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!

 

 

HE5 & HE6 [South Korean 60s Psych/Fuzz Instros]

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HE5 & HE6 [he5 evolved in he6] were most popular groups in South Korea at 60s and 70s. Their three lps from ’69/’71 are all instro slabs full of psychedelic wah/fuzzed-out instros & funky jams. Interesting is their cover of “In-A-Gadda-Da-Vida” on “Merry Christmas” lp. Don’t get me wrong, I hate world music but this is pretty cool. Let’s dance to the South Korean Go Go Sound !!!

 

 

 

 

 

HEN’S TEETH Vol.1-3 [Rare 60’s UK Freakbeat/Psych]

 

Interesting 90’s comp. series of some obscure UK 60’s groups singles and acetates. Styles ranged from beat, mod to garage frekbeat and psych. If you like comps as The Perfumed Garden, Rubble, Purple Heart Surgery, Electric Sugarcube Flashbacks and such, than this is fer ya. Say… Dig!!!

 

 

 

 

 

PRETTY – ‘Mustache In Your Face’ Ep [’69 Garage/Psych]

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“Recorded in an actual cave in western Missouri, the quartet formerly known as the Fabulous Four emerged from the depths in 1969 with an album’s worth of wasted psychedelia. Helmed by the Electric Prunes’ Michael Quint, the session produced one promo-only 45, bearing the truly un-pretty Squeakie label—a madman’s face in red-on-white, howling out of the spindle hole. The songs blend backwards guitar lines, Flamenco runs, triple-tracked vocals, heavy distortion, handclaps, key vamps, a Stones rip, and extremely absurd lyrical content.”

Fuuzzzzz… oh YEAH! Killer 4 trax double 7″ of fuzzed out garage/psych dementia by this Kansas City club band will fry your brain as a handful of LSD. Welcome to the world of fuzz & acid,  Take It!

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ELECTRICK LOOSERS vol. 1-3 [Prae-Kraut 60’s Frekbeat/Psych]

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Achtung Baby! This here is a real cool 3cd edition of the ‘Prae-Kraut Pandaemonium’ lp’s compilation of mostly German 60’s garage/beat/psych groups [there are few UK, Swiss, Austrian and Sweden bands], and probably some of you are already familiar with the stuff but WTF. I can’t always come with somethin’ nobody knows 🙂 So here’s a deal… You better dig alright!

 

 

FREAKING BONEHEADS !!![Rare 70’s Garage/Hard Rock]

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“14 Ferocious Crunchers and Visceral Heavy Thudders Excavated from the Doldrums of the North American Suburban Wilderness”

So we are  finally back under the Bonehead banner still crunching and ultimate but no longer bound to any notion of a future series. We have come not only to praise Bonehead but to bury it at the same time. Herein you will  find an abundance of heavy Psych monstrosities, numbskull shredders and dastardly inducements to follow Satan or in once instance, his direct opposite… It’s loud, proud and hopefully great fun to enjoy while you attempt to keep control of your bladder functions.

Even more Boneheads at Surfadelic. Anarcho satanic garage hard rock/psych on limited 300 vinyl. For fans of Blue Cheer and others. Sick shit. Say… Dig !!!

THE GURUS – Are Hear! [US 60’s Garage]

The Gurus Are Hear!

The Gurus Are Hear! was actually advertised in Billboard and Cashbox in 1967, but the album was canceled only a few weeks before its projected release. More than 35 years later, it finally emerged as this Sundazed CD, augmented naturally by five bonus cuts. So is it just as mysterious and exotic as psychedelic collectors suspected? Not exactly, but it’s a pretty interesting if slightly contrived and kitschy hybrid of psychedelic rock and Middle Eastern music. As it turns out, the best of their demented anguished-psychedelia-in-a-falafel-restaurant-bellydancing-room had already been issued on their two singles (both sides of which are included on the album). From those 45s, “Come Girl,” “Blue Snow Night,” and “Everybody’s Got to Be Alone Sometime” are genuinely fine and rather ahead-of-their-time songs. Singer John Lieto howls like a pained cantor while the band plays psychedelia fit for a harem, with oud trills, raga-rock electric guitar, bent notes, and tortured minor keys aplenty, though not bereft of some garage rock energy and hooks. The other songs aren’t quite up to that level, aren’t terribly varied, and are sometimes quite a bit more pop-oriented and normal-sounding, with “Contact” penned by the Bonner-Gordon team of “Happy Together” fame. But not all of those extra cuts are unmemorable, the band totally overhauling “Louie Louie” into a dervish-swirling dance that must rank as one of the weirdest covers of this covered-to-death song. And you’ve gotta love a song (“Shaker Life”) with the line “Come life eternal, shake it out of me, all that is carnal,” set to a tune and beat like “Twist and Shout” gone to temple. The less essential bonus tracks include another Bonner-Gordon tune, “They All Got Carried Away,” and alternate versions (one of them wholly instrumental) of four songs from the album. [AllMusic Review by Richie Unterberge]

”This cd basically rocks from start to finish but there are a couple of throwaways. The ones that aren’t strong are the more polished mainstream pop efforts which don’t bare much of a resemblance to their sound. But otherwise this band had a very innovative and interesting early psychedelic sound, which occasionally reminds me of The Music Machine. Their sound is characterized by banging bongos, fuzzed out guitar solos, Yelping vocals, strange middle-eastern instruments, and a hypnotizing overall vibe. THis is a nice breath of fresh air for all you garage/psych heads that have already bought everything else from 66-69. enjoy!” [Amazon Customer Reviews]

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SOUL, INC. [US 60’s Garage]

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”The Louisville, Kentucky band which released 7 great 45s between 1966-1969 which just ring out with great fuzz guitar, Hammond Organ, Mellotrons, and hard-driving vocals. 20 tracks including unreleased material and a great Psychedelic sampler track from their later incarnation The Elysian Field. They take a tour named ”caravan of stars tour” with The Byrds, We Five, Paul Revere & The Raiders and Bo Diddly.”

”Soul. Inc, although displaying a magnitude of soul influences, diverged into practically every other mid-60s genre. Their name was not entirely apt! The 20 featured tracks trace the Louisville band’s musical journey from 1965 until ’69 via a number of 45s released on local labels, alternate takes and previously unreleased songs. “Stronger Than Dirt” (later covered by fellow garage bands the Daybreakers and Us Four) is a fuzz laden tune, with a soul tinged verse, a wild solo, pounding drums and a comical lyric, apparently inspired by an Ajax advert from the TV. Danceable 60s garage punk just doesn’t come any better! A few months later when the Byrds startled every young band with “Eight Miles High” Soul Inc’s reaction was to write “60 Miles High” on which they nearly managed to achieve the psychedelic zest of the Byrds. “UFO” which is so influenced by Dylan that it might as well be fellow imitators Mouse & The Traps, is another excellent example of garage band parody. The magnificent moog segment is uncannily like the whacky sounds on the Osmond’s hit “Crazy Horses”. Soul Inc an influence on the Osmonds? Maybe! Finally, the later proto-punk number “I Hate You” blends hard rock fret abuse with nihilistic singing. By the end of the decade the soul influence had completely gone.” [Jon ‘Mojo’ Mills]

SOUL

Ultimate Bonehead! vol.3&4

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Yeah right, you’re not hallucinate, your wildest, wettest dream is commin’ true. Here are more Boneheads for yer ever hungry hard rockin’ soul. They just keep gettin’ better and better. Brutalising heavy garage proto-punk fever across USA ’69-76. Ripped from very limited [only 300] vinyl just fer ya. It’s Ultimate, Dig!!!

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Ultimate Bonehead vol.1&2 [USA Biker Hard-Rock Garage 1969-76]

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Hot Damn! Here are more REAL COOL garage-biker-hard-rockin’ boogie fuzzed-up loosers, in the same vein as ”Bonehead Crunchers”. Prepare yourself for more rare late 60’s/mid 70’s fuzz-munchin’, teeth-gnashing workouts from USA. If you dig stuff like Ron Asheton’s New Order, MC 5 or Blue Cheer, this is fer ya. Ripped from very limited vinyl elpees. Hard & Heavy, get down ‘n’ Dig!!!

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