Singer-songwriter Crowell�s latest is a festival of self-absorption, from his banal musings on sex set to near-melody-free tunes to producer Joe Henry�s relentlessly wheezy, plinkety-plunk backgrounds. Instead of blasting Crowell out of his funk, Henry coddles him with disastrous results. �Sex and Gasoline� isn�t so much lousy as it is boring - by far the greater sin. Download: �Funky and the Farm Boy.�
 Artist: Dean Carter: mp3 download Genre(s): Other Dean Carter's discography:  Call Of The Wild! Year: 2002 Tracks: 28 Dean Carter was a true oddness of '60s rock and roll. He was a singer-guitarist with the heart and practically of the sound of a '50s rockabilly wildman, still recorded medicine that updated that rockabilly tone with '60s garage tilt and dashes of soul, and regular a bit of psychedelia here and there. Carter didn't put out a whole force of records in the '60s, and those he did monastic order out were heard by few. Yet one of those singles in particular, 1967's "Clink Rock"/"Rebel Woman" (on the small Milky Way judge), is highly precious by '60s service department collectors, fifty-fifty if its rockabilly influence made it a slight anachronic. Carter too did a good trade of unreleased roger Huntington Sessions of considerable quality, whether he was acting relatively straight rockabilly or his freakier crossbreed of rockabilly with late-'60s sounds. Much material from those roger Huntington Sessions came to light on the all right Big Beat 2002 CD tone of voice ending Call of the Wild! Carter was born Arlie Neaville and began performing rockabilly in the late fifties in Champaign, Illinois, where he remained based for practically of the 1960s. He recorded for the Ping label in 1961 under his real appoint, on the more than accomplished 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 stripe the Lucky Ones, started a home studio in Danville, Illinois to record both Carter and other musicians. The couple as well ran the small Milky Way label, which released product by Carter and others. At times the roger Huntington Sessions got pretty strange even by garage stone standards, with uke, piano accordion, dobro, and clarinet all heard in addition to the usual crunchy guitars on his hideous get over of Elvis Presley's "Jailhouse Rock." Carter went to the West Coast for a patch in the late 1960s, recording a duad of singles in Washington State with Gene Vincent guitar player Jerry Merritt, for Merritt's Tell International label. He returned to the Midwest by the end of the decennium to resume recording with Miller, and went back to billing himself as Arlie Neaville on record. By the early 1970s he went into evangel music, where he's remained ever so since. |
