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Al Schmitt is a recording engineer and record producer.

Early career[link]

Schmitt grew up in New York City. After serving in the U.S. Navy he began working at Apex Recording Studios at the age of 19. In the late 1950's Schmitt moved to Los Angeles and became a staff engineer at Radio Recorders on Santa Monica Blvd in Hollywood. In the early 1960's he moved to RCA in Hollywood as a staff engineer. While at RCA he engineered albums for Henry Mancini, Cal Tjader, Al Hirt, Rosemary Clooney, Liverpool Five, The Astronauts, Sam Cooke "Bring It on Home to Me" "Cupid" "Another Saturday Night" in 1961. He also did a lot of motion-picture scoring work for Alex North and Elmer Bernstein.

From the mid-60s to present[link]

In 1966 Schmitt left RCA and became an independent producer. He produced albums for Jefferson Airplane, Eddie Fisher, Glenn Yarborough, Jackson Browne and Neil Young. In the mid 70's he began spending more time engineering again, recording and mixing artists from Willy DeVille and Dr. John.

Other career highlights include engineering both Frank Sinatra Duets albums, Ray Charles' Genius Loves Company and some of Diana Krall's albums. Much of his work in the last few years has been with producer Tommy LiPuma.

Awards[link]

During his career Al has recorded and mixed more than 150 gold and platinum albums^[1] and was inducted into the TEC Awards Hall of Fame in 1997, and received the Grammy Trustees Lifetime Achievement Award in 2006. As a member of The Recording Academy's Los Angeles Chapter, Al served several terms on The Recording Academy's National Board of Trustees. He has won a total of 18 Grammy Awards, more than any other engineer or mixer. In addition he was awarded two Latin Grammy Awards in 2000 including Album of the Year. In 2005 he won five Grammys for his work on Ray Charles' Genius Loves Company including Album of the Year, setting the record most most Grammys won by an engineer or mixer in one night. He is also the only person to win both the Grammy and Latin Grammy for Album of the Year.

The Schmitt-engineered song "Moon River" and its associated album won two Grammy awards in 1961 as well as an Academy Award for Best Song with its appearance in the film Breakfast at Tiffany's. Schmitt won his first Grammy in 1963 specifically for engineering the Hatari! soundtrack by Henry Mancini.

List of Grammy Awards received by Al Schmitt^[2]

References[link]

Bruce Swedien (1998)

Bruce Swedien is a Grammy Award-winning audio engineer and music producer. He is known for his work with Quincy Jones.

Swedien is a five-time Grammy winner and has been nominated 13 times. He recorded, mixed, and assisted in producing the best-sold album in the world, Thriller by Michael Jackson. He was the primary sound engineer for Jackson's studio recordings from 1978 to 2001.

He also recorded and mixed for jazz artists such as Count Basie, Duke Ellington, Dizzy Gillespie, Lionel Hampton, Quincy Jones, Oscar Peterson, Herbie Hancock and Jeff Oster. His pop work includes Patti Austin, Natalie Cole, Roberta Flack, Mick Jagger, Jennifer Lopez, Paul McCartney, Diana Ross, Rufus, Chaka Khan, Barbra Streisand, Donna Summer, Sarah Vaughan, and the zouk band Kassav'. He worked on the scores for Night Shift, The Color Purple and Running Scared.

On 10 November 2001, he was awarded an honorary doctorate in philosophy from the Luleå University of Technology, Sweden for his achievements as a sound engineer. Swedien also held "masterclasses" at the Swedish National Radio for practicing sound engineers.

Swedien is notable for pioneering the 'Acusonic Recording Process' which involves pairing up microphones together on vocals and instruments when making recordings. This achieved an enhanced roomy ambient sound, some of which is evident on albums produced in collaboration with Quincy Jones on tracks such as "Sounds And Stuff Like That!!", George Benson's "Give Me the Night", and the Michael Jackson albums he worked on.

References[link]

• Swedien, Bruce (2003). Make Mine Music. Norway: MIA Musikk. ISBN 82-996756-1-8.
• Swedien, Bruce (2009). In the studio with Michael Jackson. New York: Hal Leonard Books. ISBN 978-1-4234-6495-2.

External links[link]

• In The Studio with Bruce Swedien
• Archived interview with Mr. Bonzai, November 2006
• Bruce Swedien on Recording, Mixing Michael Jackson
• Bruce Swedien Interview
• Swedien Works With Jennifer Lopez
• Bruce Swedien On Recording Jennifer Lopez
• Bruce Swedien - Microphones Master Class
• An Incredible New Sound for Engineers
• Bruce Swedien's Autobiography 'Make Mine Music'
• Bruce Swedien discusses Jeff Oster

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Dave Koz
Background information
Born	(1963-03-27) March 27, 1963 (age 49)
Origin	Encino, California
Genres	Smooth jazz
Occupations	Musician, Radio host
Instruments	Saxophone, Piano, drums, EWI
Years active	1990 – present
Labels	Capitol Records (1990–2008), EMI, Rendezvous Entertainment, Concord Records (2009–present)
Associated acts	Bobby Caldwell
Website	davekoz.com

Dave Koz (born March 27, 1963) is an American smooth jazz saxophonist.

Life and career[link]

Dave Koz was born on March 27, 1963 in Encino, California. Koz attended William Howard Taft High School in Woodland Hills, California performing on saxophone as a member of the school jazz band. He later graduated from UCLA with a degree in mass communications in 1986, and only weeks after his graduation, decided to make a go of becoming a professional musician. Within weeks of that decision, he was recruited as a member of Bobby Caldwell's tour. For the rest of the 1980s, Koz served as a session musician in several bands, toured with Jeff Lorber. Koz was a member of Richard Marx's band and toured with Marx throughout the late 1980s. He also played in the house band of CBS' short-lived The Pat Sajak Show, with Tom Scott as bandleader.^[1]

In 1990, Koz decided to pursue a solo career, and began recording for Capitol Records. His albums there include Lucky Man, The Dance, and Saxophonic. Saxophonic was nominated for both a Grammy Award and an NAACP Image Award.

In 1994, Koz began hosting a syndicated radio program, The Dave Koz Radio Show (formerly Personal Notes), featuring the latest music and interviews with who's who in the genre. Dave co-hosted of The Dave Koz Morning Show With Pat Prescott on 94.7 The Wave, a smooth jazz station in Los Angeles for six years. He decided to leave the show in January 2007 and was replaced by Brian McKnight.

In 2002, Koz started a record label, Rendezvous Entertainment, with Frank Cody and Hyman Katz.

In an April 2004 interview with The Advocate, Koz came out publicly as a gay man. Later the same year, he was named by People magazine as one of their "50 Hottest Bachelors" in their June issue.

Dave and the late Wayman Tisdale performing at the Dave Koz & Friends Smooth Jazz Cruise 2006

In 2006, Koz was selected to host a syndicated afternoon show for Broadcast Architecture's new Smooth Jazz Network. The show, based in Los Angeles, is broadcast on other Smooth Jazz stations across the country. Koz and Ramsey Lewis are the only two Smooth Jazz personalities to host two different syndicated shows during the week.

Capitol Records/EMI's "Forever Cool" (2007) features Koz in a new arrangement of "Just in Time" with the voice of the late Dean Martin.

Koz has promoted annual Dave Koz & Friends Jazz Cruises since 2005.

Koz is the host of a weekly half-hour television series named Frequency put on by Fast Focus.^[2] Koz interviews musicians on the show such as Earth, Wind & Fire, Jonathan Butler, and Kelly Sweet. At the end of each interview, he plays along with the musician, adding some of his saxophone riffs to one of their hit songs.

Koz was also the bandleader on The Emeril Lagasse Show. The band, Dave Koz & The Kozmos, featured Jeff Golub (guitar), Philippe Saisse (keyboards), Conrad Korsch (bass guitar), and Skoota Warner (drums).^[3][4][5]

Koz plays a Yamaha silver alto sax (YAS-62S) with a #7 Beechler metal mouthpiece, a Yamaha straight silver Soprano sax (YSS-62S) or a vintage Conn curved soprano sax with a #8 Couf mouthpiece, and a Selmer Mark 6 Tenor sax with a Berg-Larsen 90/2 hard rubber mouthpiece. As for reeds, he uses size 3 Rico Plasticover.^[6]

On September 22, 2009, Koz received a star on the Hollywood Walk of Fame.^[7]

In October 2010, Koz performed "Start All Over Again" in a Desperate Housewives season 7 episode Let Me Entertain You, alongside singer Dana Glover.

Discography[link]

Musical recordings of Koz include:^[8]

Albums[link]

• A. "The Dance" also peaked at #67 on Billboard's Rhythm & Blues/Hip Hop Albums.
• B. "Smooth Jazz Christmas" also peaked at #2 on Billboard's Holiday Albums.

Singles[link]

Compilation appearances[link]

• The Weather Channel Presents: The Best of Smooth Jazz, (2007)

References[link]

External links[link]

Wikimedia Commons has media related to: Dave Koz

• Dave Koz official website

Les Paul
Les Paul playing a Gibson Les Paul in a live show at Iridium Jazz Club in New York City, 2008.
Background information
Birth name	Lester William Polsfuss[1]
Born	(1915-06-09)June 9, 1915 Waukesha, Wisconsin, United States
Died	August 13, 2009(2009-08-13) (aged 94) White Plains, New York, United States[2]
Genres	Jazz, country, blues, rock and roll
Occupations	Innovator, Inventor, Musician, Songwriter
Instruments	Guitar, Banjo, Harmonica
Years active	1928–2009
Website	lespaulfoundation.org
Notable instruments
Gibson Les Paul

Lester William Polsfuss (June 9, 1915 – August 13, 2009)^[3][4][5]—known as Les Paul—was an American jazz and country guitarist, songwriter and inventor. He was the inventor of the solid-body electric guitar which made the sound of rock and roll possible.^[6] He is credited with many recording innovations. Although he was not the first to use the technique, his early experiments with overdubbing (also known as sound on sound),^[7] delay effects such as tape delay, phasing effects and multitrack recording were among the first to attract widespread attention.^[8]

His innovative talents extended into his playing style, including licks, trills, chording sequences, fretting techniques and timing, which set him apart from his contemporaries and inspired many guitarists of the present day.^{[9][10][11][12]} He recorded with his wife Mary Ford in the 1950s, and they sold millions of records.

Among his many honors, Paul is one of a handful of artists with a permanent, stand-alone exhibit in the Rock and Roll Hall of Fame.^[13] He is prominently named by the music museum on its website as an "architect" and a "key inductee" along with Sam Phillips and Alan Freed.^[14]

Biography[link]

Early life[link]

Les Paul was born Lester William Polsfuss outside Milwaukee, in Waukesha, Wisconsin, to George and Evelyn (1888–1989) (née Stutz) Polsfus. His family was of German ancestry.^[15] Paul's mother was related to the founders of Milwaukee's Valentin Blatz Brewing Company and the makers of the Stutz automobile.^[16] His parents divorced when he was a child.^[17] The Prussian family name was first simplified by his mother to Polfuss before he took his stage name of Les Paul. He also used the nicknames Red Hot Red^[18] and Rhubarb Red.^[19]

While living in Wisconsin, he first became interested in music at age eight when he began playing the harmonica. After an attempt at learning the banjo, he began to play the guitar. It was during this time that he invented a neck-worn harmonica holder, which allowed him to play the harmonica hands-free while accompanying himself on the guitar. Paul's device is still manufactured using his basic design.^[20] By age thirteen, Paul was performing semi-professionally as a country-music singer, guitarist and harmonica player. While playing at the Waukesha area drive-ins and roadhouses, Paul began his first experiment with sound. Wanting to make himself heard by more people at the local venues, he wired a phonograph needle to a radio speaker, using that to amplify his acoustic guitar.^[21] At age seventeen, Paul played with Rube Tronson's Texas Cowboys, and soon after he dropped out of high school to join Wolverton's Radio Band in St. Louis, Missouri, on KMOX.

Early career[link]

Paul migrated to Chicago in 1934, where he continued to perform on radio, and met pianist Art Tatum, whose playing influenced him to a career devoted to guitar rather than original plans of taking on the piano. ^[22] His first two records were released in 1936. One was credited to "Rhubarb Red", Paul's hillbilly alter ego, and the other was as an accompanist for blues-artist Georgia White. It was during this time that he began playing jazz and adopted his stage name.^[23]

Paul's jazz-guitar style was strongly influenced by the music of Django Reinhardt, whom he greatly admired. Following World War II, Paul sought out and befriended Reinhardt. After Reinhardt's death in 1953, Paul furnished his headstone.^{[citation needed]} One of Paul's prize possessions was a Selmer Maccaferri acoustic guitar given to him by Reinhardt's widow.^[18]

Paul formed a trio in 1937 with singer/rhythm guitarist Jim Atkins^[24] (older half-brother of guitarist Chet Atkins) and bassist/percussionist Ernie "Darius" Newton. They left Chicago for New York in 1939, landing a featured spot with Fred Waring's Pennsylvanians radio show. Chet Atkins later wrote that his brother, home on a family visit, presented the younger Atkins with an expensive Gibson archtop guitar that had been given to Jim Atkins by Les Paul. Chet recalled that it was the first professional-quality instrument he ever owned.^[25]

Paul was dissatisfied with acoustic-electric guitars and began experimenting at his apartment in Queens, NY with a few designs of his own. Famously, he created several versions of "The Log", which was nothing more than a length of common 4x4 lumber with a bridge, guitar neck and pickup attached. For the sake of appearance, he attached the body of an Epiphone hollow-body guitar, sawn lengthwise with The Log in the middle. This solved his two main problems: feedback, as the acoustic body no longer resonated with the amplified sound, and sustain, as the energy of the strings was not dissipated in generating sound through the guitar body. These instruments were constantly being improved and modified over the years, and Paul continued to use them in his recordings long after the development of his eponymous Gibson model. In 1945, Richard D. Bourgerie made an electric guitar pickup and amplifier for professional guitar player George Barnes. Bourgerie worked through World War II at Howard Radio Company making electronic equipment for the American military. Barnes showed the result to Les Paul, who then arranged for Bourgerie to have one made for him.

While experimenting in his apartment in 1940, Paul nearly succumbed to electrocution. During two years of recuperation, he relocated to Hollywood, supporting himself by producing radio music and forming a new trio. He was drafted into the US Army shortly after the beginning of World War II, where he served in the Armed Forces Network, backing such artists as Bing Crosby, the Andrews Sisters, and performing in his own right.^[26]

Les Paul, ca. January 1947 (Photograph by William P. Gottlieb)

As a last-minute replacement for Oscar Moore, Paul played with Nat King Cole and other artists in the inaugural Jazz at the Philharmonic concert in Los Angeles, California, on July 2, 1944. The recording, still available as Jazz at the Philharmonic- the first concert- shows Paul at the top of his game, both in his solid four to the bar comping in the style of Freddie Green and for the originality of his solo lines. Paul's solo on 'Blues' is an astonishing tour de force and represents a memorable contest between himself and Nat 'King' Cole. Much later in his career, Paul declared that he had been the victor and that this had been conceded by Cole.^{[citation needed]} His solo on Body and Soul is a fine demonstration both of his admiration for and emulation of the playing of Django Reinhardt, as well as his development of some very original lines.

Also that year, Paul's trio appeared on Bing Crosby's radio show. Crosby went on to sponsor Paul's recording experiments. The two also recorded together several times, including a 1945 number-one hit, "It's Been a Long, Long Time." In addition to backing Crosby, The Andrews Sisters and other artists, Paul's trio also recorded a few albums of their own on the Decca label in the late 1940s. Paul was particularly enamored by the famous Andrews Sisters, who hired The Les Paul Trio as their opening act while they toured in 1946. Lou Levy, the sisters' manager and a music publishing giant of the big band era and beyond, once said, "Watching his fingers work was like watching a locomotive go."^[27] The trio's longtime conductor, Vic Schoen, said of Les, "You could always count on him to come up with something no one else had thought of,"^[28] while Maxene Andrews once remembered, "It was wonderful having him perform with us. He'd tune into the passages we were singing and lightly play the melody, sometimes in harmony. We'd sing these fancy licks and he'd keep up with us note for note in exactly the same rhythm...almost contributing a fourth voice. But he never once took the attention away from what we were doing. He did everything he could to make us sound better."^[29] Two Decca recordings from 1946 pairing Paul with The Andrews Sisters ("Rumors Are Flying" and "It's a Pity to Say Goodnight") exist today to well affirm such comments. Paul's many hits with wife Mary Ford recording her vocals in triplicate in the 1950s produced a sound eerily similar to the harmonious blend of The Andrews Sisters.^[30] As Les Paul biographer Mary Alice Shaughnessy noted of Paul's association with The Andrews Sisters, "Les welcomed the opportunity to study them in full flight."^[31]

In January 1948, Paul shattered his right arm and elbow in a near-fatal automobile accident on an icy Route 66 just west of Davenport, Oklahoma. Mary Ford was driving the Buick convertible, which rolled several times down a creekbed; they were on their way back from Wisconsin to Los Angeles after performing at the opening of a restaurant owned by Paul's father. Doctors at Oklahoma City's Wesley Presbyterian Hospital told him that they could not rebuild his elbow so that he would regain movement; his arm would remain permanently in whatever position they placed it in. Their other option was amputation. Paul instructed surgeons, brought in from Los Angeles, to set his arm at an angle—just under 90 degrees—that would allow him to cradle and pick the guitar. It took him nearly a year and a half to recover.^[32]

Guitar builder[link]

The Gibson Les Paul, one of the world's most popular electric guitars, was named after the man who invented it.

Paul's innovative guitar, "The Log", built after-hours in the Epiphone guitar factory in 1940, a 4" × 4" chunk of pine with strings and a pickup, was one of the first solid-body electric guitars.^[33][34] Paul Tutmarc of Audiovox Manufacturing Co. built a solid body electric bass in 1935 and Adolph Rickenbacker had marketed a solid-body guitar in the 1930s and Paul A. Bigsby had built one for Merle Travis in 1948 and Leo Fender also independently created his own (the Fender "Broadcaster" later changed to "Esquire" for copyright reasons, a single pickup model) in 1948. Although Paul approached the Gibson Guitar Corporation with his idea of a solid body electric guitar, they showed no interest until Fender began marketing its Esquire which later had a second pick-up added and became known as the Telecaster.

The arrangement persisted until 1961, when declining sales prompted Gibson to change the design without Paul's knowledge, creating a much thinner, lighter and more aggressive-looking instrument with two cutaway "horns" instead of one. Paul said he first saw the "new" Gibson Les Paul in a music-store window, and disliked it. Although his contract required him to pose with the guitar, he said it was not "his" instrument and asked Gibson to remove his name from the headstock. Others claimed that Paul ended his endorsement contract with Gibson during his divorce to avoid having his wife get his endorsement money.^[35] Gibson renamed the guitar "Gibson SG", which stands for "Solid Guitar", and it also became one of the company's best sellers.

The original Gibson Les Paul-guitar design regained popularity when Eric Clapton began playing the instrument a few years later, although he also played an SG and an ES-335. Paul resumed his relationship with Gibson and endorsed the original Gibson Les Paul guitar from that point onwards^{[citation needed]}. His personal Gibson Les Pauls were much modified by him—Paul always used his own self-wound pickups and customized methods of switching between pickups on his guitars^{[citation needed]}. To this day, various models of Gibson Les Paul guitars are used all over the world by both novice and professional guitarists. A less-expensive version of the Gibson Les Paul guitar is also manufactured for Gibson's lower-priced Epiphone brand.^[36]

On January 30, 1962, the US Patent and Trademark Office issued Paul a patent, Patent No. 3,018,680, for an "Electrical Music Instrument."^[37]

Multitrack-recording innovations[link]

Paul had never been happy with the way his records sounded. During a post-recording session talk with Bing Crosby, the crooner suggested Paul try building his own recording studio so he might be able to get the sound he wanted. At first Paul discounted the idea only to give it a few more minutes thought before deciding Crosby was right. Paul started his own studio in the garage of his home on Hollywood's North Curson Street. The studio drew many other famous vocalists and musicians who wanted the benefit of Paul's expertise. The home and studio are still standing, but both had been moved to Pasadena at some point after Paul no longer owned the home.^[38]

In 1948, Les Paul was given one of the first Ampex Model 200A reel-to-reel audio tape recording decks by Crosby and went on to use Ampex's eight track "Sel-Sync" machines for Multitrack recording. Capitol Records released a recording that had begun as an experiment in Paul's garage, entitled "Lover (When You're Near Me)", which featured Paul playing eight different parts on electric guitar, some of them recorded at half-speed, hence "double-fast" when played back at normal speed for the master. ("Brazil", similarly recorded, was the B-side.) This was the first time that Les Paul used multitracking in a recording (Paul had been shopping his multitracking technique, unsuccessfully, since the '30s. Much to his dismay, Sidney Bechet used it in 1941 to play half a dozen instruments on "Sheik of Araby"). These recordings were made not with magnetic tape, but with acetate discs. Paul would record a track onto a disk, then record himself playing another part with the first. He built the multitrack recording with overlaid tracks, rather than parallel ones as he did later. By the time he had a result he was satisfied with, he had discarded some five hundred recording disks.

Paul even built his own disc-cutter assembly, based on automobile parts. He favored the flywheel from a Cadillac for its weight and flatness. Even in these early days, he used the acetate-disk setup to record parts at different speeds and with delay, resulting in his signature sound with echoes and birdsong-like guitar riffs. When he later began using magnetic tape, the major change was that he could take his recording rig on tour with him, even making episodes for his fifteen-minute radio show in his hotel room. He later worked with Ross Snyder in the design of the first eight-track recording deck (built for him by Ampex for his home studio.)^[38][39]

Electronics engineer Jack Mullin had been assigned to a U.S. Army Signal Corps unit stationed in France during World War II. On a mission in Germany near the end of the war, he acquired and later shipped home a German Magnetophon (tape recorder) and fifty reels of I.G. Farben plastic recording tape. Back in the U.S., Mullin rebuilt and developed the machine with the intention of selling it to the film industry, and held a series of demonstrations which quickly became the talk of the American audio industry.

Within a short time, Crosby had hired Mullin to record and produce his radio shows and master his studio recordings on tape, and he invested US$50,000 in a Northern California electronics firm, Ampex. With Crosby's backing, Mullin and Ampex created the Ampex Model 200, the world's first commercially produced reel-to-reel audio tape recorder. Crosby gave Les Paul the second Model 200 to be produced. Using this machine, Paul placed an additional playback head, located before the conventional erase/record/playback heads. This allowed Paul to play along with a previously recorded track, both of which were mixed together on to a new track. This was a mono tape recorder with just one track across the entire width of quarter-inch tape; thus, the recording was "destructive" in the sense that the original recording was permanently replaced with the new, mixed recording.

Paul's re-invention of the Ampex 200 inspired Ampex to develop two-track and three-track recorders, which allowed him to record multiple tracks on one tape without erasing previous takes. These machines were the backbone of professional recording, radio and television studios in the 1950s and early 1960s. In 1954, Paul continued to develop this technology by commissioning Ampex to build the first 8-track (multitrack) tape recorder, at his own expense. His design became known as "Sel-Sync" (Selective Synchronization), in which specially modified electronics could either record or play back from the record head, which was not optimized for playback but which had acceptable sound quality for musicians to listen to for the purposes of recording an "overdub" (OD) in sync with the original recording. This is the core technology behind multitrack recording.^[40]

Les Paul & Mary Ford[link]

Paul met country-western singer Colleen Summers in 1945. They began working together in 1948, at which time she adopted the stage name Mary Ford. They were married in 1949. The couple's hits included "How High the Moon", "Bye Bye Blues", "Song in Blue", "Don'cha Hear Them Bells", "The World Is Waiting for the Sunrise", and "Vaya con Dios". These songs featured Ford harmonizing with herself.

Like Crosby, Paul and Ford used the now-ubiquitous recording technique known as close miking,^[38] where the microphone is less than 6 inches (15 cm) from the singer's mouth. This produces a more-intimate, less-reverberant sound than is heard when a singer is 1 foot (30 cm) or more from the microphone. When implemented using a cardioid-patterned microphone, it emphasizes low-frequency sounds in the voice due to a cardioid microphone's proximity effect and can give a more relaxed feel because the performer isn't working so hard. The result is a singing style which diverged strongly from unamplified theater-style singing, as might be heard in musical comedies of the 1930s and 1940s.

Radio and television programs[link]

Paul had hosted a fifteen-minute radio program, The Les Paul Show, on NBC radio in 1950, featuring his trio (himself, Ford and rhythm player Eddie Stapleton) and his electronics, recorded from their home and with gentle humor between Paul and Ford bridging musical selections, some of which had already been successful on records, some of which anticipated the couple's recordings, and many of which presented re-interpretations of such jazz and pop selections as "In the Mood", "Little Rock Getaway", "Brazil" and "Tiger Rag". Over ten of these shows survive among old-time radio collectors today.^[41]

The show also appeared on television a few years later with the same format, but excluding the trio and retitled The Les Paul & Mary Ford Show (also known as Les Paul & Mary Ford at Home) with "Vaya Con Dios" as a theme song. Sponsored by Warner Lambert's Listerine mouthwash, it was widely syndicated during 1954–1955, and was only five minutes (one or two songs) long on film, therefore used as a brief interlude or fill-in in programming schedules. Since Paul created the entire show himself, including audio and video, he maintained the original recordings and was in the process of restoring them to current quality standards until his death.^[42]

During his radio shows, Paul introduced the fictional "Les Paulverizer" device, which multiplies anything fed into it, like a guitar sound or a voice. Paul has stated that the idea was to explain to the audience how his single guitar could be multiplied to become a group of guitars. The device even became the subject of comedy, with Ford multiplying herself and her vacuum cleaner with it so she could finish the housework faster.

Later career[link]

Les Paul, May 2004

In 1965, Paul went into semi-retirement, although he did return to the studio occasionally. He and Ford had divorced in December 1962, as she could no longer cope with the traveling lifestyle their act required of them.^{[citation needed]} Paul's most-recognizable recordings from then through the mid-1970s were an album for London Records/Phase 4 Stereo, Les Paul Now (1968), on which he updated some of his earlier hits; and, backed by some of Nashville's celebrated studio musicians, a meld of jazz and country improvisation with fellow guitar virtuoso Chet Atkins, Chester and Lester (1976), for RCA Victor.

In 1987, Paul underwent heart surgery. He then returned to active live performance, continuing into his 80s even though he often found it painful to play the guitar because of arthritis in his hands. In 2006, at age 90, he won two Grammys at the 48th Annual Grammy Awards for his album Les Paul & Friends: American Made World Played. He also performed every Monday night, accompanied by a trio which included guitarist Lou Pallo, bassist Paul Nowinksi (and later, Nicki Parrott) and pianist John Colaianni, originally at Fat Tuesdays, and later at the Iridium Jazz Club on Broadway in the Times Square area of New York City.^[43][44][45]

Composer Richard Stein (1909–1992) sued Paul for plagiarism, charging that Paul's "Johnny (Is the Boy for Me)" was taken from Stein's 1937 song "Sanie cu zurgălăi" (Romanian for "Sleigh with Bells"). A 2000 cover version of "Johnny" by Belgian musical group Vaya Con Dios that credited Paul prompted another action by the Romanian Musical Performing and Mechanical Rights Society.^[46]

For many years Les Paul would sometimes surprise radio hosts Steve King and Johnnie Putman with a call to the "Life After Dark Show" on WGN (AM) in Chicago. These calls would take place in the wee hours of Tuesday Morning following his show at the Iridium Jazz Club. Until they ended their show on WGN, Steve and Johnnie continued to honor Les on Tuesday Mornings at 2:35 AM with their segment "A Little More Les" drawing from around 30 hours of recorded conversations with Les.

Death[link]

On August 13, 2009,^[4][5] Paul died of complications from pneumonia at White Plains Hospital in White Plains, New York.^[47] His family and friends were by his side.^[48] Paul is survived by his four children and his companion Arlene Palmer.^[49] His attorney told the media that he had made several hospital stays over the previous few months.^[50] His last concert took place a few weeks before his death.

Upon learning of his death many artists and popular musicians paid tribute by publicly expressing their sorrow. After learning of Paul's death, former Guns N' Roses guitarist Slash called him "vibrant and full of positive energy.", while Richie Sambora, lead guitarist of Bon Jovi, referred to him as "revolutionary in the music business". U2 guitarist The Edge said, "His legacy as a musician and inventor will live on and his influence on rock and roll will never be forgotten." ^[51][52][53]

On August 21, 2009, he was buried near Milwaukee in Waukesha, Wisconsin at Prairie Home Cemetery which indicated that his plot would be in an area where visitors can easily view it.^[54][55] Like his funeral in New York on August 19, the burial was private, but earlier in the day a public memorial viewing of the closed casket was held in Milwaukee at Discovery World with 1,500 attendees who were offered free admission to the Les Paul House of Sound exhibit for the day.^[56]

Awards and honors[link]

Paul was initiated into the Gamma Delta chapter of the Tau Kappa Epsilon fraternity at the University of Miami in 1952.^[57] He has earned the Presidential award from the Tau Kappa Epsilon fraternity.^{[58][dead link]}

In 1979, Paul and Ford's 1951 recording of "How High the Moon" was inducted into the Grammy Hall of Fame.^[59] Paul received a Grammy Trustees Award for his lifetime achievements in 1983, and in 2001 the Special Merit/Technical Grammy Award.^[60]

In 1988, Paul was inducted into the Rock and Roll Hall of Fame by Jeff Beck, who said, "I've copied more licks from Les Paul than I'd like to admit." In 1991, the Mix Foundation established an annual award in his name; the Les Paul Award which honors "individuals or institutions that have set the highest standards of excellence in the creative application of audio technology".^[61] In 2005, he was inducted into the National Inventors Hall of Fame for his development of the solid-body electric guitar.^[62] In 2006, Paul was inducted into the National Association of Broadcasters Hall of Fame. He was named an honorary member of the Audio Engineering Society.^[63] In 2007, he was awarded the National Medal of Arts.^[64]

A one-hour biographical documentary film The Wizard of Waukesha was shown at the Los Angeles International Film Exposition (FILMEX) March 4–21, 1980, and later on PBS television. A biographical, feature-length documentary titled Chasing Sound: Les Paul at 90 made its world première on May 9, 2007, at the Downer Theater in Milwaukee, Wisconsin. Paul appeared at the event and spoke briefly to the enthusiastic crowd. The film is distributed by Koch Entertainment and was broadcast on PBS on July 11, 2007, as part of its American Masters series^[65][66] and was broadcast on October 17, 2008, on BBC Four as part of its Guitar Night. The première coincided with the final part of a three-part documentary by the BBC broadcast on BBC ONE The Story of the Guitar.

In June 2008, an exhibit showcasing his legacy and featuring items from his personal collection opened at Discovery World in Milwaukee.^[67] The exhibit was facilitated by a group of local musicians under the name Partnership for the Arts and Creative Excellence (PACE).^[68] Paul played a concert in Milwaukee to coincide with the opening of the exhibit.^[69]

Paul's hometown of Waukesha is planning a permanent exhibit to be called "The Les Paul experience."^[70]

In July 2005, a 90th-birthday tribute concert was held at Carnegie Hall in New York City. After performances by Steve Miller, Peter Frampton, Jose Feliciano and a number of other contemporary guitarists and vocalists, Paul was presented with a commemorative guitar from the Gibson Guitar Corporation.^[71]

On November 15, 2008, he received the American Music Masters award through the Rock and Roll Hall of Fame at a tribute concert at the State Theater in Cleveland, Ohio. Among the many guest performers were Duane Eddy, Eric Carmen, Lonnie Mack, Jennifer Batten, Jeff "Skunk" Baxter, Dennis Coffey, James Burton, Billy Gibbons, Lenny Kaye, Steve Lukather, Barbara Lynn, Katy Moffatt, Alannah Myles, Richie Sambora, The Ventures and Slash.

In February 2009, only months prior to his death, Les Paul sat down with Scott Vollweiler of Broken Records Magazine, in which would be one of Les Paul's final interviews. His candid answers were direct and emotional. Broken Records Magazine had planned to run that cover feature the following month but due to delays was held until the summer. 3 days before the release, Les Paul died. The issue would be his final cover feature of his storied career.^[72]

In August, 2009, Paul was named one of the ten best electric guitar players of all-time by Time magazine.^[73]

On June 9, 2010, which would have been Les Paul's 95th birthday, a tribute concert featuring Jeff Beck, Imelda May, Gary U.S. Bonds and Brian Setzer among others, was held at the Iridium Jazz Club where Les Paul played nearly every week almost to the end of his life. The concert was released on the live album Rock 'n' Roll Party (Honoring Les Paul) in 2011.

On June 9–10, 2011 Google celebrated what would have been Paul's 96th birthday with a Google doodle of an interactive guitar.^[74]

On November 23, 2011, Paul was ranked at #18 on Rolling Stone's "100 Greatest Guitarists of All Time".^[75]

In 2010, Paul was inducted into the New Jersey Hall of Fame.^[76]

Personal life[link]

Les Paul with pianist John Colianni.

Paul married Virginia Webb in 1938. They had two children, Gene (Lester Jr.), born in 1941 and named after actor-songwriter Gene Lockhart, and Russell (Rusty), born 1944, before divorcing in 1949. Later that year, Paul and Mary Ford (born Iris Colleen Summers) were married. They adopted a girl, Colleen, in 1958 and their son Robert (Bobby) was born the following year. They had also lost a child, who was born prematurely and died only four days old. Les Paul and Mary Ford divorced in 1963.^[77]

Paul was the instructor of rock guitarist Steve Miller of the Steve Miller Band, to whom Paul gave his first guitar lesson.^[78] Miller's father was best man at Paul's 1949 wedding to Mary Ford.

Paul resided for many years in Mahwah, New Jersey.

Discography[link]

Hit singles[link]

Albums[link]

Feedback (1944)—compilation Les Paul Trio (1946)—compilation Hawaiian Paradise (1949) The New Sound (1950) Les Paul's New Sound, Volume 2 (1951) Bye Bye Blues! (1952) Gallopin' Guitars (1952)—compilation The Hit Makers! (1953) Les and Mary (1955) Time to Dream (1957) Lover's Luau (1959) The Hits of Les and Mary (1960)—compilation Bouquet of Roses (1962) Warm and Wonderful (1962) Swingin' South (1963) Fabulous Les Paul and Mary Ford (1965) Les Paul Now! (1968) Guitar Tapestry Lover The Guitar Artistry of Les Paul (1971) The World is Still Waiting for the Sunrise (1974)—compilation

The Best of Les Paul with Mary Ford (1974)—compilation Chester and Lester (1976)—with Chet Atkins Guitar Monsters (1977)—with Chet Atkins Les Paul and Mary Ford (1978)—compilation Multi Trackin' (1979) All-Time Greatest Hits (1983)—compilation The Very Best of Les Paul with Mary Ford' Famille Nombreuse (1992)—compilation The World Is Waiting (1992)—compilation The Best of the Capitol Masters: Selections From "The Legend and the Legacy" Box Set (1992)—compilation All-Time Greatest Hits (1992)—compilation Their All-Time Greatest Hits (1995)—compilation Les Paul: The Legend and the Legacy (1996; a four-CD box set chronicling his years with Capitol Records) 16 Most Requested Songs (1996)—compilation The Complete Decca Trios—Plus (1936–1947) (1997)—compilation California Melodies (2003) Les Paul – The Legendary Fred Waring Broadcasts (2004) Les Paul & Friends: American Made World Played (2005) Les Paul And Friends: A Tribute To A Legend (2008)

Singles[link]

"It's Been a Long, Long Time"—Bing Crosby & The Les Paul Trio (1945), #1 on Billboard Pop singles chart, 1 week, December 8 "Rumors Are Flying"—Andrews Sisters & Les Paul (1946) "Guitar Boogie" (1947) "Lover (When You're Near Me)" (1948) "Brazil" (1948) "What Is This Thing Called Love?" (1948) "Nola" (1950) "Goofus" (1950) "Little Rock 69 Getaway" (1950/1951) "Tennessee Waltz"—Les Paul & Mary Ford (1950/1951), #1, Cashbox "Mockingbird Hill"—Les Paul & Mary Ford (1951), #1, Cashbox "How High The Moon"—Les Paul & Mary Ford (1951), #1, Billboard Pop singles chart, 9 weeks, April 21 – June 16; #1, Cashbox, 2 weeks; #2, R&B chart "I Wish I Had Never Seen Sunshine"—Les Paul & Mary Ford (1951) "The World Is Waiting for the Sunrise"—Les Paul & Mary Ford (1951), #2, Billboard; #3, Cashbox "Just One More Chance"—Les Paul & Mary Ford (1951) "Jazz Me Blues" (1951) "Josephine" (1951) "Whispering" (1951) "Jingle Bells" (1951) "Tiger Rag"—Les Paul & Mary Ford (1952), #2, Billboard; #8, Cashbox "I'm Confessin' (That I Love You)"—Les Paul & Mary Ford (1952) "Carioca" (1952) "In the Good Old Summertime"—Les Paul & Mary Ford (1952) "Smoke Rings"—Les Paul & Mary Ford (1952) "Meet Mister Callaghan" (1952), #5, Billboard

"Take Me In Your Arms And Hold Me"—Les Paul & Mary Ford (1952) "Lady of Spain" (1952) "My Baby's Coming Home"—Les Paul & Mary Ford (1952) "Bye Bye Blues"—Les Paul & Mary Ford (1953) "I'm Sitting On Top Of The World"—Les Paul & Mary Ford (1953) "Sleep" (Fred Waring's theme song) (1953) "Vaya Con Dios"—Les Paul & Mary Ford (1953), #1, Billboard Pop singles chart, 11 weeks, August 8 – October 3, November 7–14; #1, Cashbox, 5 weeks "Johnny (Is The Boy For Me)"—Les Paul & Mary Ford (1953), #15, Billboard; #25, Cashbox "Don'cha Hear Them Bells"—Les Paul & Mary Ford (1953), #13, Billboard; #32, Cashbox "The Kangaroo" (1953), #25, Billboard; #23, Cashbox "I Really Don't Want To Know"—Les Paul & Mary Ford (1954) "I'm A Fool To Care"—Les Paul & Mary Ford (1954) "Whither Thou Goest"—Les Paul & Mary Ford (1954) "Mandolino"—Les Paul & Mary Ford (1954), #19, Billboard "Song in Blue"—Les Paul & Mary Ford (1954), #17, Cashbox "Hummingbird"—Les Paul & Mary Ford (1955) "Amukiriki (The Lord Willing)"—Les Paul & Mary Ford (1955) "Magic Melody"—Les Paul & Mary Ford (1955) "Texas Lady"—Les Paul & Mary Ford (1956) "Moritat" (Theme from "Three Penny Opera") (1956) "Nuevo Laredo"—Les Paul & Mary Ford (1956) "Cinco Robles (Five Oaks)"—Les Paul & Mary Ford (1957) "Put A Ring On My Finger"—Les Paul & Mary Ford (1958) "Jura (I Swear I Love You)"—Les Paul & Mary Ford (1961) "Love Sneakin' Up On You"-Les Paul, Joss Stone & Sting (2005)

Compositions[link]

Paul was also a prolific composer. Some of the songs he wrote were "Song in Blue", "Cryin'", "Hip-billy Boogie", "Suspicion", "Mandolino", "Magic Melody", "Don'cha Hear Them Bells", "The Kangaroo", "Big-Eyed Gal", "All I Need is You", "Mammy's Boogie", “Pacific Breeze”, “Mountain Railroad”, “Move Along, Baby (Don’t Waste My Time)”, "Five Alarm Fire", and "Walkin' and Whistlin' Blues".

See also[link]

Biography portal

• Ampex
• Discovery World
• Gibson Les Paul
• Gibson SG
• List of Rock and Roll Hall of Fame inductees
• Mary Ford

References[link]

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38. ^ ^{a b c} Lawrence, Robb, ed. (2008). The Early Years of the Les Paul Legacy: 1915–1963. Hal Leonard Corporation. pp. 20–21. ISBN 978-0-634-04861-6. http://books.google.com/?id=NqIgLrXaA6QC&pg=PA19&lpg=PA19&dq=les+paul+recorded+andrews+sisters#v=onepage&q=les%20paul%20recorded%20andrews%20sisters&f=false. Retrieved 10 May 2011. 
39. ^ "Sel-sync and the "Ocotpus": How Came to be the First Recorder to Minimize Successive Copying in Overdubs" (PDF). ARSC Journal. http://www.aes.org/aeshc/docs/sel-sync/snyder_sel-sync.pdf. Retrieved March 27, 2011. 
40. ^ "Sel-sync and the "Octopus": How Came to be the First Recorder to Minimize Successive Copying in Overdubs" (PDF). ARSC Journal. http://www.aes.org/aeshc/docs/sel-sync/snyder_sel-sync.pdf. Retrieved March 27, 2011. 
41. ^ "The Les Paul Show". Archive.org. http://www.archive.org/details/TheLesPaulShow. Retrieved March 27, 2011. 
42. ^ Cellini, Joe (undated). "Les Paul: Invented Here". Apple Inc.. http://www.apple.com/pro/profiles/lespaul/index.html. Retrieved August 24, 2009. 
43. ^ "Iridium Jazz Club". Iridium Jazz Club. http://www.iridiumjazzclub.com/. Retrieved March 27, 2011. 
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45. ^ Foster, D.R. (June 1, 2009). "Les is more: 93 years old and cooler than you—A Night with the Longstanding Guitar Great"^{[dead link]}. The A.V. Club. Accessed August 15, 2009
46. ^ Nicoleanu, Anca (February 2, 2007). "Zici că n-ai plagiat şi, gata, ai scăpat". http://www.cotidianul.ro/zici_ca_n_ai_plagiat_si_gata_ai_scapat-22511.html. Retrieved June 19, 2009.  (non-English language)
47. ^ Newels, Eric (August 17, 2009). "Music Great Les Paul Dies at 94". idiomag. http://www.idiomag.com/peek/97288/les_paul. Retrieved August 21, 2009. 
48. ^ Caine, Paul (August 13, 2009). "R.I.P. Les Paul: pioneering guitarist, inventor, New York character". The A.V. Club. http://newyork.decider.com/articles/rip-les-paul-pioneering-guitarist-inventor-new-yor,31640/. Retrieved August 14, 2009. ^{[dead link]}
49. ^ Russell, Tony (August 13, 2009). "Les Paul Guitarist and inventor with huge influence on pop and jazz". The Guardian. Accessed August 24, 2009.
50. ^ Tourtellotte, Bob (August 13, 2009). "Legendary guitarist, inventor Les Paul dies, age 94". Reuters. http://www.reuters.com/article/topNews/idUSTRE57C3TI20090813. Retrieved August 13, 2009. 
51. ^ Staff writer (August 13, 2009). "Les Paul Remembered: Guitar Greats on Their True Hero". Rolling Stone. http://www.rollingstone.com/rockdaily/index.php/2009/08/13/les-paul-remembered-guitar-greats-on-their-true-hero/. Retrieved August 13, 2009. 
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External links[link]

Wikimedia Commons has media related to: Lester William Polfuss

• Official website
• History of Les Paul
• Les Paul at the Internet Movie Database
• Les Paul: Chasing Sound (may require subscription) PBS Documentary on the life of Les Paul, including extended interviews with Paul.
• Remembering Les Paul Photos and extended interviews with Les on WGN Chicago's Steve & Johnnie early morning show
• Staff writer (August 13, 2009). "Les Paul", obituary at The Daily Telegraph (Accessed August 24, 2009)
• "Les Paul, 'The Wizard of Waukesha'", a biography (undated) at the Wisconsin Historical Society's official website
• Les Paul – Discovery World 2005 video (requires Adobe Flash) at Discovery World's (museum) official website
• The Les Paul Show, archive of Paul's NBC radio show at the Internet Archive's official website (includes MP3 files (free) of eleven of their radio shows including their audition show)
• "Les Paul: Legacy of a Guitar Hero" at LIFE
• The Wizard of Waukesha (1980) at Allmovie's official website
• Les Paul – 'Miles of Music', two video interviews of and performances by Paul (5–6 minutes each; requires Adobe Flash) with Bob Miles on Miles of Music (milesofmusic.tv), a Public-access television cable TV program
• CLASSIC TRACKS: Les Paul & Mary Ford 'How High The Moon'
• Photo Library from performances at Iridium
• Les Paul's final interview
• Les Paul at Find a Grave

Persondata
Name	Polfuss, Lester William
Alternative names	Paul, Les
Short description	American jazz guitarist, country guitarist, songwriter and inventor
Date of birth	June 9, 1915
Place of birth	Waukesha, Wisconsin
Date of death	August 12, 2009
Place of death	White Plains, New York

Lindsey Buckingham
Lindsey Buckingham performing with Fleetwood Mac on March 3, 2009
Background information
Birth name	Lindsey Adams Buckingham
Born	(1949-10-03) October 3, 1949 (age 62) Palo Alto, California, United States
Genres	Rock, pop, New Wave
Occupations	Singer-songwriter, guitarist, producer
Instruments	Vocals, guitar, bass guitar, banjo, keyboards, drums, percussion
Years active	1968–present
Labels	Reprise, Polydor, Mercury, Elektra, Asylum
Associated acts	Fleetwood Mac, Buckingham Nicks
Website	www.lindseybuckingham.com
Notable instruments
Rick Turner Model 1 Chet Atkins CEC RS6

Lindsey Adams Buckingham (born October 3, 1949) is an American guitarist, singer, composer and producer, most notable for being the guitarist and male lead singer of the musical group Fleetwood Mac from 1975 to 1987, and 1997 to present day. Aside from his tenure with Fleetwood Mac, Buckingham has also released six solo albums and two live albums. As a member of Fleetwood Mac, he was inducted into the Rock and Roll Hall of Fame in 1998. In 2011, Buckingham was ranked 100th in Rolling Stone magazine's 2011 list of "The 100 Greatest Guitarists of All Time".^[1] In Fleetwood Mac's heyday, Buckingham was known for his finger picking guitar style and wide vocal range as well as the famous (sometimes tense) chemistry between himself and former girlfriend and fellow bandmate Stevie Nicks.

Early years[link]

Born in Palo Alto, California, Buckingham was the third and youngest child of Rutheda (née Elliott) and Morris Buckingham. He had two older brothers, Jeff and Greg. Growing up in the San Francisco Bay Area community of Atherton, Buckingham and his brothers were encouraged to swim competitively. Though Buckingham dropped out of athletics to pursue music, his brother Greg went on to win a silver medal at the 1968 Olympics in Mexico City.

Buckingham's first forays into guitar playing took place on a toy Mickey Mouse guitar, playing along to his brother Jeff's extensive collection of 45s. Noticing his talent, Buckingham's parents bought their son a $35 Harmony guitar.

Buckingham never took guitar lessons and does not read music.^[2] By age 13, he became interested in folk music and, influenced by banjo methods, practiced the energetic style of The Kingston Trio. At 15 he joined a small folk group, Fritz, providing vocals and guitar work.

Buckingham Nicks[link]

Buckingham and his then-girlfriend Stevie Nicks recorded seven demos in 1972 on an analog 4-track machine, and drove to Los Angeles to pursue a record deal. In 1973, Polydor Records signed the pair. Their album, Buckingham Nicks, was released in September 1973; soon after its release, however, Polydor dropped the duo because of poor sales.

Despite Polydor's measure, though, Buckingham Nicks has been championed by rock critics since its release.^{[citation needed]} It features fine two-part harmonies backed by notable LA session musicians, including superstar drummer Jim Keltner. According to the album notes, other session musicians include: Ron Tutt (Elvis Presley TCB Band), drums; Peggy Sandvig, keyboards; Waddy Wachtel, guitar; Jorge Calderon, percussion; Jerry Scheff (Elvis Presley TCB Band), bass; Monty Stark, synthesizer; Gary Hodges, drums; and Mark Tulin, bass.

Although money was tight, the hardworking duo caught the attention of many budding musicians, including Warren Zevon, who is rumored to have been a roommate of Nicks and Buckingham in a Fairfax district apartment.^{[citation needed]}

A short tour promoting the Buckingham Nicks album commenced shortly after the joining of Buckingham and Nicks with Fleetwood Mac. Bootlegs of two concerts in Birmingham and Tuscaloosa exist and are widely distributed on peer-to-peer networks and fansites.^{[citation needed]} The touring band included drummers Bob Aguirre (from Fritz) and Gary Hodges playing simultaneously and bassist Tom Moncrieff, who later played bass on Stevie Nicks' 1981 album Bella Donna.

To help make ends meet, Buckingham toured with Don Everly's back-up band, singing Phil Everly's parts.^[3] Buckingham and Nicks were eventually forced to move in with record producer Keith Olsen, who helped the pair work on several demos for the next Buckingham Nicks album, including "I'm So Afraid", "Monday Morning" and "Rhiannon".^{[citation needed]}

Buckingham Nicks has never been released on CD (a bootleg version does exist), although both Buckingham and Nicks have hinted at a possible remix and re-release on CD in the near future. Buckingham has also suggested a tour in support of the collection could be something the two may be interested in. Moncrieff and Hodges from the original Buckingham Nicks touring band have also expressed interest.

Fleetwood Mac[link]

While checking out the Sound City recording studio in California, Mick Fleetwood heard the song "Frozen Love" from the Buckingham Nicks album. He asked who the guitarist was, and immediately stated that he wanted him to fill a recent vacancy. Buckingham insisted to Fleetwood that he and Nicks were a package deal—if Fleetwood didn't want Nicks, he wouldn't get Buckingham. The duo was quickly asked to join Fleetwood Mac on New Year's Eve, 1974.

Fleetwood Mac released their eponymously titled album in 1975, which became a hit. However it was the second album of this new line-up, Rumours, that propelled the band to superstar status when it became one of the best-selling albums of all time. Buckingham's "Go Your Own Way" was the lead-off single, soaring into the US Top Ten. After the resounding commercial success of Rumours (during the making of which Buckingham and Nicks famously split), Buckingham was determined to avoid falling into repeating the same musical pattern. The result was Tusk (1979), a double album that Buckingham primarily directed. Once again, Buckingham wrote the lead-off single, the title track that would peak at #8 on Billboard's Hot 100. It was during this time that Buckingham moved in with record company secretary and aspiring model, Carol Ann Harris, with whom he lived until 1984. Though by most standards a hit, Tusk failed to come close to Rumours record sales, and the album was followed by a hiatus in the band's studio recording efforts.

After a large world tour that ended in 1980, Fleetwood Mac took a year-long break before reconvening to record their next album Mirage, a more pop-friendly work that returned the band to the top of the US album chart. However, by this time various members of the band were enjoying success as solo artists (particularly Nicks) and it would be five years before the release of the next Fleetwood Mac album. By the time Tango in the Night was released in 1987, Buckingham had already released two solo albums and had given up much of the material for what would have been his third solo album for the project, including "Big Love", "Tango in the Night", "Family Man", "You and I" and "Caroline". On several of these tracks Buckingham played every instrument^{[citation needed]}. "Big Love", released as the first single from the album, became a top ten hit in the US and the UK.

Propelled by a string of hit singles, Tango in the Night became the band's biggest album since Rumours a decade earlier. However, following its release, Buckingham left Fleetwood Mac^[4] largely because of his desire not to tour and the strain he was feeling within the band. Fleetwood Mac continued without him, and Buckingham was replaced by guitarists Rick Vito and Billy Burnette.

Solo projects[link]

During the time he worked on Tusk, Buckingham also produced albums for Walter Egan and John Stewart in the late 1970s as well as beginning work on his own solo album.

In 1981, Buckingham released his first solo album Law and Order, playing nearly every instrument and featuring guest appearances by bandmates Mick Fleetwood and Christine McVie. The album pursued the quirky, eclectic, often lo-fi and new-wave-influences of Tusk, and spawned the hit single "Trouble" which reached #9 on the US Charts and #1 in Australia (for three weeks). Two years later, he wrote and performed the songs "Holiday Road" and "Dancin' Across the U.S.A." for the film National Lampoon's Vacation. "Holiday Road" was released as a single, and reached #82 on the Billboard's Hot 100. He did other soundtrack work, including the song "Time Bomb Town" from Back to the Future (1985). Buckingham played all of the instruments on the track except drums, which was played by noted drummer Michael Huey.

In 1984, after ending his 7-year relationship with Carol Ann Harris, he released his second solo album, Go Insane. The title track was a modest hit, reaching #23 on the Hot 100. The last track of the album, D.W. Suite, was a tribute to the late Beach Boys drummer Dennis Wilson.^[5] The next year, Buckingham performed on USA for Africa's fundraising single, "We Are the World".