With their distinctive style of music—perhaps best described as power doo-wop—The Four Seasons have enjoyed a long and extremely successful career in popular music. Coming together in the mid-1950s, they had their first major hit "Sherry" in 1962. It was followed by a string of other hit songs including "Big Girls Don't Cry," "Walk Like a Man," and "Let's Hang On to What We've Got." Along with The Beach Boys, The Four Seasons were the only American group to survive the "British Invasion" of the pop charts in the mid-1960s. Their hit songs have become pop standards and their concert tours continue to attract enthusiastic audiences made up of longtime fans and younger people whose acquaintance with the group comes from "oldies" format radio stations.

The Four Seasons have undergone numerous personnel changes over the years but the essence of the group has remained with lead vocalist Frankie Valli and songwriter/manager Bob Gaudio. Valli and Gaudio own the master tapes of all the group's recordings, the right to use the musical group name "The Four Seasons," and also own the rights to the music and lyrics of all the Four Seasons' songs. These properties have generated millions of dollars in revenue for Valli and Gaudio's joint enterprise, called the Four Seasons Partnership.

The roots of the Four Seasons can be traced to the working class neighborhoods of Newark, New Jersey in the mid-1950s when Frankie Valli (born Francis Stephen Castelluccio) joined the Variety Trio, avocai group made up of Hank Majewski, and brothers Nick and Tommy Devito. The addition of a fourth member made the trio a quartet and so the group's name was changed to the Variatones. Though still a teenager, Valli was an experienced singer. In 1953, under the name Frankie Valley, he had recorded a few songs for Corona Records. The son of a barber, Valli had decided to be a singer at age seven. "I was always singing, as far back as I can remember. In those days, big bands would come and play in theaters like the Paramount (in New York) or the Adams Theater in Newark. My mom used to take me once a week to the Adams, so I saw every major big band at the tail end of that era," Valli recalled to Steve North of the TwoRiver Times. Receiving no formal vocal training, Valli honed his voice by listening to records of favorite performers, such as the Four Freshmen, the Hi-Lo's and the Modemaires. He sharpened his falsetto by imitating female singers including Dinah Washington and Rose Murphy.

The Variatones played at clubs in New Jersey and the surrounding area. In 1956, they were signed by RCA records and renamed the Four Lovers. Their RCA recording of "Apple of My Eye" was a minor hit which earned them three appearances on the Ed Sullivan Show. Despite this notoriety, the group had trouble garnering many fans. "When we went out of town, we used to lie and tell everybody we were playing at the big resorts. Only we were really performing in a bowling alley in Philly, " Valli told John Anderson of SmartMoney. Changes came to the Four Lovers in 1960 when Hank Majewski left the group and was replaced by Nick Massi. In the same year, the Four Lovers were taken under the wing of Bob Crewe, a New York-based record producer. In 1961, Nick Devito resigned from the group and Bob Gaudio joined it. In addition to being a keyboard player and vocalist, Gaudio was a talented songwriter able to supply the group with original material. As member of the Royal Teens, Gaudio had written and recorded the novelty hit "Short Shorts" in 1958. After retitling themselves The Four Seasons, taking the name from a bowling alley lounge which had refused to give them a booking, the group was set with the moniker and personnel—Valli, Gaudio, Massi, and Tommy Devito—that would take them to the top.

It was at this point, just before stardom, that Valli, who had day job as barber, and Gaudio, who worked at a printing plant, decided to form a partnership. The deal was made while they sat in Valli's parents's apartment in a low-income housing project in Newark. "We said, 'Neither of us know where we're going to wind up, but maybe we should hedge our bets. You get 50 percent of me, and I get 50 percent of you,'" Gaudio recalled to Charles P. Alexander of Time. The deal, which has never been based on anything more official than a handshake, has endured. Despite ups and downs in their relationship over the decades, neither Valli nor Gaudio has seriously considered breaking the arrangement. "That would be like telling your brother that he couldn't come todinner anymore. We're family," Gaudio explained to Alexander.

Major success came to the Four Seasons in September of 1962, when their recording "Sherry" for Vee-Jay Records went to the top of the charts. Originally called "Terry," the song had been written by Gaudio in 15 minutes. The lyrics were concocted merely as a way for Gaudio to remember the tune but producer Crewe and the other group members thought they should be retained. Only change was the girl's name in the title. "Sherry was a non-existent person.... It was just a song and the name made it easier to sing, "Sherrrrry Sherry Baby." It was impossible to do that with the name Linda or Laurie. See, we were creating a sound," Valli told Tim Ryan of the Honolulu Star-Bulletin.

The success of "Sherry" was quickly followed by another number one hit, "Big Girls Don't Cry," another Gaudio composition. The title phrase was taken from an old movie in which the leading man (sometimes identified as Clark Gable, sometimes as John Payne), slaps the leading lady, then taunts her by saying "Big girls don't cry." Over the next five years, The Four Seasons enjoyed a string of top ten hits, most written by Gaudio. Combining simple lyrics about young romance with a driving, infectious beat, Four Seasons material appealed to that part of the audience which continued to be drawn to the East Coast street corner harmonies of the 1950s and early 1960s. Their hits include "Walk Like a Man," "Candy Girl," "Dawn," "Ronnie," "Rag Doll," "Save It for Me," "Let's Hang On," "Working My Way," "Tell It to the Rain," and "C'Mon Marianne." One non-Gaudio hit was a version of Cole Porter's "I've Got You Under My Skin," which Valli told Ryan was "the most sophisticated song we ever recorded." In 1965, the Four Seasons, billing themselves as The Wonder Who?, released a rendition of Bob Dylan's "Don't Think Twice It's Alright," with Valli singing in his highest pitched falsetto. The song went to number 12 on the Billboard chart. Valli abandoned the falsetto in favor of a rich baritone on his solo recording of the romantic ballad "Can't Take My Eyes Off of You," which was a hit in the summer of 1967.

For the Record . . .
Members in the 1960s include Tommy Devito (born June 19, 1935), vocals, guitar; Bob Gaudio (born November 17, 1942 in Bronx, NY), vocals, keyboard, and principal songwriter; Nick Massi (born September 19, 1935), vocals, bass; Frankie Valli, (born May 3, 1937 in Newark, NJ), lead vocals. Earlier members included Nick Devito and Hank Majewski. Later members include Don Ciccone, bass; John Pavia, guitar; Gerry Polci, vocals, drums; Lee Shapiro, keyboard.

Began as the Variatones in early 1950s; became the Four Lovers and signed with RCA records in 1956. Recorded a minor hit, "Apple of My Eye," for RCA in 1956. Appeared on The Ed Sullivan Show; teamed with independent record producer Bob Crewe in 1960; songwriter and keyboardist Bob Gaudio joined in 1961; The Four Seasons, had first major hit with the Gaudio composition "Sherry," for Vee-Jay Records in 1962; other hits for Vee-Jay include "Big Girls Don't Cry," "Walk Like a Man," and "Candy Girl;" signed with Philips Records, 1964; released "Dawn," "Ronnie," "Rag Doll," "Save It for Me," "Let's Hang On!," "Working My Way Back to You," "I've Got You Under My Skin," and "C'Mon Marianne;" as the Wonder Who?; had a hit with "Don't Think Twice, It's Alright" in 1965; signed with Motown and released unsuccess ful album Chameleon in 1972; signed with Warner-Curb Records, 1975; released "Who Loves You?" and "December, 1963 (Oh, What a Night);" rereleased "December, 1963," 1994. Frankie Valli solo hits include "Can't Take My Eyes Off of You," 1967; "My Eyes Adored You" and "Swearin' to God," 1975, and "Grease,"1978. Popular nightclub and touring act in the 1980s and 1990s.

Awards: Inducted into the Rock and Roll Hall of Fame in 1990. Bob Gaudio and Bob Crewe inducted into the Songwriters Hall of Fame in 1995.

Addresses: Management company—International Creative Management, 8942 Wilshire Blvd., Beverly Hills, CA 90211.

It took some time for success to sink into the minds of the Four Seasons. Valli, for example, continued living with his parents in a Newark housing project. "I don't think I really believed the success until about 1964. I drove an old car until that year; I was afraid to buy a new one.... Ithought someone would pinch me and I'd wake up from this wonderful dream I was having," Valli told North.

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Though the Four Seasons had withstood the British Invasion of American pop music led by the Beatles in 1964, by the late 1960s their popularity began to wane. In response to this drop in public favor, the group made some false moves, most notably a socially conscious concept album called The Genuine Imitation Life Gazette. Released in 1968, the album featured an eight-page newspaper insert. The experimental album received a good deal of publicity but sold poorly. By the early 1970s, the Four Seasons were at a low ebb with Valli as the only original member still performing with the group. Gaudio, who had taken over management of the group in the late 1960s, stopped performing in 1971. Gaudio's retreat from the stage annoyed Valli. "Frankie felt like I'd deserted him. It was our toughest time," Gaudio told Anderson. In 1972, the Four Seasons signed with Motown Records' California-based subsidiary MoWest and released the album Chameleon which drew little attention.

In 1975, their contract with MoWest having expired, Valli and Gaudio took Valli's solo recording of the song "My Eyes Adored You," to Private Stock Records. Written by Bob Crewe and Kenny Nolan, the low key romantic tune put Valli back at the top of the charts. It was quickly followed by another Valli solo hit, the disco-influenced "Swearin' to God." Meanwhile, Gaudio recruited new personnel for the Four Seasons, including John Pavia, Lee Shapiro, Don Ciccone, and Gerry Polci, and signed a contract with Warner-Curb Records. In the autumn of 1975, the revised group had a major hit with "Who Loves You?" In the spring of 1976, the Four Seasons enjoyed an even bigger success with "December '63 (Oh, What a Night)." Written by Gaudio and his future wife Judy Parker, the song was a bouncy coming of age ditty that played on the nostalgic view many people in the 1970s had developed towards the 1950s and early 1960s. In an unusual turn, lead vocals on the recording were done by Gerry Polci, instead of Valli.

As a solo artist, Valli had the biggest hit of his career with the title song from the movie Grease in 1978. Written by Barry Gibb of Bee Gees fame, the disco-style song detracted from the early 1960s setting of the film and was not a part of the stage musical on which the film was based. Nevertheless, the Grease title song was a tremendous success in the summer of 1978, as was the movie itself. Although Gaudio had nothing to do with the Grease recording, Valli kept to their agreement and split the profits from the song with him. Similarly, Gaudio shared his earnings from outside projects with Valli.

Notable among Gaudio's other projects is the soundtrack to Neil Diamond's movie The Jazz Singer in 1981.

Frankie Valli and The Four Seasons are a popular attraction in nightclubs and other live entertainment venues. Though he likes the challenge of new material, Valli understands that audiences come out to hear the hits. "If I went to see someone I had admired all my life, I'd feel disappointed if I didn't hear certain songs ... a lot of people come to our shows to forget about what's going on. It's kind of like therapy," Valli told Winnie Bonelli of the Passaic Herald & News. Reissues of Four Seasons recordings enjoy steady sales with many purchases being made by people who weren't alive during the group's heyday.

Albums:
4 Seasons Greetings, 1962.
Sherry & 11 Others, Curb, 1962.
Ain't That a Shame and 11 Other Hits, Curb, 1963.
Big Girls Don't Cry and Twelve Others..., Curb, 1963.
Born to Wander, 1964.
Dawn (Go Away) and 11 Other Great Songs, Curb, 1964.
Rag Doll, Curb 1964.
4 Seasons Entertain You, 1965.
4 Seasons Sing Big Hits by Burt Bacharach...Hal David...Bob Dylan, Rhino, 1965.
Let's Hang On and More Great New Hits, Curb, 1966.
Live on Stage, Vee-Jay, 1966.
Working My Way Back to You and More Great New Hits, Rhino, 1966.
Genuine Imitation Life Gazette, Rhino, 1969.
Half & Half, Ace, 1970.
Chameleon, 1972.
Who Loves You, Curb, 1975.
Helicon, Warner Bros., 1977.
Reunited Live, Collectors' Choice Music, 1981.
Streetfighter, Curb/MCA, 1985.
Hope + Glory, Curb, 1992.

Source: Mary Kalfatovic

This information is provided as a brief overview and not as a definitive guide, there are other sources on the net for that. If however you have a story or information that is not generally known we would love to hear from you. Content@rokpool.com

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Earth, Wind & Fire were one of the most musically accomplished, critically acclaimed, and commercially popular funk bands of the '70s. Conceived by drummer, bandleader, songwriter, kalimba player, and occasional vocalist Maurice White, EWF's all-encompassing musical vision used funk as its foundation, but also incorporated jazz, smooth soul, gospel, pop, rock & roll, psychedelia, blues, folk, African music, and, later on, disco. Lead singer Philip Bailey gave EWF an extra dimension with his talent for crooning sentimental ballads in addition to funk workouts; behind him, the band could harmonize like a smooth Motown group, work a simmering groove like the J.B.'s, or improvise like a jazz fusion outfit. Plus, their stage shows were often just as elaborate and dynamic as George Clinton's P-Funk empire. More than just versatility for its own sake, EWF's eclecticism was part of a broader concept informed by a cosmic, mystical spirituality and an uplifting positivity the likes of which hadn't been seen since the early days of Sly & the Family Stone. Tying it all together was the accomplished songwriting of Maurice White, whose intricate, unpredictable arrangements and firm grasp of hooks and structure made EWF one of the tightest bands in funk when they wanted to be. Not everything they tried worked, but at their best, Earth, Wind & Fire seemingly took all that came before them and wrapped it up into one dizzying, spectacular package. 

White founded Earth, Wind & Fire in Chicago in 1969. He had previously honed his chops as a session drummer for Chess Records, where he played on songs by the likes of Fontella Bass, Billy Stewart, and Etta James, among others. In 1967, he'd replaced Redd Holt in the popular jazz group the Ramsey Lewis Trio, where he was introduced to the kalimba, an African thumb piano he would use extensively in future projects. In 1969, he left Lewis' group to form a songwriting partnership with keyboardist Don Whitehead and singer Wade Flemons. This quickly evolved into a band dubbed the Salty Peppers, which signed with Capitol and scored a regional hit with "La La Time." When a follow-up flopped, White decided to move to Los Angeles, and took most of the band with him; he also renamed them Earth, Wind & Fire, after the three elements in his astrological charts. By the time White convinced his brother, bassist Verdine White, to join him on the West Coast in 1970, the lineup also consisted of Whitehead, Flemons, female singer Sherry Scott, guitarist Michael Beal, tenor saxophonist Chet Washington, trombonist Alex Thomas, and percussionist Yackov Ben Israel. This aggregate signed a new deal with Warner Bros. and issued its self-titled debut album in late 1970. Many critics found it intriguing and ambitious, much like the 1971 follow-up, The Need of Love, but neither attracted much commercial attention, despite a growing following on college campuses and a high-profile gig performing the soundtrack to Melvin Van Peebles' groundbreaking black independent film Sweet Sweetback's Baadasssss Song. 

Dissatisfied with the results, White dismantled the first version of EWF in 1972, retaining only brother Verdine. He built a new lineup with female vocalist Jessica Cleaves, flute/sax player Ronnie Laws, guitarist Roland Bautista, keyboardist Larry Dunn, and percussionist Ralph Johnson; the most important new addition, however, was singer Philip Bailey, recruited from a Denver R&B band called Friends & Love. After seeing the group open for John Sebastian in New York, Clive Davis signed them to CBS, where they debuted in 1972 with Last Days and Time. Further personnel changes ensued; Laws and Bautista were all gone by year's end, replaced by reedman Andrew Woolfolk and guitarists Al McKay and Johnny Graham. It was then that EWF truly began to hit their stride. 1973's Head to the Sky (Cleaves' last album with the group) significantly broadened their cult following, and the 1974 follow-up, Open Our Eyes, was their first genuine hit. It marked their first collaboration with producer, arranger, and sometime songwriting collaborator Charles Stepney, who helped streamline their sound for wider acceptance; it also featured another White brother, Fred, brought in as a second drummer. The single "Mighty Mighty" became EWF's first Top Ten hit on the R&B charts, although pop radio shied away from its black-pride subtext, and the minor hit "Kalimba Story" brought Maurice White's infatuation with African sounds to the airwaves. Open Our Eyes went gold, setting the stage for the band's blockbuster breakthrough. 

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In 1975, EWF completed work on another movie soundtrack, this time to a music-biz drama called That's the Way of the World. Not optimistic about the film's commercial prospects, the group rushed out their soundtrack album of the same name (unlike Sweet Sweetback, they composed all the music themselves) in advance. The film flopped, but the album took off; its lead single, the love-and-encouragement anthem "Shining Star," shot to the top of both the R&B and pop charts, making Earth, Wind & Fire mainstream stars; it later won a Grammy for Best R&B Vocal Performance by a Group. The album also hit number one on both the pop and R&B charts, and went double platinum; its title track went Top Five on the R&B side, and it also contained Bailey's signature ballad in the album cut "Reasons." White used the new income to develop EWF's live show into a lavish, effects-filled extravaganza, which eventually grew to include stunts designed by magician Doug Henning. The band was also augmented by a regular horn section, the Phoenix Horns, headed by saxophonist Don Myrick. Their emerging concert experience was chronicled later that year on the double-LP set Gratitude, which became their second straight number one album and featured one side of new studio tracks. Of those, "Sing a Song" reached the pop Top Ten and the R&B Top Five, and the ballad "Can't Hide Love" and the title track were also successful. 

Sadly, during the 1976 sessions for EWF's next studio album, Spirit, Charles Stepney died suddenly of a heart attack. Maurice White took over the arranging chores, but the Stepney-produced "Getaway" managed to top the R&B charts posthumously. Spirit naturally performed well on the charts, topping out at number two. In the meantime, White was taking a hand in producing other acts; in addition to working with his old boss Ramsey Lewis, he helped kick start the careers of the Emotions and Deniece Williams. 1977's All n' All was another strong effort that charted at number three and spawned the R&B smashes "Fantasy" and the chart-topping "Serpentine Fire"; meanwhile, the Emotions topped the pop charts with the White-helmed smash "Best of My Love." The following year, White founded his own label, ARC, and EWF appeared in the mostly disastrous film version of Sgt. Pepper's Lonely Hearts Club Band, turning in a fine cover of the Beatles' "Got to Get You Into My Life" that became their first Top Ten pop hit since "Sing a Song." Released before year's end, The Best of Earth, Wind & Fire, Vol. 1 produced another Top Ten hit (and R&B number one) in the newly recorded "September." 

1979's I Am contained EWF's most explicit nod to disco, a smash collaboration with the Emotions called "Boogie Wonderland" that climbed into the Top Ten. The ballad "After the Love Has Gone" did even better, falling one spot short of the top. Although I Am became EWF's sixth straight multi-platinum album, there were signs that the group's explosion of creativity over the past few years was beginning to wane. 1980's Faces broke that string, after which guitarist McKay departed. While 1981's Raise brought them a Top Five hit and R&B chart-topper in "Let's Groove," an overall decline in consistency was becoming apparent. By the time EWF issued its next album, 1983's Powerlight, ARC had folded, and the Phoenix Horns had been cut loose to save money. After the lackluster Electric Universe appeared at the end of the year, White disbanded the group to simply take a break. In the meantime, Verdine White became a producer and video director, while Philip Bailey embarked on a solo career and scored a pop smash with the Phil Collins duet "Easy Lover." Collins also made frequent use of the Phoenix Horns on his '80s records, both solo and with Genesis. 

Bailey reunited with the White brothers, plus Andrew Woolfolk, Ralph Johnson, and new guitarist Sheldon Reynolds, in 1987 for the album Touch the World. It was surprisingly successful, producing two R&B smashes in "Thinking of You" and the number one "System of Survival." Released in 1990, Heritage was a forced attempt to contemporize the group's sound, with guest appearances from Sly Stone and MC Hammer; its failure led to the end of the group's relationship with Columbia. They returned on Reprise with the more traditional-sounding Millennium in 1993, but were dropped when the record failed to recapture their commercial standing despite a Grammy nomination for "Sunday Morning"; tragedy struck that year when onetime horn leader Don Myrick was murdered in Los Angeles. Bailey and the White brothers returned once again in 1997 on the small Pyramid label with In the Name of Love. After 2003's The Promise, the group realigned itself with several top-shelf adult contemporary artists and released 2005's Illumination, which featured a much-publicized collaboration with smooth jazz juggernaut Kenny G. 

 For The Record

Original members include Michael Beale, guitar; Leslie Drayton, horns; Wade Flemons,electric piano; Sherry Scott, vocals; Alex Thomas, horns; Chester Washington, horns;Maurice White (born December 19, 1941, in Chicago, IL), vocals, drums, kalimba; Verdine White (born July 25, 1951), bass; Donald Whitehead, keyboards; and Phillard Williams,percussion.

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The Shirelles were the first major female vocal group of the rock era, defining the so-called girl group sound with their soft, sweet harmonies and yearning innocence. Their music was a blend of pop/rock and R&B -- especially doo wop and smooth uptown soul -- that appealed to listeners across the board, before Motown ever became a crossover phenomenon with white audiences. Even if the Shirelles were not technically the first of their kind, their success was unprecedented, paving the way for legions of imitators; their inviting musical blueprint had an enduring influence not just on their immediate followers, but on future generations of female pop singers, who often updated the style with a more modern sensibility. What was more, they provided some of the earliest hits for important Brill Building songwriters like Gerry Goffin & Carole King, Burt Bacharach & Hal David, and Van McCoy. 

The Shirelles were originally formed in 1958 in Passaic, NJ, by four high school friends: Doris Coley (later Doris Kenner-Jackson), Addie "Micki" Harris, Shirley Owens (later Shirley Alston), and Beverly Lee. Christening themselves the Poquellos, the girls wrote a song called "I Met Him on a Sunday" and entered their school talent show with it. A school friend had them audition for her mother, Florence Greenberg, who ran a small record label; she was impressed enough to become the group's manager, and changed their name to the Shirelles by combining frequent lead singer Owens' first name with doo woppers the Chantels. The Shirelles' recording of "I Met Him on a Sunday" was licensed by Decca and climbed into the national Top 50 in 1958. Two more singles flopped, however, and Decca passed on further releases. Greenberg instead signed them to her new label, Scepter Records, and brought in producer Luther Dixon, whose imaginative, sometimes string-heavy arrangements would help shape the group's signature sound. 

"Dedicated to the One I Love" (1959) and "Tonight's the Night" (1960) both failed to make much of an impact on the pop charts, although the latter was a Top 20 R&B hit. However, they broke big time with the Goffin-King composition "Will You Love Me Tomorrow"; released in late 1960, it went all the way to number one pop, making them the first all-female group of the rock era to accomplish that feat; it also peaked at number two R&B. Its success helped send a re-release of "Dedicated to the One I Love" into the Top Five on both the pop and R&B charts in 1961, and "Mama Said" did the same; a more R&B-flavored outing, "Big John," also went to number two that year. 1962 continued their run of success, most notably with "Soldier Boy," a Luther Dixon/Florence Greenberg tune that became their second pop number one; they also had a Top Ten pop and R&B hit with "Baby It's You." Unfortunately, Dixon subsequently left the label; the Shirelles managed to score one more pop/R&B Top Ten with 1963's "Foolish Little Girl," but found it difficult to maintain their previous level of success. 

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The group went on to record material for the film It's a Mad, Mad, Mad, Mad World, headlined the first integrated concert show in Alabama, and helped a young Dionne Warwick get some of her first exposure (subbing for Owens and Coley when each took a leave of absence to get married). A money dispute with Scepter tied up their recording schedule for a while in 1964, and although it was eventually settled, the Shirelles were still bound to a label where their run was essentially over. Of course, this was also because of the British Invasion, whose bands were among the first to cover their songs; not only their hits, but lesser-known items like "Boys" (the Beatles) and "Sha La La" (a hit for Manfred Mann). The Shirelles scraped the lower reaches of the charts a few more times, making their last appearance, ironically, with 1967's "Last Minute Miracle."Doris Kenner left the group the following year to concentrate on raising her family, and the remaining Shirelles continued as a trio, cutting singles for Bell, United Artists, and RCA through 1971. The group continued to tour the oldies circuit, however, and appeared in the 1973 documentary Let the Good Times Roll. Shirley Alston left for a solo career in 1975, upon which point Doris Kenner-Jackson returned.  Micki Harris died of a heart attack during a performance in Atlanta on June 10, 1982, upon which point the group went into what turned out to be a temporary retirement; the three remaining charter members recorded together for the last time on a 1983 Dionne Warwick record. Different  Shirelles  lineups toured the oldies circuit in the '90s, though Beverly Lee eventually secured the official trademark. They were officially inducted into the Rock and Roll Hall of Fame in 1996. Doris Kenner-Jackson passed away after a bout with breast cancer in Sacramento on February 4, 2000.

For The Record
Members include Shirley Alston (born June 10, 1941); Addle "MBcId" Harris (born January 22, 1940; died of a heart attack, June 10, 1982, in Los Angeles); Doris Kenner (born August 2, 1941); and Beverly Lee (born August 3, 1941).

Group formed as the Poquellos for school talent shows, Passaic, NJ; "discovered" by Florence Greenberg and signed with her Tiara label, 1958; recorded "I Met Him on a Sunday"; signed with Greenberg's Scepter Records, 1959, and recorded "Dedicated to the One 1 Love" and "Will You Love Me Tomorrow" ; scored last chart entry, 1967; recorded and toured on nostalgia circuit; surviving members formed and led separate versions of the Shirelles.

Awards: Three gold records; awards from performance rights society Broadcast Music Inc., U.S.O., Vietnam Veterans of America, and U.S. Army; named best female group in Billboard and Cash Box for five consecutive years; citation in Congressional Record, 1983, in honor of the group's 25th anniversary.

Addresses: Management—Bevi Corp., P.O. Box 100, Clifton, NJ 07011-0100.

In 1968, Kenner left the group, and Alston, Lee, and Harris carried on as a trio, occasionally making new recordings and performing their old hits on the nostalgia circuit. Then, in the mid-1970s, Kenner returned and the group toured again as a quartet, until Harris's untimely death from a heart attack—suffered during a performance—in June of 1982. But even the loss of one of the original members did not bring an end to the Shirelles; by 1990 there were three separate groups touring under the name, each led by one of the surviving members.

Discography

 Baby It's You, Scepter, 1962, reissued, Sundazed, 1993.
 (With Curtis "King Curtis" Ousley) The Shirelles & King Curtis Give a Twist Party, Scepter, 1962,  reissued, Sundazed, 1993.
 Anthology, 1959-1965, Rhino, 1986.
 Greatest Hits, Impact, 1987.
 Lost and Found, Impact, 1987.
 Greatest Hits, Special, 1991.
 Dedicated to You, Pair, 1991.
 Golden Classics, Collectables, 1992.
 The Scepter Records Story, Capricorn, 1992.
 Million Sellers, Laurie, 1993.
 Foolish Little Girl, reissued, Sundazed, 1993.
 Sing to Trumpets and Strings, Sundazed, 1993.

They weren't British, they weren't brothers, and their real names weren't Walker, but Californians Scott Engel, John Maus, and Gary Leeds were briefly huge stars in England (and small ones in their native land) at the peak of the British Invasion. Engel and Maus were playing together in Hollywood when drummer Leeds suggested they form a trio and try to make it in England. And they did -- with surprising swiftness, they hit the top of the British charts with "Make It Easy on Yourself" in 1965. "The Sun Ain't Gonna Shine Anymore" repeated the feat the following year, and the group also had U.K. hits with "My Ship Is Coming In," "(Baby) You Don't Have to Tell Me," "Another Tear Falls," and others. For a few months they experienced frenzied adulation almost on the level of the Beatles and the Stones, though in the U.S. (where they rarely performed) only "Make It Easy on Yourself" and "The Sun Ain't Gonna Shine Anymore" entered the Top 20.

While the Walkers looked the part of British Invaders with their shaggy mop-top hairstyles, they were far more pop than rock. Nor did they play on most of their records. With producer Johnny Franz and veteran British arrangers like Ivor Raymonde (who also worked with Dusty Springfield) and Reg Guest, they favored orchestrated ballads that were a studied attempt to emulate the success of another brother act who weren't really brothers: the Righteous Brothers. Not as soulful as the Righteous Brothers, lead singer Scott Walker's deep croon betrayed strong debts to non-rock vocalists like Tony Bennett and Frank Sinatra. While their biggest hits were covers of songs by American pop songwriting teams like Bacharach-David and Mann-Weil, Scott (and occasionally John Walker) could write brooding originals in a more personal, less overblown style when given the chance. 

In the intensely competitive days of 1967, the Walkers' brand of pop suddenly become passé, and the group disbanded in the face of diminishing success and Scott's increasingly fruitful solo career. Scott ran off a series of Top Ten British solo albums in the late '60s, which have attracted a sizable cult with their idiosyncratic marriage of Scott's brooding, insular songs and ornate orchestral arrangements. Gary Walker released a few singles and an album with his group the Rain in a much harder-rocking guitar-oriented format. The Walkers reunited for a while in the mid-'70s, which produced a final British hit ("No Regrets"). Much of the Walkers' story is retold in the biography -Scott Walker: A Deep Shade of Blue, published only in Britain.

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Albums: 

Source: Richie Unterberger

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Scott Walker

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One of the most enigmatic figures in rock history, Scott Walker was known as Scotty Engel when he cut obscure flop records in the late '50s and early '60s in the teen idol vein. He then hooked up with John Maus and Gary Leeds to form the Walker Brothers. They weren't named Walker, they weren't brothers, and they weren't English, but they nevertheless became a part of the British Invasion after moving to the U.K. in 1965. They enjoyed a couple of years of massive success there (and a couple of hits in the U.S.) in a Righteous Brothers vein. As their full-throated lead singer and principal songwriter, Walker was the dominant artistic force in the group, who split in 1967. 

Source: Richie Unterberger

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David Bowie

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Singer Tammi Terrell joined forces with the immortal Marvin Gaye to create some of the greatest love songs ever to emerge from the Motown hit factory; sadly, their series of classic duets - "Ain't No Mountain High Enough," "Ain't Nothing Like the Real Thing," and "You're All I Need to Get By" among them - came to an abrupt and tragic halt with her premature death.

Terrell was born Thomasina Montgomery in Philadelphia on April 29, 1945; after winning a number of local talent contests, by the age of 13 she was regularly opening club dates for acts including Gary “U.S.” Bonds and Patti LaBelle & the Bluebelles.

In 1961, she was discovered by producer Luther Dixon and signed to Scepter. Credited as Tammy Montgomery, she made her debut with the single "If You See Bill," followed early the next year by "The Voice of Experience." After James Brown caught Terrell's live act, she was signed to his Try Me label, issuing "I Cried" in 1963 and also touring with his live revue.

"If I Would Marry You" appeared on Checker a year later, during which time she also studied pre-med at the University of Pennsylvania. While performing with Jerry Butler in Detroit in 1965, Terrell was spotted by Motown chief Berry Gordy, Jr., making her label debut with "I Can't Believe You Love Me."

When subsequent outings "Come On and See Me," "This Old Heart of Mine (Is Weak for You)," and "Hold Me Oh My Darling" earned little notice, she was paired with Gaye, who previously recorded duets with Mary Wells and Kim Weston. His chemistry with Terrell was immediate and in 1967, they entered the pop Top 20 with the magnificent "Ain't No Mountain High Enough," the first in a series of lush, sensual hits authored by the husband-and-wife team of Nickolas Ashford and Valerie Simpson.

"Your Precious Love" cracked the Top Five a few months later and in 1968, the twosome topped the R&B charts with both "Ain't Nothing Like the Real Thing" and "You're All I Need to Get By." The success of these later hits was nevertheless tempered by Terrell's off-stage travails - after an extended period of severe migraine headaches, in 1967 she collapsed in Gaye's arms while in concert at Virginia's Hampton-Sydney College, and was diagnosed with a brain tumour.

CHECK OUT MORE GREAT VIDEOS OF TAMMI TERRELL

Although the tumour forced Terrell to retire from performing live, she continued to record with Gaye even as her health deteriorated; however, as time went on, Valerie Simpson herself assumed un-credited vocal duties on a number of hits, including 1969's "Good Lovin' Ain't Easy to Come By" and "What You Gave Me." (For several other tracks, Gaye's vocals were added to pre-existing Terrell solo recordings.)

In all, Terrell endured eight operations, ultimately resulting in loss of memory and partial paralysis; she finally died in Philadelphia on March 16, 1970. Gaye was so devastated by her decline and eventual passing that he retired from the road for three years; her loss also contributed greatly to the spiritual turmoil which informed his 1971 masterpiece What's Going On.

At the time of her death, Tammi Terrell was just 24 years old.

Albums:

The Early Show, 1967.

Irresistible, 1969.

The Essential Collection, 2001.

Come On and See Me: The Complete Solo Collection, 2010.

~ Jason Ankeny, All Music Guide

Source: http://www.artistdirect.com/

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Aretha Franklin

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Keyboardist/songwriter Rod Argent spent the '60s as a crucial part of underappreciated British Invasion popsters the Zombies, and later moved on to embrace album rock as leader of his own band, Argent. He was born June 14, 1945, in St. Alban's, England (near London); aside from about two years of lessons, he was a largely self-taught pianist. He discovered rock & roll at 11 through his cousin's Elvis Presley records, but also grew up appreciating classical music and jazz, and his study of those forms would lend his future pop compositions a definite melodic and harmonic sophistication quite unlike most of his British Invasion peers. The Zombies were formed when Argent was just 16, and signed with Decca in 1963 on the strength of his composition "She's Not There," which became a hit on both sides of the Atlantic the following year. Their second American Top Ten, the Argent-penned "Tell Her No," arrived in 1965, but despite a number of stunning singles written either by Argent (the band's most prolific composer) or guitarist Chris White, the Zombies had trouble landing another hit. They disbanded in 1967 after completing the psychedelic classic Odessey and Oracle, and Argent formed a new band called Argent, with Chris White sharing production and songwriting duties (though he wasn't an official member). Argent the band remained their main focus even after "Time of the Season" belatedly became the Zombies' biggest hit in early 1969. 

Later in 1969, Argent issued its eponymous debut album, which found the bandleader taking a heavier, more visceral approach while maintaining the intricacy of his keyboard work with the Zombies. Additionally, the burgeoning progressive rock movement was offering new ways to fuse jazz and classical music with rock & roll, which was a natural direction for Argent to take. Their second album, 1971's Ring of Hands, was one of their most prog-oriented, featuring lots of keyboard soloing. It didn't break the band to a wider audience, though; that would only happen with the next album, 1972's All Together Now, which produced a Top Five hit in America with a truncated version of "Hold Your Head Up." Argent toured successfully over the next few years and recorded several more albums, landing a smaller hit single in 1973's "God Gave Rock 'n' Roll to You" (actually written by Argent's bandmate Russ Ballard). 

Argent disbanded in 1976, and Rod immersed himself in session work in an effort to expand his musical range. Over the next few years, he recorded with the Who (Who Are You), Roger Daltrey solo,John Dankworth, Cleo Laine, Gary Moore, and Andrew Lloyd Webber (Variations), not to mention old Zombie cohort Colin Blunstone. In 1978, he released his first solo album, Moving Home, and two years later, he wrote the stage musical +Masquerade, which premiered in London in 1982. After working with British jazz saxophonist Barbara Thompson, Argent composed music for British television during the mid-'80s, and in 1987 he formed a production partnership with ex-Van Morrison drummer Peter Van Hooke. Together they produced successful and acclaimed records like Tanita Tikaram's Ancient Heart (1988), Nanci Griffith's Late Night Grande Hotel (1991), Joshua Kadison's Painted Desert Serenade (1993), and Jules Shear's Healing Bones (1994), among others. Additionally, Argent broke a decade's worth of silence as a solo artist with 1988's Red House. Ten years later, he returned with an album of solo piano performances titled Classically Speaking, which true to its title featured a number of classical pieces interspersed with a few originals. In addition to his work as a producer, arranger, and session player, Argent reunited with Colin Blunstone for 2001's Out of the Shadows, which was accompanied by a tour.

Discography:

Argent (Epic, 1970)
Ring of Hands (Epic, 1971)
All Together Now (Epic, 1972) UK #13
In Deep (Epic, 1973) UK #49
Nexus (Epic, 1974)
Encore: Live In Concert (Epic, 1974)
Circus (Epic, 1975)
Counterpoints (United Artists, 1975)
The Best of Argent - An Anthology [Compilation] (Epic, 1976)
Hold Your Head Up [Compilation] (1978)
Music from the Spheres [Compilation] (1991)
BBC Radio 1 In Concert [Live] (1995)
The Complete BBC Sessions [Live] (1997)
Greatest: The Singles Collection [Compilation] (2008)[3]
Argent: Original Album Classics [A collection of the band's first five albums in miniature album sleeves] (2009)
 

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Why not check this out:

Gary Numan 

Pink Floyd’s

R.I.P James Brown Eccentric Genius

When they appeared in the early '80s, Asia seemed to be a holdover from the '70s, when supergroups and self-important progressive rockers reigned supreme. Featuring members of such seminal art rock bands as King Crimson (John Wetton), Emerson, Lake & Palmer (Carl Palmer), and Yes (Steve Howe), as well as Geoff Downes from the Buggles, Asia did feature stretches of indulgent instrumentals on their records. However, they also could be surprisingly poppy, and that is what brought them to the top of the charts with their debut album, Asia, and its hit single, "Heat of the Moment." Alpha, their second album, also had a couple of hits ("Don't Cry" and "The Smile Has Left Your Eyes") but its follow-up, Astra, was a flop. The group disbanded in 1985, only to reunite in 1990 without John Wetton; John Payne took his place. After churning out a couple of new songs for a greatest-hits collection, the band hit the road, including two sold-out dates in front of 20,000 fans in Moscow, of all places. Thereafter, they toured sporadically and released the albums Aqua (in 1992) and Aria (in 1994).

Asia began with the apparent demise of Yes and Emerson, Lake & Palmer, two of the flagship bands of British progressive rock. After the break-up of King Crimson in 1974, various plans for a super group involving bassist John Wetton had been mooted, including the abortive British Bulldog project with Bill Bruford and Rick Wakeman in 1976. Wakeman left this project at the urging of management, according to Bill Bruford. In 1977, Bruford and Wetton were reunited in UK, augmented by guitarist Allan Holdsworth and keyboardist/violinist Eddie Jobson. Their eponymous debut was released in 1978. By January 1980, UK had folded after one lineup change and three recordings. A new supergroup project was then suggested involving Wetton, Wakeman, drummer Carl Palmer and (then little known) guitarist Trevor Rabin, but Wakeman left this project too shortly before they were due to sign to Geffen and before they had played together.Wetton's Caught in the Crossfire solo album (1980) did not fare very well in England.

In early 1981, Wetton and former Yes guitarist Steve Howe were brought together by A&R man John Kalodner and Geffen Records to start writing material for a new album. By this point, progressive rock bands such as Yes and Emerson, Lake and Palmer had folded, so many qualified musicians were available for this proposed group. They were eventually joined by drummer Carl Palmer, and finally by Howe's recent Yes cohort, keyboardist Geoff Downes. Two other players auditioned and considered during the band's formation were former The Move and ELO founder Roy Wood and South African guitarist/singer Trevor Rabin, who would go on to be part of a reformed Yes in 1983. Rabin, in a filmed 1984 interview included in the DVD 9012Live, said that his involvement with Asia never went anywhere because "there was no chemistry" among the participants.

The band's first recordings, under the auspices of Geffen record label head David Geffen and Kalodner, were considered disappointing by music critics[3] and fans of traditional progressive rock, who found the music closer to radio-friendly Album-oriented rock. However, Asia clicked with fans of popular arena acts such as Journey, Boston and Styx. Indeed, Kalodner had once introduced Wetton to Journey's short-lived frontman Robert Fleischman, who had penned such Journey classics "Anytime" and "Wheel in the Sky," with a view to Fleischman becoming Asia's lead-singer. Fleischman was already known to bandmember Carl Palmer. However, as they worked on material together, Fleischman was impressed by Wetton's singing and felt the voice best suited to the new material was Wetton's own. Leaving Asia amicably, Fleischman returned to America eventually to work on several projects with ex-KISS guitarist Vinnie Vincent.[4]
Rolling Stone gave Asia an indifferent review,[5] while still acknowledging the band's musicianship was a cut above the usual AOR expectations.

Discography:

Asia (1982)
Alpha (1983)
Astra (1985)
Then & Now (1990)
Aqua (1992)
Aria (1994)
Arena (1996)
Archiva Vol. 1 (1996)
Archiva Vol. 2 (1996)
Rare (1999)
Aura (2001)
Silent Nation (2004)
Phoenix (2008)
Omega (2010)

Source: Wikipedia

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Marillion

Emerson, Lake and Palmer

Is Jeff Beck Britons Greatest Guitarist Ever?

Following his second solo album, Ram, in 1971, ex-Beatle Paul McCartney and his wife, Linda, formed Wings, which was intended to be a full-fledged recording and touring band.

Denny Laine, a former guitarist for the Moody Blues, and drummer Denny Seiwell filled out the lineup and Wings released their first album, Wild Life, in December 1971. Wild Life was greeted with poor reviews and was a relative flop. McCartney and Wings, which now featured former Grease Band guitarist Henry McCullough, spent 1972 as a working band, releasing three singles -- the protest tune "Give Ireland Back to the Irish," the reggae-fied "Mary Had a Little Lamb," and the hard-rocking "Hi Hi Hi" -- in England. Red Rose Speedway followed in the spring of 1973, and while it received weak reviews, it became his second American number one album.

Later in 1973, Wings embarked on their first British tour, at the conclusion of which McCullough and Seiwell left the band. Prior to their departure, McCartney's theme to the James Bond movie Live and Let Die became a Top Ten hit in the U.S. and U.K. That summer, the remaining Wings proceeded to record a new album in Nigeria. Released late in 1973, Band on the Run was McCartney's best-reviewed album to date and his most successful, spending four weeks at the top of the U.S. charts and eventually going triple platinum.

CLICK HERE FOR EVEN MORE UNIQUE WINGS VIDEOS

Following the success of Band on the Run, McCartney formed a new version of Wings with guitarist Jimmy McCulloch and drummer Geoff Britton. The new lineup was showcased on the 1974 British single "Junior's Farm" and the 1975 hit album Venus and Mars. Wings at the Speed of Sound followed in 1976, and it was the first Wings record to feature songwriting contributions by the other bandmembers. The album became a monster success on the basis of two McCartney songs, "Silly Love Songs" and "Let 'Em In." Wings supported the album with their first international tour, which broke many attendance records and was captured on the live triple album Wings Over America (1976).

After the tour was completed, Wings rested a bit during 1977, as McCartney released an instrumental version of Ram under the name Thrillington and produced Laine's solo album, Holly Days. Later that year, Wings released "Mull of Kintyre," which became the biggest-selling British single of all time (at the time of its release), selling over two million copies. In 1978 Wings followed "Mull of Kintyre" with London Town, which became another platinum record. After its release, McCulloch left the band to join the re-formed Small Faces, and Wings released Back to the Egg in 1979. Though the record went platinum, it failed to produce any big hits. Early in 1980, McCartney was arrested for marijuana possession at the beginning of a Japanese tour; he was imprisoned for ten days and then released, without any charges being pressed.

Wings embarked on a British tour in the spring of 1980 before McCartney recorded McCartney II, which was a one-man-band effort like his solo debut. The following year, Laine left Wings because McCartney didn't want to tour in the wake of John Lennon's assassination; in doing so, he effectively broke up Wings, which quietly disbanded as McCartney entered the studio later that year with Beatles producer George Martin to make his 1982 album Tug of War.

Albums:

Source: artistdirect.com

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The Beatles

Paul McCartney

John Lennon

George Harrison

Ringo Starr

The Beatles Secret Hideaway

Transvision Vamp was a British alternative rock group popular in the late 80s. The line up consisted of Nick Christian Slayer, Wendy James, Dave Parsons (went on to join Bush), Tex Axile (formally of X-Ray Spex) and Pol Burton. Wendy James is the most recognisable member with her distinctively raspy vocals, blonde bombshell sexuality and seductive performances.

The band had low charting success until the release of I Want Your Love which hit #5 on the UK singles chart in 1988. The band later released the album Pop Art which stayed on the charts for a total of 32 weeks. 

In 1989, Transvision Vamp released Velveteen which featured their best hit, Baby I Don’t Care. 

CLICK HERE FOR EVEN MORE UNIQUE TRANSVISION VAMP VIDEOS

In the 90s, record label disputes about the next slated release Little Magnets Versus the Bubble of Babble and rumblings of a potential break up within the band pretty much put an end to the group. They officially called it quits in 1992.  

Wendy James is still active in the music industry as an independent, unsigned artist.

Albums:

Source: Juanita Appleby

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Blondie

X-Ray Spex

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Queen Live At Live Aid

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