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Home , Bob Crewe, California Nights, Charles Calello, Come Softly to Me, Diane Renay, Eddie Rambeau

When we started researching and the 4 Seasons other do is read it and get it to feel good. factured to the formula that caught the work back in 2001 we didn’t realize When you’re sitting in a studio with ears of ‘naive kids’ like us. Kids no that we would unearth so much a bunch of and some- longer we still love this stuff!! that spans the sublime to the body’s saying, "OK, we need to We start with one of Bob most hard- ridiculous but with our track record this " and they start to working solo and group artists of the research now over 120 in addition figure out what it is that they need early 60’s, Lenny O’Henry. The open- to those that have already to play, the reason why they take ing track captures the attempt to appeared on ‘The Dynavoice Story’ so long is because they have to achieve the soulful impact of Ben E and ‘The Early Fantastic Years’ find the parts. And it’s harder to King and like ‘Stand By Me’ CD’s we are still finding gems and find the parts if you have 5 people and ‘Oh My Love’. ‘Burning Memories’ turkeys. creating the arrangement. It (Smash 1800) is an intense ballad This article again focuses on gems, becomes a lot easier when you arranged by Sid Bass with the versa- as we have been able to do so far. have one person or two people cre- tile Lenny O’Henry his heart (But watch out for our collection of ating the arrangement because out. This Crewe- Bass penned song turkeys on a future Volume). then there’s continuity in it…. Well although very good, failed to make With 16 tracks arranged by top the musicians that we used had the any chart impact in 1963. arranger , a Valli- ability to be able to interpret the The female Four Seasons dropped Gaudio and two produc- music. After singling them out, their falsetto for the ‘B’ side of the tions, several Ed Rambeau co-writ- they interpreted the music….. It highly successful ‘Dusty’ in 1965. ten songs, some great Season was a very very different time in John Clemente in ‘Girl Groups’ says sound-alikes and the Seasons making records.” of this track, “The pleasant ‘B’ side , backing on , probably, 6 of the Surprisingly Charles Calello, some- ‘Hey Hoagy’(Mala 493) also received tracks, we think this captures the what disparagingly, calls this early significant attention. These produc- continuing theme of ‘Seasons 60’s material “manufactured” pop and tions where now being done under Connections’. whilst the formula he and Bob Crewe Crewe’s newly christened Genius Inc In this article and our next we will used can be seen in all volumes to production company which he shared show the importance of Charles date, there are still some astounding with his brother, Dan. Calello’s contribution to the sound of arrangements arising from the influ- and provided their writ- Bob Crewe and his own productions. ences of competing producers and ing skills for these productions, along In his interview with Stuart Miller in other artists of those times as the with the tried and true Charles 2003 he talked about the importance sounds of these tracks demonstrate. Calello.” This staccato style song of arranging. “. When you use an Before the emergence of bounces along with a great vocal from arranger, an arranger works out all as the organic musical force that lead Jean Thomas. the parts prior to getting into the would create rock everything coming Crewe had had some excellent studio, so all the musicians have to out of the US producers was manu- results with girl vocalist between 63 and 65 and ’s quality shone through on some good songs. Usually these involved the clever song writing team of and Bud Rehak working with Crewe. ‘A Present From Eddie’ (20th Century Fox 533) captures all of Diane’s warmth and girly sound, with a great ‘seasons -like’ falsetto fade out on another Charles Calello arranged track. We featured Kevin McQuinn on our previous compilations and we found him again on a self-penned (E.J.Quinn) song ‘Every Step Of The Way’ (Diamond 101) Arranged by Charles Calello and with the Four Seasons on ‘Yea,Yea,Yea’ backing vocals, it is a catchy song recorded in 1961. The High Keyes (Keys) were a stand alone group as best we know. The members of the group were Troy Keyes, Jim Williams, Bob Haggard, and Cliff Rice. It is believed that Bob Crewe tried to make them the black 4 Seasons. On one of their best perfor- mances ‘You’re My Girl’(Atco 6276) there is an impassioned vocal with more than a hint of Frankie’s falsetto showing through on the harmonies. But we are not sure if Bob Crewe arrived in time to arrange "Walk Like cy, ‘(I Wish It Were) Summer All Year used the Seasons sound to reinforce A Man". This also explains why Sid Round’ (ABC 10231’). Seagull the sound on this Crewe -Keyes com- Bass also arranged some other tracks sounds, Valli’s falsetto and a jangling position as did with the 4- in late 1962-early 1963 for Crewe piano arrangement of a Crewe Evers on ‘Be My Girl’. This production (Matthew Reid, Lenny O'Henry on penned track. No credit to the deserved some chart success in Smash, Hedy Sontag on Vee-jay, arranger so we can’t confirm (but 1963. Tracey Dey was the other of Kevin McQuinn on Vivid, etc.). strongly believe) it is Charles Calello. Bob’s outstanding female vocalists The Victorians have appeared before Whilst Larry Santos was writing great during the early 60’s and some of her in our research and ‘C’mon Dream’ songs for The Four Seasons like songs are quite exquisite like the (Hercules 101) has an almost spoken ‘Candy Girl’ he also had a few Larry Santos song ‘Teddy’s The Boy I vocal by a lead we cannot attempts at success and on ‘True’ Love’ (Amy 894). Backed, we believe, identify, on the song penned by (Atlantic 2250) with the group backing by either the Rag Dolls or the Angels English singer / Chris him he performs well on a Tomerlin this Calello arranged ballad from Andrews and arranged by Calello. penned track arranged by Charles 1963 just oozes warmth and class. Backing vocals are a great copy of Calello. Another track from the myste- The Victorians who recorded intermit- the Four Seasons with an outro which rious Victorians appeared in 1965 on tently during the early 60’s had been hints of Valli’s voice. A great Seasons a single produced by Irving Spice, around from the late 1950's and were sound-alike ’Wasn’t The Summer Short’ (Bang the group that Charles Calello Back to Lenny O’Henry (aka Daniel 550). Although a sound-alike there is belonged to. He left them to work with Cannon) and ‘Mr Moonlight’ the other no Seasons presence on this Ruth Frankie and the Seasons, we under- side of his Smash 1800 single. Again Lyons song but perhaps the line-up stand. As a matter of fact, after arranged by Sid Bass and co-written includes De Cillis and Layton who had Charlie started working with The by Crewe and D.Cannon, with performed the year before on ‘Baby Seasons and Crewe in 1961, he was- unknown female vocalists and per- Toys’ (see Vol2) n't making the money he wanted and haps the Four Seasons on backing Eddie Rambeau’s attempt to follow up felt that his group needed to go on vocals, this great song was unfortu- on the success of ‘’ tour, so he left Crewe and The nately not a ‘smash’ Miss Frankie in 1965 was to stay with the bouncy Seasons for awhile to go on tour Nolan was not so involved in Bob style of that hit and to maintain the before "Sherry". That is how Sid Bass Crewe’s production schedule as other ‘earthy’ connection. (For concrete and ended up doing the arrangements on female vocalists but was famous for clay read ‘mud’). ‘My Name Is Mud’ some early Seasons tracks and the the Valli backed ‘I Still Care’ in 1961 (Dynavoice 207) is one of Eddie’s Christmas too. Frankie and the before the Seasons became interna- best compositions (with Bud Rehak) guys thought that Sid was too old tional stars. The ‘B’ side warrants and has a terrific Charles Calello fashioned for their style so they attention as the Seasons provide arrangement. It should have been a begged Calello to come back. He strong harmonic support on the boun- hit but only achieved No112 with a 4 week showing. arrangement. Troy Keyes in 1963, trying for a hit In Volume 2 we featured 2 of Shirley Sometimes an outstanding song with ‘Don’t Leave Me Now’ ( Atco Mathews singles and another Bob never makes it no matter how many 6290). This Crewe-Calello composi- Gaudio production of hers was the artists try to make it a hit. Chollie tion was based on a classical piece driving ‘Wise Guys’ (Atlantic 2224). A Maye was a vocalist popular around as was ‘A Lovers Concerto’ a hit for Crewe –Santos composition with a in the mid sixties. Valli in 1965. A superb perfor- Charles Calello arrangement it and Gaudio thought they would try mance this was one of the best tracks appeared in 1964. This was an almost their arm at producing 'on their own' under the ‘High Keyes’ badge and it Northern Soul sounding Bob Crewe and this girl got her chance.’ Cry For should have been a hit. production and its lack of success Me’ (Gold 212) was the Bob Gaudio The identity of the Calendar Girls is penned song understood to include members of the that made it to the Angels and Jean Thomas on the the ‘B’ side, delightful ‘People Will Talk’ (Four (we’ll feature the Corners 118). A Linzer –Randell com- ‘A’ side on our position this is a classic girl group next volume) sound and stands alongside the Rag and Chollie’s Dolls singles as a quality track once somewhat sub- again arranged by Charles Calello. dued vocal Johnny Halo’s single produced by never takes this Bob Crewe in 1961 ‘Betty Jean’ song to the appeared on The Early Fantastic heights Valli Years CD. We researched the ‘B’ managed on the side, the bouncy ‘More Lovin’, Less ‘B’ side of Talkin’(Topix 6004) from 1962 with an ‘You’re Ready unknown female backing group ( pos- Now’ (Philips sibly including Hedy Sontag). A Sid 320 226 BF- Bass arrangement creates a solid UK) when he dance style track which is a good was backed by sound and deserved to be heard Frankie and Bob getting the harmony right the Angels. This more and not lost in obscurity. has the same The Madisons were, we are told, must have made him wonder why arrangement and perhaps backing Larry Santos’s group created in 1962. such great tracks didn’t make it. A real vocalists. Just a superb song, again The single we researched is ‘Only a gem. Bouncy formulaic songs by the arranged by Charles Calello in 1964. Fool’ (Jomada 601) with a group line- likes of Bobby Vee were the norm Larry Santos’s other side backed by up comprising Larry Santos (singing from 1961 to 63 and soared into the the Four Seasons was ‘Someday’ his own composition) on lead vocals charts, so surely a song written by (Atlantic 2250). Arranged by Charles and a sound-alike Four Seasons line- Bob Gaudio and Sandy Linzer and Calello the track builds steadily to an up. It may have been them as they with a arrangement by Charles Calello emotional harmonic climax which the had numerous arguments with Crew and vocal copied straight off those Four Seasons had mastered to per- over royalties on their work with hits would bring success. You would fection that year as can be heard on Santos This sound is similar to Larry think so but clearly lack of air play or ‘Soon’ from the ‘Ain’t That A Shame’ and The Legends line-up on a driving distribution caused ‘Don’t Make album ( Vee Jay 1059) The baby dramatic vocal with terrific harmonies. Faces’ (Warner Bros 5455) by sounding had a Is that Valli’s vocal again on the fade- unknown Tobin Mathews to fail. The chance to work with Bob Crewe in out? song is catchy and well performed so 1964 and ‘What Makes Little Girls Diane Renay did some great vocal the mystery is ‘why not a hit?’ Maybe Cry’ (Atlantic 2250) is an almost nov- harmonies with backing female vocal it came a little too late in 1964 by elty style track typical of their sound. groups ( the identity of which is not which times the charts were dominat- With the harder street sounding known) and we found an Eddie ed by the Brutish invasion. The naive female groups emerging this Crewe- Rambeau- Bud Rehak composition’ sounding vocal of ‘Ding Dong School Gaudio composition although catchy Billy Blue Eyes’ (MGM 13296) which Is Out’ (Sure 105) by the Hollywood and arranged by Charles Calello was like the tracks on Volume 1 shows Playboys has an almost hypnotic never going to make the grade. this off to perfection. More classic girl appeal on a Nick Massi produced By contrast the blues/ soul sound of group harmony sounds courtesy of song written by Joel Dames. A very Shirley Mathews ‘If I Had It All To Do Bob Crewe’s production. early 60’s sound the outstanding fea- Again’ (Red Leaf TTM 611) was more Lenny O’Henry again came back to ture of which is a terrific sax break typical of the way pop was changing his Sam Cooke style of vocal perfor- which disappeared from tracks in the with the influences of the and mance with ‘Savin’ All My Love’ ( Atco mid sixties. Another catchy song from Stax sounds. Composed by L’Hereux 6312) . An Alaimo-Stone composition Kevin McQuinn was ‘It’s Only Me’ (later to gain fame as DC Larue) and and featuring we believe the Rag (Vivid 1003). Again sounding like hits arranged by Charles Calello this pro- Dolls and possibly the Four Seasons of the time in early 1963, this Bob duction seems almost experimental on backing vocals it bounces along Boulanger penned song features and ahead of its time in 1964. with his enthusiastic style. another superb Charles Calello Back to the impassioned vocal of We found a great track of Shirley Mathews socking it to us with the ing facilities. A producer, in the caught the attention of someone.” Crewe-Calello composition’ You Can true sense, who had an incredible So we hope you have enjoyed this Count On That’(Atlantic 2210). ear for what Top 40 radio wanted. celebration of early 60’s US pop and Arranged by Charles once again and Although he wasn't a , he look forward to our next effort which featuring the punchy vocal style she was a singer and more important will focus on the now identified soulful did so well, this is an amazing vocal he was a great songwriter. He also influences that emerged in the record- and an outstanding track. was able to bring out the best in ings that were eventually given the We all know the story of how the everybody he worked with...like a label of Northern Soul by the 70’s afi- Four Seasons fulfilled their contract to great director. Bob Gaudio, is a cionado’s of Wigand’s Casino, the Vee Jay when they left to join Philips genius, and I'm sure working with Mecca at Blackpoll and other North- in 1963. The infamously poor ‘Live On Crewe as a mentor helped him West England clubs. Their recognition Stage’ album featured one original immensely. ” of the special production of tracks like Crewe-Gaudio composition ruined on Charles Calello captures the ability ‘You’re Ready Now’ took the album by the artificial studio audi- we found in these recordings per- back into the UK charts in 1970(#11) ence sound. Well fortunately the track appeared as a single, ‘Little Boy In Grown Up Clothes’ (Vee Jay 713) without that awful crowd noise. We found this single as the last of the Vee Jay sound before everything changed with the creative changes on the ‘” session in November 1963. We believe it deserves to be issued by some record company on CD for the first time in all it’s cleaned up glory. The penultimate Rag Dolls single was ‘Baby’s Gone/We Almost Made It’(Mala 499) and whilst we will feature the ‘A’ side on our next Volume, the ‘B’ side is a Crewe –Linzer-Randell composition which has the girls harmonizing on a warm romantic ballad. A very distinctive styled track this shows off the superb vocal talents of Jean Thomas and the girls on a Denny Randell arrangement. To close this compilation we found a production which is believed to be by Nick Massi of a group called the Carmels. ‘Let My Child be Free’ (MGM K13869) is a Massi- Shapiro penned track with a distinctive folk harmony style wrapped with a haps, in his interview. “ When we and ensured great performances by Mexican trumpet arrangement. This is went into the studio and we record- soulful artists would not be lost. We a superb harmony vocal which shows ed the music, a lot of the things will research more tracks and try to Nick’s skilled vocal arranging at its that would happen would happen find the essence of this ‘going beyond best.This set of tracks we believe as a result of Bob Crewe, who what was normal’. shows the ability of Bob Crewe and would hear something where Note; This article is based on the rest of the Four Seasons once somebody made a mistake or research via the internet. The again. Artie Wayne the renowned somebody hit the wrong chord, or music is only available on vinyl via songwriter, singer, producer, publish- while they were tuning up they got e-bay and on some commercial er, concert promoter, told us the fol- a funny sound, and he would cre- CD's and we found out about it by lowing about Bob Crewe, “I was ate something. And when I said contacting collectors. For further never in the studio with Bob while that he added the element of the information on these tracks contact he was recording masters, but I did bizarre, what he taught us was not the following e-mail addresses. a few demos with him and he to be afraid of going beyond what UK: [email protected] always knew what he wanted. From was normal. And some of the EC:[email protected] talking to him over the years, I things that took place on the USA:[email protected] ascertained that he was the kind of record, although we all had our Thanks to George Ingram, Ray producer who was responsible for dominant part within the process, Nichol, Mike Miller, Mike Edwards, gathering the best musicians, in the studio you never knew where Jim Allio, Ed Rambeau,Charles arrangers, artists, and finding the that ingredient was going to come Calello and Stefan Wriedt for their best recording studios and master- from that created the thing that assistance in this research The Bob Crewe – Story

Bob Crewe has always had an affinity with female artists and they managed to produce some special sounds together. He did it in the early sixties with Diane Renay and Tracey Dey and in 1966 he embarked on a special relationship with Lesley Gore which was to prove exceptional. They began recording on Mercury on August 8, 1966 with Crewe producing and Herb Bernstein arranging. The first session yielded the single A-side, "Treat Me Like A Lady," written by Crewe and Gordon Knight; the B-side, "Maybe Now," co-written by Gore and her brother Michael; and the subse- quent LP track, "The Bubble Broke," a Crewe-Brown-Bloodworth composi- tion. Crewe and Gore tried to do an album together in Hollywood that August and September, but it didn't work out. Lesley talks about that on a September "" telecast with Dick Clark in which she mimes to "Treat Me Like A Lady." ‘Summer and Sandy’ became a failed to live up to commercial expec- Dawn Eden for the Bear Family box beached whale in the Summer of tations. For one reason or another set book tells of this period : Love, stalling at #65.” Crewe was not involved with any “After Off and Running flopped, The team had reconvened on October Gore sessions again until late 1969 Mercury paired Lesley with a pro- 14, 1966 in New York to record possibly because of his heavy ducer who had a better idea of "," with arrangement involvement with and The what to do with her, Bob Crewe. by Hutch Davie, and the Four Wheels and with problems dis- Crewe was one of a handful of pro- Seasons-ish "I'm Going Out (The solving his Dynavoice ducers who were true artists. His Same Way I Came In)," another and starting up Crewe Records. work with The Four Seasons Crewe-Knight song with Herb So it wasn’t till fall 1969 that Gore and helped define the sound of Sixties Bernstein arranging. Work on Crewe reunited to work on a ""- hit radio and influenced countless "California Nights" evidently continued like showtune rocker, "Tomorrow's other producers here and abroad, for several weeks. November 30, Children." Gore left including Rolling Stones avatar 1966 found Crewe and Gore back in and signed with Crewe Records, issu- Andrew Loog Oldham. His first the studio to lay down "Bad," a Crewe ing the first of four singles, "Why effort for Lesley was a song he -Kasha-Hirschhorn soul rhythm ballad, Doesn't Love Make Me Happy" in wrote for her with Gary Knight, and "Love Goes On Forever," a January 1970 backed with , ‘Treat Me Like A Lady’. Although Broadway-meets-Flower-Children "Tomorrow's Children." . Other the disc failed to hit, Crewe did not confection, co-written by Crewe and released tracks from these sessions give up. His next Lesley disc, Knight. Following the success of were ‘When Yesterday Was ‘California Nights’, was more a cre- "California Nights" and the LP of the Tomorrow’ and it's B-side, ‘Why Me ation than a mere slab of vinyl. same name, Crewe and Gore went Why You,’ but none of these The singer, who calls Crewe a back into the studio with arranger admirable performances generated a genius, is very proud of that Hutch Davie to cut "Summer and hit. There was also a duet between record, largely because it reminded Sandy," a Crewe-L. R. Brown romp Oliver and Lesley Gore under the her of the jazzy sounds on which very much in the vein of its summery pseudonyms of Billy and Sue, a cover she grew up. She says of it, “It's a predecessor but more danceable and of "Come Softly to Me," which did gar- good Lesley Gore record because somewhat less melodic. The Lesley ner significant MOR airplay. it's so unlike anything else. It also and rocker, "I'm Fallin' In an interview in Discoveries maga- had a slight jazz/R&B feel. It was Down," also was done. A follow-up zine with Wayne Jancik, July 1994 back to those kind of funny roots album was presaged in an interview Lesley commented on this period. that I had. You don't lose those that summer in Billboard magazine “Then I worked with Bob Crewe for things.” but did not materialize. The LP men- awhile - New York-based 'cause I was While California Nights reached #16, tioned in Billboard in summer 1967 in college at the time. We had the follow-up was an artistic success with Bob and Lesley did not move for- "California Nights" and a couple of and a commercial flop. The gorgeous ward because "Summer and Sandy" other things. We recorded a lot of described as "avant garde Lesley Gore material," on the Dynovoice col- lection liner notes, and I think many afficionados of Lesley’s work think that is pretty accurate. With the finan- cial collapse of Crewe Records, Lesley ended up relocating to California, where she began writing with lyricist Ellen Weston and signing with Motown’s West Coast label, Mowest, resulting in the superb album, “Someplace Else Now,” pro- duced by Joe Porter in 1972. Article compiled by Jim Allio and edited by Ken Charmer

When Bob Crewe started working with Lesley Gore it followed a very successful period for them both. But Lesley was part of the girl group sound of the early sixties and some regarded her as stuck with the ‘teen angst’ label. Bob had been super successful with the 4 Seasons although Bob Gaudio was considered the musi- cal genius behind their sound. They both had something to prove. Lesley wanted a new image and sound and Bob had to show he could get the hits with- out Gaudio and Calello. Bob’s lik- ing for the bizarre and ‘going beyond the norm’ was immediately evident in the opening Mercury recordings and the success of ‘California Nights’ indicated a bright future. Such a distinctive song and feel to this record had instant appeal. What followed was an awesome collection of avant garde pop by an

Lesley appeared as a artist and producer both totally cre- cat-girl and sang stuff.” And of get heard. If they don't know who ative. As a set of work it is probably ‘California Nights’ in a the Crewe Billy 'N Sue are, it may get a fair the peak of Crewe’s creative powers 60’s edition of Batman Records peri- listening.”Lesley also recorded "It and nothing surpasses the wonderful od she says Took A Long Time" (also on 's power of ‘Quiet Love’ their last work of Bob, “He just didn't get the distri- "" LP) and "Does Anybody together. Only 16 tracks were bution ...I'll say this - if you remem- Really Care About Tomorrow" for released but only a couple can be ber when I was recording with Bob Crewe, but these tracks were not classified as make weight. In all of our Crewe (1970), he was recording issued. Songs were also recorded for Crewe research we have not found Oliver (known for the chart suc- the proposed animated feature, any of his work to match this as an cess of Hair's "Good Morning “Appleman.” The final single on example of what Charles Calello calls Starshine"), and he had been quite Crewe 601 was the Crewe ‘organic’ pop. Poor distribution may huge at the time. He was just start- Bloodworth rootsy-rocker, ‘Back have been the reason for the failure ing to fall off when Oliver and I did Together’ backed with a beautiful of Crewe Records or the bad advice a duet on "Come Softly to Me." Crewe ballad, ‘Quiet Love.’ of Bob Crewe’s astrologist! As for the And we put it out as by "Billy "n Interestingly, while Gore speaks fond- music he did with Lesley, it ranks with Sue." It was done for the exact ly of , she never fails to his best work. The same can be said reason you spoke of - if they're refer to Crewe as a genius. The for Lesley. It has been a privilege to gonna pigeonhole me, it might not Crewe Records tracks have been discover it all...... Chameleon