I joined the Bob Crewe office in 1965. I came to Bob via my relationship with Herb Bernstein. Bernstein introduced me to Crewe as a songwriter and piano player. I wasn’t really a professional lyricist when I came to Bob’s office. But as time went by, I listened to Bob weave his magical words and found that, over time I, too, had the ability to create lyrics.
The word, “eccentric” or “crazy” are the right words to describe the most talented people in the music business. Even those who were the executives, the decision-makers had to be somewhat crazy to give up their time and efforts to try to pick out the A & R people, the recording artists, the songs (in some cases) and simply BE in this crazy business.
It was once said, there are probably better odds betting on 100 to 1 shots at the racetrack than betting on a recording or a song, becoming a top ten hit.
Up to that time, only Tash Howard’s thinking was far beyond most others. Tash’s creativity was so extreme, his concepts were, in most cases, quite silly and infantile. But up to that time, “Juanita Banana” was about to break records throughout many parts of the world. Again, luck has to do with it all!
When I first signed an exclusive contract with Saturday Music, Bob Crewe’s publishing company, I had a short track record, but was anxious to work with others! I felt that this could help to make me a more professional composer. Larry and I didn’t really collaborate since Larry had a partner who he met in the Army. His name was Ray Bloodworth, who was a “pea picker” from the South who was a soft spoken, shy fellow with a thick southern drawl. He was so far removed from fast talking and fast-thinking Larry Brown, that they were absolutely opposite each other in personality, speech and, certainly, reaction time.
Larry Brown (later called himself, L. Russell Brown) was a true experience for me. He had some experience with other songwriters. One was Neville Nader, an older man who once worked for Aaron Schroeder, a publisher who had his own song recorded by Elvis Presley, called, “Teddy Bear”. BTW, Aaron published that song as well!
One day, Larry said, “C’mon, I can’t stand it in here, I need to get some air!!”
Before I could react, he grabbed my arm and we took off to the elevator down the the street as he called a taxi cab. He told the driver, “The Empire State Building, Please?”. I couldn’t believe my ears! Why there” I thought!!??
We arrived at the 1st floor of the building and we got to the elevator bank which went to the top floors! I asked Larry “Why are we going there??”. He wouldn’t answer me, other than saying …. “C’mon, let’s go quickly!” After some minutes, we finally arrived at the top floor, we walked out to the fenced in area and Larry breathed LOUDLY …. He said, “I CAN FINALLY BREATHE!” WHAT, I ASKED?
He shared his reasoning … I just couldn’t breath in that office. I had to have fresh air! Why here, Larry? Other than his crazy answer, there was nothing said afterward. At that very moment, I KNEW Larry was NUTS!!! There was no DOUBT!
This is a vivid example of who Larry Brown really was. Larry was an extremely talented individual whose entire life, was set in the middle of chaos. Although he married at a young age, he maintained that marriage throughout all these years. With all that I learned, Larry taught me not to be afraid of anything, words, notes and music arrangements, ANYTHING!.
Another time, I Larry was situated in a tiny cubicle with a piano right next to me tiny office. I couldn’t help but hear him either playing the piano or his guitar. This day he was playing the introduction to “Ready for Love” by Martha & the Vandellas” a Motown Group who just had this hit which was still on the Pop Charts. Over and over I heard this intro playing over and over. I knocked on his door and asked what is going on, Larry? Why are you playing this intro over and over? He answered, just don’t interrupt me.
As I said, at that time and for all the time prior, an intro was not a copyrighted part of a song. A musical arrangement cannot be stolen. So …………… if you check the intro of “C’mon Marianne” by the Four Seasons and “Ready for Love” by Martha & the Vandellas”, you will understand the genius of Larry, Crewe and Berry Gordy Jr. all of which used the same intro for the two big hit records!
Afterward, even the Doors followed suit and stole the same theme as an intro :
Bob Crewe was a genius in his incorporation of operatic, symphonic or other songs which were available via “Public Domain”.
Public Domain meant you could “use” or “borrow” any songs which were written prior to 1957. Also there was a newly passed Congressional law which allowed the “use” of melodies which could be changed or adapted with different lyrics and it became a fact, that permission was no longer required from either the publisher or writer, no matter when the song was copyrighted.
This major change allowed Bob Crewe and other writers and producers to “borrow” the theme or introduction from famous centuries old themes to become an introduction to Saturday Music’s songs. One illustration I can offer is “Lover’s Concerto” which was written by Johann Sebastian Bach, as a “practice piece” for young aspiring pianists. This piece was originally suggested to Sandy Linzer and Denny Randall, by the late “Stan Free” a pianist who played the New York City recording studio circuit.
Free told me that he never even got a Christmas thank you card from either one. But, I am sure that was not Stan’s objective in sharing his suggestion.
Another hit recording by the Four Seasons, “Opus 17″ has a interesting and funny story about it as well.
Most every Four Seasons recording session had Charlie Collelo as it’s contracted music arranger. This particular last-minute session found that Charlie had already scheduled a few recording sessions the next day. So Crewe called Herb Bernstein late that afternoon, to be the arranger on this particular session, Herb’s first Four Seasons recording. Herb, of course, was so excited that he stayed up all night to write the arrangements. He called for the copyist to have all the musicians’ parts ready, early the next morning.
Herb arrived at 10:00 am at Stae Philips studio on 7th Avenue and as Herb said hello to each musician, he raised his baton at 10:30 am and was about to lead the musicians when …. suddenly Bob Crewe came running out of the engineer’s booth with his trusty tambourine in hand. He said WAIT … I have an idea! Bob exclaimed! He sang the parts to each musician who already had pen in hand, waiting for Bob to dictate parts to them. Obviously,this session was no different that many of the other sessions, with which, they had taken part. Bob seemed to have last minute changes and must have done this quite often, even with Collelo as the leader and arranger.
The final record speaks for itself. It was another hit record for The Four Seasons, written by Linzer & Randall under Bob Crewe’s leadership. Herb may have gotten the credit for the music arrangements, but, in fact you now know the REAL STORY! It was Bob Crewe, himself, who created the arrangements for the final recording of the,”Opus 17” hit recording. It hit #13 in Billboard Magazine and #9 in Cashbox Magazine Top 100 lists. This was Bernstein’s only Four Seasons music arrangement (which he never even wrote!)
Stay Tuned for “Bob Crewe a True Genius” (Part 2)