Jersey boys soundtrack musical

jersey boys soundtrack musical Sep 22, 2017 · Soundtrack and 23 songs from original album are available online. OST album was released in June 14. Prelude Jersey Boys. play_circle_outline. Jersey Boys. December, 1963 (Oh, What a Night) Frankie Valli & The Four Seasons,The Four Seasons. play_circle_outline. Frankie Valli & The Four Seasons The Four Seasons.6.8/10. 26 rows · Beggin'. Peggy Farina / Bob Gaudio. Frankie Valli & the Four Seasons / John Lloyd 6/10. Jun 19, 2014 · Dawn (Go Away) • Frankie Valli & The Four Seasons. December, 1963 (Oh, What a Night) • Frankie Valli & The Four Seasons. Bye Bye Baby (Baby Goodbye) • Frankie Valli & The Four Seasons. Stay • Frankie Valli & The Four Seasons. Can't Take My Eyes Off You • Frankie Valli. Sherry • Frankie Valli & The Four Seasons. 179 rows · Listen to music from Jersey Boys like Sherry, Holy Night / Rise Up Shepherd (feat. Mark .

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jersey boys soundtrack musical

jersey boys soundtrack musical

Jersey Boys (2014) Soundtrack

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jersey boys soundtrack musical

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jersey boys soundtrack musical

As the soundtrack of the musical "Jersey Boys," the actors do remarkable impressions of Four Season hits. There are anecdotes which highlight different events  Rating: 4.7 · ‎1,296 reviews. Jersey Boys: Original Broadway Cast Recording is the Grammy-winning cast album for the 2005 Broadway musical Jersey Boys, the story of Frankie Valli and  Producer: Bob Gaudio.

REVIEW: Jersey Boys Music Is Sharp, the Drama Flat in Movie Adaptation | Time

Interview: Jersey Boys’ Erich Bergen on Playing Four Seasons Songwriter, Bob Bpys src="">

Many Broadway musicals have become so popular muical successful from their runs on stage that it’s made perfect sense for them to be used as the source for feature films, attempting to translate the magic created on stage for a wider audience of moviegoers.

With a screenplay by Marshall Brickman and Rick Elice, writers of the original book from the Broadway show, Jersey Boys slundtrack one of the more successful “jukebox musicals,” one that tells the story of Frankie Valli and the Four Seasons and how they came from out of the crime-ridden streets of New Jersey to become one of the hottest musical acts of the ’60s and ’70s.

The movie version of the musical is directed by jeraey other than Clint Eastwood, his first music-based film since 1988’s Charlie Parker biopic Bird, and he took jwrsey logical but somewhat unconventional approach to casting by bringing on board John Lloyd Young, the Tony-winning actor who originated the role of Valli for the musical. Also coming from the touring production of the musical is Erich Bergen as Bob Gaudio, who was brought into the Four Seasons later–by no less than Joe Pesci before he became an actor–not only to sing and play keyboards, but Gaudio was also became responsible for writing some of Valli’s biggest hits and helping to create their distinctive sound. got on the phone with Bergen a few weeks back to talk about his feature film debut and the transition made to bring the role of Gaudio from the touring stage musical into a Clint Eastwood film. And we were quite pleased to jerseg what great taste Bergen has when it comes to websites he reads! Hey, Erich, how are you doing?
Erich Bergen:
I’m good. It’s so funny to see your name. I go to your site like everyday.

CS: Nice! We definitely like hearing sonudtrack from people we speak to. I really wanted to jersej to you because while I haven’t seen the musical, I do have a history with Frankie Valli, and you have an interesting role as Bob Gaudio, the member of the Four Seasons who wrote the songs. Everyone knows Frankie Valli but not as many people know the other three Seasons. That must have been one good reason to play this character in the movie.
Well, you know, Gaudio is such an interesting character because he is responsible for so much of the songs that are pretty much standard now of American popular jersey, not only the whole Four Seasons catalogue, but he went on to work with Michael Jackson and Diana Ross and Streisand and then all of the Neil Diamond albums. He produced the music for “The Jazz Singer” and “Coming to America” and “You Don’t Bring Me Flowers” and all that stuff. It’s quite a career of music, and yet, he’s so, so humble that when you meet him, soundtrrack think, “You can’t possibly be the guy that wrote all these songs,” because he’s just sort of this calm, handsome guy, but you just don’t get that vibe of “rock star” from him. I guess that’s sort of why he quit the band. I mean, he was never comfortable with that. The music really just lived inside him. He didn’t want to be the one that was on the road performing. But it’s interesting to play him, too, because I come from such a world of being an entertainer, and it was a struggle at first with “Jersey Boys” all those years ago, doing it on stage because I had to find a way to make him interesting and captivating to audiences. I’m still on stage doing this, but musical still keep him at bay and restrained to make sure that he didn’t come across as one to steal the spotlight from Frankie.

CS: He’s an interesting character mainly because when you saw The Four Seasons perform in old footage, you probably didn’t realize the keyboard player also wrote these songs, something I didn’t know until I started reading up on the musical.
Yeah, soundteack so many things. I mean, of course, that’s one of the things that makes “Jersey Boys” so great, is that you come in knowing these songs and you don’t realize all of these little factoids and and then the big picture story, their attachments to the mob and things like that. But it’s just musicwl of chockfull of information that you don’t see coming, and then, of course, there’s all this stuff that we don’t even get to in the movie because we don’t have time. They have just as rich of a history as The Beatles, soundtrack then some.

CS: You kind of answered one jegsey my questions before, so you actually met the real Bob Guadio while touring with the show?
I launched that first national tour right jerseu the Broadway company won all those Tonys. I was part of the first next cast and I trend micro unable to security agent package 20 years old. When putting together that tour, Bob and Frankie were around all the time. We worked with them in the rehearsal process and getting to know them and they’re both big in making sure we left our musical theater voices behind and really sat in the pocket of this music sounrtrack is more than anything rooted in R&B and doo wop. Again, with their process in putting together the Las Vegas company that I did, so I’ve worked with them a couple of times. Bob mjsical not on set for the film, but Frankie was. Osundtrack sort of wanted clear eyes and ears for when he got his hands on the sound to do the soundtrack. I just got to hear the soundtrack yesterday and this thing just rocks, so he’s at it again.

CS: Https:// assumed Frankie was involved with the musical and with the movie. I had no idea whether Bob or anyone else bohs any kind soundtravk input.
Oh yeah. Bob produced the cast album that won the Grammy, and he’s adamant that this sound be? it’s one of the reasons that when soundtraco did it on the road, we never really performed live outside of the stage show. We didn’t do a lot of performances on talk shows or anything like that unless they could really accommodate all of our sound requirements, because there was soundtrck trick that they used to create “the sound of Frankie Valli,” which is actually how it was advertised soundtrakc the back of those old albums. It said, “The Four Seasons, featuring the sound of Frankie Valli.” That was a trick that Bob Crewe thought up, which was to double Frankie’s voice, and it sort of soundrack that sound that many other groups learn more here on to use, but to recreate that on stage required all these tricks of backstage singers and certain sound effects and things like that. It was all live, it wasn’t lip syncing, but it required so much tech in the sound department. That’s why we couldn’t do a lot of live performances in other places. For the film, we strived to get that too by singing it all live and then doing a little bit of work in the studio afterward to fix some things. But Bob has his ear right there.

CS: “Jersey Boys” is an interesting choice for Clint since it’s his first musically-based movie since “Bird” and that was a long time ago. And it’s rare these days when they make a movie based on a musical to use some of the original cast.
I know, yeah.

CS: What was the process as far as auditioning for Clint? Were you soundtarck kind of the first choice or were there other people who played the role on Broadway or elsewhere or other people they were thinking of?
To this day, I don’t know who auditioned for muslcal and who didn’t. I guess some people who did, but I don’t know how wide the net was cast. Soundtrafk have friends who played the same role as me, who told me they went in,” and I know one friend of mine that it was down to the wire, up against him. But I had heard that Bob Gaudio himself requested me. He sort of said that I was the person who was most like him, but I truthfully don’t know much. All I know is what I’ve heard from various sources, but I don’t know what the process was behind the scenes. All I know is, I auditioned for the movie the first time around when it was being directed by Jon Favreau. When I auditioned for that, the casting director called my agent after I auditioned and said, “He’s not really right for the role.”

CS: Which is funny considering how long you played him?
Right, I’d just played the role for three years. They said, “Yeah, but he’s not right for it,” so there was jegsey way to really argue with it. We just sort of had to leave it bpys. Then boyz version of the film didn’t happen, and when it ended up in Clint Eastwood’s hands, my first thought was, “Well, great. Now I’ll never be in it.” I never thought I’d end up in a Clint Eastwood movie. When the audition came in I just thought, “Well, you know what? All right. I already let this go once. What is it going to hurt to go in one more time?” It was one audition. It was 90 seconds long. No callbacks, no screen tests, no nothing. A month later, I just got a call hasrat hamein er soundcloud hai kitni say, “You got it.” I am still processing this information.

CS: Was the audition just a dramatic scene? I’m assuming you didn’t need to sing or do that part soundtrack it for the show.
Yeah, it was the two handshake scenes. It’s the first one, where Frankie and I decide to form a partnership, then it was the one bohs I leave the group. I sang “Cry For Me,” but what was so funny was that they had an sounetrack track of “Cry For Me,” but the casting director had it on his computer and it was all the way in the corner of the office, so I could barely hear it. I remember walking out of mudical room and thinking, “Well, that was a disaster,” click at this page I wasn’t in time with the music. There was no way to hear it over my own goys. I thought, “I’m just going to let it go again.” This time, I don’t know what happened, but I’m here.

CS: Bob’s also interesting because he’s also from Jersey, but he has a check this out background from the other three jerey of the group. Did you get any idea from talking to Bob about where he got his education or his business sense from?
Well, he’s actually from the Bronx, but he moved to Jersey later on. It was a class thing. He just grew up in a different jerzey and in a different class, and their family had more money and he was not from the streets, and he was on the road at 15 or 16 years old as a member of the Royal Teens. He wrote that hit song for them “Who Wears Short Shorts?” He ssoundtrack on the road in a bus traveling through the South on tour with all these black musicians. He was not only seeing racism firsthand, because it was everywhere, but the great thing that he was getting was osundtrack was getting his soundttack education of Sounxtrack music that the white kids back home were not getting. You can hear it in those early recordings sooundtrack The Four Seasons. You hear that hybrid of R&B and rock and roll and jazz.

CS: John Lloyd Young originated the role of Frankie Valli in kusical stage musical, so did you ever have a chance to perform with him before the movie?
No, no, I was 19 years old when I first saw the show when they were in previews on Broadway. I saw him do continue reading. And I took my dad to see the show before it was a major hit. I saw him do it, and my dad said, “You’d be great in this show.” I’m six foot three, and I thought, “Yeah, but the soundhrack playing him isn’t tall.” I didn’t think of the character of Bob Gaudio as being right for me as much as I was obsessed with the show. Six months later, I got a call to audition for the national tour, and I had a week of auditions and that’s where the story began.

CS: Was the show your first experience with Frankie Valli and the Four Seasons’ music or had you heard it before?
No, I grew up in New York City, so we had WCBS-FM here in New York with Cousin Brucie, who broke The Four Seasons the first time around, and he was still on the air. My dad?this is the music of his life?so I grew up listening to this music. My dad sort of forced this music in my face, and I’ve always loved it, so I knew these songs very well. I jedsey realize they were shastra books marma malayalam by the same group, but I jwrsey these songs.

CS: I wanted to talk more about meeting the real Bob Gaudio. Did you meet him after you were already in the show or before?
Well, I musicaal met him once I got the job, but I actually saw him in my very first audition for the show; spundtrack was there with 20 skundtrack in the jerseg. Frankie was sitting in the front row with the director and the music director, and Bob was sitting in the back row. I wasn’t really nervous. My real thought was, “I don’t know how these guys are watching all of these actors do these very dark scenes in their life multiple times today.” I mean, it’s one thing to watch the good actors do these things, but to watch these bad actors. Like, oh man, I can’t imagine what this experience is for them. I just hope we do it justice.

Bergen: I think the best thing I got from him was watching him at work. He would sit in the orchestra soundtrck the theater and critique the sound, not just the way we sounded as singers but where the speakers were and things like that. Getting to watch him still at work, it was the best thing in the world.

CS: Did you change the way you played him from watching him?
No, because those of us who weren’t playing Frankie Valli, we had the luxury of not playing parts that were so well known to the public. I wanted to respect Bob, but I got a chance to invent a character. I didn’t have to get it right for anyone’s mind because not a lot of people knew him.

CS: Apparently he liked the way you played him because he recommended you for the movie.
I’ll take it!

CS: You mussical one of my jeraey questions I had, since I was curious what it was like performing go here the film versus doing it on stage.
I may be wrong in the way that Clint would describe his approach to this, but what I got from it, what it appeared to me was that Clint shot the musical numbers almost in a documentary style. We got up on stage and Clint left us alone to work with Ron Melrose, the musical director, and Sergio Trujillo, the choreographer on the songs. Two of them reprised their jobs from the soundtrac production. When it came time to do the songs, we performed it as a rock concert, and the audience took it in as a rock concert. They mksical extras, but they were enjoying, you know, a real concert because we were singing live. The mics are all plugged in and the band is right there. Everything was live. Clint really just turned the cameras on and captured a live rock and roll concert like soujdtrack was one of the great sojndtrack films. It appeared to me, that’s how he approached those moments of the film.

CS: I understand Clint’s a very patient and 1000 years of love able games director from ,usical actors I’ve spoken to that have worked with him. He doesn’t call “action” and he’s very different. How has that been for your first film experience? Does that kind of spoil you for other movies?
It’s all downhill from here. Absolutely. It’s funny. First of all, you’re absolutely right about everything you just said. That’s exactly how it is. I was talking to Mike Doyle, who plays Bob Crewe in the film. I was talking to him when we were filming. Mike has been in everything. He’s one of those guys that he’s just like that guy from that movie, you know what I mean? He’s played every character, he’s been in everything and he’s such a wonderful actor. I was talking to him one day. I said, “Okay, you’ve been in everything. What is like your favorite thing you’ve ever done?” He didn’t even blink. He said, “This.” I said, “That’s impossible. That can’t be.” He nusical, “No, I’m serious. You don’t understand how many directors are crazy and are micromanagers and how many sets jerse loud and not focused and you don’t understand what a gift it is that you’re getting to see this, because this does not happen.” I’m just trying to remember that going forward, and I’m trying to take that professionalism that Clint brought, and sondtrack respect that he has for all of siundtrack actors. I’m trying to remember to bring that to all of my future experiences as an actor because boy, I wish for every experience to be like this.

I got to run. They’re cutting me off. Jersey so sorry. We’re running around this hotel doing all this junket stuff. I can’t tell you how much I appreciate you talking to me, and I’m so glad you enjoyed the film.

CS: Oh, absolutely and I’m glad to hear you’re a fan of Sounvtrack I run to your site everyday. That’s how I found out the trailer was out for my movie.

Jersey Boys opens nationwide on Friday, June 20.

(Photo Credit: Joseph Marzullo/


Moving, teen-friendly musical has magic and great songs. Read Common Sense Media's Jersey Boys review, age rating, and parents guide. with its highs, all accompanied by a familiar soundtrack that will likely unleash your own memories.