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have on CD. The research focused on the best quality work of Bob Crewe with a wide range of artists during the early part of his career from 1958 to 1965 but focused on some kind of link with the Four Seasons either in sound, writing and production support, or backing vocals. Of course without the contri- bution of those who took part this can only be a part history. So where do we start? Obviously Bob’s biggest breakthrough sense that they enjoyed their work was in 1958 with his breakthrough just wasn't there. It seemed that Joe with The Rays and Frank C. Slay Jnr. Long was playing both straight man The story goes that….”The Rays were and comic when he tried to keep the black and from New York. Hal Miller show alive with his comments and and Davey Jones had formed the barbs, and he came very close to group which recorded at Chess pulling it off. Records. There they met songwriters However, he couldn't do it alone, and Bob Crewe and Frank Slay Jr (in that may have put the writing 1955) who signed them to their XYZ on the wall for him. Nothing in this as Back in 2001 UK fans of Bob label in 1957 after releases on Chess meant to be critical or derogatory of and Argo. Rock’n’Roll legend has it any individual, especially Joe Long, Crewe were enjoying the work of that while Crewe was riding a train who is held in highest esteem. It's girl group and Northern Soul through Pennsylvania, it stopped at a just unfortunate that a time had to enthusiasts Mick Patrick and town and the composer spied a cou- come when the Four Seasons would Malcolm Baumgart who persuaded ple silhouetted in the window of a no longer exist as they were com- Westside to release the Dynavoice house and came up with an idea for a posed in the early years, their heyday. Story in tribute to the the work Bob song. He took his idea to Frank Slay. Joe Long was in many respects, a Crewe did in establishing this label Frank, a Texan who had worked for part of the cement that held that and the wide range of sounds and the British Information Service had group together, and you can see that styles generated between 1965 and met Bob at a party and as the two got there was nothing that he wouldn't do 68. on so well together they joined up as to enhance the group. The days The UK Historical Group has followed a composing team. Bob was to do when the group was the most impor- all Four Seasons related music over this later with the young talented tant thing are gone. However, the the years and as collectors we have songwriter Bob Gaudio to create one Four Seasons were something awe- sought out sound-alike tracks from of the best song writing partnerships some and enjoyable to listen to, and Bob and the other Seasons on a vari- of the sixties. The duo (Crewe/Slay) to especially watch. For anyone who ety of recordings. wrote a ballad called ‘Silhouettes’ and grew up with the early Four Seasons, The unfortunate deletion of this great went into the studio to record it with to listen to or see any other lineup double CD and the limited prospect of the Rays. “Silhouettes” with its except the Frankie, Bob, Tommy and release of any other examples of the unashamedly sentimental content Nick/Joe can be likened to a rare recordings of ‘season’s’ related would have been wretched schmaltz renouned chef sampling another work seems to have condemned this in a pop crooners hand, but Hal cook's efforts at his own prized cre- great music to remain hard to get on Miller’s warm, rich lead and the ation. Usually his comment will be CD. This prompted us to review our groups doowahing back-up were able "good, but not perfect," or "there's collections and identify the very best to give the record a rock-a-ballad something missing." That early group of these 1960’s experiments in edge. Bob gave a dub of the disc to was truly something to behold. They search of that elusive hit. In the past Hy Lit, a popular WFIL disc jockey, were truely greater than the sum of we have had the Danish ‘bootleg’ who took it home to listen to with a the individualk parts. It's to them ‘Fantastic First Years’ CD in 1995 dozen others. Legend goes the DJ fell that one has to say "Thanks for the which captured some of the early asleep while the records were being memories." Joe Szulczewski Frankie Valli recordings before the spun on his automatic record player Four Seasons were created. This fea- and “Silhouettes” got half a dozen tured some ‘Seasons” connections spins before Hy Lit woke up to shut but in our view only scratched the sur- off the machine. He was so taken with face of what Bob and the guys did the song that he took it with him to together. So under our banner of play on his show the next day. The Ultimate Album Compilations we have master was quickly picked up by reviewed those tracks we have on Cameo and by September 1957 with vinyl which we would most like to exposure on American Bandstand became a hit”.On XYZ102 and subse- with “Navy Blue” and “Kiss Me Sailor”. Bob Gaudio’s writing. quently Cameo 117 and entered the Looking through her back catalogue The flip side of the Scott O’Berle 1964 Billboard Top 100 on 14/10/57. It we found some great productions single provides another chance for eventually reached Nr 3 on both the which are typical of the songs Bob Frankie Valli to imitate himself perfect- pop and r&b charts. A great start for was producing on the Seasons via the ly on “You’re my Dream Girl”(Sears). ‘Dawn’ and ‘Rag Doll’ albums in Another catchy track with the 1963/64. The track “Hello Heartaches” Seasons trying hard not to sound just on LP 20th Century Fox TFS-3133 in like themselves. 1964 written and produced by Bob Larry Santos was a good friend of and arranger Sid Bass illustrates the Bob Crewe and the Seasons and in warm sound brilliantly. an attempt to ‘kick-start’ his career he Bob Gaudio commented in an inter- recorded as Larry and The Legends view in 1972 that no-one ever cov- and in 2/64 released “ Don’t You Pick ered the Four Seasons big hits on My Baby”(Atlantic 2220). This because they could’t handle the vocal innovative arrangement by Charles range. Well we found a version of Calello with sound effects was anoth- “Big Girls Don’t Cry” from an er driving/marching beat from Bob EP(Cameo Parkway 217001) by the Crewe with the Four Seasons provid- Orlons in 1962 were they do a cred- ing strong backing vocals which track one as the Four Seasons itable version. somewhat outshine Mr Santos. recorded the track immaculately for Many people don’t know that Bob pro- Written also by this trio it remains the ‘Big Girls Don’t Cry’ album featur- duced some of the best known soul another essential Seasons collec- ing their own superb harmonies and artists of the sixties including Ben E. table. Valli’s soaring falsetto. King, Jerry Butler and Chuck Johnny Cabott , was another mystery Of course ‘Sherry’ wasn’t the Four Jackson. In 1962 a version of one-off experiment with Bob Gaudio Seasons first record . That honour fell “Tomorrow” appeared on the Chuck and the rest of the Seasons. Re-work- to the doomladen and appalling Jackson “Encore” album (Wand ing the old classic by Cole Porter ‘Bermuda’ with it’s staccato chanting 1009). A track also recorded by Bob and slightly off key vocal. A track Bob on Mathew Reid( who we will return to must have persuaded the group to do. later) this recording captures the Well enter the alternative version he warmth of Chucks wonderful voice in produced by Linda Scott on an enjoyable Crewe/Bass song. Canadian-American 134. This 1962 On “I Had A Dream” Diane Renay version of this early fifties C.Strother again gives an almost perfect alterna- song captures a feel which is happier tive version of many songs made for and reflects losing love in the idyllic the Four Seasons. Penned by the Bermuda environment. It was emerging talents of Sandy Linzer and released 12/61, entered the Billboard Denny Randell with Bob, it uses all charts 10/2/62 and reached no. 7 the harmony and arrangement tricks Bob Gaudio was experimenting also to be heard on a 1964 Seasons during this period and contributes reg- album and Diane nearly hits the ularly to this set. Writing ‘Lonely Girl falsetto ending. Clearly a strain Blue’ was one thing but surely that is Frankie would have found comfort- Frankie Valli’s voice singing the hook . able. Released in 1962 on Coral62314 this Mathew Reid remains a mystery to us has been a long standing argument but he had some success with a amongst collectors, it certainly catchy song made up of lyrics from improves the overall track along with Top Forty songs of previous years. the Seasons backing. Maybe Bob or “Faded Roses (The Top Forty Song)” Frankie can tell us? (Scepter 1238 released 7/62) is a typ- Another attempt to use Frankie Valli ical attempt by Bob Crewe using a under a pseudonym was the emer- Bob Gaudio melody in a novelty “Night and Day” (Columbia 42283 gence of Scott O’Berle on his 1964 approach to getting a hit.

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