Bob Crewe was Major 50s, 60s Music Force for Frankie Valli, others

 

 

BOB CREWEfromWashington Post, Sept 11

Bob Crewe was Major 50s, 60s Music Force for

Frankie Valli, others

Bob Crewe, a singer, songwriter and producer who helped write “Big Girls Don’t Cry,” “Walk Like a Man,” “Can’t Take My Eyes Off You” and other top-10 hits for Frankie Valli and the Four Seasons in the 1960s as well as the risque pop-disco favorite “Lady Marmalade,” died Sept. 11 in Scarborough, Maine. He was 83.

The cause was complications from a fall several years ago, said his brother Daniel Crewe. A longtime Los Angeles resident, Bob Crewe moved to a nursing home in Maine about four years ago where he was in declining health follinwing the fall.

Mr. Crewe, a 1995 inductee in the Songwriters Hall of Fame, entered the music business in the 1950s initially as a singer. With his blonde teen idol looks and buoyant voice, Mr. Crewe enjoyed a modicum of success with a jazzy, Bobby Darin-esque version of “The Whiffenpoof Song” in 1961.

Obviously, Crewe played a big part in the Four Seasons Story – perhaps as much as anyone other than Franki Valli, himself. 

Crewe came in for some criticism for ‘selling out’ with his own  less label, where he licensed and released, perhaps , lesser quality versions of hit songs on what appeared to be a ‘budget’ label. Nonetheless, during the 50s and ’60s as a songwriter and producer, Crewe was among the tops. His contribution to the Four Seasons, alone, was probably enough to put him into the Songwriters Hall of Fame.

 

Bob Crewe discussing and performing his song Lady Marmalade that was a big 70s hit for Patti Labelle

along with performing Four Seasons and Frankie Valli hits

 

from Wikipedia:

Other 4 Seasons  hits written or co-written by Crewe include, according to Wikipedia:

Rag Doll“, “Silence Is Golden“, “The Sun Ain’t Gonna Shine (Anymore)“, “Can’t Take My Eyes Off You” and “Bye, Bye, Baby” (all co-written with Gaudio); “Let’s Hang On!” (wriiten with Sandy Linzer and Denny Randell); and “My Eyes Adored You” and “Lady Marmalade” (both co-written with Kenny Nolan).

He also had hit recordings withthe Rays, Diane Renay, Mitch Ryder and the Detroit Wheels, Freddy Cannon, Lesley Gore, Oliver, Michael Jackson,Bobby Darin, Roberta Flack, Peabo Bryson, Patti LaBelle, and his own Bob Crewe Generation.

 

1950s

Crewe teamed up with Slay to write and produce the Rays’ “Silhouettes” , which became a doo-wop anthem of the era. Climbing to #3 on the Billboard Hot 100 for 1957, “Silhouettes” displayed the flair for story-driven lyrics, innovative musical “hooks”, and a final lyrical twist that were to become known as Crewe trademarks. In 1965, with a slightly faster tempo, “Silhouettes” became a hit again for the British group Herman’s Hermits, reaching #5 on the Billboard Hot 100.

 

Early 1960s

As the “Four Seasons sound” became more and more defined, other signature touches emerged, including dense but pristine-sounding percussion, military-sounding march cadences and drum-stomps of “Sherry”, “Big Girls Don’t Cry”, and “Walk Like a Man”, and the other-worldly glissandos of “Candy Girl“. The sophisticated harmonic patterns of the Four Seasons punctuated by the distinctive falsetto of Frankie Valli were at once classic and innovative, as were Crewe’s use of a melancholy harmonica in “Big Man in Town” and the space-era organ of “Save It for Me“.

In addition to his work with the Four Seasons, Crewe also oversaw recording sessions by such artists as Dee Dee Sharp, the Orlons, and Ben E. King. He also cowrote “Navy Blue” (with Bud Rehak and Eddie Rambeau) and produced the record for singer Diane Renay. Renay’s recording made the top ten on the US pop chart in early 1964, and number one on the adult contemporary chart.

In 1960, he appeared as himself in NBC‘s short-lived crime drama Dan Raven, starring Skip Homeier and set on the Sunset Strip of West Hollywood.

 

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Later

In 1965, Crewe formed his own record label, DynoVoice Records. With the release of the 1965 hit Concrete and Clay by Eddie Rambeau, DynoVoice launched a run of twenty-one Top 100 hits. The label found early success with the R&B trio the Toys, best known for their single “A Lover’s Concerto“, a #2 hit single, and “Attack”. The Toys were produced by Denny Randell and Sandy Linzer for executive producer Crewe. Writing about “A Lover’s Concerto”, based on a melody inspired by “Minuet in G major“, critic Dave Thompson observed, “Few records are this perfect. Riding across one of the most deceptively hook-laden melodies ever conceived … ‘A Lover’s Concerto’ marks the apogee of the Girl Group sound.” The song has been subsequently recorded by the Lennon Sisters, the Delfonics, Sarah Vaughan, the Supremes, Mrs. Miller, Audrey Hall, and Kelly Chen.

Another DynoVoice powerhouse of the mid-1960s came when Crewe discovered a band called Billy Lee & The Rivieras. The group had limited success until he renamed them Mitch Ryder & the Detroit Wheels. Under his direction, they scored eleven Top 100 hits, most notably Crewe’s powerful and muscular arrangements of “Devil with a Blue Dress On“, the group’s highest-charting single at #4, as well as “Sock It to Me, Baby!“, a #6 hit in 1967, and “Jenny Take a Ride“, which reached #10 in 1965.

Another often-recorded song from the 1965 Linzer-Randell album by the Toys is “Can’t Get Enough of You Baby“. The number, co-written by Sandy Linzer and Denny Randell, was also recorded by the Bay City, Michigan, rock group Question Mark and the Mysterians, best known for their 1966 hit “96 Tears“. “Can’t Get Enough of You Baby” has enjoyed subsequent reinterpretations by Colour Field and Smash Mouth, among many others.

Crewe’s record label scored another hit with Norma Tanega’s off-beat, folksy “Walkin’ My Cat Named Dog“. Crewe also helped bring success to the group the Tremeloes with their hit Epic Records cover of “Silence Is Golden“, a song originally written for and recorded by the Four Seasons.

Bob Crewe himself (recording as The Bob Crewe Generation) released Sid Ramin’s 1967 instrumental single “Music to Watch Girls By” (originally composed as aDiet Pepsi commercial jingle) on DynoVoice. The song became a Top 20 hit and spawned another successful instrumental version by Al Hirt and a vocal hit by Andy Williams. In 1967, Bob Crewe produced and wrote seven of the songs sung by Lesley Gore on her last commercially successful album, California Nights, including producing the title track. The Bob Crewe Generation also recorded the Bob Crewe-Charles Fox original soundtrack for the 1968 Paramount Pictures motion pictureBarbarella starring Jane Fonda and directed by Roger Vadim. The soundtrack for the cult favorite features vocals by Crewe and the group The Glitterhouse.

In 1967, Crewe and Gaudio scored one of their greatest successes with “Can’t Take My Eyes Off You“, recorded by Frankie Valli with the Four Seasons. The song reached #2 on the Billboard Hot 100 and earned a gold record. Subsequently, “Can’t Take My Eyes Off You” has been recorded by a number of international vocalists and bands through the years. The 1968 version by singer Andy Williams climbed to #5 on the UK Singles Chart. Also achieving chart status over the decades were such other English-language versions as those by The Lettermen, Maureen McGovern, and Lauryn Hill. The song has also been heard in numerous motion pictures, including The Deer Hunter, The Fabulous Baker Boys, Conspiracy Theory, 10 Things I Hate About You, Drop Dead Gorgeous, and Bridget Jones’s Diary.

 

Selected U.S. singles (written and/or produced by)

US peak chart position on the Billboard Hot 100 singles chart follows the song title. Only singles that reached a position of #30 or higher on the Hot 100 are listed here.

  • 1957: “Silhouettes”, #3.
  • 1957: “Daddy Cool”, #10.
  • 1958: “La Dee Dah”, #9.
  • 1959: “Lucky Ladybug”, #14.
  • 1962: “Sherry”, #1
  • 1962: “Big Girls Don’t Cry”, #1
  • 1963: “Walk Like a Man, #1
  • 1964: “Dawn (Go Away)”, #3
  • 1964: “Ronnie”, #6
  • 1964: “Navy Blue”, #6
  • 1964: “Rag Doll, #1
  • 1964: “Save It For Me”, #10
  • 1964: “Big Man in Town”, #20
  • 1965: “Bye, Bye, Baby (Baby, Goodbye)”, #12 (“Bye Bye Baby” on initial release)
  • 1965: “Let’s Hang On!”, #3
  • 1965: “A Lover’s Concerto,” #2
  • 1965: “Silhouettes,” #5 [Herman’s Hermits cover]
  • 1965: “Girl Come Running,” #30
  • 1965: “Jenny Take A Ride,” #10
  • 1966: “Devil With A Blue Dress On,” #4
  • 1966: “The Sun Ain’t Gonna Shine,” #13
  • 1967: “Sock It To Me, Baby,” #6
  • 1967: “Music To Watch Girls By,” #15
  • 1967: “Silence Is Golden,” #11 [Tremeloes cover]
  • 1967: “Can’t Take My Eyes Off Of You,” #2
  • 1967: “I Make a Fool of Myself,” #18
  • 1967: “To Give (The Reason I Live),” #29
  • 1969: “Jean,” #2
  • 1969: “Good Morning, Starshine,” #6
  • 1974: “Lady Marmalade”, #1
  • 1974: “Get Dancin’,” #10
  • 1975: “Swearin’ To God”, #6
  • 1975: “My Eyes Adored You,” #1
  • 1975: “I Wanna Dance Wit’ Choo,” #23
  • 1975: “The Proud One,” #22 [The Osmonds cover]
  • 2001: “Lady Marmalade”, #1 [Christina Aguilera cover]

 

 

 

Bob Crewe was Major 50s, 60s Music Force for

Frankie Valli, others

 

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Paul Peterson Offers Refreshing ‘Other Side’ of Hollywood Politics

PAUL PETERSON

1002454Not to pigeonhole PAUL PETERSON or typecast him as the son on the great DONNA REED show we watched and loved in the late 50s, early 60s – he’s done a lot more since then including acting and helping fellow child stars cope with growing up during changing times…
 And… he’s one of the few actors, perhaps, to speak his mind from the ‘other side,’ if you will – the side that grew up with on TV, music and movies before they had to attach ‘protective’ viewer ratings. 
For example, while so many early artists dismiss ‘rap’ as ‘acceptable kids music,’  of today -( i.e. there was Elvis in the 50s, etc,), Peterson comes right out and says for what it is: one of the many signs of cultural decline.
If more people stood up like Peterson, perhaps it wouldn’t solve problems of today but it might help.  (We don’t mean to preach, but were buoyed by Paul’s words. Here are Paul’s words, directly. (We won’t wish him a happy birthday quite yet. We know the feeling…)

Donna Reed’s PAUL PETERSON Not Afraid To ‘Tell It

Like It Is’

WmPaul Petersen (Facebook  9-17)

‘WHOA NOW
I love the birthday greetings, believe me I do, but my Birthday is on the 23rd of this month…Don’t rush me. 69 is going to be bad enough!!!

 

I have a few Housekeeping notes in addition to putting the brakes on birthday wishes; 1st, I don’t play Internet games, so please don’t ask for my participation. 2nd, please stop using my Timeline for your commercial purposes. It’s not fair, and an encroachment on my ability to communicate freely with my friends. 3rd, please continue to keep me posted on your personal lives. I read everything and cherish all of these FB friendships.

Now then, to some personal observations regarding the recent NFL controversies (which virtually ruined my weekend’s viewing pleasure) as they relate to children, women and social responsibility:
NFL professionals, (college graduates in the main), are NOT wanton criminals. In fact, the NFL players have HALF the rate of Criminality as their peer group when measured against Race, Gender and Age. This is true for Whites, Blacks and Others in professional sports. Don’t let the media frenzy fool you.


Cultural Values are at the root of our problems. Rap Music, Popular Entertainment, the spreading blight of ‘body art’ and the cowardice of the Popular Press (some call them “Press-titutes”) are all signs of cultural decline.
“Judge not, lest ye be judged” often prevents overt political action, especially for those who believe in Western Civilization’s Values, but “money talks and losers walk” is a fact of life.


Poisoned money is distorting the images that are suffocating our culture. Our media has been kidnapped by the Forces of Evil. If the resolution of storylines relies on unconstitutional mechanism you are witnessing covert influence. If an entire network is funded by Islamic money you are subjected to propaganda, not entertainment. When crucial news is denied to you by poisoned money or political influence you are vulnerable to political whims.
I understand Popular Culture. Please take a word from the Wise.


Wake Up. ‘


Paul Petersen

Rejoice with Neil Sedaka, Itzhak Perlman and Cantor Yitzchak Meir Helfgot

 

whole foods gift card $250

 

 

my yideshe momma intro for PBS special with yitzhak

 

 

NEIL SEDAKA:  As the High Holy Days draw near….

YOU DON’T HAVE TO BE JEWISH TO LOVE THIS MUSIC THAT MIGHT MAKE YOU CRY…

Rejoice with Neil Sedaka, Itzhak Perlman and Cantor

Yitzchak Meir Helfgot

 

A Yidishe Mame (A Jewish Mother), Neil Sedaka, Itzhak Perlman

 

With the Jewish High Holy Days drawing near,  a nice way to rejoice with this program…

Premiere date:   Locally San Francisco Sept 21, 7 pm – check your local PBS listings elsewhere
Songwriter and pianist Neil Sedaka introduces the song “A Yidishe Mame” (A Jewish Mother), a popular Yiddish classic with Vaudeville roots. Violinist Itzhak Perlman and Cantor Helfgot perform it, backed by The Klezmer Conservatory Band and The Rejoice Chamber Orchestra. Violinist Itzhak Perlman and Cantor Helfgot perform the popular Yiddish classic with Vaudeville roots “A Yidishe Mame” (A Jewish Mother) backed by The Klezmer Conservatory Band and The Rejoice Chamber Orchestra.

The great NEIL SEDAKA introduces Perlman and Yitzchak

 

Rejoice with Neil Sedaka,  Itzhak Perlman and Cantor Yitzchak

Meir Helfgot