Sunshine Pop
Do you believe in magic?

This is the story of the 'West Coast Soft Pop' scene (or 'Sunshine Pop' as it is often referred) as told through the finest artists and records of the genre...

In the mid-sixties a phenomena had just swept through California with the Beach Boys leading the way. Brian Wilson's self-proclaimed 'Teenage symphonies to God' promised to take music to new dimensions.

'Pet Sounds' and the immortal 'Good Vibrations' were just the tip of the iceberg. They call it Sunshine Pop. The upbeat, warm, feel good factor is evident throughout even the tracks dripping in sweet melancholy are reassuringly heart-warming. Between 1964 and 1968 a bundle of classic records were recorded and produced by many pioneering producers (such asCurt Boettcher, Gary Usher, Gary Zekley) and musicians whose united aim was to produce music that would affect people on a subconscious level. They wanted to make spiritual music. These artists had an extraordinary vision and the music they created was simply ahead of its time and oten under appreciated.

By the late sixties most of this angelic work had fast faded into obscurity. The developing psychedelic sound was getting harder, the ghastly horrors of progressive rock and the changing 'heavy' social climate had made this form of musical utopia redundant and out of place.

Now 30 years later the sunshine pop/soft rock genre is fast becoming a collector's paradise as new generations fall in love with the sunniest sounds around. Thanks to recent re-issues from the Millennium, Sagittarius, Yellow Balloon, The Third Rail, Harpers Bizarre, Eternity's Children and The Sunshine Company these, and other, obscurities are beginning to be appreciated and recognised as works of art.

For too long these records have lived in the shadows of the more celebrated works by the Beach Boys, Mamas and Papas and Lovin' Spoonful.

On hearing the depth in quality of these songs you will be amazed that such moving sounds could possibly remain such a closely guarded secret for so many years. Now thanks to Rev-Ola Records exciting re-issue project these landmark records are rightfully receiving the critical acclaim they deserve and opening a new world of sublime sounds to a new generation of music lovers.

One of the names synonymous with the West Coast Soft Pop scene of the late sixties was Curt Boettcher. His name crops up on more than one occasion in this story of a fascinating genre that has become something of a cult, confined to an underground of devoted fans fascinated with obscure 60s music, when it should be enriching all our lives.

The Millennium

'Begin' is the starting point for anyone wanting to dabble in the delights of sunshine pop. Conceived by the young production team of Curt Boettcher and Keith Olsen this psych-pop opus is a work of art. The album was originally a flop when released in 1968.

It was with Boettcher's first band the GoldeBriars that his trademark sound would evolve. Formed in 1962 the band would prove an influence on the music of Mamas and Papas and the image of the Music Machine. Check out the GoldeBriars page for more info on the band with exclusive contributions from band member Dotti Holmberg.

In 1965 Boettcher got his first production break forming a company called Our Productions with Steve Clark chalking up hits with the Association and Tommy Roe. In 1966 he teamed up with Jim Bell, Sandy Salisbury and Michele O'Malley to form the Ballroom.

They recorded an album which wouldn't see the light of day until Rev-Ola put together the available tracks with a bunch of other Millennium related demos for the 'Waiting for the Millennium' CD.

Whilst recording the Ballroom, Boettcher met up with producer Gary Usher who had previously worked with Brian Wilson and was currently recording the Byrds 'Younger Than Yesterday' in the next studio. Usher got him a deal with Columbia and set about forming the Millennium.

Recruiting ex-Music Machine members Ron Edgar and Doug Rhodes, Michael Fennelly, Joey Stec, Lee Mallory and Sandy Salisbury the unique line up included five guitar/songwriters!

Due to contractual problems with Clark's Our Productions and before Boettcher could be released to join Columbia it was agreed that a number of Ballroom tracks would be purchased and used on the Millennium album.

Boettcher recruited another ex-Music Machine member in bassist Keith Olsen to assist with production. His knowledge of recording technology made it physically possible for the sounds and ideas Boettcher heard in his head to be translated onto tape. Boettchers' wish for ground-breaking effects such as fifteen layers of harmonies with reverse echo were created by Olsen for the album that is said to be first ever to use 16-track technology. Boettcher used every single one of them to create a new spiritual sound.

What should have been a new dawn in music simply fizzled away, the Millennium started writing new songs for a follow up but the early fruits were rejected by the label who had spent thousands on a commercial flop and the band disintegrated.

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Sagittarius

Gary Usher started work on the Sagittarius project in late 1966. He had already made a name for himself on the surf scene earlier in the decade but subsequently felt he was living in the shadow of Brian Wilson. He went on to become an in demand producer. After producing the Byrds, Simon & Garfunkel, Chad & Jeremy and Gene Clark, Usher decided he wanted to take full control of his own creative project from writing to arranging and producing.

The first song that Usher produced was a remarkable revamping of fairly anonymous folk track called 'My world Fell Down'. It has to be one of the greatest, inventive pop songs ever!

Frustrated that Chad & Jeremy, the group he was producing at the time, wouldn't record the song themselves Usher decided to go it alone. With the help of Phil Spector's 'Wrecking Crew' and Bruce Johnston, Terry Melcher and Glen Campbell sharing vocal duties, Usher created a symphonic pop masterpiece worthy of standing alongside anything Brian Wilson had produced.

Usher first met Boettcher in early 1966 while he was producing future Millennium member Lee Mallory's record 'That's The Way Its Gonna Be' and was amazed at the youngsters already illuminating production skills.

They would cross paths again later that year when Boettcher was recording 'The Ballroom'. Usher invited Boettcher to help out with the second Sagittarius track, the bouncy summer pop charms of 'Hotel Indiscreet'. Due to the contract wrangle with Steve Clark a number of Ballroom recordings where also used on the debut Sagittarius album. Usher also enlisted the help of the members of the Millennium as session musicians and vocalists for the album. So Sagittarius where never really a band, merely a studio project!

LSD was the drug of choice and both the Millennium and Sagittarius albums are heavily influenced by its effects and wouldn't have sounded the same without it.

Usher would go onto produce one more Sagittarius album, Blue Marble, which is very difficult to track down, I can tell you!

Present Tense is currently available on Sundazed Records.

The Ballroom

In 1998, Rev-Ola released a collection of Curt Boettcher related material from the aforementioned Ballroom era and beyond. The main thrust of the album was to present what was still available of the unreleased Ballroom album that preceded the Millennium and Sagittarius releases.

This is the CD for Boettcher fans wanting to delve deeper into the mind of the young genius producer. It includes tracks that didn't make it onto the Millennium and Sagittarius albums plus Ballroom/Millennium out-takes and demos capturing classic tracks in their intimate, stripped down, works in progress stage. It's the strong vocal arrangements that take centre stage on these tracks and you will marvel at the sweetness and innocence on offer.

Rev-Ola are planning to release more stuff from the 'sunshine' vaults and promise that some of the previously unheard material is better than what is currently available which is a mouth-watering prospect.

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Eternity's Children

In 1965 songwriter Bruce Blackburn teamed up with Roy Whittaker, Charlie Ross, Jerry Bounds and Johnny Walker to form the Phantoms. The band ran into Linda Lawley, a singer with a great voice and image to match and changed their name to Eternity's Children.

In 1967 Keith Olsen had quit the Music Machine and got his first production job producing the debut single for Eternity's Children. The band decided to use Olsen again for their debut album and that meant enrolling Curt Boettcher because by that time the two were a partnership working on the Millennium.

Despite writing three tracks on the debut album released by Tower, Blackburn had left the band before recording began, Bounds and Walker also left around the same time and new songwriter Mike 'Kid' McClain was drafted in.

Boettcher input on the Eternity's Children was minimal but his influence is apparent in the albums light, warm moods. The bands own work is equal to that of the finest sunshine pop records making this CD a real find.

The second album was produced by Gary Paxton and has a more polished sound. It's fresh and catchy pop with strong vocal harmonies and little of the experimentation preferred by Boettcher and Olsen.

The pop soul of 'Till I Hear It From You' hinted at the direction the final Eternity's Children records were heading. They recorded three strong blue eyed soul tracks with seminal soul producer Chips Moman. Despite the high quality of these tracks the hits continued to elude them.

Eternity's Children limped to an end in 1970 when they moved to Liberty who had hopes they would follow in the successful direction of the Fifth Dimension but they only lasted one more single produced again by Boettcher/Olsen.

The Yellow Balloon

Gary Zekley had spent the early 60s notching up some rare classic singles before the budding producer began to feel the influence from working in close proximity to Brian Wilson and Phil Spector.

Through connections Zekley soon found himself in the enviable position of having loads of free session time and hired hands to perfect his musical vision. Zekley struck gold with the bubblegum pop of 'Yellow Balloon' and it was a hit. Rush released to beat Jan & Dean to the punch (Dean had also recorded the track for a single and it featured on the concept album 'Save For A Rainy Day') its success lead to a problem for Zekley. Like Gary Usher he had no band!

Help was at hand through Don Grady, a national TV star, who had signed a recording deal with Canterbury. He had been working on putting a backing band together and it wasn't long before the Yellow Balloon had a stable line up of good-looking hip dudes.

The Yellow Balloon album recorded in 1967 is unashamedly upbeat pop. Deliriously so at times! I challenge anyone to come up with a more cheery uplifting pop song as the glorious two minutes of 'Springtime Girl'. The thrilling entwining multi-layered harmonies add a sophisticated edge to a gloriously simple song that is criminally way too short!

The music reminds you of Brian Wilson studious arrangements on 'Pet Sounds' in that you can hear many instruments all eloquently placed to create the correct mood and feel. It sounds so simple yet you can strip each part down and soon see that so much complexity has gone into it. Listen to the graceful 'Stained Glass Window' and marvel at how such beauty and intricacy can fit into two minutes of perfect pop.

The Yellow Balloon album is currently available on Sundazed Records.

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The Sunshine Company

From 1967 to the end of the decade the Sunshine Company release three albums of heavy harmony based pop. Rev-Ola has compiled the pick of the bunch onto one CD. The folk rock harmonies of the Mamas and Papas, the Byrds and the Grassroots spring to mind when listening to the layered melodies. The gloriously big harmony drenched male/female combo sunshiny choruses provide a soundtrack to the peace movement of the late sixties.

At its best this idyllic sound captures the whole Summer Of Love ethos. Judging by the clothes the band wear on the record sleeve they bought into the flower power scene wholesale! It all sounds a million miles away from the more subtle approach by Curt Boettcher but nevertheless the rich melodies at their most climatic are irresistible.

It is the interpretations of an eclectic range of songs by a variety of gifted writers that makes the Sunshine Company release of interest. They tackle the Beatles psychedelic 'Rain' and turn into chiming folk rock. Equally impressive is the breezy MOR version of Jimmy Webb's 'Up, Up And Away'. The swirling, swoonsome 'Just Behind Your Smile' penned by Tony Asher and Roger Nicholls is pure sugar coated pop heaven. 'Happy' heads straight for the centre of the sun.

The rallying call of 'Back On The Street Again', 'Look Here Comes The Sun' and the Youngbloods' 'Let's Get Together' are upbeat anthems capturing the spirit of the original Love Generation. 'Let's Get Together' is the absolute spit of the Byrds - the vocals sound so similar to Roger McGuinn duetting with Gene Clark.

The quasi-country rock of 'Without Really Thinking' sounds like something that could have been penned by Gene Clark in his brief symphonic period and is one of many strong originals the band penned.

By 1970 the Sunshine Company had drifted apart and sadly the rest of the sunshine pop pioneers had faded into obscurity.

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The story of sunshine pop looks set to flower in the future. Tons more obscurities are sure to see the light of day eventually and a book documenting the whole scene is long overdue. Check out the wonderful releases from Rev Ola and Sonic Past Music to hear more dazzling sounds.

Finally, with all its connotations of unbridled happiness, colour, sunshine and that sickening 'isn't everything great?' feeling - the West Coast Soft Pop Scene should not be dismissed out of hand by the cynical and the clinically depressed! You don't have to be a big softy to get it either! 

What is on offer here is pure unadulterated escapism.

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