Posts Tagged ‘Four Seasons’

Cratedigger: The 4 Seasons, “The 4 Seasons’ Gold Vault of Hits”

The 4 Seasons' Gold Vault of HitsResolved: The 4 Seasons are one of the most underrated musical acts of all time.

I’ll admit to some bias — I’m a Jersey Boy, and so are the Seasons, as documented in the recent Broadway smash about their lives. Their music was the soundtrack to my life until the Beatles turned the world upside down in 1963. What no one seems to realize is just how many hits they had. (I can name 15 without even thinking about it.) In fact, the 4 Seasons — or Four Seasons, if you prefer — had five number-one Billboard hits, and 23 more that went Top 40. Contrary to what you may think, the arrival of the Beatles didn’t put an end to their string of hits: their first chart topper was “Sherry,” in 1962, and the hits continued right up through “December, 1963 (Oh, What a Night),” which went to #1 in ‘76 (a dance remix charted at #14 as late as 1994).

As you’ve probably figured out by now, the 4 Seasons were a singles band. It stands to reason then that the best way to immerse yourself in their music is through a greatest-hits collection. The 4 Seasons’ Gold Vault of Hits, from 1965, is the best starting point. Although it was their third (!) greatest-hits compilation up to that point, it’s the first one to be all killer and no filler, 12 tracks of pure Jersey dynamite, from the opening “Let’s Hang On!” to the closing “Cry Myself to Sleep.” Fully half of the tracks are stone top-ten classics, and only the two-track single “Betrayed/Toy Soldier” failed to crack the Top 40.

Led by the great falsetto vocalist Frankie Valli, the Seasons, who hailed from Newark, were the group that bridged the gap between doo-wop and the rock era. What you hear is a blend of great voices, but with Bob Gaudio, who wrote most of the hits along with producer Bob Crewe, on keyboards and tenor vocals, Tommy DeVito on lead guitar and baritone vocals, and Nick Massi on bass and bass vocals (he was replaced in 1965 by Charles Calello, who in turn was replaced by Joe Long), the Seasons also proved that they could rock. Perhaps the most unsung musical hero in their story is session drummer Buddy Saltzman, who’s been called “God as a drummer.” Although not an official member of the band, his dynamic, aggressive playing was a mainstay of the Seasons’ sound.

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CHART ATTACK!: 3/27/76

Happy Friday, everybody, and welcome back to another edition of CHART ATTACK! This week’s Top 10 is relatively diverse, with a bunch of artists who stand absolutely no chance of getting anywhere on the charts ever again. There are a few genuinely great songs on this chart, a few I think I’m supposed to hate but don’t, and a few that are seriously terrible. They’re all a part of March 21, 1976!

10.  Money Honey — Bay City Rollers Amazon iTunes
9. Right Back Where We Started From — Maxine Nightingale Amazon iTunes
8. Let Your Love Flow — Bellamy Brothers Amazon iTunes
7. Dream On — Aerosmith Amazon iTunes
6. Sweet Thing — Rufus Featuring Chaka Khan Amazon iTunes
5. Disco Lady — Johnnie Taylor Amazon iTunes
4. All By Myself — Eric Carmen Amazon iTunes
3. Lonely Night (Angel Face) — Captain & Tennille Amazon iTunes
2. Dream Weaver — Gary Wright Amazon iTunes
1. December 1963 (Oh, What a Night) — The Four Seasons Amazon iTunes

10. Money Honey — Bay City Rollers (download)

So here’s one I think I’m supposed to hate. It’s by the Bay City Rollers, right? Why wouldn’t I mock it? Well, honestly, if I didn’t know this song was by the Bay City Rollers, I wouldn’t have any reason to mock it. I’m not offended by it. The song kind of boogies in a rock-ish way, and I think both the music and harmonies are pretty solid.

The Bay City Rollers are often considered one-hit wonders in America because of “Saturday Night” (and okay, that song does kind of suck), but “Money Honey” reached #9, and the band racked up six songs in the Top 40 between ‘75 and ‘77.

I don’t know. Take a listen. What do you think?

9. Right Back Where We Started From — Maxine Nightingale

This song is certainly quite popular — everybody knows it — and has a catchy chorus, but I find it unbelievably annoying. It’s mainly a result of the drums and the handclaps: They continue on and on, never stopping for a second, seemingly determined to drive us nowhere in particular but crazy. The song just goes nowhere. Ugh. And it’s possible Maxine Nightingale felt the same way: according to Wikipedia, when approached to record the song, she agreed to do so only if she could release it under a pseudonym. (It wasn’t released under a pseudonym.) It was her biggest hit, peaking at #2, with “Lead Me On” coming in second in 1979. We’ll be talking about that one in a future Mellow Gold post.

I figured out another reason why this song annoys me: it reminds me of Captain & Tennille. And on another note, can you imagine having to sing backing vocals on this song? I think I’d shoot myself.

8. Let Your Love Flow — Bellamy Brothers

I recently heard someone play a fantastic cover of “Let Your Love Flow,” but I can’t remember who it was or when I heard it. All I remember is that they did a fantastic job on the chorus and “bird on a wing” became much more southern — like “bird on a wang.” Written out, that looks awful, but I think you know what I mean. In any case, I have been all over the Internet for two days trying to track down this cover, and I just can’t do it. I’m pissed that I’m going to lose sleep over a Bellamy Brothers cover.

“Let Your Love Flow” is a really great song, and who do we have to thank for it? Roadies. Not just one roadie, either. David Bellamy’s producer, Phil Gernhard, often hired Neil Diamond’s touring band for studio sessions, and one of Diamond’s roadies, Larry Williams, was also an aspiring singer-songwriter. He presented Gernhard with “Let Your Love Flow,” a song clearly written after one too many spins of “Listen to the Music.” David took a stab at recording it, but the results were unimpressive, and the track was shelved.

That’s roadie #1. Roadie #2 was David’s older brother, Howard, who was working as said roadie for one of the producer’s other acts Jim Stafford (”Spiders and Snakes,” covered in CHART ATTACK! 2/23/74). Gernhard heard Howard’s voice and somehow determined that he was the missing ingredient in “Let Your Love Flow.” (I think this part of the story is bullshit, but that’s just me.) Anyhoo, the Bellamy Brothers re-recorded the song, and the rest is history. The track hit #1 for a week in May, and remains the group’s biggest hit. They cracked the Top 40 with “If I Said You Had A Beautiful Body Would You Hold It Against Me,” and no, I’m not making that up, that’s the full title, no parentheses or nothin’. It even reached the top of the country charts in 1979. Shame on them.

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Bottom Feeders: The Ass End of the ’80s, Part 33

This week you get another extended post so we can finish up the letter F nice and clean. Without further ado, I give you the final batch of artists whose names begin with the sixth letter of the alphabet and who reached the ass end of the Billboard Hot 100 in the ’80s.

Fortune
“Stacy” — 1985, #80 (download)

Fortune is an AOR band formed in Los Angeles in 1977. They released their debut self-titled record in ‘78, had a track called “Airwaves” on the Last American Virgin soundtrack in ‘82, then finally got around to their second album (also self-titled) in ‘85. “Stacy” comes from the second album, which includes a whole mess of generic light-rock tunes.

David Foster
“The Best of Me” — 1986, #80 (download)
“Winter Games” — 1988, #85 (download)

There’s just no way I have it in me to discuss the shittiness of Foster’s duet with Olivia Newton-John, “The Best of Me,” or Foster in general, when Terje Fjelde lives and breathes the guy — read Into the Ear of Madness while listening to these tracks.

4 by Four
“Want You for My Girlfriend” — 1987, #79 (download)

My first thought was 4 by Four simply wanted to be the next New Edition: good-looking kids with slick pop-filled R&B hooks. But I listen to this song and hear a lot of Prince in it as well. Zero in on the 2:20 mark and I swear you’ll hear the first bar of Prince’s “Controversy.”

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