DEAN CARTER vs STUD COLE [60’s Garage/Psychobilly/Blues]

Dean Carter - Call Of The Wild !!

”Dean Carter was a true oddity of ’60s rock. He was a singer-guitarist with the heart and much of the sound of a ’50s rockabilly wildman, yet he recorded music that updated that rockabilly spirit with ’60s garage rock and dashes of soul, and even a bit of psychedelia here and there. Carter didn’t put out a whole lot of records in the ’60s, and those he did put out were heard by few. Yet one of those singles in particular, 1967’s “Jailhouse Rock”/”Rebel Woman” (on the small Milky Way label), is highly valued by ’60s garage collectors, even if its rockabilly influence made it a little anachronistic. Carter also did a good deal of unreleased sessions of considerable quality, whether he was playing relatively straight rockabilly or his freakier hybrid of rockabilly with late-’60s sounds. Much material from those sessions came to light on the fine Big Beat 2002 CD release Call of the Wild.

Dean Carter

Carter was born Arlie Neaville and began playing rockabilly in the late ’50s in Champaign, IL, where he remained based for much of the ’60s. He recorded for the Ping label in 1961 under his real name, on the more established Fraternity label in 1962 as Arlie Nevil, and then for Limelight as Dean Carter in 1964. That same year, he and Arlie Miller, a member of his band the Lucky Ones, started a home studio in Danville, IL to record both Carter and other musicians. The pair also ran the small Milky Way label, which released product by Carter and others. At times the sessions got pretty strange even by garage rock standards, with ukulele, accordion, dobro, and clarinet all heard in addition to the usual crunchy guitars on his outrageous cover of Elvis Presley’s “Jailhouse Rock.”

Dean Carter - Wild!

Carter went to the West Coast for a while in the late ’60s, recording a couple of singles in Washington State with Gene Vincent guitarist Jerry Merritt, for Merritt’s Tell International label. He returned to the Midwest at the end of the decade to resume recording with Miller, and went back to billing himself as Arlie Neaville on record. In the early ’70s, he went into gospel music, where he’s remained ever since.” [allmusic]

 

Stud Cole

”He’s been described as “Jack Starr meets Johnny Kidd”, “a lysergic Conway Twitty” and “Elvis fronting the ’66 Yardbirds” but mere words can’t truly describe the unique sounds of the late, great Stud Cole!”

””The late, great Stud Cole’s 1968 promo only LP (only 100 copies made in 1968) with five bonus cuts gives Los Angeles’ ultimate loner icon a fitting tribute as his memory is perceived in the digital age. Starting off with the title track, Cole’s Burn Baby Burn sounds timeless, a welcomed escape from the modern glut of over produced, emotion-deprived recordings. Cole’s fusion of 60’s rock and gritty country still sounds years ahead of its time, his seductive singing style alluring, its tough boy approach fitting for the rock and country he creates.” [Alex Steininger]

”Lounge flavored garage, with rock-a-billy influences, Elvis-like vocals, and fuzz guitar, all over blues/psych mat’l. This is one unusual album, originally issued as a demo only in 1968. The artist’s real name was Pat Tirone, and he was a bartender from L.A.”

 

 

What to say about those two wyldmen weirdos of Rock’n’Roll? It’s a double dose of 60’s garage, r-billy/blues/psych lunacy and mayhem the way it shoulda be… or what? Anyways, I’ve already have posted these real cool cats, two wacko garage surfadelic favs and I do it again. If you like acts as Hasil Adkins and The Cramps this is for you. And yeah, check this one too – Kookie Cook [a friend of Dean Carter] Burn Baby Burn!

 

 

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!!! KOOKIE COOK !!! [60’s Wacko Garage]

“Kookie Cook, second only to Dean Carter as a rock screamer of no small dementia, was a drummer and played in local bands with Carter and Miller, before cutting a bizarre version of Roy Orbison’s Sun-era rocker Ooby Dooby in late 1965. The following year he returned to Midnite Sound to lay down a batch of self-penned material brimming with feverish excitement and reckless abandon, every song punctuated by thumping drums, piercing guitar and tortured screams. One listen to stupendous selections like Workin’ Man, Misery and the bloodcurdling Revenge should make a gibbering convert of any non-believer.”

And finally, after all these years of straight pop rock, comes a time to post some really wacko garage stuff. Sometimes in the mid 60’s KOOKIE COOK [as he was known to his friends & family :-)] takes a hostage at ‘The Midnite Sound” studio in Danville, Illinois, to record what [he was thinking] should-a-be a string of hits to shook the world. Well, if you have close relations with Dean Carter [studio owner and founder of Milky Way Records, famed for the crazy cover of “Jailhouse Rock”] everything’s possible right!…or maybe no.
Now seriously, this here is some real COOL & CRAZY [serial killer garage!] shit that reminds me on some of the wildest sides of Hasil Adkins & Dean Carter, so don’t be square ‘n dig! You’ll thank me later. And remember… Don’t Lie To Meeee!!! Dig!!!
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“Measuring the songs in terms of their manic value, Kookie Cook’s “Revenge” has to be combing the lunatic fringe while his instrumental “Space Monster” is just a crazed jam punctuated by screams and alien voices. How everyone managed to get through the latter without bursting into hysterics or ending up in a straitjacket is forever lost in the mists of a very loopy time. And the way he beats the hell out of the eponymous instrument on closer “Drums” makes me question the common sense of anyone living in close proximity to the studio.”
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