Frankie Valli facts: Four Seasons singer's age, wife, children and career revealed - Smooth

About the Song

Released in 1967, “Can’t Take My Eyes Off You” is a timeless pop ballad that has captured the hearts of millions of listeners around the world. The song was a massive hit, reaching number one on the Billboard Hot 100 chart and becoming one of the most popular songs of the 1960s.

The song was written by Bob Crewe and Bobby Gaudio, and it features the soulful vocals of Frankie Valli. The lyrics express the deep love and infatuation that the singer feels for his lover, declaring that he can’t take his eyes off her. The song’s powerful message of love and devotion has resonated with audiences for decades.

“Can’t Take My Eyes Off You” was a critical and commercial success, earning numerous awards and accolades. It was also a popular music video, which helped to promote the song even further.

The song has been covered by many artists over the years, and it remains a popular choice for weddings and other special occasions. It is a classic pop song that will continue to be enjoyed for many years to come.  

Here are some additional facts about “Can’t Take My Eyes Off You”:

  • It was the first single from Frankie Valli’s solo album “The Four Seasons”.
  • It was also included on the soundtrack of the 1967 film “The Graduate”.
  • The song was produced by Bob Crewe.
  • It was recorded at Record Plant Studios in New York City.
  • The song reached number one on the Billboard Hot 100 chart for four weeks.
  • It was also number one on the R&B chart for ten weeks.
  • The song was nominated for a Grammy Award for Best Contemporary Vocal Performance by a Male Artist in 1968.

Frankie Valli - Four Seasons, Age & Spouse

Video

Lyrics: Can’t Take My Eyes Off You

You’re just too good to be true
Can’t take my eyes off you
You’d be like heaven to touch
I wanna hold you so much

At long last love has arrived
And I thank God I’m alive
You’re just too good to be true
Can’t take my eyes off you

Pardon the way that I stare
There’s nothing else to compare
The sight of you leaves me weak
There are no words left to speak

But if you feel like I feel
Please let me know that it’s real
You’re just too good to be true
Can’t take my eyes off you

I love you, baby
And if it’s quite alright, I need you, baby
To warm a lonely night, I love you, baby
Trust in me when I say

Oh, pretty baby
Don’t bring me down, I pray, oh pretty baby
Now that I found you, stay
And let me love you, baby
Let me love you

You’re just too good to be true
Can’t take my eyes off you
You’d be like heaven to touch
I wanna hold you so much

At long last love has arrived
And I thank God I’m alive
You’re just too good to be true
Can’t take my eyes off you

I love you, baby
And if it’s quite alright I need you, baby
To warm a lonely night, I love you, baby
Trust in me when I say

Oh, pretty baby
Don’t bring me down, I pray, oh pretty baby
Now that I found you, stay, oh pretty baby
Trust in me when I say

Oh, pretty baby

You Missed

SHE HAD BEEN SINGING MOUNTAIN MUSIC SINCE BEFORE BLUEGRASS EVEN HAD A NAME. THEN, AT 80, WILMA LEE COOPER COLLAPSED ON THE OPRY STAGE WITH THE SONG STILL IN HER THROAT. Wilma Lee Cooper came out of Valley Head, West Virginia, where music was not something you studied in a conservatory. It was family. Church. Radio. Coal-country evenings. Her father worked in the mines. Her mother played pump organ. Wilma started singing when she was five, then sang with her family gospel group before she ever became part of country music history. She met Stoney Cooper in the early 1940s. He played fiddle. She sang and played guitar. Together they built a sound that sat between mountain gospel, old-time string band music, and the country music that had not yet decided how polished it wanted to become. They did not wait for genre labels. They drove. They broadcast. They played wherever people would listen. The roads were part of the act. Their daughter Carol Lee sometimes slept in the car under the upright bass while Wilma and Stoney went from show to show. They raised a family while keeping a band alive. They recorded songs like “Big Midnight Special,” “There’s a Big Wheel,” and “Wreck on the Highway.” By 1957, they had joined the Grand Ole Opry. The Smithsonian later called Wilma Lee the “First Lady of Bluegrass.” But that title came after decades of work. It came after she and Stoney had already spent years carrying the mountain sound through a country business that was moving toward smoother voices and cleaner suits. Then Stoney died in 1977. Wilma Lee did not leave with him. She stayed with the Opry. She kept leading the Clinch Mountain Clan. The old mountain voice remained onstage, older now but still carrying the same hard edge. She had already sung for more than sixty years by the time she walked onto the Ryman Auditorium stage on February 24, 2001. She was eighty. During that performance, Wilma Lee suffered a stroke. The career ended there. Not in a retirement announcement. Not in a farewell special. Onstage, in the place where she had kept the old sound alive for generations. The illness affected her speech and voice, and doctors doubted she would walk again. But Wilma Lee did return once more. In 2010, at the reopening of the Opry House after the Nashville flood, she came back for a group sing-along. Not to reclaim the old career. Not to prove anything. Just to stand in the room one more time and thank the people who had carried her. For most of her life, Wilma Lee Cooper sang as if the mountain had come down from West Virginia and entered the microphone. Her last great silence came on the same stage where she had spent decades refusing to let that mountain disappear.