History's Dumpster = GLORIOUS trash! Kitsch, music, fashion, food, history, ephemera, and other memorable and forgotten, famous and infamous pop culture junk and oddities of yesterday and today. Saved from the landfill of time...
If there was one set of producers, one band and one song you would have absolutely never made any connection with whatsoever in 1988, it's Stock, Aitken & Waterman, Judas Priest and The Stylistics 1971 hit "You Are Everything".
For those not aware of Stock, Aitken & Waterman, they were the legendary '80s producers of similar sounding UK pop hits-by-numbers. Including Bananarama, Kim Wilde, Rick Astley, Kylie Minogue and Sonia
You couldn't get any more polar opposite musically if you tried. To say nothing of a heavy metal cover version of a '70s soul masterpiece.
But although these are fragments of an unreleased demo, this is actually pretty damn good. Judas Priest did it right. Faithful to the Stylistics original (you don't want to screw with a classic.) But carefully arranged for a metal power ballad.
SA&W kept the drum machines and synthesizers in check. They knew what song this was and what band they were dealing with. The band also recorded some also as yet unreleased original songs from this session. But the band says it's unlikely the whole songs will surface
Judas Priest guitarist Glenn Tipton also recorded guitar solos for a Stock, Aitken & Waterman produced artist, Samantha Fox, and was credited on her 1991 track "Spirit of America".
Read more about it in the Blabbermouth article here.
This CD was from the Mount Vernon City Library (WA) and particularly strange because these recordings aren't even from Lionel Richie at all. The singer(s) don't even sound close to Lionel Richie. Or Diana Ross on "Endless Love".
It was released in 1993 not on Motown (Lionel Richie's home label during his '80s hit making streak), but on something called Starnice. That was the first warning sign, along with the crummy, non-descript packaging.
A Googling of Starnice reveals it to be a Hong Kong based label with other titles of presumably similar knock-off material of other acts. Regardless, the CD is a fake and not worth anyone's money unless you like really bad anonymous karaoke covers better than original hit recordings (which I'm presuming most of you don't.)
I'm also sure this wasn't intended for sale in the U.S. where recordings like this are illegal to sell unless they are marked as not the original performer on the packaging. This is how these recordings otherwise get sold in America, as worthless anonymous "tribute" albums. I can't believe there's an entire bastard subset of the music industry dedicated to this crap (I once broke off a budding relationship with someone over the fact that she bought a Glee CD - no joke.) But this disc is a flat out fraud. It promises Lionel Richie, but gives you not one, but two and possibly three, maybe even four schmucks with detectable Chinese accents.
This disc starts out with an anemic cover of "Say You Say Me", bungled up lyrics in "Hello" ("I've been alone with you inside my head".) It's just droning electronic keyboards and lame attempts at sounding like Lionel Richie.
And since it is a cheap, chintzy knockoff, I've included it for your masochistic pleasure. But most of you probably would rather have a tax audit instead of hearing this garbage.
For those of you who love those old budget label Christmas records (the kind your parents randomly picked up at the drug store just as something different to play on the stereo around the holidays.) I have a tub of pure Cheez-Whiz for you today.
In the 1950s and well into the '80s, It wasn't uncommon to see racks of super cheap anonymous Christmas records in your local drug store or supermarket selling for anything from 88 cents to $1.98. A cheap "impulse" thing you bought when your Christmas spirit was high, but money was tight. This made an even balance. You got your gifts and wrappings, ornaments for the tree, a quart of dairy egg nog and...Wait...I gotta have tunes!
And there they were. Conveniently close to the check-out stands for ridiculously low prices. Problem. Solved. Granted, it was "mystery music". But who knows?
Sometimes these records became family heirlooms, others donated to the thrift shops. But there's always been a soft spot for those over 40 who can still remember seeing these records at drug and discount stores.
And a very special thanks to Kaiwaza for finding some of these aural samples.
"Christmas With The Caroleers" The Caroleers (Promenade/Diplomat/Spin-O-Rama, 1963)
First, let's get started with the biggest known of the budget label acts (and absolutely mandatory in any collection of cheapo vinyl); The Caroleers.
As mentioned here, "The Caroleers" weren't technically an actual group. Although some Caroleers tracks have the same vocalists, it appears to be the generic umbrella name for anonymous holiday material from Synthetic Plastics Company (famous for their Peter Pan label of cheap kids records) and their various subsidiary labels regardless of the actual performer. Many of the same songs also appear across several Caroleers LPs on the various Peter Pan/SPC label LPs, 45s and EPs in the 1960s.
Putting names and faces to this music is next to impossible. SPC/Peter Pan (as well all the other budget labels) only paid their studio performers a flat rate with no royalties. They rarely had credits for anyone.
But in my research last week, I made a major breakthrough. I found one actual person that not only appeared on some Caroleers tracks, but could very well be the mysteriously female sounding voice on the "Nuttin' For Christmas" song I wrote about a few weeks ago that was credited to Bobby Stewart as well.
Her name was Toby Deane, a comedienne and voice actress. Bob Purse has an excellent post on Toby's career on his blog, The Wonderful and the Obscure. Toby Deane recorded for Peter Pan/SPC label records and various other budget labels from the 1950s to the 1970s. Her voice is believed to be on several hundred children's records.
And the Eddie Maynard Orchestra. But once again, I run into the same dead ends in my research while looking for Eddie. All that is known is they appear across several Peter Pan/SPC label albums and their holiday music appears on LPs credited to The Caroleers.
Santa Claus Is Coming To Town The Caroleers (Diplomat/Tinkerbell, 1970)
With
the release of this album, the sound of The Caroleers radically
changed. No more old recycled tracks, here was a
Caroleers album of mostly actual original material. Sung by Toby Deane and Ray Dorey. A pop vocalist who, like Toby Deane, also performed with Benny Goodman's Orchestra in the 1940s. Ray was also a fixture on Boston area on radio and TV in the 1950s and in later years, recorded chidren's records and other material for Peter Pan/SPC.
It
sounds more cohesive than other Caroleers albums in that it wasn't a
grab bag of whatever was in the SPC/Peter Pan vaults and that it was single group in a session specifically for this album.
Christmas Is For Children; Merry Favorites from Santa's Little Helpers (Design Records DLPX-2, 1957)
Toby Deanealso appears on this album. In fact, many of the Caroleer vocalists from the Peter Pan/SPC labels appear on this Pickwick distributed LP. It appears there were no exclusive contracts to the budget labels, as these performers seemed to appear on nearly all of them.
Design
Records was Pickwick's subsidiary label. They're best known today as
where Lou Reed got his first break in the music industry as a staff
songwriter and recording as session musician and occasional vocalist
with some musicians who would later form The Velvet Underground. While
most of Design's output was knockoff cover versions of pop songs and
sound-alikes, Design occasionally licensed older material of various pop
acts. When stereo LPs became the norm, Design took a few, shall we say,
liberties with their licensed material (Such as this infamous Roy
Orbison "remix".)
And down here, I dug out some of the earliest stuff that was available back
in the day. Perennial, old-timey fruitcake-like music you probably heard
dropping from the automatic record changers inside your
parents/grandparents BIG console stereos of the time. Choruses, orchestras and pipe organ music. Mostly playing public domain
traditional carols.
Christmas At Our House; Favorite Christmas Carols Martha Tilton and other Great HOLLYWOOD Vocal Stars, George Mather at The Console (Tops Records,1956)
Martha
Tilton was called "The Sweetheart of Swing", best known for her 1944 hit "I'll Walk Alone". After 1950, Big Band swing music had given way to the pop balladeer and her career was fading and she was recording for
Tops.
This album also features Marni Nixon, who was a movie playback singer (she recorded the vocals for Deborah Kerr's singing parts in The King And I.) She is also fondly remembered in the Seattle area as the host of KOMO-TV's kids TV show Boomerang.
Thurl Ravenscroft was a radio and animation voice actor and basso singer who sang the classic 1966 version of "You're A Mean One, Mr. Grinch" (not on this album.) and the legendary voice of Tony The Tiger in TV commercials for Kellogg's Frosted Flakes.
Doris Drew (Not to be confused with Doris Day) was a jazz singer and like Marni Nixon, often recorded songs for actress singing parts in movies. Norma Zimmer would join Lawrence Welk's orchestra as it's religious singer. John Gabriel would find later fame as a soap opera actor in the '60s, '70s and '80s. and probably best known as Seneca Beaulac in Ryan's Hope. All that is known about John Gustafson is he had an uncredited role as a background singer in the 1954 movie musical Brigadoon. And I can't find anything at all on Bill Reeve.
Tops
Records was a typical budget label that specialized in the "knockoff",
sound-alike record and often sold packaged compilations of these. When
the LP was invented, they changed to recording originals by fading and
B-List stars. At their peak in the late 1950s, they were the most
popular budget label in America.
They also pioneered the "cheesecake"
album cover (With Hollywood actresses on the covers, including Jayne
Mansfield, Mary Tyler Moore - who appeared on several Tops LP covers.
Rita Hayworth and Kim Novak.)
Jayne Mansfield
Mary Tyler Moore
Rita Hayworth
Kim Novak & Rita Hayworth
But then after a strange merger with failing Geiger counter maker Precision Radiation Instruments in 1958 (which established it's own subsidiary record label)
and a couple years later, a disastrous acquisition by an investor who
was completely inept to the record business, Tops was bankrupt and it's
catalogue was sold to Pickwick Records just two years after the
acquisition.
Another strange coincidence was Tops
Records were also pressed at the same South Central Los Angeles pressing
plant as the Bihari brothers' infamous Crown Records. Just what connection Tops had with
Crown is still unclear with many collectors. It's believed the plant
was originally owned by Tops and sold to Crown and then used again by
Tops as a cost cutting measure. Even some Tops recordings appeared on
Crown (attributed to different artists) and vice-versa. At this time,
Crown's record quality was still fairly decent. But after Tops folded in 1962,
Crown's quality tanked. And like Crown, Tops covers were known for
splitting at the seams as they were just two pieces of cardboard held
together by a cover slick.
Hail To Christmas Peter Raymond Carolers (Wyncote, 1966)
On this album, it appears the lead caroler on some tracks on Side 1 is a very off-key caroler who sounds like he's trying to shout over the orchestra. He also botches the lyrics in "Jingle Bells".
It takes work to botch up the lyrics in "Jingle Bells".
Wyncote was owned by Cameo-Parkway Records, a major independent label based in Philadelphia and named for a Philadelphia suburb.
You'd
think Wyncote, being owned and operated by a major independent would
have better quality albums than the usual budget label dreck. But
nothing could be further from the truth. They were amongst the very worst
budget labels I have ever seen. Every Wyncote record I ever owned (all
of them clean and some close to mint) was plagued with ghastly surface
noise, the vinyl often had bumps and even a few air bubbles. Like
Tops/Crown, Wyncote covers were slapped together with no inner paper or
plastic sleeves and the quality of the music? Well, let this sink in.
Christmas Favorites
The International Choristers and Orchestra Featuring George Mather (HIM
again?) at The Mighty Console (Craftsmen/Golden Tone/Tops, 1959)
Nothing says international
Christmas like four random average American-looking white people from
the Midwest and a rather annoyed looking sidewalk Santa, who seems to be
pondering "How much did they say I was getting for this stupid photo
shot again?"
And it really shows on this album in particular. They sing in perfect English with exaggerated German and French accents.
From here, we go to the late '70s and the disco-themed Christmas budget albums.
Christmas And New Year's Party - Irwin the Disco Duck with The Wibble Wabble Singers and Orchestra (Peter Pan, 1977)
Disco Noel Mirror Image (Pickwick, 1979)
Mirror Image was Pickwick's house band in the 1970s. They appeared on several "sound-alike" Pickwick albums of the 1970s.
Disco Noel included a free disco dance lesson.
Pickwick was so confident in the success of the Disco Noel album, it was immediately followed up with Yuletide Disco.
And they did sell quite well, in spite of disco rapidly falling out of popularity at this time.
But this would be the end of the era of the budget label Christmas record. Pickwick had been sold to PolyGram earlier in 1979 and would soon cease operations and Peter Pan/SPC would concentrate solely on their kids records.
Still, it was an era. And it still feels weird walking into a discount retailer and not seeing the bins of budget label Christmas records like I used to.
Most of you have probably never heard this UK single before and technically, it's not even a Christmas song, but an anti-war song.
Yet if you live in the Seattle area, you definitely know it. It gets regular airplay on Seattle's Warm 106.9 radio during their annual holiday music format. For decades, it was a holiday season radio hit in the Puget Sound. An earworm that never seems to leave your brain once you hear it. It reached #3 on the British pop charts in December 1981. But there was never an American release of the song at that time. Either it wasn't considered or no American record label was interested in licensing the track for the U.S., thinking it wouldn't sell to American record buyers.
So how did this song get to be such a huge hit in Seattle and pretty much nowhere else outside of the UK?
Well first, we're weird here in Seattle. That said, there's a fascinating back story (here) to how this record was nearly lost forever and how it was finally saved.
The original label the record was on, Stiff Records, was a British independent specializing in "pub rock", new wave and punk (Nick Lowe, Elvis Costello, Madness, Lene Lovich, Tracey Ullmann and Ian Dury & The Blockheads were among Stiff's best known artists.) It became one of the most influential independent labels in the world in the early 1980s, ushering in the punk and new wave genres to the UK and the world.
This song however was clearly none of the above genres.
It was originally recorded by Jona Lewie (another Stiff artist), but it was The Cory Band's cover of the song that became the Seattle hit.
The Cory Band is a Welsh brass band and one of the longest continuous running bands in the world. They were founded in 1884 (The Rolling Stones have nothing on these guys) and are recognized as one of the world's most innovative and popular brass ensembles.
However somewhere along the way from the song's initial release, Stiff had erased and reused the original studio master tape of The Cory Band's version of this song (being a low-budget independent record label, that is not uncommon.) So when a Seattle record producer heard the track and contacted Stiff in 1997 to license an American re-release of this extremely rare single because of overwhelming demand from Seattle area radio listeners, Stiff looked in their vaults. Then told the producer the awful news.
A makeshift workaround had to be arranged with a vinyl copy of the song. Luckily, there were a few mint copies remaining from the original pressing. The producer made a decent transfer suitable for the re-release and sold 13,000 copies of the reissue locally.
It still remains one of the perennial holiday favourites in Seattle. Enjoy.
But Bruce Springsteen's music (and this song in particular) is the type that utterly clashed with the general type of the R&B infected New Wavy dance music that was popular in the dance clubs in 1984 this version was made for. No matter how much drum machine and strange background singers you put in it.
That might be why Bruce Springsteen himself has never re-released this version of "Dancing In The Dark" on any of his compilations.
Well, actually it's kind of a long story. You see, according to Opal Covey, she is supposed to be mayor of Toledo. Right now. But for the past few elections, they have all been "rigged" against her, in spite of Covey never receiving more than 400 votes in the last mayoral elections she's run in.
Covey's platform is an interesting one to say the least. It consists of building an amusement park on three acres of land in downtown Toledo (surrounded by a parking garage which sits on far more space than this entire proposed amusement park.) And others on similarly sized lots of vacant property in downtown Toledo, claiming it would somehow make Toledo a hot tourist destination.
I can't even fit my attitude on three acres.
Yet she insists there's enough room for several full size carnival rides, arenas, ticket booths, concessions, game booths and porta-potties on these three acres. As well as the thousands of visitors she's expecting to flock to this particular amusement park (did I mention all this is supposed to be on three acres?)
O...K then. But folks, you ain't seen nothing yet.
A few weeks ago on Fred LeFebvre's morning show on Toledo news/talk station WSPD, Opal Covey was invited to discuss her plan on his show. And when Fred asked her to be specific about the physics and means of this particular amusement park in comparison to outlying amusement parks in the Toledo area, she...
This wasn't the end of it. As LeFebvre was escorting Opal Covey out of the station building after the interview. Well, this happened. Perhaps the damnedest thing you'll see all year.
But just for the sake of sheer fun, let's pretend she was actually elected mayor of Toledo. What could we expect from an Opal Covey administration?
- Well, needless to say, Toledo's Public Access TV channel will get a HUGE ratings boost. Why watch any of these crappy new sitcoms on the broadcast/cable TV networks or Netflix when the funniest damn comedyin America is the city council meetings on Toledo Public Access TV?
- The natural laws of geometry, physics, dimension and space (and possibly gravity) are about to be overturned by the Covey administration to accommodate Mayor Covey's three acre amusement park plan. Suck it Nye and deGrasse-Tyson.
- Wiping the dust off your feet will become the latest dance craze.
- Local signs in the Toledo area will be in English and Tongues.
I think this very well may be Opal Covey's year. With all the media attention she's been getting recently, she may very well crack that 400 vote ceiling.
I'm not a fan of Republican politicians (they're all bull moose nuts as far as I'm concerned.) But if I lived in Toledo, she'd definitely have my vote. If only for the amusement value in Opal Covey alone, regardless of her amusement park plans.
We'll all just have to wait until next Tuesday to find out how she fared. I'll keep you updated on the Facebook page. Be sure to Like. There's links to current news stories in the world of pop culture and oddities as well as vintage photos and other memorabilia.
Ahhh....Another peaceful Sunday morning. Time to put on some nice, relaxing easy going music. Right?
Well I'm having none of it. It's time to crank it up full blast and wake up the neighbours with some truly awesome music. The stuff you just won't hear on the radio. Anywhere.
Outsider musicians are those folks who simply make music
the only way they know how. With very little to no musical training
whatsoever. The conventional requisites of stardom are simply unheard of among
outsider musicians.
This is not American Idol. There is no competition. Or critiquing. Or even practicing and rehearsals. What you hear is what you get.
They simply don't care about commercial success. Or
any musical conventionality even amateur musicians adhere strictly to. They make their
music on their own whims and for the sheer sake of their own personal enjoyment. Even if the only one enjoying it
is themselves, they wouldn't care.
It also differs from vanity acts. Vanity acts actively look for a commercial breakthrough and exposure to the masses. Most outsider acts would never be heard at all were it not for certain friends and associates encouraging them to take a leap of faith and record their material.
Sometimes a major label finds them, but that's usually a by-product of local press buzz or through chance contacts. The labels never seek outsider musicians and outsider musicians never seek the labels. If planets align, they align. But that's very rare if they do. The major labels want something that delivers a massive return on whatever investment they make. And that's something no outsider act has ever really done.
Outsider music isn't even a conscientious rebellion against mainstream rock and pop's status quo, which usually drives most hardcore independent lo-fi punk bands. They truly believe in what they are doing in spite of what anyone thinks. They simply let their dim lights shine.
But what may sound like tone-deaf psychiatric patients (some, but not all outsider musicians suffer from some sort of severe mental illness) to
the rest of us is technically a sub-sub genre of Alternative rock. It's not even a "new" thing ("Wild Man" Fischer, whom Frank Zappa discovered in the late 1960s, is a pioneer. So is David Peel, whom John Lennon discovered and released a few albums of his on the Beatles' Apple label in the early '70s, The Shaggs and to some extent, even Charles Manson.)
Today, we're going head first into the most obscure of obscure music genres. But like most of my posts here, I don't disclose everything. I like to leave some of it out for you, the reader, to explore on your own. I just merely set up the launch pad for your own journey (it might be one-way.) So this is not a complete list. Not by far. But it's enough to give a basic
insight into this strange genre. Google "Outsider music", if you're
really curious.
Bingo Gazingo
Sweet dreams, ladies.....
Bingo Gazingo (Murray Wachs, 1924-2010) was an elderly New York City outsider musician and poet with perhaps more punk rock authenticity than any band that ever played at CBGB's. And I mean all of them. He was, perhaps literally, the grandfather of punk.
With song titles like "Oh Madonna, You Stole My Pants", "Up Your Jurassic Park" and "I Love You So Fucking Much, I Can't Shit", you pretty much get the idea this was no ordinary retired postal worker from Queens.
He released an album through WFMU Radio in 1996 and this song, "You're Out of The Computer" was a collaboration with techno artist My Robot Friend (Howard Rigberg) from My Robot Friend's 2004 CD Hot Action! It also appears on the Songs in The Key of Z compilation of outsider music.
Tragically, Bingo Gazingo was struck down by a cab on his way to a performance at the Bowery Poetry Club where he appeared weekly every Monday night in November of 2009. He died of his injuries on New Year's Day, 2010. He was 85.
Wesley Willis
Wesley Willis (1963-2003) could be the most famousof outsider musicians, even garnering some airplay on mainstream alternative rock radio in the 1990s.
His story began as one of ten children born in a dysfunctional family (having so many siblings can throw even the most stable family off - think the Duggars) in the housing projects of Chicago. He spent most of his life going from foster home to foster home with two older brothers as their parents had a violent relationship and split up when Wesley was a child.
In spite of this horrific background, Wesley seemed to be a bright and fairly normal young man. However on October 21, 1989 (there are people who remember this specific date), he began to hear voices in his head, which he called "demons" and was diagnosed with paranoid schizophrenia.
About this time, he also began making music. Mostly as an outlet to escape the turmoil inside his head. He also made artwork and was discovered by members of Chicago's alternative rock scene, who encouraged his musical pursuits. This led to a collaboration called The Wesley Willis Fiasco and he actually became a sensation in the Chicago alternative underground, gaining attention from major label American Recordings, which was distributed by Warner Bros.
His favourite greeting wasn't a handshake or a hug. It was a headbutt to the forehead. I am not making that up. This left a permanent bruise on his forehead.
His music was crude, rambling and often profane. One unique characteristic of Wesley Willis is no matter what song he's performing, they all sound identical to each other. They mostly are songs about things that he had personally identified with in his life. Such as his local McDonald's, bands and stars such as Pink Floyd, Foo Fighters, Kurt Cobain and whatever else figured.
Here's a sample of what that sounded like
He eventually recorded 50 albums from 1994 until his untimely death in 2003 from leukemia. He was 40.
Daniel Johnston
Daniel Johnston, like Wesley Willis, also suffers from schizophrenia and like Willis, also uses music as a way to cope with it. Johnston is also a visual artist as well. However Johnston is different in the sense that his music is more introspective and melodic than either Wesley Willis or Bingo Gazingo. He's been called a "fractured genius" and "the indie Brian Wilson". He quite possibly could have achieved mainstream stardom and in fact, he came quite close to it.
Daniel Johnston began recording music as a teenager on a boombox at home in the late '70s. By the early '80s, he was self releasing his own material. He moved to Austin and appeared on MTV in 1985, which gained him further exposure. He went on to make more recordings, including collaborations with Sonic Youth, Half Japanese and other indie acts, who became fans of his.
But his schizophrenia was also worsening. In 1990, on the way to West Virginia on a small, private two-seater plane piloted by his father Bill, Johnston had a manic psychotic episode believing he was Casper the Friendly Ghost
and removed the key from the plane's ignition and threw it out of the
plane. His father, a former Air Force pilot, managed to successfully
crash-land the plane, even though "there was nothing down there but
trees". Although the plane was destroyed, Johnston and his father
emerged with only minor injuries. As a result of this episode, Johnston
was involuntarily committed to a mental hospital.
In the early '90s, Kurt Cobain was often seen wearing a t-shirt with the cover image of Johnston's 1983 album Hi, How Are You? on it.
Which lead to even more interest in Daniel Johnston. Even while involuntarily committed at the mental hospital, Warner Music label Elektra Records was interested in signing him, but he refused the deal as Elektra then was also the label home of Metallica, whom Johnston thought worshipped Satan.
Eventually he signed with Warner co-owned Atlantic Records, which released his only major label LP Fun in 1995. The album flopped commercially and Atlantic ended his contract in 1996.
In 2005, a full length documentary DVD on Daniel Johnston's life The Devil and Daniel Johnston was released.
Johnston is still active in music.
Jandek
To say Jandek is merely an outsider musician just doesn't quite cut it. In fact, he's been described as "The Rock N' Roll J.D. Salinger". Because he's perhaps the most reclusive of all the outsider musicians.
Yet he has released over 70 albums on the mail order Corwood Industries label. A label that while Jandek maintains a certain distance from professionally, has only issued Jandek material. And he has a surprisingly loyal and solid worldwide fan base. With almost no radio airplay or any promotion of any kind.
Most Jandek albums feature a young man on the covers in random photo shots and when you lay them out, you realize they are the same person - Jandek himself? Possibly.
But nothing has been directly confirmed by Jandek - he's only done a few interviews. But in rare recent pictures of Jandek, you do see a very strong, even uncanny resemblance.
Jandek's actual name has never been confirmed directly either, but he's believed to be Sterling Smith and he was born in 1945. Other than that, very little else is known about him. And that's how he likes it.
His music is a sort of psychedelic country-blues. But even that description isn't quite accurate. Jandek is a genre all to himself.
Jandek is an enigma even by outsider music standards. And that's saying something. In 2003, he released Jandek on Corwood, a documentary DVD that doesn't answer even the most basic questions of his life his fans always wanted to know. But then again, that mystique is still a part of his attraction.
He's still active, releasing an album or two a year and occasionally touring.
