The E-Types - Introducing...The E-Types (1965-1966)

The E-Types - Live At The Rainbow Ballroom (1966)

The Easybeats - Easy (1966) 1st LP

The Executives - Anthology 1966-1969 (2CD) Plus

Butch Engle & The Styx - No Matter What You Say (1964-67)

Butch Engle & the Styx were a very minor mid-'60s San Francisco Bay Area band that issued just three singles (the first, in 1964, under the name the Showmen). They played moody garage-folk-rock with a similarity to the Beau Brummels that was not coincidence: all of their material, except for the Showmen single, was written or co-written by Ron Elliott of the Beau Brummels. the Beau Brummels were a fine group, and Elliott was an excellent songwriter. But the compositions Butch Engle & the Styx were granted access to were weak by Elliott's own high standards and in fact were basically leftovers that were not deemed strong enough for the Beau Brummels to record. As Engle himself recalled in the liner notes to The Best of Butch Engle & the Styx: No Matter What You Say, "Ron, Sly Stewart, [and Autumn record executives] Tom Donahue and Bobby Mitchell would choose which songs would go on [a Beau Brummels] album, and then we could take what we wanted from whatever was left."

Butch Engle & the Styx released just two singles under that name and broke up in 1968. Both sides of those two singles, along with both sides of the Showmen single and almost a dozen previously unissued cuts, were issued by Sundazed on The Best of Butch Engle & the Styx: No Matter What You Say in 2000.

 

 

This has a pretty funny title, considering that the group only put out three singles (one of them under a different name) and never had anything close to a hit. A better title might have been "The Entirety of Butch Engle & the Styx," since it's difficult to imagine that any more material could have been retrieved than appears on this CD. In addition to both sides of the three singles (the first done in 1964 when they were still called the Showmen), this also includes 11 previously unreleased tracks, including some alternatives and multiples. The unwary might initially dismiss this as a subpar, more garagey Beau Brummels, a comparison that becomes even more valid upon the discovery that Beau Brummels songwriter Ron Elliott wrote or co-wrote everything except the Showmen single. To be brutal, Elliott was wise to cast off most of these instead of recording them with the Beau Brummels. The songs just aren't nearly on the level of his usually excellent efforts for his own band, although they have some similar trademarks (particularly the minor-based melodies and moodiness). Butch Engle & the Styx were lesser musicians and singers than the Beau Brummels, too, although they were OK, adding some cheesy garage organ that you'd never find on Beau Brummels sessions. "Hey, I'm Lost," which was one of the singles (and appears along with two alternate versions of the same tune), was just about their best moment: a charging, slightly ominous and doubtful number with good vocal harmonies. This is certainly worth getting for major fans of the Beau Brummels, as none of these songs were actually recorded by that group. As a '60s garage record, though, No Matter What You Say is average, even unremarkable.

 

text

Danny Everett - Indo Dreams

 

 

http://www.mijnbestand.nl/Bestand-XZ6R6X88E6SX.rar

Clint Eastwood - Rawhide's Clint Eastwood Sings Cowboy Favorites (1962)

 

With the rusty door-hinge of a voice he possesses today, it's hard to imagine a time when Clint Eastwood could have been groomed as a singing star, but in the early ‘60s, when he came to fame as the rebellious Rowdy in the hit Western TV series Rawhide, it wasn't such a crazy idea. In 1963, playing off the popularity of the show, Cameo-Parkway released an album featuring Eastwood's versions of classic cowboy-style tunes. While Eastwood is admittedly not an exceptional vocalist, he's not at all bad; this is by no means some Golden Throats-style celebrity train wreck. At the time, there were plenty of equally photogenic young men with no greater vocal ability than Eastwood being promoted as country singers, many with less of an actual musical background than the jazz-schooled actor. Eastwood's soft, somewhat laconic croon might not possess the commanding quality that was de rigueur for the era's country stars, but he never strays off-key, and his style is a kind of cross between legendary cowboy singer Roy Rogers and Dean Martin. Most of the tunes he tackles here were already well-known in hit versions by other artists -- the Sons of the Pioneers' "Tumbling Tumbleweeds," Bob Wills' "San Antonio Rose," Gene Autry's "Mexicali Rose," etc. The loping rhythms, lonesome harmonica, lazy guitar licks, and male backing-vocal choruses are all in keeping with the production conventions of the day for cowboy artists. A couple of non-LP singles sweeten the pot, including the written-to-order "Rowdy," intended as a sort of theme song for Eastwood's Rawhide character. While Cowboy Favorites didn't make Eastwood a C&W star, it wasn't his country music swan song -- years later he would record with Merle Haggard and sing in the films Paint Your Wagon and Honky Tonk Man. 

 1. Bouquet Of Roses (02:41)
2. Santa Fe Trail (02:48)
3. The Round-Up (02:53)
4. Sierra Nevada (02:52)
5. Mexicali Rose (02:59)
6. Searching For Someone To Love (02:56)
7. I'll Love You More (02:29)
8. Tumbling Tumbleweeds (02:50)
9. Twilight On The Trail (02:56)
10. San Antonio Rose (02:29)
11. Don't Fence Me In (02:37)
12. Are You Satisfied (02:21)

http://www.clinteastwood.net/cowboyfavorites/

Edwards Hand - Edwards Hand (1969)

Rod Edwards: vocals and keyboards

Roger Hand: vocals and acoustic guitar

Drums: Barry Morgan, Ronnie Verrall, Clem Cattini

String Bass: Danny Thompson

Bass: Herbie Flowers, Mo Foster, Brian Hodges

Guitars: Vic Flick, Big Jim Sullivan, Colin Green, Alan Parker

Keyboards: Nicky Hopkins, Roger Coulam, Alan Hawkshaw, Mike Moran

Organ: Harry Stoneham

Because Edwards Hand were one of the few pop/rock acts other than the Beatles who were produced by George Martin in the late 1960s, their obscure self-titled debut album has generated some rough comparisons to the Beatles' own work. It's true that the harmonies, melodies, and orchestrations bear some similarity to those heard on the very most pop-oriented of the Beatles' productions, though in truth there's a stronger resemblance to the ornate pop-psychedelia of the late-'60s Bee Gees. Throwing those names into the hat so quickly, though, is a little misleading and might spark hopes for a buried treasure that's better than it is. For the actual songs are certainly coyer and more saccharine than the compositions of the Beatles, and even make the Bee Gees' late-'60s stuff sound melancholy and a little hard-edged. It's more something of a combination of Beatles/Bee Gees-lite with poppier, soaring, sometimes fruity orchestral arrangements -- most likely Martin's strongest contribution to the record -- and more of a middle of the road/sunshine pop/toytown psychedelic influence than the Bee Gees (and certainly the Beatles) admitted. Certainly some of the lyrics make one blanch a bit on the printed page, with their fey references to picture books, kings and queens, bringing flowers in the morning, walking down London's Charing Cross Road, magic cars, and the like. If you like those elements, of course, there are things to enjoy about this record. It has reasonably catchy though not stunning melodies, good duo vocal harmonies, and an ambience that captures something of the most innocuous side of the Swinging London/flower power era. It does sound best, however, when it gets most serious and Bee Gees-like, "If I Thought You'd Ever Change Your Mind" and "Orange Peel" being two examples.

Группа была сформирована в Лондоне в 1967 году как Picadilly Line и выпустила в 1968 году альбом The Huge World of Emily Small  Альбом не получил большой известности, и хотя в группе начали свой творческий путь известные в будущем музыканты Danny Thompson, Alan Hawkshaw, Jan Barber, Herbie Flowers и Harold McNair, группа распалась. Её основатели Rod Edwards и Roger Hand собрали новый состав (это был первый более-менее стабильный состав в котором появился John Wetton). Самым впечатляющим в группе было даже не их творчество, а то что они были одной из немногих в то время групп с которой работал сам George Martin. Причём работать с ними он начал в перерывах записи White Album The Beatles. Первый альбом вышел в 1969 году и был благожелательно встречен и публикой и критикой. Естественно в отзывах присутствовало сравнение с Beatles мелодизмом, оркестровыми аранжировками, но местами музыка была более похожа на поп-психоделию Bee Gees конца 60-х. Джордж Мартин продюсировал и последние два альбома группы. Все творчество группы пришлось как раз на закат эры flower power.В середине 70-х группа прекратила свое существование после многочисленных смен состава. Одновременно с работой в EDWARDS HAND Rod Edwards работал с Jade, Gordon Giltrap, Ashman Reynolds. Hand и Edwards вместе с Jon Miller основали продюсерскую компанию Triumvirate Productions, которая работала со многими артистами. И если Hand переключился полностью на продюсерскую деятельность, то Edwards продолжал играть с Gordon Giltrap и другими музыкантами, а также писал мюзиклы.

http://en.wikipedia.org/wiki/Edwards_Hand