| | Frankie Valli Motown Years CD Frankie Valli Discography of CDs
Though one of the least successful periods in Frankie Valli & the Four Seasons' long and storied career, the pop group's brief 1970s stint with the revered Motown label nevertheless yielded some fine tunes. Standout tracks include the funky "Sun Country" and the melancholy "Love Isn't Here (Like It Used to Be)," a song originally billed as a Valli solo tune.
Audio Mixer: Russ Terrana.
Audio Remasterer: Ellen Fitton.
Liner Note Author: Brian Chin.
Photographers: Joel Brodsky; Jim Britt.
Arrangers: David Blumberg; Joe Scott ; Bob Crewe; Bob Gaudio; Charles Calello. Motown Years Music | List Price | $29.97 (You save $5.18) | | Category | Rock/Pop Albums, Rock CDs, Pop, Oldies, Doo Wop, Teen Idol | | Label | Hip-o Select | | Orig Year | 2008 | | All Time Sales Rank |  132884  | | CD Universe Part number | 7704255 | | Catalog number | 001077702 | | Discs | 2 | | Release Date | Jul 15, 2008 | | Studio/Live | Studio | | Mono/Stereo | Stereo | | Producer | Hal Davis; Jerry Marcellino; Mel Larson; Willie Hutch; Bob Crewe; Bob Gaudio; Harry Weinger (Compilation) | | Engineer | Joe Atkinson; Larry Miles; Art Stewart | | Additional Info | Bonus Tracks |
Frankie Valli Motown Years Songs Motown Years Review
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I was born on September 8th, 1985. I grew up in the country, and loved anything that had to do with outside. The only time I'd ever be inside is when I had to go to bed, or eat supper. Most of the time if it was nice out, I would take my supper outside to eat. I loved nature, and I loved writing. That's the two things I love even today. I think I was around ten when I first picked up a guitar. Nothing fancy, I just liked to strum dads guitar and pretend I knew how to play it. At that time I was trying to teach myself how to play, but it never seemed to work out. I was terrible in school, its hard for me to learn new things on my own. Around age twelve I found myself a guitar teacher, and he still teaches me to this day. Music was my thing in high school, but I was more of a loner. I didn't want anyone to know I played guitar, because they would probably ask to hear me play something, and I wasn't that good. I'm over most of that now, after playing at a few places. The first person that ever heard me play and sing is my best friend Robby Kaiser, folks around here call him "Tex." You might hear him on my second album. I'm trying to get him to sing. Him and I have been writing this one song for about two years now..never really gotten around to finishing it. It will be on the second album, and he will be singing it with me. One of my biggest influences is my uncle Corey. He's been in Nashville trying to get a record deal for sometime now. He comes home every couple years to see the family. Its a tradition when Uncle Corey comes home, to take the guitar over to Grandma's house, which is where Corey stays. Uncle Corey is a songwriter, and a singer. He's got a myspace too, search for Corey Daniel's music. He's allot better than me, and he is a really good writer. If it wasn't for Uncle Corey, I would have never came up with these crazy ideas, and this site would not exist. As of right now, and for the past three years I've been a working man. I graduated school on a Friday, and the very next Monday I went to work at a roof truss plant for $9 per hour. I thought I was going to be making the big bucks, after quitting my part time job at Jiffy Lube! Boy I was disappointed ...
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Antonio Carlos Jobim, Luiz Bonfa, Baden Powell, Ivan Lins... add now the name Joan Griffith, guitarist/bassist/mandolinist/composer who lives in the Twin Cities but whose heart beats in Rio, Sao Paulo and Bahia. From her first fascination with Brazilian rhythms as a teen in Nebraska to the college classrooms where she teaches jazz performance and composition, Joan has inhaled the warmth of bossa nova and choro, exhaling a personal fusion of the African, European and Amerindian traditions that define the soul of Brazil. Sambanova is not only the work of a gracefully lyrical performer but a showcase of Joan’s compositions that infuse the poetry and rhythms of Brazilian forms with modern jazz idioms.And one can not imagine a more sympathetic partner than Laura Caviani, a pianist of exceptional range whose uncanny rhythmic sense and soulful eclecticism offer the perfect musical bond to Joan’s guitar. Of Laura, Joan notes that “I have always loved her playing, her time is impeccable, her solos are breathtaking, but most of all she always plays with her whole heart and soul and with love.” On six of the ten tracks, the due is complemented by master percussionist Cyro Baptista, who Joan describes as “one of the world\'s great ambassadors of Brazilian music.” It has been more ...
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