectations and the huge investment in the research of tracks Bob Fisher and I did........ Not least helped by the 'memorabilia' and photos of John Pingree, Bob Crewe's Sound Engineer George Schowerer and the superb design work of Rachel Gutek.....and the Snapper team.

There is, we all accept, the urgent need to release this set and then to take stock re the size and spread of the fan base [the market for product beyond the 'hits']. I would like to think that 2500 copies will sell by mid 2023 and we as fans can look ahead [to more]. Bob Gaudio and Frankie Valli need to decide if they want to sell further product from their past by researching tape sources and build a future as 'legendary' artists with those that got them there. What do Four Seasons fans want?.......We in the FSUKAS want to celebrate all that they have achieved with the group and their co-creators such as Bob Crewe and Charlie Calello[to name just two...et al]

There are further sources and tracks to be found by the FSP but the first step is understanding and engaging with the fan base and past collaborators. Our FB presence shows the people are out there with the interest. Finding an 'investor' Record Company and Top Engineering led team of researchers is what the other 'legendary' groups have done. Frankie and Bob could do that too.....No !!!...need to do that. You cannot achieve it by simply selling your 'publishing'. You may own [most of] your 'catalogue' but you need to 'invest' in research and 'curate' it as 'art' and as a path to a future income stream for future generations. Perhaps the forthcoming 'Jersey Boys' TV Movie will trigger the next step and we can see our Campaign for the review and release of all of the Motown material and more.......complete its mission. Your comments and expectations can be voiced in our FB groups.........Ken

The Four Seasons Motown Unreleased Campaign

Frankie Valli and The Four Seasons Fans

 

In the UK there has been no greater demonstration of the importance of what we have lived through and shared as illustrated with the recent passing away of Queen Elizabeth II. An illustration of one thing the British do well is respect history and commitment as we [in the UK] have shown for her as the world has seen this last week. In an emotional week for us in the UK, it struck me when I recalled as a 5 year old her Coronation on 2nd June 1953 and our Garden Party, it was the same year that Frankie Valli started his career recording 'My Mothers Eyes'. UK fans also showed and shared our respect and love for Frankie Valli on his visit to the UK this summer working hard to entertain us at 88.

In remembrance today of Her Majesty as Ken Charmer – Former Civil Servant with Lynn Boleyn – MBE , Dr George Ingram and Ray Nichol, The Four Seasons UK Appreciation Society – Core Team.

 

 

Motown and the full Four Seasons Story - Rex Woodard:The Legacy:The Myths!

Rex Woodard – Music Detective was one of the first fans to make a difference and tell the TRUE Story of The Four Seasons and in doing so he may have created a myth. That of Jersey Boys – The Musical.

To modern day fans of the Four Seasons it may seem amazing that there was a time when we were scrambling around for news, backstories and lost tracks on cassette tape. There was no internet and a quarterly newsletter [delivered by 'snail mail'] 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 in the UK 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 in music historians 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 and for his widow a share of his royalties from the show and film. It has never been seen by the fans except in it's interpretation in the stage show. When will Rex's joint work finally go public? Possibly never as that was maybe part of the legal settlement with Tommy and his estate. And Valli and Gaudio have escaped any liability for copyright breach. Rex's widow failed to convince the U.S. Supreme Court to review a ruling that the Broadway musical “Jersey Boys” infringed his unpublished autobiography in 2021. Perhaps after the forthcoming TV film a published book may be possible.? The new film is probably needed to pay for all the lawyers involved.!! But it will not be the full story. The forthcoming Snapper Box Set will be a major step nearer musically.......and we battle still for the rest.

Rex's contribution was based on years of research and 'foundation' articles that resonate today 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 no publishers were interested. After Rex's premature passing in 1990 the draft understandably didn't surface. It had lost it's champion. But we are all to be grateful that Tommy DID make it available to the stage shows scriptwriters. We got 'Jersey Boys' 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 [in the Four Seasons Partnership or Universal Motown] wanted us to hear the truth even as 2017 began......and since then our Four Seasons Motown 'Unreleased' Campaign Facebook Page has achieved the breakthrough of another over 25 unreleased tracks showing the brilliance of Frankie and the group's achievement between 1969 and 1974 in the forthcoming Snapper Music Box Set.

In Rex's 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, by 2022 extended his work with subsequent research, to reveal the deliberate suppression of between 30 and 40 tracks, completed and left in the Universal Motown vaults unheard by the fans since. Rex's research was at the heart of our campaign for their release.....and in the release of 13 and 8 alternative versions we have achieved partial success. 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 potentially closing [leaving the national touring shows to carry 'the sound'].......we are still hoping the bio that has been the subject of so much legal time over the last 12+ years will finally be published. The recent PBS concert by an 88 year old Frankie Valli probably heralds the end of the 'LIVE' concerts, but maybe the forthcoming Snapper Music Box Set will 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.

Ken Charmer

 

The Snapper Music Box Set - Final Content Corrections

The confirmation by Snapper Music on their Madfish on-line ordering site is a welcome sight for Collectors of The Frankie Valli and the Four Seasons catalogue. We did not expect the publication of the track listing so soon as this was still being edited a fortnight ago, but it gives everyone the chance to see what we uncovered in 3 years of research of all available sources with Bill Inglot, past Four Seasons and the fan network.

But in the rush to press a few tracks got missed off the list and publicity, and which Snapper have confirmed to me will be in the final release. So this blog confirms the revisions to the track listing provided on the Madfish 'official' site. Firstly the UNRELEASED Tracks.....

• 'Killing Time' – the Crewe-Nolan penned recording missed off the 'Streetfighter' album in 1986.....somehow it got lost!!.[ I have my ideas as to why back then]....but thankfully found now in time for the Box Set and to be included on Disc 33[or 34].

• 'Can't Take My Eyes Off You' – Alternate LIVE studio version from Acetate – currently missed out of the list for Disc 13, but now restored. Given the information from Artie Schroeck, this is a very special version, as he says....."The version of Can’t Take My Eyes Off You was his performance on the session. At that time the American Federation of Musicians made the artists sing on the live session. I had the acetate of that performance and made a tape for Frankie. It was a great performance. Because it was Frankie singing live with a big band which he always wanted to do. I was pissed when they made him sing it over. ". Fortunately a superb previously unheard and original MONO version of the song has survived and is being included.

• 'Michael and Peter' - Frankie Valli/Jake Holmes DEMO MASTER for the Frank Sinatra 'Watertown' album recorded in 1969 – Currently missed out of Disc 16, but now restored.

Then there rare tracks not previously available in digital form included.

• 'Deep Inside Your Love' – Rare 45 'B' side1986 – Currently missed out of Disc 33[or 34], but now restored

• 'September Rain' as a 45 issue was an alternative recording and mix to the later album version running 2:58 rather than the 3:16 album version and with slightly different and some would say more jazz influenced orchestration.

• The 'Swearin' to God' 45 edit which was the hit version is also added as a BONUS Track to the 'Close-Up' album

• Also to make it clear, both the the previously 'unreleased' MONO MIX version of the 'Half and Half' album is included as well as the STEREO.

However there are always hits and misses in a set as big as this and there are several Out-Takes which Bob Fisher and I had wanted to be left with the count-ins and outro chat by Bob Crewe, but these have been edited out by the engineer, and fans will get 'edited versions and have to wait post release for Bob Crewe's PRICELESS comment at the end of 'Watch The Music Play'.......as before he stops recording, he says.......”Thank You Gentlemen.....that was 'lovely'”....and there are other 'Raven' session Out-Takes 1-4 of which 1 and 4 are included in edited form. However ALL of the 'Timeless' MONO Takes included appear to LIVE session masters as Artie's description.

All were in the Final List agreed with Bob Gaudio, and as Bob Fisher and I drafted it.

Now with the Book detailing the story of Frankie Valli and the Four Seasons and special Collectors Notes done, and with these tracks confirmed to me as above, it will allow Snapper to finish the set and complete 'production' targeting a 9^th December 2022 release date

The final Mastering has not been sound quality checked by producer Bob Fisher due to his premature passing last year, or by me in any way to make comment so we all have to await release and hope all goes to plan. We said back in 2021 what we wanted in terms of sound quality based on research of all of the CD re-issue catalogue since 1988.

https://thatfourseasonssound.typepad.com/seasonally/2021/07/the-four-seasons-best-mixes-our-past-blog-re-visited.html

This set has been re-mastered based on NEW transfers and we are hoping for so much.

There is always with such research, threads that could have been followed up, but would have needed more expensive Engineer's tape research time and so a 'coulda …. woulda..... shoulda' list is inevitable. Other tracks were missed due to various time and compilation decisions or not judged alternative 'takes', where it was felt the differences between album and 45 was not sufficient to justify inclusion.......and there may have been other takes and edits we just couldn't find in time. The Extended Instrumentals of 'Beggin' and 'I'm Gonna Change' could not be included due to space issues around the late 60s finds.....and there may be some unreleased tracks remaining in the Mercury Philips storage as some 16 track transfers from the Philips Reels were found but not fully mixed down other than 'Need To Get To Know You' and 'The Goose'

In retrospect, I would have liked to include the 4 songs by Don Ciccone and the band 'on their own' from a sound check recording in 1977, but these are on You Tube …......and a search of the Drexel University donated 'Sigma Studio' tapes could have donated two more tracks 'Can't Be Too Much Music' and 'Stagger Lee'....but we did find  the unreleased 'Back in Action' and the LOST Disco Album set from those 1979 sessions. Obviously the REST of the Motown Unreleased is still wanted and will be campaigned for until Bob Gaudio and Frankie Valli allow us to research all of the 29 plus tapes recovered from Universals storage for a future 'release event'

Some material was clearly unfinished and of poor quality, and some LIVE concerts suffered from Frankie having flu, so decisions re omission were based on historical importance and sufficient sound/performance quality for preservation.

Credits are included to all who helped Bob and I with tracks that we could identify as Collectors sources and the Four Seasons membership list was completed thanks to Musical Director, Robbie Robinson.

What remains is for us now is to get our own thoughts together on the influences that define the Catalogue tracks: the albums and 45s and the constraints of the various Record Companies......together with Bob Gaudio and Frankie Valli's decisions on their career objectives.......and much will be discussed in our 'Seasons On Saturday' podcasts from July to the release date [and beyond] and then you will all be able to react to your purchases. Next will be Part 6 and a review of the 1966 to 69 period and the influences and history of recordings now uncovered in the context of this tape research.

It has been and remains a great honour and real fun reviewing the past music of this legendary vocalist and all of his recorded Four Seasons and much easier for us to evaluate and compile than for Bob and Frankie with perhaps many painful connections with their private lives and business decisions. Ours is the joy of fans......and before you ask I am already planning Disc 45 – The Snapper Box Set 'Out-Takes' for 2023....haha

I am sure some kind soul will make this information available to the music collectors forums.

Ken Charmer – for The Four Seasons UK Appreciation Society Box Set Team [Lynn Boleyn, Dr George A Ingram, and Ray Nichol] and our US associate Paul Urbans

The ULTIMATE Box Set is coming

We were asked by Snapper 'what do you want to have in the planned Box Set most of all?'....and before I could think?.........Lynn Boleyn said 'THE MOTOWN UNRELEASED'........!!!!!.....In retrospect this is amusing as the Motown Unreleased Campaign has been going now since 2011, due to my research. But no-one related to Bob Gaudio and Frankie Valli's music has ever asked us that question before …... ever!.

Since then and after nearly 4 years and a huge review of tape transfers, the memorabilia, photos, picture sleeves and paper records regarding releases, we have the storytelling done and the tracks found...and superb artwork...and we have a good bunch of UNRELEASED and LIVE....and even some of the MOTOWN UNRELEASED. Some US music historians/sound collectors on the Steve Hoffman Forum accused me of being somewhat 'anal' re wanting these tracks from a largely non-existent period in Frankie's career. One top collector believes many US fans have little interest in this or even later periods saying......”It's obvious from the Partnerships reactions or 'non action' [over the decades] that they would rather forget Motown ever "never happened" for them”. For members of that group the Box Set should have been out a year ago for many as all they wanted was the 1960s albums in MONO and 'Edizione D'Oro'!!!! …a feat not possible with the pandemic!!.......but this to me also revealed the US/UK fan disconnect with regard to the UK fan groups 'holistic' view of the career of Frankie Valli and The Four Seasons........and Frankie himself has come to realise that in recent years. We revitalised his career in 1970 taking 'You're Ready Now' into the charts for the first time as we did 5 years later with 'The Night' thanks to the Northern Soul Dance scene. We also [as did other countries around the world give them hits with 'Fallen Angel', 'Silver Star', and 'Down The Hall']. The US market and record companies did not see the worldwide support they deserved.

Frankie and Bob Gaudio's commitment to this Box Set is testimony and trust that the UK fan group.....now over 51 years old.......could tackle such a project with Snapper Music. And we will deliver after a hard 4 years.

Now at last we have a release date and the design of the package is complete. December 9^th [world crises permitting] will be the date this 44 CD Box Set will see release. Whilst no music set can ever be truly ULTIMATE........this is given the history of pop music and the ebbs and flows of a 60 year career since 'Sherry'.....more comprehensive than ever before, thanks to many dedicated [and patient] 'music detectives' over the decades.....and in both the UK and US. Even Tommy DeVito's archive has been 'mined'. Classic sounds and stunning finds abound through every decade of the 'analogue' tape era from 1961 to 1986. All of the subsequent original albums and 'special' re-mixes of the CD and Dance Mix Era are collected up to 2010

We think that this is an iconic set of music by a true legend of the music industry......L'Eridata

https://burningshed.com/store/madfish/frankie-valli_four-seasons_working-our-way-back-to-you_boxset

The DAWN/RAG DOLL Re-Mastering Project 2022

These two albums remain two of the best selling Four Seasons albums ever and when ACE Records issued them on a Two-Fer in 1994 we had the best versions ever from the STEREO album Masters in the FSP vaults.

Now in 2022 as we are about to receive the MONO albums as well all re-mastered in the Snapper Music Box set the only problem is that some tracks on the STEREO albums are MONO and most STEREO versions of tracks are mixed 'wide' with the backing vocals separated in the right channel. But with Digitally Extraction software the music and vocals can be extracted and RE-MIXED to ensure all tracks are mixed consistently as on the Dawn album Tracks 3/4/5/8/11/12 and track 12 on Rag Doll.

So why not tackle this and see if a consistent vocal and instruments album can be created from the best Masters we have from the excellent ACE CD 554 from 1994. Particularly as we have a 1 Bit Studio transfer thanks to the late Stefan Wriedt to work from.

Here is a sample so far as we enjoy the 'together' sound of the Four Seasons for the whole album mixed this way. You will in time have the choice of the MONO....the original STEREO Mixes....and these NEW Centered Vocal Mixes in 2022. Enjoy!!!

Ken Charmer

 

 

 

 

 

 

'Groups' don't last but a 'Group's Sound' does

Remembering the 60s, as I and older fans do, we saw groups come and go every month. One hit wonders in many cases......or songs that just didn't get the airplay and disappeared without trace. But distinctive group sounds did succeed and survive.......and much of it in the UK grew out of the Merseybeat era that gave us the Beatles.

Doo-Wop and Rock'n'Roll performed live in basement clubs in the UK in the early 60s eventually reached the studio and into hits along with West Coast Surf groups in the charts in the US and UK.......whilst at the same time soul, folk and a new sound from Detroit......meant that a melting pot of music emerged and eventually by 1966, group or act sounds became dominant amongst record buyers.

It was at the start of this period that The Four Seasons emerged and got a foothold with listeners, with their distinctive harmonies and a lead singer with an amazing range and falsetto, which producer Bob Crewe could focus on and songwriter Bob Gaudio could write for. But everyone [including writers, artists, arrangers and producers] knew that 2/3 years of hits was the best you could achieve. Longevity [or the coming importance of album sales] was not the thought of any of these artists and those that have survived often say that. The 7” vinyl 45 rpm 'Hits' came and went very quickly and royalties often didn't and management disputes and competition buried some groups.

But once a sound became established and adopted by fans, they stayed faithful and believed in the 'group' sound. But how long would it last and would the artists/groups stay faithful to their fans needs and wants ? Well history says MAYBE........ The Beatles, The Beach Boys, The Four Tops, The Temptations are just examples of a groups sound that had a clear and distinctive element that has stood the test of time. The Four Seasons you may think had a group sound that has survived.....but if you are a longstanding fan of 'the sound' and it's development you will probably say NO. And looking at the decades of music group sounds.........only one group can claim to remain through the decades faithful to the essence of 'their sound' and that is THE TEMPTATIONS.

Spending many years collecting the recordings attributed to The Four Seasons [and the last 4 years reviewing the surviving master tapes with the late great Bob Fisher] it is clear we lost in many ways 'That 'FOUR SEASONS' Sound' many decades ago. In the forthcoming 'Seasons On Saturday' videocasts with our team I will be exploring this subject discussing the catalogue from 1965 onwards when their 'sound' was probably at it's peak.

'Who Killed The Four Seasons Sound?'.......will run through the background of these timeline related catalogue discussions as like every other successful 60s group they sought further 'fame and fortune'.[and to pay the debts Tommy left them with!!] And who are the contenders for losing the 'sound' ? Frankie Valli/Bob Gaudio/Bob Crewe/Nick Massi....or maybe Philips/Motown or Warner Curb..??.....we and this Box Set will force a re-appraisal of the group and Frankie's legacy.

For comparison and reference I look at THE TEMPTATIONS as they celebrate their 60^th Anniversary with one surviving member in Otis Williams.

https://www.youtube.com/watch?v=GwfINYh1080

The early group had an amazing and distinctive sound that grew out of doo-wop soul with multiple lead vocalists[a notable element of group success that would revive The NEW Four Seasons of the 1970s pictured above] When David Ruffin wanted the group to be renamed 'David Ruffin and the Temptations'......he was to be summarily dumped and replaced so that the sound continued and developed with highly talented replacements. In 1999 their recruited line-up went 'Platinum' with their updated but related group sound on 'Phoenix Rising'. Proof [if it was needed] that preserving and developing the group sound was something worth investing in and developing through collaboration and teamwork. They also had 'family' in the way Motown worked in the early days and the longest standing artist/manager relationship in Otis Williams and Shelly Bergen......a true and trusted hand-shake arrangement also connected with the 'brand' and with the fan base........but it would seem with much greater success than that of Frankie Valli and Bob Gaudio in The Four Seasons Partnership. There are reasons why the sound based around Frankie Valli's unique vocal was not developed as it could and this catalogue release by Snapper shows that, but also the great solo career he was able to develop.

So we have to look at the catalogue of Frankie Valli and the Four Seasons with the context of the people and the investors and record companies as making music was and remains about making money....whilst making music. Whichever is dominant we will explore as fans in a critical career appraisal through our experience as fans with a creative and former musical director and member of the group, Lee Shapiro.

The Four Seasons at Motown should have been a new 'dawn' of developing sounds and hits. That is where the 60s took them by 1971.....to join groups like The Temptations and The Commodores at a classic label, but one by then flawed with distractions and mismanagement. We still seek to fully know what happened there to Frankie and the Band. That 'campaign' goes on.

We will in our next 'Seasons On Saturday' sessions pick up the history of the group and talk about 1965 and the place the Four Seasons had in pop music and how group sounds were changing and what was done …...or not done to preserve that 'longevity'. 'That 'Four Seasons' Sound' should have been 'legendary', but will this 44 CD Box Set demonstrate that or will it be a testimony to good and bad decisions and luck.? And given our experience as a 'fan group' since the 1970s it will sadly show a lack of 'connection' with the fans for decades.....only partly overcome in the last few years. The on-going popularity of Frankie Valli tour dates by this revered 88 year old lead singer this summer [and the hoped for success of the Snapper Music Box Set] would tend to prove the 'legendary' status is intact....much is owed to the team led by long-time musical director Robbie Robinson...since 1978 for the touring band....and all of the 'Four Seasons' band members through the decades.....So what of the journey from 1962 to today ? The next 'Seasons On Saturday' videocast will be coming in May. Next time 1965 to 1967......Frankie Valli's second solo career.....catch the previous episodes here.

Part 1

Part 2

Part 3

Part 4

Happy Easter everyone.

Ken Charmer – Music Historian – The Four Seasons UK Appreciation Society

Lynn Boleyn MBE– Secretary and PR

'A Soul Of Cellophane' - Frankie Valli 1968

The research of the Four Seasons Partnership Archive we thought would have produced several unreleased tracks from the late 60s recording session as well as both STEREO and MONO Masters of singles and the albums. Well, it was a case of good news and bad news.

The BIG find of a MONO mix of the Genuine Imitation Life Gazette was a starting BONUS whilst news of the Half and Half album also in unreleased MONO form gave us optimism more would surface as many experimental sessions took place during the period from 1968 to 1970.

One such track that had never been released in STEREO was ‘A Face Without A Name’…although it is rumoured to have been released on 45 on Bob Crewe’s CGC Label CGC – 18 DJ PROMO, but we have been unable to find anyone who has ever had a copy or check . This Master was 1-44773 but it was also a Master number 1- 42858 from late 1968 sessions and released on Philips. So was it recorded twice? We will probably never know. There has never been a more ‘cutting’ lyric from Bob Crewe as he ‘calls out’ a former partner as having a ‘soul of cellophane’ in this sad and  rare song . It is a song and an arrangement worthy of highlighting and reviewing.

Our research of the FSP archive revealed one version was on the tape of UNRELEASED tracks on a 5 inch Tape Reel so we asked Bill Inglot to send it but the tape box turned out to have the damaged MONO Timeless tracks in the Tape Box. So as there are 200 tapes [5 inch] still in the storage ……many unlabelled ….and obviously with little time [and a spent budget] he couldn’t find it, so we have lost this Master [and ‘I Was A Boy/Baby’ and ‘Alone Again’ – an Artie Schroeck penned song on the same tape]

There appears to be only the one MONO surviving version after checking all the transfers. This appears to be as the ACE Half and Half album CD Bonus Track. Well we have no choice unless anyone knows of another version?

A copy on the PolyComp Salvage Tape or a vinyl dub was our only alternativet. As no-one has it in STEREO this appears the best and only surviving version and has been used in the Box Set.

So as an experiment our DES team worked using AI software to produced an interpretation of how this superb song and performance might sound in STEREO which we have uploaded onto you Tube. The instrumentation is mixed into both channels….and builds gradually in we hope an entertaining version in which the piano is clearly on the left as can be heard at 3:19 mins……

Here is the result……….Ken Charmer

 

 

Motown 'Unreleased' - The Final Word........for now!

Following my Motown ‘Unreleased’ Project Plan to research the tapes which I did back in 2019 and updated this year, it is clear that Universal Motown have not done FULL listening tests of the Tapes recovered from the Iron Mountain storage, but our hope is that the Tapes listed in my spreadsheet from a 1990s database they had compiled have ALL been found and transferred to Bob and Shannon Gaudio and they will eventually be the basis of a detailed 'listening' review for a collectors release at a future date and as a follow on to the release of the Snapper Music Box Set this summer. However we think that not all of the tapes we have identified in the Project Plan have been sent to them or recovered from the vault.

From what we knew back in early 2019 only a review of the Tape Boxes was done [and not the Artists Cards] by the Universal Motown Vault Service Department pending decision by Bob Gaudio re what he wanted. At that time the Tape Box scans revealed that there were 19 [see below] that showed with vocals indicated.  This of course was not a guarantee.  They could be demos or scratch vocals, or mismarked.  They needed to be digitally transferred and played to see if they exist. And other undocumented tracks could be found on the tapes that contain vocals as Universal have found in the past as these tracks contain all of the Production sessions and all of the TAKES and not only by Frankie in some cases depending on the producer.[e.g Hal Davis with Michael Jackson and Frankie Valli sessions?] What we can tell you is the songs that appeared to have Frankie's vocals on from Tape Boxes for the Motown Unreleased part of the Box Set in January 2019 were:

        My Heart Cries Out For You
        Chained
        Save The Children
        Girl, Don't Take Your Love From Me
        Never Gonna Give My Love To You
        You're A Song (Slow version/Fast Version?)
        Loving You, That's My Thing
        Stop, Look And Listen To Your Heart
        Thank You For Yesterday
        I Will Love You Like A Man
        When I Come Of Age
        You Can't Hold On
        Hymn To Her (When My Love Touches Me)
        (You've Gotta Make Your) Tomorrow Tonight
        Whatever You Want
        Future Years

        Lovers
        Getting Over You

        Star

* Additionally, there were another 11 songs, with indicated possible vocals:

        Starvin' For Your Love
        Time Will Tell
        Wigs And Lashes
        Where Love Ends
        I'll Make It Up To You
        After I'm Gone
        Minute By Minute - Day By Day
        After You
        Live It Up
        With You

* Lastly, there are songs with alternate vocal 'takes' of existing releases like 'Hickory' and the 45 version of 'Listening To Yesterday' which had still to be found

Some of these songs we knew of only as rumoured recordings and some that are missing from this list we know may have been completed and copied as we have detailed locations for them in the Project Research Plan [e.g Be My Lover, Be My Friend]. What has happened since early 2019 is that as a result of the tapes being sent to Bob Gaudio, as he requested, he has reviewed enough of them to give us 13 of a potential 30 unreleased tracks including songs like the rumoured 'Minute By Minute, Day By Day' and 'After You' which are simply amazing finds. Clearly with more work by the Vault Services Team at Universal Motown and investment in time and finance by them and the FSP in listening tests and mixing down, there could be much more of adequate quality for release. It needs Bob Gaudio and Frankie to believe it is 'worth the chase' [and cost!!....yes we know they can afford it] as they seemed to be unconvinced at the time and we are getting so few 'unreleased' tracks in 2022. However, what has been found confirmed what I have maintained since the start of the Four Seasons Motown Unreleased Campaign over 4 years ago, and as has been indicated from some 12 years of detailed paper records research. Obviously resources, collaboration and co-ordination is needed to complete the story. Simply put.......do Bob and Frankie care enough about what the fans want.?

So the potential in ‘Future Years’ is for a comprehensive Box Set from the only known remaining Multi-Track Library in the group’s history to still exist. THE MOTOWN YEARS SESSIONS BOX SET...........will be the target. And those of you that purchase the forthcoming Box Set will get to sonically appreciate why the FB Motown Campaign group was necessary and its continuation. Fortunately the 'financial model'.......$1m cash flow, enabled us to get these tracks as part of the full catalogue from 1962 to 2010. But the Snapper budget could only go so far and the extended time we spent produced many late finds. We are all grateful for how Bob Gaudio, Universal and Snapper Music have responded to Snapper's great decision to embark on this project, and although it falls short of expectations there is hope for more. It is all about money and the licensing and return on investment and not always a view of strengthening the 'brand' or preserving the 'art' as we [the fans] have done with the input to the forthcoming Box Set. Snapper believe they will do that with a 'sensational' product. We will see what impact it has and how the planned Jersey Boys TV movie works in conjunction with it. Without doubt the combination will set the future perception of The Four Seasons Story. We know the customer base, for these tracks and their history, and we only have a few more pieces for the jigsaw until the catalogue is complete. Then there is the 'story' behind the tracks.....'The Work' [Rex Woodard- Tommy DeVito]and 'The Rise and Fall Of The NEW Four Seasons'[our e-book]........more on these in future blogs........ and maybe Mike Derrico's long planned book?.

I will, later this year after the Box Set release, change the FB group's name to 'THE FOUR SEASONS RARE AND UNRELEASED MUSIC' as the focus moves on to the big picture of the catalogue and we can all comment on the 'rare' finds once released and what still remains unheard or unfound. The REST of the Motown Unreleased will remain a target and I want at least a recognition that our data has identified 'un-researched sources' and maybe the prospect exists of a follow on not as a limited edition like the Snapper Music Box Set but some regular releases at a lower cost for all. For now though you have all we know re the Motown contract years and subsequent releases in these blogs.

Some other tracks didn't make the Box Set and I will seek to share these when I can and do more DES versions for the You Tube Channel.

Celebrating the catalogue and unearthing 'lost gems' is still our aim.

More on the Tape Research 'finds' next time

 

Ken Charmer - Music Historian for the UK Four Seasons Appreciation Society

THE FRANKIE VALLI AND THE FOUR SEASONS MOTOWN UNRELEASED PROJECT PLAN – CONCLUSIONS

So in Spring 2022 as we approach the release of the Snapper Music Box Set I have shared the accumulated information from Universal Motown's paper records from the 1970s . The research from the start of the century has been a core reason for the incorporation in a 'catalogue' based box set and I have done the Research Plan blog posts and maintained the social media Facebook Page “The Four Seasons Motown Unreleased Campaign' because we and Snapper Music with Bob Gaudio have not had the disclosure of the full story of what IS in the vaults and the comprehensive feedback from Universal to the research team I was a member of. Back in 2018 when Snapper Music were in contract discussions with Gene Zacharewicz at Universal it was confirmed that there were between 38-50 tapes that needed be researched to identify the released and 'unreleased' tracks that have survived. The Vault Service Tape Manager Andy Skurow was to research the Tapes and by early 2019 he had identified 19 unreleased vocals and had a further 11 that needed to be reviewed. This was based on the Tape Boxes and internal correspondence. Bob Gaudio was concerned re the complexity and uncertainty but eventually accepted he would review 2 track Masters and then Mix from 16/32 track those he and Frankie approved. It is clear the Vault manager simply read what was on the tape boxes and he said that listening tests of the multi-tracks was needed. It was eventually agreed he was to supply Bob and Frankie with either ALL of the Multi – tracks or selected and discovered 'unreleased' vocals. I believe he supplied a restricted selection. That is my opinion, but whatever happened we [Bob Fisher and I] were left out of the 'loop'. The Four Seasons at Motown has always been maintained by a veil of secrecy particularly in the days of lawyer Peter Bennett who told me any tracks there had been wiped or were demo's.....but facts are facts and I have told Harry Weinger at Universal that 'openness and transparancy' should be the way to work with researchers like myself and former Motown people such as Bob Fisher[unfortunately Bob passed away during our project]. I have only published all we know now because Universal have always operated a 'smoke and mirrors' approach rather than collaborative re these tracks. Unfortunately this is still a failure of the Record Industry and even Bob Gaudio[and maybe Frankie] have wanted this archive hidden from research for over 43 years.

As a part of the Snapper Research team we did NOT get to see the Tape Box scans[even though these were made available to Bob Gaudio], other than one, and our Tape Index Spreadsheet was criticised as 'loaded with errors'. Given that this was a Motown Tape Index supplied back at the start of the century from their paper/computer records this was a surprise as it was a follow on to the original listing of unreleased titles supplied in the 1990s by Tom DePerrio, and was confirmed by Cary Mansfield and corroborated in many cases by Artists Cards in 2011.  The details provided by Universal Motown to Snapper and Bob Gaudio was clearly incomplete and did not target the Tapes identified fully re the location advised on Artists Cards as these Project Plan Notes show. Delays within Universal [pre-pandemic] and pressure to complete contracts on this key part of the Box set did not help. After this superficial review it is no wonder Bob Gaudio was reluctant to review the tapes due to the time and cost involved and he rightly expected more from them. T tape safety copies and P tape transfers have not been fully followed up, and this exercise does Universal no credit nor the Archive Management Team. Feedback to Snapper revealed some previously unknown recordings [like 'Chained' and 'Starvin' For Your Love'] and it did indicate that most of the tracks we had discovered as having had Motown Master Nr's were existing most likely completed tracks. Andy Skurow did not share data with us and we believe Bob Gaudio as he should. In many cases Stereo Mix Downs existed but were not supplied. We could have helped trace down more but maybe it would have added work for the Vault Issue Department.?

I do know that Bob Gaudio appreciates that there is a sizeable group of fans and collectors in the world that have worked very hard to get the material that is going into the Box Set. He trusted us to find what we could in the Four Seasons Partnership[FSP] storage facility of tapes and the quality of what he has reviewed and approved for release from Universal Motown is superb. He asked back in 2019.....”Someone at Universal, if possible, could get a 2-track on the songs that Frankie put vocals on. Snapper have agreed to cover the cost, if indeed it is reasonable.  Once I can decide with Frankie, what is acceptable for release with Snapper, I would then require 16/24 or 32 tracks.  I would then mix them down for the Snapper project.  I hope this isn’t too much to deal with, because revisiting the past can sometimes be painful.  But apparently, there is a world of fans who would appreciate everyone’s efforts.  I thank you for all for your time.”......We reckon he did the best he could in in the time available for inclusion and for contracts to be set. It is just unfortunate that 'I Will Love You Like A Man' was left out after approval for perhaps LGBTQ sensitivity reasons.

From the tracks listed re vocals existing the Vault Manager made some mistakes but fortunately Bob has found vocals and mixed and approved them for the 13 tracks included. This just confirms the need for 'listening tests'. As a bonus we found alternative mixes of several tracks in the FSP archive supplied back in 1973/74 as sample mixes which we have salvaged so that they can be added to Disc 22 to show the alternative mixes considered at the time. The results overall for this CD are amazing and whilst we haven't heard the rest of the 'unreleased' that we have listed we have evidence that many other tracks with vocals have been found and survive. We believe the whole of the sessions history at Motown should be researched and  made available to fans as has the Beach Boys catalogue of session masters and alternate takes.

The problem is that Universal Motown OWN these masters and whilst in this day and age after 50 years the Masters should, in any reasonable persons eyes, revert to Bob and Frankie , Universal are NOT going to give up masters to their former artists. That is policy. They have licensed both released and some unreleased but will not give up ownership, especially for a music legend like Frankie Valli. The  multi-track tapes represent a gold-mine of the creative skills of artists and producers and they will issue tracks from them when money is to be made from them.......hence the current Stoney/Meatloaf compilation....so soon after his passing.

The notes I have compiled in the Research Plan demonstrate the sources to be checked to verify where completed tracks have survived and not just what appears on the Tape Boxes. If and when the FSP want to or feel able to challenge ownership then maybe we will hear more or maybe Universal Motown will be open to licensing with an independent Record Label in the future.......but don't hold your breath – it has taken 14 years since the first and only CD release of their Motown released tracks.  Mixing and evaluation is a cost I know Bob Gaudio questions as worthwhile spending for release, as is challenging Universal's ownership. As collectors and researchers we know that such finds will be treasures for us and future generations and a good long-term investment for the FSP and if the opportunity to preserve them exists, in the future, we are ready and willing to help and have a plan and know the sources. …....until someone listens to all of the tapes and tells all.

The Motown Master Nr list of Frankie Valli and Four Seasons tracks is given in the link below indicating probably completed tracks with the released tracks being highlighted in yellow. So there are a minimum of 32 UNRELEASED Completed Masters...we have identified locations for 90%....and this summer will see the release of another 13 as highlighted in blue. And whilst we are still alive to say it.......this is our history, and I will keep the FB Campaign Page going and we should all blame Universal Motown for what we and the FSP don't have. They have simply passed all the work to Bob Gaudio for the listening tests and may not have supplied all of the Tapes we have listed. We want more....particularly the missing Bob Crewe productions from 1973......But this Box Set is a godsend....a real treasure for all fans and collectors.....in spite of Universal.

More details on tracks found.....probably!!.......next time

The Motown Master List

'Motown Unreleased' Project Research Plan - Part 7

Session Review Notes

Period 1973[Oct- Dec]

Artist:Frankie Valli and The Four Seasons

Bob Crewe Late 1973 Sessions Frankie Valli[ Four Seasons]

[lncluding Kenny Nolan, Charlie Calello and Nick Massi and a Four Seasons including Gerry Polci and Lee Shapiro, Joe Long and Demitri Callas]

Core Tapes to be researched: P2664:

Track Title: My Eyes Adore You-Title on Artists Card!! [Alternative Mix found and proposed for release Summer 2020]

Artist: Frankie Valli

Producer: Bob Crewe

Motown Master: 62522

First Location Tape: P2664

Second Location: T5178

Additional Location: P5085[Album]

Notes

It's very interesting studying the Artists Card for 'My Eyes Adore You' which shows the first stereo mix done on 11th December 1973 and copies done to T tape 5178 but then again some 6 months later on 4th and 10th June.(the second one being to P5085 the mysterious album tape Motown assembled that month). So then there is the note “mixes out to producer” in red and “tune sold back to producer”.

This raises the question of 'when' was it sold?. Perhaps it was as late as June 1974 and that is when Crewe/Valli/Gaudio started 'hawking it around' to other Record Companies before signing Frankie Valli up to Private Stock.? Does anyone know more?

Charles Calello told us he put added strings on the copy purchased for release in late 1974. This copy remains in Motown’s vault as the original Master and we found a Tape Box of a ‘New Mix?’ version in the FSP Archives. It has a louder guitar in the mix and a different vocal outro from Frankie which is not as effective as the version later released on Private Stock. We have proposed this version for inclusion as a Bonus Track in the Box Set ‘unreleased’ tracks Disc 22.

Track Title: Hymn To Her [found and for release Summer 2020]

Artist: Four Seasons

Producer: Bob Crewe

Motown Master: 62523

First Location Tape: P2664

Second Location: T5198[78?]/T5767

Additional Location: P5085[Album]

Notes

The administrators that did the Artists Cards at Motown in 1973 didn't always get the right 'gender' message as the data for Master Nr 62523 shows.[Titled ‘Hymn To You’ !!] This magnificent Bob Crewe-Kenny Nolan song just oozes quality and the anthemic 4 Seasons which we know include Nick Massi lift it to another level. Frankie Valli may have wanted to get away from his falsetto hence the focus on 'My Eyes Adored You' rather than this but it is suggested he did try to buy 'other masters' from the label in Rex Woodard's article from Billboard in 1981. He now knows the superb master for this still exists and that fans would love it as we have put the acetate on You Tube since 2011 when we uncovered it.  Mixed as early as 11th December 1973 and subsequently copied to album Tape P5085 which we now know had tracks added in May 1974 all too late for a frustrated group and producer and never released. Bob Gaudio already had plans to take this group in a new direction and Frankie Valli wanted to re-establish himself separately as a solo performer. Did Frankie Valli's solo ambitions eventually destroy the Four Seasons sound?.....answers on a postcard to......The Four Seasons Partnership c/o...!!!........it is however ESSENTIAL FOUR SEASONS. The mix approved by Bob Gaudio for inclusion in the Snapper Box Set is different to the copy we found in the FSP Archive....it had been there since 1974??....and is the same choir fade-in start as the acetate. It has been proposed for inclusion in the Box Set as an alternative Mix.

Track Title: Lovers [found and for release Summer 2020]

Artist: Four Seasons

Producer: Bob Crewe

Motown Master: 62524

First Location Tape: P2664

Second Location: T5198

Additional Location: P5085[Album]

Notes

This is one of the last unreleased recordings from the November 1973 sessions with Bob Crewe and Kenny Nolan and the Four Seasons that included Lee Shapiro and Gerry Polci. Charlie Calello was the arranger and Nick Massi also arranged the vocals and contributed to the harmonies. We have salvaged an acetate copy and posted the recovered version of this on You Tube since 2011, but this card confirms all we had from the Tape Index was correct. Bob Gaudio has mixed and approved a version for inclusion on the Snapper Music Box Set. It is on P2664 but was mixed and copied to P5085 in May 1974 which was the album assembled for release as Crewe/Valli/Gaudio decided to leave the label and try to take the songs they had done. It's a pity this one couldn't be bought along with 'My Eyes Adored You' as it would probably have sold well.

The FSP Archive actually contained an alternative mix with slightly different closing which we believe was the final mix selected for copying to the cancelled album tape. It has been proposed for inclusion in the Box Set.

Track Title: You've Got To Make Your Tomorrow Tonight

Second Location: T5198

Notes

This track has been found as an acetate demo but begs the question....Why?. It is a Wonder Who styled song of ‘novelty’ quality but was completed. It can be heard on our You Tube channel ‘Mowest Chameleon’.  Maybe it is more a joke by Bob Crewe to wind-up Motown Execs.? But whilst interesting it isn't a strong addition to the groups catalogue although done at the same sessions as the above tracks and with the same personnel.

Track Title :Hickory [Extended Version]

Artist: Four Seasons

Producer: Bob Crewe

Motown Master: 62521

First Location Tape: P2664

Notes

Although a released 45 - Motown 1288FA we found an acetate in 2011 of the ‘Extended’ version with an extra verse and a superb Frankie Valli falsetto ending. Whether it has been found or reviewed by Bob Gaudio is unclear as he identified that he did NOT WANT the extended version of ‘Charisma’ included in the Box Set even though it was included in the 2008 Motown Anthology 2 CD Box set.!!! Obviously it should be.....but why a NO from him when I sent him the Master of ‘Charisma’ Extended?

The version we have of ‘Hickory Extended’ is on You Tube here, but there is no evidence the version has survived but if so it should be on Tape P2664.....and should be released.

There are rumoured other tracks from this session tape to be confirmed via listening tests which given the volume of Tapes involved may not have happened yet and most certainly Universal Motown are not allowing anything else to be included in the Box Set and Bob Gaudio is not approving anything else for this project

Next Time......Summary/Conclusions

Ken Charmer – Music Historian

'Motown Unreleased' Project Research Plan - Part 6

Session Review Notes

Period 1973[Mid] – Bob Gaudio sessions

Artist:Frankie Valli

Core Tapes to be researched: P2878: 2505

Track Title: Future Years [found and for release Summer 2020]

Artist: Frankie Valli

Producer: Bob Gaudio

Motown Master: 62216

First Location Tape: P2678

Second Location: T5232

Notes

Our final Artists Card in a set of 23 for individual recordings was not the last recording but  from the final Bob Gaudio session at Motown with Valli seeking to find a 'solo' hit.(in May 1973). 'Future Years' had no writing credits as far as we could find during our research but represents a 'telling' title to close the Motown 'unreleased' Artists Cards. With a completed Master Nr 62216 it was probably recorded before 'The Scalawag Song' (62300) although it appears on a later P tape (2678 c/f 2505). Recording dates show May/June recording and it was part of Bob Gaudio’s review of the Motown Tapes transferred to him by the Vault Issue Department at Universal Motown,. He obviously focused on his own sessions which he knew/recalled best and this track has been approved for release as part of the Snapper Music Box Set.. It is an excellent and prophetic lyric written by Tony Martin Jr and Guy Finlay who Bob Gaudio would go on to produce an album with, before leaving Motown. The track was copied to Tapes P5084/5 as part of a planned album in May 1974 as the group and Bob Crewe left the label. Gaudio would leave as a writer/producer in 1975 . It appeared to only ever be stored as a 16 track master but whilst reviewing the FSP archive we found a number of unreleased Motown Copy Tapes and one included this song but in a different ‘Take’ with slightly different closing instrumental and vocal. It has been put forward for inclusion in the Box Set as an Alternative Version.

 

Track Title: Getting Over You

Artist: Frankie Valli

Producer: Bob Gaudio

Motown Master: 62217

First Location Tape: P2678

Second Location: T5232

Notes

It appears that before Bob Crewe took the NEW Four Seasons into the studio with Nick Massi and Charlie Calello in November 1973 that Bob Gaudio did further summer tracks with Frankie Valli targeting a solo hit. The only Master to emerge as a Motown release from these sessions is 'The Scalawag Song' (62300). A beautiful song but another poorly promoted release by Motown. But other songs with earlier Master Nrs would indicate other unreleased but completed songs from such sessions. 'Getting Over You' (62217) is one of three other Master numbers (with 62216 and 8) that appear to come from a May 1973 session that we know very little about. What we do know is the Artists Card captures some clues as to the last solo session Valli did at Motown. Some confusion seems to have existed when the card was produced as to whether the song was being recorded by Martin and Finley as opposed to Frankie Valli. We know Bob Gaudio produced Martin and Finley's sole Motown album 'Dazzle 'Em With Footwork' – a very disappointing sounding album which appeared in 1974 before Gaudio left Motown. A later added note (in red) on the Artists Card indicates the departure of the group from Motown saying 'Out Of Spec' which appears on a few of the last Cards. Although clearly found by Bob Gaudio in his review of the tapes in 2019 it was a surprise that it was not approved for release along with others from these sessions. But it is complete and we want it!!.

Track Title: Whatever You Want [found and for release Summer 2020]

Artist: Frankie Valli

Producer: Bob Gaudio

Motown Master: 62218

First Location Tape: P2678

Second Location: T5232

Additional Location: T5736[30May1974] P5085[Album]

Notes

 A song which is a throwback to 1962 and Bob Gaudio and Bob Crewe's developing writing partnership. The song is 'Whatever You Want' and the Artists Card and Tape Index show this was recorded by Frankie Valli at a May 1973 session with producer Bob Gaudio on P Tape 2678. It is, of course, a re-make of the classic 1962 Jerry Butler song of the same name written by Gaudio-Crewe and originally released on Vee-Jay 486(SS195 UK). Could it be as good as the superb Jerry Butler original updated by Frankie Valli?. Well Motown thought so in May 1974 as they copied it to the then planned P5085 Master tape for a NEW album which would never see release as the group left Motown. It has lush Beach Boys style backing vocals by Motown session singers and a plaintiff Frankie Valli vocal. A great sound.

Well we also found a copy of it in the FSP archive from 1974 so Frankie and Bob had always known it was complete and there. This is an underdub version with a piano only backing. But it is a superb production and vocal/backing and has been proposed by us  for release.

Track Title: You Can't Hold On [found and for release Summer 2020]

Artist: Frankie Valli

Producer: Bob Gaudio

Motown Master: 62299

First Location Tape: P2505

Second Location: T4389

Additional Location:  P5084[Album]

Notes

Back to the Motown Records Artist's Card that supply clues of happenings at Motown in both 1973 and 1974 we found 'You Can't Hold On' was not a song title for which we can identify writers [and Motown refer to it as COPYRIGHT CONTROL] but it was one of a handful of songs Bob Gaudio produced with Frankie Valli in May 1973 as it is on the same P track tape as 'Scalawag' (Master Nr 62300) and has the previous Master Nr 62299. The copy dates were at first misleading, but what has emerged is that Stereo Mixes of the song were made in May 1974 for possible use as the B side to a single proposed for ‘The Night’. We found a copy of both Mix 4 of this track with Mix 39 of The Night [ the Frankie Valli lead-in version of 43 mixed in total !!]. If Valli/Gaudio and Crewe hadn't confronted Motown and left with 'My Eyes Adored You' we may have heard this on a released album in late 1974 as it was also copied to Tape P5085 for that cancelled album. But researching the FSP Archive we also found 2  different versions to the one approved as a final ‘Take 6’ Mix which has alternate Valli and backing vocals and has been put forward for inclusion in the Box Set.

This may also be one of the tracks they also tried to 'buy' from Motown who wanted too much money for them . Were 'My Eyes Adored You' and the released 'Scalawag ', the best of the tracks they had in the vault from these 1973 sessions ?. Well our research and this Snapper Box set release will show there were many quality tracks still left behind [or sitting with Bob Gaudio ] as documented in this research plan.

Next Time......Part 6 – Bob Crewe’s November/December sessions 1973

 

Ken Charmer – Music Historian

'Motown Unreleased' Project Research Plan - Part 5

Session Review Notes

Period 1973[Jan] – 1973[May]

Artist:Frankie Valli

Introduction

With Bob Crewe recovered from his breakdown in 1970 and being re-signed as a writer producer with Motown[for Bobby Darin sessions in October 1972], he and Bob Gaudio patched up past differences and resumed writing together and in late 1972/ early 1973 recording sessions with Frankie Valli [with perhaps the Four Seasons and/or  Motown Session singers as the Four Seasons] took place.

The start of 1973 appears to be a low point for Frankie Valli and the Four Seasons with the imminent demise of Mowest and their allocation back to Motown, when Frankie actually sacked the group and recruited new members Gerry Polci and Lee Shapiro.by the middle of the year.

The return of Bob Crewe shows that they returned to the studio [in late 1972] as at the beginning of 1973  mixing of stereo tracks and registration of Master Nrs for potential release resumed. There is no indication in the filing systems if sessions were in LA or in NYC which was the location for their later 1973 sessions with Bob Crewe. The first P tape(16 track) to be listed in a clear run of sessions involving Crewe/Gaudio were P2388 and 9 with several mixes done to stereo masters in February 1973 and there was a new sound emerging and more importantly Crewe-Gaudio were writing and producing together again. 4th Feb 1973 saw 'With My Eyes Wide Open' (Master Nr 61749) a magnificent anthemic song which should have gotten the interest of Motown Execs. But they didn't see the single potential and this would not get release until the 'retrospective' 'Inside You’ album in 1975

Core Tapes to be researched: P 2388/89: 2414: 2511: 2656

Track Title: Be My Lover Be My Friend

Artist: Frankie Valli

Producer: Bob Crewe – Bob Gaudio

Motown Master: 61633

First Location Tape: P2414

Second Location: T3742

Notes

But  the earliest Master Nr from these sessions was we know a song Bob Crewe composed with friends Ellie Greenwich (who we saw helping Bob in the studio in George Schowerer's photos of the 'Can't Take My Eyes Off You' sessions) and former Four Evers singer Steve Tudanger. The song 'Be My Lover, Be My Friend' (Master Nr 61633) is listed in Ellie's compositions on the BMI database, but we can find no record of it being recorded by anyone but the Four Seasons. It was completed and mixed and copied to T3742 as a safety copy. This would appear to be the start of plans for a new album and the start of very important sessions to revive Frankie and the group..

Track Title: Star [found and for release Summer 2020]

Artist: Frankie Valli

Producer: Bob Crewe – Bob Gaudio

Motown Master: 61746

First Location Tape: P2389

Second Location: T3728

Notes

Researching the 'unreleased' tracks and the Artists Cards, it proved impossible to find writing credits for a song called 'Star' as there have been so many with that title on the BMI and ASCAP databases. But the rumoured version as recorded by the Four Seasons was found to definitely exist by the Artists Card which lists the Master as 61746 and is located on Tapes P2389 and T3728. Produced by Gaudio-Crewe it now turns out to have been written  by them and it's Master and Tape Numbers indicates it was recorded in December 1972 and January 1973 at the same sessions that produced 'Listen To Yesterday'(61747). But although it is listed as a Four Seasons track it may have been part of sessions involving Motown session singers as on later tracks during this period. It remains 16 track only according to the Artists Card but was confirmed as a salvaged track in the Motown internal memos of 2002 and a contender for CD release in the 2006 draft compilation. The supply to Snapper of a Tape Box scan showed it as on the same tape as 'With My Eyes Wide Open'(61749), and closely followed by  'Inside You'(61758) and 'How Come'(62130). It was the only Tape Box scan from the Motown period that we were supplied with during the box set research and it confirms so much and clearly why it was mixed and approved by Bob Gaudio. But interestingly it is the secondary location T3728 and not the original P notation session tape. That raises more questions from us?  It is a very unusual song which starts with a driving rock vocal before it drops in to a slow harmonic Seasons harmony ballad with soaring falsetto by Frankie.  It is a simply amazing song and production that will be loved by fans.

Track Title: Listen To Yesterday [Alternatives]

Artist: Frankie Valli

Producer: Bob Crewe – Bob Gaudio

Motown Master: 61747

First Location Tape: P2389

Second Location: T2389 and T3728

Alternative Locations: T4240/P4617[10 Stereo Mixes]

Notes

The reason for including this track is that although released in 2 versions, the original which had two 45 releases has never appeared in CD format. The version released on The Motown Years 2 CD set in 2008 was an alternative version with surf sound opening and Four Seasons type male backing harmonies whereas the original vinyl version [also available on the 'Inside You' 1975 album] features  female backing vocals. The tapes need research to recover the original 45 mix

Track Title: Turn It All Around

Artist: Frankie Valli

Producer: Bob Crewe

Motown Master: 62131

First Location Tape: P2511

Second Location: P2656

Additional Location: T4162[24 Track]

Notes

As we attempt to 'Turn It All Around' (and get this music released) we found the Artists Card for this Bob Crewe production from the very important P tape 2505. At least we know the writers for this....Bob Crewe and Bob Hardwick who would also write for the Bob Crewe Generation a few years later (the ‘Motivation’ album). We have never heard the song but the tape contains the incomparable 'How Come' so was probably from the same spring 1974 session. Recorded in stunning 24 track this was copied to 2 different tapes so should have been found and approved in the Snapper Box Set. The question remains ‘how could this not be up to standard.?’

 

Track Title: Give Us This Day

Artist: Frankie Valli

Producer: Bob Crewe

Motown Master: 62132

First Location Tape: P2511

Second Location: T4162[24 Track]

Additional Location: P2656

Notes

This appears to be the remaining song from the 'How Come' sessions in Spring 1973 which is two Master Nrs later. This we found is a Bob Crewe-Alan Paul Shatkin composition.  Shatkin had worked with Crewe as early as 1969 ( To Give/Who Am I – Karen Wyman) and they would team up again for Disco-Tex and the Sex-O-Lettes (I See Your Name) 'Up In Lights' in 1975. 'Anything and Everything'(ain't nothing without you) was published the same month as this recording and this one appears in Crewe's BMI listing.

This Artists Card once again fails to get Crewe's name correct. It was never mixed to Stereo but was copied to 24 track tape. Another mystery track from previously unknown sessions, its completion is evidenced by the Artists Card showing it being Motown Master Nr 62132

All of these sessions were moving to a planned  August 1973 album release - Motown 788 [ titled ‘Inside Out’ – but not issued] and these titles are preceding the Bob Gaudio ‘Scalawag’ summer sessions and the Bob Crewe 'Hickory' sessions which we will come to in Parts 6 and 7.

Next Time......Part 6 – Bob Gaudio’s summer sessions

 

Ken Charmer – Music Historian

'Motown Unreleased' Project Research Plan - Part 4

Session Review Notes

Period 1972[Aug] – 1972[Dec]

Artist:Frankie Valli

Mid-Late 1972 Frankie Valli Sessions

Background

Record keeping and session information is pretty slim/erratic for this period but based on Master and Tape Index Nrs, sessions with Frankie Valli did take place. Bob Gaudio I recall in interview with Stu Miller at the time said Valli was just doing demos for other artists and it is true some titles listed are released by other artists and some may well be demos. These tracks are grouped together due to limited data with what we know until more is found but generally they cover sessions with Hal Davis, Willie Hutch and Michael Masser. No clear session dates are available for most and some may be recorded earlier in 1972. However if they were given a Motown Master Number we would expect them to be completed. Whether they remain intact requires a tape listening review.

Core Tapes: P2134: P2304: P2351: P2352: P2440

Track Title: With You

Artist: Frankie Valli

Producer: Not Known[possibly Hal Davis]

Motown Master: 61561

First Location Tape: Not Known[Possibly P2304 or P2351]

Notes

It is believed this is the Carole Bayer Sagar – Ken Ascher song that Frankie Valli eventually released on the “Lady Put The Light Out' album on Private Stock PS 7002 in 1977. The Motown Master Nr does confirm a completed product but no Artists Card has been found and the Tape location is unknown

Track Title: Include Me In Your Life

Artist: Frankie Valli

Producer: Not Known[probably Hal Davis]

Motown Master: Not known

First Location Tape: P2304

Notes

A song recorded in the same period by Diana Ross and Marvin Gaye, and released as the B' Side to "My Mistake (Was To Love You)", the writers being McLeod/Bolton and the producer was Hal Davis. The Valli version may well have been used as a demo for the release as it has no Master Nr but listed to exist on Tape P2304. Tape Box information indicates it was “Reassigned to Suzie Ikeda/Suzie vocals/Also Ross/Gaye” but on the 1990s internal Universal  list as recorded by Frankie Valli

Track Title: Point Of No Return

Artist: Frankie Valli

Producer: Not known[possibly Hal Davis]

Motown Master: Not Known

First Location Tape: P2304

Notes

Research Kev Singer identified that this title was recorded by The Stylistics on their self-named 1971 Avco album. As 'Stop, Look and Listen' is also listed as a Valli recorded song [which has been found complete and for release this year] we would suggest a Hal Davis production of this excellent Thom Bell-Linda Creed composition. On the 1990s internal Universal  list as recorded by Frankie Valli

Track Title: Where Love Ends

Artist: Frankie Valli

Producer: Not Known[possibly Willie Hutch]

Motown Master: Not known

First Location Tape: P2134

Notes

All we have for this title is the Tape Index reference  and lists from the 1990s and 2002 [Motown internal memo] which give this track as existing. Only 2 BMI listings exist for the title and one is a Michel Legrand orchestral piece.

Track Title: I'll Make It Up To You

Artist: Frankie Valli

Producer: Not Known[possibly Willie Hutch]

Motown Master: Not known

First Location Tape: P2134

Notes

This and the previous track are listed as on the same tape as the released Willie Hutch produced and written 'Thank You' which was recovered from P2134 and mixed for inclusion on the 1975 album 'Inside You'. Again it is listed in the 1990s and 2002 Motown lists. A review of P2134 16 track Tape is needed

Track Title: Minute By Minute – Day By Day [found and for release Summer 2020]

Artist: Frankie Valli

Producer: Not Known[possibly Michael Masser]

Motown Master: 61587

First Location Tape: P2351[30IPS]

Second Location: T3252/3253

Notes

BMI searches reveal a song called 'Minute By Minute' written by Michael Masser and Kathy Wakefield and given the fact 'After You' see below was recorded by Valli with Masser this was our path of research. The writing duo teamed up with Al Ruzika[of The Night fame] to pen 'Last Time I Saw Him' for the same titled Diana Ross album during this period. This track appears with copies made to T tapes indicating that it was completed and that has proved to be the case and it was somewhat amazing to hear it when Bob Gaudio confirmed it was approved. It is a superb mid-tempo song which Frankie Valli sings with great skill.

Track Title: I Can Get Away From You (But I Can't Get Over You)

Artist: Frankie Valli

Producer: Not Known[possibly Michael Masser]

Motown Master: 61588

First Location Tape: Not Known[Possibly P2351/2]

Notes

This song appears to be written by Pam Sawyer and Michael Masser and was released by Tony and Carolyn on VIP 25068F in 1971. FOUND HERE. No other background info to this track can be found apart from the fact that a Master Nr was allocated which categorises it with the previous song and given the co-writer was Michael Masser it is reasonable to think it is from his sessions with Valli and was completed. There is no Artists Card and only the title appears in the Tape Index and on a list of tracks from Motown during the 1990s and on an internal memo within Motown in 2002.

Track Title: After You [found and for release Summer 2020]

Artist: Frankie Valli

Producer: Michael Masser

Motown Master: Not known

First Location Tape: P2352

Notes

A collectors tape box scan of a 7.5ips reel box with the instrumental track gave us the first clue to these potential Michael Masser sessions and a confirmed Tape index Nr P 2352 confirmed the session......but as the reel we had contains only the music backing and no verification of Valli's lead vocal had been found until surprisingly it was one of the 13 tracks ‘approved’ by Bob and Frankie for release.

The box indicates a November 1972 date for that copy. And with no Master Nr and no Artists Card we thought it was  incomplete. It was subsequently recorded and released by Diana Ross and Englebert Humperdink but with different orchestral arrangements. It is a 'full' musical arrangement with a heart-aching and intense vocal interpretation by Frankie Valli. This surprising find supports the need for a full listening review of all of the 16 track tapes.

The song was recorded by Diana Ross on her self-titled 1976 album. FOUND HERE  in a very different arrangement. Interestingly it is a Crewe/Corbetta/Marmelzat composition and the timing of this potential recording could coincide with Bob Crewe's signing for Motown in fall 1972 and the start of his relationship with Jerry Corbetta [ Note– Jerry Corbetta had performed with the group ‘Sugarloaf’ a Denver, Colorado based rock and roll band that performed from 1970 to 1975. Jerry teamed up with Bob Crewe in 1975 when he was the band leader of the The Jam Band on the Disco-Tex and The Sex-O-Lets first album...and became a four Season in 1979 until 1981) ]

Track Title: Sitting On The Edge Of My Mind

Artist: Frankie Valli

Producer:  Probably Hal Davis

Motown Master: Not known

First Location Tape: P2440

Notes

On the same tape as 'Life and Breath' which was released, Kev Singer tells us, “Then there's the mystery of "Sitting On The Edge Of My Mind". Could this be the same song as recorded by Jermaine Jackson and issued on his "Come Into My Life" album in 1973? This song was written by Don Fletcher, Charlotte O'Hara and Nita Garfield. It was arranged by Greg Poree and produced by ..... Hal Davis. The matrix (side 1 of the LP) shows C5RS-7696-1 and cat no M775L.” The recording by Valli may simply be a demo or simply not given a final mix. 'Life And Breath' itself was only recovered and mixed from this tape in 1975 for the 'Inside You' album and it suggests the rest of the Hal Davis session contents are on this tape.

Track Title: When I Come Of Age

Artist: Frankie Valli

Producer: Hal Davis

Motown Master: Not Known

First Location Tape:P2440

Notes

Again on the same tape as 'Life and Breath'. Researcher Kev Singer told us, “Listed as an unreleased song by Frankie Valli is "When I Come Of Age". The lyric is clearly for a child and any version, given the title alone, sounds like it would have to be a demo if a recording by Valli still exists. The track by Michael Jackson which remained in the vaults was eventually issued on his "Looking Back To Yesterday" album. This song was written by Hal Davis, Don Fletcher and Weldon Dean Parks especially for Michael.” From the Michael Jackson version on You Tube, it appears that any version sung by Frankie would be a Demo.

Next Time......Part 5 – Bob Crewe returns for 1973 sessions

 

Ken Charmer – Music Historian

'Motown Unreleased' Project Research Plan - Part 3

Session Review Notes

Period 1971[Oct] – 1972[Aug]

Artist:Frankie Valli/Four Seasons

Four Seasons - Bob Gaudio produced 'Chameleon' Sessions and other tracks

Core Tapes to be researched: P2105: 2110: 2111;2262

Unreleased Tracks

Track Title: Loving You That's My Thing [found and for release Summer 2020]

Artist: Four Seasons

Producer: Bob Gaudio

Motown Master: 60752

First Location Tape: P2111

Second Location: T2062

Notes

A  discarded track from one of the 'Chameleon' tapes P2111 is 'Loving You, That's My Thing' which sounds like it should be a soul/funk track by the Temptations or Jacksons. But can you judge that on the title? It's certainly not a title we could find any other record of, but evidence was that it was recorded at the same time as 'Poor Fool' and 'You're A Song'. But not heard since. Well until recently that is. A completed version of it has surfaced from the session and the track is an up-tempo harmony laced 'sing-along' 'fun' type song completely different to the serious songs of the ‘Chameleon’ album . A completed Master Nr 60752 (on Tape P2111) exists but no evidence of a Stereo Mix for album/single assessment { Tape Box Data reveals 2 leads, 1 incomplete ] so maybe it was not considered for release although at the time it was one of the 15 completed tracks listed in the TCB Newsletter in Jan 1972 which was the first mention of it. [ A Finished Copy has also been found by fans] . Now we have it from the Master Tape and Bob Gaudio has found and approved the track for inclusion in the Snapper Music Box Set.

Track Title: Lovewell

Artist: Four Seasons

Producer: Bob Gaudio

Motown Master: 60759

First Location Tape: P2111

Notes

One of the more intriguing Artists Card from Motown is a song that appears to be a 'Chameleon' album reject. It has also proved to be a title with no recognisable registered writers. 'Lovewell' was mentioned by Steve Bailey as worked upon at the 'My Heart Cries Out To You' session. But it was not mentioned again other than in the list of 15 tracks laid down in the TCB Newsletter Jan 1971 and we can't find anything on BMI/ASCAP about it. But this shows it was recorded and where it is located.

Track Title: Never Gonna Give My Love to You [found and for release Summer 2020]

Artist: Four Seasons

Producer: Bob Gaudio

Motown Master: 60760

First Location Tape: P2110

Second Location:T2023

Additional Locations: T2062/T2151

Notes

In early 72 newsletters from Stu Miller's notes it was stated....”three (songs from the 15 listed back in Feb 1972)are at present being considered for a first single. They are 'Never Gonna Give My Love To You', 'The Night' or 'Time Will Tell'. .....Al Ruzicka wrote by himself 'Never Gonna Give My Love.....' and co-wrote with Bob Gaudio 'The Night'.

Finding Al's published songs has been pretty difficult at both BMI and ASCAP but we know he also wrote 'Poor Fool' , and co-wrote 'Touch The Rainchild' and it seems he co-wrote 'When Will You Come Home To Me' with Bob Gaudio and Kathy Wakefield(a Motown in-house writer) for Diana Ross and it appears on the 'Last Time I Saw Him' album. This album included two other Bob Gaudio co-written and produced songs.

But we do have the Artists Card for the Four Seasons Sessions at Mowest which shows this track as the last in a sequence of Motown Masters that run from 60752 to 60760. It follows 'When The Morning Comes' and 'Sun Country' and is probably one that didn't make the 'cut' for the ‘Chameleon’ album. This sequence of tracks indicate sessions in November/December 1971 with Stereo Mixes done in January 1972. Obviously from the TCB Newsletter listings at least 15 tracks were mixed to Stereo for potential release. Only 'Love Isn't Here/Poor Fool' made it to 45 and surprisingly the 45 scan names the album source as 'Chameleon' in Feb 1972 when the album didn't surface till May 1972. I'm asking everyone to search their notes and records from back then for any more data but it seems the concept for 'Chameleon’ was set in stone prior to this February 45 release date. Also it appears Gaudio's productions took precedence over other producers(including The Corporation) and it now seems probable that he persuaded Mowest to go with his choice of 45 and that all 8 songs for the album were recorded and mastered(along with others that remain unreleased). Evidence of the Chameleon track sessions was found on cassette tape and this track has surfaced in completed format and it is an up-tempo song with chanted backing by the Seasons. Very like the live song they did in the 1980s concerts [You're Never Too Old To Rock And Roll' ] this is a real hand-clapper and totally different to the tracks selected for ‘Chameleon’. It doesn't fit that concept at all

This track [which we have as a completed demo] was mixed to a 16 track copy tape and two Stereo mixes were made but no dates are given. However Bob Gaudio has found it and it appears ‘Re-Mixed’  from 16 track BUT with loads of reverb and echo on the Four Seasons backing vocals which in my opinion destroys the feel from the session version. It will be in the Snapper Music Box Set

 

Track Title: We Had It All (Walking In The Sunshine)

Artist: Four Seasons

Producer: Bob Gaudio?

Motown Master: 60769

First Location Tape: Not known possibly P2105/10 or 11

Notes

No Artists Card or Tape Index Reference has been found for this track and a long lost demo of the Four Season backing and instrumental track has surfaced giving the perception that Valli never did a vocal lead?. It also appears in this format in the FSP Archive. However a list of Motown Masters confirms the track was [most likely] finished and resides on one of the key tapes noted. The Master Nr immediately precedes 'The Night' and so we surmise it is a Bob Gaudio production. But as a Willie Hutch Master follows 'The Night' on P2105 that is a qualified guess. The song appears in the BMI listing as a Stone Diamond published song and as these publishers did many Motown songs we think it may be a Haynes – Rhone composition or maybe Bob Gaudio could tell us?

Track Title: That's All I Want From You

Artist: Four Seasons

Producer: Bob Gaudio

Motown Master: 60772

First Location Tape: P2111

Notes

When you look at the Four Seasons Motown Tape Index, 3 tapes stand out from the sessions that took place at the end of 1971 as intensive studio recording took place. Tapes P2105/2110/2111 feature predominantly Bob Gaudio produced songs and the majority were very innovative arrangements and original Gaudio or group written songs. Several saw release and I've already featured some that didn't make the 'Chameleon' album or 45 cut. But one features a song that asks the question........was it completed?..The song was recorded and given a Master Nr 60772 on Tape P2111. The Artists Card confirms it's existence although only as a 16 track recording with no final Stereo Mix done to date. But evidence has emerged of the backing track being copied to cassette  A real mystery this one. The fact that a Master Nr exists would indicate a completed session Master but only the tape research would reveal the song which may need a final mix from the 16 tracks. We have the Instrumental version from a session tape cassette but know nothing more re its completed form.

Track Title: You're A Song

Artist: Four Seasons

Producer: Bob Gaudio

Motown Master: 60777

First Location Tape: P2110[Slow Version] P2111[Fast Version]?

Notes

As we've seen with the most recent Artists Cards there were a number of tracks that were recorded as part of the Chameleon sessions, led by Bob Gaudio which never made the 'cut' for the album and which he had never heard since [until the Universal Digital Transfer]. His fan base can just be aghast at this and wonder whether any hidden 'gems' exist or just 'out-takes' he'd rather not have us hear.? But we know the one we have heard.....but 'which version is it?'
Motown Master Nr 60777 is a song from the 'Chameleon' album but there are it seems, a 'slow' version on Tape P2110(along with The Night, Touch The Rainchild and When The Morning Comes) and a 'fast' version on Tape P2111(along with Poor Fool , A New Beginning and a few other unreleased titles ). And a Lead vocal and Harmony vocal are confirmed as existing on that Tape. But it is hard for us to tell which one we have as the released version (probably the 'slow' one) makes it hard to believe there could be an alternative ‘fast’ arrangement - .although we do know at least 18 takes were done . Stereo and 16 track copies exist on T Tapes too. We have a version with Frankie singing it in another key which we believe is an earlier Take.

Until Bob Gaudio tells us what was on the digitized copies of the tapes sent to him by Universal, he'll probably not reveal  the 'other' version, but we'd like to hear it whether it was an out-take or not.

Ken Charmer – Music Historian

 

March 2022

 

Note; The Chameleon session out-takes listed above that we have will be featured in the Motown Unreleased Campaign Facebook Group.

'Motown Unreleased' Project Research Plan - Part 2

Session Review Notes

Period 1971[Oct] – 1972[Aug]

Artist:Four Seasons – Various Producers

Core Tapes to be researched P2060: 2082: 2093: 2105: 2113: 2134: 2205: 2206

Introduction: Early Mowest 1971/72 Session Four Seasons

Just when the various producers sessions occurred after the Four Seasons signed up to Motown in October 1971 is unclear from the Tape Index and the Artists Cards. Tape Nrs and completed Master Nrs do not necessarily run in sequence, but some dates do appear when Stereo Mixes were done from the 16 track Master Tapes that lead to possibilities that condense thinking about the style and sounds being developed. We can clearly see that the original 'Chameleon' sound was a definitive set of sessions that reside on P2110/11 and had an original and very distinctive sound for the time. There was no definitive 'hit' sound during early 1972 and probably Mowest execs were searching for a new LA sound. The country rock singer/songwriter scene was firmly established out of Laurel Canyon and the Eagles country rock style(eg Take It Easy) would emerge by mid 1972 as the Southern California sound. So at the end of 1971 producers at Mowest it appears were looking for a competing adult-contemporay 'blue-eyed' soul sound that would suit AM radio.

There are interesting notes and connections in the Artists Cards. Sometimes the Artists Cards are more a mystery than anything else. The first mystery is how 'Walk On Don't Look' back appears with 2 Master Nrs. ? It is the very first Master Nr (60516) which suggests it was their first recording at the label in November 1971 and that is the Master Number that appears on the 45 BUT this wasn't released until 8/72. It doesn't really appear to be their first recording there either and it is not listed in the 15 tracks listed in Feb 1972 in the TCB fanzine as recorded in the early sessions. It is therefore included below as 'unreleased' re the Artists Card Number.  It should be noted that master number 60516 was also used for The Blackberries track "But I Love You More". My understanding is that The Blackberries single MW5020 was a non-issue and the two tracks "Somebody Up There" and "But I Love You More" remained unreleased until The Complete Motown Singles 12A was issued more recently and MW5020 was specially pressed as the 7" fronting that set.

Why in mid 72 this was  preferred to 'The Night' for August 1972 release remains a mystery. For such a strong single on an album to be missed by Mo-West in the USA is amazing. A test promo pressing was produced and we have scans of this. Although released in the UK in Oct 72 [MW3002] lack of promotion in the UK when the Mowest label launched is also a mystery? [It would become a featured track at Mr M's, Wigan Casino Room [and across the Northern Soul scene during 1973 and 74] which would force it's re release and chart entry in 1975(Chart Nr 6 UK)] And if considered a stronger track, why wasn't this alternative 45 'Walk On Don't Look Back' heavily promoted in the USA in Aug 72 and the UK in March1973? What we have heard shows that all of these completed Masters are well worthy of release as they were at the time. moWest simply didn’t have a clue.!

Unreleased Tracks

Track Title: My Heart Cries Out To You [found and for release Summer 2020]

Artist: Four Seasons

Producer: Larson - Marcellino

Motown Master: 60692

First Location Tape: P2060

Second Location: P2082

Additional locations:T2043/T2134/T3984

Notes

Just the second title on the Motown Tape Index the only detail we had on this in the past comes from former Four Seasons International Fan Club President, Steve Bailey(thanks to John Hornsby research). What we can now see from research of the Artists Cards is that the still unreleased song ‘My Heart Cries Out To You’(Tapes P2060/P2082) was co-produced by Marcellino and Larson as a potential single. Steve Bailey the USA fan club President managed to get into the sessions that finished the song. He wrote on a newsletter at the time....” Frankie had already done lead vocal and musical tracks were finished. Joe(Long) and Demitri (Callas) with Mel Larsen did background tracks and then Frankie did some doubling and back- grounds. It is a fantastic song. Maybe the new single. I sure hope so."  The track was copied to two 16 track tapes and at least one Stereo Mix was done. It was the second listed Motown Master by the group at 60692 so probably recorded in November 1971. Essential listening for Four Seasons fans?  Well hearing this find now ‘approved’ for release it is obvious it should have been the first single and heavily promoted as it is a classic in the Four Seasons ‘harmony style’ mid-tempo and falsetto laced song - it is simply superb.

Track Title: Girl, Don't Take Your Love From Me

Artist: Four Seasons

Producer: Willie Hutch

Motown Master: 60749

First Location Tape: P2105

Second Location: T2199

Additional locations:T2200/P6414

Notes

If confirmation were needed that Frankie Valli and the Four Seasons started recording as soon as they joined Motown then this shows it . It also shows us songs they recorded first before being released by others months later whilst this remains left in the vault.  The Tape Box to Tape P2105 shows” 2 versions: 1 Assigned to Four Seasons - 2 Vocals / Another to Michael Jackson - 2 Vocals”.

“Girl, Don't Take You're Love From Me' (Master Nr 60749) which we've heard by Michael Jackson was recorded by the Four Seasons in early November 1971(dub cut 20th November and again 20th December). One of only 2 Willie Hutch productions on them (‘Thank You' being the other).....surely there must be more as yet unresearched?.

A Stereo Mix was copied very late clearly after their departure from the label to Tape P 6414 which suggest post 1975. Songs like this add to the mystery of why MoWest didn't release more in 1972, but when you hear that before The Commodores moved to the main Motown label they had a whole album 'vaulted' at Mowest which remains unreleased to this day, you realise Motown Universal today are way behind the times and have little or no retrospective music release schedule. Perhaps they wrongly assess this period as unworthy of re-visiting or too expensive [legal and production cost] to prepare for release

Track Title: Wigs And Lashes

Artist: Four Seasons

Producer: The Corporation

Motown Master: 60756

First Location Tape: P2113

Second Locations: T2350

Additional location:P7675

Notes
'Wigs and Lashes' we now know was a laid-back mid tempo song written by Larry Mizzel of The Corporation, [tasked to find a new sound for the group] and the Artists Card for Master Nr 60756 was one of a handful they tried with the group. Mixed on 14th Feb 1972 and copied to 2 T tapes it has never appeared by the group although The Miracles versions on their 1973 'Rennaisance' album gives us an indication of how the song may have been handled by Frankie and the Seasons. There appear to be at least 6 mixes done at the time of the Master recording  but one note indicates a copy to P7675 which would have been a 1980s tape after the copying of tracks to the Superstars album (P7245) in 1981.

The Master Nr 60756 only precedes 'When The Morning Comes' by 2 numbers and suggests a November 1971 recording session

Track Title: Time Will Tell

Artist: Four Seasons

Producer: The Corporation

Motown Master: 60757

First Location Tape: P2113

Second Locations: T2083

Notes

Another find of a listed track in the Motown Tape Index I'd never heard......but one I have become obsessed with now thanks to Music Detective Mike 'Doo-Wop' Daddy who sent it to me. I've shared this version with you all on You Tube[Mowestchameleon]. The  version that was released was by Second Nature on Bell Records in 1973....as a Bob Crewe Production. This groups vocals are not the best and it would be interesting to hear the Frankie Valli and The Four Seasons version which was being considered for 45 release in Jan 1971[ according to newsletter notes by Stu Miller]. It is Master Nr 60757 which puts it 2 after 'Poor Fool' and 1 after 'Wigs and Lashes' . The next Master Nr 60758 was 'When The Morning Comes'. Although co-written by Bob Crewe with Louis St Louis it was produced by The Corporation TM.

Track Title: Walk On Don't Look Back [Alternative Master?]

Artist: Four Seasons

Producer: The Corporation

Motown Master: 60960

First Location Tape: P2205

Second Locations: T2735

Additional location: T3010/T3012

Notes

 A look at the Tape box for P2113 may reveal more about the Corporation sessions including when 'Walk On Don't Look Back' was actually recorded. There are two designated Master Nrs for this which is the only track in the index where this occurs. An alternative Master was shown on the 45 and this is the only ever occurrence of this anomally on all their Motown Index. Master Nr 60516-7B doesn't appear on a separate Artists Card. This 60960 card indicates a 'dub cut' in May 1972 post the early Seasons sessions and post the Bob Gaudio 'Chameleon' sessions. Subsequent copies to T tapes including 2 by Russ Terrana which align with the 28^th August release on Mo-West 5026F. Why a Master Nr 60516-7B appears on the 45 rather than 60960 remains a mystery. However the 'released' version HAS appeared on CD on the 2008 Anthology. The Artist Card shows the Stereo Master was copied on 22nd May and again on 7th August with 10 'takes' in total copied. Other version/takes are worthy of research.

Track Title: After I'm Gone

Artist: Four Seasons [possibly Frankie Valli]

Producer: The Corporation

Motown Master: 60961

First Location Tape: P2206

Second Location Tape: T2381

Notes

Although we have a Master Nr and a Production Tape locations for two 16 track versions nothing is known re this song except that we have an Artists Card that show it was recorded with The Corporation which dates it as amongst the early 1972 Four Seasons sessions. The fact that it was copied suggests it was completed but only tape research would reveal more. No other tracks are known from this tape but it may contain much more as it precedes the tape which contains 'Walk On Don't Look Back' which is assessed as being recorded in May 1972.The Master number follows this song and precedes 'Coming Home' and so is obviously from the same sessions

Track Title: Coming Home

Artist: Four Seasons

Producer: The Corporation

Motown Master: 60962

First Location Tape: Not known but possibly P2205 or P2206

Notes

No Artists Card has surfaced for this song nor any mention in the Tape Index BUT an internal report from Motown Universal shows it as a 'completed' Master Nr. The song was subsequently recorded by Michael Jackson and surfaced on a compilation. It appears on You Tube and was produced by The Corporation too. Writing credits are to Berry Gordy-Deke Richards-Freddie Perrin-Alphonso Mizell [The Corporation]. It's Master Nr follows 'Walk On Don't Look Back' Nr 60960 and 'After I'm Gone' Nr 60961 suggesting P2206 as a possible location

Track Title: Live It Up

Artist: Four Seasons

Producer: The Corporation

Motown Master: 60997

First Location Tape: Not known but possibly P2205 or P2206 or P2225

Notes

This song was written and recorded by Jermaine Jackson and released in June 1972. The song appears on You Tube and is a perfect vehicle for Frankie Valli and the Four Seasons. A completed Master Nr 60997 indicates it should exist by them. But no clues exist as to which Tape it could reside on but probably the same as the other Corporation productions..

March 2022

Ken Charmer – Music Historian

Motown Unreleased - Session Review Plan Part 1

Period 1971[Oct] – 1972[Aug]

Session Tape Notes 2022

Artist:Frankie Valli

Core Tapes to be researched: P2079: 2201: 2203: 2225

Unreleased Tracks

Track Title: What Love Has Joined Together  - [found and for release Summer 2020]

Artist: Frankie Valli

Producer: Cleveland - Payton

Motown Master: 60662

First Location Tape: P2079

Notes

Only 2 songs are listed on Tape P 2079 in November 1971 and they became Motown Masters 60662 and 65 both produced by Cleveland and Payton and both songs were previously released by Motown artists. Perhaps the producers chose 'What Love Has Joined Together' because of a Smokey Robinson and the Miracles album title side from the 1970 'concept' album of the same name. That version is a beautiful update to the same song from the 1965 Temptations on the 'Sing Smokey …..' album and a Mary Wells recording from 1964 and there is an Artists Card to prove Frankie Valli tried a cover version too. These are indicated by Artists Cards as Frankie Valli 'solo' sessions. At first thought it was  difficult to see with many of these tracks with in-house producers at Mowest what Frankie Valli could add to already issued material that wasn't hit single standard or what the producers were looking for, particularly for such an old song. But Tape P2079 almost certainly contains other songs currently 'unlisted' as the size of such tapes means several completed mixes could have been accommodated and the producers would probably have tried more than 2 songs at the session.

Although 2019 research indicated that the Tape Box listed the song as NO VOCAL by Frankie Valli as it was ‘Assigned to The Commodores’, it was a completed song.[It shows that you have to play the Tapes]

The song was found and approved for this year’s Box Set release and is a wonderful version by Frankie Valli. It is clear that a Frankie Valli does ‘Motown Classics’   was a proposed album and as Wikipedia says.....“Due to its beauty and intimately romantic style, this song has been and continues to be a popular staple at weddings. There were no singles released from this album “. A listen to Smokey's lyric...."It would be easier to take the cold from snow or the heat from fire than for anyone take my love from you..." delivered so well by Frankie with Motown male backing singers shows  it was a contender for a potential solo album track and is well worthy of release.

Track Title: Save The Children

Artist: Frankie Valli

Producer: Cleveland - Payton

Motown Master: 60665

First Location Tape: P2079

Notes

Frankie Valli must have taken some convincing that he should record a version of Marvin Gaye's 'Save The Children' but it is evident that producers Cleveland and Payton did persuade him and the song was completed and became the second Motown Master (nr 60665) on one of the earliest Master Tapes in the Four Seasons Motown Tape archive. Al Cleveland who co-wrote it must have seen that Valli could 'add-value' to the original unless it was just 'album fodder'? The song originally recorded on Marvin's 'What's Going On' album there features Marvin recording both a spoken word recitation of the song and a vocal version then mixing the two vocals together in stereo with Marvin's soft-spoken vocals on one side and his expressive tenor on the other.

It is both unique and distinctive and it seems unlikely any other version could be as effective. Not a hit  but did get some chart action in the UK. Diana Ross did a medley version with 'Brown Baby' on the 'Touch Me In The Morning' album. Maybe Frankie would rather his effort was never heard and at present that is likely to be the case. The allocation of Frankie Valli to a series of producers for solo work at the start of their Motown contract remains one of the mysteries of this period and I recall Bob Gaudio commenting somewhat critically on Motown trying all sorts of producers to find a hit sound in interview in the mid 70s. Tape Box data indicates 1 lead + 2 [spoken]Narrations by Frankie

Track Title: I Will Love You Like A Man

Artist: Frankie Valli

Producer: Larson - Marcellino

Motown Master: 60842

First Location Tape: P2225

Second location: T2170

Additional location: P7675?

Notes

Some tracks in the Motown Vault by The Four Seasons remain intriguing titles that make you wonder how they came to be recorded. One such track is 'I Will Love You Like A Man'. It seems an incongruous title today. And maybe given the LGBTQ following it was dropped by Bob Gaudio after being approved . Tape Box records show.... 1 Lead and a shadow lead. But the completed Master Nr 60842 sits amongst the earliest of Frankie Valli's recordings at Motown [with Mel Larson and Jerry Marcellino who were involved in producing the released Valli version of 'Baby I Need Your Loving'] and this may have come from that session even though the Master Nr is much later.  This song was mixed to Stereo Master on 12th February 1972(or maybe 17th) by Russ Terrana. We've not found any writer credits or other versions and this remains a mystery track we may never hear given Bob Gaudio’s decision not to include it in the Box Set..

Track Title: Thank You For Yesterday

Artist: Frankie Valli

Producer: Hal Davis

Motown Master: 60918

First Location Tape: P2203

Second location: T2298

Notes

Here is a great title for a song and a message from us to Frankie Valli......'Thank You For Yesterday' and it remains a mystery who the song writers are? But this Artists Card shows that the Master Nr 60918 probably places its recording before 'Life and Breath' and 'Thank You' in February 1972. It is according to an Artists Card a Hal Davis production and was mixed to Stereo so will exist on both the original 16 track master tape (P2203) and a T2298 tape stereo master .

Track Title: Stop, Look, Listen To Your Heart Together  - [found and for release Summer 2020]

Artist: Frankie Valli

Producer: Hal Davis

Motown Master: 60950

First Location Tape: P2201

Second location: T2230

Additional Location: P7420

Notes

The original was by The Stylistics in 1971 and we have heard the 1973 Diana Ross/Marvin Gaye version of 'Stop, Look and Listen To Your Heart'  but here is an  Artists Card that shows not only that the Mowest interns couldn't spell Frankie Valli's name but that several Stereo Mixes where done and deleted from T tapes in February 1972 before a copy was made to P7420 which must have been after the group left the label or possibly to an album tape as the number sequence indicates this. One of the several Hal Davis productions done with Frankie Valli it is on the same original tape (P2201) as 'Life and Breath' and was (we understand) found in the 2008 Motown Years CD project research. We believed it was complete, mixed and ready for release, and has been found and approved in the Box Set. A superb vocal version by Frankie Valli it matches the Stylistics version in terms of quality and far surpasses the Gaye/Ross version. It is believed to pre-date that version and that Gaye/Ross used the same backing track. This is real treasure for Collectors.

Track Title: Torn Between Two Lovers

Artist: Frankie Valli

Producer: Not Known[Possibly Hal Davis]

Motown Master: Not Known

First Location Tape: P2203

Notes

The title strikes a chord as Wikipedia tells us...... “"Torn Between Two Lovers" is a song written by Peter Yarrow (of Peter, Paul and Mary) and Phillip Jarrell. As the writing date is unclear.....is it possibly the song done by Frankie Valli? The location on P Tape indicates an early 1972 recording session. There is no other evidence to show the song was written this early but it was performed by Yarrow before its 1976 recording. It may be a different song altogether.?

This recording is on the same tape as 'Thank You For Yesterday' which was  a Hal Davis production. But no  Artists Card or Motown Master Nr have been found. Apparantly the Master Tape Box says of this song ......’ Assigned to G.C. Cameron’ . No lead’ by Frankie Valli... but has the tape been played?

Track Title: Chained

Producer: J. Marcellino - M.Larson

Motown Master: Not Known

First Location Tape: P2060

Notes

The title is almost certainly the Marvin Gaye Northern Soul Classic penned and produced in 1968 by Frank Wilson. Evidence from partial tape box research shows that although not registered anywhere in Paper Records at Motown, it is on Tape P2060 which is the first of the Master Tapes after they signed to Motown in October 1971. The Motown Tape Librarian confirmed a lead vocal by Frankie exists on this tape

Next Time The Four Seasons session tracks 1971-72

Ken Charmer - Music Historian

'Motown Unreleased' Project Research Plan - All we know in 2022

Introduction

This project has its roots in the 1975 release of the album 'Inside You' which featured 'previously unreleased' tracks from Frankie Valli and The Four Seasons contract at MoWest/Motown from 1971 to 1974. Released without Frankie Valli’s or Bob Gaudio’s permission, this caused them to distance themselves from their years at Motown, particularly as they had two new recording contracts at Warner-Curb and Private Sock to manage and promote. They had moved on with new material and a NEW sound. The NEW Four Seasons.

And as the Motown contract was an often unhappy period in their personal lives and brought them no musical success they have distanced them from it since as much as they could...it appears. We however have not, as the recordings done are amongst  the best of the 70s session work in the context of that decade.

We were told back in 1975 [and up to 2008] that anything else left would have been 'wiped' from tape or if remaining would be unfinished songs and demos. We believed this until a list of songs emerged from within Motown Universal arising from their database back in the 1990s. Subsequent, anonymous donations to us of the ‘Motown Tape Index’ and the Recording Index Cards from the 1970s, known as 'Artists Cards' confirmed our suspicions that completed Tracks still existed. At the same time we found 3 'finished' demos of completed but unreleased songs on acetate which surfaced in 2010. Our suspicions were confirmed and we have researched and campaigned for their release since.

With the start of the Snapper Music Box Set Project in August 2018 Lynn Boleyn, former Motown UK staffer Bob Fisher and I believed we had broken through and Bob Gaudio and Frankie Valli would want their archive of Multi-Track [16 and 24 track] recording sessions at Motown during their contract, - recovered, preserved and released as we made clear our help and commitment to the Box Set was for this to happen. I had been researching the status of the Tapes in the Motown Tape Index for several years  and had found some verification of the status of what we had never heard of listed as P and T 16 track and Stereo Master Tapes from an 'insider' at Motown Universal. Following our research of the Four Seasons Partnership[FSP] Tape Storage it became clear that this is the only known surviving archive of Multi-Tracks in their whole career catalogue except for what is in Bob and Frankie’s personal storage. All other Studio recordings are lost, as far as we can find at this date. But the Motown Catalogue remains intact we now know.

A  Motown Vaults researcher told me.........

“Apparently T as well as P tapes still exist in the Vaults, like the Detroit DM[Duplicate Master] tapes they seem to have no common format, there are Production Masters, Original Masters, Multi-Tracks, all sorts. Also, a lot of Live tapes have T prefixes.
There are over 1000 finished master tapes from the Detroit era alone in the Vaults. Some contain up to 90 tracks (eg a three track tape with all three tracks full of mono masters). There are thousands more from the LA era, plus the multi-tracks, plus the live tapes ... more than anyone could listen to in a lifetime …
This is why the Vault in NYC is the most exciting music archive of the past that probably exists,.........”  Again the researcher continues......”It is I am told quite possible that no-one has listened to any particular tape since the last time a track was added to it. Researchers have often found tracks that no-one knew were there. One of the stock responses when someone asks, Is such-and-such in the Vaults?, is “With Motown, you never say never” , even CEO Harry Weinger has said this. Who knows? Some tracks went missing for forty years because they were filed under a different artist and a different title.”

Now the Four Seasons analogue Master Tapes were researched, at least in part, some time ago and Harry Weinger confirmed in 2002 “There is a released album, an unreleased album and a Frankie Valli album” and our research of the Artists Cards has shown this. Many tracks listed have been released by other Motown artists usually around the same time. As a result of our research and a UK plan for Unreleased Tracks via an independent label, in 2008, Harry Weinger took over and with the agreement of the Partnership, tapes were researched and this led to digitization of the previously released tracks and all were found except one and the Motown Anthology, the first CD release of their vinyl releases by Mowest and Motown back in the 1970s. However in that set the original version of 'Listen To Yesterday' was replaced by an alternative version with ‘surf sound’ overdub and a male backing vocal rather than the female vocal on the original 45 version.

So what about the unreleased ? I found evidence from more than 3 sources that the 'assets' were there, but as to what has survived in a completed form remained unknown in 2018 when the Snapper Box Set Project was implemented with Universal Motown supplying Bob Gaudio with at least 25 Tapes identified in this plan.... ‘digitized’ and sent to him for evaluation...... It appears unlikely that a full research of the tapes has been done. I doubt this given the above comments and although my research was partial, it was substantially correct and between 38 and 50 tapes were transferred from Iron Mountain [storage] for evaluation containing all of the 16/24 track and Mix-Downs done at the time... It does not however confirm completeness of recordings nor do the Tape Box covers which should record the session information. But the Tape Index we have and the Artists Cards all cross-relate and confirm the recording session work and the Master 16 [or 24 track] location of analogue tapes and songs as well as SMX’s done[i.e. Stereo Mixes].

Bob Gaudio in 2018 said he really wanted the STEREO Mix-downs and to not incur the cost and time commitment of a full research project....[.he had the Neil Diamond Broadway Musical as his priority.]........HOWEVER Bob did ask for the Tapes to be transferred and the Snapper Music Motown UNRELEASED CD took shape..The Motown Librarian found 19 ‘completed vocals’ in a partial review and 11 Tapes still to be checked in 2019. Bob Gaudio didn’t recognise many of the initial list of 19 songs identified on Tape Box Notes and was asking Frankie what he remembered.

By early 2020, Bob Gaudio made the final decision  He either found MIX-DOWN’s from 16 track versions or mixed  them himself to make up the 14 tracks [ well 13...as he withdrew ‘I Will Love You like A Man’ perhaps to avoid a LGBTQ reaction?] . We had 13 approved and mixed. Those he did approve either Frankie or he remembered. 15 Tracks with vocals were indicated by the Motown Librarian at the time of transfer and these have not been approved for release.

Several of these he should have remembered as he produced them. The results of their review were, we believe, kept a secret to only Frankie, Bob and Shannon Gaudio. It seemed incongruous too that Bob somehow had even rejected the inclusion of the EXTENDED version of ‘Charisma’ which had already been [without his knowledge]  included in the Motown  Anthology 2 CD set in 2008!!. Although we have asked Snapper Music for background and more data re the review by Universal and the FSP, we have no explanation for the whole review and selection ‘process’ nor the final result till the Box Set appears. What we know is that the Motown recording story is incomplete and we are documenting our findings and research for the future FULL  project we hope will eventually happen

We advised Snapper we wanted more as there are alternative ‘Takes’ and mixes too, confirmed as existing by the Motown library manager. All of the tapes need to be carefully played and annotated, as ALL of the Four Seasons and Frankie Valli  Motown recordings remain there as 16 track or STEREO Masters. For example there are alternative Mix-Downs [e.g there are 43 Mixes of THE NIGHT] and some tracks have been found in 2019 copied in to the FSP Tape Storage back in 1973. We have found several alternative versions supplied to the FSP by Motown as ‘sample’ Mixes which we have analyzed and put forward for inclusion and we hope these get included. Only the final Snapper Music release will confirm this.

We have been surprised and somewhat amazed that so little has been included from these unreleased tracks given that completed mixes by Bob Crewe, Hal Davis and The Corporation exist. So in our forthcoming blogs we are documenting what we know at this point in time from our paper records as a partial research of the ‘pulled’ Tapes and we will continue ‘Campaigning’ for more. It is necessary for us to be assured each tape has been reviewed in 'real time' by an engineer from the digitized copies that exist. We would have like to have been involved and escape the ‘cloak of secrecy’ re-these recordings.....but that has been Universal and FSP policy.

Our wish to tell the story of the recordings calls for ‘transparency’ of data and is the reason for this series of blogs re possible tracks and locations that may be found during such a review of the tapes and has always been our  approach. Why not be open and build desire in the market place?. The counter argument is that such disclosure can lead to future disappointment if a track cannot be found or is incomplete. But most fans want ‘openness’ as hope is better than zero information. Secrecy is the enemy of an artist’s popularity and legacy.

In our archival research we have 50 Artists Cards, which show the recording history of   songs on 16 [or 24] track Tapes. What we have data on covers 21 known released,and  29 ‘unreleased' songs.. So whilst we have 13 tracks approved and included in the Snapper Box Set, there is still a need for a FULL RESEARCH of the tapes and a dedicated Four Seasons at Motown Collectors Box set as the Snapper Box is a LIMITED EDITION set and only 3 CD’s of the Motown Years which covers 35 songs plus perhaps 9 alternative version. This is not right...... when the research in 2019 showed there is enough unreleased material to justify a dedicated Motown release of up to 60 to 70 tracks for inclusion on such a ‘Collectors’ set. The Four Seasons Motown Unreleased Campaign Facebook page will continue to push for a Project where Bob Gaudio and Frankie Valli would  trust us to research and help compile. We will show in our ‘project plan’ how we would approach this and what we would search for.

This Project Plan is based on a review the Production Tapes pulled from the Motown Universal storage and our Paper Records. There is sufficient data that follows to recover what we believe are a remaining [at least] 15 to 20 extra unreleased tracks located via the  Artists Cards as well as the 13 approved in the LIMITED EDITION Snapper Set as well as the Alternative ‘Takes’ and Mix-downs. T tapes may still be the only source for some Masters and these  should be sought. Now we know there are other tracks previously only rumoured to exist or completely unknown previously [e.g. ‘Chained’....the Marvin Gaye classic song recorded in late 1971 by Frankie Valli]. Questions still remain.re the tracks on the tapes... Are there vocals?  Are they complete or just ‘demos’ ?   Who wants them to remain unreleased?  Are they financially viable?....Bob Gaudio himself posed the question in notes in 2019….. ‘Are they worth the trouble’….?...re the Snapper Box Set before being reminded that the whole concept of the Box Set back in August 2018, that got the UK Fan Club support was based on including UNRELEASED ….and particularly the MOTOWN UNRELEASED…..so it appears he just did what he felt was viable for him at the time…BUT would he do more in the future?

So.........we are realistic as we have been Campaigning for over 20 years to get the breakthrough of the Snapper Box Set. That Snapper and Bob Gaudio’s commitment proved to be limited has been very disappointing and in reality we see 4 barriers to hearing any of the rest of the tracks:-

1. Bob Gaudio needs to be willing to spend money on ‘mixing’ tracks that will not add very much to his income compared to the rest of the Masters already issued.? [ he has said he is not wanting to so far – and whether Shannon Gaudio will in the future is the big question?]
2. Harry Weinger needs to get Universal to commit to it [although they may no longer own the recordings in law] ?
3. No profitable financial model exists to make it viable [at present] as no more than 3/4,000 copies would probably be sold without major promotion worldwide. However owners of the Beatles and Beach Boys Master Tapes have and are doing just what we propose
4. The buying market will reduce progressively as older fans pass away....again without promotion.

There is a possibility that the catalogue investors Primary Wave would see the ‘light’ and someone will seek to generate income before rather than once Frankie and/or Bob have passed away. Maybe the research here will help them but at least we will have shared it. We have seen evidence that the FSP has been primarily money driven in the past and not focused on the ‘art’ and skills of the productions and past musicians, arrangers and producers ...as well as Frankie...but the money will continue to roll in from ‘Jersey Boys’.....and re-issues of ‘Beggin’ !!!

Parts 1 to 6 of our detailed Track knowledge will follow to reflect the songs and the recording session work as we see it.

The Tape Sources

The Universal Motown Tapes we have knowledge of run from P2060 to P2678 [25 in total] for the original ‘Production’ sessions with additional copies made to P and T tapes as noted on Artists Cards. In addition there are 3 Albums of completed Stereo Mixes which should be part of the initial search. These are Located on:-

P4336&7 – Chameleon - Released May 1972 - [used for MW108 CD – The Motown Years 2008]

P4645 – Unreleased Album [Aug 1973} – MW788

P5084&5 – Unreleased Album [May/June 1974]

P5536&7 – Inside You – Released Aug1975 -MWS7007[UK] - [used for MW108 CD – The Motown Years 2008]

Retrieving Tapes P4645/P5084/85 is the first vault search that should be done as this would easily locate a number of 'unreleased'' STEREO mixes completed and transferred to final tape for release. We have recovered some of these tapes from the Partnership Storage which contains an unheard copy of My Eyes Adored You – The Final[and alternative] Mix.

A full list of Master Nrs from an 'internal' Motown Universal spreadsheet is available to complement this list for both released and unreleased. All previously released tracks are NOT included in these lists [bar 2 – 'Walk On Don't Look Back' Alternative Master] and 'Listen To Yesterday' Original 45 Master} and have been issued on CD. The Motown Years 2CD Set 2008 CD issue includes the PREVIOUSLY UNISSUED versions of 'Charisma' [Extended unedited] and 'Listen To Yesterday [Alternative Version] from Tapes P2389 and P2664 respectively.

All Tapes identified as core production tapes should be checked in 'real time' playback as they could contain many original multi-tracks and final STEREO masters. It has been claimed that Motown destroyed or wiped many. This is true and Artist Cards show this but Artists Cards also indicate transfer to alternative T tapes when this happened. Artists Cards confirm this which also indicates that all 16 tracks were completed. Sources within Motown have advised they have to be played to be checked as in the above quote.

Ken Charmer – For the Four Season UK Appreciation Society

Music Researcher

Snapper Music Box Set - Limitations and Transparancy - Pre-Launch 2022 Status

So here we are in 2022 and still no Box Set. I wrote a series of Blogs back in 2020 highlighting the limitations of the forthcoming Box Set contents and as I revisit these blogs and update them, we still await the release of the project we started work on back in 2018, and I face the sad situation that I have lost confidence in the Snapper team since my collaborator Bob Fisher’s passing after they unilaterally decided to change contents without consultation and whilst this is their choice and decision as it is their investment, I cannot confirm the final contents and Snapper have made the decision to keep this confidential and also not to commit to a release date at this point in time.

Whilst this will most likely be before the planned UK Tour by Frankie Valli, I am no longer in the loop. I have been side-lined as I see it. I told Snapper...."The work that Bob Fisher and I undertook in the research and selection of suitable and necessary Masters took 3 years and we have compiled in the order of 814 tracks in the set. I personally spent over 2,000 hours on this work with Bob’s support and help day to day and whilst the SET is based on RELEASED ALBUMS we achieved around 271 BONUS TRACKS [33.29%], of which 60 are Alternative Mixes or UNIQUE 45 Mixes [7.37%]. We found[and got approval to] 129 Unreleased Tracks in the FSP or Universal Motown Storage[15.84%] and The Four Seasons Appreciation Society contributed 82 tracks [10.07%] via our archive and network of sources and Collectors. Whilst sound quality in a few instances was limited, the historical connection of the whole set has integrity as a career spanning profile in my opinion.

A truly superb achievement and yet we could and should have had more. At least 30 more UNRELEASED Tracks from Masters and 16 Track Tapes from Philips in 1970, Universal Motown and Drexel University [Sigma Tapes] were discovered but budget limits and time prevented further research and such efforts must be left to a future project if perhaps someday someone finds this commercially or artistically worthy of ‘preservation’ for the fan base to enjoy. We also know of other potential sources.

As the UK fan group we will continue to Campaign for such further research and in the meantime will share such information we have till we are no longer able to use our Web Site and social media presence passing the baton hopefully to future generations to discover.

I feel sure everyone we know [speaking on behalf of the UK Fan Club Core Group] who love Frankie Valli and all Four Seasons music will enjoy this unique ‘preservation’ of 90+% of the Catalogue of recordings and we look forward to its launch.”....and getting all of the 60s albums in MONO.

It has been a challenging and demanding job to identify and assemble various quality sound recordings and get these published but Snapper have not had explanation from Bob Gaudio as to why the rest of the Motown UNRELEASED Catalogue is below the quality required. They did not want to 'rock the boat' or engage with him re what fans would want and our requests for more. Lack of consultation or dialogue has also been behind the decisions by Snapper to omit superb INSTRUMENTAL versions of ‘Beggin' and ‘I'm Gonna Change’. Both are superb Northern Soul tracks and not poor Masters. So as I revisit the research finds, as to what we recommended should be included.....we will let you all know what the RESEARCH revealed and what still remains and where we believe it is. In the meantime what I said re Motown Unreleased remains correct and whilst this Box Set is ESSENTIAL to Collectors I would understand other fans comments that it could and should have been better if money had been spent on further research or Bob Gaudio and Frankie pushed for more. The pandemic may have delayed this project but that is not down to the efforts of Bob Fisher and myself…..and the support of Lynn Boleyn, George Ingram, Ray Nichol and the network of Collectors that you are.

Back in 2019 we said this with Snapper of a planned 2020 release……

https://thatfourseasonssound.typepad.com/seasonally/2019/09/how-important-is-a-career-box-set-in-2020.html

and this was the Motown Unreleased status in October 2020……

https://thatfourseasonssound.typepad.com/seasonally/2020/10/the-not-so-ultimate-collection.html

and read all of our Motown Unreleased Blog Posts here…..

https://thatfourseasonssound.typepad.com/seasonally/motown-unreleased/

More soon…… .Ken Charmer

Selling The 'Family Jewels'

So why are so many top artists selling their publishing rights to Major Investors and as we start 2022…[the latest being Bruce Springstein……..WHAT COULD THIS MEAN FOR FRANKIE VALLI AND THE FOUR SEASONS FANS? With the Primary Wave’s acquisition of the Publishing Rights of the group in late 2020 [for a 10 year Strategic Partnership] we awaited their approach while finalizing the WHOLE CATALOGUE Box Set with Snapper Music. Whilst we await the confirmation of a ‘release date’ for that 800+track collection in a limited edition 2500 set we know that is simply the beginning of a strategy that they should want to pursue.

Rolling Stone Magazine did an analysis of this last year and with NEWS of the sale of David Bowie catalogue it is a subject once again in the public eye.

https://www.rollingstone.com/pro/features/famous-musicians-selling-catalog-music-rights-1114580/

An article in the NY Times said of this trend….

“Of course, some artists want to sell their rights and receive an immediate lump-sum payment. That is where outside investors come in. The multiples that entire catalogs are being purchased for are high by any measure of an investment’s future value. That’s good for the artist. But it’s uncertain what it may mean for the investor. Mr. Ball, who competes with the funds that are buying entire catalogs, does not dismiss their strategy.

“Their goal is to grow their portfolio as large and as fast as they can, and when they get above a certain level, that value of all those catalogs is much greater than the sum of the parts,” he said. But he said he had more confidence in the funds run by people with music industry experience than those run by private equity managers. “They’re really smart people, but they don’t understand the nuances,” he said. Mr. Knowles said he considered it good to give the older artist the option of getting a lump-sum payment and be done with trying to manage different royalty streams. He also said he was confident that the music business would continue to perform in a way that justified the amounts being paid.“The growth in streaming has increased,” Mr. Knowles said. “It’s changed the dynamics of the music industry. It’s also reduced our overhead. We’re in a very good place in music.”

“Time is passing,” Neil Young explained to fans after news of his deal broke. “I want to cover my family and my art.… A good father plans on how to take care of his children.”. Many of these deals were put together after the pandemic brought the live music business to a complete stop, meaning many veteran artists were suddenly shut off from their main source of income. “Given our current inability to work live,” David Crosby said about the sales of his songs, who noted that it allowed him to pay off his house, “this deal is a blessing for me and my family.”

For  Bob and Frankie given their age as the’ Four Seasons Partnership’ it is obviously a smart move for the next 10 years to Partner with PRIMARY WAVE and their children will obviously benefit now and during those years and it appears Shannon Gaudio will be clearly taking an interest in the catalogue management following his involvement in the evaluation and approval of the MOTOWN UNRELEASED in the forthcoming Snapper Music Box Set. Equally with Reid Crewe’s involvement [Bob’s niece]  with Dan Crewe and  the Bob Crewe Foundation  it makes sense to maximize income now and promote and still achieve income in the future after their similar deal with Resevoir.

Again it is said by Forbes Magazine….”This scenario enables artists to participate in the upside growth that inevitably results from “active” management of their songs and recordings by sophisticated buyers who become real “partners” to maximize value in everything the artist does. Respected buyers carry deep expertise and sophisticated teams of specialists who actively promote the artist’s valuable songs and recordings. These are resources that most artists and songwriters simply can't match on their own. Active, significant attention generates real results. Period……So-called financial multiples on these rights and royalty streams (essentially a multiplier placed on current royalty streams) have never been higher. That means that artists can get a big cash payment right now - in one immediate lump sum - rather than wait for royalty checks arriving over many years that may never add up to the lump sum they can enjoy right now. …Buyout compensation (in the above case, the $6-$30 million number) may be treated as long-term capital gains in the U.S., whereas the feds treat continuing royalty checks as ordinary income. So, that gives artists even more money to enjoy right now. This is a significant, yet frequently not appreciated, factor to consider…

Buyers understand that musicians frequently “don’t need the money.” But getting paid top dollar right now is only one reason to sell. Perhaps even more important to many artists, “active” buyers’ deep expertise and resources grow new opportunities for songs, recordings and the artist’s overall "brand" and legacy.

These are resources that artists, bands and songwriters - no matter how “big” - can't match. Resources, that expand a song’s reach and artist’s audience (including to new generations of fans). Some buyers (those who take an “active” approach) have built significant teams of brand experts, marketing experts, digital experts - in addition to traditional synch and licensing experts - who proactively manage catalogs and create important and innovative new opportunities to maximize the artist’s “brand” and extend their legacy.

Not all buyers are massive nameless, faceless entities. Active buyers listen to the artist’s goals and give real attention and focus to the artist, songs, recordings and overall “brand.”

Sophisticated active buyers think of artists as partners in every sense of the word (and want the artist to feel the same way about them). They develop real strategies together with artists, and frequently share their vision and those strategies early in the deal process. They seek active input. They are receptive to the artist’s wishes. They crave active artist participation. That's why many of the top artists and legends of all time have entered into these kinds of deals. 

For many artists, bands and songwriters, without active management, their "brand" slowly diminishes over time and their songs and recordings lose out on the critical opportunity to be exposed to (and enjoyed by) new generations of fans….For iconic and legacy artists, active management by a dedicated and passionate team of experts is especially critical.

And, don't forget about music reversion rights under U.S. copyright law. So long as songwriters and artists give sufficient notice, ownership of post-1978 music publishing rights - and potentially even master recordings (there is some debate here) - revert back artists after 35 years (assuming the songwriter or recording artist didn't originally own them outright). That means that, in most cases, songwriters should own all of their publishing rights - and recording artists potentially their master recordings - for all works created prior to 1985 (no matter what those deals looked like back then).”

This blog will continue to promote and discuss the forthcoming Snapper Music release…..and not only the research and finds soon coming to a fortunate 2500 fan collectors, but to promote and push for future releases….LIKE…..’The Frankie Valli and The Four Season Motown BOX SET’ which should include a full 5/6 CD Box of the Released/Unreleased/Alternate Versions that we have shown exist. A full analysis of our data will appear this year from us as Bob and Shannon Gaudio now have all the Multi-track Tapes from Universal Motown and a huge claim to their ownership. We will explore the limits of the current 13 ‘approved’ tracks and the barriers to this potential project….and others.

We will continue to create NEW STEREO MASTERS with DES and share these with you via You Tube….and explore the catalogue history in our ‘Seasons on Saturday’ podcasts.

Our policy of openness and transparency will bring our views on what still exists as UNRELEASED TRACKS and where we believe these songs are, so they can be found and released further promoting the ‘brand’ with fans.

Of course all of our aims support and complement the investors and the artists achievements and ultimately their ‘brand’ and future income……but we also want this to happen for ‘surviving’ fan generations and not just ‘future’ ones so our TELL ALL policy re the music will continue. We can’t wait for action….we want it now and so the CAMPAIGN continues….with our own “dedicated and passionate team of experts”

Ken Charmer – Music Historian for the Four Seasons UK Appreciation Society

Becoming The Four Seasons

Happy Christmas and a hopeful New Year for 2022 to all of our followers from us the founders of The Four Seasons UK Appreciation in our www identity.......George Ingram, Lynn Boleyn MBE, Ray Nichol and myself Ken Charmer[Happy Christmas from Spain].

 

So here is our Christmas 'music treat' of the original Four Seasons line-up 'Becoming the Four Seasons'

It is 60 years last month since the Four Seasons appeared on the record label – Gone 5122. Anyone who studies the Four Seasons catalogue will know their first recording was in November 1961 with 'Bermuda b/w Spanish Lace'.....an unedifying yet interesting beginning.....and even more so as they appeared as Billy Dixon and The Topics before and after that supposed NAME CHANGE. Firstly in October 1961 with 'Trance b/w I Am All Alone', and then in January 1962 with 'Lost Lullaby b/w Trance' both on Topix......and again as the Topics on a single side 45 on Perri 1007 with 'Girl Of My Dreams' in May 1962. So the road to success with Vee-Jay and 'Sherry b/w I've Cried Before' was up to this point in late 1961/early 1962 unclear in terms of the FINAL ID that they would live with and become famous as. They had been recording backing vocals for Bob Gaudio since 1960 and appearing LIVE still as The Four Lovers in the New Jersey area, before their eponymous 'Four Seasons Lounge' bowling alley appearance would lead to the name change as we see in the 'Jersey Boys' Show and film(s)

However Tommy DeVito's Tape Archive revealed how 4 songs preceded their ultimate ID change and led to three songs that would see release, and one that would be recorded three times but never be released at all. All three of these unreleased versions of a song called 'LIKE YOU' [in totally different arrangements] are included in the Snapper Music Box Set coming out next year, but one other song of the 4 DEMOS which was NOT APPROVED by Bob Gaudio for inclusion in the Box Set remains unheard by most fans [until now that is]. You will have to read about the other tracks in the Box Set Collectors Notes and hear the results there of the other salvaged and restored tracks that did get approval.

The four songs which survived as DEMOS on a cassette archive tape in Tommy's collection reached us via the late Rex Woodard who co-wrote the BIO that would inspire the 'Jersey Boys' script from his 1990 interviews with Tommy DeVito. 'Trance/I Am All Alone/Like You/I Still Care' were all recorded as DEMOS in the early 1961. Clearly they impressed Bob Crewe who recorded and released the first two under the Billy Dixon and The Topix 'moniker' on his Topix label 6002.

But 'I Still Care' was selected for recording by Miss Frankie Nolan with the group backing [and Frankie Valli's soaring falsetto vocal] on Paramount 10231 in April 1961 and can be heard below. It is a great 45 performance and song.

The Billy Dixon and The Topics DEMO has surprisingly been rejected by Bob Gaudio for inclusion in the Snapper Music Box Set. We sent it to him and he has heard it.....but surprisingly said NO.... We asked Snapper Music why?..... but never got an answer and they did not approach Bob Gaudio for an explanation!!!!. Maybe as the song by Miss Frankie Nolan appears in 'Jersey Boys', Bob did not want to confuse matters ?. Maybe the sound quality of the DEMO was judged too poor for Inclusion? He wrote it, so receives 'royalties' for it from 'Jersey Boys' but the version by the group that would within a year become The Four Seasons 'sensation' is a full harmony ballad treatment typical of many of their later Vee-Jay tracks. It should have been in the Box for Collectors. We think it is an amazing find.

However with the help of Casey Chameleon and DES Artificial Intelligence 'sound splitting' technology we are able to present and share this extra-ordinary performance in a Digitally Extracted STEREO Version as the only way to preserve this great DEMO. We hope you enjoy it and will form your own opinion if the Four Seasons that became the group we all love should have recorded it and released it at Vee-Jay. We think so!!!

Ken Charmer – For The Four Seasons UK Appreciation Society

 

The Future Of 'STEREO' Sound Is 'Upmixing'?

As our Frankie Valli and The Four Seasons Project [with Snapper Music] to create a catalogue spanning box set enters 'Mastering' we are already looking around as what is needed to improve on it in future projects . As well as tape sources we know with potential unreleased tracks, there are some new approaches to the way we hear the sound of our favourite group. The technology of the first half of the 60s left the STEREO albums 'very' separate in terms of the VOCALS as Frankie became separated from the group on the STEREO versions of their albums.

But today there is a NEW approach which seeks to give us, now and in the future,  a better listening experience, particularly on headphones. They call it 'Upmixing'........Experts are using Artificial Intelligence [AI] to pick apart classic recordings from the 40s, 50s and 60s, isolate the instruments, and stitch them back together in crisp, bold ways.

Well we are not experts but we KNOW the Four Seasons SOUND and the catalogue.

WIRED Magazine covered the approach being taken by STEREO enthusiasts and Engineers with new skills earlier this year....

https://www.wired.com/story/upmixing-audio-recordings-artificial-intelligence/

Specialist work by dedicated DES Engineers on the BSN Forum has shown what can be done with The Beatles and Beach Boys Catalogue and many other classic 45 releases from the 60s. Our resident Studio Researcher Casey Chameleon has got involved and created several classic Four Seasons tracks as DEMOS until a project for a full REVISED set of STEREO versions is available. That will take much studio time and the use of a top DES Engineer and we know a few but as we can't wait for Bob and Frankie to spend the money on hiring one so we have created our own very interesting DEMOS. The aim was to emulate the single version with the Four Seasons centred vocally with Frankie, with drums to the left, and instruments to the right. This can be best  heard on headphones in the results we have created as new mixes. 

We will feature some of these on You Tube and in our FB pages over the next few months as rare and collectible versions for members. We start with a song never produced in STEREO. But here is an example of what the AI software can do to create STEREO from MONO in a way never before possible.

The magnificent single of 'Ronnie'. A nice NEW STEREO mix in the style we believe Bob Crewe would have done it if the multi-tracks had survived.

 

 And in our research we have seen who lost the multi-tracks......Frankie Valli haha.....

[Photo courtesy of George Schowerer - Mirasound Studios 1967]

A Happy Thanksgiving to all our members.

Seasons On Saturday Part 1

Since the arrival of our internet presence(circa 1997) and 2021 we have collected and collated a huge amount of data that can be found on our UK fan club web site that documents the musical recording history of Frankie Valli/The Four Lovers and The Four Seasons from 1953 to 2018. 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 alive. This research has come to a peak with the forthcoming Snapper Music Box Set, but that is not the full story and we can and will explain why.

Of course Frankie Valli and Bob Gaudio are the 'bosses' and we are talking to their employees and not all of the stories will be happy and will uncover the fiction of 'Jersey Boys'.....which many of you know and does not detract from how great the show is. This is/was the music business and this was a 'band'.......and remember....they always break up. But Frankie Valli was the 'instrument' that delivered all but 2 Four Seasons HITS in the UK and is the main man to carry the group and sound.

Whilst research has revealed much some 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 did not seem realistically possible a few years ago. 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. But now we know so much and want you the fans what we have and what remains out there.

'Seasons On Saturday' is our further exploration of the history of Frankie Valli and The Four Seasons via a series of podcasts and video through the medium of Mixcloud to entertain collectors and fans, and onto the next generation of fans. We are able to tell them what we can as the ULTIMATE[so far] collection of their recorded music is presented in the forthcoming Snapper Music Box Set.

Our first effort is a ZOOM interview with Lee Shapiro and John Paiva which covers their induction and development as Four Seasons in 1973 and 74 up to the recording of the 'Who Loves You' album in 1976. Joining us for this session are Dominic Paradise, Anthony Contratella and Chuck Walker along with me [Ken Charmer] and Mark Charmer.

 

 

THE SNAPPER BOX SET – PART 7 : EDIZIONE D'ORO[ED]

Back is 2011 we published the research at the time re the 1969 release of the biggest and BEST EVER albums of the Four Seasons 1960s hits all in newly mastered Stereo mixes. That article can be found here

.https://thatfourseasonssound.typepad.com/seasonally/2011/06/edizione-doro-1968-ed-almost-the-ultimate-four-seasons-hits-album.html

In conducting the FSP Archive research we advised Snapper Music that the inclusion of this Double Album was essential to the Box Set, if the original Master Tapes could be found ?. We had of course preserved via vinyl dub the 1972 high quality pressing versions and held these Re-Mastered in our own archive. But we have advocated and told Snapper that we wanted the original Masters.

 

Bill Inglot advised that two sets of tapes existed. A Scotch Tape Safety Copy and the same on Ampex Tape were found and transferred to the UK Sound Engineer for evaluation and Re-Mastering. The best sound quality versions will be selected for inclusion. Why these could not be found and supplied to ACE Records back in the 1990s has never been explained ?

 

Some fans were critical at the time of the past release of this album on CD by ACE Records of London in September 1997 as that was mainly Mono versions of their hits, but that was not really their fault as at the time the FSP could not find or provide these as the ORIGINAL FULL Master Tapes . Some doubted they had survived but we were delighted that 2 safety Copies do and Snapper's Sound Engineer has them.

Chuck Walker wrote the sleeve notes for that unfortunately 'inaccurate' release of the album by ACE on CD for the first time. Chuck has revised the information on the CD release here to create an accurate summary of the original album tracks, there importance and highlights, especially those that were appearing for the first time in Stereo, and the other mixes used to create the vinyl album. The original Double Album reached # 38 on the US Billboard Album Chart. Chuck's notes.......

“The Philips Release of Edizione D’Oro in December 1968 marks the end of what some consider the Golden Era of The 4 Season hit single releases. It spans the years 1962-1968. Like many aspiring artists it took a while for the group to find their niche and unique sound which they became famous for.

'Edizione D’Oro' differs from the previous Greatest Hits Albums in both design and musical content. First pressings of the two record set came in a distinctive gold foil gatefold album cover along with a poster/calendar for the following year. This distinctive higher cost packaging was somewhat unique at the time for pop/rock albums, but became typical in later years. The album cover had their name and album title in gothic lettering which resembled a window in a cathedral. The album was released and first promoted during the 1968 Christmas season causing some consumer confusion as at first glance it appeared to be a Christmas album.

The Inner gatefold contained brief notes by Dick Clark explaining how he helped them promote “Sherry” and the group with an appearance on his nationally televised American Bandstand Show. Later pressings of the album changed the gold foil to a gold printed cover, the big 4 on the front from red to white and eliminated the poster/calendar.

The 4 Seasons, somewhat older than the typical rock record buyer, were finding it difficult to connect and having minimal commercial success in their later Philips years. They were playing concerts as the opening act for Frank Sinatra in Las Vegas. Youthful record buyers connected them more with their parent’s era than the youthful sounds of the late 60’s. This trend would continue to be apparent as radio transitioned from AM to FM Stereo stations. After the Woodstock Music Festival in 1969, it was clear younger people were into different styles of music than being offered by The 4 Seasons.

Record companies also made a dramatic shift in their marketing mid-1968. Historically nearly all singles had been issued in Mono. Albums were typically released in two versions Mono and Stereo. In 1968 production of Mono albums ceased and hence forward only a Stereo album with mono compatability was produced. Existing Mono records were dumped into the cut out bins by record companies and were available at deep discounts for several years.

This transition to all stereo may have been the reason Crewe and Philips decided on a new Greatest Hits Album. There was however, a problem. Bob Crewe, like many independent producers had focused on the Mono singles market. Mixes of singles he produced until 1968 were all done in Mono, and if there was enough success for an album it may have Stereo mixes or simply re-channeled mixes to simulate stereo. Actual true stereo versions were limited [particularly pre 1967 due to 4 and 8 track Studio Tape capability] and in many cases had a tendency to mix vocals primarily on one channel and instruments on the other. [and a separation of Frankie Valli from the 4Seasons]

Ten of the tracks are from the Vee Jay era (62-64). Seven were first issued as singles, “Peanuts” on an EP and later a single rerelease. “Stay” and “Alone” were released to take advantage of the market after the Group parted company and moved to Philips. Most are reworked mixes of various Vee Jay Stereo album versions. The only one with significant differences from the Vee Jay albums is “Ain’t That A Shame” which is missing Nick Massi’s vocals, which were apparently never included in the final [STEREO] mix.

The remaining 18 songs are from the Philips era (64-68). Seven appear for the first time in true stereo.

“Dawn (Go Away)” is based on the version cut at Atlantic when they were trying to negotiate a contract in late 1963. It has a more prominent guitar riff and is missing Frankie’s vocal introduction which was later spliced to the single master by Bob Crewe.

“Big Man In Town” is a modified mix with all vocals centered for a more balanced presentation.

“Save It For Me” is clearly a different take or mix as the vocals are slightly different and the organ different than the single version.

“Girl Come Running” is an alternate edit restoring the [final mix] vocal introduction not present on the single.

Sadly “Ronnie” is only in Re-channeled form as no known Stereo master was ever produced.

“Rag Doll” finally appeared in true Stereo. All previous versions were either mono or re-channeled. Even today this version is rarely heard on CD.

“Let’s Hang On” is an alternate edit without the spoken vocal introduction heard on the hit single version.

“Silence is Golden”, the flip side of the Rag Doll single and originally heard on the “Born To Wonder” Album appears for the first time in a true Stereo mix. It is a powerful early message song and could have been a successful single on its own right. In fact it was in 1967 by the British group The Tremeloes.

Eight of the remaining ten songs are updated Stereo versions from previous album releases.

“Watch The Flowers Grow” and “Will You Still Love Me Tomorrow” make their first true Stereo appearances, having not previously appeared on any albums.”

The benefits of the latter [post 1966] versions of the tracks 'Watch The Flowers Grow', and 'Will You Still Love Me Tomorrow' shows in their overall much superior 'soundstage' as Bob Crewe was able to benefit from the 16 track technology at Mirasound Studio [NYC] and the mixing skills of George Schowerer. We will write more re these days in a future blog post with an interview with George.

 

By 1968 Bob Crewe was able to review with the engineer at the time Ray Ciccala, six of the surviving Stereo mixes . A note found in the FSP Tape Boxes shows the Takes found and reviewed and selected as UNIQUE mixes.. Here is a tape of that search through the surviving TAKES. The sound file accompanying it lets you hear that audio review. This was uncovered as part of the FSP Archive research. The tracks found in this review of the multi-tracks and mixed to new Stereo mixes were....

• Dawn

• Silence is Golden

• Girl Come Running

• Save It For Me

• Big Man In Town

The mixes selected are different to any earlier releases and The You Tube video file of this research is below.

The result of our research will, we hope, be by far the Best Ever HITS Collection of the groups 60s successes on CD and a totally essential part of this BOX Set and something fans have been calling for for decades.

Ken Charmer and Chuck Walker – October 2021

 

 

 

 

 

Bob Fisher – Gone But Never Forgotten

I have just lost my friend and collaborator who worked tirelessly with me to compile the tracks for the forthcoming Frankie Valli and The Four Seasons Box Set. Bob Fisher, formerly of Motown Records UK as well as Sequel and Westside, passed away peacefully yesterday following a heart attack.

We embarked in 2018 with a commitment to check every source we could find to assemble an historic and career spanning tribute to Frankie Valli and all of his Four Seasons and say thank you for all the joy they have brought us and the rest of the fans.

We found what we believed was 90% of what has survived and committed to continue in whatever follows this box set to find the rest including the 20+ unreleased tracks still in the Motown Archive, the tracks hidden on 200 plus 5 inch reels[many unmarked]and on the 1970 stored 16 track tapes in the Four Seasons Partnership Storage. I'll keep the searching going Bob and get Bob Gaudio to give us the rest!!!!!.......He and I, have pioneered what we believe will be a resurgence and popularity in Frankie and the group after this 5 decade compilation is released next year to coincide with the NEW Jersey Boys TV Movie and Frankie’s planned UK Tour.

Bob worked at Motown Records UK and was responsible for the release of ‘Life and Breath’ on 45 in the UK in 1975. His Westside 2 CD compilation of ‘Bob Crewe Presents….The Dynavoice Story’ remains legendary.

His great friend Tony Rounce of ACE Records perhaps best sums up the fan he was.

“His first musical love affair - a lifelong one – was with the Four Seasons, ‘Sherry’ being the first record he ever bought. Bob has spent much of the last few years working on a 42 (that’s forty two!) CD boxed set of the Seasons and solo Frankie Valli’s complete recordings. It would have come out by now, had the pandemic not got in the way. It’s due out next year, and it breaks my heart that, having driven it over the finish line, Bob will never own a copy of what he regarded as the most satisfying achievement of his long career as a record man…”

But he was a great man and a music guru for soul, blues and pop music collectors. He will be missed by so many and our thoughts are with his family and friends. I have lost my best ever collaborator who has helped put together the best ever Four Seasons compilation which will change the view of their career for future generations. Thanks Bob….my dear friend.

Ken Charmer

THE SNAPPER MUSIC BOX SET RESEARCH – PART 6 - 1968 to 71

With the failure of the Genuine Imitation Life Gazette[GILG] album, in early 1969, the direction and recording sessions for Frankie Valli and the 4 Seasons of the time were in a state of disarray. But Philips knew they had an ace up their sleeve in the form of the 'Edizione D'Oro' Gold Edition of all the 60s hits in wonderful re-mastered STEREO. I will write separately re this most important release.

But sessions would develop during late 1968 even while GILG was being mastered for January 1969 release which included the song 'Natural Morning' which was found and included on Disc 14. But other Philips session notes revealed three tracks that would gain release on 45. The Master of the superb 'A Face Without A Name' [42858] is not the same as the May 1969 released version [44773] (apparently) but our search of the storage revealed that version [we thought] as listed in the FSP Archive on a 5 inch Reel along with the 'unreleased', 'Alone Again' [42861] and 'I Was A Boy' [42863] and 'You've Got Your Troubles' [42862] and 'To My Father' [re-titled eventually as 'To Make My Father Proud'] both in early versions. All remain unheard. Bill Inglot found the Tape Box and we were so excited, but the tape inside was the damaged MONO tape of 'Timeless' album tracks and not as listed on the Tape Box!!!!!!. With over 200 such reels, many unmarked in the FSP storage facility, there was little chance of finding the tape[in a wrong box!!!]. With the budget spent there was no chance of searching for more potentially 'unreleased' or alternate takes. Time and cost means that someone sometime will have to speculate the Engineers time to review all of these. Could they include lost gems?.......No-one knows till they are played. But other discoveries were made and included both vocal and instrumental. Unheard instrumental versions of 'I'm Gonna Change' and 'C'mon Marianne' being two examples.

Sessions in 1969 would produce superb recordings [all of which were found in MONO and STEREO] of 'The Girl I'll Never Know' [44815], 'A Dream Of Kings' [46111], along with 'And That Reminds Me' and 'The Singles Game', which Bob Crewe released on his Crewe Label[Crewe 333] before Philips took an interest and agreed to an album release which would go into production in March 1970. 'Half and Half' would be an eclectic set again but this time of half Frankie Valli and half Four Seasons. Finding the MONO album mixes in our FSP tape archive search was a brilliant album version to include with details of the session dates and the different 45 versions of the released tracks.

But this albums poor performance reaching just #190 on the Billboard Album Chart was taking the group into dark times. The debt problem that surfaced from Tommy DeVito's gambling also must have had an impact as well as Bob Crewe's alcohol and drugs problems recently revealed by brother Dan. Sessions and Masters and releases were few.

By the middle of 1970 the sound of the group was becoming more progressive with 'You Can't Take It All From A Man'......a precursor to 'One Man' with a different lyric and arrangement.'One Man' was the version discovered in the Mercury Tape Storage and shared with us in 1997. That version is what started our search for unreleased tapes of this period and are examples of 'unreleased' progressive songs, possibly too far from their former traditional sound and left for that reason.

But the group would have some final sessions for an album rumoured to be titled '1970' and the releases that happened showed their quality as a group. 'Where Are My Dreams' remains an amazing song and performance, and if it was to be part of an album and fans had heard it then maybe things could have been better at Philips.? The final single, 'Lay Me Down b/w Heartaches and Raindrops' is still an superb single and we have now heard part of the idea for the planned album. Our research uncovered 3 tapes [27 tracks] from the time of 16 track recordings from the Philips reels. Only two tracks would surface as MONO mixes for this box set, [as surviving vocals] 'The Goose' [a somewhat strange 'Beatlesque' arrangement and song], and the amazing Crewe-Gaudio song 'I Need To Get To Know You' . Along with a version of 'Just How Loud' a 1966 Northern Soul song penned by Artie Schroeck and Jet Loring this Rare Tracks Collection has a quite Northern sound. All of the above tracks are in a STEREO/MONO mixed set of alternative versions and unreleased tracks and they form a cornerstone of this Box Set and of this period of non-hits and experimentation ..........taking us from 'I'm Gonna Change' in 1967 and the discovery of the original DEMO of 'Beggin'........to the rock based 'Whatever You Say b/w Sleeping Man' on their 1971 UK tour.......this period of changing sounds and styles make these Discs collectors gems.

DISC 18 FOUR SEASONS/FRANKIE VALLI – HALF AND HALF(MONO)[PREVIOUSLY UNRELEASED]/STEREO)

Philips PHS600341 No. 190 [4/70]

DISC 19 – RARE AND UNRELEASED 1967 TO 1971

These discs contain 29 Bonus Tracks to the released album of which 18 are previously unreleased tracks

Ken Charmer

THE SNAPPER MUSIC BOX SET RESEARCH – PART 5 1968 and 69

Perhaps the most collectible vinyl album of this decade for Four Seasons fans is 'Genuine Imitation Life Gazette' [GILG] and definitely their 'cult' album being so different in style and sound at the time to anything heard from them before. And it included album artwork that was at that time totally original and unique.

It's concept for the group and Philips was a huge gamble but after the Beatles had turned album making on it's head with Sgt Peppers Lonely Heart Club Band, Bob Gaudio convinced the group and Philips they had to try something new. It has always been an anomaly to me that on 'Saturday's Father' the closing segment features the group in classic harmony as they had always shown since 1962, and yet apart from a Four Freshman style 'Idaho' later on the album the sound of the group is completely new. They could never escape the 'harmony' sound of Frankie's voice blended with the group. And they never truly did, notwithstanding the 1970s revival.[c/f 'Harmony' in 1976 on the 'WHO LOVES YOU album]

We tell the background to the inspiration, recording and release of the GILG album in the Box Set Collectors Notes but when the initial research of the FSP Tape storage revealed a MONO mix of the album, Snapper immediately decided to make this a vinyl insert and reproduce all of the album artwork and inserts.

Then the concept of two CD Discs for this album emerged and it meant that a number of tracks from MONO and STEREO sources from this period that we wanted to include could be accommodated. We have therefore picked up outstanding tracks from the mid to later 60s as BONUS Tracks.

As well as the MONO mix of the album which is previously unreleased we have included the two instrumentals from 1965, 'Sassy' and 'Night Hawk' plus 8 other MONO versions including the Wonder Who 45 versions and the 'non-album' versions of 'I've Got You Under My Skin' and 'Electric Stories' as the BONUS Tracks are focused on an all MONO Disc.

One other BONUS is the long known track recorded as a DEMO. 'Michael and Peter' was prepared for Frank Sinatra's 'Watertown' album sessions by Bob Gaudio. It features writer Jake Holmes on the intro then Frankie Valli's wonderful interpretation.

The second Disc features the STEREO album with 6 BONUS tracks of hard to find STEREO versions of single releases including the long lost 'Tell It To The Rain' which is the same TAKE as the 45 version. It was surprisingly found on the 25^th Anniversary Reel for the 1988 'vinyl' release. 'Raven' is also featured in STEREO and this has only ever appeared on the Rhino 1990 Rarities CD. Four Takes in STEREO were discovered from the session tapes late in April 2021 during our final search. An alternative version will also feature on a later Disc.

Overall these are two exceptional Discs in the Box Set covering an eclectic album and superb BONUS Tracks from the mid to late sixties.

Whilst a critically acclaimed album it was not accepted by fans and was a commercial failure which was a huge blow for Bob Gaudio personally and would almost destroy the group as Philips now had lost faith in them and saw a lost fan base and also the group [particularly Bob Gaudio] saw no return was possible to the old sound. 'Raven' was their last return to that formula. How to go on in 1969 with a new sound was immense as was the debt Tommy DeVito had incurred for them.?

The remaining time at Philips was virtually unknown to many fans back then as the music industry had moved on to 'rock' and 'soul' and these sounds dominated the charts and the Four Seasons would get very little promotion and would become an 'oldies' sound.

These Discs comprise.....

DISC 16 THE GENUINE IMITATION LIFE GAZETTE – PREVIOUSLY UNRELEASED MONO[PLUS Album tracks only VINYL INSERT]

DISC 17 THE GENUINE IMITATION LIFE GAZETTE – STEREO

Philips PHS600290 No. 85 [1/69]

The Discs include a total of 17 BONUS Tracks, one of which is 'previously unreleased' [plus the MONO mix of the album on vinyl and CD]

In our next bog we scrape the barrel of the FSP Archive for this 'end of the 60s' period finding SOME of the lost classics that Philips paper records show were completed but never released and a wonderful unheard Crewe-Gaudio song.

Ken Charmer – August 2021

THE SNAPPER MUSIC BOX SET RESEARCH– PART 4 – FRANKIE VALLI'S FIRST SOLO YEARS

From mid 1965 Frankie Valli was recording 'solo' tracks and due to a reluctance on the part of Philips to have the Four Seasons sound 'challenged', the 1965 45s appeared on the Smash Label. And whilst it would be 1966 before Philips took over such releases it would not be till mid 1967 that an album would appear with the release of the 'Solo' album in June 1967 after the huge success of 'Can't Take My Eyes Off You'.

Researching the Four Seasons Partnership[FSP] archive proved to be frustrating as not all the single releases had survived on Master Tape.......and the 'Solo' album had never survived as a MONO mix.

The PolyComp Tapes contained what had survived of the MONO mixes but we had to recover from vinyl dubs....

The Sun Ain’t Gonna Shine Anymore (MONO 45 YW1-36622)

This Is Goodbye (MONO 45 YW1-36623)

You’re Gonna Hurt Yourself (MONO 45 YW1-37523)

The Proud One (MONO 45 1-38789)

Can’t Take My Eyes Off You (MONO 45 1-40375)

Surprisingly the last song [a #2 hit] was not found on tape but an acetate of an earlier TAKE with an alternate and very relaxed vocal by Frankie did survive and is included with the above as BONUS Tracks.

In our research of alternate versions and MIXES we did find that This Is Goodbye and Cry For Me had survived on tape ONLY as Pseudo Stereo [or Fake Stereo as marked on the tape box] and these versions are the only ones to appear in the CD era. We also found that the GOLD album on Private Stock [PVLP1006] contained UNIQUE STEREO mixes on the vinyl album from 1975 that were worthy versions as BONUS Tracks. We salvaged four very well mixed STEREO versions here.

Can’t Take My Eyes Off You (STEREO Gold 1975 Alternate Mix )

You're Ready Now (STEREO Gold 1975 Alternate Mix)

The Proud One (STEREO Gold 1975 Alternate Mix)

You’re Gonna Hurt Yourself (STEREO Gold 1975 Alternate Mix)

The following album 'Timeless' released in June 1968 attempted to establish Frankie Valli as a singer of 'standards' like his hero Frank Sinatra.

With 16 track recording Philips were moving albums to 'STEREO only' as the mixes were so good and phonographs of the day could play STEREO albums in MONO. Only ever released in STEREO we did not think it had ever been mixed to MONO. But in searching for a tape of 'unreleased' tracks from 1969,[more re these tracks on a later blog] we discovered to our disappointment that the tape was damaged ….and not the songs we had wanted. Further detailed work revealed it as two track and one was distorted and one intact. We salvaged the intact track and found it contained 9 songs in MONO from this album as studio 'out-takes' with intros and outro chat on some songs. A truly amazing and lucky find.

Adding to that we found an unreleased song from the same sessions 'Stranger in Paradise', and an unreleased song from 1968 called 'Natural Morning'. The details are revealed in our Box Set Collectors Notes.

Overall these two Discs give a wonderful snapshot of the the start of Frankie Valli's solo career.

It remains to be seen if the Tape Box scan above actually contains the tracks listed as 'pulled'. Whatever the sound engineer finds on this tape we will have all the STEREO mixes listed from other tape sources.

DISC 13 THE FOUR SEASONS PRESENT FRANKIE VALLI SOLO [STEREO ONLY]

Philips PHM200247[NOT AVAILABLE]/PHS600247 No. 34 [6/67]

DISC 14 FRANKIE VALLI – TIMELESS [STEREO ONLY]

Philips PHS600274 No. 176 [6/68]

These discs also capture an amazing 27 BONUS tracks [12 of which are previously unreleased]

Ken Charmer – August 2021

THE SNAPPER MUSIC BOX SET RESEARCH - PART THREE – PHILIPS 1966 TO 1967

1966 was a great year for music and it appeared to be for the Four Seasons as they toured continually with new member Joe Long. And they still had 45 hits with 6 Top 100 records during the year. But there was no 'original' album and Philips flooded the market with their past hits albums as a result of the return of ownership of the Masters from Vee-Jay's bankruptcy.

The Beach Boys and the Beatles were revolutionising the album market and music with their 'Pet Sounds' and 'Revolver' albums and the lack of an album by The Four Seasons till May 1967 would not help them after the loss of 4 important members of their writing and production team. Nick Massi, Charles Calello, Sandy Linzer and Denny Randell between August 1965 and early 1966 and whilst they kept the hits going this would prove a burden that was too much to maintain or develop a new sound and something would have to change as 1967 developed.

Whilst the very competent Artie Schroeck stepped in in January 1966 with his arranging skills it was still the Frankie Valli's falsetto trademark that Philips were selling and although he and the group wanted to move on they were a 'cash cow' for Philips. Despite the anthem of 'I'm Gonna Change'[which never saw an official 45 release but would become a dance floor classic by 1973 in the UK] it was a case of the more things change the more they remain the same and it would take until 1967 for Bob Gaudio to come up with a new direction which would prove to be pretty disastrous commercially for the group and their career.

The important part of the research of the Tapes for this period was to find the NEW GOLD HITS album in both MONO and STEREO which we did. For decades fans have known that the singles from this period were distinctly different mixes to the albums and the recording studios moved to 16 track from early 1967. They moved in 1966 because of distortion problems at Stea-Philips [Charlie Calello told us] and because the equipment at Mirasound Studios with Sound Engineer George Schowerer facilitated the ability to add dubs without 'bouncing' and sound loss as was necessary in the first half of the 60s and this change also led to much better STEREO mixes.

Some fans regard this album as their favourite of the group during the 60s and it certainly features a diverse set of styles and arrangements.

But the single releases were still MONO and for reasons best known to Bob Crewe and Philips at this time the 45 versions were different mixes and predominantly issued before the album in 1966 and the UNIQUE single mixes of 'Tell It To The Rain/Beggin'/Dody/C'Mon Marrianne' and 'Will You Still Love Me Tomorrow' are featured on this Disc in these versions as BONUS Tracks. The post album 45 versions of 'Watch The Flowers Grow b/w Raven' are also preserved here and did not feature on any original albums at the time. We found all of these preserved on a set of five Mercury Compilation Master Tapes. 'Raven' would not feature ever on a vinyl album and saw it's first release [in STEREO] on the Rhino Rarities Vol 2 in 1990. That mix will feature on a later disc.

This is the MONO tape scan as it has survived.

More versions however from this period were found but space restricted this Disc and we have focused on keeping all the original MONO versions of 45s with the original [but alternate mixed versions on] MONO and STEREO albums. The other versions found will surface on later Discs in the set. The late 60s proved to be a more fertile period for our research as I will document in future blogs.

Whilst these tracks showed the variety of styles and songs the group were capable of, the same formula built around Frankie Valli's falsetto was still the dominant 'hit' sound that the record buyers wanted and moving away from this would bring a classic album but a financial disaster.

Ken Charmer – August 2021

THE SNAPPER MUSIC BOX SET RESEARCH - PART TWO – PHILIPS 1964 TO 1966

By the end of 1963 the Four Seasons were in 'breach of contract'.....but back on the charts.!!

Their dispute with Vee-Jay was in the courts and their earlier material was still being released by that label.

Their decision to record again was made in summer 1964 after over a year of conflict re royalies and ownership of masters. There was a new sound coming from the group and 'Dawn' and 'No Surfin' Today' were recorded at Atlantic Studio with now legendary Sound Engineer Tom Dowd. The story of that is told in the Box Set Collectors Notes and the location of those original 8 track Masters is not known. They may still survive in Bob Crewe's Personal Archive at Crewe Studios in Maine otherwise they are lost apart from the 'underdub' STEREO version mixed on the Edizione D'Oro album.

What our research of the Four Seasons Partnership[FSP] Archive revealed is that MONO versions of these two songs as issued on 45 had made it to the relevant Master Albums and are preserved on the Safety Copy Master Tapes. This faded Tape Box shows just how long ago that was and how time and the typewriters of the times notes have almost faded with the timings and Master Matrix Nrs hand written and some titles and the album Nr. incorrect. However the ANALOGUE MASTERS are intact in both MONO and STEREO of this album and are now re-transferred to Pro-Tools in DIGITAL FORM and will be Re-Mastered for this set. This tape of their first Philips Album is Tape Box titled 'Folk-Album' and PHS200-129 [it should be marked PHM] . It would see release as 'Born To Wander' and in MONO has never before been released on CD. Dated 9^th January 1964 this is clearly a copy from the Production Master as the album came out the following month.

There has never been any evidence of other 'unreleased' songs from these sessions but an acetate of 'Millie' was found as an alternative version and the story of this is in the Collectors Notes and it appears as a Bonus Track. Also appearing as a Bonus is the earliest known LIVE Recording of the Four Seasons. Taped out of the Sound Engineers Board and in Tommy DeVito's Archive comes a set of four songs from an early 1964 show shortly after this albums issue[two songs are from this album]. It captures the amazing range of Frankie Valli's vocal falsetto at that time and remains a key find of their history as a top 60s group.

The albums that followed through 1964 and 65 were all found to exist in both MONO and STEREO Safety Copy Tapes but the singles from this period are in several cases different mixes. Also several tracks were only ever MASTERED in MONO. Such examples are 'Big Man's World', 'Only Yesterday' and 'Ronnie'.

We turned to a set of Mercury Compilation Tapes which contained many of the groups single versions preserved as Safety Copies. The clear and Full Frequency and High Dynamic Range copies included the UNIQUE 45 mixes of 'Save It For Me' and 'Silence Is Golden'. The other notable finds from 1965 included 'A Sunday Kind Of Love' in both MONO and STEREO and the distinctively different MONO version of 'Girl Come Running'[which would not surface in STEREO till 1968]

The Final album of 1965 'Working My Way Back To You' did not include the 'Let's Hang On' 45 version and no albums contain the special Mix for 45 of 'Too Many Memories' and of 'Opus 17' [for Spring 1966 release]. All of these have been preserved in this set.

The FSP Archive tapes however did not contain many of Frankie Valli single releases from this period from his first 'solo' studio sessions in mid 1965 on and finding and preserving these proved to be a more difficult task. The Frankie Valli singles that survive were preserved on Polygram Compilation Tapes, but not comprehensively. As we had believed and was proved correct, 'The Sun Ain't Gonna Shine Anymore' and the 'B' side 'This Is Goodbye' did not survive as MONO MASTER's and are preserved in this Box Set from high quality vinyl dubs The latter track from our research only survived on the Tape Copy marked in pen as....'Fake STEREO'..[otherwise known as PSEUDO STEREO].......and a Re-Engineered attempt to replicate TRUE STEREO at the time.

All such tracks are included as dubs where they are missing or as created on the Engineer's Tape copy and are preserved as BONUS TRACKS on the albums for this period. The Frankie Valli SOLO 45 tracks appear on the SOLO Album Disc which I will cover later. Full details will be in the Collectors Notes.

The albums for this period in the Box Set are......

DISC 5 BORN TO WANDER MONO/STEREO

Philips PHM200129/PHS600129 No. 84 [2/64]

DISC 6 DAWN GO AWAY & 11 OTHERS MONO/STEREO

Philips PHM200124/PHS600124 No.6 [3/64]

DISC 7 RAG DOLL MONO/STEREO

Philips PHM200146/PHS600146 No. 7 [7/64]

DISC 8 THE FOUR SEASONS ENTERTAIN YOU [With 'Toy Soldier]MONO/STEREO

Philips PHM200164/PHS600164 No. 77 [3/65]

DISC 10 SING BIG HITS BY BACHARACH/DAVID AND DYLAN

Philips PHM200193/PHS600193 No. 106 [11/65]

DISC 11 WORKING MY WAY BACK TO YOU AND MORE GREAT NEW HITS MONO/STEREO Philips PHM200201/PHS600201 No.50 [1/66]

 

There are 13 BONUS TRACKS across these 5 albums

 

Ken Charmer

THE SNAPPER MUSIC BOX SET RESEARCH - PART ONE – THE VEE-JAY CONTRACT

When Snapper Music through Bob Gaudio commissioned Bill Inglot to create new DIGITAL MASTERS from the ANALOGUE TAPES back in 2018, it was at at time we had wondered if this would reveal a treasure trove of unheard material?. But label scans of Tape Boxes revealed all sorts of notes, anomalies and background questions re what were the 'original' album and source tapes and if some tracks were even there?. Even the album mix of 'Sherry' is not as the 45 issue.

The story of the groups contract at Vee-Jay as told at the beginning of our Web Site Sessionography page [HERE] showed that the contract dispute led to documentation and storage of Tapes during the 1960s being neither comprehensive or consistent re the highest quality MASTER Tapes. Past recovery of MASTERS for projects for CD issue from 1988 had achieved a SET of STEREO MASTERS......but no focus on the Original MONO Masters had been done. And what about the 'special' mixes done for 45 release which are different to the album? Did they still exist as MASTERS?

ALL the stored Tapes in the Four Seasons Partnership Archive of the early albums appeared as 15 ips Safety Copies in some form supplied by the Studios/Label and no 3 or 4 track tapes from the sessions existed. This would prove to be the case for virtually all of the Analogue Tape 'era'[ie 1962 to 1986]. For the previous issues on CD of the Vee-Jay albums full copies of the albums had been difficult to find and a UK Copy of 'Ain't That A Shame' was sourced from EMI as it remains different to the US being substantially the 'Big Girls Don't Cry and 12 Others' album. [for which no tape was found]. It was also necessary for Bill Inglot for previous STEREO issues for CD to 'Re-Construct' the 'Sherry and 11 Others' album from various Tape Sources.

In evaluating the risks to sound quality for this project, it was decided that, via listening tests, the best sounding source MASTER tapes for all the Vee-Jay albums [both MONO and STEREO] where the Tapes handed back to the Four Seasons Partnership when Vee-Jay went bust in 1966. Many of these tracks were subsequently released by Philips on vinyl albums like 'Looking Back' and '2^nd Gold Vault Of Hits' in November of that year.

For this Box Set the Masters each album track has been identified and are being sourced from these 'Delivery Tapes' as they were transferred by Ver-Jay  They remain the closest generation tapes to the 'original' studio masters and were clearly the best sound sources from listening tests. They will be NEW digital releases for every track recorded at Vee-Jay in both MONO and STEREO album sets, something 'unique' to this Box Set. So each Vee-Jay album is being re-created from the closest source to the studio session versions which [from our research] no longer exist.

Some stunning Bonus Tracks were discovered from this period including previously unreleased acetates of DEMO's, and alternative STEREO and MONO versions as well as the unheard BBC Radio broadcasts from 1963 of 'Big Girls Don't Cry' and 'Ain't That A Shame' whilst on their UK tour. A NEW first time in STEREO mix of 'I've Cried Before' [with the group backing Frankie] as well as the 'special' STEREO Mixes re-engineered for the 'Golden Hits' album of 'Sherry' and 'Peanuts' have been preserved. Perhaps the most surprising find again 'unique' to this Box Set was to discover 3 totally different versions of an 'unreleased' Bob Gaudio penned song 'Like You'. It appears as an original 1961 DEMO and then as versions first a year later with an organ backed arrangement and finally from 1963 with a trumpet backing. Frankie Valli's lead vocal on all 3 is impeccable.

The Box Set Collectors Notes will provide details of all single and album releases and sources for the 'unreleased'.

The Vee-Jay albums in their complete MONO and STEREO Versions included are.....

DISC 1 – SHERRY & 11 OTHERS MONO/STEREO

Vee-Jay VJLP 1053/SR 1053 No. 6 [10/62]

DISC 2 FOUR SEASONS GREETINGS MONO/STEREO

VJ VJLP 1055/SR 1055 No.13 on Xmas Chart in 12/63 [12/62]

DISC 3 BIG GIRLS DON’T CRY & 12 OTHERS MONO/STEREO

Vee-Jay VJLP 1056/SR 1056 No. 8 [2/63]

DISC 4 AIN’T THAT A SHAME & 11 OTHERS MONO/STEREO

Vee-Jay VJLP 1059/SR 1059 No. 47 [5/63]

DISC 9 THE FOUR SEASONS RECORDED LIVE ON-STAGE MONO/STEREO

VJ VJLP 1154/VJS 1154 [11/65]

There are 22 Bonus Tracks across these 5 CD's.

Ken Charmer July 2021

THE FOUR SEASONS 'BEST MIXES' – OUR PAST BLOG RE-VISITED

Back in 2009 Casey Chameleon and Sound Engineer Stefan Wriedt wrote a blog for us re the status of the CD based Four Seasons Catalogue and the sources of some of the Mixes ….what existed still as the original vinyl?.... and what the definition was of a 'Best Mix' on CD?. That blog is still relevant [and can be found here] and as we enter the REMASTERING stage of the Snapper Music Box Set we are revisiting that in terms of what has survived and how it has been gathered from a wide range of sources and what we and Snapper are seeking to achieve in the Box Set. Much investment by Snapper Music goes into the artwork and memorabilia gathering and it's presentation which is their hallmark. But so too is the Mastering by Peter Reynolds and his very wide experience.

Our Mega CD DISCOGRAPHY on our web site[See Here].....attempted to track and assess the quality of the CD's by Frankie Valli and the group released from 1988 to 2010......including most in your collections …...and to take a view of their Collectibility[in terms of originality and sound quality]. Many of the links to purchase sites at the time still apply....some very cheap but others 'super' expensive. But with Stefan passing away and the rise of You Tube and streaming it has not been possible.......or worthwhile....... investing effort in such a difficult revision of the CD catalogue web page on our web site without his sound engineering skills. The CD has also become as rare as vinyl although still a viable music storage medium in 2021.

Our focus is MASTERING TODAY and a NEW reference point in terms of the catalogue. SO in this NEW COLLECTION from Snapper Music we have re-visited the ANALOGUE TAPES checking their 'authenticity' as the production intention of Bob Crewe, Bob Gaudio and the other producers involved over the decades. This will probably be the LAST AND DEFINITIVE SET OF MASTERS on CD by Frankie and the group for future generations and for transfer to other media platforms[ie streaming etc].

The variablity of CD quality issues of FV/4S music in terms of MASTERING is so inconsistent since 1988 and of course the 1960s MONO releases have not been properly addressed as we will considered in forthcoming blogs.

Back in 2009 Casey and Stefan set a standard wanted for the catalogue as 'BEST MIXES'

“Firstly the characteristics that make it sound great……

1. Clarity – that sharp clear shape to each element in the sound

2. Content – the sound stage and it’s constituent parts

3. Separation – the difference or space within the sound between the elements

4. Depth – the position of the sounds in terms of the distance they appear from the listener and each other.

We believe the definitive versions need to be stored in the best digital form for future generations of collectors. As mastering improves and the technology to process the sound, we will be able enjoy the Four Seasons as never before. Their collection is too important to be neglected”

That has happened now thanks to Snapper Music and an 'enlightened' attitude from Bob Gaudio and Frankie Valli. The process of finding and reviewing all potential sources for this project has taken 3 years and has been difficult. Over the next 6 months I will outline the search for rare and authentic tracks as recorded by the group with all of their albums and alternate surviving versions worthy of note. Duplication in the set has been avoided as much as possible with the MONO and STEREO versions recovered as they have survived. Acetates and LIVE show recordings have contributed much to the range and importance of the performances over the period and each 'decade' has it's pop/rock music context. Every track included is in the research team's opinion.....'UNIQUE' [ie being the only one of its kind; unlike anything else] The tracks that never made it to STEREO have also been researched too and the original MONO MASTER versions found, along with Pseudo STEREO versions[as produced at the time following MONO only recordings].

In the 2009 Blog Stefan analyzed how no TRUE STEREO version of 'Goodnight My Love' had ever appeared on CD and he tracked the vinyl sources. It took us, as an example,  till April 2021 for Bill Inglot to find a tape source deep in the Four Seasons Partnership Archive and allocate it for 're-mastering'. With the delay of the pandemic more time has allowed intense searches such as this to uncover more 'original' hidden gems.

I will start from the beginning in our next blog and work through the very distinctive 'decade focused' sources of the MASTERS and how they have and are stored and what has survived and been 'rescued'. My conclusion overall is that this has been a major 'rescue mission' and but for this project much would probably be lost forever. I will document what we couldn't find or include.......and the 'rescue work' still needed . And although a huge achievement the research for this set has shown there is more to be found and released......some sources we know of whilst others remain rumours.

And one mystery source remains largely unknown......the 'BOB CREWE ARCHIVE' which remains in the hands of Dan and Reid Crewe at Crewe Studios in Maine.

Ken Charmer – July 2021

Our Summer 2021 Update – The Four Seasons Catalogue and the Snapper Project

It is all about 'Looking Back'......which was the title of a 1966 album by the group. But that is what we have been doing on your behalf as part of the Snapper Music Project. For the first time it has been a case of fan involvement in asking the Four Seasons Partnership just what still exists of the Four Seasons Master tapes?

It has been a long project for us as researchers in The Four Seasons UK Appreciation Society on behalf of all fans worldwide.....and recently through a long pandemic....and it is deeply sad that we lost some wonderful people due to Covid. But life and music must go on and it is good to announce that through the collaboration we have had with Snapper Music and the research of the sources we were able to make some amazing finds. The research for their planned Box Set release has now been completed. We are advised by Snapper that Bob Gaudio and Frankie Valli have agreed the content they can release for the fans almost entirely as we asked for.

The final search of tapes and acetates during April 2021 added greatly to the rare and unreleased and alternative versions that have been found. Bob Gaudio personally checked out 29 of the bonus track finds for the set.

It is now for Snapper to take the project forward into the Re-Mastering and Production stage, after the research of sources for the Masters from the Partnership Tape storage, the Universal Motown Archive in New York State and Collectors Archives. Each CD features Bonus Tracks as closely related to the career timeline of Frankie and the group as was possible and the selection for inclusion has sought to include every important recording both released and unreleased in a comprehensive collection.

This has always been the aim of the UK fan group.

The identification and selection of both original and stereo versions of tracks from the 1960s in particular was considered the most intense area for research. But the inclusion of 13 Unreleased and stunning productions from their time at MoWest/Motown with alternate versions together with ALL the released tracks from that period provides a core achievement that was what we in THE FOUR SEASONS UK APPRECIATION SOCIETY signed up for with Snapper Music of London back on 20^th August 2018 . And then to our surprise the research team found the LOST DISCO ALBUM and the STREETFIGHTER album studio Tapes plus lots more. All will be revealed and put into context as the release date arrives.

Two objectives for us since 1997 have been finding the UNRELEASED tracks and getting the 1960s albums in MONO, remastered to modern mastering [now 2021] standards. We wanted confirmation of what had survived on tape and for this to be salvaged and restored. We can say that our objectives are 90% achieved [subject to re-mastering] and in our blogs I will up to its release explain what was found. [and what couldn't be found or included].

We and the Snapper Team believe this to be an awesome collection which fans will love. l will post more on our blog through the summer re the individual albums by the group and their background and will advise also as Snapper prepare their press release plans and pre-ordering arrangements. All of you will want to know the final details we know and with Snapper we will provide final details for the Box contents, price and release as soon as possible.

Ken Charmer and Lynn Boleyn

Next Time we will re-visit Casey Chameleon's search for the 'Best Mixes' in 2009 and what has been found in 2021

RARE & SCRATCHY ROCK 'N ROLL_130 – "THE COMPLETE HIT SINGLES HISTORY OF THE FOUR SEASONS – PART ONE

It is not often that we come across a programme well researched and told by top DJ's in an entertaining and engaging podcast that you can enjoy or download. Last week Part One of this two Part Series hit the internet and it is highly recommended to all Four Seasons fans. This is their introduction.

“This is part one of our two-part salute to a group whose incredible career has been celebrated on stage and screen in “The Jersey Boys.” They’re the Four Seasons. We’ll chronicle all of their hit singles, as we track their tunes – collectively as a group – and individually as soloists from the 1953 to 2020.

On this episode, we’ll cover their music through the year 1966. We’re joined by one of our frequent guest experts – Nay Nassar – a leading authority on 1950s and 1960s vocal groups. And our resident Rockologist, Ken Deutsch, has sage perspectives on how the Four Seasons developed their distinctive sound. Plus, more of Ken’s customary factoids, including the Four Seasons unique connections with the Beatles and the Beach Boys. And Radio Dave will have more of the greatest rock and roll stories on record. Including some truly rare and scratchy answer songs by other artists who pressed platters in response to some of the Four Seasons greatest hits. Then there’s also the genesis of Frankie Valli’s solo career while simultaneously serving as the lead singer on almost all Four Seasons hit singles.”

The punchy DJ and Factoid experts fire facts from the early years of their career and feature all the hits in context as well as elements of the backing work pre Four Seasons and the key work of the members. The Unusual Instruments feature focused on Bob Crewe production style is really good

The Guys who research produce and deliver it have good credentials. "Radio Dave” Milberg is the host according to his biography, since 1965 he has worked as a DJ at stations 9n Detroit, Ann Arbor, Cincinnati (hence the reference to WLW-AM on this podcast), Chicago, Sarasota and Bradenton. He is also a lawyer.
Ken Deutsch is a former disc jockey, former TV director and former owner of a recording studio that specialized in radio jingles.

As Music Detectives and collectors ourselves we have our own observations that are not criticisms, but just observation of the sound and factoids presented. It is not easy to assemble so much specialty knowledge in such a format and get everything right. We found only one error and that is that the Four Seasons-Beach Boys 'Duet' of 'East Meets West was a 1984 release and not 1980.

The presentation of so many works they backed artists on in Bob Crewe's collection of artists is really well summarised with great tracks as is the well presented 'road from 1953 to The Four Seasons birth' [but not in it's timeline in the presentation]

And it would have been good to have had the Four Seasons 'HITS” samples in MONO instead of STEREO [as they were heard in MONO on radio at the time]. But as these are not generally available except on the Jersey Beat Box Set from 2007[and these are poor quality MONO versions]......so STEREO was probably the only choice possible until the Snapper Box Set comes out later this year.

The only major factual error is that Tommy's debt problems with the Mafia did not arise in 1965 . They were uncovered in 1968/69. Frankie Valli going solo and creating the Wonder Who to pay the bills is not correct. Frankie always wanted a solo career and Philips were reluctant......so he and Bob Crewe and Bob Gaudio started recording him solo on Smash Records. Also the Wonder Who concept was an accidental novelty track during recording and Philips wanted it released but not to compete with 'Let's Hang On' in 1965 when it was flying high into the charts. Hence The Wonder Who.

Don't miss this, it is highly recommended. Click this link.

https://rareandscratchyrocknroll.libsyn.com

Part 2 is coming next week

Casey Chameleon

Essential Christmas Music for 2020

There are so many reasons to play this album in 2020 as we in the Snapper team review the Tape Transfers from the Four Seasons Partnership to Final Mastering. A No.13 hit on the Christmas Chart in December 63 it had been released a year earlier. It resonates and warms the heart and we need that in our socially distanced lives this year more than ever. Held together by friendships and social media we are determined to fight the invisible enemy and get the BEST EVER release of Frankie and the group out next year.

As we send best wishes out from the UK Fan Club to all of you, we are working hard to get you the Snapper Box Set as soon as possible next year.

The set now runs to 44 CDs. Genuine Imitation Life Gazette needed another CD to accommodate the MONO and STEREO versions[whilst the MONO version will still also be in the vinyl insert.] We have checked all the Bonus Tracks and have been able to locate and include alternative MONO 45 versions in both the 1960s and 70s like the DJ PROMO version of 'I've Got You Under My Skin' and a TRUE STEREO version of Frankie and the group on the lost 'B' side to 'Sherry'.......'I've Cried Before'.

We have located ALL the original VJ Masters in MONO and STEREO for all their albums at that label[rather than the album Safety Tapes] and Master Tapes of the Philips albums are mostly in both too. Rare versions and Unreleased gems sprinkle the CD's as Bonus Tracks to the albums and the 13 Motown Unreleased are brilliant songs and performances.

As 2021 begins we will have all tracks located and ready for re-mastering. This is the first time since 1988 that a comprehensive analogue to digital transfer has been done of the FSP vault and the whole catalogue included here will be everything that has survived.

The MONO Tracks from the 1960s are a revelation and on CD in album and single form for the first time. All the UNIQUE Bob Crewe 45 mixes appear as many are different to the album versions and whilst no STUDIO Master Tape multi-tracks have survived it was nice to discover the STEREO of the 45 version of 'Tell It To The Rain' was there all the time.....so now we have 4 versions of the song. And of course we have the specially collected Edizione D'Oro 29 Hits selection with the UNIQUE STEREO versions of 10 of their hits.

We have tried to make the set everything both fans and collectors would want and with the help of Bill Inglot and Bob and Frankie it will be. More in 2021. Happy Christmas and a Happy New Year

Ken Charmer and Lynn Boleyn for The Four Seasons UK Appreciation Society – December 2020

The 'Not So Ultimate' Collection?

There comes a time when you have to ask …...'Is it enough?' A time to reflect on the process of how we got this far and how much we have missed out on.....particularly in such dreadful times when our very existence is at risk from an invisible enemy.

The excitement of the opportunity to review all of the Four Seasons Partnerships[FSP] Archive has been the driving force for the design and preparation of the forthcoming Snapper Box Set. All the released and unreleased by Frankie Valli and The Four Seasons from 1962 to 2010. BUT not quite!!

A project over 3 years old but one that really started back in the 'noughties' when collectors like me and sound engineer Stefan Wriedt questioned what has been given to the fans to date as we dreamed of the ultimate collection based on access to the 'Archives' and modern technology sound engineering. Stefan himself organised the bootleg issue of 'The Night/Inside You' because neither the FSP nor Universal Motown would look back and issue on CD what had been released on vinyl by the label in the early 1970s.

I started to research the Motown vault information and the list started......and grew......

Could there be up to 30 unreleased tracks in the Motown vault? [as that was what was indicated] The evidence built and we found acetates of some of what had been done and left behind when they left the label in 1974. We put them on You Tube as proof. The case for a project of the 'Unreleased' at Motown was made. BUT that was never going to be enough. Ask Paul Nixon about getting 'approvals' for tracks known to be in the Motown Vault and he will tell you how it took 5 years after his highly successful 'Cellarfull Of Motown Series Volumes 1 to 4' and this week sees the release of Volume 5. ….....5 years on!!!!!! He found it was like trying to move mountains.....but persistence and belief prevailed.

Then with the concept of the Snapper Box set and the amazing news that Bob Gaudio would review and approve unreleased tracks from every decade ????......we believed a change of heart was happening to set down a 'library' of the career so many of us have supported since the 1970s fan clubs . Many of you have helped and searched for lost recordings and live shows. That contribution was as much part of the exercise of research that resulted in the LIST. BUT Bob Gaudio only approved 13 tracks from the 29 multi-track tapes supplied by Motown. Even though Motown's Tape Library Manager Andy Skurow admitted that at least another 15 could have been added being complete and of a similar quality. Such news is somewhat disillusioning to fans and makes us doubt the FSP commitment.

And what about Frankie and Bob's personal collection? No contributions were offered or made. And so much remains missing or not researched.

It is from the fans work over the years that I have pushed to Snapper to include unique finds.....and most of them have been accepted.......some could not be licensed but if anyone says 'This is NOT ENOUGH' I will agree. The FSP vault did not reveal the expected 'unreleased' and much of what was 'rumoured' to exist was left behind in Recording Studios. How could the music owners do this you may ask?......a good question. Take for example the superb 'Killing Time' , a superb left-over from the 'Streetfighter ' album sessions.......despite 3 years of searching the original studio tape has not surfaced......only a Larry Lingle cassette copy. And of the LIVE shows......only group members copies on cassette have survived of 3 shows.....plus a few tracks Tommy De Vito had from 1964.

Of around 818 track included around 60 could be classed as 'Unreleased' and around 40% are fan/former Four Season contributions. Why didn't Frankie's Tour Manager record more shows???

The UNIQUE Motown Vaults Mult-track Tapes could have contributed at least 20 more tacks with alternative mixes of tracks like the extended version of 'Hickory'. I have done all I can to get them but will never stop asking[Snapper, FSP, Motown Universal] for more. But as Lynn Boleyn and I have continuously supported this project we have had to be realistic!!!!!

Whilst there have previously been reasons for suppressing such releases by the FSP we had hoped this could be the ultimate collection. I started working with compiler Paul Nixon back in 2005 to try to get some of the then 1990s list of unreleased tracks at Motown released. Frankie Valli's lawyer stopped that saying any work was 'incomplete demos'. Of course at the time the build up of Jersey Boys was the main attraction.......and back in 1975 of course the Warner-Curb album 'Who Loves You' was the main focus. The FSP didn't want 'old material' competing....no matter what the quality!!!

This time with the Box Set research we had limitations to sources and time for contract approvals and Bob Gaudio assessed the Motown Tapes....NOT US!!!!! We are maybe 90% happy that the catalogue will move to its next Stage of NEW and SALVAGED Masters of great 'art' by August next year......that will make it a 4 year project due in large part to the pandemic.

Some fans have been questioning the value of this Box Set and Snapper tell me their artwork and collectible photos and picture sleeves will be superb......but it is the music that counts for most of us.......Fans will rightly ask.....'Is it all about the money the music can make? Or is there a genuine appreciation at all of the work as 'art' that should be preserved?' I can't ask Frankie or Bob but I can pass on the message that this ISN'T ENOUGH. In reality it is only us fans that care 100% about the art. But we still want this project and it will be good value for money. We will work with Snapper to bring the best sounding set of Four Seasons and Frankie Valli music to the fans.

It can't happen soon enough as we fight this pandemic and get some solace in the music we love.

We will keep pushing for more and will be calling for a Box Set based on a review of ALL the Motown Tapes.......give us the access to assess to review the material and we ask you to look in to your personal archives [Bob and Frankie]. You need to work with us to maximise your catalogue value for future generations. We are best equipped through our 'network' to achieve that....We are already planning fan based release of material not included in this package......this is how we see at present it will have to go.......Digitally Extracted Stereo[DES] is coming too and our aim is to develop NEW TRUE 21^stCentury STEREO Masters.

…........so STAY SAFE and LIVE LONG........the Box Set is coming......but it shouldn't have taken this long. However we are getting nearly as much as we wanted/hoped for in 2005, when Stefan and I said.......'it has to be preserved'. But it remains 'bittersweet'. As such close friends [like Stefan and Frank Rovello] have passed away and wont experience it. It also comes at a price that is known 'true' collectors will pay but which will unfortunately put some fans off.

Other projects will follow. There will be more..........Ken Charmer

"Life On Hold' - A Sad Loss and Box Set Update

It is a difficult time with the UK Press announcing that the Government is effectively putting 'Life On Hold' as winter approaches as we all seek to stay safe and get through these unprecedented times. The sad loss of 92 year old founder 4 Season Tommy DeVito to Covid related problems only reinforces the dangers for older people in life as many Four Seasons fans feel the strain and increasingly turn back on Facebook and You Tube  to the music for support. It is a sad time for his family and the fanbase who love the backstory. We have a separate blog re his contribution to our music and our lives.

As UK Fan Group managers Lynn Boleyn and I have been striving to give all fans the set of music that will completely 're-connect' the music of Frankie Valli and The Four Seasons with their history and their fans and it would have been good to have done that at this time. It was just over 3 years ago we met Ian Crocket and Bob Fisher at Snapper Records in London and talked about what the fans wanted in a Mega Box Set.........we both said without hesitation......the MOTOWN UNRELEASED.....and an update from the Partnership vaults of the MONO Catalogue from the 1960s which has NEVER been released on CD. For 3 years now Ian, us and his team have been investing the time and effort to bring this to fruition.....something we see as intensely important during these pandemic times.

I spoke to Ian Crocket yesterday re progress in these challenging times and the inevitable delays to projects he is getting. Whilst we have gathered and are working on the huge artwork parts of the project, the continued closure of Curb Records and Universal Motown [until January] has put back re-mastering and quality checks so we are now looking at the set being complete and available next August. Snapper continue to invest in the project and contracts are in place. So it is a case of hanging in there and seeing the crisis through.

As all lament the sad passing of Tommy DeVito it is thanks to him that we have some awesome Unreleased Songs going into the Box Set as a result of getting hold of his 1960s Archive cassette. This has contributed 6 tracks to the compilation from the earliest days of the Four Seasons. Four are terrific good quality soundboard tracks from a Live 1964 show featuring 'Stay/Since I Don't Have You/Cry Myself To Sleep/Dawn' and two early Demos of 'I Still Care' and 'Like You' with Nick Massi's excellent vocal arrangements. Thanks Tommy!!!!

I will be featuring some other excerpts from Tommy's Archive Tape in our Facebook Group[ The Four Seasons Motown Unreleased Campaign] and some date back to the days of The Four Lovers.

So hang on in and we will keep you posted as the Re-Mastering re-commences as we start to hear the MONO albums reproduced again for the 21^st century and we continue to push this 2500 limited edition through to delivery and ordering dates. More news and rarities as and when we can.

Take Care and Stay Safe.

Ken Charmer

 

Back In Action - THE LOST DISCO ALBUM: Frankie Valli

As we enter the PRODUCTION STAGE of the Snapper box set of Frankie Valli and the Four Seasons Catalogue 1962 to 2010, I will be doing Blog posts relating to the highlights and this is the story of one UNIQUE CD which developed out of the Tape research. We were given unique access to the NEW transfer from the Four Seasons Partnership [FSP] Archive.

Some tapes emerged which seemed to be related to the 'Heaven Above Me' album from 1980 and several tracks were clearly Unreleased or Alternate Versions and so we tried to analyse what MAY have happened.

Whilst Frankie was at Warners for the FRANKIE VALLI IS THE WORD album Bob Crewe[ with Bob Gaudio] recorded Back In Action/Can't Be Too Much Music/ Stagger Lee according to Warner paper records of masters completed. During this period Bob Crewe wrote[ with Larry Brown] , recorded for Warner Bros [probably late 1978] and released Fancy Dancer as a 45. [Warner Curb WBS 8734] It reached Nr 77 on the Billboard Chart and Nr 36 on the Adult Contemporary Chart in the USA. In Feb 1979 'Doctor Dance' was mixed for release but would come out over a year later as a B side.

Only 'Back In Action' appears to have been copied to the Partnership Vaults from the Warner sessions . How or why we do not know.....nor does anybody know where the other two tracks are.? [In a studio archive somewhere ….we wish we had access but probably Sigma Sound New York.. If any tapes remain unclaimed they may now be held at Drexel University, Philidelphia as noted on Wikipedia.]

A number of tracks have been found in the FSP Archive as proposed versions. Most of these tracks are known but as other recordings. Those found here are UNRELEASED. A proposed album was prepared for release on 22^nd May 1979. but only one side of the album has survived on Tape.

So as a NEW Record Deal with MCA was signed it meant a Crewe and Gaudio re-recording for MCA 5134 and the result was the Heaven Above Me album in 1980. The dates for these earlier recordings are indicated as mainly in mid 1979 according to tape box dates. A number of original versions with extended mixes and alternate vocals or arrangements were laid down and remained in the Partnership vault until now. We have carefully reviewed these and although at first they just had the potential to be BONUS tracks the idea of a CLUB disco album emerged and we looked at how they might fit together as a DISCO album. HEAVEN ABOVE ME stands iconically as the last CREWE/GAUDIO masterpiece but this set stands on its own as a CLUB SET. 

The result is an album that builds slowly to the break-out in 'Let It Be Whatever It Is' and then rocks TOTAL DISCO before a gentle wind-down of ALL UNRELEASED versions.

BACK IN ACTION – THE LOST DISCO ALBUM

Track 1 – Back In Action – 4mins 53secs....with fade [Unreleased]

Track 2 – Fancy Dancer – 4mins 18 secs.....longer version than 45 with fade [Unreleased]

Track 3 – Let It Be Whatever It Is – 7mins 59 secs....longer version with extra vocals [Unreleased]

Track 4 – Dr Dance – 6mins 7secs – Extended 2^nd Mix with extra vocals [Unreleased]

Track 5 – Eat Your Heart Out - 5mins 24 secs – Extended mix [Unreleased]

Track 6 – Passion For Paris – 9mins 20secs – Extended Mix [Unreleased]

Track 7 – Soul – 11mins 19 secs – Salvaged 'Casey Chameleon'EDIT [Latin Version- Edit of damaged tape]

Track 8 – Back In Action[Reprise] TV Instrumental [Unreleased]

Wind-down Track 9 – Where Did We Go Wrong – Original Long Version Extra vocal - 3mins 58sec [Unreleased]

Wind-down Track 10 – If It Really Wasn't Love – No female backing: Valli Solo [Unreleased]

Wind-down Track 11 – Just Say That You Love Me – Valli Solo [Unreleased]

The Master Tape that contained the proposed single of 'Soul' was mixed on 19^th October 1979 with a longer version for 12”. But we found the tape damaged and so we edited what was remaining and the result was a combination of the two and it runs 11 mins 19 seconds. What is different re this version is it contains a 'Latin' background singer solo in the middle...which appears twice due to this edit......as a result it is a completely different[and unique] version to the 'Heaven Above Me' album song

We think overall this works as a totally UNIQUE album set and runs 54mins 48 secs of Dance floor music plus Wind-down. We have used up the remaining space on the CD with a set of unreleased ballads found on the tapes …....as a Wind-Down set from the DANCE SET [around 10 mins]  …....these are all extra alternative versions of tracks which are entirely 'collectable' and are forerunners to the 'Heaven Above Me' album.

But there is more.......

We also had some really good ALTERNATE VERSIONS worthy of inclusion as BONUS Tracks which will fit comfortably at the end of the Heaven Above Me album but that ORIGINAL and final set of album mixes is the 'creme de la crème'. These tracks are just some 'icing' on the cake for fans as alternate versions

Heaven Above Me - BONUS TRACKS 

Track 9 – Back in Action – 4 mins 53secs: Alternate version with New Ending[no fade]

Track 10 – Soul[Latin Version]_Heaven Above Me[Valli Solo]Joined by Partnership 15mins48secs

Track 11 – Dr Dance - 3^rd Alternate – TV instrumental Mix

We have extracted all the tracks and sent them as sets for Re-Mastering and as part of the BIG LIST they have been approved by Bob Gaudio and will be Mastered for the Box Set.

This was Bob Crewe's last major Partnership work with Bob Gaudio before his retirement from mainstream production that generated the Heaven Above Me album . These tracks show it's development......but mainly the PURE ENERGY and FUN in it's DANCE productions.

Ken Charmer

THE UNCOVERED FSP MOTOWN MASTERS – Part 3

In our final review of the Tape Archive finds in the Four Seasons Partnership vaults is perhaps the most surprising find of all our research over the years and confirmation of something we discovered in the Tape Index Paper records which are now proved.

Assessing the Artists Cards we found references to tracks being copied to two album tapes P5084 and 5085. So when the Tape box showed up with Side 2 of that album were we amazed......but not as much as when we played it.

It contains not only the Alternate Take of 'My Eyes Adored You' but 3 other previously unreleased tracks from the Bob Gaudio session during the summer of 1973.

All of the finds on these tapes prove to be different versions in some ways. Either an alternate vocal or instrumental arrangement. They differ from the tracks Bob Gaudio has provided for the BOX SET and we think they are essential inclusions as they are simply such good mixes.

Below is the detailed analysis of the Tape listening research we have been able to carry out.

BONUS ALTERNATE MASTER VERSIONS IN FSP ARCHIVE [Found in FSP Tapes as Tape Box Scans with Transfer Locations]

MY EYES ADORED YOU – Alternate closing lyric [FS Set 6 Tracks 2 _239]

This is identified on the Tape Box as a NEW MIX, and is clearly not the hit version bought for $4,600 when they left the label. The differences are the extra vocals by Frankie on the closing section. The question that comes to mind is “Does the Partnership OWN this Master as they bought it in 1974/ Did that purchase include all MASTER copies? An interesting but pretty minor matter with such and important and historic song.

WHATEVER YOU WANT - Alternate Harmony version[FS Set 6 Tracks 2 _239]

This is simply a different mix of the harmony vocals and the orchestration. It is the mix prepared for release on the album assembled in May 1974 in preparation for release.

INSIDE YOU – Alternate Version – Frankie Valli Solo – Less Harmony backing [FS Set 6 Tracks 2 _239]

This is alternate version to that included on the 'Inside You' album. It does not have the 'heavy' string overdub and has the instrumentation mixed higher/differently[guitars and drums] in the mix. It also has lower /less backing vocals. The result is a Frankie Valli 'solo' stripped back version which works very well. It runs 3:35 instead of the 4:05 on the album version.

LOVERS - Alternate Version - [FS Set 6 Tracks 2 _239]

This again is a different mix of instrumentation to accompany Frankie Valli. There is much better separation[placement] of guitars/drums and harmony backing. There is also a step in the instrumentation before the closing harmony outro which works perfectly. This is definitely the best mix I have heard, and was the mix prepared for album release in 1974

HYMN TO HER – Alternate Version -[FS Set 6 Tracks 2 _239]

Again this mix differs significantly. The opening choral harmonies 'fade-in' and the church organ section is different. Once again the separation of instruments individually and harmonies is superb with the Seasons 'backing' shining through. The overdub of horns on the closing anthemic vocals with guitar is again superb. This is definitely the best mix I have heard, and was the mix prepared for album release in 1974.

FUTURE YEARS – Alternate Version[FS Set 6 Tracks 1 _278]

This version differs from the one approved version because the lyric can be more clearly heard and once again separation of instruments is better. Also there is a step of orchestration in the closing section which works perfectly. This is IMO a better version than was approved.

WHATEVER YOU WANT - Alternate Version 2 [FS Set 6 Tracks 1_278] Piano Backing

The big difference with this version is that it is without the the 'Harmony' backing track. Whilst those backing vocals work superbly on the main version, this piano led 'stripped down' orchestra and Frankie version works equally well. A worthy Alternate Version.

YOU CAN'T HOLD ON - Alternate Version[FS Set 6 Tracks 1 _278]

This version varies from the approved version as it has no Vocal Backing track and Frankie's Vocal is different on the closing sections. It still works well because the alternate instrumental mix is excellent [particularly the sax] with a superb 'lead' vocal.

YOU CAN'T HOLD ON – TAKE 6 - Alternate 'FINAL MIX' Version[FS Set 6 Tracks 3 _215]

This version described on the Tape Box as 'FINAL MIX' appears as lined up for a 'B' side release with 'The Night' based on the Tape Box. It has different Vocal Backing track and Frankie's Vocal is different on the outro[superb falsetto chanting with the backing singers]. It works really well because of the alternate instrumental mix with a superb 'lead' and backing vocal. Definitely the 'best mix'.

So all these Alternate Mixes could and should be included for fans with the co-operation of Universal. They would elevate the Collectibility of the set, and demonstrate more of the 'goldmine' of these multi-track tapes for perhaps a future issue of more UNRELEASED and ALTERNATE TAKES by the Partnership in conjunction with Universal. The approved 13 tracks and these ALTERNATE MIXES are the find of the project to me after so many years of research. I never would have believed such quality could be 'locked away' for all these years. This CD could and should be the GOLD in the box set. If you want these versions included in the BOX SET let us, Snapper, Bob Gaudio and Universal Music know here.

We will continue campaigning for a future research project on the TAPES recovered from MOTOWN UNIVERSAL........but what a find these are

 

THE UNCOVERED FSP MOTOWN MASTERS – Part 2

Continuing our review of the Tapes found in the Four Seasons Partnership Tape Archive this access got us confirmation of our research re the early 1973 sessions as Bob Gaudio and Bob Crewe started working together again in the studio. This time at Motown.

Mowest was going 'down the tubes' in early 1973 and Frankie and the group were back on Motown. But the two Bob's were busy writing and recording with Frankie Valli. But not it seems with the Four Seasons. The performing group were not considered up to the productions proposed. Work started in January 1973 with the Ellie Greewich composed 'Be My Lover, Be My Friend', but it was the songs 'With My Eyes Wide Open' and 'Listening To Yesterday' that impressed Motown Execs. Initially and probably based on these STEREO Mixes during the sessions. These appear from this FSP Archive Tape Box to have been mixed to MONO/STEREO as test mixes.....final mix demos. They are different to what would eventually surface as final releases

An album was 'slated for release' as Motown 788 titled 'Inside Out' for release in August 1973 but was never developed or finished. 'How Come' from these sessions was released in May 1973 [Motown 1255F] but did not achieve adequate sales and this was perhaps why the album was abandoned.

This Tape Box show a mixing/copying date of 2^nd February 1973 and the mixes of 'Listening To Yesterday' feature a harmony male vocal background, whereas the 45 release on Motown M1251F in May 1973 as a B side to 'You've Got Your Troubles' would feature female backing vocals. This 'harmony' version would eventually feature on the Motown Anthology 2CD set in 2008 but the 45 release has never seen CD issue to date and we have asked for it in the BOX SET. Another track from these sessions 'Star' will get release in the Box Set and is a revelation of these great songs and great sessions. We know of more songs from the sessions that remain completed but remain unreleased. But 'With My Eyes Wide Open' would eventually see release on their post contract Motown album 'Inside You' in 1975. These versions lack the 'finishing' orchestral overdub of that final and released version but feature great instrumental mixes.[and both MONO and 2 alternate STEREO Mixes]. But this song along with the stunning 'Inside You' from these sessions would again be lined up for release on album in a lost 1974 album listing and more on that in Part 3.

These mixes are clearly evaluation mixes but show the quality of production but makes it more surprising that a slow ballad and arrangement re-worked from 1969 at Philips [You've Got Your Troubles] should be preferred for release with these 'original' tracks in the 'can'.

We will also feature in Part 3 the next Motown Tape findings of 3 tracks we had claimed were part of a separate session that saw the release of 'The Scalawag Song' which was also released with little promotion or belief by Motown. Three superb songs shown as copied in January 1974 to producer Bob Gaudio.......were simply forgotten until now and destined for release in the forthcoming Box Set. However these tapes are alternate mixes destined for album transfer......but also for another Motown album that would not see release.

These tape boxes only confirm our data on the Tape Index and make the release of missing gems and alternate mixes a serious endeavour for us to continue. As well as Be My Lover, Be My Friend' we are missing 'Turn It All Around' and Give Us This Day' from the sessions. These remain in the Universal Archive now with Bob Gaudio. We await more news of these.

Next Time.....The LOST MOTOWN ALBUM – Side 2