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 - Motown Annotation Corrections

As Master Track Adviser I supplied the additional data re the 3 Motown Discs as below but my additions were not included in the final production. They are provided here with Snapper's permission. A pdf copy is attached for easy printing. Download Motown - Annotations with UK Research Adds 7th Feb2021

Four Seasons Annotations – Additions to the research by Andy Skurrow [with additions by Ken Charmer]

[from the Motown Database and Artists Cards]

Disc 30: The Motown Years – Disc 1

Chameleon LP

A New Beginning (Prelude)

(Bob Gaudio-Bob Crewe)

Produced by Bob Gaudio

Recording dates unavailable – Approximately January 1972 – Final Mix May 4^th 1972

 

Sun Country

(Bob Gaudio)

Produced by Bob Gaudio

Track cut October 27, 1971; lead vocals October 28, November 10, December 8 and 9, 1971; background vocals November 1 and 4, 1971

 

You're A Song (That I Can’t Sing)

(Bob Gaudio-Brit Gaudio)
Produced by Bob Gaudio

Recording dates unavailable

 

The Night

(Bob Gaudio-Al Ruzicka)

Produced by Bob Gaudio

Track cut October 28, 1971; vocals cut October 28, 30, November 5, 9, 10, December 8, 1971 – Final Mix for album by Russ Terrana February 1^st 1972 from Mixes 13 and 14

[43 Mixes completed between February 1^st and 20^th August 1975]

 

A New Beginning

(Bob Gaudio-Bob Crewe)

Produced by Bob Gaudio

Recording dates unavailable - Approximately January 1972 – Final Mix May 4^th 1972

 

When The Morning Comes

(Bob Gaudio)

Produced by Bob Gaudio

Recording dates unavailable – Final Mix February 1^st 1972

 

Poor Fool

(Al Ruzicka)

Track cut October 26, 1971; lead and background vocals October 28, November 2, 3, and 4, 1971; and January 5 and 14, 1972 –Final Mix January 19^th 1972

 

Touch The Rainchild

(Bob Gaudio-Al Ruzicka)

Produced by Bob Gaudio

Track cut October 26, 1971; lead and background vocals October 28, 29, November 2, 8 and 9, 1971

 

Love Isn't Here (Like It Used To Be)

(Bob Gaudio-Brit Gaudio)

Produced by Bob Gaudio

Track cut October 27, 1971; vocal overdubs October 27 and 28, November 2, 10, and 11, December 6, 7 and 8, 1971

 

 

Chameleon LP Credits:

MoWest 108, May 1972

Produced by Bob Gaudio

Arranged by Dave Blumberg, Charles Calello and Joe Scott

Recording Engineers: Joe Atkinson, Larry Miles and Art Stewart

Mixing Engineer: Russ Terrana

 

Singles Issued from Chameleon: USA

 

Love Isn’t Here (Like It Used To Be) b/w Poor Fool

Issued as Frankie Valli solo single, MoWest 5011F, February 1972

 

Sun Country issued as B-side of Walk On, Don’t Look Back, MoWest 5026F, 23^rd August 1972

 

The Night b/w Sun Country [acetate pressing only on Columbia Records Products, Santa Monica, California in August 1972] was scheduled as MoWest 5025F, then cancelled

 

 

Bonus Tracks:

 

Walk On, Don't Look Back

(The Corporation™️)

Produced by The Corporation

Executive Producer: B.G.

Arranged by The Corporation™️ and Gene Page

Non-LP US single, Issued as MoWest 5026F A, August 1972

First Mix by Russ Terrana August 4^th 1972

 

How Come

(Robert B. Sherman-Richard M. Sherman)

Produced by Bob Crewe

Arranged by David Blumberg

Vocal Arrangements: Bob Gaudio

Track cut April 11, 1973; lead recorded April 12 and 13, 1973; background vocals added April 18 and 28, 1973 - Final Mix – May 5^th 1973

Non-LP single, issued as Motown 1255F A, May 1973

 

 

Life And Breath

(George S. Clinton)

Produced by Hal Davis

Arranged by James Anthony Carmichael

Track cut January 31, 1972; lead February 3 and 7, 1972; background vocals April 6, 1972

First Mix February 2^nd 1973 – Mix by Russ Terrana March 26^th 1973-Further Mix 18^th August 1975

Non-LP single, issued as Motown 1255F B, May 1973

 

Hickory

(Bob Crewe-Kenny Nolan)

Produced by Bob Crewe

Arranged by Charles Calello

Recording dates - November and December 1973 – Mixed December 11^th 1973

Non-LP single, issued as Motown 1288 A, February 1974

 

Charisma (unedited version)

(Bob Crewe-Kenny Nolan)

Produced by Bob Crewe

Arranged by Charles Calello

Recording dates - November 1973 – Mixed December 11^th 1973

Unissued on vinyl and NOT INCLUDED in Box Set by Bob Gaudio

 

 

Charisma (single version)

(Bob Crewe-Kenny Nolan)

Produced by Bob Crewe

Arranged by Charles Calello

Recording dates - November 1973 – Mixed December 11^th 1973

Edited version issued as non-LP single Motown 1288F B, February 1974

Included in the U.K. version of Inside You

 

 

 

Disc 31: The Motown Years – Disc 2

 

Inside You LP

 

Just Look What You Have Done

(Frank Wilson-R. Dean Taylor)

Produced by Hal Davis

Track cut August 9, 1971; lead cut January 17 and 20, and February 7, 1972; background vocals cut January 25, 1972

First Mix for DJ promo single release August 2, 1971. Released in November 1973 Motown 124-10. Final mixes for this album February 22, and August 21, 1975

 

Love Isn't Here (Like It Used To Be)

(Bob Gaudio-Brit Gaudio)

Produced by Bob Gaudio

Track cut October 27, 1971; vocal overdubs October 27 and 28, November 2, 10, and 11, December 6, 7 and 8, 1971

 

Baby I Need Your Loving

(Brian Holland-Lamont Dozier-Edward Holland, Jr.)

Produced by Jerry Marcellino and Mel Larson

Recording dates : November 1971

 

Inside You

(Bob Crewe-Bob Gaudio)

Produced by Bob Crewe and Bob Gaudio

Recording dates unavailable : First Mix February 2, 1973 [24 mixes completed by August 21, 1975]

 

Thank You

(Willie Hutch)

Produed by Willie Hutch

Track cut October 20, 1971; Lead cut October 22 and 25, 1971

Final Mix for this album : August 19, 1975

 

Hickory

(Bob Crewe-Kenny Nolan)

Produced by Bob Crewe

Arranged by Charles Calello

Recording dates : November 1973: First Mix December 11,1973

 

Life And Breath

(George S. Clinton)

Produced by Hal Davis

Arranged by James Anthony Carmichael

Track cut January 31, 1972; lead February 3 and 7, 1972; background vocals April 6, 1972

Final Mix for this album August 18,1975

 

The Night

(Bob Gaudio-Al Ruzicka)

Produced by Bob Gaudio

Track cut October 28, 1971; vocals cut October 28, 30, November 5, 9, 10, December 8, 1971

Final Alternate Mix for this album by Russ Terrana August 20, 1975 [Mix 43]

 

With My Eyes Wide Open

(Bob Crewe-Bob Gaudio)

Produced by Bog Crewe and Bob Gaudio

Recording dates unavailable ; First Mix February 2,1973: Final Mix for this album August 20, 1975

 

 

Inside You LP Credits:

Motown 852, October 1975

Issued with additional tracks in the U.K. on Tamla Motown MW7007

Mixed and mastered by Russ Terrana at Motown Recording Studios, Hollywood, California

Production Coordination: Suzee Wendy Ikeda

Art Direction: Frank Mulvey

Design: Snyder & Butler Advertising

Photography: Jim Britt

 

 

Bonus Tracks:

 

You've Got Your Troubles

(Roger Greenaway-Roger Cooke)

Produced by Bob Gaudio

Arranged by Bob Gaudio and Bob Crewe

First Mix May 5, 1973

Non-LP single, issued as Motown 1251 A, May 1973

 

 

Listen To Yesterday

(Bob Gaudio-Bob Crewe)

Produced by Bob Gaudio

Arranged by David Blumberg

Track cut December 9, 1972; background vocals December 21, 1972, and March 2, 1973; lead January 11, 1973; overdubs January 12, 1973; strings January 18, 1973

Non-LP single, issued as Motown 1251F B, May 1973 and Motown 1279F B, November 1973

 

The Scalawag Song (And I Will Love You)

Working title: Silver Fishes

(John Cameron)

Produced by Bob Gaudio

Arranged by David Blumberg

From the Paramount Motion Picture Scalawag

Non-LP single, issued as Motown 1279F A, October 1973

Issued in U.K. version of Inside You

First Mix August 13,1973 [16 Mixes made by August 30, 1973]

 

Listen To Yesterday

(Bob Gaudio-Bob Crewe)

Produced by Bob Gaudio

Arranged by David Blumberg

Track cut December 9, 1972; background vocals December 21, 1972, and March 2, 1973; lead January 11, 1973; overdubs January 12, 1973; strings January 18, 1973

Alternative Version not released on vinyl : [22 mixes made during February and March 1973]

 

 

Disc 32: The Motown Years – Previously Unreleased

 

My Heart Cries Out For You 

(Mel Larson-Jerry Marcellino)

Produced by Lar Mar

Track cut October 1, 1971; lead October 21 and December 8, 1971; background vocals October 26, 1971; strings November 1, 1971; horns November 24, 1971

 

What Love Has Joined Together

(William “Smokey” Robinson-Robert Rogers)

Produced by Al Cleveland-Lawrence Payton

Lead cut January 26, 1972, all other dates unknown

 

Loving You, That’s My Thing

(Al Ruzicka)

Produced by Bob Gaudio

Track cut October 26, 1971; background vocals October 28, 30, November 2 and 3 1971; lead October 30, November 2, 3, 5, 8, 9 and 14, 1971

 

Never Gonna Give My Love To You

(Bob Gaudio)

Produced by Bob Gaudio

Track cut October 27, 1971; background vocals November 1, 3 and 4, 1971; lead November 3, 5, 8, 9 and 10, 1971; additional instrumentation December 9, 1971

 

Stop, Look, Listen To Your Heart

(Thom Bell-Linda Creed)

Produced by Hal Davis

Arranged by Gene Page

Lead cut, February 3, 1972; background vocals April 6, 1972; all other dates unknown

Final Mix August 10, 1972

Same backing track later used for Diana Ross and Marvin Gaye, issued on the album

Diana & Marvin (1973)

 

Minute By Minute, Day By Day

(Michael Masser-Kathleen Wakefield)

Produced by Frankie Valli and Michael Masser

Track cut October 8, 1972; lead October 9, 10 and November 16, 1972; strings and horns November 24, 1972

 

After You 

(Ron Miller-Michael Masser)

Produced by Frankie Valli and Michael Masser

Track cut October 8, 1972; lead October 10, 1972; strings and horns November 24, 1972

 

Star

(Bob Crewe-Bob Gaudio)

Produced by Four Seasons, Bob Gaudio, and Bob Crewe

Track cut December 9, 1972; background vocals December 21 and 22, 1972; lead vocal December 29, 1972, January 3 and 5, 1973; strings January 18, 1973

 

Hymn To Her (When My Love Touches Me)

(Bob Crewe-Kenny Nowlan)

Produced by Bob Crewe

Recording dates : November 1973 : First Mix December 12, 1973

Mixed May 1974 for album release -cancelled

 

Lovers

(Bob Crewe-Kenny Nowlan)

Produced by Bob Crewe

Recording dates : November 1973 : First Mix December 12, 1973

Mixed May 1974 for album release -cancelled

 

You Can’t Hold On

(COPYRIGHT CONTROL)

Produced by Bob Gaudio

Sax July 25, 1973; Lead and harmony January 25, 1974; all other dates unknown

First 5 Mixes May 24 and 25, 1974 for planned 45 and album release - cancelled

 

Whatever You Want

(Bob Crewe-Bob Gaudio)

Produced by Bob Gaudio

Recording dates unavailable : Mix May 5^th 1974 for album release -cancelled

 

Future Years

(Tony Martin, Jr.-Guy Finley)

Produced by Bob Gaudio

Arranged by Dave Blumberg

Track cut May 30, 1973; demo vocal June 1, 1973; additional instrumentation May 31, 1973

Copied May 1974 for album release -cancelled

 

Bonus Tracks - No annotation - See Collectors Notes in the Box Set

 

Notes re authorship: Motown Annotations courtesy of Andrew Skurow/Universal Music Group

Addditional data in RED from Artists Cards by Ken Charmer – Master Track Advisor to the Snapper Music Box Set 2018 to 2022

 

 

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

 

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

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

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

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

THE RECOVERED PARTNERSHIP MOTOWN MASTERS – Part 1

The Tape Research work by the Snapper Team is now complete and all tracks selected by fans recommendations and Snapper Team evaluation of the Four Seasons Partnership [FSP] Archive Transfers by Bill Inglot have been incorporated. It is brilliant that Bob Gaudio has approved the LIST. The QUALITY CONTROL phase starts now as the Re-mastering moves on.

The Motown UNRELEASED CD results from Bob Gaudio's review of circa 29 Multi-Track tapes supplied to him by Universal. These are as the Tape Index we have been researching for over 10 years. To date all finds have matched in some way our index and the Artists Cards that have informed the research. Only 13 tracks have been approved for inclusion . The only track previously approved and later deleted was 'I Will Love You Like A Man', and we can only think this is because the title may be interpreted as having 'gender issues'?? Such are these times.! As I have advised in this blog.....all 13 approved are top quality performances and 80% match any previously released Motown issued tracks by Frankie and the group and even album tracks from the Private Stock period that followed their time at Motown and MoWest Records.

One of the biggest surprises of the FSP Tape Archive review was that several of the 13 tracks approved were already in the FSP Archive and are ALTERNATE versions. In our continuing reporting of the facts I will be advising fans of our research as always. I have already advised of our finding of a copy of The Night/You Can't Hold On as a 45 in May 1974[see our previous blog] and this is the evidence of a second but equally well known track.

It is my assessment that consideration should be given to these ALTERNATE versions for 'possible' inclusion in the BOX SET and they should be definitely heard and reviewed by Bob Gaudio.[as he has probably forgotten that he had them]. They were clearly supplied to the FSP for approval as all are FULL STEREO MIXES and most were ready for release. The fans expected more tracks from the Motown vaults in this box set and Universal sources have confirmed at least 15 further quality tracks exist in completed form that could have been included . Perhaps time pressure prevented Bob from fully assessing the tapes.

Inclusion of these ALTERNATE versions would make this UNRELEASED TRACKS CD far more appealing to fans. The difficulty of getting ISRC numbers for the tracks and inclusion in the UNIVERSAL contract remains a difficulty for Snapper to manage but as these are simply alternate versions they can possibly use the same ISRC number. I hope Bob Gaudio will realise how good these versions are and if he does I strongly believe in their inclusion and a call to Harry Weinger at Universal would enable their inclusion in the contract to be quickly done.

These finds were at the time UNRELEASED but clearly late production STEREO Mixes ready for release [in many cases] as stored back in 1973/74, but with the group leaving the label no production commitment was made. These notes have been passed back to Snapper to inform Bob Gaudio of the finds and the tracks can be shared with him[and Universal] for assessment.

BONUS ALTERNATE MASTER VERSIONS IN FSP ARCHIVE [Found in FSP Tapes as attached Tape Box Scans with Transfer Locations] Part 1

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

This is identified [as you can see] 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 in the mix of instruments and backing vocals and the guitar is much more pronounced......and the most noticeable change is 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 perhaps not so minor matter with such an important and historic song.

But the Artists Card makes it very clear that the MASTER TAPE was 'Sold back to Producer'[ie Bob Crewe]. The first STEREO MIX was done on 11^th December 1973[from the final recording sessions at the label] and it was over 6 months later that 2 other MIXES were done on 6^th June 1974 for the album Tape P5084 and 10^th June 1974[BG – low level?]. Clearly at that stage Motown intended to release an album of Frankie and the group. The Tape Box in the FSP Archive was a copy made on 25^th June 1974 and lists Bob Gaudio[incorrectly] as the producer in a (NEW MIX). It clearly is and runs 3:40 [as opposed to 3:32 of the original Private Stock Issue]…...but will fans get to hear it in this Box Set? Well clearly it is in the ownership of the FSP now, but it's inclusion should definitely be on this CD of the Motown Unreleased. We will keep you informed of developments with this one.

Next time......more Tape Boxes from Motown containing UNRELEASED Tracks.

THE LOST MOTOWN 45?

Whist working as a member of the Snapper Tape Research team I was more than interested in 7.5 inch per second Tape Box in the Four Seasons Partnership [FSP] Tape Archive which shows two tracks which appear on a Motown Tape which appear to be a proposal for a new 45 release. The Tape Box has the date 23^rd May 1974 on it and a hand written Note saying ….”FINAL MIX?”......and the tape contains MIX 39 of 'The Night' .....and Take 6 [STEREO MIX 4] of 'You Can't Hold On'.

In my blog article on The History of MIXES of THE NIGHT I highlighted that MIX 39 Master Nr 60770] was designated for the proposed album release [Tape P5084 and 5] but now it's presence here indicates it was also for a proposed single release that of course did not happen. By October 1974 the group had left the label and taken 'My Eyes Adored You' with them and it was released on Private Stock. The rest is fully known history. But the story of the time at Motown continues to unravel with finds like this.

The version of THE NIGHT sounds very like the subsequent 're-issue' in 1975 in the UK but is not the same mix as the current designated 'Official' 2007 re-master appearing on You Tube.[running time 3:24] which has a heavy tambourine in the right channel. The newly discovered LOST 45 version runs 3:17 with a different balance of instrumentation.

But the superb TAKE 6 of 'You Can't Hold On' is the third Master[Nr 62299] of this song that we have heard . There is the 'approved' MIX Bob Gaudio supplied [3:05] for the BOX SET and another MIX/version we found [2:56]. Maybe this is Mix 5 identified on the Artists Card for the album saved to Tapes P5084 and 5. This 'discovered' version varies from the approved version as it has less Vocal Backing overdub and Frankie's Vocal is different on the closing sections. It still works well because the alternate instrumental mix[particularly the sax] fits with a superb 'lead' vocal. TAKE 6 MIX 4 of this this superb song[running time [3:13]has a different Vocal Backing overdub and Frankie's Vocal 'lead' is different on the outro [falsetto chanting with the backing singers]. It works really well because of the alternate instrumental mix with another superb 'lead' and backing vocal. Definitely the 'best mix' of the three.

The Tape Index Card[Artists Card] shows the Stereo Mixes made and we have 3 to look forward to.

This research shows just how much we don't know of or have not heard from the surviving session tapes. I'd like to see these MIXES appear in the BOX SET but that depends on Snapper, Bob Gaudio, Frankie Valli and Universal agreeing with my research and analysis and doing the admin between them to formalise their inclusion. The tracks are salvaged and available. Time will tell if they do issue them.........but they will definitely be heard one day. They are just too good to not be enjoyed by all.

More soon on the rest of the Motown Tapes, mysteriously turning up in the FSP Tape Archives.

Ken Charmer – MBA – Four Seasons UK Appreciation Society Music Historian.

Snapper Project Update - March 2020

For new members of the Motown Unreleased Campaign Facebook Group and blog fans generally I wanted to let everyone know our progress and status as we head towards Easter. We have just finished our research to identify all the tracks we can to complete the Snapper Box set. Some still need licensing clearance, and then it is up to Bob Gaudio to approve the list for production. We have searched out all we can and of course as I have advised we have 13 superb Unreleased Motown tracks already approved . 

The teamwork has been great. Overall we don't think we could have done much more. Several 45 tracks did not survive on tape from the 1960s but we have good quality original vinyl dubs in place to replace these. ALL the albums will be there and all the 60s albums in MONO and STEREO except for the 'Solo' and 'Timeless' albums.[which have only survived in their STEREO versions].....but the 45 released sides from them do exist in MONO. 'Genuine Imitation Life Gazette' has been found in MONO and was never released in this form, and as well as on CD it will be a 'vinyl' insert with full artwork as the original album 'gatefold'. So all NEW Digital Masters have been extracted from analogue Master Tapes and are being re-mastered to the highest standard by Reynolds Mastering. We have heard lots of the Master transfers to the sound engineer and the quality of Bill Inglot's transfers is top quality. The first sample RE-MASTERS from the Sound Engineer are better than we have ever heard and reviewed since 1988 [see our CD Discography] and [in my personal opinion – based on me digitising all the 45 MONO tracks since 2010] are the best digitally possible.

 

The Four Seasons Partnership Archives have been fully researched and along with our own discoveries from connected sources this is the best that can be done in 2020. Any other unreleased tracks that exist are in 'private' collections or Studio Libraries/Archives where tracks completed have not been sent[forwarded] to the Partnership. There could be some in the Vee-Jay[now Concord], Mercury [Philips] , Warner-Curb, Private Stock, MCA and Frankie's studio storage, but such research is beyond the scope and investment of this project and would require huge research. We do know of a few tracks that are lost there but locating them has been impossible. This is we believe as good as it can get. TV show recordings have been impossible to license within the time frame and budget and so none have been included. 3 Live shows from Sound Board recordings have however been included.

 

We are clear that ALL potential unreleased 'quality' recordings have been found and included except for the Motown Archive. As described above this is an archive owned by a major label [Universal in this case] and not by The Four Seasons Partnership. But this project was started because of the potential of this label's library and our 10 year research to identify completed work. Snapper's project investment has allowed the multi-track tapes to be supplied to Bob Gaudio for appraisal. He has approved and forwarded 13 tracks from a potential 30+ that we identified. Campaigning will continue for as long as we can to persuade Bob and Universal to eventually give us the rest.[but not in this set] But make no mistake about it , this 'album' of 'completed' Motown tracks is the 'jewel in the crown' in this set for all fans. It is fair for me to say I believe that this album of tracks is as good as the last 'Frankie Valli Unreleased ' set from 1975.....the 'Inside You' album which Motown released following the success of The Night' [in the UK] and the 'Who Loves You' album [Internationally].

 

The DANCE ERA single tracks from 1988 to 2007 are fully covered too and the 00's albums up to 2010 are included.

 

But our 'push' since 2009 has been to get a NEW set of Masters from the analogue tapes[including the MONO tracks] originally released in the 1960s on vinyl. This set achieves this and every effort has been made to ensure ALL UNIQUE 45 Mixes are included as bonus tracks to the respective albums. The total track list at the last count was around 780 and over 200 are Unique 45s, unreleased, alternative versions or live. The focus now is on getting as much approved and licensed as possible and no corners will be cut on quality. We are all committed to making this set as comprehensive as possible. This will be the NEW set of MASTERS and is as COMPLETE as possible.

 

We will advise further re the final list and production as and when we can, but patience is needed as the engineer creates 'new Masters' for the 21^st Century, and a final release date will only be known as the 'final approvals' work allows. But we have reached the end of the research stage and all tracks are gathered and with the sound engineer. Bob Gaudio and Frankie Valli will see that the combined efforts of fans and the Partnership have created the BEST EVER set in what is a LEGACY Collection. Now we will support the Sound Engineer through the 'quality control' stage of Re-Mastering. And given the teamwork on this set we had to agree with Snapper's decision on the title for the Box. It will be called “WORKING 'OUR' WAY BACK TO YOU”.

More when we have it.

Ken Charmer – MBA – The Four Seasons UK Appreciation Society [founded in 1971]

The Lost Fans Motown Legacy

As fans anticipate the forthcoming release of 13 previously 'unreleased' tracks from the Motown period of Frankie Valli and The Four Seasons career I can't help thinking of four fans who contributed so much to fandom over the last 45 years and who would have been so excited at what we are trying to achieve in the forthcoming Snapper Box Set. Whilst I can say 'I told you so!' re the titles that have turned up as superb and complete productions, these guys were out there trying to tell the story and get the music for the fans before me and I can't play the tracks coming out without wishing they were still with us to share the happiness.

Rex Woodard contributed greatly to 'The Work' which would provide the key information to allow Jersey Boys to be created and his Billboard Articles re the history of The Four Lovers and The Four Seasons up to and beyond Motown are important reference points today in their bibliography. He provided many News articles for George Ingram's bi-yearly Newsletters during the 1970s and 80s and was a sad loss in 1991.

Frank Rovello worked heroically as a USA fan club pioneer and webmaster of the GILG web site. A terrific reference source for Four Seasons fans from 1997 till his premature passing. He collated their story and documented group news since.

Stefan Wriedt in Germany collected and re-mastered all of the Frankie Valli/Four Lovers tracks for the Bear Records collection and The First Fantastic Years [1953 to 1961] CD as well as putting 21 of the 22 released Motown vinyl tracks on CD for the first time on The Night/Inside You CD.

But just as significantly for today...... Stuart Miller[Ex UK Four Seasons Fan Club President in 1971] started the search for the Motown 'Unreleased' with his 1972 Newsletter piece and his 1972 interview with Bob Gaudio. Here is an extract from a past blog post by me......re the interview.

'The most significant interview from the Motown period was by the late Stuart Miller who visited LA to interview Bob Gaudio on 14^th September 1972. At the time the UK Mowest label was soon to be launched and Frankie Valli and The Four Seasons had recorded up to 30 tracks at the label and the US release of 'Walk On, Don't Look Back' had just happened. Stuart best remembers the situation in his CD note of the interview recording.

“But I remember mentally where I was at the time and I feel my instincts were right. The group had just taken a major step in signing to a label that at first glance was not a natural home to them. Their chart success had slackened off and they had deviated away from their regular style that had been so successful for them and had been "messing" with stuff like Genuine Imitation Life. I had before me the heart and driving force of the group and I was demanding answers! "What are you doing with my 4 Seasons and when will you start making records again that the public want to buy?" seemed to be the essence of my attitude. I felt I drove Bob on to the back foot so to speak and I thought he dealt with the lobs I was chucking at him with panache and style.“

The interview covers all aspects of how Bob Gaudio took the Four Seasons sound into Motown and how 'Chameleon'written largely during the UK tour was delayed by technical issues and the start-up problems that Mowest had, which resulted in poor promotion. Bob's relationship with Bob Crewe is starkly revealed as is Bob Gaudio's writing style. The conflict of the Four Seasons past and present sound is explored.

Bob said at the time that he believes that 'if you make good product....somewhere along the line someone's gonna buy it' and this stands out as a comment. [even more so today.as the Snapper Project gathers it..ed] At no time does he criticise Mowest nor does he accept claims that the 'Chameleon' album is un-commercial (a criticism some fans made)as at the time he believed there was no 'commercial' chart formula for pop music and fans needed to move on and accept a new sounding Four Seasons. But if not and 'Walk On Don't Look Back' is the re-worked Four Seasons sound fans want and buy then Bob was happy to get someone else producing their subsequent hit records. It was fascinating perspective.....but not one that came to pass.....the next 2 years would be a roller coaster at the label.

It was a clear crossroads.......and the Motown Tape Index for this time shows this as they explored change of style and sound at Mowest up to this date. It also gives an indication of the next year's events and the further exploration of musical directions.

But what changed after this interview is significant as this Snapper release will show. Michael Masser, Bob Gaudio and Bob Crewe would go on in 1973 to produce some of the most stunning tracks of their time at the label. And this year we will see that all was not confusion at Motown in 1973 in terms of recordings......but they failed to release the quality material they had then even though some Motown Exec's clearly wanted to. They lost their relationship with the Partnership and Bob Crewe and THEY moved on.....leaving what is now becoming apparent are some amazing songs that fans are now going to hear.

As Stuart recalled...”Nevertheless, I was left with this marvelous timepiece in Season's history.“ ....and it has great significance now as I continue to campaign to hear the lost recordings.

What has happened since Stuart reviewed this interview is significant....and clearly JB changed everything. But looking at what remains unheard at Motown only makes any fan want to have the gaps in this part of the story filled in and the music published. It reinforces for me the importance of maintaining this group[ie the FB Campaign group] and it's objectives to achieve that.

The interview is a good listen for group members who share my interest in the 1971/72 recordings [and there remains much to uncover here] and Frank Rovello put the Interview on the GILG web site which was handed back to Frankie Valli's management upon Frank's passing. Unfortunately the subscription lapsed and all of the site and it's data was tragically lost.

Maybe I should salvage the Interview as a podcast and put it in our Facebook Campaign group sometime.?

So with only 13 more tracks and potentially 15+ still on the multi-track tapes which are now in Bob Gaudio's possession, you can guess what we will be asking for at the Box Set launch......more please Bob? Thank you Rex, Frank, Stuart and Stefan for helping us get here. The story is still unravelling. Ken Charmer

PS. The full CD information and text is available at The Four Seasons Motown Unreleased Campaign on Facebook.

The Four Seasons Story at Motown Starts To Unravel

Analyzing the full story of Frankie Valli and The Four Seasons catalogue is still impossible!! With only 2 Track Master Safety Copies in the Partnership vaults of their catalogue, it is apparent very little unreleased material has survived. But what has is more than we could have hoped for!!!!!. There may be multi-tracks lying discarded and forgotten in the Mercury/Warner/MCA and Curb vaults...but such is life and we can only celebrate what we have. So the Partnership Archive is our source for 2 track MONO/STEREO Masters. The only source where any Multi-Tracks appear to exist that we have been able to identify is in fact Universal Music – The Motown Tape Archive. Even though we have paper records that are accurate and comprehensive re the Multi-track Master Tapes in the Motown vault, there are still so many questions unanswered.

With only 22 tracks released following nearly 3 years at the label and paper records indicating another 30 unreleased Masters and several alternate takes and other session songs partially completed, it has been a hard task to assess the importance and quality of this period in Frankie Valli's career as well as that of the group sound.

But as another 13 Motown songs emerge as 'approved' by Bob Gaudio for the Snapper Box set it has become apparent that these 29 tapes are the only known 'treasure' of stored Multi-Track tapes that can be located of any of the groups sessions. …....ever!!!!! They represent a huge find in the history of this iconic group and a bounty for fans........if only Universal Motown and The Four Seasons Partnership would share the rest of the finds with us. Maybe if we keep asking someday we will be able too enjoy them.

We did our research this last 10 years accepting that there may only be a few songs of adequate quality to go in any CD release. As Motown themselves had 'trawled' the tapes for the 'Inside You' album in 1975 and at that time given us an exceptional addition to the their only released album whilst at the label in 'Chameleon'....that was it. Apart from the handful of non-album singles that make up the rest of the 22 released songs captured on CD for the first time in 2008 on The Motown Anthology set......what could be left?.....particularly when both Harry Weinger and Bob Gaudio said at the time that they accepted that anything left was 'unfinished demos' and Frankie Valli's lawyer said these were 'harmful to his career and out of key'. This has proved to be a total lie and the forthcoming release of the 'approved tracks' in the box set demonstrates it.

We thought we knew better given the 2 alternative tracks on the 2008 Anthology CD Set......and this has proved to be the case. Never before heard, the extended version of 'Charisma' and the alternative version of 'Listen To Yesterday' shows how 'spoilt for choice' Motown are in Frankie Valli vocal selections. His recordings are not always with the Four Seasons maybe, but many tracks were 'laid down' by him but never heard since.

Tape Research this last year has revealed that the Partnership Archive ALSO contains 'remnants' of those days at Motown in Safety Copies. But what is of most significance from these finds is the story of how the group could have stayed at the label with at least an album of completed quality material ready for release. Motown assembled an album of tracks for release in May 1974. Tapes P 5084 and 5 contain this 'un-named' album of completed songs. And 2 tracks 'The Night'[mix39 – out of 43. The rest are still there!!] and 'You Can't Hold On' were 'pulled' for potential 45 release in June 1974.

Now we have heard and know the full quality of this album we can also see how the re-union of Bob Crewe and Bob Gaudio helped achieve superb material. Sessions together and as sole producers contributed to this set during sessions in 1973. And the hidden gem in this set is an alternative vocal ending version of 'My Eyes Adored You'. It is different to the one bought by Bob Crewe and subsequently released on Private Stock but in no way inferior. It is the Master lined up for release. If it had been Frankie would have been singing different lyrics since then......... But we are not getting that in the 13 approved for release with Universal Motown....... so as it was sold to The Partnership back then they can include it.........We have heard it now so it is in the box set too as a bonus track. And we won't stop asking for access to the rest of the known tapes and tracks.

We know that by 1974, the failure of promotion by Motown to push 'Hickory'[it barely broke the Billboard Top 100] had totally disenchanted Valli, Crewe and perhaps more so Gaudio who was driving towards new sounds and direction as the separate identities of The NEW Four Seasons and Frankie Valli 'solo' were beginning to emerge. Live shows and audience response was demonstrating the quality of the band. Bob Gaudio had a new writer/partner in Judy Parker. What was needed was the right material. New songs being written by Bob Gaudio with Judy and whilst registered at Berry Gordy's Jobete Music they would emerge at a new label and the well known story of them buying 'My Eyes Adored You' took Frankie Valli to a new 'Solo' career at Private Stock.

Motown were too late and had wasted several opportunities to generate hits during their contract and ignoring the output from sessions of great material remains inexcusable. They would get some financial success on the back of this 'walk-out' by Crewe and the Partnership as the re-issued 'The Night' soared into the UK chart on its re-release in 1975 [leading to the re-release of 'Chameleon' and the release of the 'Inside You' album] but as more quality tracks are now emerging the bad management at the label is ever more clear.

But as I said at the beginning we still can't capture the full story with at least 15 completed Masters of unreleased songs mainly from the MoWest period still unheard.We don't believe there is a lack of quality amongst this set.....it is just that we are unable to judge that YET? What will become apparent to fans with the forthcoming release is the superb quality of Crewe, Gaudio and Valli to deliver in the studio. 11 of the 13 approved songs are quite superb and a match for many that would follow at Private Stock with Frankie Valli. The Four Seasons feature[in various line-ups] on several tracks but the intense power of the NEW Four Seasons contribution[along with Nick Massi and Charles Calello] on the immense Crewe-Nolan songs 'Lovers' and 'Hymn to Her' [from December 1973] shows why Crewe and The Partnership wanted to buy more of the back catalogue from Motown at the end of their contract.

What we have achieved and will all get to hear is superb. The shame is that everyone involved has hidden this music from us [or even admitted it exists] for 45 years. As I said.....'it is all starting to unravel'.

Ken Charmer – The Four Seasons UK Appreciation Society

Coming soon......The Story Of 'The Night' and its 43 Mixes

 

 

Seasons Greetings - 2019: Part 1

It's that time again when Lynn Boleyn and I wish our fan group friends Happy Christmas and a Happy New Year. We usually hope there will be something for fans to look forward to but this year looking forward is the most exciting since the hey-day of the fan clubs in the UK and the USA of the 1970s.

The forthcoming Box Set from Snapper Records is well into it's research and development stage as we help the team evaluate the exciting content that could be possible. Bill Inglot is steadily researching the Partnership vaults and sharing the contents with the team and we have been able to identify rare session out-takes and alternative versions. This process will develop through the New Year as we identify and propose every important Frankie Valli and the Four Seasons track that has survived from 1962 to 2010 for inclusion.

The vaults and other collectors archives will we believe ensure this is a 'Completist's Set'.

The 1960s in MONO and STEREO releases are going to be there.....and 'unreleased from every decade'.....is beginning to emerge. But our Campaign and aim was to get the Motown Unreleased from 1971 to 1974 and whilst only 13 of a potential 30 plus showing in paper records have been approved for release......this constitutes a whole album of material......and it is all worthy of release as our news over the holidays will describe.

This is definitely going to be a set for 'die-hard' collectors and we are doing all we can to make it the best set ever. What we can say is that the Re-Mastering of the 60s albums so far is superb and better than any previous CD issue to date[well all of those we've been able to check]. And the tracks WILL BE the authentic released Masters plus bonus tracks wherever we can find them. We'll keep monitoring and reporting as the project develops with the Snapper Team, who are closely liaising with Bob Gaudio, Bill Inglot and Universal Motown.

Follow our Facebook group The Four Seasons Motown Unreleased Campaign for regular updates as we dig deeper into the vaults. Classic LIVE material is also surfacing and we are hoping much of this will also gain approval.

News and articles here and on FB as we continue the research in more depth than ever before into potential content through into 2020, which is why I am saying this is the most exciting time for fans since 1975!!!!........for those who arrived on the planet after that year or who discovered the group more recently.......you are in for a treat. Enjoy the ride......and for us 'oldies'.....'Let's Ride Again'.

Casey Chameleon

 

 

The Search For The Masters – 2019 update - [8 years on]

Back in 2011 I was writing blogs about a project my late friend and sound engineer Stefan Wriedt wanted to tackle as there seemed no prospect of a comprehensive review of the Four Seasons Partnesrhips vaults/archive. And rumours had been rife for years that the tape vaults are incomplete in terms of the Master Sessions Matrix Index which we've developed on our web site. Do the MONO mixes we all know still exist as since 1988 and the advent of CD the output has been largely STEREO, and often wide or poorly mastered tracks of the analogue to digital transfers.?

Our UK Fan group web site index covers all known Matrix Numbers of Masters from 1962 to 1971 and an Excel Spreadsheet of what is stored in the Motown Universal vaults, much of it still Unreleased.

https://www.seasonally.co.uk/newmasterspage.html

Here is our blog post back then and the enthusiastic response from long term fans Colin and Zane at the time. We have in the last two years achieved an amazing break through and collaboration like never before. So revisit this and then see what we are now achieving below.

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

Of course at that time 'Jersey Boys' was still in full flow and the 'Jersey Beat' Box set in 2007 had been the Rhino attempt at a collectors package. It underwhelmed most of us although many of us were able to comment on our fave tracks in the Charles Alexander inspired 'mini-book'. The Motown Anthology set in 2008 was 90% based on released material but on CD for the first time 'officially'. We know the 'unreleased' is there and have proved it since.

So our project work has progressed since and although sadly we lost Stefan[and GILG web master Frank Rovello and ex UK Fan club President Stuart Miller] with the help of Paul Urbans and Ray Nichol I completed a fully re-mastered set of 45 MONO A and B sides from 1962 to 1970. It's not perfect re every 45 side[as some MONO sides are very difficult to find in prime condition.....and it did not cover the 'Valli SOLO' 45s], but it is still a good consistent 'reference set' of the MONO vinyl released versions. That reference set we said in 2015 would have to do until someone found the money and as a result time to research the Tape Archive and re-digitise the Master Tapes with todays technology.

Well today as I write........ that is happening for the first time [thanks to Snapper Records of London] with a full set of specialists at work to create the 'Ultimate' salvage from the surviving tapes. Bob, Frankie, Snapper Records and the UK fan group have committed to aim for the best set of recovered Masters of Frankie and the group ever. Bill Inglot, so much the archive researcher for Bob and Frankie over the decades has reviewed in depth what analogue tapes exist and what we are seeing we will get will be a full review and NEW Analogue/Digital transfers. Coupled with Reynolds Mastering working on new Re-Masters and with record industry renowned compiler Bob Fisher they are a full team targeting the highest quality possible. A circa 40 CD set has been proposed and contracts progressed and research and transfer have been happening through the last few months. New transfers re-mastered as the best 2020 digital Masters ever is the aim. The work will bring some amazing finds.......some we have said should be there and some completely new to us all are surfacing.

Results so far show we can at last say a MONO Master set will be possible of all album and non-album 45 tracks released in the vinyl format [ie 1962 to 1970] and the surviving STEREO mixes are revisited and tapes checked for alternate versions. But perhaps the best news is that the magnificent STEREO hits set produced by Bob Crewe from surviving Master tapes [Edizione D'Oro] has been found and will be fully presented on CD for the first time ever. And a surviving MONO Master of Genuine Imitation Life Gazette will appear as a vinyl insert. Photos/memorabilia and an historic book will complete this de-luxe set.

This is a big achievement and what fans have been asking for for years. Alternate Takes/Live tracks and previously unreleased tracks have been found and these will be reviewed and approved by Frankie and Bob where of adequate quality[re performance and sound quality]. The fan group team are assisting as and when needed. Our reference set of the MONO sides has been provided for comparison purpose. 90% of sources are pulled from the Partnership vaults and transferred and review and re-mastering is well underway.

The one thing that qualifies ANY Frankie Valli/Four Seasons collection is that nowhere in the archives are copies of 'session work or multi-tracks'[unlike the Beach Boys recordings]. The whole library consists of completed Masters.....either from album /45 or left-overs in some rare cases. All previously known tracks follow the listing of Matrix numbers found in our Masters Sessions listings on our web site as far as the Vee-Jay and Philips period goes and MONO and STEREO versions do exist of most tracks. Of course several MONO only tracks like 'Ronnie' were never mixed to STEREO after the session and 45 release.

So apart from what is there we suspect nothing else has survived .......unless fans and former record company employees out there tell us. ? Now is the time to speak up if such gems exist in hidden archives. We have discovered one or two salvaged from cassette and acetate......but whether these make it into the set we can't say at present.

This investment by Snapper is the most in-depth investigation with Bill Inglot of surviving Master analogue tapes ever. As Stefan and I concluded in 2011 it is long overdue! The result will we believe establish the most accurate and comprehensive collection of Frankie Valli and The Four Seasons work in 21^st Century sound.

A real 'collectors piece'

The tape search goes on......'Unreleased' have been found at Philips and Motown and review and quality assessment continues with Bob Gaudio, who is fully supporting these research stages and the final product. More feedback when we have it. Target release August 2020. London.

Casey Chameleon

How Important Is A Career Box Set in 2020?

It seems amazing to see the Four Seasons UK Fan Club still exists in 2019!!! Well really it is now a social media fan group, but with a web site full of the data we have assembled and published. We've been posting blogs about the groups career and back story since 2006 in Casey's 'Chameleon' blogand post 2011 'That 'Four Seasons' Sound blog.And it is amazing how much we have covered. So we go again!

We've had over a year now to contemplate the arrival next year from Snapper Records of London of a 40+ box set.

Well it is one of the least important things in life, but nonetheless we've achieved somethings that wouldn't have happened perhaps if we hadn't called for a properly re-mastered and presented career set and unreleased tracks on behalf of fans. This box set is one of the results of our efforts. As with most artists who own most of their back catalogue the Partnership and Rhino/Curb/ACE etc have always been thinking of timing of projects to persuade fans to part with their hard-earned money.......just as Vee-Jay/Philips/Warner/Private Stock et al did back in the days of vinyl.

To newer fans this will maybe sound strange but some of us have dozens of albums and CD's of every Frankie Valli/Four Seasons song ever!!!!!. So to strange people like us we needed something that would show us that this Box Set may definitely be the most important release ever.

So when London based Snapper Records told us their plans for a career spanning box set based on their 'brand' and quality presentation of the Four Seasons catalogue we were understandably interested......and when they said Bob Gaudio was enthusiastic about it they got our attention. A meeting in London revealed the plans were to include in a career spanning box set 40 + albums a large portion of unreleased.....and 'what did we want included?'they asked.

Lynn Boleyn and I in unison said the 'Motown Unreleased'!

You have to remember that both Bob Gaudio and Harry Weinger of Universal Motown stated back in 2008 that there weren't any unreleased'completed'Motown tracks . And imagine our surprise when Snapper announced that Bob Gaudio 'had unreleased tracks from every decade'. And he was prepared to release them.......well what a surprise and so by then we were getting excited!!.

Over the last 10 years we have researched and demonstrated a potential 30 to 40 Motown Unreleased tracks in paper records as 16 track or Stereo versions in the NYC vault[from their 1971 to 1974 contract with the label] . So the Motown Unreleased Campaign I[Ken Charmer] started 2 and a half years ago has made all this data available and this has been shared with the Partnership and Snapper. And we have posted You Tube videos of some of these songs [from demo acetate/tape] demonstrating this fact. The aim was to show that 'yes...it did still exist....and should be preserved ...and released'.

Well whether that exercise has been completed in depth and all 16 track tapes researched we do not know but we hear that only 14 tracks have been 'approved'by Bob Gaudio. Lynn Boleyn and I are extremely disappointed and it would be easy to be negative re the current proposals for the Box Set.

In response to our disappointment Snapper's Ian Crocket responded....“I must stress that with respect , your fellow Four Seasons collectors will not be familiar with the sets we produce. Nobody is producing box sets to the size quality  and standard that we do and what must not be forgotten is the amount of  additional content that is included (coffee table book, signature, vinyl, memorabilia etc). In my experience when fans eventually receive their purchase through the post they are generally blown away by the weight and size which is reflected in the comments on line. Whilst the unreleased Motown is key it is not the be all and end all, and we must not lose sight that this is a career retrospective.”

So after careful consideration we agreed on the following joint statement on behalf of the fans......”It is great that Bob Gaudio and Frankie Valli are on board and that Bob has already approved 14 unreleased Motown tracks for inclusion along with two live show recordings.  We hope that Snapper will be encouraging Bob to agree to further unreleased Motown tracks being included and also unreleased tracks from every era where we have been informed by Bob there are also unreleased tracks. We appreciate that Ian is working hard to make this box set a huge success and the more unreleased tracks that can be included the better.’

Notwithstanding the status of the catalogue in terms of career spanning material there remains no comprehensive set available and so such a compilation may be deemed value for money for some. Since 1988 and the real advent of CD [according to my count on George Ingram's US CD discography] there have been.....

• 33 plus Hits or Compilations of selected tracks on CD or Box Set

• 26 individual albums or 2fer CD sets

• 1 original album of new tracks

• 1 album of retrospective songs[Covers]

• 1 Christmas album of new recordings

• 1 Classic albums Box Set[FV/Four Seasons]incomplete career wise

• 1 Classic albums Box Set Frankie Valli Solo] incomplete career wise

Snapper said re this planned collection.......”I’m confident we will also have a disc of Partnership unreleased/alt takes as well as the 2 live performances [Bachelors 3 and Lucifer's] the 2 unreleased BBC tracks and the MONO vinyl, the books are also going to be very well received if previous experiences are anything to go by.  Obviously we are still going to strive to make this the best Four Seasons release ever and with the content we already have I’m confident we are well on the way.”

So as we await with interest what comes together we will continue to review our research re the catalogue and in particular the Motown Period and the sessions that resulted in both superb releases and the 'unreleased' we have so long campaigned to hear. We do hope there will be more..and we get detailed feedback.....and so re the known 'unreleased' tracks completed at Motown? The campaign goes on.

Ken Charmer and Lynn Boleyn

 

The Four Seasons MOTOWN Artists Cards

In researching Frankie Valli and the Four Seasons period at Mowest/Motown 1971/74 it might have been helpful to know sound engineers who either worked at the label or know the recording process from those times or are familiar with the tapes like Russ Terranawhose initials appear on some as the mixing engineer. One note shows up to 43 STEREO mix-downs by him of 'The Night' between 1972 and 1975.

So why are these cards so important now in 2019 and what can they tell us?

Well they reveal a raft of information re unreleased but completed tracks that indicates their existence and location.

When Motown moved to LA from Detroit in 1970 they adopted a different system for recording, storing and releasing recordings.

This was the Motown 60000 series of Master Numbers and this can be seen here.

http://www.45cat.com/45_list_view_record.php?li=3900

These Master numbers appear on the released 45 as seen in the Cat45 listing above.

As fans we have tried to analyse the approach to session and recording management and decode some of the data records from the time based on the Analogue Tape Index and the Artists Cards.

What I believe happened was that studio sessions that resulted in a completed 16 track song generated a Master Nr [for example 60516 – Walk On Don't Look Back].

An Artists Card was produced[a simple card index] which showed the Title/Artist/Producer/Master Number/ Tape Number. The Tape Number [1^stLocation] was a 4 digit code preceded by a predominantly P[Production Tape] or T[Temporary/Safety-Evaluation Copy]. Example Tape P2110 – The Night. Notes exist of mixes and dubs made and stored on many T Tapes.

The relationship with P and T Tapes has to some extent been clarified. I have a listing from the Tape Index relating to the P Tapes. These are the main Production Tapes with up to 16 tracks in sync from sessions. The big question is was a vocal lead laid down. Only playing the tapes will reveal this as tape boxes do not always reveal the accurate contents. STEREO mix-downs should also exists as these are the final Production versions for Evaluation through the Quality Assessment process meetings. There are famous stories re these reviews and evidence from Motown TCB Newsletters indicate unreleased completed tracks by the group were being assessed in January 1972 for possible single and album release. Several songs listed there appeared on the 'Chameleon'. Several have never been heard since. T tape copies existed of many tracks indicating they were completed as STEREO mix-downs. Some remain as 16 track and have never been played back since.. Research to find if these still exist but this research exercise hasn't extended to them at this point in time.

The Artists Cards were subsequently used to note transfers and copies as they are made [They are generally to T tapes but sometimes P tapes ] and this shows their locations[Master Mix/Remix] and 'Dub Cuts'.

Codes [in the Comments column] are hand written or typed and these need translation..They include.......

1. 16tRhy – which I assume is a 16 track copy

2. 02tsmx – which I assume is a stereo mix

3. SR6smx – which is a mystery but likely to be a type of stereo mix

The above Example is of an Artists Card which shows a track we found on cassette salvaged from the session, proving it existed. The track has been shared in our Facebook group.The Master Nr [not noted here] is in fact 60752 confirmed by other Motown Spreadsheets.

Sometimes there are references to the alternate 'Take' Numbers which in the case of The Night number 43.[The biggest hit.....by 1975 and the highest number of STEREO mixes made on the catalogue of the group at Motown]. Occasionally dates are shown and engineers initials. RT is probably Russ Terrana but others are a mystery. [The details behind this tracks production and surviving versions we hope to feature in the next year]

Some notes indicate that copies have been made to 'New Album' P Tapes clearly for pre-release.The Transfered/Temporay Tapes [T tapes] should be evaluated with reference to these Cards to identify copies [if necessay – should the completed tracks/mixes not appear on the Production Tapes]. Collating the Artists Cards with a Tape Index has shown over 30 tracks with Master Numbers by Frankie and the group that have never been released.Of course this analysis may be challenged by the people at Motown who know otherwise.?......but the tapes will speak for themselves!!

Will the transfer of these tapes to Bob Gaudio generate their release.? We will see, but at least the exercise has resulted in their'preservation'for posterity. Whether there is enough interest from the Partnership to invest the Sound Engineering time to mix-down to STEREO where necessary remains to be seen at the present time.? And how busy is Bob Gaudio to invest the Production time? It is perhaps also a question of what gets licensed in contract negotiations between Gene Zacharewicz at UMe and Snapper Records.

Whilst we do not expect any confirmation for release [or otherwise] for some months we will have more soon re what has been salvaged/preserved and remains unreleased.

Ken Charmer – Tape Index Researcher 2018[Updated August 2019]

The Fight For The Four Seasons Masters

Most members of this group will be aware of the amazing sets of Beach Boys 'unreleased' and session tapes that have surfaced and been released since circa 2000. Much of this has been because of the need for copyright protection but MOST of it is as a result of the amazing work of this legendary sound engineer Mark Linett. This video interview tells the amazing story of what has been found and what has been salvaged. It is a must watch for the likes of Bob Gaudio/ Frankie Vall/Bill Inglot and the folks at Snapper Records.

Unfortunately I believe we are not going to get anything like this extent of forensic work done on the Four Seasons. Well not in my lifetime or Frankie and Bob's, I would say. This goes to the root of the complaint of Four Seasons since the age of CD. No-one has respected the work as Mark has done for the Beach Boys. OK the multi-track tapes and copies stolen from now defunct studio archives have helped the process for him and them. But the very fact that Jersey Boys was such a success has impaired any attention the Four Seasons archive has had. We've done more in capturing the vinyl dubs and creating a MONO Archive of the 60s 45s than anyone over the last 10 years, and the research of the Motown vaults paper archives have been confirmed by recent tape research and transfers. But whether it is cost pressures or time/resource restrictions we are now not optimistic that the planned box set will achieve anywhere near fans expectations.

The Motown 16 track tapes need research and time to uncover the dozens of tracks and alternate takes there. And the fact that only 2 track STEREO masters exist from the 60s [as we hear about in this interview re the Capitol sessions with the Beach Boys]were thrown together back in the 60s.

But we don't see that delivering on a major scale here and it appears our high hopes and expectations will be dashed. Not something we are not used to as Four Seasons Fans.

Whatever the reasons and excuses re the Four Seasons catalogue.......it will disappoint most even though we can see from Mark's open and frank interview the problems of past digital tape preservation and digital restoration. The key is you have to care for the music....the creative process and the sound and invest in preserving it and putting it out.

This is a stunning interview and a credit to a true archivist engineer of the highest skill.

 

But the real future for the catalogue of the Four Seasons will be Digital Extraction and Mark touches upon it in this interview. The only way to salvage Bob Crewe's final mixes and alternative takes [with Charlie Calello's arrangements]and create NEW Masters for the future generation of collectors is coming.

The push to start this has started and we will be leading that in whatever way we can whether Bob Gaudio or Frankie Valli [or Snapper] choose to invest in the process. Someone will.......and we will be leading the campaign. We go again.....the way to the MASTERS is DES.

More soon

Casey Chameleon

Press Release Summer 2019 - Preserving the Catalogue

In March I was bemoaning the slow progress of the proposed 40 album Box Set by Snapper and the Four Seasons Partnership with Major Corporate Record Companies [Warner/Rhino/Curb and Universal Motown]

Well now it is summer and coming up a year since the fan group committed to the concept developed by Snapper Records when they 'sold' the idea to the 'majors' and Frankie Valli and Bob Gaudio. But because the list of tracks has to remain 'open' to be developed as research continues, formalising contracts was delayed and the investigation of the Master Tapes in the Motown vaults took time.

But News last week that Bob Gaudio has committed to being co-producer of the new Neil Diamond Bio Musical on Broadway prompted many fans to question his commitment to this 'Legacy' project.? And concerns have been expressed as most of the content of this set is already available and there will be no difference.?

Our recent work has reinforced the strategy of the fan group as we've developed it in the last ten years.....in our last post we said...The Four Seasons UK Appreciation Society has been calling vociferously for catalogue preservation on it's web site blogs since 2008, when the paucity of the physical CD catalogue and the missing masters stories gained strength. Then it became apparent that between 30 to 40 unreleased recordings by the group existed on 16 track 'multi's' in Universal Motown's NYC vault. As we gathered evidence of what might exist uncovering several acetate copies we got resistance from UMe and the Partnership that these existed. [Just the same refusal to admit to the assets and the need to preserve them that has existed for decades]. It took 2 years of publishing evidence of the archive tracks on Facebook in the Four Seasons Motown Unreleased Campaign for a forward thinking Record Company to ask the experts[THE FANS]....'What do you want?'

We clearly stated.....THE UNRELEASED......and have had great news of this since.

Ken Charmer will bring you news of this during the summer on the Four Seasons Motown Unreleased Facebook Group.

But progress on the box set has been made and the reason why it has been so slow is based on 3 problems.

 

1. The provisional track list and contracts have taken time to complete but the contract with Warner is complete and something like 34 of the proposed 40 albums are transferred to Snapper. Questions remain as to whether these are NEW analogue/digital transfers or existing digital copies.? Also the Re-mastering proposals and the inclusion/availability of MONO 45 mixes where different to the album mixes still needs to be addressed?

2. The Motown Tapes were confirmed as found in January and it took time to set up the contract to address these. Bob Gaudio's commitment was clear in his proposal to review with Frankie ALL Masters with his vocal on them. He asked for 2 track mix-downs from the 16/24 Track tapes, and with Snapper paying for these transfers he offered to mix the 16 track approved versions for Snapper. A big breakthrough and he recognises how many of you want to hear these 'lost gems'.

3. The sheer workload remains a problem. Memoribilia has been photographed and a designer and writer appointed.....BUT with Snapper committed to several Box Sets for the Christmas market 2019 the on-going pace of this project will slow as an issue date of August 2020 is now targetted.

Confirmation that the 'Bachelors 3' Fort Lauderdale 1974 and the 'Lucifer's' Boston 1973 concerts was really good news and Bob Gaudio will edit and provide what he has from other studio sessions. Re-mastering transfers and collation of 'Unreleased' tracks will in our view not happen till early 2020, and in the meantime the fan group will focus on locating alternative sources for missing Masters only available on vinyl. But Bob's commitment can clearly be judged as definite by this quote re the researching of the Motown Tapes......”revisiting the past can sometimes be painful.  But apparently, there is a world of fans who would appreciate everyone’s efforts.”

The paper records [and cassette tapes from the studio] show Motown's tapes contain lots of unheard 'gems' and we will post re the potential finds during the summer as well as celebrating the decades of releases in the catalogue. Bob Gaudio has said he has 'unreleased' “from every decade” and we'll comment on what that might be. We are in regular contact with Snapper and whilst the transfer of the Motown material is still awaited, we will advise as soon as we know more.

Casey Chameleon

Salvaging the Sound of The Four Seasons – Part 1

Today on a morning debate TV show they asked.....'Will you live long enough to see Brexit?'

Well with an extension to the 'Brexit' leaving process looming......most UK people have lost any interest and are simply focusing on keeping 'body and soul' together. Well Four Seasons fans had better do the same!

Everything is running slow and for Four Seasons fans I'm afraid the story is the same. After the great enthusiasm of Snapper Records concept of a mega/luxury BOX SET of 40 albums spanning the career of Frankie Valli and The Four Seasons and the news of Bob Gaudio and Frankie Valli's enthusiasm, it is becoming ever more apparent that 'delivery' is the problem. So we can ask the question.....'Will we live long enough to see Snapper's and our concept?' Bob and Frankie may also be asking that question.

The problem is, 'The Majors'...ie Rhino/Warners and more importantly Universal Motown.

Licensing and legal delays have prevented the completion of contracts....and although we had been promised a high proportion of 'unreleased'....'from every decade'......no news has surfaced on the Tape Archive review at the Partnership or from the Motown Archive research.

In many ways this is not a surprise. Whilst Rhino and the Partnership have regularly licensed tracks in their ownership, and were positive when the concept was launched....and Universal Motown saw the potential of the 'unreleased' track they were able for the first time to put before Bob Gaudio.......the administrative problems of licensing when you do not have a definitive 'final list' of tracks to be included appears to becoming problematic. Firstly this is the first time since 1988 that NEW transfers from the analogue tapes has been a viable proposition and the identification of material for inclusion cannot be underestimated. There are so many diverse problems re the Masters to be resolved. Also anecdotal evidence shows Universal Motown are renowned for not having a 'can do' approach to licensing and many projects in recent years[and still today] have been bogged down in their 'processes'. Other licensees have been tearing their hair out and abandoning projects because Universal will simply find excuses for not licensing songs. There is too much evidence for anyone to argue that this criticism is unfair.

In the meantime Snapper and the fan group members have been positively gathering 'memorabilia' from our archives to illustrate how the groups music was presented in the media in past decades for potential inclusion in the proposed /Book'.

On the music catalogue side we have been commencing a 'forensic' review of what is important to be included and the limitations of surviving Masters. What fans want[as far as we know from vinyl and CD issues] has been documented and this has been shared with Bob Gaudio as our 'wants list'. Questions of copyright and royalties payments on 'live' recordings have arisen and at present remain unresolved and the content....remains unclear.

Snapper are not unfamiliar with such problems and have both the determination and experience to manage such issues, but how much time it will take and the compromises necessary are just emerging several months into the design development.

We continue to back the idea of a project that is based on fan input/wishes, as this would be the first time ever in the history of the group that it has happened and we have great confidence in Snapper's leadership and drive. Their track record shows this.

In our forthcoming blogs we will be tackling issues that have become an intrinsic set of problems for the sound we have and what legacy will the groups catalogue leave. The question is how much work is necessary to salvage, repair and issue a representative version of their 'body of work'. We'll be posing questions and potential solutions. But can the music industry be moved by the innovative ideas of a small independent Record Company [with the backing of the artists] and the fan group? It is a bit like the question....'Can 'democracy' survive?'.....Only time will tell......hang in there everyone. We owe it to the next generation of fans.

Casey Chameleon

Next time …..Part 2 - Repairing the 1960s Catalogue.

 

2019 NEW YEAR 'Press Release'

Happy New Year to followers and Facebook group members from Lynn Boleyn, George Ingram, Ray Nichol and myself.

2018 was a 'special year' in the history of Frankie Valli and The Four Seasons.

• It was a year we discovered more unreleased tracks from the past since the 1975 release of 'Inside You'!

• We were able to bring all of the data we have on the groups history up to date on our revised Web site in November

• This was followed by the 'Farewell Tour' of the UK by Frankie and his Team for several memorable concerts to huge audiences.

• The release of Charlie Calello's biography 'Another Season' in November [just out on Amazon.co.uk]

• But perhaps more importantly it was the year we helped 'connect' Bob and Frankie with a high quality Record Company who want to celebrate the history and 'legacy' of their careers.

Not bad for a group that started as a small UK fan club 48 years ago.

Lynn told me that during the concert 'meet-ups' people were asking her.....'What is left now after a 'Farewell Tour?' Is it the end of the road? '

Well not as long as we can keep breathing that is!!

2019 may be the biggest year of our lives 'musically' as 'The Project' takes shape.

In January we hope contracts will be concluded on the 40 album box set featuring we believe 'unreleased tracks from every decade of the Partnerships existence. Tape research has started and the 'wishlist' of album tracks 45s and known 'unreleased' has been supplied to Bill Inglot and Bob Gaudio and Motown Universal have mobilised tape research of the 1971 to 1973 archive tapes. Live 'quality sound' shows are being researched to capture the legendary sound of the group from the 60s and 70s.

This blog will keep you informed of progress as will the Facebook group[The Four Seasons Motown Unreleased Campaign]

What could surface has already been amazing. In November we published 2 previously unheard unreleased but 'completed' Motown tracks from the Chameleon album sessions and before Christmas we heard Snapper Record's contact with the BBC Archive manager has unearthed 2 radio recordings for a Saturday morning 'Top Pops' show from 1963 when the Four Seasons visited the UK for a brief tour. 'Big Girls Don't Cry' and 'Ain't That A Shame'....LIVE at The BBC. Amazing news.!

Super rare photos are also emerging for the box set book and work starts this month on the memorabilia of unique material to illustrate the musical dynasty the group created. We will, during the year in our blogs, be revisiting album releases and special MONO and STEREO rarities that need to be included. The whole set will include amazing 'unseen' and 'unheard' material.

Whilst the aim is a 2019 release, we and Snapper are working together to bring the best ever Four Seasons product to the fans...with the support of Bob Gaudio and Frankie Valli and their team.

So as I said Happy NEW YEAR 2019 to all involved and to you 'the fans'

Ken Charmer

The 'Chameleon' Sessions Re-Visited

Back in 2011 I started to document the travesty of mis-information that 'faithful' and 'trusting' Four Seasons fans have had to suffer for what was then 37 years. It is now over 43 years since we were told.......nothing was left in the vaults.

In one of my blog posts[15^thJanuary 2011] I was able to reveal the existence of completed 'unreleased' tracks by the group still lying in the Universal Motown vaults when I said....

”Since The Four Seasons left Motown in 1974 and the subsequent release of the ‘Inside You’ album (Motown M6-852S1) in September 1975, fans have questioned whether any other tracks remained left in the vaults.

Rumour and myth have circulated since and it is amazing that no definitive answers have been found. But now in what is to me a ‘shocking’ disclosure we can prove that the answer is YES completed masters do exist and with examples and research we will show all fans the potential which has been wasted.”

Well I have been documenting and sharing data and music re this lost period ever since in a Campaign to get someone to act and preserve and release up to 50 tracks unheard since the 1970s.

And now just as another piece of evidence arrives, others realise the potential ....... there is a possible acknowledgement by Bob Gaudio to Universal Motown......and some hope emerges that, finally, these sessions will be researched. We've established real interest from Record Companies and some hope a project will ensue.

And coincidentally, as hope arises of a release, we are able to re-visit P Tapes 2105/2110/2111 and the rehearsal recordings for tracks that would eventually surface on the group's 'only' album release whilst under contract there. The Chameleon Sessions Re-visited is a set of rehearsals of tracks that would when complete comprise a very different and 'progressive' Four Seasons album. Critics and fans have said since how significant an album it was artistically and some [like me] rate it as the groups best ever album[notwithstanding the cult following of 'Genuine imitation Life Gazette']

11 tracks, 8 of which would [when complete] create a stunning album. One in instrumental form, raising the question of whether it was ever completed with vocals, and 2 completed and unheard tracks which have never been released which sound really good. Up-tempo driving Four Seasons songs completely different to the album eventually created[but none the less stunning]

This is also our chance to hear, for the first time ever, studio session work pre-release with missing dubs, differences in instrumentation and alternative vocal elements. We all know it has happened with the Beach Boys Sessions and this is a 'snatched' example of Bob Gaudio working up the songs to their final Masters. On our Facebook Campaign Group we will share these moments re-mastered as we bring to fans the Sound Engineers dubs[presumably the legendary Russ Terrana's acetates] salvaged from cassette tape.

And now these are perhaps a prelude to what Universal Motown can do with the support of the artists?. Is that support 'real' and will the project happen? Well in the words of the Bob Crewe penned song amongst these early sessions by the group at Motown......'Time Will Tell'?

Casey Chameleon

Fan Club Anniversaries and The Motown Unreleased

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

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

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

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

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

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

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

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

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

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

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

Ken Charmer

 

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

Addendum April 1^st2018

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

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

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

Our e-mail response address remains [email protected]

Thanks to Typepad for their support. See you on Facebook

The Four Seasons Motown 'Un-released' Group Status Report 2017

The Facebook group established in February 2016 is going strong and as the year ends we have sent Motown CEO Harry Weinger, [the executive responsible for the Motown Anthology 2008] our End Of Year : Status Report.

In it we outlined our aim which remains to research and recover all aspects of Frankie Valli and The Four Seasons recording career and share this with fans. Whilst our focus is primarily on the Motown tracks still in the vaults, we are now focused on ALL 'un-released' tracks. So this report tells fans what we have told the CEO of Motown responsible for the only 'Official' Motown CD release by Frankie and the group this century. The first 'official' release of their time at Motown.

The facebook group contains the data we have re the Motown vault but in addition we have made some astonishing finds on acetates dating back to the early 60s on Frankie and the group. Acetate recordings of early pre-Four Seasons have recently surfaced and will be 'released' [shared] next year with the facebook group and we now know of and have re-mastered the Motown acetates made by Bob Crewe and made Frankie fully aware we have these and we have informed him what Motown have in the vault.

We corresponded with Harry Weinger the UMe CEO before the 2008 Anthology [he asked for our help] as he did the tape research re the 'Released' tracks and we were able to confirm the tracks released in the US and UK on that collection. My intention in writing this time has been to update him on our research status at the end of 2017 and to ask him to ensure that our information is available to his archivists/researchers and of use, as and when he has the resources, approvals and support for a release of the many 'completed' but unreleased tracks we now know are on 16 track master tape or already digitally recovered. We know of several 'digitization' programmes this century but only know of one main researcher who currently does in depth work on the tapes and that is Keith Hughes. His work and reputation as a detailed Motown researcher is second to none. DFTMC web site is a 'work of art' documenting Motown releases. But he is, as far as we know, not an employee of UMe[on a permanent basis], and we are unaware of any current digitization or specific research programmes he is involved with for Motown [apart from the forthcoming Motown Unreleased 1967 download/CD set].The DFTMC database only extends to 1972 and includes limited Four Seasons releases and none of the 'un-released'

There is only one Motown researcher we trust implicitly and that is Paul Nixon and he is interested in our project aims. For that reason we've copied him with the latest version [July 2016 revision] of the key file on which we have collated information re Frankie Valli and The Four Seasons material recorded at Motown In our Excel spreadsheet we identify the P Tapes [and some T Tapes] and Motown Master Nrs[where known] with titles, songwriters, producers etc. This is, we believe, the most comprehensive record of the material by them at Motown to date and the essential reference point for any research into this period of recording by them. It is also almost certainly the biggest gap in their recording history and the [probably]biggest cache of 'unreleased' music by Frankie[solo or with the group] in existence. But if there are other paper records and information available we have offered to help and make this record of data as comprehensive as possible. It will need to be for the legal 'approvals' process. We are grateful for the anonymous donation of data sources that has enabled this data record to be compiled over several years but it is only a starting point. We also have full lists of the Motown Masters and Artists Cards for the period. These also detail the Stereo Masters [when mixed for potential release] and their location.

We will in our blogs next year be outlining how any future research projects should take place ….....and we know that will happen[Frankie Valli is just TOO IMPORTANT an artist] …...we are trying to ensure that team has the most comprehensive info available and a proper plan of research.

We will extend our research and explain how WHENEVER anyone researches these tapes they will be able to focus on the 6 specific phases of Frankie and the groups recording sessions from 1971 to 1973. For our next years blogs and research we are enlisting the help of an MBA in Project Management to design a strategy for research that is comprehensive but cost effective with sound engineering resources. We'll highlight the tapes relating to each phase and the producers involved and what they, Frankie and the group aimed to achieve. All this should direct research of the analogue tapes specifically rather than the more random research from general digitization programmes which we know have gone on in the past. We only know so much but we believe the internal research is incomplete. A specific artist project can be initiated by Universal Motown to extract known digital tracks and to research the analogue tapes for finished and unfinished[un-mixed] 'multi-tracks'. We have evidence of Digitally Mastered 'completed' tracks found to date but we can see not all the tapes have been 'found' or researched despite the work that uncovered un-released tracks for the Motown Anthology in 2008.....nearly 10 years ago. We'll say more re this in our publications during 2018.

But finding all the P and T tapes we list, we realise, may not be the easiest of tasks given what we have heard [even from Harry himself in interview] about the state of the tape vaults. Whilst the Detroit tapes have some order we believe the LA tapes are somewhat 'disorganised'. Obviously the source tapes are the final key research point but may well contain 16 track recordings not 'mixed down' but equally so these tapes may contain unknown songs NOT listed by the 'Motown interns' at the time. We have been told that many of these tapes have probably not been listened to since the sessions. The priority is to ID, find and gather ALL the relevant tapes from the vaults and verify and complete digitization for research. Informing this is our 2018 programme of research.

We do know that tape research was done for the Anthology set and that 2 previously unreleased versions of songs appeared on that compilation......which shows that not only the STEREO MASTER tapes of the original albums were the source tapes for that project and proves that what remains is not simply demos and incomplete rehearsals as has been maintained up to 2008 by Bob Gaudio. But we are now into the post Jersey Boys period and with the sad loss recently of Bob's wife Judy Parker it is impossible to judge how Bob will react or approach the group's history.

But moving past that followers of this blog will know we have approached both Frankie Valli and Bob Gaudio to try to assess if they[and their heirs] have ANY INTEREST in this music, and THE JURY.....remains out on that at present.....but we may get an answer as we keep them informed of our research.......ever the optimist.........'with Motown...you never know'!!!!

So as we approach the year end our next compilation of 'Best' sound quality 'Un-released' is 'in the studio' and more historic and rare 'live' material is 'in the works' for 2018. A Happy Christmas and Happy New Year to all our followers. Casey Chameleon

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The 2017 'Unreleased' Sleeve Notes

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

Track 1 – Like You

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

Track 2 – Hymn To Her

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

Track 3 – You Are The Sunshine of My Life

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

Track 4 – I Wonder Why

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

Track 5 – Hickory[Alternative Extended Mix]

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

Track 6 - Killing Time

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

Track 7 – Michael and Peter

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

Track 8 – I Got Love

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

Track 9 – Golden Slumbers

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

Track 10 – If I Were A Carpenter

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

Track 11 – One Man

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

Track 12 – Bridge Over Troubled Waters[Medley]

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

Track 13 – We Had It All

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

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

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

Track 15 – Close Your Eyes

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

Track 16 – The Fool On The Hill

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

Track 17 – If

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

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

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

Track 19 – Natural Morning

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

Track 20 – Lovers

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

Track 21 – Make Your Tomorrow Tonight

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

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

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

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

Hope for the future of vaulted tracks?

I've been complaining about the lack of good compilations of Frankie Valli/Four Seasons material[including bonus tracks] for some years and whilst it is easy to focus on The Four Seasons Partnership and a lack of understanding or action re this , it is not as simple as it sometimes appears. We often think THEY should relate to our wishes and design good compilations for us. But would we buy again when we have all the tracks on CD.?......and if there are not enough vaulted tracks to create a bonus to persuade buyers, is there any point in a release.? Music is after all a product.

Let's examine some of the fan views and some of the current music industry realities.

Here are some typical and understandable comments from fans.....”Frankie and Bob continue to not fully understand the true collector...their feeling is it doesn't have mass appeal and tracks need remastering or remain unfinished. The true collector DOES NOT CARE... a release of these songs would be for the true fans that have stuck with them all these years...once AGAIN another volume of BEACH BOYS unreleased tunes has hit the market with all the flubs,mistakes,false starts,studio banter instrument tuning, alternate versions and yes even unflattering versions. so Frank and Bob need to get with it, we don't care if someones voice cracks or they coughed or sneezed during a take or that someone was off tempo,these make the recordings even more endearing to us” said Jim Valenti in our facebook group. In response Chuck Walker makes a good point.......”Jim has a perspective similar to mine. How about a challenge....back in January of 1964 Frank and Bob responded to "Surfers Rule" with "No Surfin' Today. Is it time to respond today, but instead of redoing the redo's provide something which clearly shows the creativity of the group. Granted they may not think everything is the best, but how many of the 4 Season 'also ran' songs have become hits for other artists. "Like You" from the recent [Unreleased free bootleg] CD shows they had creativity long long ago and the Motown stuff continues in that vein. Or could it be that the bad taste left by those problematic years over powers all else.? I for one think some of the"unreleased" I have heard via Casey Chameleon's work is better than what was included in some of the released albums. Just one persons perspective.”...and Jim agrees....... “Chuck you are 100% correct about some of the unreleased that has made their escape out, Frank and Bob are using the argument about the material not being up to their standards,standards what standards when nonsense like "GYPSY WOMEN" and most if not all of the Romancing the 60's and Hope and Glory were considered up to their standards and worthy of releasing.......for over 40 years now since the 70's they skimped on LP tracks, most having only 10 songs but some having 8.. just on that short coming alone the fans deserve some extras”

Good arguments perhaps....especially when we see collections like this from the Beach Boys

https://theseconddisc.com/2017/07/review-the-beach-boys-1967-sunshine-tomorrow-and-wild-honey-stereo-lp/

“This release, mastered for fine sonics by Mark Linett, is a worthy successor to such similarly collector-oriented collections as Hawthorne, California, and more recently, The SMiLE Sessions and the 50th anniversary presentation of Pet Sounds.  Conventional wisdom has it that Brian Wilson abandoned his ambitions following the demise of SMiLE, but this release reveals that he instead channeled his considerable energies and remarkable musical instincts into a different but equally valid direction: one of apparent, back-to-basics simplicity – which is often the most difficult and complex quality to achieve.  The creatively fertile music by Brian, Mike Love, Carl Wilson, Dennis Wilson, Al Jardine and Bruce Johnston on 1967: Sunshine Tomorrow was in many regards out of time, existing in a vacuum removed from the other sounds of The Summer of Love – hence, the original, poor chart placement of Wild Honey.  Yet this rootsy, rocking, soulful, and quirky yet still unmistakable iteration of The Beach Boys has aged well in the context of the band’s entire career.  Aren’t you glad for Sunshine Tomorrow?” says the second Disc review and is targetted at a known and well researched 'group' of fans.

So there is evidence of well managed archive releases and major pop artists farming their back catalogue and master tapes. A body of work that represents your musical life....your 'art'. The economic model for collectors sets for record companies remains based on both short and long term sales.

The biggest set of 'unreleased' Four Seasons/Valli tracks remains in Universal Motown's [UMe]vaults and their policy, in recent years as CD sales have declined, has been to move away from product release themselves leaving 3^rd Party record companies to lease tracks from the vaulted archive. ACE have been the most prolific over the last few years. But the level of competition between such companies seems to have reached a damaging level for the collectors. Anecdotal evidence suggests recent projects have seen ACE, Caroline Records and Cherry Red vying for release of vaulted tracks with projects switching labels but failure to progress to release. Rumours have surfaced that UMe have suspended 3^rd party licensing and that the CEO of archive material [Harry Weinger}has moved to California to a new role[possibly for Universal mainstream artists] and a potential void in personnel, and projects of archive material is a fear for us collectors for the future.

The CD market today has shrunk so much many fear for the future of re-issues/vaulted material particularly as older collectors pass away. The economics of re-issue/vaulted material remains a fine judgement. Companies need to feel confident a product can sell at least 1000 units in the first place. Any growth could take sales to 3000 units which would mean a very successful project in todays marketplace. Compare this with the noughties when Cellarful Of Motown Volumes were selling 7/10,000 units. Such sales today of rare older material seems impossible.

But there is a clear market that could enable both UMe and the 'independents' to successfully utilise the vault. Todays Facebook groups related to Rare Motown material contain nearly 2,300 dedicated members [whilst the main Motown group has over 64,000 members] all potentially purchasers of good product. They regularly share You Tube tracks and discuss artists rarities and classic tracks. Record company execs would argue that You Tube access to downloads and CD sharing are too damaging to sales to risk some projects and that may be true in some cases and some artists. Most facebook group members would want a product rather than downloads. They are 'collectors' and NOT casual music 'consumers' like the younger 'streaming' subscibers. Their interests and markets are narrow but they are coming together into an information sharing environment. A name like Frankie Valli and The Four Seasons is known to everyone today and not just Motown collectors. Many find it hard to believe no record company will tackle the subject. A fear that The Partnerships 'attitude' will be negative. But we believe that may not be the case as we speak to the 'inner circle' after concerts. The test of rare music sales we think will be the next few months as we see milestone releases testing the market and my personal theory re the future for archive and back catalogue material.

Cherry Red Records are about to release a 2 CD set of unreleased vaulted material of Brenda Holloway, a classic but little-known artist[outside Motown collectors]. This will contain properly re-mastered versions of poorer quality 'cheap' downloads recently issued. [a trend followed by UMe in recent years.]

https://www.cherryred.co.uk/product/spellbound-rare-and-unreleased-motown-gems/

The Motown Treasures Facebook group poll also found Cellarful Of Motown Vol 5 to be the most wished for release and rumour has it this is planned and that will, I believe, demonstrate that the best market for vaulted material is 'facebook groups'. Social media PR will I believe be the best avenue for sale of rare music wanted by collectors of classic 60s/70s material.

'Second Disc' the re-issue blog demonstrates the range of artists collections targeting such collectors. The problem remains the licensing of material and 'clearance' of such material for issue.

At UMe 'quality control' sessions review 'approaches' re potential compilations to assess their 'contribution' to the 'corporate' image and the available catalogue. This happens in both the UK and again in the US before any compilation can be put forward for approval. A lengthy process that needs careful management. Experienced compilers know this process is fraught with disapointment. And it seems to be getting worse! But what if The Four Seasons Partnership promoted the approach and if a leading music artist or producer championed such an idea?.... would the bureaucracy move better? I sometimes wonder if problem solving in the 'clearance' process is the real issue. When Harry Weinger stepped in in 2008 we got the Motown Anthology set.

The problem perhaps with the Four Seasons Partnership is that they have been locked into their Rhino licensing deal for so long and they appear to no longer have someone like Bill Inglot managing the masters and compiling collections. Compiling collections is in many ways 'an art form' and it needs a knowledge of your audience as well as your material. Thus the benefits of a social media group is vital to designing and compiling sellable CD collections as well as finding the best compilers who can manage the process.

In future blog posts I'll be revisiting how this nearly happened with the Motown unreleased and focusing on their best rarities collections in the CD era whilst trying to find an approach to generate a viable project for Four Seasons fans. Casey Chameleon.

 

The 'Unreleased' - Status Report - Summer 2017

Pulling together my collection of the best sounding 'unreleased' tracks has been a real treat this year and to make it available to as many people as possible who collect Frankie Valli and The Four Seasons music has generated great encouragement for the research to continue. With a recording history of 55 years it remains necessary to make Frankie Valli and Bob Gaudio aware of this 2017 collection as we press for research and release of those efforts left collecting dust in the Motown Universal vaults and in the Partnerships archive.

So before I move on to sleeve notes for this years UK 'Unreleased' collection, [our 'best' discoveries to date]let me sum up what we know today about Four Seasons 'related' unreleased tracks that need to be researched and released.

There is no evidence to suggest any tracks remain from the Vee-Jay days as all the masters were passed to Philips after the court settlement in 1964. All were released apart from a rumoured copy/re-recording of the Village Voices songs.

It is apparent some 'project' tracks could exist in demo/acetate form from the 1963 pre-Philips months when sessions were done with Larry Santos and the 4-Evers but whether these survived we do not know.The Four Seasons had no contract whilst in litigation but did backing work which seem to have created some Valli solo work which could have survived on 'demos'.

Philips sessions are documented and we have listed the unreleased recordings in our session masters listing on our web site where paper records have listed these. No listing has surfaced for the final sessions at Philips which we have heard have left several tracks in the Partnerships archive...some [we are told] may be incomplete.

The Motown period we now know contains the most completed but still unreleased tracks with at least 30+ tracks known to be on Motown Tapes or as completed masters [There is some evidence of partial 'digital' recovery of some]. The ownership issues around these tracks remains an issue [surfacing in 2008]with the Partnership lawyer[and allegedly Bob Gaudio] refusing to acknowledge their existence and Motown Universal not willing or able to negotiate over this. From 2021 these tracks if unpublished MAY revert to the Partnerships ownership under copyright law. Our Facebook group Campaign continues to publicise these and call for their release.

Private Stock recordings seem to be all released and we have no indication of 'lost' material but according to anecdotal evidence from the Four Seasons members at the time a full 'second' album was recorded at the 'Helicon' sessions and remains in Bob Gaudio's control.

Some evidence exists in paper records that suggests the Mercury vault has unreleased tracks from Bob Crewe's final sessions for the 'Heaven Above Me' album.

We have a track left over from the 'Streetfighter' album and we heard that before that an album was recorded in 1983 but was never picked up by a record company during a music industry recession. There are no doubt later sessions which remain unreleased and rumours abound of tracks no-one has heard throughout the 90s and up to today.[at Valli's private studio]

This all demonstrates the potential 'treasure' that exists for music detectives battling against a management that has always denied the existence of such material. Why? You may well ask. With so many artists today trawling their past for such material we continue to be amazed that we are the only researchers calling for such material to be issued. But if we keep the research going perhaps one day someone will agree this music should be made available to music historians and fans in a commercially produced series.

If anyone knows more or can add to this 'status report' then let me know and I'll keep the record of potential sources up to date.

Casey Chameleon

The Age Of The Curators is Here!

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

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

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

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

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

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

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

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

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

But if not them WHO?

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

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

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

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

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

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

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

Onto the compilations we need next.

Casey Chameleon