Nothing Records
Jenkinson went on to record a few more releases under his own name, including the "Crot E.P." and "Bubble And Squeak E.P.", as well as a split with Dunderhead, called "Dragon Disc 2". In 1995, Tom began releasing music under the name Squarepusher, first appearing with the "", then following with "Alroy Road Tracks" under the name Duke Of Harringay, both on Finn's Spymania label. By 1996, Squarepusher had line up material for release at Rephlex Records, which was operated by Grant Wilson-Claridge and Richard D. James, a.k.a. Aphex Twin. Squarepusher released the "Squarepusher Plays..." 12" for Rephlex, followed by his debut album, "Feed Me Weird Things" (Jenkinson later released an album and E.P. under the name Chaos A.D. for Rephlex in 1998).
Johnny Cash
Cash began performing concerts at prisons starting in the late 1950s. He played his first famous prison concert on January 1, 1958, at San Quentin State Prison. These performances led to a pair of highly successful live albums, "Johnny Cash at Folsom Prison" (1968) and "Johnny Cash at San Quentin" (1969). Both live albums reached number one on "Billboard" country album music and the latter crossed over to reach the top of the "Billboard" pop album chart. In 1969, Cash became an international hit when he eclipsed even the Beatles by selling 6.5 million albums. In comparison, the prison concerts were much more successful than his later live albums such as "Strawberry Cake" recorded in London and "Live at Madison Square Garden", which peaked at numbers 33 and 39 on the album charts, respectively.
The Folsom Prison record was introduced by a rendition of his "Folsom Prison Blues" while the San Quentin record included the crossover hit single "A Boy Named Sue", a Shel Silverstein-penned novelty song that reached number one on the country charts and number two on the U.S. top-10 pop charts. The AM versions of the latter contained profanities which were edited out of the aired version. The modern CD versions are unedited, thus making them longer than the original vinyl albums, though they retain the audience-reaction overdubs of the originals.