A week ago, I was deeply involved in the task of eradicating parking meters in St. Cloud, Minnesota’s Downtown. The dust has settled a bit in that area, and now that we have all of the merchants on the petition and an endorsement from the newspaper, all I have to do is wait until the petition hits the City Council agenda in a couple of weeks. For now, I get to write a post I have anticipated for a long time.
A bit over a year ago, I wrote a post about a favorite song from my childhood, “Washington Square.” Shortly thereafter, I was able to converse with the song’s composer, Bobb Goldsteinn. We have become friends, and frankly, hanging out with such an artist in his hometown, in an area (South Street in Philadelphia) that certainly contributed to his composition, makes listening to the song a whole new experience.
Beyond “Washington Square,” though, my source for most of my early Bobb Goldsteinn data was a website devoted to the GoldeBriars, a fountain of pre-Mamas & Papas sonic delight that is now known as Sunshine Pop. The website tells a bit of the story: how Curt Boettcher, Dotti Holmberg, Sheri Holmberg, and Ron Neilson left Minneapolis for New York, signed with Epic Records, released a couple of LPs, and went about their business, leaving as their legacy the prototype for the Mamas & the Papas.
The website also mentions that Dotti was a thorough diarist and archivist of the band’s triumphs and travails—and that she had collected everything into a multimedia ebook.
Some aspects of the GoldeBriars’ story linked into my personal music experience: Bobb Goldsteinn, of course, who produced some of their recordings, and Curt Boettcher, who, you may know, has been acclaimed as the most innovative and talented vocal arranger ever. Ask whiteray what he thinks of a Boettcher-arranged vocal classic, “Cherish” by the Association.
With that incentive, I ordered the ebook, The GoldeBriars’ Story: Whatever Happened to Jezebel?. I promised Dotti that I would review it on this blog. The time has arrived for me to make good on that promise.
Thanks (or no thanks) to several editorial jobs and my participation in publishing ventures, I have been exposed to a lot of raw book manuscripts, as well as published works not vetted by major New York publishing houses. In many cases, the result is a less-than-spectacular offering that is hard on the eyes and ears of someone with an editor’s mindset. Such is not the case with Dotti’s book.
The organization of her thoughts is compelling, with an essentially chronological chapter structure that is interspersed with observations about the milieu in which the GoldeBriars performed and recorded. Dotti’s creative control takes the book far out of the realm of canned music biographies and makes for a refreshing change in music-history literature.
Dotti begins by telling how she left Hugo, Minnesota and met Curt Boettcher, who was singing in a Minneapolis coffee house. Dotti, Sheri, and their brother, Gary, had their own group, but when they joined in on an audience sing-along, the coffee-house manager made them take the stage with Curt, and thus began the GoldeBriars.
After their first management screw, the GoldeBriars learned to live on rice, and from then until they reached New York with a Minneapolis-based manager who cared about them, that’s pretty much what they ate. One day, they acquired a mascot, a carved idol named Jezebel, who give the book its title. Jezebel went everywhere with the GoldeBriars after her arrival.
The story is told primarily in Dotti’s voice, but there are excerpts from Curt Boettcher’s diary, as well as scans of newspaper articles, artwork that includes Curt’s cartoons, and numerous photographs. One rarity is a sketch of Curt and Dotti singing that was drawn by Rolf Harris, the Australian singer who scored a #3 hit here with “Tie Me Kangaroo Down, Sport” on Epic shortly before the GoldeBriars signed a contract with that label.
The GoldeBriars began their recording sessions on November 21, 1963. On this day, Bobb Goldsteinn’s composition was #2 in the nation, thanks to the Village Stompers. Bobb and the GoldeBriars had not yet met, but as label-mates of the Village Stompers, Curt and crew would soon do so.
The next day, prior to their evening recording session, the quartet walked around New York and noted the grief on everyone’s face. That was how they learned that the president had been shot. Dotti evokes the day in her memoir with grace and candor; she goes on to say that the band showed up for their recording session that night, as they felt they had to go on with their lives.
Epic Records rolled out a solid promo campaign for their first LP in early 1964, only to find that new folk-pop acts were shut out of the public consciousness with a bang when the first Beatles recordings hit the airwaves. Their LP sold reasonably well, but it wasn’t the monster hit it could have been a couple of months earlier.
The act did make it onto ABC’s Hootenanny, and the video of their appearance is on the ebook CD. From there, they were introduced to Bobb Goldsteinn. As Dotti puts it, they were dropped in Bobb’s lap “and he didn’t stand up fast enough.” He polished their stage act, gave them songs to add to their repertoire, and took them to Miami to perform. Not a bad deal.
Their schedule led them to a huge stay in Charleston, followed by Milwaukee. Eventually, they disbanded. (There’s a lot left out there.)
Part of Curt Boettcher’s musical expertise stemmed from his background in Japanese kabuki, which he studied when he lived with his family in Japan. As a result, the GoldeBriars developed a love for, and were loved by, the Japanese people. Dotti’s book shows great respect for the group’s entire fan base, as the PDF file of the text appears in both English and Japanese.
This chronicle of life on the road, of being almost a national phenomenon, as told through the words of a naïve Minnesota girl, is a fascinating collection of thoughts that goes far more deeply into the world of underpaid and physically neglected musicians than any sanitized biography you will find on the shelves of bookstores.
Between the scans of photos, clippings, and memorabilia, adding in the video of their TV performance of “Saro Jane,” which shows just how creative Curt was at arranging vocals (and how talented Dotti and Sheri were at producing the sounds he wanted), this ebook is a true gem, and I recommend it to everyone who loves this era in folk and pop music.
You can see the overview of the GoldeBriars story on Dotti’s website. There you will find Bobb Goldsteinn’s foreword to Dotti’s ebook. The link to a tribute to her brother, Gary Holmberg, including four of his recordings, is here. You can acquire the folk-music film in which the GoldeBriars appeared, as well as a CD compilation of Dotti’s solo recordings, here. And, finally, do yourself a favor and obtain the ebook at the same page. No work I have ever read gives a better street-level view of life in the music world of 1963-65.
Some video to whet your appetite:
Here you can see how relentless Curt was in making the most of vocals on even simple melodies. Truly amazing.
Dotti, from her compilation, singing a song produced by Curt.
Dotti again. Here I detect a touch of pre-Paula Abdul vocal inflection (which is a good thing).
And "Tell It to the Wind," a song from their second album. Bobb Goldsteinn wrote it with Jeff Barry, and Bobb produced it.
For Saturday, it’s Week Nineteen of the Great 1950s Chart Meltdown. See you then!
GoldeBriars, Tell It to the Wind
Showing posts with label Curt Boettcher. Show all posts
Showing posts with label Curt Boettcher. Show all posts
Wednesday, May 6, 2009
Sunday, April 20, 2008
Bonus Post: Back to Washington Square!
Note: The Friday post about Big 6 Records that you expected to see is right below this special Sunday post.
On February 15, I wrote about “Washington Square” by the Village Stompers. I mentioned how much I enjoyed the song, and that I heard it only at my grandparents’ house in Shoals, Indiana. I gave you some background on the song and its composer, Bobb Goldsteinn. Here is the link to that post: Washington Square.
Well, Bobb Goldsteinn wrote to me on Thursday. I almost made a double post for Friday, but I decided to add an extra post this week so I wouldn’t overload you on any particular day. Mr. Goldsteinn was kind enough to allow me to share the information with you, but I’m going light on actual quotes because he has a very juicy (in the historical sense) book in the works.
First of all, I would have looked very clever if I had noticed that Bobb Goldsteinn, writer of one of the iconic instrumentals of my childhood, wrote two excellent songs with another caithiseach icon, Jeff Barry. Those two songs are “Falling from Paradise,” recorded by “Bobby Brown,” and “Tell It to the Wind,” which was recorded by the GoldeBriars. More on them in a moment. I have also found a composition, “Unhappy Birthday,” credited to this pair by Warner Chappell Music, but a search on the BMI site says Jeff Barry’s co-writer on “Unhappy Birthday” is Bobby Goldsboro.
Mr. Goldsteinn was kind enough to say that the “blog entry on my song is wonderful, and most of your facts are accurate as I know them. Your few errors do little to change the important truths, and that's great.”
I certainly don’t want to change important truths, and I don’t have much interest in proliferating errors, either. We’re going to revisit the subject with help from this primary source, rather than the secondary sources that misled me a bit in the first place. If that makes me a solid secondary source, that suits me fine.
Bobb Goldsteinn, known then as Bobby Goldstein, held a staff songwriting position with Leiber-Stoller for a year, during which he collaborated with Jeff Barry on the two tunes I listed. Though he wrote “Washington Square” while he was in high school, he didn’t turn the tune in to Jerry Leiber because he had learned to be wary of what happened to songs created under contract.
“Washington Square” blends three musical genres: the folk intro, a taste of jazz after a key change, and the Dixieland climax. The Dixieland part was conceived by Joe Sherman, the producer, and Duke Niles, who published the song through Rayven Music, to kowtow to the Rule of Threes. While Bobb Goldsteinn had the first two aspects of the arrangement in mind when he brought the song to be recorded, Sherman and Niles seem to have claimed the whole concept for themselves.
The chart timing of “Washington Square” may have kept it from reaching #1. It climbed to #2 for the week ending November 23, 1963, but after the assassination of President Kennedy, “Dominique” by the Singing Nun shot from #9 to #2 for the week of November 30. The national consciousness was clearly seeking comfort, and it seems to have found it in a religious song by a Catholic nun. Another musical casualty of the murder was the career of Vaughn Meader, whose comedy LP The First Family sold 7.5 million copies before the assassination and about two copies afterwards.
There seems to be some mislaid credit for the recording of “Washington Square.” Joe Sherman used leading studio musicians for the recording, but they did not receive credit. Mr. Goldsteinn recalls two: Bucky Pizzarelli and Doc Goldberg. The group listed in the Whitburn books and mentioned in my February post were assembled by Duke Niles for a tour. Mr. Goldsteinn wanted to call the act the Saints of Bleecker Street, but Village Stompers prevailed. At least part of the touring group had worked as Frank Hubbell and the Hubcaps, and as the Village Stompers they recorded eight albums for Epic. In my original post I said they had recorded “a pair of albums.” That irks me, because I lost control of a fact I knew. Sorry about that.
As successful as “Washington Square” was in the United States, Mr. Goldsteinn is very fond of the people of Japan, who kept the song and its album at #1 for six months, setting a sales record that stood until Michael Jackson’s Thriller surpassed it. When you realize that the Beatles were on their way, and they never overtook “Washington Square” in Japan, you have to take a moment to let that sink in.
In February I read, but did not mention, that there are lyrics to “Washington Square.” Bobb Goldsteinn wrote them after his publisher, seeing how the song was climbing the charts, said that either Bobb or someone else would write a set of lyrics. The Ames brothers recorded the song (Epic 9630) in 1963, but it was after Ed left his brothers to pursue a Broadway career and do such silly things as toss a tomahawk at Johnny Carson on The Tonight Show. One problem that arose with the Ames version of the song was that the people at Columbia thought the final verse of the song, which was the climax of the message—just as the Dixieland arrangement was the climax of the instrumental—was “too Communistic.” And so, the Ames Brothers didn’t record the payoff verse, the 45 tanked, and the Ames Brothers were essentially finished. The song lyric didn’t gain any traction, either, thanks to the censorship.
I love it when the people associated with the songs I profile have back stories and connections to other projects. In my February post, I alluded to a few of Mr. Goldsteinn’s other accomplishments, but I didn’t go into them deeply. He shared more details, and they are fascinating, so I’m passing them on.
I said in February that he designed the zipper cover for the Rolling Stones LP Sticky Fingers. It turns out that, while the image wound up there, it was intended as the album cover for a different Warhol project.
Warhol’s film Lonesome Cowboys included (in the main version) a title song composed by Bobb Goldsteinn. Bobby Bloom (later to do significant work with Jeff Barry) sang lead, and Sissy Spacek sang backup. Mr. Goldsteinn describes the tune as a “sound sandwich.” (A song that shares both stylistic and temporal proximity is “MacArthur Park.”) The dance beat of “Lonesome Cowboys” was several years ahead of its time; the Donna Summer version of “MacArthur Park” would be a good example of a tune that played off this template.
Another credit associated with the song is the horn arrangement, which came from the mind of one Meco Menardo. The Pennsylvania-born Domenico Menardo went on to have a couple of hits of his own as Meco, including that Star Wars thingy.
I had read that Craig Braun, who designed the tongue/lips logo for the Rolling Stones, had translated Bobb Goldsteinn’s zippered-jeans idea to the Sticky Fingers cover, complete with working zipper. Mr. Goldsteinn designed the image without a real zipper, knowing what the metal would do to cardboard. Whoever translated it (and it seems not to be Craig Braun) created that record-store nightmare. As for Craig Braun, he won a Grammy for designing the Tommy package for the Who. He has appeared as an actor on ER, Law and Order and The Practice. Look him up; you’ll recognize him.
It’s important also to note Mr. Goldsteinn’s link to the GoldeBriars, the California Sound (“Sunshine Pop”) act he co-produced shortly after leaving “Washington Square” behind. If you don’t know this Minneapolis folk act, you can see the GoldeBriars website and read their history, excellently set down by Arthur Wood in the Folkwax Ezine: Part 1 and Part 2. You can also purchase the ebook memoir of the GoldeBriars by singer Dotti Holmberg, with an introduction by the co-producer of their second and (unreleased) third albums, Bobb Goldsteinn.
Arthur Wood points out that the GoldeBriars put together the sound of a male lead with two female harmony parts before they met John Phillips. If you listen to the 1963 recording at the end of this post, you’ll see the shape the California Sound was taking three years before the first hits for the Mamas & the Papas.
Mr. Goldsteinn knows where that sound had its genesis: in the mind of GoldeBriar singer Curt Boettcher. As Mr. Goldsteinn writes in the introduction to Dotti Holmberg’s book, “As sublime as was Curt’s sense of musical composition, even his loveliest songs dimmed before the radiance of his greatest gift: The ability to arrange music for the pop voice in a way that had never before been heard out of heaven on earth. It is the sound of angels playing around in the air. It is the sound of “Cherish.”
Curt Boettcher’s spectacular production and arrangement work with the Association was complemented by his work for Tommy Roe, who called him “a genius with harmonies.” As if that weren’t enough, Brian Wilson told Bobb Goldsteinn in 1996 that he worshipped Curt’s arrangements for the human voice. Curt Boettcher, who now has a larger following than when he was a star, died in 1987 at age 43.
It’s worth mentioning as well that David Shire, who owns some of the writing credit for “Washington Square” in a peripheral way, has scored a number of films, including The Conversation, directed by his brother-in-law Francis Ford Coppola. Other credits include scores for All the President’s Men and 2010. He was married from 1970 to 1978 to Talia Shire, whose maiden name is Coppola. She played Yo, Adrian! in the Rocky films, which have a Philadelphia connection. There’s a Washington Square in Philadelphia, but the one referred to in the song is the Washington Square in Greenwich Village.
And that proves you can go a long way from “Washington Square,” but you always come right back to it.
Bobb Goldsteinn said the following, which sums up my reasons for putting this blog together:
“Thanks for the great job. I know history is written by the winners, but I think those winners have a responsibility to—at least—try to tell the truth.”
I found the lyrics to the song online, but I don’t know which source is original. I changed a couple of words to match up with the Ames Brothers’ recording, but I don’t know if the Brothers followed the sheet music. The final, unrecorded verse is in italics. More commentary and sound links after the lyrics:
WASHINGTON SQUARE
Bobb Goldsteinn and David Shire
From Cape Cod Light to the Mississip, to San Francisco Bay,
They're talking about this famous place, down Greenwich Village way.
They hootenanny all the time with folks from everywhere,
Come Sunday morning, rain or shine, right in Washington Square.
And so I got my banjo out, just sittin', catchin' dust,
And painted right across the case "Greenwich Village or Bust."
My folks were sad to see me go, but I got no meanin' there.
So I said "Goodbye, Kansas, Mo, and hello, Washington Square!"
Near Tennessee, I met a guy who played 12-string guitar.
He also had a mighty voice, not to mention a car.
Each time he hit those bluegrass chords, you sure smelled mountain air.
I said, "Don't waste it on the wind. Come on to Washington Square."
In New Orleans, we saw a gal a-walkin' with no shoes,
And from her throat there comes a growl. She sure was singin' the blues.
She sang for all humanity, this gal with the raven hair.
I said, "It's for the world to hear. C'mon to Washington Square."
We cannonballed into New York on good old US 1,
Till up ahead we saw the arch, a-gleamin' bright in the sun.
As far as all the eye could see, ten thousand folks were there,
And singin' in sweet harmony right in Washington Square.
So how's about a freedom song, or the old Rock Island Line?
Or how's about the Dust-Bowl crop, or men who work in a mine?
The songs and legends of our land is gold we all can share,
So come and join us folks who stand and sing in Washington Square.
Excellent stuff. And now I want to mention a point I made in my February post. I said I always associated “Washington Square” with Depression-era music. It turns out that the final verse mentions Depression issues. I have to wonder how it happened that I felt that connection.
Thanks for joining me on this odyssey into the hidden story of “Washington Square” and Bobb Goldsteinn. I loved going there, and I hope you enjoyed the ride. My thanks to Bobb Goldsteinn for sharing the information and trusting me to paraphrase accurately. I would have been glad to post his letter verbatim for the sake of accuracy.
A note about the music. I am including samples of the two Barry-Goldsteinn compositions, but I can’t bring myself to post “Tell It to the Wind” when it’s so readily available. I did include the Amazon link for a cheap mp3. The Ames Brothers version is not easily found; I got it from a Japanese site, and now you can hear what they did with it.
Snippet of “Tell It to the Wind”
Buy “Tell It to the Wind” at Amazon mp3 for 99 cents
Snippet of “Falling from Paradise” by Bobby Brown (not that Bobby Brown)
Ames Brothers, Washington Square
On February 15, I wrote about “Washington Square” by the Village Stompers. I mentioned how much I enjoyed the song, and that I heard it only at my grandparents’ house in Shoals, Indiana. I gave you some background on the song and its composer, Bobb Goldsteinn. Here is the link to that post: Washington Square.
Well, Bobb Goldsteinn wrote to me on Thursday. I almost made a double post for Friday, but I decided to add an extra post this week so I wouldn’t overload you on any particular day. Mr. Goldsteinn was kind enough to allow me to share the information with you, but I’m going light on actual quotes because he has a very juicy (in the historical sense) book in the works.
First of all, I would have looked very clever if I had noticed that Bobb Goldsteinn, writer of one of the iconic instrumentals of my childhood, wrote two excellent songs with another caithiseach icon, Jeff Barry. Those two songs are “Falling from Paradise,” recorded by “Bobby Brown,” and “Tell It to the Wind,” which was recorded by the GoldeBriars. More on them in a moment. I have also found a composition, “Unhappy Birthday,” credited to this pair by Warner Chappell Music, but a search on the BMI site says Jeff Barry’s co-writer on “Unhappy Birthday” is Bobby Goldsboro.
Mr. Goldsteinn was kind enough to say that the “blog entry on my song is wonderful, and most of your facts are accurate as I know them. Your few errors do little to change the important truths, and that's great.”
I certainly don’t want to change important truths, and I don’t have much interest in proliferating errors, either. We’re going to revisit the subject with help from this primary source, rather than the secondary sources that misled me a bit in the first place. If that makes me a solid secondary source, that suits me fine.
Bobb Goldsteinn, known then as Bobby Goldstein, held a staff songwriting position with Leiber-Stoller for a year, during which he collaborated with Jeff Barry on the two tunes I listed. Though he wrote “Washington Square” while he was in high school, he didn’t turn the tune in to Jerry Leiber because he had learned to be wary of what happened to songs created under contract.
“Washington Square” blends three musical genres: the folk intro, a taste of jazz after a key change, and the Dixieland climax. The Dixieland part was conceived by Joe Sherman, the producer, and Duke Niles, who published the song through Rayven Music, to kowtow to the Rule of Threes. While Bobb Goldsteinn had the first two aspects of the arrangement in mind when he brought the song to be recorded, Sherman and Niles seem to have claimed the whole concept for themselves.
The chart timing of “Washington Square” may have kept it from reaching #1. It climbed to #2 for the week ending November 23, 1963, but after the assassination of President Kennedy, “Dominique” by the Singing Nun shot from #9 to #2 for the week of November 30. The national consciousness was clearly seeking comfort, and it seems to have found it in a religious song by a Catholic nun. Another musical casualty of the murder was the career of Vaughn Meader, whose comedy LP The First Family sold 7.5 million copies before the assassination and about two copies afterwards.
There seems to be some mislaid credit for the recording of “Washington Square.” Joe Sherman used leading studio musicians for the recording, but they did not receive credit. Mr. Goldsteinn recalls two: Bucky Pizzarelli and Doc Goldberg. The group listed in the Whitburn books and mentioned in my February post were assembled by Duke Niles for a tour. Mr. Goldsteinn wanted to call the act the Saints of Bleecker Street, but Village Stompers prevailed. At least part of the touring group had worked as Frank Hubbell and the Hubcaps, and as the Village Stompers they recorded eight albums for Epic. In my original post I said they had recorded “a pair of albums.” That irks me, because I lost control of a fact I knew. Sorry about that.
As successful as “Washington Square” was in the United States, Mr. Goldsteinn is very fond of the people of Japan, who kept the song and its album at #1 for six months, setting a sales record that stood until Michael Jackson’s Thriller surpassed it. When you realize that the Beatles were on their way, and they never overtook “Washington Square” in Japan, you have to take a moment to let that sink in.
In February I read, but did not mention, that there are lyrics to “Washington Square.” Bobb Goldsteinn wrote them after his publisher, seeing how the song was climbing the charts, said that either Bobb or someone else would write a set of lyrics. The Ames brothers recorded the song (Epic 9630) in 1963, but it was after Ed left his brothers to pursue a Broadway career and do such silly things as toss a tomahawk at Johnny Carson on The Tonight Show. One problem that arose with the Ames version of the song was that the people at Columbia thought the final verse of the song, which was the climax of the message—just as the Dixieland arrangement was the climax of the instrumental—was “too Communistic.” And so, the Ames Brothers didn’t record the payoff verse, the 45 tanked, and the Ames Brothers were essentially finished. The song lyric didn’t gain any traction, either, thanks to the censorship.
I love it when the people associated with the songs I profile have back stories and connections to other projects. In my February post, I alluded to a few of Mr. Goldsteinn’s other accomplishments, but I didn’t go into them deeply. He shared more details, and they are fascinating, so I’m passing them on.
I said in February that he designed the zipper cover for the Rolling Stones LP Sticky Fingers. It turns out that, while the image wound up there, it was intended as the album cover for a different Warhol project.
Warhol’s film Lonesome Cowboys included (in the main version) a title song composed by Bobb Goldsteinn. Bobby Bloom (later to do significant work with Jeff Barry) sang lead, and Sissy Spacek sang backup. Mr. Goldsteinn describes the tune as a “sound sandwich.” (A song that shares both stylistic and temporal proximity is “MacArthur Park.”) The dance beat of “Lonesome Cowboys” was several years ahead of its time; the Donna Summer version of “MacArthur Park” would be a good example of a tune that played off this template.
Another credit associated with the song is the horn arrangement, which came from the mind of one Meco Menardo. The Pennsylvania-born Domenico Menardo went on to have a couple of hits of his own as Meco, including that Star Wars thingy.
I had read that Craig Braun, who designed the tongue/lips logo for the Rolling Stones, had translated Bobb Goldsteinn’s zippered-jeans idea to the Sticky Fingers cover, complete with working zipper. Mr. Goldsteinn designed the image without a real zipper, knowing what the metal would do to cardboard. Whoever translated it (and it seems not to be Craig Braun) created that record-store nightmare. As for Craig Braun, he won a Grammy for designing the Tommy package for the Who. He has appeared as an actor on ER, Law and Order and The Practice. Look him up; you’ll recognize him.
It’s important also to note Mr. Goldsteinn’s link to the GoldeBriars, the California Sound (“Sunshine Pop”) act he co-produced shortly after leaving “Washington Square” behind. If you don’t know this Minneapolis folk act, you can see the GoldeBriars website and read their history, excellently set down by Arthur Wood in the Folkwax Ezine: Part 1 and Part 2. You can also purchase the ebook memoir of the GoldeBriars by singer Dotti Holmberg, with an introduction by the co-producer of their second and (unreleased) third albums, Bobb Goldsteinn.
Arthur Wood points out that the GoldeBriars put together the sound of a male lead with two female harmony parts before they met John Phillips. If you listen to the 1963 recording at the end of this post, you’ll see the shape the California Sound was taking three years before the first hits for the Mamas & the Papas.
Mr. Goldsteinn knows where that sound had its genesis: in the mind of GoldeBriar singer Curt Boettcher. As Mr. Goldsteinn writes in the introduction to Dotti Holmberg’s book, “As sublime as was Curt’s sense of musical composition, even his loveliest songs dimmed before the radiance of his greatest gift: The ability to arrange music for the pop voice in a way that had never before been heard out of heaven on earth. It is the sound of angels playing around in the air. It is the sound of “Cherish.”
Curt Boettcher’s spectacular production and arrangement work with the Association was complemented by his work for Tommy Roe, who called him “a genius with harmonies.” As if that weren’t enough, Brian Wilson told Bobb Goldsteinn in 1996 that he worshipped Curt’s arrangements for the human voice. Curt Boettcher, who now has a larger following than when he was a star, died in 1987 at age 43.
It’s worth mentioning as well that David Shire, who owns some of the writing credit for “Washington Square” in a peripheral way, has scored a number of films, including The Conversation, directed by his brother-in-law Francis Ford Coppola. Other credits include scores for All the President’s Men and 2010. He was married from 1970 to 1978 to Talia Shire, whose maiden name is Coppola. She played Yo, Adrian! in the Rocky films, which have a Philadelphia connection. There’s a Washington Square in Philadelphia, but the one referred to in the song is the Washington Square in Greenwich Village.
And that proves you can go a long way from “Washington Square,” but you always come right back to it.
Bobb Goldsteinn said the following, which sums up my reasons for putting this blog together:
“Thanks for the great job. I know history is written by the winners, but I think those winners have a responsibility to—at least—try to tell the truth.”
I found the lyrics to the song online, but I don’t know which source is original. I changed a couple of words to match up with the Ames Brothers’ recording, but I don’t know if the Brothers followed the sheet music. The final, unrecorded verse is in italics. More commentary and sound links after the lyrics:
WASHINGTON SQUARE
Bobb Goldsteinn and David Shire
From Cape Cod Light to the Mississip, to San Francisco Bay,
They're talking about this famous place, down Greenwich Village way.
They hootenanny all the time with folks from everywhere,
Come Sunday morning, rain or shine, right in Washington Square.
And so I got my banjo out, just sittin', catchin' dust,
And painted right across the case "Greenwich Village or Bust."
My folks were sad to see me go, but I got no meanin' there.
So I said "Goodbye, Kansas, Mo, and hello, Washington Square!"
Near Tennessee, I met a guy who played 12-string guitar.
He also had a mighty voice, not to mention a car.
Each time he hit those bluegrass chords, you sure smelled mountain air.
I said, "Don't waste it on the wind. Come on to Washington Square."
In New Orleans, we saw a gal a-walkin' with no shoes,
And from her throat there comes a growl. She sure was singin' the blues.
She sang for all humanity, this gal with the raven hair.
I said, "It's for the world to hear. C'mon to Washington Square."
We cannonballed into New York on good old US 1,
Till up ahead we saw the arch, a-gleamin' bright in the sun.
As far as all the eye could see, ten thousand folks were there,
And singin' in sweet harmony right in Washington Square.
So how's about a freedom song, or the old Rock Island Line?
Or how's about the Dust-Bowl crop, or men who work in a mine?
The songs and legends of our land is gold we all can share,
So come and join us folks who stand and sing in Washington Square.
Excellent stuff. And now I want to mention a point I made in my February post. I said I always associated “Washington Square” with Depression-era music. It turns out that the final verse mentions Depression issues. I have to wonder how it happened that I felt that connection.
Thanks for joining me on this odyssey into the hidden story of “Washington Square” and Bobb Goldsteinn. I loved going there, and I hope you enjoyed the ride. My thanks to Bobb Goldsteinn for sharing the information and trusting me to paraphrase accurately. I would have been glad to post his letter verbatim for the sake of accuracy.
A note about the music. I am including samples of the two Barry-Goldsteinn compositions, but I can’t bring myself to post “Tell It to the Wind” when it’s so readily available. I did include the Amazon link for a cheap mp3. The Ames Brothers version is not easily found; I got it from a Japanese site, and now you can hear what they did with it.
Snippet of “Tell It to the Wind”
Buy “Tell It to the Wind” at Amazon mp3 for 99 cents
Snippet of “Falling from Paradise” by Bobby Brown (not that Bobby Brown)
Ames Brothers, Washington Square
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