Although little continues to be released under Carleton’s name — and absolutely nothing of his continues to be widely distributed — he’s made the right pop/rock and played a notable role in the annals of Cleveland rock. Within the middle-’60s he was tempo guitarist and regular songwriter for the Shed Souls, an eclectic English Invasion-styled Cleveland group that produced some great, little-heard recordings (discover separate admittance) of both Best 40-valuable, catchy mod-rockers and odd experimental tunes. Following the Shed Souls divide, Carleton briefly became a member of the Choir, another semi-legendary Cleveland pop-mod clothing that would source future members from the Raspberries. The ’70s noticed stints with artier works like Moses, Dairy (who performed Tiny Tim medleys and first tracks like “Eat the Popular Dog Go Obtain Sick Afterwards”), and Internal City (including Meat Loaf’s upcoming lead vocalist). He also performed in (but didn’t record with) among Cleveland’s first brand-new wave rings, the Pagans, penning among their best-known tracks, “Boy MAY I Dance Great.” Carleton was under no circumstances quite in a position to look for a marketable middle surface between his direct pop leanings and his experimental dreams, but continued plugging within the ’80s, developing a cassette label, Green Light, to deliver his recordings (including archival compilations from the Lost Souls as well as the Choir). The most known of these, undoubtedly, was 1985’s Color with Crayons, an extended suite-like collage of scraps of supremely catchy pop tracks blended with experimental sound files, performed on both guitars along with a primitive Casio. It had been unidentified beyond the underground, and also there, its influence was tied to its pretty primitive production beliefs. But it continues to be an inspired interacting with from the avant-garde and natural pop, and something from the few rock and roll bits of its time and energy to so effectively combine available melodicism and cut-up experimentalism.