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Long before, “Lady Marmalade”, “Devil With The Blue Dress On”, and “Cant Take My Eyes Off You”, Bob Crewe, was one of my favorite songwriter and producers. When I was starting out in the music business. “Silhouettes”, “Luck Ladybug”, “Walk Like A Man”, were the kind of songs I wanted to write and “Palisades Park” and “Tallahassee Lassie”, were the kind of records I wanted to produce.

I remember being introduced to Bob for the first time, by publicist/ manager Harriet Wasser in front of 1650 Broadway. We all talked for a few minutes, then he invited me down to Allegro studios, which was in the basement of the building. He was recording a few demos for the Four Seasons and as the afternoon progressed, Bob became more and more dissatisfied with the vocals.

Harriet suggested that he give me a try on vocals since she was familiar with the demos I was doing for publishers around town, that required using a lot of falsetto and singing all the background parts. Although he wasn’t a musician, he was a singer and was able to tell me exactly what he wanted, as well as instilling the confidence in me to execute it. He truly was able to bring out the best in everybody he worked with…like a great director!

He loved the results and a few days later, Bob asked Harriet if she would see if I’d be interested in “being” the Four Seasons for one record? It seems that Bob was having a dispute with the group, and owned the rights to the name and could put out whatever he wanted! Although I was flattered, and wanted a hit record…I wanted to be a solo Rock and Roll Star!

Over the next few years, I’d run into Bob at parties and industry functions, but it wasn’t until a few years later that I had a chance to sit down and talk to him at length. It was up at Motown records in Hollywood, where he had an exclusive production deal. He was up there to play a new mix on a record that Berry Gordy kept turning down, which he played for me,”My Eyes Adored You” by Frankie Valli. I sat there stunned by the incredible record I was listening to…then Bob started to pace back and forth, becoming more and more agitated, then he confessed that he was there to give Gordy an ultimatum!

( To Be Continued )

Copyright 2007 by Artie Wayne

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l -r Bob Crewe, Bobby Darin and Ellie Greenwich

Photos at the top- Bob Crewe…Bob and singer/songwriter Eddie Rambeau

To reach Eddie Rambeau
http://www.edrambeau.com

Special thanks to Rosemarie Edwards
http://www.craftweb.org

 

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The Banned Beatle Album Cover

In the early 80s I was absolutely apalled when someone took the tapes from the first Elvis Presley album, added “Disco beats, modern sounding instruments and effects”, while removing the excess echo that was my favorite sound on the original lp! I remember hearing a few cuts while I was waiting to be served at the Hard Rock cafe in Hollywood. I was starting to become physically ill from hearing some of my all time favorite cuts desecrated, so I walked out…but not before I complained loudly and vehemently to the manager! I chalked this one up to the Presley estate trying to breathe life into a dead horse! (no reflection on the Hard Rock’s hamburger, of course.)

The next time I was shlocked to my very core was when my friend, Alan O’Day, sent me the URL to the new remixes of Motown classics “remixed” by current top Hip-Hop producers. Although there were a few interesting moments…it was a futile attempt to improve upon musical history. http://motown remixed.com/

As long as I’ve been in the music industry I’ve admired, enjoyed and studied the sucess of Motown records. When I brought Nick Ashford and Valarie Simpson to Eddie Holland in 1967, I developed a strong relationship with many of the company’s writers and producers. I was also privy to many secrets of their phenomenal sucess. I used to sit (at different times) with Norman Whitfield, Hal Davis, Mel Larson, Jerry Marcellino, Freddie Perren, Bob Crewe and Michael Masser and listen to what sounded like instant smash hits, including early mixes of ” Touch me in the Morning”, ” Papa Was a Rolling Stone”, and “My Eyes Adored You”, all of which were initially turned down by quality control!

The endless remixing and meticulous mastering was the most important And the most frustrating part of the recording process. I remember sitting with Iris Gordy, who was head of quality control and listening to dozens of mixes of ten totally different tracks of Stevie Wonders production of “Let’s get Serious” by Jermaine Jackson. I was intrigued by some of the “radical” mixes and amazed by the subtlety of others. I asked Iris if this many versions were unusual? she laughed and said, “Sometimes there are hundreds!”

With so much care and respect Berry Gordy had for the music, it’s a shame that the new owners of the Motown catalog let someone come in and fuck with the music!

This past tuesday a double CD was released called “Love”, featuring remixes of the original Beatles hits along with an incredible advertising blitz. After hearing a little of about 10 songs, of this “Bloodless”, adreneline free remix, I couldn’t help wonder who put this shit together? Are the Beatles hard up for cash? Has producer George Martin gone mad? Is his son Gilles the actual producer of this CD set? What has Cirque du Soleil have to do with this? After reading the Associated Press story I understood what was going on! http://www.foxnews.com/story/0,2933,229702,00.htm ,

I realized this was the soundtrack to the new Cirque Du Soleil Las Vegas Extravaganza that opened last July! This means I have to listen to it with entirely different ears. Unfortunately, that also means before I say anything more about the album I should hear it in context with the show! If the Cirque Folque are reading this, pleased be advised that Artie Wayne on the Web is ready to be flown to Vegas to check it and come back here to report the findings!

Merci’ and Auvoir

Copyright 2006 by Artie Wayne

To reach the Mirage where “Love” by Cirque du Soleil is playing
http://www.cirquedusoleil.com/CirqueDuSoleil/en/showstickets/love/intro/intro.htm?sa_campaign=internal_click/redirect/love