The Four Season: "Save It for Me"

September 21, 1964 (1 week)

"The American groups who were getting to #1 in the early Beatles era weren't necessarily chasing the Beatles. They were chasing Phil Spector".

— Tom Breihan

The Fab Four's conquest of the United States in 1964 was massive but the full impact wouldn't have been felt for quite some time. In the short term, it meant enormous record sales, crazy merchandising opportunities and lucrative tours. Long term, however, it proved to be a game changer for up and coming musicians. American youngsters such as Chrissie Hynde, Tom Petty, Suzy Quatro, Nile Rodgers and Bruce Springsteen were set on a path towards careers of their own. Struggling musicians who were approximately the same age as The Beatles chose to change things up, including the chancer David Crosby who made the abrupt switch from folk to pop-rock when he saw them on the Ed Sullivan Show. But those who were already successful were slower to act.

Even still, a single like The Four Seasons' "Save It for Me" is a sign that things were moving away from of the influence of traditional NY/LA American pop. While Phil Spector's influence could be heard on earlier recordings such as "Sherry" and "Rag Doll", this recording looks across the Atlantic but not to The Beatles per se. No, Joe Meek and his extraordinary "Telstar" was the blueprint for the Jersey boys as they began to spread their creative wings.

Now, to be fair, The Tornados' number one smash from late 1962 may not have been the sole influence on "Save It for Me". It's possible that Del Shannon's "Runaway" played an equally vital role in its sound, although given that it was three years old by this time it's hard to say with any certainty. (It's just as plausible that the chart topper from '61 had been entirely forgotten) Beyond the spacey organ sound, the song's beat is not unlike current Motown, a record label with a sound that stood out next to Brill Building pop coming out of New York and Spector's Wrecking Crew out in LA.

The unorthodox combination of The Four Seasons' magnificent vocals and space rock shouldn't really work but they somehow managed to pull it off. Had it been more of an outright Meek/Tornados' rip off then it's likely that its two distinct elements would have competed with each other for the listeners' attention but the effects are used sparingly so they simply provide backup for Frankie Valli and his group. There may not be much a reason to have the  sound of a satellite hurling through outer space but its a welcome one nonetheless.

An issue that vocal groups like The Beach Boys and Four Seasons had was in how to remain relevant when they weren't as musically adventurous as, once again, The Beatles. No matter how well arranged, vocal harmonies can easily sound old fashioned rather quickly. Not unlike their competitors on the west coast of the US, the Seasons were blessed with a formidable songwriting team, one which was as uninterested in standing pat as Brian Wilson — and, indeed, John Lennon and Paul McCartney. Four Seasons member Bob Gaudio and his partner Bob Crewe had composed their previous hit singles but it was only now with "Rag Doll" and "Save It for Me" that they were emerging as a force.

I'm starting to wonder when the bottom is going to fall out but a part of me is also beginning to suspect that it may be more of an "if" than a "when". Out of the five Four Seasons' Canadian number ones, four are superb and the last two indicate that they were only getting better. More will be coming once we get to 1965 (including a surprise cover version recorded under another name). As the sixties progressed, acts such as The Beatles, Bob Dylan, The Beach Boys, The Byrds, Otis Redding and The Rolling Stones were on such a creative roll that each single and each album would make people wonder what they might possibly do next. "Save It for Me" clearly establishes that if The Four Seasons weren't held in similar esteem, they certainly deserved to be.

Score: 9