UltimateUltimate AlbumAlbum CompilationCompilation Pop music by the mid sixties was about ‘new directions’. The Beatles had changed pop music as had Dylan, Phil Spector and Berry Gordy’s Motown production line. last 2 collections with distinct Northern drama as Bob Crewe, probably Soul flavours. working with Herb Bernstein, Composers, arrangers and artists generates something very special. were all competing to bring us the But we are firmly in 1966 for our The full story of this tracks history can original and often the bizarre. Our opening track which owes much to the research has focused on the be found at http://spectropop.com/gg/ research of others and the great prodigous talents of 3 men who underthesun.html . The song, a Gary collectors who inspired this were to emerge from the decade Knight - Bob Crewe composition was series .” Our friend Malcolm recorded in 1966 and emerged as an with strong reputations ….Bob Baumgart was cruisin' for wax in official release in a similar Crewe, Bob Gaudio and Charles the Notting Hill area of this fair city arrangement by the Walker Bros and Calello were part of a unique creative when he stumbled across a market partnership during the early to mid another rare version has been found stall selling records for 50p each. sixties in their work with the Four by 60’s soul stylist Walter Jackson. Amongst these was an acetate of Season and as we have seen in this TINA TURNER performing We have already heard from Charles series with other talented artists who "EVERYTHING UNDER THE SUN," Calello’s assessment of how Bob often didn’t achieve similar levels of which the stallholder claimed had Crewe encouraged the two emerging success. What we are seeing is that once belonged to Mick Farren (NME talents during the formative early success was deserved for those who scribe and ex-Deviant). The disc years of the decade by encouraging found it thanks to the skills of these 3 was pressed by Associated them to extend themselves. He geniuses. Whether in producing the Recording Studios, 723 7th Avenue, brought an element of the bizarre to ideas, lyrics, arrangements or at 48th Street (midtown Manhattan productions….trying things that melodies there is evidence of the for those who have never been because Bob Gaudio and Charles talent and no shortage of quality in there). As far as we know, this is were trained musicians they didn’t these productions as our last two the only copy of this record in believe should have worked But what volumes in particular have shown. existence. It is the same song as we have seen in the last 2 volumes and again here is the diverging talents Once again we are able to stay in this that recorded by Phil Spector with period of the 60’s showing examples The Ronettes, and Tina puts on her of Bob Crewe and Charles Calello as that partnership broke up….at least of the wide variety of styles and best "I'll Never Need More Than temporarily. As Charles pointed performances which show the thread This" voice.”Mick Patrick out …… “It's funny, after I produced of their talents. Plenty of up-tempo Still unreleased this track is an "The Name Game," discovered material is included to complement our awesome piece of Spectoresque Sandy Linzer and recorded " A Lover's Concerto" and produced back to listen to these tracks to Even Care’(Atlantic 2313) . Driving "Lightning Strikes," it affected my consider your comment and the dance music from the 60’s at its best relationship with Bob Crewe as he element you may be hearing is and adored in the clubs of North-west didn't like the idea I was making hit "Buddy Saltzman" the drummer. England….and they must know records on my own. That's one of Lou, of course, had this amazing something…as they plucked Frankie the reasons I didn't do ‘Opus 17’. falsetto voice but what made him Valli’s “You’re Ready Now’ from However, Frankie and Bob wouldn't different from the 4 Seasons was obscurity and made it a hit. Written by record unless I was in the studio we used "The Angels," who were Hank Ballard Jnr, Leslie’s inclusion and thus I returned to Crewe's here is an example of a little known stable but only to do the Four song that deserved a better fate, but Seasons.” which now has a cult following. Bob Crewe’s apparent jealousy at One of Charles Calello’s last acts of Charles success led him to work with support for Bob as their careers different arrangers like Herb Bernstein diverged was on the ‘B’ side of ‘Devil and Hutch Davie and we see in these With The Blue Dress on…Good Golly collections since Volume 4 a divergence Miss Molly’ where were found the of styles as Charles remained more Calello arranged Mitch Ryder and the melodic and catchy. Bob’s productions Detroit Wheels performance of ‘I Had It over the late 60’s found success with Made’(UK Stateside 521). Punchy with harder rock style productions (viz Mitch a jazz/soul arrangement it features Ryder and The Detroit Wheels) before screeching sax backing that you either he found his creative peak in the work love or hate. Another Brown – he did with Lesley Gore as his avant- Bloodworth composition this is typical garde productions led him to the adult Mitch Ryder. contemporary genre as the 1970’s Lou Christie and Twyla Herbert beckoned. these "hot" looking Italian Jersey The success of Sonny and Cher was girls who sang great. Also the bound to generate some attempts at Bizarre or talented is the question that musicians were basically the same mimicking the sound. Bob Crewe was ‘strikes’(like lightning) again with our as the ones I used on the Seasons not averse to copying styles and next artist. Lou Christie wrote with his records so there was the innovating them. The sound of Dey and manager and song writing partner subconscious factor involved.” The Knight on ‘I’m Gonna Love You Twyla Herbert of whom he Angels comprised Peggy Santaglia, Tomorrow’ (Columbia 43466) in 1965 says …”she was just bizarre, and I Denise Ferri and Bernadette Carroll was his effort to find a hit.complete with was twice as bizarre as her” . Lou ‘My Own True Love’ being used in the started working his ‘freaky falsetto’ In our Volume 4 we featured the Bitter with Charles Calello in June 1964. End Singers and their link with Bob Charles told us how they came to Gaudio and the song he wrote and work together . “Lou Christie was my which the Four Seasons recorded, second hit artist. I was introduced ‘Everybody Knows My to Lou Christie by Harriet Wasser. Name’(Newsletter #46) well this time we When we first started to work for feature the ‘B’ side, ‘Come The Bob Crewe, she was his secretary. Morning’ (Atco 6433). A Bob Gaudio She was an unusual lady! She knew penned track this once again captured everybody. She even introduced me the great harmonic slightly and to Bobby Darin, who I got to hang ‘seasons-like’ sound of this folk styled out with on various occasions. group. Arranged by Bob Bowers it is not Harriet knew Wess Farrell, who had as good as the ‘A’ side but an excellent a deal for Lou on Colpix. I recorded song and performance with the female one or two session with Lou but vocal backing being the highlight. nothing happened with the Strangely this track was omitted from instrumental break. Written by Lynn- records.” Charles was to find the ‘B’ side of the UK release. Weston, the track lacks any spark of significant success when he worked originality and as a duet falls way below with Lou during 1965 and this opening We sometimes stretch the the natural chemistry of competitors track by the falsetto maestro is a good ‘connections’ theme just to help the Marvin Gaye and Tammi Terrell. example of what was to follow. “Baby mix of tracks and when we turned over We Got To Run Away’(MGM LP E ’Who Killed Teddy Bear’ a Bob Venturing back to the now famous 4360) is a Four Seasons sound-alike Gaudio written song which the (thanks to Jersey Boys) Hal Miller we in many ways and there is no doubt unusually named Leslie Uggams found a track by Hall…featuring The Charles wanted to get this feel. We recorded in 1965 we found the terrific Rays…’Sad Saturday’(Amy 900). A posed this question to him ….” I went Northern Soul anthem ‘Don’t You rare Bob Crewe - Charles Calello composition and arranged by Charles Calello. Hal again features his 1966(after the success of soaring falsetto and the Rays on ‘Lightnin’ Strikes’ and release harmony backing sound like the 4 of the album’ Strikes Again’ Seasons as they were on previous CP4001)). With backing by The Hal Miller tracks in the early 60’s. Tammys this track was not to Recorded in 1964 it may be other bring the success Christie and session vocalist but who knows Calello sought but in 1964 it when the backing was recorded? A would sow the seeds for what typical Crewe /Calello work from was to come as we will hear the period but with an excellent later from Charles. Sounds melody and although somewhat really great this track in its dated a good harmony styled stereo version. arrangement. But little more is known or likely to be found…as If the opening guitar chords of Charles told us …”I think I only our next track also remind you met Hal Miller once at Bob's of the Beatles it is only a office.