An Appreciation: MADNESS Part One

An Appreciation:

MADNESS
(Part One)

Graham "Suggs" McPherson
Chris "Chrissy Boy" Foreman
Mike "Monsieur Barso" Barson
Lee "El Thommo/Kix" Thompson
Cathal "Chas Smash" Smyth
Daniel "Woody" Woodgate
Mark "Bedders" Bedford

Madness may be best known in the U.S. for their 1983 hit single "Our House", but they had quite a history before and after that hit.  Now known as one of the UK's greatest singles band of all time, Madness also recorded some of the greatest albums of the '80s and achieved success far beyond what anyone could have predicted.  They have become a musical institution in their homeland and their music is synonymous with London.  They 

I first became aware of Madness in 1979 by seeing their debut album, One Step Beyond, in the record bins. Being musically curious, the cover struck me immediately: these guys looked like they'd be fun to listen to.  I was vaguely aware of the Ska movement in the UK but I wasn't drawn to the band because of their musical style.  In fact, when I plopped down my allowance and bought the album, I had not yet heard a single note by them.  I was buying it based on the album cover alone (which I did a lot in my younger days).

"Hey, you!  Don't watch that, watch this!  This is the heavy, heavy monster sound.  The nuttiest sound around...."

When I laid the needle on my newest purchase, those immortal words from the mouth of Chas Smash came leaping from my turntable like an atomic explosion.

"So, if you've come in off the street and you're beginning to feel the heat, well, listen buster, you better start to move your feet to the rockinest, rock-steady beat of Madness!   Oooooone Step Beyooooond!"

And then the music started... my 16 year old ears were floored by this circus-like music that was immediately joyful and energetic.  The rinky-dink keyboards, the blarring sax, the revved-up Reggae beat... so this was Ska?  I was an instant Madness fan and I'd only heard the first 45 seconds or so of the first track on the album! What followed excited me right down to my core: these guys played music that may have had Punk's energy but mixed Pop, Rock, Reggae, Ska and classic music hall into one amazing wall of sound.  The production by Clive Langer and Alan Winstanley was flawless and I would buy practically anything they produced from this point on...

ONE STEP BEYOND...

(The Salvo two CD reissue adds loads of non album tracks.)

Lyrically, Madness were very British.  Being a young American, I wasn't able to relate to some of the lyrics, but that didn't stop me from loving what they had to say.  How many other bands at the time had a song about someone who stole underwear ("In The Middle Of The Night")?  I could definitely relate to songs about relationship strife ("My Girl") and I really dug the Ska'd out version of "Swan Lake' as well.

One Step Beyond contains many of Madness' most popular tracks including "My Girl", "Night Boat To Cairo", "Madness", "Bed & Breakfast Man" and many others.  While the title track and a few other songs were covers, most of the album was written by various band members and they were just as great!  Shortly after I purchased the album, L.A.'s great alternative radio station, KROQ, picked up on the songs "One Step Beyond", "Night Boat...." and a few of the other album tracks, turning Madness into the first Ska band to gain a huge following in SoCal (followed closely by The Specials, English Beat and Bad Manners). 

I bought every single from the album including "Un Paso Adelante" the Spanish version of the album's title track. Each of the singles had non-album b-sides that were absolutely fantastic.  This was a band that seemed too good to be true.  And at such a young age (they were all in their early 20s), they shouldn't have been this good.  But sometimes, the right musicians come together to create something special and these six gents (plus Chas, who would become an official member after the debut album was recorded) were certainly the right men for the job.

The following year, amidst the break-up of my first real teenage relationship, Madness were there to ease the pain with their first 'new' single of '80, "Baggy Trousers", a track that would be the lead-in for their second album.  I bought the 7" vinyl at Licorice Pizza and it solidified my love for this band.  In my mind, they could do no wrong.  Alongside The Jam, Squeeze and Split Enz, Madness were MY band throughout high school.

And as expected, KROQ picked up on "Baggy Trousers" around the time of the U.S. release of their sophomore album, Absolutely, in October of 1980. I remember how awesome it was to hear while driving in a friends car on one of our many record shopping treks.  Being young never sounded so fun.

I remember being stuck in Driver's Ed class after school on October 10th, just waiting for the moment that I could leave and head over to Licorice Pizza.  I had started working at Jack In The Box and had set aside money to buy the album.  My birthday was only a few days away, but I made sure NOT to ask for the album because I didn't want to wait that extra three days to listen to it!  So, when Driver's Ed let out, I hopped on my bike and headed straight for Licorice Pizza and bought Absolutely...

ABSOLUTELY

(The Salvo two CD reissue of the album adds all the non album tracks plus a full concert from the Absolutely tour)

Regardless of how passionate I felt about One Step Beyond, I loved Absolutely even more.  The band's Ska beat was still there, but they had matured and more influences had begun to creep into their sound.  Every song was an absolute gem: "E.R.N.I.E.", "Embarrassment", "Disappear", "In The Rain" (which had been a b-side of an earlier single), "The Return Of The Los Palmas 7" and many more.  The album was so great that it nearly brought tears to my eyes. I still have so many fond memories of listening to the album under the headphones and soaking it all in.  The album received more plays in that first month than One Step Beyond did over the course of the entire year.  I don't think I listened to anything else for quite awhile.

Again, I bought each of the singles that were released and slobbered over the b-sides. I bought UK magazines just to find out info on the band.  Even though they had made quite a splash, there wasn't a lot printed about Madness in American music magazines, which I found downright unforgivable. But in the end, it was all about the music... and that is what mattered most.

When 1981 dawned, I'd heard rumblings of a Madness movie.  A movie?  While I didn't quite know ALL the details, I was intrigued. The movie that finally emerged, Take It Or Leave It, had the boys in the band recreating their early days when the band was just coming together. Of course, I didn't see the movie until a decade later when someone lent me their VHS copy (which may or may not have been a bootleg...). The movie was funny, a bit awkward (was there a script?) and filled to the brim with pure Madness. While it may not have been A Hard Day's Night, it remains a great snapshot in time when the band were still filled with youthful energy...

Take It Or Leave It (Complete)

In April of '81, the band released "Grey Day", a new single that continued their move towards a mature Pop sound. The single broke the band's ties with their Ska past while still managing to retain their unique sound.  Though not a ballad, "Grey Day" was a more relaxed affair with darker lyrics and a Dub vibe.  In essence, it was almost a shock to the system after the two rambunctious and energetic albums that preceded it.  Did this mark the end of their jovial youth and their first steps into adulthood?  In a sense, yes. It also showed that Madness were unafraid to move forward, which many bands are hesitant to do once they hit a winning formula.

Around this time, I read that Madness were on tour in the U.S. and were making a stop in Reseda at a venue called the Country Club.  Being 17 and not having a driver's license, I asked my friends if they wanted to go. Of course, nobody wanted to make that drive so I had to deal with the disappointment of not seeing one of my fave bands play live. When the gig got closer, I found out that they had been sold out and second show had been added two nights later.  I think that sold out quickly as well.  I was bumming big time....

In May of '81, I managed to tag along with my brother Mike and our friend Rick Intveld to go see  Rockabilly favorite Robert Gordon live at the Roxy in L.A.  While we were waiting in line outside of the Roxy, Rick says "Hey, that guy looks like Suggs from Madness".  I turned to see this guy walking past us and froze: was that Suggs? I looked at Rick and my bro and wondered if I should call out his name to see for sure.... so I did.  Immediately, this tall chap turns around and scans the crowd, trying to see who called his name. Yes, it was Suggs!  I didn't fess up then and there, but I followed him to the front of the line and who did I manage to see?  Along with Suggs, there was Bedders, Chrissy Boy and perhaps Monsieur Barso (I can't believe I can't remember all the members in attendance standing there in front of me).  I went up and spoke with them, all of whom seemed extremely nice and either surprised or annoyed that someone recognized them.  They were in town for their Country Club gigs and were checking out Robert Gordon since they had the night off.

While I'm chatting with the guys, Suggs points me in the direction of sax player Lee El Thommo Thompson, who I then go and chat with for awhile. He was a top bloke.  He asked if I was going to the show at the Country Club and I said 'no' cuz it was sold out.  We chatted a bit more and then the doors of the Roxy opened and we went inside.  About 30 minutes later, I passed him on the way to the restroom and he leans over and says to me "Steve plus one".  I wasn't sure what he meant.  He repeated "Steve plus one" and told me I'd be on the guest list for the Sunday night show at the Country Club!  And lo and behold, when  Rick and I showed up on Sunday, there I was: on Madness' guest list.  So, May of '81 is when I saw Madness live for the first time and they blew me away. They did stuff from the first two albums plus tracks that were yet to be released including the song "Pac-A-Mac", which really stood out for me.

(Of course, three years later at an in-store autograph signing, Lee Thompson had no recollection of our meeting at the Roxy or getting me on the guest list, but that was OK.  The fact that he did it was pretty damn cool.... and the memory has remained an extremely fond one for 30+ years...)

Later that year, out comes the album 7, which showed the band moving even further away from the Ska sound, but it seemed more like a natural, organic shift rather than a conscious decision.  With two years of touring behind them, the band were better players and they were now being influenced by music and cultures outside of jolly old England.  Madness had matured very quickly and were practically seasoned pros at such an early stage in their career.  The songs on 7 still had charm, wit and delicious melodies but the band were becoming masters at their game: fantastic arrangements, more introspective lyrics (without being pretentious) and a more spacious production, which really allowed each member's musical contributions to shine.  From the aforementioned "Grey Day" and "Pac-A-Mac" to the singles "Shut Up" and "Cardiac Arrest", 7 was an amazing album from start to finish.  It may not have been as 'nutty' as their previous albums, but it was every bit as fun-tastic. While I think Absolutely and One Step Beyond might be considered better albums, 7 remains my favorite Madness full length platter.

7 (SEVEN)

 (The Salvo two CD reissue adds a plethora of non-album tracks) 

A funny thing happened in late '81 when the band released "It Must Be Love" as a single in between "Shut Up" and "Cardiac Arrest".  Why was it funny?  Well, the single was a track NOT on the album!  While it sounded like it could have been recorded during the 7 sessions, "It Must Be Love" was a stand-alone single and earned the band major airplay all around the world but there wasn't an album to support it until the following year when it appeared on the band's 1982 compilation Complete Madness. I always thought that it was a bold move to release this single and it paid off for the band, becoming one of their best loved songs. While it was not an original (it was penned by singer/songwriter Labi Siffre, who appeared in the video), most folks in the U.S. think of this track alongside "Our House" and "One Step Beyond" as the most popular Madness songs.

To coincide with the release of the Complete Madness collection, the band released a new single in '82 called "House Of Fun", which became their first (and, so far, only) UK #1 single. The song combined the more mature arrangements of 7 with a jaunty tune that could have fit on Absolutely.  It was both 'nutty' and 'mature' at the same time with the subject matter dealing with the attempted purchase of condoms by a young man coming of age.  As the title suggests, it was definitely one of their most 'fun' singles to date. 

Later that same year, the band released the non-album single "Driving In My Car", another fun tune that may not have reached the heights of their previous seven inchers but was a slice of Pop genius, especially when El Thommo's sax break would pop in and out of the recording.  In a way, the song was a link between their earlier nutty sound and a more serious direction that they would follow on their next album.

The band's last release of '82 was a song that would eventually become their biggest U.S. hit and the song that has become their most well-known song: "Our House". It cemented their reputation not just in Britain but all over the world.

My appreciation of MADNESS will be continued in Part Two

An EXCLUSIVE interview with GILBERT O'SULLIVAN!

Out Of The Question:

An EXCLUSIVE Interview with

GILBERT O’SULLIVAN

 

By Stephen SPAZ Schnee

(An edited version of this interview appears in Discussions Magazine)

     Though he is best remembered in the U.S. for his massive 1972 hit “Alone Again (Naturally)”, Irish-British singer/songwriter Gilbert O’Sullivan does not deserve the ‘one hit wonder’ tag that he has been laden with on these shores. To begin with, he actually scored THREE bona-fide hits in the U.S. in the early ‘70s (“Clair” and “Get Down” were the other two). And unlike most of his contemporaries, he’s never stopped recording and touring. He may not be as prolific as he was in the early ‘70s, but Gilbert continues to release albums every few years, none of which has seen U.S. release. In fact, apart from a few ‘best of’ collections (including a best seller on Rhino Records), Gilbert has not released an album in America since his ‘70s heyday, which is an absolute shame.

     Often said to be a mixture of the whimsical side of early solo Paul McCartney and the moody, observational style of Randy Newman, Gilbert’s unique songwriting style is probably closer to early Harry Nilsson than those two artists. Then again, Gilbert’s love of pre-Rock ‘n’ Roll songwriters like Cole Porter is evident in his material as well. He’s a mixture of music hall, Pop, Broadway, Folk and just about any other song-based genre you can imagine. The important thing to remember is that, to this day, he continues to write songs that are just as good as anything in his back catalog, if not better. His love of songwriting is apparent in everything he has recorded and he has never released anything that he doesn’t sound passionate and spirited about. Gilbert does not rest on his laurels and he refuses to live in the past. He is proud of his back catalog but remains dedicated to the craft of songwriting. And unlike almost all of his contemporaries, he hasn’t lost the ability to write great melodies and stunning lyrics.

     Over the course of 2012, Salvo/Union Square reissued remastered and expanded editions of Gilbert’s first seven albums (Himself, Back To Front, I’m A Writer Not A Fighter, A Stranger In My Own Back Yard, Southpaw, Off Centre and Life & Rhymes) as well as a career-spanning Very Best Of, which covers his entire career up through Gilbertville. Listening to songs like the gorgeous “Dear Dream” or the 9/11 tribute “All They Wanted To Say”, it’s amazing that some of the best songs here were written and recorded some 20, 30 and even 40 years after his so-called ‘heyday’. Seems that Gilbert may not have reached his peak yet!

     The album reissues are sound amazing and look great, which is a trademark of anything that Salvo/Union Square does. Each of the seven albums, which were released between 1971 and 1982, are truly stunning collections of pop confections. His hit singles only tell part of the O’Sullivan story: the albums fill in the blanks with some truly amazing musical musings. There may be a dated production gimmick here or there, but the songs withstand the test of time and each release is highly recommended.

     Stephen SPAZ Schnee was able to have a chat with Gilbert, who was gracious enough to talk about the reissues as well as his new material, his love of songwriting and more…

SPAZ: Your back catalog has been remastered and Salvo/Union Square have released your first seven albums in their Singer And His Songs reissue series. You’ve also been promoting your latest album, Gilbertville. How are you feeling about things right now?

GILBERT O’SULLIVAN: I’ve given my catalog to Union Square, who are a very good company. They will release everything worldwide. But the reason that I work, the reason I’m on the road isn’t because of my back catalog. Of course I’m very proud of it, but it’s because I release a new album every couple of years. Europe gets those, but you don’t get those in America. To me, my future depends on what I do new, but I’m conscious that it interests you because you don’t get the new material. But Union Square will release the back catalog, the early albums, in your territory so therefore, it makes sense to talk about it. But I’m very happy with it. They do a good job; they’re a very good company. It’s the firsy time I’ve given away the rights for a period of time to another company.

SPAZ: Being that you are still promoting Gilbertville, is it difficult to look back and talk about your old recordings?

GILBERT: I get offers all the time to do TV shows around the world and they just want me to do an old song. I always turn them down, but what I accept is when I can do a new song and an old song so I never mind that. For me, it has to combine the new and the old. I’m not one of those artists that is just sitting in the past. There’s nothing wrong with that. There are people that don’t make records any more, don’t write any more and they’re very happy to live with their back catalog. I’m proud of my back catalog, but I balance that with what I’m doing now. I like to think that people are interested in what I’m doing now as well as the interest they have in my past.

SPAZ: While there have been reissues of your albums in the past (notably in Japan), why did it take so long to finally do it properly with remastering and bonus material?

GILBERT: The Japanese did a good job over there. In America, apart from a Rhino Records ‘best of’, they did put out a limited box set (through Rhino Handmade), which was really nice. I’ve had offers from American companies to do a best of but I’ve turned them down. I’ve had offers from other parts of the world to do a best of and I’ve just resisted that. With Union Square, I talked to them and it took 2 ½ or 3 years before I agreed to it. Based on what I’ve seen, the work they’ve done with other artists, I felt comfortable that they would do a good job, so I think we’re in good hands there.

SPAZ: Were you actively involved in putting the reissues together?

GILBERT: Totally. Absolutely. Of course, talking with the journalists about the songs (for the liner notes), agreeing with what was put on it, approving the artwork… I’m very, very careful about how it’s handled and who handles it.

SPAZ: Judging by the demos on your debut album, Himself, it seems that you had worked out your sound early on. Has it been difficult to maintain your individuality in the midst of constant musical changes over the years?

GILBERT: I was never really conscious in terms of individuality: I just sounded like I sounded. In the beginning, if you listen to my demos, I was very Dylan influenced. Dylan is a vocalist and Lennon & McCartney are a catalyst for songwriting. So, if you put those two together, you get me. I don’t have a great voice: I have a distinctive voice, I have a good voice. Obviously, I’ve gotten better as a singer as the years have gone by. For example, on earlier albums, I did a lot of double tracking. It’s interesting: when you don’t have a really strong voice and you double track, it sounds really good. But when your voice starts to get better, double tracking doesn’t sound so good.

SPAZ: Each of your albums are filled with timeless songs that are just as relevant and exciting today as they were 40 years ago. Did you ever think that you’d be sitting here, talking about the album four decades later?

GILBERT: I’m very, very ambitious, very determined and very enthusiastic about songwriting. I love songwriting. Everything I do is based around songwriting. Without the song, there’s no artist. It’s a love I have for that. I’ve never sat here and wondered what makes something a big success or not. Or what makes a hit record or what is it people like about me. I just get on with it. It’s blinkers on. As long as you concentrate on what it is that has got you to where you are…

SPAZ: Do you have any particular memories of recording your debut album, Himself?

GILBERT: Some of it was recorded in Las Vegas because Gordon Mills, my manager, was with Tom Jones in Vegas. In those days, you did two songs in three hours. Everything on that album was done in three hour sessions. We’d go into Decca studios and do two songs in three hours, come back and do string arrangements and then I’d put a vocal on in another small session. There was never a period in those days where you’d have a whole day in the studio, where as now you can take a week to put the drums on.

SPAZ: Your recording career actually began a bit before your debut album. Do you remember when you first realized that something special was happening?

GILBERT: The very first session with Gordon Mills was an extremely memorable one. Up to that point, I’d been serving my apprenticeship with record companies. On CBS, the first record I made, I didn’t like it and so I got them to release the demo of “Disappear” as a single because I didn’t like the records I was making with Mike Smith, who was the producer for The Love Affair and The Tremeloes, who was usually successful. I didn’t really care much for what they were doing but I was the new kid on the block and who was I to tell them what I wanted? So, I moved from CBS to Major Minor. I had a really good song written about the death of Bobby Kennedy called “I Wish I Could Cry”. I was really proud of that song. But they ruined that for me so I left them. So, I decided that I needed a manager to help me. When Gordon came along and he liked my songs, the first session with him was a revelation. I was working with great musicians and we did were “Nothing Rhymed” and “Independent Air”, the first two songs in the three hours. Forget the fact that I had no idea if “Nothing Rhymed” was going to be a success or anything. But those two songs were the first time that I’d made a record that I really loved and felt really proud of. I didn’t even care how it was going to be received by anybody. Those are the sort of things you remember. In a sense, from there on in, working with Gordon when we were in the studio was great fun because he produced the records. He wrote songs himself, so he understood the process.

SPAZ: In many of your songs, you sing from a point of view other than your own. Have you found it difficult when critics or fans confuse the issue and assume that you are expressing your own personal feelings? When I was a kid, I truly did feel great sympathy for the singer in “Alone Again (Naturally)”….

GILBERT: I don’t mind. It’s not based on my experiences: it’s based on an understanding of someone in that situation. What’s the criteria for a good lyricist? What the criteria for good fiction? Situations that you believe in. I like dark subjects. They interest me. If I don’t have the experience of being stood up at a church or attempting suicide, I like to think that when I get into the lyric, I get into what somebody in that situation is going through. That’s what interests me. That’s where the love of being a lyricist comes from: the fact that you envelope yourself in those situations. I am very comfortable with people who THINK it’s me. I don’t mind that, there’s nothing wrong with that. Once the song is out there, if your take on what it’s about is very different than what mine was, I would say that you’re absolutely right because it’s your song. Once it goes out there, then its yours so whatever you think it’s about is acceptable to me. I would never criticize anybody who has a different explanation to a lyric of mine than what I actually meant it to be.

SPAZ: You’ve often been compared to Paul McCartney, Randy Newman and, to these ears, Harry Nilsson. What were the main influences that helped create your unique sound?

GILBERT: As a 17-18 year old starting to write songs, I had Ella Fitzgerald Sings Cole Porter. I had Ella Fitzgerald Sings Rodgers &Hart. I was interested in songwriting. It’s like being an artist. I was an art student for four years and when you study art, you go through the history of art: the classics and contemporary art. In musical terms, what do we do? We listen. People would say to me, “How do you write songs? You don’t read music.” Well, none of my contemporaries from 1960 onwards read music…. Maybe Goffin & King did read music… certainly Bacharach did. But Lennon & McCartney didn’t. Ray Davies doesn’t. I don’t think Billy Joel reads music. None of my contemporaries read music. Why? Our ability to write songs comes from a love of what we hear on the radio. It’s the love of music that we hear that makes it slightly different to what people hear: it seems to resonate deeper. Because we’re writing songs, what happens is, in the beginning, you write exactly like what you hear but eventually, you write something that you hope is an original idea. For me, it’s always about songwriting. There’s never a moment when I feel that ‘I love you’ is a boring subject to write about. I always feel I’m learning as a songwriter. I still think there’s loads of ways to write about the same subject that you’ve written about for 40 years. It never fails to excite me when I sit down with a blank notebook, and I haven’t got a melody that I’m going be working on. People say that “Alone Again (Naturally)” is a depressing song. OK, it might be depressing, but I was very happy when I wrote it. People say “Well, you wrote about unwanted pregnancy and getting rid of the baby.” Well, I’m not for abortion, but you put yourself in the situation of a working class family with a daughter who gets pregnant. Does she get rid of it or does she have it? It’s very easy for me to write about these things because it’s real life. As a lyricist, those kind of subjects and areas interest me.

SPAZ: Your latest album, Gilbertville, is yet another great collection of fantastic tunes. Songs like “Missing You Already”, “All They Wanted To Say” and ‘Private Eye” are just as great as anything you’ve done before. Since you don’t release albums as prolifically as you did before, how many completed songs did you have to choose from in order to come up with the songs that made the album?

GILBERT: I’m a disciplined writer. I sit down five days a week, four weeks a month. I just stay there. It’s never a waste of time. All you’re looking for is a tune, a melody. When you get something that you like, you move on, you do more. You just keep collecting melodies. And the key is this: if it’s a good melody, it will survive 5 years, 10 years, 20 years…. Never finish a lyric. If you end up finishing a lyric and not recording it, the lyric could become dated. So, what I do is I try to come up with melodies. When I sit down for the next project, I have enough melodies. There’s no lyrics, not titles, just a collection of melodies. Very important. The melody is that important to me. So, that’s how it will work: I’ll sit down with the first melody and I’ll have no idea what lyrically it is going to be about. But each album will be based around that particular approach.

SPAZ: So, that’s how Gilbertville came about?

GILBERT: For Gilbertville, I always wanted to do an album in Nashville. But I don’t like Country songs. I like Pop songs. We were working with Nashville musicians in a really good studio. It was an exciting project. I think it’s a danger, no matter how good you are, if you use the same musicians every album and you’re the same writer, no matter how different you might think the songs are, there’s going to be a certain sameness about it. The way to avoid that is to vary it, to go somewhere else to do it… to give each album a slightly different aspect to the one before it. That’s very important I think.

SPAZ: Has your routine changed over the years or is it pretty much the same?

GILBERT: It’s exactly the same. I have lots of technology that I buy to supposedly help me to record stuff but, nah, I throw that all away and I go back and stick to the cassette. It’s a comfort zone for me. As a lyricist, I think that there is something in you that allows you to be able to use words. But I think musically, you have to be influenced. There’s a great danger for contemporaries of mine that we lose the melodic touch simply because we don’t like what we hear now and we’re not that bothered by it. I try to avoid that because I’m conscious of what could happen in that area. I try to be as melodic as I can because I feel that it is vitally important. I’d hate to think that I would be dependent on a song that had a lousy melody but a good lyric. To me, they’re equally important.

Thanks to Gilbert O’Sullivan

Special thanks to Steve Fruin, Steve Bunyan and Kevin O’Sullivan

LIKE Gilbert on Facebook HERE


Available NOW:

Himself

Back To Front

I'm A Writer, Not A Fighter

A Stranger In My Own Backyard

Southpaw

Off Centre

Life & Rhymes

The Very Best Of: A Singer & His Songs

Gilbertville