Four Seasons In One Day Or Down In The Valli

Back again my friends to the blog that never ends!

I am sure that each one of you in blog land has your musical “guilty pleasures.” You know, the band or artist that you love that probably would make your friends laugh because they are out of style or or are involved in a particular genre of music which is not considered “cool.” I will bravely step out on a limb and give you two of mine: The Bee Gees and The Four Seasons. While talents all, they don’t really come up too often on top ten lists or when people are asked to give their favorite bands of all time. Still, at one time or another, both of these bands were very, very popular and no one can deny their careers or their talent.

Today, I am going to talk about some recent reissues of some of the best of the Four Seasons’ albums and we’ll just forget I mentioned the Bee Gees at all, okay? Thanks…..

Four Seasons – Folk Nanny/Born To Wander
Four Seasons – Working My Way Back To You/The Genuine Imitation Life Gazette
Four Seasons – Reunited Live
Four Seasons – Streetfighter/Hope and Glory
Four Seasons – Half and Half/Helicon
Collector’s Choice

When contemplating the best bands in rock and roll history with an acquaintance or two, you’ll get a lot of interesting choices – from the popular to the obscure. You’ll get the obligatory Beatles, Rolling Stones, Led Zeppelin, AC/DC etc. and then you’ll get the slightly weirder choices like Badfinger, Raspberries, Atomic Rooster – that kind of thing. I can guarantee you’ll never hear the name Four Seasons when taking that kind of poll, despite all of their hits. Unfortunately looked upon as lightweight and a throwback to the Vegas-like showmanship of vocal groups like The Four Lads and their ilk due to their polished style and effortless harmonies, they are often looked upon as the Englebert Humperdincks and Robert Goulet’s of rock and roll.

And that’s just wrong for so mnay reasons!

After listening to a great deal of their output due to the new reissues listed above from Collector’s Choice, I’ve figured out there is way more to this group than most realize. A hit-making act from the early ’60’s all the way to the early ’80’s (the band has had some “re-mix” hits since but we won’t count those) lead singer Frankie Valli and the rest of the Seasons (who wrote most of their own hits thanks to member Bob Gaudio) epitomize streetcorner cool. A real Italian tough guy who is brazen enough to hit the highest, most feminine notes and dare you to say something about it, Valli (like Dion and Brian Wilson – two other extraordinary vocalists not afraid to sing in a high register) can floor you just as fast with his voice as with his fists. His “gang” of buddies are also no slouches in the vocal department, either. Their harmonies are gorgeous and the instrumental work on the album is always geared for the song but never maudlin or sappy.

That being said, both the early albums Folk Nanny and Born To Wander sound really dated to my ears. Not only does the stodgy folk material not lend itself to great treatment by these glorified doo-woppers, but the songs they have picked are pretty cliched. As the era of the Four Lads and Hi-Los were coming to an end, making a way for doo-wop and rock and roll, these albums seem meant to bridge the gap and carry the group from one audience to another. Sadly, those interested in the exciting pop sounds of the band will find little to like here as these sides are very restrained and tame. Folk fans may be disappointed as well as the songs are not really direct and powerful, the way the best folk music should be. These two albums can be described as Vegas folk and are for the die-hard fan only.

Working My Way Back To You is vintage Four Seasons. Containing the monster hit of the same name and several other hits, this album features the sound of the band as most remember it. Street corner tough guys working their modified doo-wop and blue-eyed R&B sound to perfection and scoring radio hits by the busload. This is one of their all-time classic albums and every fan of the band should definitely pick this one up. It is sure to provide a lot of trips down memory lane for people who were around in the ’60’s and listen to this.

In other words, sublime pop-soul music.

Paired with the album Working My Way Back To You is the weirdest album in the Four Seasons’ catalog and possibly one of the weirdest albums in all of pop music. At the time the concept album Genuine Imitation Life Gazette was recorded, psychedelic albums like The Beatles’ Sgt. Pepper and The Beach Boys’ Pet Sounds among many others were popping out every day as many musicians started to stretch the boundaries of rock and roll. Not wanting to be left behind and seen as old fogeys, the band decided to get with a young, hip songwriter and do a concept album. Grabbing Jake Holmes (the original writer of Led Zep’s Dazed and Confused before Page and Plant “borrowed” the song and “forgot” to put Holmes’ name on the credits) from the Greenwich Village folk scene, the band immediately hired Holmes to craft a concept album. To hear Valli and the rest of the Four Seasons try to stick with their vocal group style while singing over a weird melange of piano playing, psyche-guitar doodlings and mellotron madness is interesting to say the least.

Though certainly not their best work, the band gives it a college try and doesn’t come off too badly. In some circles (weird ones) this album is looked upon as a classic. I say: proceed with caution. There’s no hits on here and it strays far from the Four Seasons you’re used to hearing on the radio.

The albums Half and Half and Helicon were recorded almost a decade later, in the mid-70’s, during a period when Valli was trying to exit the group for a solo career, though, as albums, they sound quite cohesive despite Helicon not having much Valli on it. Half and Half is actually what the title implies: an album featuring half Frankie Valli solo material and half featuring Valli with the Four Seasons. Since Valli was the main vocalist for the group, the album doesn’t sound all that much different from a totally Four Seasons album.

That was really the problem with Valli’s solo career attempts as a whole. When he did do solo stuff it wasn’t really all that indistinguishable from the Four Seasons anyway. All of Valli’s solo hits would sound pretty much the same if he would have included the group on them. As it is, Half and Half is a fine album despite not having anything in the way of a hit on it. The band’s next album Helicon is a little weirder as Valli only has one solo lead on the whole album. By this time, Valli knew he was leaving the band for an extended period of time.

As the Four Seasons were gearing up for a tour to follow the album, the band needed to focus on a new lead singer as Valli wouldn’t be performing with them on the tour. Hence, Valli is featured mostly in the background and, except for the one song stated previously, has to share his leads with the two new singers in the band. While the new singers are fine, they’re not Frankie Valli and their voices are somewhat indistinguished and without the singular personality Valli’s voice conveys.

The album Reunited Live is exactly what it the title says it is: a rousing live document of the tour that saw Valli forego his solo career once and for all and join back up with the group instead of hedging his bets as he had done for years. The fact that Valli was way too old for a solo career by that point was notwithstanding – he had a good run for a couple of years thanks to the movie Grease and felt vindicated by his solo success, saw new wave coming and decided to get back with the group he never should have left. That the band really never had another hit is secondary – after a twenty year span full of hits their time as hitmakers had simply come to an end – nothing to be ashamed of, just ask Bob Dylan.

As a live document, this album stands with Frampton Comes Alive, at least, from the sound of the worshipful crowd. The group does not disappoint, giving the audience full versions of at least half their hits and short, medley versions of another fifteen or so chart toppers.

The band’s next two albums Streetfighter and Hope and Glory, recorded during the ’80’s, are mostly vanity enterprises albeit above average ones. You can’t blame the band for trying to score some hits, but the reuniting of the band in 1980 along with the successful tour and album was a fairy-tale ending that should have maybe been left as the ending. That said, for synth pop done for the most part by artists over 40, there’s a generous helping of quality stuff here and Valli’s voice soaring over a bank of synths (Valli’s voice soaring over anything is a beautiful thing) is definitely not the worst thing in the world.

It helps that the synths are programmed and played sympathetically and are not machine-like. Any Four Seasons/Valli fans will love these albums and most listeners would be surprised at how well the band adapts to the changing musical landscape and soundscape.

Those who have forgotten how much they loved the Four Seasons or for those who simply knew their name but not their sound would do well to pick up a couple (if not all) of these CDs and be transported to a time when great vocals didn’t depend on Auto-tune and electronic gizmos and great songs were common place. More than some of you will be surprised at the greatness of their work but the best thing is just listening to Valli’s voice coming through the speakers as if he was singing about you and your girl. Great stuff.

Along with Dion, Valli’s voice is one of the few that make me swoon the instant I hear it. The man could sing the phone book and I would be happy. Great stuff all in all, and well worth picking up if you are into 60’s and 70’s pop music.

Feel The Flame

Hello kiddies! Day three of my renewed music media blitz on this great site. Rejuvenated, re-energized and regurgitating only the best information about bands you should already know about but probably don’t, I am here to light your flame about The Flame.
As you will be able to tell (especially if you find their albums and listen to them), they were one of the best Badfinger/Beatles inspired bands to ever come down the pike.

Read on:

The Flame – self titled
Fallout Records

Those who love the late, lamented, oft-troubled band known as Badfinger are hereby put on notice to check out Fallout Record’s 2006 reissue of the eponymously titled Stateside debut album of South African pop-rock band The Flame. Originally released by the band in 1970, the album has been a much-sought-after collector’s item for those into power pop and classic rock. Produced by Carl Wilson of the Beach Boys but not sounding at all like that band, this album is sure to turn the heads of many music fans who hate the suckery of today’s modern rock and wish it sounded like it used to when it used to…um….rock.

While it is easy as a reviewer to compare The Flame’s special brand of rock to the Beatles and the above mentioned Badfinger, there are many layers to the band’s sound, probably owing to the band’s South American origin. Sure, the material is above average melodic rock by a group of musicians who had no doubt paid attention to the templates laid down by the best of the English bands of the ’60s but that’s not all the band offers. It’s also got depth and soul, and it’s far from being just a Sgt. Pepper pastiche.

But, before I comment on the band itself too much, I would like to make a few comments about the reissue label, Fallout Records.

Fallout Records is a direct descendent of Radioactive Records, a controversial record label that recently had to shutter it’s doors thanks to some lawsuits won by the Jimi Hendrix estate. It seems the owner of Radioactive Records issued a slew of Hendrix live tapes brought to them by an outside party without permission from the Hendrix family, which is why they were ended up on Radioactive instead of the Hendrix estate’s own label. During the trial it became well known that Hendrix wasn’t the only artist being ripped off by the label. Radioactive Records specialized in issuing rare psyche albums from the 1968 to 1973 period but instead of licensing the albums from the previous labels or artists themselves, Radioactive would just sell “needle drops” of those rare albums.

For those who don’t know, a “needle drop” is a term for a CD recording made from a regular vinyl album and not a master. In other words, most Radioactive releases are bootlegs, albeit authentic looking bootlegs.

When Radioactive closed down, Fallout suddenly came to life and one can only think that Fallout is doing business the exact same way. So, just for your knowledge, whenever you purchase a Radioactive Records or Fallout Records release musicians are not being paid for their work and most often they will be “needle-drops” as is this release. I say this not to criticize the policies of this label, just to let people know so they can make an informed choice when and if they decide to spend money on this label’s merchandise.

Fortunately, for those interested in checking out The Flame’s album, the sound is excellent for such a process and is one of the better “needle-drops” I’ve heard from these kinds of labels.

Now, back to the music:

A four-piece started by Blondie Chaplin and the Fataar brothers (Steve, Ricky and Edries), the band released a couple of albums in its’ native South Africa and had even scored a couple hits there (most notably a cover of the evergreen soul ballad “For Your Precious Love”) but had trouble gaining a foothold in other markets with their R&B-based pop sound. Caught live by Wilson during a Beach Boys tour overseas, the band was invited to be a part of the Beach Boys’ label, Brother Records. While initial recordings were tentative and pedestrian, the Beach Boys’ organization owned their own studio and gave the band plenty of time to experiment with their compositions and flesh them out. Wilson obviously saw a lot of talent in the band, and rightfully so, as this album is one of the greatest pop delights ever released in the ’70’s, despite its’ low sales. Sunshine-filled pop rock of the highest order, the band’s top-flight musicianship give the songs more muscle than most bands recording the same type of music. Unfortunately, the album did not take off despite the backing of the Beach Boys and their team at Brother Records.

Thanks to the album’s low sales, a second stateside album was never released (although a follow-up was actually recorded – hopefully these tapes will surface one day) and two of the now-defunct band’s four members were drafted into the Beach Boys themselves, Ricky Fataar and Blondie Chaplin. The other two Fataar brothers left the music business entirely.

Chaplin and Fataar’s tenure as Beach Boys was short lived, however, and by 1975 they were out of the band and out doing solo projects. Fellow music geeks may notice their names as session players and singers on tons of albums with Fataar’s claim to fame being a member of The Rutles and Chaplin’s recent notoriety stemming from a long tenure as a sideman for the touring version of the Rolling Stones besides tossing out a solo album here and there.

This album will appeal to all fans of late ’60’s and late ’70’s rock as it mixes a bunch of elements ranging from British rock to folk to some psychedelic touches as well. After listening to an album like this one can only wonder what could have happened to the band should their album have been a success. Their songs compare favorably to anything by McCartney, Pete Ham or Emmitt Rhodes. Tempering the pure joy at checking out a discovery like this is the tinge of sadness when the realization hits that there could have been more music from this great band if only more poeple had been listening. Still, this is a mighty fantastic album by a band you should check out immediately.

There you have it. Another great band on which to spend your hard-earned dollars. Don’t fret, however, as this album is well worth your shekels. Buy it and turn it way up. You’ll thank me……