Volume 4 of ‘Seasons’ Connections was a good Northern flavored mix of soulful pop from our ‘con- the group Lock, Stock and Barrel. last selection we found some superb nected’ heroes, , ‘Happy People’ (Gazette 8000) was productions and ‘Whisper To Me and The Four a ‘Turtles like’ sound blending strong Wind’ (Congress 230) has a moody Seasons, and once again we harmonies on an up-tempo song feel illustrating Shirley’s laid back soul penned by P. Martone. Mike Petrillo style against a chanting girl backing. present another collection of should be remembered by Four This is a composition by Lincoln tracks in a great mix. Seasons fans as co-writer of such Chase, who was married to Shirley as This time with Volume 5, although we tracks as ‘’, ‘Patch well as being her manager. Written by still feature a few left over Northern Of Blue’ and ‘Heartaches And Lincoln with Tony Hornado, the track Soul gems we establish a moody and Raindrops’ was the flip side to ‘The Name soulful style with classic You will recall some of Charles Game’ and was issued 11/64. It Crewe/Gaudio Soul, Charles Calello Calello’s great ‘dancers’ (e.g. ‘The entered the Billboard charts on at his best and some great sound Right Direction’, ‘Soultime’ ) from 12/12/64, left 14 weeks later and from Crewe’s 60’s ‘garage’ bands. Volume 4, and another we have peaked at no. 3. Setting this musical scene we feature always loved on the Northern soul We return to the work of Tracey Dey the music Bob Crewe created at scene we discovered was a Charles on this set. The ‘All Music Guide’ Mercury with as our Calello production. The intense voice sums up her career as follows….” opener. ‘I’m Going Out, The Same of Robert John delivers a great One of the more talented girl Way I Came In’ (Mercury 72683) is a ‘Northern Soul anthem’ on ‘If You group-styled solo singers of the classic example of the ‘avant garde’ Don’t Want My Love’ (Columbia 1960s who never got a big hit, style Bob is credited with from his 44435). A Gately-Davis-Pedrick com- Tracey Dey never even made the period working with Lesley in the late position, Robert (whose real name is Top 50, although three of her sin- sixties. A Four Seasons styled treat- Pedrick) builds this slowly to show his gles got to lower chart positions. ment of a Crewe – Knight composition voice’s great strength and intensity on Her "I Won't Tell" is one of the top the track again benefits from the pres- an absolutely superb recording. He ten non-hit girl group singles of all ence of Jean Thomas, Mikie Harris would later find fame as the writer time, with its great catchy chorus, and Ellie Greenwich on backing performer of the No 1 hit ‘Sad Eyes’ full-stomping production, surprise vocals to give a warm and full sound- which at the time held the record for false ending, and assertive singing. ing vocal. It was the flip side to the song that took longest to reach "I Won't Tell," like several of Dey's ‘California Nights’ and was released No 1(20 weeks) As well as doing a re singles, was written by Bob Crewe 1/67. The single ‘A’ side entered the working of Eddie Holman’s ‘Hey and , the same team Billboard charts on 4/267, reached 16 There Lonely Girl’, he even did a ver- responsible for penning most of and spent 14 weeks in the charts. sion of ‘Sherry’ the Four Seasons' big hits. Crewe Another song from this period brings When we sampled Charles Calello also helped write some of Dey's in for comparison the production style extensive production credits on singles even when Gaudio wasn't of Bob Gaudio with Mike Petrillo on Shirley Ellis who we featured on our involved, and certainly tried to give ‘Seasons’ The ‘Seasons’ Connections series started out on a very noble mission. Following the excellent work of Mick Patrick and Michael Baumgart on ‘The Connections - A Dynavoice Story’ and that double CD’s withdrawl, it became clear other Crewe music would never get CD release. So it was down to us to document for pre- Project Progress sent and future music lovers, a rather complete history of the recordings that involved the very collectible principals, Bob Crewe, The 4 Seasons, Bob Gaudio, Report Charlie Calello, and maybe a few stretches here and there, to throw in a few Randell-Linzer projects, Herb Bernstein projects, a sound-a-like or two, and maybe a later Frank Slay project. As with many endeavors in life, what seemed simple and easy with the finds for Volume 1, didn’t turn out that way. The job of true "Music Detectives" is made difficult and time consuming when the producers or performers don't talk or don't remember, or can no longer be found. An additional problem is that the sheer number of tracks involving the above named artists, producers, and arrangers totals into the many thou- sands. Take Bob Crewe for instance. He has written or co-written over 1000 tracks alone. His productions may add another 2-3000 tracks. Bob Gaudio has written hun- dreds of songs, and has produced probably hundreds of tracks also. And as we found the 4 Seasons have backed up other artists on at least 100 songs, and others are still being discovered. Add in some Artie Schroeck, Herb Bernstein, etc, etc.You begin to see the problem. Once the "Music Detectives" locate the desired tracks, they must be sorted through and analyzed, then it must be decided if this track "fits" the concept of the volume at hand. Maybe it will fit best on a "future volume". Maybe it's not good enough for ANY volume. Once a track listing is chosen, the hard work begins. How to remove 40- Dey a shot, producing discs for her 45 years of dust, dirt, grime, bubblegum, scatches, gouges, clicks, pops, jumps and jit- on Vee Jay, Liberty, and Amy. Dey ters ? Not being professional sound engineers we have had to learn a lot. But like any- was certainly better than most girl one we want the best sound we can get. group singers of the time that did- One can spend hours on just one track trying to get a good vinyl sound just like when n't make it, and better than some it came out. The expense of old vinyl is another hurdle to overcome. Some of these old that did, with a full and mature rarities just don't come cheap !! And to pay for shipping on each purchase can add to voice. She and Crewe didn't get the cost substantially. So has what we found been worth it? How do the "Music that one piece of outstanding mate- Detectives" get their reward ? Well just look at what we found. rial that might have set her on Of course we all now know The Four Seasons used many names before the hit song course for a successful career, "Sherry" came along, and they used various names afterwards too, as backup vocal- ists for many records and artists. Pre-Sherry, they used the names we’ve now come to though, and when they did (with "I recognize like The Village Voices, The Romans, Billy Dixon & The Topics, The Won't Tell") it didn't catch on as it Topics(alone) and of course The Four Lovers. As the Four Lovers, they backed up, should have.” “Any Kind Of Love” Danny & The Juniors, Ginny Arnell, Lenny O'Henry, Matthew Reid, Kevin McQuinn, Hal (Amy 912) was a highly competent Miller & The Rays, Virgil Holmes, Mark Valentino, the Kokomos, Dale Hawkins, Miss ballad by Tracey of a Larry Santos Frankie Nolan, Johnny Cabott, Johnny Halo, FrankHubbell & The Hubcaps, Gigi song produced by Crewe and Parker. We’ve featured many of these artists in this series so far and there is more to released in 1964. But it attracted no come from many of them. chart action. We discovered that around the time of "Sherry" and after, they became involved as Another artist who briefly worked with backup's for John Corey, Chuck Jackson, Jerry Jackson, Shirley Matthews, Diane Renay, Tracey Dey, Larry Santos, Larry Lee, Van Trevor, Eddie Rambeau, Evan Crewe and Bob Gaudio around the Mitchell, Tommy Hayes, The Page Boys, Hedy Sontag, The Stephen Crane Village, time ‘Sherry’ went big in 1962 was the L.B. Wilson, Michael Allen, Bernadette Carroll, Peggy Santiglia, The Four Evers, classy soul singer Jerry Jackson. At Chuck Bene and The Mice, Soupy Sales, Red Apple and The Turnovers (they were the Kapp Records Jerry was paired with Turnovers while Bob Crewe was Red Apple), and of course Jonathan Marcus (better Bob Crewe after unsuccessful outings known as Joe Pesci). Additionally, they worked with Wade Flemons, Chollie Maye, produced by Buddy Kaye and Phil Jackie Hill plus various others in production roles. All told, they may have backed Springer and Bob Johnston. about 100 sides that we know of. “Gypsy Eyes” (Kapp K6625) was an Like so many things in life, the reward has been in the work, and in the finished prod- intense ballad penned by Crewe- uct too. A great sounding disc, and an I-Pod addition of a one of a kind, boppin' rockin' Gaudio and recorded at Bell Studios great collection of songs is certainly worth all the trouble in the world, when it comes to NYC on 11th October 1962. He had the fantastic sounds of Bob Crewe, Bob Gaudio, The 4 Seasons, Charlie Calello, and previously been targeted “at the all the other contributors to this body of music which has been in danger of being lost forever. same market Brook Benton had Along the way we have found some great contributions from people who where captured so successfully”. Bob involved in the sounds of the times like Ed Rambeau, D.C Larue(aka Mathew Ried) Crewe changed this and tried ‘to and the lovely Jean Thomas which have been a bonus. Many of the songs found steer Jackson in the same way as haven’t been heard by us baby boomers before. In the 60’s lack of promotion would Ben E. King and ”. It is condemn a great potential hit with only a few pressings made. Our ‘raison d’etre’ has reputed that the Four Seasons are in been that by this research many may discover and love this music as much as we do ! the vocal chorus and there is some Latest finds for future Volumes include: Rare Lou Christie album tracks produced by element of their high harmony there. Charles Calello, Bobby G and The Celestials, Red Shepard & The Flock, The Fugue This is superb atmospheric soul. Four, Shona and The Party Lights, Ike and Tina Turner, The Good Earth TrioAnd many more you probably haven’t heard. Neither had we until recently. That’s why we will The Swan Years which gave Bob Crewe and Frank Slay valuable expe- keep pulling these compilations together. It may take a few years though!! rience in producing records did yield The Music Detectives the Mersey masters. Lesley Gore picks up the pace again with another superb up-tempo song from the 19 she released with Bob Crewe in pro- duction. Their first ses- sions on 8th August 1965 generated this stylish Bob Crewe – Gary Knight composition , ‘Treat Me Like A Lady’(Mercury 72611), arranged by Herb Bernstein. Released in September 1966, it failed to generate a hit and only made #115 in the Billboard chart. Backed by Jean Thomas, Ellie Greenwich and Mikie Harris the harmony is superb. ‘To Have and To Hold” (Dynovox 203) again features the moody styled Distant Cousins trying to impersonate the Beatles. A song com- some gems apart from ‘Silhouettes’ with the Bob Crewe Orchestra and posed by group members Brown – and the Freddie Cannon hits. One Generation had their roots back in Bloodworth the track was produced such gem is a great ‘girl sound’ track 1961 and the effort he produced by by Bob Halley for Bob Crewe from Marcie Joe. ‘Night’ (Swan 4128) Frank Hubbell and the Hubb Caps. Productions. was a Crewe- Slay composition on a ‘Broken Date’ (Topix 6005) was a More of the soulful voice of Jerry production that gives a warm and har- rhythmic trumpet led instrumental that Jackson singing like Ben E . King, as monic production full effect. is so catchy it was like a film theme or another superb song from the 1962 Reminiscent of ‘In The Still Of The a jingle. Written by Don Philips it was Crewe produced sessions blows us Night’ we are looking for more like this ahead of its time but failed to gener- away. ‘Wide Awake In a Dream’ from the Swan catalogue. ate chart action. The backing features (Kapp 496) is yet another Crewe- When we featured the 4-Evers on a the pre-Sherry Four Seasons on Gaudio composition sung quite previous Volume Charles Calello told backing. Listen to the ba-ba-bahhhs superbly with reputedly Four Seasons us he couldn’t recall anything about every so often, you canclearly hear backing. This was released in the sessions with them, but his Dad December 1962. actually played the distinctive trumpet Back to Jerry Jackson efforts with the Another track featuring ‘eyes’ and on the original session for ‘I’m writing of Crewe - Gaudio in 1962 and written by Crewe – Gaudio was this Walking Out of The Crowd’ the intense ‘She Lied’ ( Kapp K 496). release in 1963 with Bob’s nurtured (Constellation 151). This features a A quite superb song brilliantly deliv- female vocalist Tracey Dey. ‘Jealous classy Bob Gaudio – Sandy Linzer ered, this remains one of several Eyes’ (Vee-Jay 506) features her composition which Charles Calello tremendous pieces of Crewe work pleading vocal with a strong but produced to give a good four Seasons from the early sixties which deserved unknown female backing. This track like sound which is not surprising on some chart success. Recorded at the retains a soulful feel being enhanced this 1965 release. same sessions as ‘Gypsy Eyes’, it by Tracey’s evocative styling of the Shirley Ellis keeps the mix moody and again features the Four Seasons in vocals and the strong backing. soulful with the flip side to ‘The the vocal chorus. We earlier featured the 4-Evers from Clapping Song’ which we featured on The last volume featured one of 1965 and the ‘B’ side is notable for its Volume 4. The Lincoln -Chase com- Crewe’s ‘garage’ styled bands on the writing credits. Composed by Al posed ballad ‘This Is Beautiful’ beaty, ’She Ain’t Lovin' You’ by the Kooper and I. Levine, ‘Stormy’ (Congress 234) was another laid Distant Cousins. Another effort written (Constellation 151) is a bouncy har- back vocal by Shirley with a great by Crewe-Brown-Bloodworth in 1967 mony vocal produced by Charles Charles Calello arrangement and pro- was ‘(Will You) Take This Woman’ Calello in a strong ‘seasons sound- duction. Issued in 2/65, the ‘A’ side (Date 2-1542). A slow/medium paced alike’ style. All the tricks and vocal entered the Billboard charts on song with an arrangement and tune hooks from Four Seasons songs are 20/3/65, peaked at 8 and went out clearly influenced by The Beatles, there to be heard. Just a great happy again after 9 weeks. Bob Crewe couldn’t raise this com- sound. Bob Crewe’s later orchestral efforts mendable effort to the standards of Shirley Ellis provides another moody appeared on a number of national Lesley and brother Michael, it gets a ballad to maintain our mix with, ‘How and local TV shows, like Upbeat, wonderful production by Bob which Lonely Is Lonely’ (Columbia 4- Clay Cole, Jerry Blavet, Robin sets the style for much of her late six- 44137). The ‘B’ side of ‘Sugar, Let's Seymour, etc….They were ‘The ties efforts. It’s definitely moody and Shing-A-Ling’ , the track was record- Original Kounts’ but Bob Crewe, the harmonies again feature Jean, ed March 22nd 1967 and produced seeing Richard with his long hair, Ellie and Mikie as do the other tracks and arranged by Charles Calello. said that he was reminded of King by Lesley in this compilation. Jumping forward to 1969 we picked Richard the Lionhearted, and, Novelty tracks were always a weak- out an unusual Crewe production on because they were all very young, ness with Bob Crewe and with the his Maxwell label. ‘Goodbye My Old Crewe came up with a new name success of The Lovin’ Spoonful , a Girl’ (Maxwell MAX800) was the ‘A’ for the band: Richard and the tribute track written by Kasha- side backed with ‘I Can’t Take It Like Young Lions.” Hirschhorn was too much to resist. A Man’ which we featured on Volume We will feature their first hit single on ‘Mr. Sebastian’ (Date 2-1560) is a 4. A Brown-Bloodworth composition, a future volume but here we include catchy song directed at writer John (of the Distant Cousins above) it was ‘Lost And Found’ (Philips 40114), a Sebastian and was arranged by Bob arranged by Hutch Davis and backed Brown-Bloodworth composition that is Halley and produced by Al Kasha for by the Bob Crewe Generation a pleasant ballad reminiscent of the Bob Crewe Productions. Surely this Chorus. This soulful effort doesn’t Distant Cousins. Not surprising as plea to ‘Mr. Sebastian’ for a song to quite make the same impression as that group was Brown and make his girlfriend fall in love with him the ‘B’ side. Bloodworth. This track was released would be a hit. Not this time, but a The last of our featured Shirley Ellis in December 1966 and arranged and clever, well arranged and delivered tracks, ‘Music and Memories’ conducted by Bob Halley for Bob track. (Columbia LP 9479) was another laid Crewe Productions. To close and to end on an intense back album track that appeared on We couldn’t have used a more apt and soulful note, the last and in our ‘Sugar, Lets Shing-A-Ling’. A Charles track to maintain our late sixties view best of the Crewe - Gaudio com- Singleton – Bert Keyes composition, it moody and soulful style to this compi- positions for Jerry Jackson from again demonstrates Charles Calello’s lation without the classic “California the1962 Bell Studios sessions with superb production and arranging skills Nights’ (Mercury 72649) by Lesley Bob Crewe. ‘Turn Back’ (Kapp 511) with Shirley’s under-rated vocals on a Gore. The ‘A’ side of our opening is a pleading ballad which captures late 1966 recording. track and part of the first sessions the listener’s emotions from its open- More garage sounds as the Distant Bob did with Lesley. She recalls “the ing notes. Smoldering with intensity it Cousins return with ‘Stop Runnin’ Jazz/R’n’B feel” which she likes and remains a classic song, brilliantly Round Baby’ (Date 2-1542). The ‘B’ makes it so distinctive. It shows Bob delivered. Kevin McQuinn had the first side of ‘(Will You) Take This Crewe’s own original production capa- recording of it in the spring of 1962 on Woman’. Another Crewe-Brown- bility at its best. So much of his out- Diamond records. It was the flip side Bloodworth composition, this mid standing Four Seasons work was of "Philly-Del-Fi-Yea". However this tempo song was released in 1967. down to the musical ability of Bob version by Jerry remains the best. One of Bob Crewe’s best ever pro- Gaudio. This stands out as a special So another 29 tracks done and as we ductions was of Ginny Arnell singing sixties sound and was written by the stop to take our breathe and look for- the very melodic Robert Sears ballad, well known Hamlisch and Leibling. A ward, we have another 5 volumes list- ‘I’m Crying Too’ (MGM K 13146). major hit, this promised much but for ed as projects and more tracks com- The little known ‘B’ side of ‘Troubles a number of reasons, not down to the ing in. We hope you enjoy these finds Back In Town’ features a strong vocal quality of the tracks, this would be and join the e-groups for George performance by Ginny on a track that their biggest success. Juba’s selections if you wish to hear deserved to be a hit. Her pleading Whilst working at Atlantic Bob Crewe them as mp3’s. Chameleon vocals capture the 1963 girl sound at met and produced a single for Ben E. its best. King in 1963. The ‘B’ side of ‘I. (Who Note; This article is based on One of Bob Crewe’s garage bands Have Nothing)’ was an original research via the internet. The music is became a cult group and they still Crewe composition ‘The Beginning only available on vinyl via e-bay and survive with their own web site which Of Time’ (Atco 6267) was not on some commercial CD's and we tells their full story. “Richard and the amongst either parties best work but it found out about it by contacting col- Young Lions have been heralded has however a very unusual and origi- lectors. For further information on by many as one of the pioneering, nal arrangement and style. these tracks contact the following e- innovative groups of "psychedelic" More Crewe-Brown-Bloodworth music mail addresses. or "garage" of the mid and a composition in the same style '60s. Their biggest hit, "Open Up as before by the Distant Cousins. UK: [email protected] Your Door", the first recording to ‘Empty House’ (Date 2 – 1560) again EC: [email protected] use an African Hair Drum and fuzz reflects the Beatles ‘Rubber Soul’ USA: [email protected] bass, was a chart topper in many album style on a track produced by Al Thanks to George Ingram, Ray great rock and roll markets, like Kasha for Bob Crewe Productions Nichol, Mike Miller, Mike Edwards, Detroit, Cleveland, Seattle, and The ‘B’ side of Lesley Gore’s first Jim Allio, Ed Rambeau, Jean Vancouver, just to name a few. In release with Bob Crewe at Mercury Thomas, Charles Calello and fact, that record went Top 5 in was ‘Maybe Now’ (Mercury 72611). Stefan Wriedt for their assistance every market it entered. They also A quite beautiful ballad written by in this research