Ted Heath (bandleader)
George Edward "Ted" Heath was an English musician and big band leader. Heath led what is considered Britain's greatest post-war big band recording more than 100 albums which sold over 20 million copies; the most successful band in Britain during the 1950s, it remained in existence as a ghost band long after Heath died, surviving in such a form until 2000. After playing tenor horn at the age of six, encouraged by his father Bert, a trumpeter and the leader of the Wandsworth Town Brass Band, Heath switched to trombone. Both played together on numerous dance band recording of the 1920s and 1930s. Earning a living for his family in the post-war years he, his brother Harold with three other musicians, formed a band that played to commuters outside London Bridge Station before winding their way along the streets in London to a location outside the Queen’s Hall Gardens venue, it was here that Heath’s professional career began as he was spotted on the street and asked to play with the Jack Hylton Band who had a residence there.
He did not last long, not having the experience required, but it gave him the ambition to pursue a career as a professional musician. Bert Firman; the drummer for this band, Benny Payton, taught Heath all about Swing. Heath had to pay his own way back from Austria. From 1925 to 1926 Heath played in the Kit Cat Club band led by American Al Starita. There he heard Bunny Berrigan, Tommy Dorsey and Jimmy Dorsey and Paul Whiteman when they toured Europe, he next played with a small band fronted by Hylton's then-wife Ennis Parkes. In the late 1920s, Heath again joined Hylton's larger stage band, staying until 1930. Around this time, he began to play for a number of other dance orchestras. Ambrose. Ambrose, a strict disciplinarian, taught Heath, it was during this time that Heath became the most prominent trombone player in Britain, renowned for his perfect tone. He kept playing on numerous recordings as a studio musician, although he concentrated his efforts on the Ambrose band after 1932. In September 1939 the war caused the immediate disbandment of the Sydney Lipton Band, on tour in Scotland at the time.
Heath, his wife Moira and children went back to London. In late 1939, Heath joined Maurice Winnick's Dorchester Hotel band. During the late'30s and early'40s, Heath played as a sideman on several Benny Carter sessions. Geraldo In 1940, Heath joined Geraldo's orchestra and played numerous concerts and broadcasts during the war travelling to the Middle East to play to the Allied Forces based there, he became one of the "boys" in Geraldo's vocal group,'Three Boys and a Girl'. In 1941, Geraldo asked his band members to submit a favourite tune to include in their broadcasts. Heath had composed a song "That Lovely Weekend", after his wife had written him a poem on a rare weekend together amongst his war travels, he set this to music. Heath suggested "That Lovely Weekend" to Geraldo and it was orchestrated, with Dorothy Carless on vocal, was an immediate wartime hit; the royalties from this song and another composition "Gonna Love That Guy" allowed Heath to form his own band. Heath was inspired by Glenn Miller and his Army Air Force Band and spoke with Miller at length about forming his own band when Miller toured Britain with the USAAF Orchestra.
Heath admired the immaculate precision of the Miller ensemble and felt confident that he could emulate Miller’s success with his own orchestra. In 1944, Heath talked Douglas Lawrence, the Dance Music Organiser for the BBC's Variety Department, into supporting a new band with a broadcasting contract. Lawrence was sceptical as Heath wanted a much larger and more jazz orientated band than anyone had seen in Britain before; this band followed the American model, featured 5 saxes, 4 trombones, 4 trumpets, guitar and Drums. The new Ted Heath Band organised as a British "All Star Band" playing only radio dates, was first heard on a BBC broadcast in 1944. In 1945, the BBC decreed that only permanent, touring bands could appear on radio. So Ted Heath and his Music was formed on D-Day, 1944. In late 1945, American bandleader Toots Camarata came to UK as musical director for the film London Town starring comedian Sid Field; this film was intended to be Britain's first attempt to emulate the American film musicals of studios such as MGM and Camarata commissioned Heath to provide his band as the nucleus for the film's orchestra.
The film was not a success. Heath arranged a stint at the Winter Gardens at Blackpool in 1946, a Scandinavian tour, a fortnight at the London Casino with Lena Horne, backed Ella Fitzgerald at the London Palladium. Huge popularity followed and Heath's Band and his musicians were regular Poll Winners in the Melody Maker and the NME – Britain’s leading music newspapers. Subsequently Heath was asked to perform at two Royal Command Performances in front of King George VI in 1948 and 1949. In 1947 Heath persuaded impresario Val Parnell, uncle of the band's star drummer Jack Parnell, to allow him to hire the London Palladium for alternating Sundays fo
Paul Samuel Whiteman was an American bandleader, orchestral director, violist. As the leader of one of the most popular dance bands in the United States during the 1920s and early 1930s, Whiteman produced recordings that were immensely successful, press notices referred to him as the "King of Jazz"; some of his most popular recordings included "Whispering", "Valencia", "Three O'Clock In The Morning", "In A Little Spanish Town", "Parade Of The Wooden Soldiers", "Wang Wang Blues". Paul Whiteman led a large ensemble and explored many styles of music, such as blending symphonic music and jazz, as in his debut of Rhapsody in Blue by George Gershwin. Whiteman recorded many jazz and pop standards during his career, including "Wang Wang Blues", "Mississippi Mud", "Rhapsody in Blue", "Wonderful One", "Hot Lips", "Mississippi Suite", "Grand Canyon Suite", "Trav'lin' Light", he co-wrote the 1925 jazz classic "Flamin' Mamie". His popularity faded in the swing music era of the mid-1930s, by the 1940s he was semi-retired from music.
He experienced a revival and had a comeback in the 1950s with his own network television series, Paul Whiteman's Goodyear Revue, which ran for three seasons. He hosted the 1954 ABC talent contest show On the Boardwalk with Paul Whiteman. Whiteman's place in the history of early jazz is somewhat controversial. Detractors suggest that his ornately orchestrated music was jazz in name only, lacking the genre's improvisational and emotional depth, co-opted the innovations of black musicians. Defenders note, he worked with black musicians. His bands included many of the era's most esteemed white musicians, his groups handled jazz admirably as part of a larger repertoire. Critic Scott Yanow declares that Whiteman's orchestra "did play good jazz... His superior dance band used some of the most technically skilled musicians of the era in a versatile show that included everything from pop tunes and waltzes to semi-classical works and jazz. Many of his recordings have been reissued numerous times and are more rewarding than his detractors would lead one to believe."In his autobiography, Duke Ellington declared, "Paul Whiteman was known as the King of Jazz, no one as yet has come near carrying that title with more certainty and dignity.
Whiteman was born in Colorado. He came from a musical family: his father, Wilburforce James Whiteman was the supervisor of music for the Denver Public Schools, a position he held for fifty years, and his mother Elfrida was a former opera singer. His father insisted that Paul learn an instrument, preferably the violin, but the young man chose the viola.. According to Chris Popa, Whiteman was Protestant and of Scottish, Irish and Dutch ancestry, although he is listed as Jewish in an interview with Michael Lasser. Whiteman's skill at the viola resulted in a place in the Denver Symphony Orchestra by 1907, joining the San Francisco Symphony Orchestra in 1914. In 1918, Whiteman conducted a 12-piece U. S. Navy band, the Mare Island Naval Training Camp Symphony Orchestra. After the war, he formed the Paul Whiteman Orchestra; that year he led a popular dance band in the city. In 1920 he moved with his band to New York City where they began recording for the Victor Talking Machine Company; the popularity of these records led to national fame.
In his first five recordings sessions for Victor, August 9 – October 28, 1920, he used the name "Paul Whiteman and His Ambassador Orchestra" because he had been playing at the Ambassador Hotel in Atlantic City. From November 3, 1920, he started using "Paul Whiteman and His Orchestra."Whiteman became the most popular band director of that decade. In a time when most dance bands consisted of six to ten men, Whiteman directed a more imposing group that reached of up to 35 musicians. By 1922, Whiteman controlled some 28 ensembles on the East Coast and was earning over a $1,000,000 a year. In 1927 the Whiteman orchestra backed Hoagy Carmichael singing and playing on a recording of "Washboard Blues". Whiteman signed with Columbia Records in May 1928, leaving the label in September 1930 when he refused a pay cut, he returned to RCA Victor between September 1931 and March 1937. In the 1920s the media referred to Whiteman as "The King of Jazz". Whiteman emphasized the way he approached the well-established style of jazz music, while organizing its composition and style in his own fashion.
While most jazz musicians and fans consider improvisation to be essential to the musical style, Whiteman thought the genre could be improved by orchestrating the best of it, with formal written arrangements. Eddie Condon criticized him for trying to "make a lady" out of jazz. Whiteman's recordings were popular critically and commercially, his style of jazz was the first jazz of any form that many Americans heard during the era. Whiteman wrote more than 3000 arrangements. For more than 30 years Whiteman, referred to as "Pops", sought and encouraged promising musicians, composers and entertainers. In 1924 he commissioned George Gershwin's Rhapsody in Blue, premiered by his orchestra with the composer at the piano. Another familiar piece in Whiteman's repertoire was Grand Canyon Suite by Ferde Grofé. Whiteman hired many of the best jazz musicians for his band, including Bix Beiderbecke, Frankie Trumbauer, Joe Venuti, Eddie Lang, Steve Brown, Mike Pingitore, Gussie Mueller, Wilbur Hall, Jack Teagarden, Bunny Berigan.
He encouraged upcoming African American musical talents and planned to hire black musicians, but his mana
John Francis Oscar Arpin was a Canadian composer, recording artist and entertainer, best known for his work as a virtuoso ragtime pianist. Born in Port McNicoll, Ontario Arpin studied piano at The Royal Conservatory of Music, earning his ARCT diploma in 1953, he studied at the Faculty of Music, University of Toronto. Arpin toured widely, he died 8 November 2007 in Ontario. Arpin recorded more than sixty albums of ragtime, but played Broadway music, pop music, classical music. In 2002 he recorded seven CDs of piano solo music on the April Avenue record label; these albums consisted of familiar pop tunes. While just two compilations are still available in CD format, most of the other tracks can still be found on iTunes. Here is a complete list: Arpin performed as a solo entertainer and with orchestras throughout the world. In Canada, he performed with Peter Appleyard, he made several appearances at the Mariposa Folk Festival, the St. Louis Ragtime Festival, the Scott Joplin Festival in Sedalia, Missouri.
In the Toronto area he performed in bars and hotel lounges, notably The King Edward Hotel, The Ports of Call, The Windsor Arms, Mr. Tony's, Pearcy House. Arpin was nominated three times given to show excellence in Canadian music. In June 1998, he won the Scott Joplin Award from the Scott Joplin Foundation of Missouri. Ragtime great Eubie Blake pronounced John Arpin "the Chopin of Ragtime", while The New York Times labeled him "the Richter of Ragtime". High Fidelity magazine said of one of his albums: "This is the best recorded collection of piano rags that I know of and is, I suspect, the most authentically performed." Notable among his own compositions are "Jogging Along". He composed the theme for TVOntario's children's shows, Polka Dot Door and Polka Dot Shorts and wrote the music for the shows. Arpin composed the themes for several CTV network shows in the 1960s, his "Lyric Suite for Piano and Percussion" won first prize out of 450 entrants in the Yamaha Second International Original Concert in Tokyo.
He arranged music for several Canadian recording acts. In 2005, he was commissioned by St. Michael's Choir School to compose and arrange a "medley" of Christmas tunes which he titled "Yuletide on the Cool Side", it was warmly received in its premiere on a concert tour across Canada. Popple, Robert. John Arpin Keyboard Virtuoso. Dundurn Press. ISBN 978-1-55002-866-9. Canadian Encyclopedia entry Arpin's personal web site JohnAndMaryJane.blogspot Blog maintained by Arpin's wife
Thoroughly Modern Millie (musical)
Modern Millie is a musical with music by Jeanine Tesori, lyrics by Dick Scanlan, a book by Richard Morris and Scanlan. It is based on the 1967 film of the same name, which itself was based on the British musical Chrysanthemum, which opened in London in 1956. Modern Millie tells the story of a small-town girl, Millie Dillmount, who comes to New York City to marry for money instead of love – a modern aim in 1922, when women were just entering the workforce. Millie soon begins to take delight in the flapper lifestyle, but problems arise when she checks into a hotel owned by the leader of a white slavery ring in China; the style of the musical is comic pastiche. Like the film on which it is based, it interpolates new tunes with some written songs. After previews at the La Jolla Playhouse in San Diego, California, in October 2000, the show opened on Broadway on April 18, 2002; the production subsequently won six 2002 Tony Awards, including Best Musical. Due to the success of the original Broadway production, there was both a United States tour and a West End production launched in 2003, followed by a United Kingdom tour in 2005.
The musical has since become a popular choice for high school productions. However, the racial discrimination controversy of the musical has never stopped. Act I It's 1922, Millie Dillmount has just escaped to New York City from Salina, Kansas. Determined to become a success, she tears up her return ticket. Bobbing her hair, she assumes the modern look of a "flapper", but she is mugged on the streets of New York, losing her hat, scarf and shoe. In a panic for someone to help her, she trips bypasser Jimmy Smith, a handsome, carefree young man who makes his way through life on whims and wits, who promptly lectures her on why she needs to head back home: she is just another girl full of false hopes who doesn't belong in the big city. Taking his advice, she changes her mind and yells after him, "Who needs a hat? Who needs a purse? And who needs YOU, mister whoever-you-are?!"and soon takes a room at the Hotel Priscilla for Single Women. A week Millie is confronted by the hotel proprietress, the mysterious and sinister Mrs. Meers, a former actress who now works for a white slavery ring in Hong Kong, kidnapping pretty unsuspecting orphan girls and shipping them to the Orient, which she has just done to Millie's hall mate, Ethel Peas.
Mrs. Meers declares that Millie "has two minutes to pack, or find her things on the street!" But Millie meets the wealthy Miss Dorothy, who wants to learn how the poorer half lives, wants a room in the Hotel Priscilla. Millie, seeing this as a way to get her rent paid, suggests that Miss Dorothy can room with her until she can find her own, but only if Miss Dorothy pays the rent. Mrs. Meers comes out of her office, saying Millie can get a rent extension, Miss Dorothy can take the "nice, sunny room that just become available, right next to Millie's." When Millie asks what happened to her old neighbor, Mrs. Meers says she got an acting job in the Orient. Millie and Miss Dorothy go up to their rooms, tap dancing to get the elevator to start. In the Hotel Priscilla laundry room, two Chinese immigrants, Ching Ho and Bun Foo, are working for Mrs. Meers to earn enough money to bring their mother from Hong Kong over to the states. After researching some of the richest and most eligible bachelors in the world, Millie comes to Sincere Trust not only looking for a job, but to set her sights on the company's boss, Trevor Graydon III.
Her lightning speed stenography lands her the job. Meanwhile, Ching Ho attempts to capture Miss Dorothy for Mrs. Meers with a drugged apple but when he sees her, he falls in love with her and wants to save her from Mrs. Meers. Before Dorothy eats the drugged apple, Millie arrives with the good news that she has found a job and a boss to marry; as the girls rush off to their rooms, Mrs. Meers thinks about how stupid the girls are to never realize she's an evil mastermind trying to ship them to Southeast Asia. To celebrate their success the girls go to a speakeasy, where they meet Jimmy, but the club is raided by the police. While waiting for his release in the jail cell, Jimmy realizes. Jimmy asks Millie to a party hosted by famous singer Muzzy van Hossmere, she accepts. Before the party Muzzy sings of her love for New York. At the party, Millie spills wine on Dorothy Parker's dress, which Millie tries to get out with soy sauce, following Mrs. Meers' example. After the party, Millie explains to Jimmy.
She tells him off for being a "skirt chaser" and "womanizer." As they argue, Jimmy grabs Millie and kisses her runs away. Millie realizes. Millie returns to the hotel and overhears a conversation between Miss Dorothy and Jimmy, "I want to tell her, she's my best friend" followed by "You know we can't". Millie sees Jimmy sneaking out of Miss Dorothy's room after. Act II At Sincere Trust, Millie tells the other stenographers that she is "completely over" Jimmy realizes she is still in love. Millie places more conviction into marrying Graydon, but when Dorothy comes to visit Millie at work, Mr. Graydon is smitten with her instead ("Ah! Sweet Mystery
The Singing Fool
The Singing Fool is a 1928 American musical drama Part-Talkie motion picture directed by Lloyd Bacon, released by Warner Bros. The film is a follow-up to his previous film, The Jazz Singer, it is credited with helping to cement the popularity of American films of both sound and the musical genre. After years of hopeful struggle, Al Stone is on his way. "I'm Sittin' on Top of the World", he sings to an appreciative speakeasy crowd. But, as Al discovers, getting there is one thing. Staying there is another. Singing waiter Stone gets his huge break on a magical night when his song wows a big-time producer and a gold-digging showgirl he fancies. Broadway success and marriage follow. Al's fickle wife abandons him. Heartbroken, Al becomes a devastated loner until friends from the speakeasy that launched his career rescue him from a life on the streets. Soon, Al is back in lights, but another crisis awaits: Sonny Boy is in the hospital and dying. Al Jolson as Al Stone Betty Bronson as Grace Josephine Dunn as Molly Winton Arthur Housman as Blackie Joe Reed Howes as John Perry Davey Lee as Sonny Boy Edward Martindel as Louis Marcus Robert Emmett O'Connor as Bill, cafe owner Helen Lynch as Maid Agnes Franey as "Balloon" girl The Yacht Club Boys as Singing quartet Jack Stoutenburg Carl M. Leviness as Carl, a Waiter at Clicquot Club William H. O'Brien as Waiter at Blackie Joe's Bob Perry as Doorman at Blackie Joe's Like The Jazz Singer, The Singing Fool was a melodrama with musical interludes, as such was one of the film industry's first musical films.
Produced during the transition period between silent film and talkies, the movie was released in both sound and silent versions. The Singing Fool was a part-talking feature, which featured a synchronized musical score with sound effects along with synchronized musical and talking sequences, although in this film 66 minutes of talking and singing were included. Al Jolson's first all-talking feature, Say It With Songs, would appear in 1929; the Singing Fool solidified Jolson's position atop the movie world. With a worldwide gross of $5.9 million, it would remain the most successful film in Warner Bros. history until the release of Sergeant York in 1941. According to Warner Bros records the film earned $3,821,000 domesically and $2,095,000 foreign. For the majority of movie audiences, The Singing Fool became their first experience with a talking film, since few movie theaters had been equipped with a sound system in 1927; the film's positive reception was viewed as a signifier that sound films were here to stay.
"Here is complete vindication for the advocates of sound pictures", wrote Film Daily. "The Singing Fool is the finest example of sound pictures made to date." Mordaunt Hall of The New York Times wrote that the dialogue was "a little halting" and that Dunn was "not convincing", but recognized that the main point of interest in the film was "not in its transparent narrative, but in Mr. Jolson's inimitable singing", on that basis it was "capital entertainment." John Mosher of The New Yorker recommended the film, writing, "Fortunately, throughout this picture one has Al Jolson's own songs to listen to, for the story has been contrived to exploit to the full his special talents. Whenever the action begins to slump and lag, Al has only to step forward and do his stuff, the day is saved." One trade paper commentator stated that The Singing Fool "will be to talking pictures what The Birth of a Nation has been to silent pictures". For a time, the film made Davey Lee, Jolson's 31⁄2 year old co-star, the most popular child star since Jackie Coogan.
Lee was re-teamed with Jolson in Say It With Songs and starred in a few other films—including 1929's Sonny Boy—until his parents pulled him out of the movie business. The film is recognized by American Film Institute in these lists: 2004: AFI's 100 Years...100 Songs: "Sonny Boy" – Nominated "There's a Rainbow'Round My Shoulder" – words and music by Billy Rose, Al Jolson and Dave Dreyer "Golden Gate" – words by Billy Rose and Dave Dreyer, music by Al Jolson and Joseph Meyer "I'm Sittin' on Top of the World" – words by Sam Lewis and Joe Young, music by Ray Henderson "It All Depends on You" – words and music by Lew Brown, B. G. DeSylva and Ray Henderson "Keep Smiling at Trouble" – words by Al Jolson and B. G. DeSylva, music by Lewis Gensler "Sonny Boy" – words and music by Lew Brown, B. G. DeSylva and Ray Henderson "Sonny Boy" became the first song from a movie to sell over a million copies, it sold over 3 million copies of sheet music, piano rolls and phonograph records. "The Spaniard That Blighted My Life" – Billy Merson Source: Al Jolson's rendition of "The Spaniard That Blighted My Life" is missing from extant prints of the film.
This is due to a lawsuit initiated by Billy Merson. Merson claimed that he, as a performer, owed his income to his own renditions of the song, that Jolson's version would diminish his ability to earn a living; the song was removed from all prints of "The Singing Fool" shown in the United Kingdom. The only surviving copies of the film are from the U. K. hence are missing the song. These copies have the majority of the original decorative Warner Brothers title cards replaced with simple British made ones which were used to remove Americanisms which the British would not understand or appreciate. Only the soundtrack survives on extant Vitaphone discs. List of early Warner Bros. talking features Notes Fu
Isham Edgar Jones was an American bandleader, saxophonist and songwriter. Jones was born in Coalton, United States, to a musical and mining family, grew up in Saginaw, where he started his first band. In 1911 one of Jones's earliest compositions "On the Alamo" was published by Tell Taylor Inc. In 1915 Jones moved to Illinois, he performed at the Green Mill Gardens began playing at Fred Mann's Rainbo Gardens. Chicago remained his home until 1932, he toured England with his orchestra in 1925. In 1917, he composed the tune "We're In The Army Now" when the United States entered World War I; the same tune has been popular well again during World War II and it is played by the US Army Band. The Isham Jones band made a series of popular gramophone records for Brunswick throughout the 1920s, his first 26 sides, made at Rainbo Gardens, were credited to "Isham Jones' Rainbo Orchestra". By the end of 1920, the name was "Isham Jones' Orchestra", he led one of the most popular dance bands in the 1930s. His first successful recording, "Wabash Blues" written by Dave Ringle and Fred Meinken, was recorded in 1921 by "Isham Jones and his Orchestra".
This million-seller stayed for twelve weeks in the U. S. charts, six at No. 1. It was awarded a gold disc by the RIAA. Noted musicians who played in Jones's band included Louis Panico, Benny Goodman, Woody Herman, Walt Yoder, Roy Bargy. Reed virtuoso Al Gallodoro appeared with Jones in 1933, taking part in a record date October 3. From the start, his Brunswick records were popular. There was a gap from October 1927 to June 1929 where Jones did not record due to disbanding and reorganization. From 1929 to 1932, his Brunswick recordings became more sophisticated with offbeat arrangements by Gordon Jenkins and others. During this period, Jones started featuring violinist Eddie Stone as one of his regular vocalists. Stone had an unusual humorous tone to his voice, his other vocalists included Frank Sylvano, Billy Scott, Arthur Jarrett. In 1932, he added another of the band's violinists, as a frequent vocalist. In April that year, young Bing Crosby recorded two sessions with Jones's group which included "Sweet Georgia Brown".
Crosby at this point in his career was still singing in a jazz idiom, transitioning to his better known "crooner" style. In August 1932, Jones signed with Victor, these records are considered among the best arranged and performed commercial dance band records of the Depression era. Victor's recording technique was suited to Jones' band. In October 1932, he teamed up with the Three X Sisters in New York who had just departed from CBS radio, they recorded "experimental" songs for RCA Victor in which Jones began to fuse jazz and early swing music. They recorded "Where?" and "What Would Happen to Me If Something Happened to You." His Victor releases had an symphonic sound with a strong use of tuba. During his Victor period, he recorded two long playing "Program Transcription" records as part of Victor's unsuccessful 33 1/3 RPM series, he stayed with Victor until July 1934. Jones's recordings during this period rivaled Paul Whiteman, Waring's Pennsylvanians, Leo Reisman and other dance orchestras as examples of the most popular dance music of the era.
Jones' Decca recordings are unfavorably compared to his Victor recordings, due to Decca's recording techniques, Decca's insisting that Jones re-record many of his Victor recordings, the apparent smaller size of his orchestra. After he left Decca in 1936, he again retired and his orchestra was taken over by band member Woody Herman. Jones started a new band in 1937–38 and recorded a handful of sessions under the ARC labels: Melotone and Banner. In the 1940s, Jones resided on his poultry farm in Colorado, which he left for short tours with pickup bands, he resided in Los Angeles. He moved to Hollywood, Florida in 1955, died there of cancer in 1956, his great-nephew is the now-deceased jazz drummer Rusty Jones. Isham Jones' compositions: "We're In The Army Now" 1917 - Lyrics by Tell Taylor & Ole Olsen "You Gave Me Your Heart" Brunswick 2350-A "The Sneak!" Brunswick 2350-B "Dog on the Piano" Brunswick 2646-A "Mahsi" Brunswick 2646-B "Meet Me in Bubble Land" 1919 "On the Alamo" recorded 1922 "Swingin' Down the Lane" 1923 "I'll See You in My Dreams" 1924 "The One I Love" 1924 "It Had to Be You" 1924 "Spain" 1924 "Song of the Blues" "Not a Cloud in the Sky" 1929 "What's the Use?"
1930 "Feeling That Way" 1930 "You're Just a Dream Come True" 1931 "I Wouldn't Change You For The World" 1931 "Let That Be a Lesson to You" 1932 "I Can't Believe It's True" 1932 "One Little Word Led to Another" 1932 "The Wooden Soldier and the China Doll" 1932 "I'll Never Have to Dream Again" 1932 "Pretending You Care" 1932 "There's Nothing Left to Do But Say Goodbye" 1932 "Why Can't This Night Go On Forever?" 1932 "You've Got Me Crying Again" 1933 "Honestly" 1933 "Old Lace" 1933 "Something Seems to Tell Me" 1933 "You're We
U2 are an Irish rock band from Dublin formed in 1976. The group consists of Bono, the Edge, Adam Clayton, Larry Mullen Jr.. Rooted in post-punk, U2's musical style has evolved throughout their career, yet has maintained an anthemic quality built on Bono's expressive vocals and the Edge's effects-based guitar textures, their lyrics embellished with spiritual imagery, focus on personal and sociopolitical themes. Popular for their live performances, the group have staged several ambitious and elaborate tours over their career; the band formed as teenagers while attending Mount Temple Comprehensive School, when they had limited musical proficiency. Within four years, they released their debut album, Boy. Subsequent work such as their first UK number-one album and the singles "Sunday Bloody Sunday" and "Pride" helped establish U2's reputation as a politically and conscious group. By the mid-1980s, they had become renowned globally for their live act, highlighted by their performance at Live Aid in 1985.
The group's fifth album, The Joshua Tree, made them international superstars and was their greatest critical and commercial success. Topping music charts around the world, it produced their only number-one singles in the US to date: "With or Without You" and "I Still Haven't Found What I'm Looking For". Facing creative stagnation and a backlash following their documentary/double album and Hum, U2 reinvented themselves in the 1990s through a new musical direction and public image. Beginning with their acclaimed seventh album, Achtung Baby, the multimedia-intensive Zoo TV Tour, the band integrated influences from alternative rock, electronic dance music, industrial music into their sound, embraced a more ironic, flippant image; this experimentation continued through their ninth album and the PopMart Tour, which were mixed successes. U2 regained critical and commercial favour with the records All That You Can't Leave Behind and How to Dismantle an Atomic Bomb, which established a more conventional, mainstream sound for the group.
Their U2 360° Tour of 2009–2011 is the highest-attended and highest-grossing concert tour in history. The group most released the companion albums Songs of Innocence and Songs of Experience, the former of which received criticism for its pervasive, no-cost release through the iTunes Store. U2 have released 14 studio albums and are one of the world's best-selling music artists in history, having sold an estimated 150–170 million records worldwide, they have won 22 Grammy Awards, more than any other band, in 2005, they were inducted into the Rock and Roll Hall of Fame in their first year of eligibility. Rolling Stone ranked U2 at number 22 on its list of the "100 Greatest Artists of All Time". Throughout their career, as a band and as individuals, they have campaigned for human rights and social justice causes, including Amnesty International, Jubilee 2000, the ONE/DATA campaigns, Product Red, War Child, Music Rising. In 1976, Larry Mullen Jr. a 14-year-old student at Mount Temple Comprehensive School in Dublin, posted a note on the school's notice board in search of musicians for a new band.
Six people met at Mullen's house on 25 September. Set up in the kitchen, Mullen was on drums, with: Paul Hewson on lead vocals. Mullen described it as "'The Larry Mullen Band' for about ten minutes Bono walked in and blew any chance I had of being in charge." Martin, who had brought his guitar and amplifier to the first practice but could not play, did not remain with the group, McCormick was dropped after a few weeks. The remaining five members settled on the name "Feedback" for the group because it was one of the few technical terms they knew. Most of their initial material consisted of cover songs, which they admitted was not their forte; some of the earliest influences on the band were emerging punk rock acts, such as the Jam, the Clash and Sex Pistols. The popularity of punk rock convinced the group that musical proficiency was not a prerequisite to success. In April 1977, Feedback played their first gig for a paying audience at St. Fintan's High School. Shortly thereafter, the band changed their name to "The Hype".
Dik Evans, older and by this time at college, was becoming the odd man out. The rest of the band was leaning towards the idea of a four-piece ensemble. In March 1978, the group changed their name to "U2". Steve Averill, a punk rock musician and family friend of Clayton's, had suggested six potential names from which the band chose "U2" for its ambiguity and open-ended interpretations, because it was the name that they disliked the least; that same month, U2, as a four-piece, won a talent contest in Limerick sponsored by Harp Lager and the Evening Press. The prize consisted of £500 and studio time to record a demo which would be heard by CBS Ireland, a record label; the win was an important affirmation for the fledgling band. Within a few days, Dik Evans was phased out of the band with a farewell concert at the Presbyterian Church Hall in Howth. During the show, which featured the group playing cover songs as the Hype, Dik ceremonially walked offstage; the remaining four band members returned in the concert to play original material as U2.
Dik soon joined the Virgin Prunes, which comprised mutual friends of U2's.