THE GREATEST SONGS OF THE 1960s THAT NO ONE HAS EVER HEARD
1,886) Curt Boettcher and Lee Mallory — “You Know I’ve Found a Way”
Here is a gorgeous song written by Curt Boettcher [see #1,881] and Lee Mallory [see #18, 1,693, 1,885], “pure baroque pop of the highest caliber, and overall a very pretty love song.” (DoYouLikeVeggies (talking of Sagittarius’ orchestrated version), https://rateyourmusic.com/release/single/sagittarius/you-know-ive-found-a-way-the-truth-is-not-real.p/) I actually prefer the stripped down demo version by Curt and Lee, so here it is. Did I make a mistake including a clip from a track on Eternity’s Children’s debut LP? No way. I love me my Eternity’s Children (see #706, 1,131, 1,286), whose “finest moments rank alongside anything in the soft pop canon”. (Jason Ankeny, https://www.allmusic.com/album/eternitys-children-mw0000221884). However, Dawn Eden Goldstein has let us know that “[t]he Children are completely absent from” the song. According to Dawn, “[t]he recording is in fact Curt Boettcher and Lee Mallory’s publishing demo of the song best known in it’s more elaborate incarnation on Sagittarius’ Present Tense. [Eternity’s Children’s co-founder] Bruce Blackman suspects that [managers Ray Roy and Guy Belello] solicited the readymade track[] to save money.” (liner notes to the CD reissue of Eternity’s Children)
As to the Children, they came up with the Biloxi Beat! Dawn tells us that:
They were from Mississippi, yet they excelled in West Coast soft pop. They were co-produced by the legendary Curt Boettcher, yet they made some of their best music without him. They were intelligent and college-educated, yet they signed their lives away to a pair of entrepreneurs whose previous management experience extended only to a chain of health clubs. . . . [They were] the best West Coast soft pop group ever to come out of Biloxi. . . . Once the group signed to Tower, it was decided to . . . hire Keith Olsen as their producer. That meant of necessity hiring Curt Boettcher too, since he and Olsen by then came as a package. . . . Curt Boettcher was on top of the world, a hotshot Columbia staff producer involved with . . . Gary Usher’s Studio group Sagittarius and his own . . . “supergroup,” the Millennium [see #397, 506, 586, 662, 810, 1,002]. . . . On Eternity’s Children, as well as the Millennium and Sagittarius albums, they used highly innovative reverb effects that turned background vocals into thick, foam-padded walls os sound . . . . The result was something more felt than heard, fulfilling Boettcher’s desire to create music that would affect people on a sub-conscious level.
liner notes to the CD reissue of Eternity’s Children
Here is Sagittarius:
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