Curt Boettcher Page
Click HERE to see photos of Joey Stec and Lee Mallory of the Millennium performing at Virgin Megastore in Shinjuku, Tokyo
| The GoldeBriars
In the autumn of 1962, Wisconsin-born Curtis Boettcher was playing in a half empty coffeehouse in Minneapolis when, at the encouragement of the club manager, Dottie and Sheri Holmberg got up on stage to sing with Curt. The combination of Curt's angelic voice and the sisters' harmonies worked; with the addition of guitarist Ron Nelson, they formed the GoldeBriars. Soon thereafter, they signed a recording agreement with Epic Records in U.S.
The coffeehouse folk music scene, however, was about to be turned on its head by the appearance on Ed Sullivan of four lads from Liverpool, and like many of the pre-British Invasion pop artists, the GoldeBriars were undeservedly overlooked in the heat of Beatlemania. Goldebriars material largely relied on traditional folk. To their credit, however, the GoldeBriars sound was far beyond that of the typical folk group of the day. Boettcher's ideas for harmony were already taking shape - big, spatial harmonies with intricate counter-melodies. Today, many credit the Goldebriars as being as the forerunner of the soft pop sound later popularized by Mamas & Papas, Association and Spanky & Our Gang.
During their short time together, the GoldeBriars released two albums on Epic, both in 1964; The eponymously titled "GoldeBriars" (Epic BN-26087) and "Straight Ahead" (Epic BN-26114). After the second album came out, Ron Edgar (later of Millennium) joined the group as drummer, and the group started playing electric guitars. Rumor has it that there is a third "electric" GoldeBriars album that has never been released, although one single "June Bride Baby" was released from those sessions.>>>The GoldeBriars
|And then Along Comes...The Association
The Association formed in 1965 after the breakup of an 11-man electric "folk" group called The Men. The 6-man Association rehearsed for five solid months and then began performing at local night spots such as the Troubadour and the Icehouse. In fact, it was at the Troubadour in Hollywood thatValiant Records A&R staff auditioned the group, and soon after they were in the studio recording under the direction of Curt Boettcher. Their first Top 10 hit was the single "Along Comes Mary," which established the band on a national level. Curt's arrangment was very unusual for the time, as was the lyric.
The Association's follow-up single, however, was to top the success of "Along Comes Mary." The song, "Cherish," was penned by Terry Kirkman and issued in the summer of 1966. "Cherish" sold over one-million copies during its first month of release and became a #1 smash. Their first LP, "And Then Along Comes the Association," was produced by Curt Boettcher. It is uncanny that a new band, having had two smash hits from their debut album, would elect to switch producers, especially since they chose Jim Yester, who before then had never produced a record. It must have been a huge disappointment to Curt, but the Association's decision seems to have been based on their wanting to play on their own records while Boettcher used studio musicians. The Association went on to further successes with Yester and later Bones Howe, but their first album produced by Boettcher was a very special one, as was the year 1966 for that matter.
Enter The Young, Your Own Love, Don't Blame It On Me, Blistered, I'll Be Your Man, Along Comes Mary, Cherish, Standing Still, Message Of Our Love Round Again, Remember, Changes>>> presented by Association Admiration Aggregation
|The Ballroom - Preparing for the Millennium
Essay by David Bash
Mention the name Curt Boettcher to fans of late 60s soft pop, and you'll get nods of reverence. Over the years, Boettcher has had a growing mystique, in large part because the wonderful bands he led didn't achieve even a modicum of popularity during their tenure, but also because he was such a talented writer and musician. His bands Sagittarius and The Millennium have been written about quite often in recent years, as their albums have been reissued on CD. Even though he passed away more than 10 years ago, Boettcher's name is constantly on the lips of many fans, and perhaps because of the intrigue surrounding his musical life everyone wants to fill in the missing pieces. One of those pieces has long been discussed in rather hushed tones although few knew much about it, and that was the unreleased album by The Ballroom, the band that Boettcher had circa 1966, before Sagittarius and The Millennium. Most collectors had given up on the possibility that this album would ever see the light of day, but fortunately people like Joe Foster of Revola Records was persistent in his quest to make it happen, and Revola has now released a disc called Preparing For The Millennium, which contains not only the Ballroom album, but outtakes from Ballroom and Millennium sessions as well as solo projects by Ballroom members. The end result was more than worth the wait, as the music within is beautiful, harmony filled pop that will easily satiate the appetite of any fan of late 60s pop music.
Curt Boettcher had many strengths as a musician and songwriter, but perhaps his greatest was his voice, which not only soared to the heavens but contained a childlike innocence not unlike that of Peter Pan. However, while his music was certainly pretty, whimsical and melodic, it was often tinged with enough psychedelic flourishes to conjure the image that perhaps our Peter was ingesting some funny, mind altering substances (which indeed Boettcher was at the time). Upon listening to The Ballroom CD, one can hear the germination of a fruitful period for Boettcher, and his bandmates Sandy Salisbury, Michelle O'Malley, and Jim Bell were able assistants, contributing tight musicianship, beautiful Association/Cowsills like harmonies, and sophisticated songwriting in the case of Salisbury. The album (actually, the tapes of 11 of the original 13 songs could be found) could almost serve as a soundtrack to a fairytale, albeit a slightly askew one, and Boettcher's Peter Pan persona is easily communicated on tracks like the delightful "Spinning, Spinning, Spinning," "Love's Fatal Way", and the Salisbury penned "Magic Time". The band could emerge from that mold as well, as the American Indian flavored "You Turn Me Around," (co-written by "Along Comes Mary" writer Tandyn Almer-Boettcher had produced the first Association album) the slow, intense, and mystical "It's A Sad World," the goofy, Vaudevillian, pot induced "Crazy Dreams," and the pop/psych workout of the traditional R&B "Baby Please Don't Go" would attest. The Ballroom album also has nascent renderings of "Would You Like To Go" and "Musty Dusty", which would appear in more ornate versions on Sagittarius' Present Tense and The Millennium's Begin albums, respectively. The Ballroom versions are slightly slower and sparer, and in that form perhaps more cogently illustrates the beauty of these songs. Although The Ballroom is considered to be a Boettcher-led project, perhaps the highlight of the album is the Salisbury penned "I'll Grow Stronger," which contains an amazing melody line, complimentary whispery lead vocals and exquisite harmonies. Truly an amazing aural experience!
The next 8 tracks on the CD are outtakes and demos from The Ballroom and The Millennium, many of which emerged on either the aforementioned Sagittarius or Millennium albums. These are all excellent, especially "Another Time", which is more acoustic based than the released version but greatly emphasizes the delicate, complex melody lines, and "I'm Not Living Here", which in this version is carried by a prominent, slightly distorted bass line (these outtakes contain some different lyrics than those versions which appeared on "Present Tense"). Some songs that had not previously seen the light of day in any form are the uptempo, slightly loungy "If You Only Knew," the slow, Indian tinged "Believe You", which could have easily fit on the Monkees' Head soundtrack, and the pretty, early Monkees-ish "Sunshine Today". The final three songs on the disc are the gypsy-ish "Milk And Honey", by a pre-Ballroom Boettcher project called Summer's Children, "All Really Have Is A Memory", a soft, romantic Salisbury solo track (credited to "Sandy" on the 45) that out Left Bankes the Left Banke in the refrain, and a delightful version of Nilsson's "Best Friend" by the Salisbury led group Puppet.
The packaging of Preparing For The Millennium is stellar as well, with cool photos, vintage press clippings, and the usual excellent liner notes and song annotations by the venerable Dawn Eden, which include insights from various members of The Ballroom and The Millennium. All in all, Preparing For The Millennium is a collection that should be considered the Holy Grail of soft pop.
The history of rock is littered with 'great lost albums' - and here is one of the most thoroughly lost of all. Before the psych-superpop leap in the dark of Sagittarius and The Millennium, there was The Ballroom. With the No.1 success of The Association under his belt, production wunderkind Curt Boettcher was persuaded by mentor Steve Clarke and cronies Gary Usher and Brian Wilson that his time as an artist had come. Recruiting Sandy Salisbury, Lee Mallory and Michelle O'Malley (later in Sagittarius and Millennium) and Jim Bell (of country rock pioneers The Poor) an LP was recorded (in gaps between Tommy Roe sessions), a showcase was played, press was ecstatic and a promo single was issued by Warners. Then nothing. The Ballroom were expanded and co-opted into Sagittarius and minus Bell and O'Malley, emerged as the legendary Millennium; their original incarnation was forgotten, the LP purchased by the new label Columbia and seemingly lost in limbo. Now, however, what was once lost is found - all but two songs. To make up for this we have added 11 bonus tracks, out-takes and demos taking us from pre-Ballroom to post-Millennium. an extraordinary collection ranging from Mama And Papas-esque harmony pop to music concrete, this CD is a vital missing link in the growing collectors market of soft rock/sunshine pop. The bonus tracks provide an insight into the art of Curt Boettcher, whose influence on artists as disparate as the High Llamas, Teenage Fanclub and Saint Etienne is well known. From Millennium member Keith Olsen's multi-platinum Fleetwood Mac albums to Future Pilots' trancey adaptation of Millennium's "Prelude", Boettcher's restless spirit lives on.
"A stunning mix of psych-pop, folk rock and pure joyous harmony, as filtered through the unique imagination of Curt Boettcher" - Record Collector.
| Sagittarius - Present Tense
Essay by David Bash
The mention of Curt Boettcher's name is likely to elicit blank stares from all but the most ardent followers of 60s pop, but to cognoscenti he is considered an icon of such proportions that it's safe to say that Boettcher has the highest ratio of reverence to records sold in pop music history. The plaudits heaped upon him come with good reason; this is a man whose work reportedly caused Brian Wilson to turn white with envy. Sundazed Records, in their usual display of good taste, has reissued this album, Present Tense, which many (including myself) consider to be the finest work with which Boettcher was ever involved, and those of you who already have the Japanese CD reissue of this album should be aware that this Sundazed issue contains 9 bonus tracks which are mostly otherwise unavailable.
Boettcher had been a veteran of pop music before he had put together Sagittarius; he had been a member of the folk band The Goldebriars, who had released two albums on Epic Records in the early 60s. The limitations of the genre only allowed a sliver of the innovation Boettcher would subsequently display to shine through with the Goldebriars, but when he began work with the band Ballroom a few years later, those present were able to witness his greatness as both a producer and songwriter. His arrangements and chord structures were tantalizingly unique and way ahead of their time, and his angelic, choirboy voice was not unlike that of Peter Pan not quite grown up. During the recording of the Ballroom album (never released), Boettcher formed an alliance with Gary Usher, who was producing the Byrds Younger Than Yesterday album in a neighboring studio. Usher recognized the greatness extant in Boettcher, and with Usher at the producer's helm, the two went to work on Present Tense.
The album is a combination of some original Ballroom tracks, some re-recorded Ballroom tracks, newly written tunes, and a couple of covers. Although Sagittarius was designed to in effect be a pseudonym for a Boettcher solo album (it was his astrological sign), during the making of Present Tense he formed The Millennium, which was a band containing Boettcher and several session musicians including Keith Olsen (who would go on to produce several multi-platinum albums), Lee Mallory (for whom Boettcher had previously produced some sides), Joey Stec, Sandy Salisbury, and Michael Fennelly (who would later form Crabby Appleton, whose wonderful single "Go Back" reached the Top 40 in the summer of 1970), Doug Rhodes, and Ron Edgar. These guys, along with another more well known individual (more on that later) were utilized as vocalists and instrumentalists on Present Tense, and their presence helped flesh out the work into a stunning collage of bright, wonderful sounds.
Boettcher's Peter Pan persona was well represented on several of the tracks on Present Tense. Songs like "Another Time", "Song To The Magic Frog (Will You Ever Know)", "The Keeper Of The Games, "Musty Dusty", and "Would You Like To Go" are all manifestations of Boettcher's wide eyed wonderment, the harpsichord and string laden arrangments and the elegant melodies offering the perfect complement to Boettcher's soaring vocals. All of these songs would have fit perfectly as a soundtrack to any fairy tale, and "Musty Dusty" could serve as a beautiful lullaby. There was, however, another side to Boettcher, a foreboding acid induced element that appeared on "The Truth Is Not Real", a track co-written with Usher that was "intended to reach listeners higher selves", and its phased lead vocals and somewhat darker melodies definitely did the trick.
There isn't one track on Present Tense which is anything less than wonderful. "Hotel Indiscreet", co-written by Michael Z. Gordon and James Griffin, is a gleeful description of a place where people are doing what they oughtn't, and its emblematic refrain helps underscore that point. "I'm Not Living Here" is easily the nastiest song on the album (well, as nasty as someone with the makeup of Boettcher could get) and displays some rather stinging guitar work. "Glass", originally done by the Sandpipers of "Guantanamera" fame, has a delightfully murky ambience, almost sounding like it's emanating from the inside of a bottomless pit, and "You Know I've Found A Way" is perhaps the best song on the album, and a most wonderfully romantic way to say "I Love You"; its baroque arrangements and soft, almost whispered lead vocal will sweep across your mind, embedding itself there forever. The most talked about song on Present Tense is undoubtedly "My World Fell Down" which was originally done by the U.K. band The Ivy League. Sagittarius' version is fairly faithful to the original, although it's embellished with a bit of period psychedelia, but it is not for these things that it became the subject of conversation. The lead vocalist on "My World Fell Down" is none other than the schlockmeister himself Glen Campbell (the aforementioned "well known individual"), and he showed himself to be up to the task of meeting the vocal standards of the rest of the album. Of course, having people like Bruce Johnston and Terry Melcher singing background didn't hurt!!
Of the 9 bonus tracks, 7 are previously unreleased and two are mono single versions of songs from the album, those being "Hotel Indiscreet" and "My World Fell Down". The unreleased tracks come from various phases of Sagittarius' existence. "Artificial Light (Of All The Living Lies)" opens with a bassline similar to that of "You Know I've Found A Way", and segues into a Jimmy Webb like melody, although he didn't write the song (no vocal credit is given, but it sounds like it could be Lee Mallory singing lead). The next track "Get The Message" (which also was recorded by Brian Hyland and Michael J. James and written by Gordon and Griffin, who also wrote "Hotel Indiscreet") is a sprightly number spiked by some tight lead/harmony vocals (the lead was probably supplied by Gordon) and some catchy deep keyboard sounds. Then there's "Mass #586" which features Firesign Theater member Peter Bergman on lead sermon (!), a delivery which slowly but surely becomes obscured by some wonderfully arranged violin and Usher vocals. "Love's Fatal Way", the earliest of the bonus tracks, was originally intended for the Ballroom album but is heard publicly for the first time here. It's a pleasant enough vocal exercise, unremarkable save for some phasing not generally heard in 1966. The single version of "My World Fell Down" is different from the version on the album in that it contains some abrupt edits and a very psychedelicized bridge, not unlike that of the bridge on the single version of "Too Much Talk" by Paul Revere and The Raiders. The single version of "Hotel Indiscreet" appears to be a might faster than its album counterpart (though that may have come from speed variations sometimes inherent in re-mastering), but its most salient aspect is the addition of a hilarious spoken word overlay by The Firesign Theater). The next track, "Lonely Girl" features the gorgeous lead vocals of Sandy Salisbury; it's an absolutely wonderful uptempo track filled with harmonies. There are a sprinkling of Salisbury singles around, but they are very difficult to find. However, if you're able to score the bootleg CD of the Timeless album by Eternity's Children (contemporaries of Sagittarius that are the darlings of Boettcher fans everywhere-they had two albums on Tower Records that are really worth picking up), you can hear several Salisbury tracks that have been appended as bonuses. After "Lonely Girl" comes a demo version of "The Keeper Of The Games" which is, as most demos are wont to be, more stripped down, containing a single tracked Boettcher vocal. The final bonus track, "Sister Marie" is essentially the instrumental track of a song that Chad and Jeremy had recorded on their Painted Dayglow Smile album, and is quite pretty.
Soon after the release of Present Tense, Columbia released the Begin album by The Millennium. Begin was much more of a group effort than Present Tense, as evidenced by a more even distribution of songwriting. The album is a bit heavier than Present Tense, the songs taking on a more psychedelic bent, though the melodies and vocal arrangements are as wonderful as ever. Note: Some sources report that Boettcher presented the entire contents of Present Tense and Begin to Columbia with the intention of releasing it as a double album by Sagittarius, but Columbia balked at the idea of releasing such an ambitious project by an unknown entity, so a compromise was reached and each album was released almost simultaneously under different band names. This may or may not be true... In 1969, Los Angeles label Together Records released a second Sagittarius album, called The Blue Marble. This mostly Usher penned album is a worthwhile addition to your collection, but is not at the quality level of Present Tense or Begin, and because of the limited quantity released, is a very hard to come by collectable (Hey Sundazed, how about a reissue?). Boettcher released a pretty good solo album, There's An Innocent Face, on Elektra Records in 1973 (executive producer Gary Usher), and released several singles under the names California Music and California. He then became a session vocalist on some Beach Boys albums in the late 70s (during this time he changed the spelling of his name to "Becher" and other such things), and passed away in 1987. He is greatly missed.
Present Tense is a beautiful album, perhaps the best of the genre known as "soft pop", and Curt Boettcher's legacy has been left to those of us who weren't fortunate enough to be there when it was all happening. Pick up the Sundazed reissue of Present Tense; you may not turn white as Brian Wilson did when he first heard Boettcher's work, but you'll be very happy that you turned in some of your green to get it.
| Sagittarius - Present Tense
For producer-wunderkind Gary Usher, Sagittarius was the outcome of months holed up in the studio with like-minded friends: Curt Boettcher, Bruce Johnston, Glen Campbell, the Firesign Theatre and others. The hit single, "My World Fell Down", debuted in 1967. "Present Tense" - shimmering, dense, and relentlessly melodic - quite simply relocated the goals of contemporary pop songwriting and arranging. Mastered in the best Sundazed tradition, "Present Tense" chronicles the epitome of California sunshine rock and the Summer Of Love - it's the sound of the Mamas and Papas, the Beach Boys and Claude Debussy having an Easter egg hunt on Phil Spector's lawn. 20 tracks, including rare single versions and 7 previously unissued tracks.
TRACKS: Another Time / Song To The Magic Frog (Will You Ever Know) / You Know I've Found A Way / The Keeper Of The Games / Glass / Would You Like To Go / My World Fell Down / Hotel Indiscreet / I'm Not Living Here / Musty Dusty / The Truth Is Not Real / Artificial Light (All Of The Living Lies) (previously unissued) / Get The Message (previously unissued) / Mass #586 (previously unissued) / Love's Fatal Way (previously unissued mono) / My World Fell Down (single version) / Hotel Indiscreet (single version) / Lonely Girl (previously unissued) / The Keeper Of The Games (previously unissued) / Sister Marie (previously unissued).
>>> issued by Sundazed
|The Millennium Begin
On the eve of the new millennium and on the 10th anniversary of Curt Boettcher's death, Rev-Ola proudly presents the definitive edition of The Millennium's classic album, "Begin". After an illustrious few years as boy wonder producer of hits for The Association and Tommy Roe, amongst others, and his involvement in innovative projects in collaboration with Gary Usher, Bruce Johnston, Brian Wilson etc., Boettcher finally got the chance to make his own album. Bypassing the famed LA session mafia of his other projects, Curt gathered a posse of fellow geniuses with backgrounds from folk-rock to garage punk, occult philosophy to baroque-pop, rock'n'roll to musique concrete. Boettcher's gift for vocal arrangement (a major influence on The Mamas And Papas, Brian Wilson and Gary Usher), combined with the outstanding songs and performances of The Millennium, produce a unique sound; the first album to be recorded on 16-track, it still sounds ahead of its time, fresh and modern.
"Rev-Ola have steadily sought out the best of those rare, grand psychedelic follies from the '60s and by far the best of the recent reissues is "Begin" by The Millennium. "Pet Sounds" for buddhist paranoiacs."
"The first track on this album proves that, contrary to popular belief, big beat was invented in 1968." - Vox.
| Sagittarius & Millennium
"Imagine a sound that recalls the calmness of your deepest dreams. That floating away sensation, the out of body experience, if you will. Psychedelic music comes in many guises. None more so fruitful as that produced by the Millennium and Sagittarius..."
"Millennium was Boettcher creation (Usher co-produced) and he worked closely with producer Gary Usher in his Sagittarius projects. Most of the musicians played on both records whilst the Sagittarius record boasts the additional help from Beach Boy Bruce Johnston, Byrds producer Terry Melcher, Phil Spector sessioner, sometime Beach Boy and Country star Glen Campbell and most of Phil Spectors' original Wrecking Crew from drummer Hal Blaine on down...">>>presented by Ready Steady Go
|Sagittarius - The Blue Marble
"Suspended with grace in a sea of black velvet hangs the blue marble. Slowly it revolves, warming its sides against a cosmic furnace.
It is but an oasis in an empty desert of black sand, a garden in the infinite fertileness of time.
It is bound by universal laws that are as mystifying and magnificent as its mountains and seas. Yet that which is on it, is bound by nothing except the will to say I am.
As the universal constant strikes it with wave after wave it is all we see in the blue pacific as we lie under white spiraling clouds; in the sand playing marbles.
1. In My Room 2. From Us Unto You 3. Will You Ever See Me 4. Gladys 5. I Sing My Song 6. The Blue Marble 7. Lend Me a Smile 8. I Still Can See Your Face 9. I See In You 10. Cloud Talk>>> presented by Spectropop
| Michele - Saturn Rings
1. Would You Like To Go 2. Blind As You Are 3. Song to a Magic Frog 4. Fallen Angel 5. Spinning, Spinning, Spinning 6. Know Yourself 7. Musty Dusty 8. Lament of the Astro Cowboy 9. White Linen 10. Misty Mirage 11. Believe You >>>presented by Spectropop
As well as their debut, this compilation includes the very, very rare second album currently changing hands for over 500 Pounds in it's original format (with songs from Clarence White & Gene Parsons) - plus bonus tracks from an unfinished 3rd album recorded with Curt Boettcher and Chips Moman.
1. Again Again 2. Rupert White 3. Flowers 4. My Happiness Day 5. Lifetime Day 6. Mrs. Bluebird 7. Your World 8. You Know I've Found A Way 9. Little Boy 10. Sunshine Among Us 11. I Wanna Be With You 12. Natures Child 13. The Other Side Of Me 14. Look Away 15. Christina In My Dreams 16. Sunshine And Flowers 17. Till I Hear It From You 18. Get Outta Here 19. Gypsy Minstrel Man 20. The Thinking Animal 21. From You Unto Us 22. Alone Again 23. Blue Horizon 24. The Sidewalks Of The Ghetto 25. When The World Turns >>>issued by Rev-Ola
| An Interview with Joe Foster
"Monday and Tuesday they'd cut all the band tracks at Gary Paxton's house and Wednesday, Thursday, Friday they'd do all the vocals at Columbia."
"The Millennium was intended to be a proper band whereas Sagittarius was a studio project which was basically the earlier thing, The Ballroom, had fallen apart. They put together a new line up during those sessions but basically all the same people. They were paid session fees to keep them going to until they all sowed it up, the songs and so ...">>>presented by Ready Steady Go
|The Millennium Home Page
"With the help of Keith Olsen (Music Machine) and Gary Usher (songwriter, surf music avatar, and Columbia staff producer), Boettcher formed The Millennium. This group consisted of seven musicians and songwriters, including Boettcher. The other six members are: Ron Edgar and Doug Rhodes (Music Machine), Michael Fennelly (who later formed Crabby Appleton), Lee Mallory, Sandy Salisbury (Ballroom), and Joey Stec. Boettchers' genius at vocal arrangement and love of the new art of studio technology was obvious in the result. BEGIN was only the second album recorded with the new 16 track technology. Curt Boettcher ran up the highest Columbia studio bill in history in the year it took to make BEGIN..." >>>presented by Ronnie
| Curt Boetcher - There's an Innocent Face
>>> issued by eastwest japan
| The Second Millennium
Dreamsville Records (Japan) YDCD-0027
Released May 25, 2000
1. It's You (Fennely/Stec)
|The Millennium Continues
TRATTORIA FAMILY CLUB (Japan) PSCR-5873
Released June 21, 2000
2. To Claudia On Thursday,
4. I Need To Be On Your Side,
5. Share With Me,
6. Such A Good Thing,
7. Sunshine Girl,
8. The Blues Is Just A Good Woman Gone Bad,
9. The Word,
10. All That I Am Is Love,
11. No Other Love,
12. Once Upon A Time
| Joey Stec - Joey Stec
TRATTORIA FAMILY CLUB (Japan) PSCR-5874
Joey Stec's 1976 solo album originally released on Playboy Records. A definite departure from the Sagittarius/Millennium sound, this album, produced by Jimmy Miller (Traffic, Stones, etc.), is a more organic, rock sounding record typical of the mid 70s. Contains Joey's cover version of the Temptations' I Wish It Would Rain.
1. Do You Know,
3. I Wish It Would Rain,
4. No Knowing,
5. Give My Love To You,
6. Easy To Love,
7. Back Again,
8. Standing Here Alone,
10. Even Angels
>>>presented by Spectropop
|Tommy Roe - It's Now Winter's Day
When Curt Boettcher walked into Steve Clark's office with his hot new demo in his hands, little did he know he was about to enter a phase of this career during which he would produce his most commercially successful records under the auspices of Steve Clark's Our Productions. Neither did he know that he would never see a penny in royalties for his work on these records.
The first thing Steve Clark did with Curt was put him to work with Tommy Roe. The story gets blurry here. Steve Clark is credited as producer of Roe's hits "Sweet Pea" and "Hooray For Hazel," but Boettcher subseqently claimed that it was he himself who produced them. Sweet Pea (ABC 10762), considered by many to be the first bubblegum hit record, was released June 11, 1966, peaking at #8 on Billboard during the final week of July. "Hooray For Hazel" (ABC 10852) was actually a bigger hit than "Sweet Pea," peaking at #6 during the first week of November 1966. Association's Boettcher-produced "Along Comes Mary" and "Cherish" were both hits during the summer of 1966; "Along Comes Mary" hit #7 mid-June, and its follow-up "Cherish" climbed to the top of the charts in September. For a moment in time, it seemed the 22 year old Boettcher could do no wrong.
After that, Association decided not to use Boettcher again, and Boettcher put most of his energy into the next Tommy Roe record "It's Now Winter's Day" (ABC 1088). This single, the title track from his late-1966 album, proved to be Tommy Roe's seventh-biggest hit. It was a Top 30 hit, peaking at #23 in February 1967. The record and the album it came from represented an artistic change for Roe. He intentionally eschewed the bubblegum formula and tried to create a more serious sound in keeping with the cutting edge psychedelic movement, and Boettcher was perfectly suited to accomodate Roe's vision. Still, in the wake of two Top 10 hits for Tommy, the moody, ethereal "It's Now Winter's Day" was viewed by Steve Clark and the ABC execs as a relative failure despite its respectable chart achievement.
Besides himself, the background singers Boettcher used on the It's Now Winter's Day album were the Holmberg sisters from GoldeBriars, Lee Mallory (later of Millennium) and the members of his brand new group the Ballroom: Michele O'Malley, Jim Bell and Sandy Salisbury.
Songs on the album are Leave Me, Moontalk, Aggravation, Golden Girl, Misty Eyes, Have Pity On Me, Sing Along With Me, Long Live Love, Nighttime, Cry on Crying Eyes, Sweet Sounds, It's Now Winter's Day.>>>presented by Spectropop
|Curt Boettcher - Misty Mirage
On March 25, 2000, Dreamsville Records (Japan) released a new compilation of previously unreleased Curt Boettcher recordings called Misty Mirage. This is not a boot. It's a legitimate release of recordings made by Boettcher up to around the time of Sagittarius' Blue Marble album.
This album is sure to please every Sagittarius/Millennium fan. There are some magical moments. The first track, Tumbling Tumbleweeds, is absolutely brilliant. A dreamy, kaleidoscopic take on Sons of the Pioneers' 1934 hit song, featuring swirling layers of Curt's trademark high tone vocal chorus work.
The CD features Curt's never before released versions of I Just Want To Be Your Friend and The Know It All (Millennium), You Know I've Found a Way and Another Time (Sagittarius), Misty Mirage and Astral Cowboy (Michele) and That's the Way It's Gonna Be (Lee Mallory). The only two tracks on the CD that have been previously released are Share With Me and Sometimes, both sides of an obscure Boettcher 45 on Together (co-produced with Gary Usher). The CD is rounded out with a couple of Levi's commercials and studio session outtakes. Dawn Eden wrote the liners for this too.
1. Tumbling Tumbleweeds
Real Audio 56k
NOTE: DREAMSVILLE RECORDS DO NOT HAVE AN ENGLISH LANGUAGE PAGE. THE
LINKS PROVIDED HERE ARE TO THEIR JAPANESE LANGUAGE PAGE WHICH IS ONLY
SUPPORTED BY BROWSERS CAPABLE OF INTERPRETING JAPANESE LANGUAGE. MUCH OF
THE INFORMATION THERE IS PRESENTED HERE FOR YOUR CONVENIENCE AND IN
COOPERATION WITH DREAMSVILLE RECORDS.
| Curt Boetcher - Sagittarius/Rarities & Curt Boettcher/Productions
>>> presented by Spectropop
|The Melody Goes On, Volume 2
>>>issued by M&M (Japan)
| Eternity's Children - Timeless (bootleg)
1. I Wanna Be With You 2. Natures Child 3. The Other Side Of Me 4. Look Away 5. Christina In My Dreams 6. Sunshine And Flowers 7. Till I Hear It From You 8. Get Outta Here 9. Gypsy Minstrel Man 10. The Thinking Animal
Bonus tracks -
11. Many Are The Times (Lee Mallory) 12. That's the Way It's Gonna Be (Lee Mallory) 13. Take My Hand (Lee Mallory) 14 The Love Song (Lee Mallory) 15 Come Softly (Sandy Salisbury) 16. Once I Knew a Little Dog 17. On and On She Goes (Sandy Salisbury) 18. Goody Goodbye (Sandy Salisbury) 19. Share With Me (Curt Boettcher) 20. Sometimes (Curt Boettcher) 21. Spinning, Spinning, Spinning (Ballroom) 22. The Night We Fell In Love (Oracle)
>>> presented by Spectropop