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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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RAIDERS

top l-r Ed Silvers, Tony Byrne, Mel Bly… bottom l-r Artie Wayne and Stephen – Craig Aristei

Back in 1972, I moved to Hollywood, became General Professional Manager and Director of Creative Services at Warner Brothers Music. I headed up a group of seven relentless songpluggers, I named “The Warner Raiders”, who would go to any lengths to get one of our companies songs recorded.

There was a kid in the mailroom that had the same fire in his eye as David Geffen had, when he was in a similar position at the William Morris agency. Stephen Craig Aristei would work hard, ask questions of everybody and stay late in the office listening to songs in the vast catalog. Ed Silvers, president of the company, and I welcomed him to our staff meetings where he would make astute casting suggestions and be treated like one of the “Warner Raiders”.

We all knew that he had the potential, but I didn’t have the budget, to hire another “Raider”. One day, Ed called me into his office and told me that we had to get cover records from the show that was just revived on Broadway, “No, No Nanette”. I looked at him like he was crazy … and asked if that meant I should try to get Michael Jackson to cut “Tea For Two”? He glare and said, “You’re the Director of Creative Services … be creative!”
Craig and I listened to the score over and over, and we decided that I should update the song “I Want To Be Happy” and submit it to Motown. I gave my piano voice demo to the late Hal Davis at Motown, who cut the track for Michael Jackson.

A week later, when I went to Mowest studios, found him putting an unknown Lionel Ritchie on the track!! Hal, an imposing bear of a man, saw that I was freaking out over the “switch”, grabbed me and threw me across the recording console, warned me that if I got anyone else to record the song, I would have to answer to him!!

I quietly got up, brushed myself off and went back and locked myself in my office. That night, Craig and I sent out dozens of copies of “I Want To Be Happy” to everyone I could possibly think of!! Nobody Fucks with the Warner Raiders!!

NANA

A few days later, I hired a dancer, the actress Teri Garr, to join Tony, Craig (who would carry a boombox, playing “Tea For Two” and “Happy”), a limo and a camera-bearing limo driver, who would capture us promoting “No, No Nanette” in the offices of Mo Ostin, Joe Smith, Jerry Moss, Artie Vallando, Mike Curb and Jimmy Bowen. 

On the morning of the promotion, Teri Garr, the dancer, is a no-show, at which point Stephen Craig Aristei jumps in and says, “I can dance!!”. I got down from the window ledge and said, “If you dance today …you’ll be a “Warner Raider” tomorrow!!

Well, Craig became a “Warner Raider”…and “I Want To Be Happy” was cut by Sammy Davis, Jr. and wound up on the b-side of his million selling, “Candy Man”! Over the years Craig has become one of “Unsung Heroes” of our business, and one of the best song men I’ve ever known! 

CRAIG

Copyright 2012 by Artie Wayne

To reach  Stephen -Craig  Aristei https://www.facebook.com/stephencraig.aristei?fref=ts#

ARTIE WAYNE ON THE WEB https://artiewayne.wordpress.com/2012/04/10/celebrating-two-million-views-today-on-artie-wayne-on-the-web/

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When I started writing songs and producing records in the ’60s, there wasn’t anywhere to go to learn your craft. Like many of my contemporaries, I went to the school of Top 40 radio. First I learned the ABCs of Rock and Roll in the ’50s, listening to Elvis, Fats Domino, and the Platters, then I graduated in the ’60s, where everyone in my class majored in Motown.

Although I’m an African-American, R+B music wasn’t my first love. It was Berry Gordy, Jr.the owner and guiding force behind Motown, who changed the sound of Black America into the “Sound of Young America.” The “crossover” vision soon captured my imagination as well. His formula always started with an extremely well crafted song, musically sophisticated with a strong beat, and used the best producers, musicians, arrangers as well as pool of remarkable singers.
It was, however, the competition between songwriters and producers within the company that drove the quality, commerciality and technical superiority to such a high level. Even “Smokey” Robinson ( Vice-President of Motown), had to compete with Norman Whitfield, Marvin Gaye, Holland-Dozier-Holland, Mickey Stevenson, and every other songwriter/ producer based at the Detroit label, for every single that was released!

Ironically, It was white people who made me aware of how Motown records were put together. I used to sit with Bert Berns (“Twist and Shout”, “Hang On Sloopy”), Jerry Ragavoy( “Cry, Cry Baby”, who co-wrote “Piece of Heart” with Bert) or with Ed Silvers, who ran the New York office of Metric music, and listen to Motown’s latest releases. Each of these astute, songwriter/ producers would point out something in each record that would strike a chord in me. Little did I know that this informal education would help me forge relationships with some of the greatest African-American performers, songwriters and producers of all time that included Quincy Jones, Van McCoy, Donny Hathaway, Freddie Perren, Hal Davis, Allan Toussant, Joe Simon, and Rick James.

It wasn’t until I worked with Nick Ashford and Valerie Simpson did more of the pieces of the Motown puzzle began to fit. We were all signed exclusively to write songs and produce for Scepter Records. When we weren’t creating, Nick and Val would take time to show me the chords and demonstrate the harmonies of all my favorite Motown hits.

They sang background on most of my demos and shared their studio musicians with me. I always thought it was a shame that Motown didn’t consider outsde material for their artists…I was convinced that they had two or three songs that could have topped the charts with The Four Tops or the Supremes.

Then something unexpected happened, for financial reasons, Scepter records sold off their publishing companies. Ed Silvers moved to Hollywood, to run Viva music, Nick and Val started doing more background sessions, and I who was newly married, had to scramble to find another job in publishing!

About a month later, I became a partner in Allouette productions with Sandy and Kelli Ross, and we represented the publishing interests of Quincy Jones, Bobby Scott, Joey Levine, Artie Resnick and Leslie Gore. I brought Ashford and Simpson to Quincy’s company, but at the time he couldn’t afford to sign them.

When I was approached by Jeffery Bowen and Eddie Holland (Holland/ Dozier/ Holland) to join Motown’s publishing company, Jobete music, I turned them down. I did, however, take the opportunity to introduce them to Ashford and Simpson. It wasn’t long before my friends were signed to an exclusive contract.

A few months later, Nick and Valerie call me from Associated studios, and ask me to come over and listen to the tracks they’d been cutting at Motown. I sat down and freaked out when I heard, “Ain’t No Mountain High Enough”, and “Ain’t Nothin’ Like The Real Thing”. Although their voices were on the tracks, it didn’t take much imagination to hear Marvin Gaye singing it! They said he was recording it as a duet with a new Motown discovery, Tammi Terrell.

Over the next few years, I discovered that Motown was quite a secretive place and had little to do with people outside of their organisation. There were rumors that it was really owned by the Mob…but they were only rumors.

For years, I followed Nick and Val’s careers like everybody else…on the radio. The next time I talked to them was when I moved to the west coast to join Ed Silvers at Warner Brothers music. I got a call from Nick, who told me that they were victim of Motown’s “creative accounting” and they weren’t getting the money that they deserved as songwriters. I was happy to get my former partner, Sandy Ross to represent them and help them escape…but that was just the beginning!
(To Be Continued)

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left to right- Nick Ashford and Valerie Simpson

2011 by Artie Wayne https://artiewayne.wordpress.com/about-artie-wayne/

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