In uno stile al confine fra country, pop e soul, derivato tanto da Nashville quanto dalla Atlantic, avrebbe scodellato gemme come Praying Mantis, da Most Of The Girls Like To Dance (Enigma, 1985), Just Rites, da Romeo At Juilliard (Enigma, 1986), Girls Ltd, da Chi-Town Budget Show (Restless, 1989), Oh Cheap Chatter da EEE (Enigma, 1989). Ma soprattutto avrebbe lanciato un manipolo di musicisti, locali e non (Graphic, X-teens, Accelerators, Dumptruck, Fetchin' Bones, Guadalcanal Diary). Il limite dei suoi album e` che vivacchiano attorno a una o due composizioni di rilievo.

The Invisible Man (Gadfly, 1999) has a senile quality that the sprightly Invisible & Free and Tax The Churches (with the sarcastic couplet "the best things in after-life are free") cannot redeem. His trademark melodic rhythm and blues (Do So Well, All I Ever Wanted) pens scenes of a philosophical recital obsessed with aging and death. The caribbean-tinged High Night For The Tide and Why Do Children Have To Die? display the usual dexterity at arranging with taste and discretion, but little in the vein of genius. Old buddy Easter writes Decline And Fall.