Squarepusher
Jenkinson was offered a five album record contract with Warp Records in December 1995, which was duly signed, and this led him to defer his studies at Chelsea Art College.
Early in 1996 Richard D. James completed the compilation process for "Feed Me Weird Things" which was made from over 50 tracks that Tom had given him on DAT, which were recorded from late 1994 to 1995. Around the same time Richard and Tom recorded two tracks together, one of which was subsequently edited by Tom and released as "Freeman Hardy & Willis Acid" on the "We Are Reasonable People" compilation album in 1998. Tom's contribution to the other track was reinterpreted and released as "Happy Little Wilberforce" on the "Alt. Frequencies" compilation released on Worm Interface in 1996. 1996 saw Jenkinson starting to be offered gigs both in the UK and in continental Europe.
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.