ORVILLE COUCH - WILD GIRL

As 2011 draws to a close, like many other people I like to sit back and reflect. Unlike many other people, I'm sitting back reflecting on the 1990s, not 2011.

Ah, yes, the 90s. A time when grunge music ruled the airwaves. Eh.

I was in my 20s, working for my father at his service station, pumping gas, changing oil, tuning cars up. It was dirty work, but it was OK - I always had money in my pocket (which I usually drank away at night at some bar), had a good boss (though, at the time, I thought my dad was the WORST guy to work for. Little did I know how great he was) and got to listen to a LOT of radio during the day. Almost always non-commercial radio, natch.

During the week, work was....well, work. People constantly coming in with complaints about their cars, other folks having their cars towed in, me constantly running out from the bays to the island to pump gas or to give directions, etc. The winters were tough - there is nothing colder than the repair bays in a gas station in the middle of January. I'm sure the concrete I spent most of my day standing and kneeling on will someday give me crippling arthritis. I can't even begin to tell you how many scars I have on my hands and arms from being cut so many times while working on someone's old junker.

Saturday, however, was a different story. We never scheduled anything but oil changes and tire rotations on that day, mainly because my father wanted to go home early that day, and my main Saturday job was cleaning the floors in the repair bays - after I was done with everyone's oil changes, of course. But I didn't mind, because Saturday was always a party at the gas station. The regular customers would always come by to shoot the breeze with my dad and I (and, of course, they always brought coffee and doughnuts), the people who wanted gas were never rude (because it was the weekend, so there was no big hurry about anything), and there was great music coming out of the non-commercial radio stations in the NY/NJ area.

I remember the schedule like it was yesterday: I would arrive at the gas station not-so-promptly around 8AM (after being out until 6AM Friday night - those were the days), unlock the door, stumble to the radio, and turn it on to Felix Hernandez on 88.3 FM. About 10 minutes later Schnauzer Eddie would walk in. Eddie was an old friend of my dad's - I called him Schnauzer Eddie because he raised miniature Schnauzers, plus he looked like one. Anyway, Eddie would walk in the door, take one look at me, laugh, and give me a cup of coffee from the deli down the street. That coffee would wake me up enough so that I could make coffee (sort of the ultimate catch-22). By 10AM, I was fully conscious, Felix was in full swing with obscure soul 45s, and life was good. Felix would go off at 1PM, and the dial would be turned to 89.9, WKCR, who would have a blues/soul program called "Mystery Train". Only problem there was that WKCR's schedule was bizarre, to say the least, and "Mystery Train" would get pre-empted a lot. Those weeks I would switch the station to CBS-FM for two hours and listen to the always brilliant Dan Ingram.

But then, at 3PM, I would jerk the dial to the left until it stopped at 91.1, WFMU. That's when I'd listen to The Hound, James Marshall (this was back in the days BEFORE the station became one large commercial for Norton Records). You'd hear that dog growl and then the segue into Esquerita's "Esquerita And The Voola", and you knew you were in for 3 hours of great music! You can still hear The Hound's old shows at his website, http://www.thehound.net/.

One of the best parts of Hound's show was the end. I'm not being snarky here. After The Hound went off, another DJ known as Wildgirl would take the air chair. She would ALWAYS start her show with the same two records - "Highway To Hell" by AC/DC, and, before that played, a great rockabilly song called "Wild Girl" by Orville Couch.

Well, one listen to "Wild Girl" and I just HAD to have the record! Problem was, that was easier said than done. Orville Couch (1935-2002) was sort of a country one-hit wonder. A country/rockabilly singer from Texas, he got his first big break on the "Big D Jamboree" on KRLD radio in Dallas. The show was notable for mixing up country and rockabilly artists, and Orville became personally acquainted with the likes of Johnny Cash and Elvis Presley. He soon signed on with the Starday label, cutting records like "Five Cent Candy". He also recorded for Dixie and Mercury. Then in 1962 Orville signed on with Vee Jay Records out of Chicago - strange, since Vee Jay (at least up to that point) was primarily an R&B/doo-wop label. By early 1963, Orville had a top five C&W hit with "Hello Trouble", and also released what was possibly the ONLY country LP in Vee Jay's history, also called "Hello Trouble" (complete with a front cover featuring a sexy peroxided blonde - and Orville nowhere to be found). Unfortunately for Orville, Vee Jay's other recent signing - Frankie Valli and The Four Seasons - became a chart phenomenon, and almost immediately afterward Vee Jay began to ignore its foothold in the C&W market. Orville's other 45s for Vee Jay went nowhere, but he was under contract, and dutifully recorded for them until 1965. After leaving Vee Jay he would make records for Monument, Stonegate, and other labels, but the momentum was all gone.

But in July, 1964, the above record suddenly appeared out of the ether. Which is probably why it took so long for me to find a copy - the sound on this just SCREAMS "50s rockabilly", and I assumed that it was an obscure side on Dixie or Starday that I didn't know about. I do not know the story behind "Wild Girl", but my theory is this - Orville was still popular in Texas, and some enterprising local (or Orville's producer Jim Shell) decided to make a few dollars by putting out an unissued performance of Orville's. They pressed up a few hundred copies, and obscured Orville's name on the right side of the label just in case Vee Jay caught on. At least that's what I think, anyway.

I just think it's the weirdest thing that this record was released in the midst of Beatlemania! But that's what makes collecting records (and blogging about them) so much fun!

Best wishes to everyone for a happy and prosperous 2012. See you next year!

Orville Couch - Wild Girl (Action 108) - 1964

DON LUCAS - BURRITO

Let me start this post by saying I DO NOT LIKE the term "Happy Holidays". I can understand using that phrase in a retail store situation - the person working the counter doesn't know you from Adam, and doesn't know HOW you celebrate, and doesn't HAVE to know. But for people to say "Happy Holidays" to people they are supposedly FRIENDS with, that tells me two things: 1) they've drunk the "political correctness" Kool-Aid, and 2) they REALLY haven't taken the time to get to know the other person well enough to find out WHAT to say to them - "Merry Christmas", or "Happy Hanukkah" or "Happy Kwanzaa" or whatever (I know a guy who's an atheist, so to him I just say, "have a nice day")!

HUMBUG to that kinda tripe!

Another thing that annoys me about the Christmas season is the radio play for certain records. Here in the NY/NJ area there's a radio station - WLTW, also known as "Lite FM" - that starts playing Christmas music (though they call it "holiday favorites" - I NEVER hear Hanukkah or Kwanzaa music on that wretched station) on FREAKIN' THANKSGIVING NIGHT and goes ALL THE WAY THROUGH TO CHRISTMAS!! I wouldn't even mind THAT so much if they played good Christmas records, but they play the same old ones you hear every year - "Jingle Bell Rock", "White Christmas", "Blue Christmas", "All I Want For Christmas Is You", and the new hip holiday favorite, George Michael's "Last Christmas". Even THEN, I could live with that (or treat it as background noise), but this station INSISTS on playing remade versions of these songs by the WORST "recording artists" on the scene today - Taylor Swift, Celine Dion, Lady Antebellum, and (cough, spew, HAACK) Michael Buble' (emphasis on HACK). If I ever meet the guy who runs that pitiful excuse for a radio station, I'll whack him over the head with a Yule Log and boil his ass in his own figgy pudding (apologies to Charles Dickens)!!!

Which brings us to the above 45. As an American of Italian descent, I have been bombarded by well-meaning people who ask me if I've ever heard Lou Monte's "Dominick The Donkey". What do YOU think?? Ever since Scott Shannon of Z-100 in New York "rediscovered" the record in the 1980s (it was originally released in 1960 on mob-owned Roulette Records), it's become almost as popular here as "Grandma Got Run Over By A Reindeer"!

That's when I pull out this here slab o' wax. It's another "Christmas donkey" song, but instead of taking place in Italy, it takes place in Mexico, and instead of Lou Monte's slight (but natural) Italian accent, we get some guy doing an OUTRAGEOUSLY fake - but great - Mexican accent!!

I don't know anything about Don Lucas. Apparently he was some sort of West Coast comedian who may or may not have done some TV work in the late 1960s (most prominently on "To Catch A Thief", where he essayed the role of "Reporter #1"), but in 1962 he recorded this, one of my favorite Christmas records. Like "Dominick", the hook here is the musical braying of the donkey, except on "Burrito", Lucas gets SO into it that you think to yourself, "wow, this guy's throat must have hurt for a WEEK!"

One thing's for sure - Michael Buble' will NOT be doing a remake of this. That ALONE makes me enjoy Christmas just a little bit more.

Whatever YOU celebrate, here's hoping for peace, love, and happiness for you and your family at this festive time of year.

Don Lucas - Burrito (Challenge 9175) - 1962

One door closes.....another opens!

Sorry I haven't posted in a while - been busy, but there should be a LOT of time for blogging in the future. Here's why - after 16 years on the air at WFDU, I tendered my resignation this past Monday, due to a certain management creep who refused to give me a straight answer to a simple question. Now the same creep has decided that he can do my show better than I can. So he took my empty slot (never mind that he also had the slot BEFORE mine, and now does both shows). I'm not gonna name names here, but his initials are BS, and I just couldn't take the BS from BS anymore.....

Anyhoo, enough of that hooey. 'Tis the season to be jolly, right? So, no music post here, but there will be a greater frequency of posts from now on....or at least until I get another radio gig (though THAT won't be for a while....), but I'd rather post great music here than be on the air anyway!

Thanks to all you followers of this blog, and those who just check in every week. You really make this worth my time. Unlike WFDU.

THE ORIGINAL FIVE BLIND BOYS - SOMEONE WATCHES

I figured after the last post by the VERY sexual (and sexy) Betty Mabry Davis, I'd balance the scales a bit with some old-time gospel.

Over the years, I have listened to hundreds of thousands of records (if not a million). But there have only been TWO times when I literally backed away from my speakers, fearing that they were going to explode and kill me with shrapnel. First time was when I brought home my first 78 by Howlin' Wolf - "No Place To Go". Same riff over and over again. ONE chord. Recorded VERY hot on the VU meter (and on 78 it's even LOUDER). Then Wolf's voice hit me like a sledgehammer to the cranium. I literally had to get away from the speakers in awe of what was coming out of them.

Second time? This record. This time, however, it wasn't the frightening sound of the voice that made me step back. I'd heard lots of gospel singers before. Powerful vocals are their stock-in-trade. No, the thing that made me back away from the speakers this time was the sheer VOLUME coming from this group of singers.

Of course, this wasn't just any group of singers, and Archie Brownlee wasn't just any gospel lead. These guys had been at it since 1936, when they were formed at the Piney Woods school for the blind near Jackson, Mississippi. The school needed money, and the principal decided to gather four of the students to form a group to do appearances to raise money for the school. They called themselves the Cotton Blossom Singers, singing folk and spiritual tunes. The group soon toured around the area, and caught the ear of folklorist Alan Lomax, who recorded the group for the Library of Congress in March 1937. Strangely, they recorded their folk material under the name Abraham, Woodard & Patterson. Even more strangely, they recorded their gospel sides for Lomax under the name "Blind Boys" instead of the Cotton Blossom Singers.

When the Lomax recordings failed to set the world on fire, the group continued to sing around the school, and after graduation decided to try and make it on their own. They had a dual strategy - they would sing pop tunes for white audiences as the Cotton Blossom Singers, and gospel for black audiences as the Jackson Harmoneers. They turned professional in 1944, and became travelers on the gospel highway. It was around this time that the group recruited a second lead singer, Melvin Henderson, and the quartet became a quintet.

The Jackson Harmoneers worked steadily, but were just another gospel harmony group, singing in the "jubilee" style of the 1940s. Then they met Rebert H. Harris and The Soul Stirrers.

 Harris and the Stirrers were pioneers of the hard, shouting gospel style that took hold in the late 1940s. It is said that Harris could out-sing anybody, and that greats such as Sam Cooke were afraid to have a sing-off with Harris. Archie Brownlee and the Harmoneers listened and learned.

Soon, the Jackson Harmoneers were one of the top draws on the gospel circuit, with Brownlee's sweet high tenor and piercing screams driving the crowds insane. If that weren't enough, Brownlee and the group became adept at dynamic theatrics, with Brownlee sometimes leaping from the stage into the audience! Unfortunately, this wasn't Melvin Henderson's style, and he left the group in 1946. He was replaced by Percell Perkins, who not only doubled as their manager, but he wasn't blind!!!

Perkins soon introduced the group to Leon Rene, owner of Excelsior Records. He signed the group, and the subsequent records were released as "The Five Blind Boys of Mississippi (Jackson Harmoneers)". They moved to Coleman Records in 1948, recording several singles, and then in 1950 signed with one of the top gospel labels of the day, Peacock Records. At their first session for Peacock, they recorded "Our Father (Which Art In Heaven)", which sold in such large numbers that it became one of the very, very few gospel singles to hit Top Ten on the R&B charts. The Five Blind Boys were now gospel superstars.

A couple of years later, The Blind Boys of Alabama became popular in the gospel field, and so, to avoid confusion, Brownlee and his group began billing themselves as the ORIGINAL Five Blind Boys (and still appending the group's original name "Jackson Harmoneers" on their record labels). They had many big sellers for Peacock over the years (though none as big as "Our Father"), with Brownlee's piercing screams a wonder to behold. But those screams took a toll on Brownlee. He was prone to respiratory problems, and died from pneumonia on February 8, 1960, at the age of 35.

Take a listen to this record, one of the last that Brownlee recorded, and prepare to be awed. Not only is this one of the loudest, scariest records you'll ever hear, but you'll soon realize that there's only ONE instrument on this record - a piano.

Oh, and try not to blow out your computer speakers.

The Original Five Blind Boys - Someone Watches (Peacock 1797) - 1959

BETTY MABRY - GET READY FOR BETTY

One of my favorite quotes, attributed to Laurel Thatcher Ulrich, is "well behaved women rarely make history." Betty Mabry definitely took this to heart! Don't know Betty Mabry? She's better-known as Betty Davis, badass soul and funk singer of the 1970s, friend of Sly Stone and Jimi Hendrix, a former girlfriend of Eric Clapton and Miles Davis' second wife (not to mention his muse in the period that resulted in Bitches Brew).

Betty was born in 1945 in Durham, North Carolina, and as a youth shuffled her time between Durham and Pittsburgh, PA. Her grandmother had a rather large blues record collection, and Betty listened to folks like B. B. King, and Jimmy Reed constantly.

At the age of sixteen, Betty decided on a modeling career and moved in with her aunt in New York City, enrolling in the Fashion Institute of Technology. She made many trips into Greenwich Village, hanging out with folkies (who undoubtedly appreciated Betty's knowledge of the blues), getting modeling gigs (she was one of the very, very few black models in the 1960s to sign with the prestigious Wilhemina agency) and also hanging in a club uptown known as The Cellar. Another denizen of the club was soul singer Lou Courtney, who reportedly produced an independent single with Betty - "The Cellar" (though I've never seen a copy, or even seen this 45 listed anywhere except in a Wikipedia article - and we all know how inaccurate they are). Apparently, Courtney also introduced Betty to some of his friends on the New York recording scene, and shortly thereafter cut this 45 for Don Costa and his DCP International label, which was then riding high with Little Anthony and The Imperials. This was her first officially released single.

The record basically announces Betty to the world, and she guarantees that you ain't never seen nothin' like her before, because she's in total control - with lyrics like "All of you girls, you'd better hide your guys/'cause I'm-a gonna get the first one that catches my eye" and "I'm a woman who can get a man/and I'm gonna steal him if I can". She not only knows that she can get any man she wants, but if that man just happens to have a girlfriend (or wife), well, she'd just better get out of Betty's way.

The attitude that Betty projected was completely at odds with the mores of the early 60s - Betty was a woman who was fiercely independent, sexually open, and there wasn't a man on the face of the earth that she would submit to.

I don't really need to go into the rest of Betty's career and life - there are many, many good articles on the web about this legendary woman, and I suggest you read as many as you can, as well as tracking down her funkier-than-hell LPs from the 1970s (which have been reissued by Light In The Attic Records - along with her unreleased 1979 LP). Betty's still around, living quietly in Pennsylvania, despite rumors that she died of a drug overdose (which must have been started by one of her enemies - Betty was very anti-drug).

If you're already familiar with Betty Mabry Davis, I don't have to tell you that this record is a fascinating blueprint for what came later. So, for those of you who have never heard the genesis of a truly one-of-a-kind funkateer's career, here it is.

Betty Mabry - Get Ready For Betty (DCP International 1109) - 1964

LANCE and THE SPIRITS - THE PERFECT COMBINATION

One of the many things that annoy me about people concerns the fame to talent equation. I can't tell you how many times I've heard folks talk about modestly talented celebrities (I'm being kind here) like Tom Cruise or Keanu Reeves or Chris Martin of Coldplay or pretty much anyone who appears on "Dancing With The Stars" like they are giants who walk the earth; "Oh, he's so talented, no wonder he makes so much money, no wonder he's so famous!" REALLY??? There are waaaay better actors than Cruise/Reeves/Travolta, etc., and Coldplay, at least to me, isn't even music, it's just something to put on the CD player to have something you can ignore while doing something else and avoiding silence. Do not get me started on "Dancing With The Stars"....

The amount of fame gained by a person has NOTHING to do with how much talent he or she has. If it did, there wouldn't be a Kim Kardashian or Paris Hilton or post-"Mean Girls" Lindsay Lohan.

On the other hand, there are LOTS of multi-talented people walking this earth whose names you've probably never heard. What do you think of a guy whose band Elvis Presley used to clear his schedule to go and see? Or who appeared in several major motion pictures and at least one hit TV series? Or who is still the first to get a call when a company needs a deep, resonant voice for their TV and radio commercials? Or who owned one of the hottest nightclubs in California in the mid-60s? Well, one guy did (and does) all that. His name? Lance LeGault.

Lance (b. William Lance LeGault - pronounced "luh-GOH" - on May 2, 1935 in Chicago) had a rough childhood. His father died when he was 4 and Lance spent the next few years in orphanages because his mother could not afford to raise him. When his mother remarried and took Lance back in, things were still not well. A big kid, he lied about his age and got a job with the railroad at age 11, but was fired two years later when his real age was discovered. He went back to high school, and graduated at age 20. He then went to college in Wichita, Kansas, graduating with a degree in business management. After moving to California in 1960, LeGault bought a nightclub in the LA area called The Cross Bow, in which he and his band would play down-home blues and R&B. Clint Eastwood was a regular customer, and then one night Elvis Presley walked in (with Tuesday Weld on his arm - they were in the midst of shooting "Wild In The Country"). Elvis loved the band, and he and Lance became fast friends.

Soon afterward, Lance's buddy Elvis got him a new job. Since Lance and Elvis were built about the same (both were big six-footers), Elvis got Lance hired as his stunt double on his new film "Girls, Girls, Girls!". LeGault would end up doing 4 films with The King, making himself a career (if not a name) in Hollywood. He would later go on to appear in films like Coma, Catch My Soul (the film version of Jack Good's rock opera based on Shakespeare's Othello, in which Lance played Iago to Richie Havens' Othello) and, most famously, Stripes (in which he played Col. Glass - he was the guy who yelled "STILLMAN" at John Larroquette, causing him to throw his telescope through a window). He's probably best-known, however, for his role as Colonel Roderick Decker on The A-Team, and I'd bet my boots that if Lance and Mr. T ever got into it, he'd give Mr. T a run for his money. He's still very much in demand for voice-over work - if you've ever been to Graceland, it's Lance's voice you're hearing on the tour audio tape. Glen Larson (creator of shows like Magnum, P. I., Knight Rider, The Fall Guy, etc.) once said that Lance's voice was "four octaves lower than God's".

While he did all of the above, Lance also had a side career as a singer. His group was called Lance and The Spirits, and while they didn't set the world on fire, they did get some airplay in the LA area. The group hooked up with legendary DJ Wolfman Jack, who was then riding high on XERB radio. Wolfman got the group a deal with George Garrett (proprietor of the legendary Uncle George's Record Shop in Minneapolis, and owner of the Garrett/Bangar/Twin Town family of labels) who had recently moved his operation to California to more effectively do business with the Wolf, on whose show he was a sponsor. They released "The Perfect Combination"/"Cooking Up Some Love" by Lance and The Spirits in late 1966. Lance and the boys did promotional appearances all up and down the West Coast with Wolfman Jack, and in return he played their single on his radio show (which is how I discovered this 45 - from an old XERB aircheck a friend gave me). Unfortunately, the record didn't do well - it was the last record EVER released on Garrett (former home of The Trashmen and "Surfin' Bird"), and few people could find it in stores.

This was a shame, since this record could have at least been a regional hit. This is great uptempo blue-eyed soul, and Lance is in fine voice. On the rare occasions where I deejay at soul clubs, I always make sure this one's in my DJ box - and more often than not, people ask "what record is THAT?" When I tell them (and patiently explain who Lance LeGault is), they're always shocked.

Lance and The Spirits cut another 45, "Circle Point", released on Shock in April, 1967, and LeGault did record an LP in 1971 for Polydor ("LeGault"), but they went the way of all his other records.

Fortunately, Lance LeGault has done very well for himself over the years in Hollywood. Unfortunately, the career of Lance LeGault, blue-eyed soul brother, continues to languish in obscurity. Except here. On The Record.

Lance and The Spirits - The Perfect Combination (Garrett 1005) - 1966

JOHN ZACHERLE - IGOR

In honor of Halloween, here's one of the GORIEST records ever made (well, considering Alice Cooper, GG Allin, etc., one of the goriest records ever made in 1958, at least....) by the coolest of all the ghouls, John Zacherle.

Don't know this one? Well, there may be a reason for that.....and that reason is Dick Clark.

John Zacherle (born September 26, 1918 in Philadelphia) grew up perfectly normal, the son of a bank clerk. After graduation from high school and Pennsylvania University, and a stint in the Army, Zacherle returned to Philly and began doing local theatre with a repertory company. He soon began getting roles on local TV station WCAU, mainly in westerns. Oddly enough, he usually played the town undertaker.

In 1957, Universal Pictures decided to allow their unparalleled horror movie catalog to be shown on TV. Stations from all over the country bid on the film packages, and in Philly, WCAU-TV was the lucky station allowed to show Frankenstein, Dracula and The Mummy as well as such "classics" as The Black Cat, The Mad Daughter Of Market Street and Weird Woman. The films were to be run late at night, under the name of "Shock Theatre". But WCAU needed a host for the show, and Zacherle was asked to do it. He grabbed his undertaker's coat that he used in all those westerns, put on a little make-up, and Roland (pronounced Ro-LAND), Zacherle's character for Shock Theatre, was born.

Zacherle (and Roland) were an immediate sensation in Philadelphia. Kids went crazy over Zacherle's wild antics, like carrying around a severed head dripping with blood (actually chocolate syrup), talking to his wife, known as "my dear", who lived in a coffin (and would occasionally receive a wooden stake through the heart, courtesy of Roland), and interacting with his son Gasport (who was a blob in a burlap sack who hung on the wall and moaned occasionally). He even had an assistant, named Igor, who would do Roland's dirty work.

Eventually Zacherle came to the attention of two very powerful men in Philadelphia - American Bandstand's Dick Clark and Bernie Lowe, senior partner of Cameo Records (Kal Mann was the junior partner, and reputedly Dick Clark was a silent partner - as he was with many, many Philly labels. Clark was dirtier than a sewer pipe), who decided that Zacherle should cut a record. Backed up by Cameo's great house band, Dave Appell and The Applejacks, Zacherle cut two songs - "Dinner With Drac" and "Igor", which were basically the same tune with different sets of lyrics. "Igor" was picked to be the A-side, and "Igor" backed with "Dinner With Drac" was released in January, 1958. Bernie Lowe sent a copy to his buddy Dick Clark, who took one listen to "Igor" and refused to play it. Tight-ass that he was, Clark thought the lyrics of "Igor" were too gory for the record-buying public, and made it clear that he wouldn't be playing it on his show. The flip side, "Dinner With Drac", had much milder lyrics and it was the same tune anyway, so Bernie asked Dick to lean on that side of the record. Clark agreed, but was still so upset by "Igor" that he insisted Zacherle go back into the studio and cut yet another version of "Dinner With Drac" with even milder lyrics (in case "Dinner With Drac" set people - meaning Clark's sponsors - off the wrong way) and repress the single as "Dinner With Drac - Part 1" backed with "Dinner With Drac - Part 2". This new coupling was released in February, and the rest is history, with "Igor" becoming a lost track.

Today, the lyrics of "Igor" sound rather tame, but Zacherle (not to mention Appell's nasty-sounding sax) sounds positively evil, especially on this limerick:

A werewolf once tore his own hide
To find out just what was inside
He BIT and he TORE
Till his hands RAN with GORE
But before he found out, he DIED!

HAPPY HALLOWEEN!

NOTE: the record does NOT skip toward the end - it was just a very poor edit (due to Zacherle losing the tempo). 

John Zacherle - Igor (Cameo 130) - 1958