Les Paul I Love You More Than You㢂¬„¢ll Ever Know

American guitarist, songwriter and inventor (1915–2009)

This article is most the musician. For the guitar named after him, see Gibson Les Paul.

Les Paul
Paul playing a Gibson Les Paul at the Iridium Jazz Social club in New York City, 2008
Groundwork data
Nativity name	Lester William Polsfuss
Born	(1915-06-09)June ix, 1915 Waukesha, Wisconsin, U.S.
Died	August 12, 2009(2009-08-12) (aged 94) White Plains, New York U.S.
Genres	Jazz land dejection stone and curl acoustic music
Occupation(s)	Inventor musician songwriter
Instruments	Vocals guitar harmonica
Years active	1928–2009
Labels	RCA Records
Associated acts	Mary Ford
Website	Official website

Musical artist

Lester William Polsfuss (June ix, 1915 – August 12, 2009), known as Les Paul, was an American jazz, country, and blues guitarist, songwriter, luthier, and inventor. He was i of the pioneers of the solid-body electric guitar, and his prototype, called the Log, served equally inspiration for the Gibson Les Paul. Paul taught himself how to play guitar, and while he is mainly known for jazz and popular music, he had an early career in country music.^[1] In the 1950s, he and his married woman, singer and guitarist Mary Ford, recorded numerous records, selling millions of copies.

Paul is credited with many recording innovations. His early on experiments with overdubbing (also known as sound on sound),^[2] delay effects such as tape delay, phasing, and multitrack recording were among the first to attract widespread attending.^[3] His licks, trills, chording sequences, fretting techniques, and timing set him apart from his contemporaries and inspired many guitarists of the present day.^{[four] [five] [6] [vii]}

Among his many honors, Paul is one of a scattering of artists with a permanent exhibit in the Stone and Roll Hall of Fame.^[8] He is prominently named by the music museum on its website as an "architect" and a "cardinal inductee" with Sam Phillips and Alan Freed.^[ix] Paul is the only person to be included in both the Rock and Whorl Hall of Fame and the National Inventors Hall of Fame.^[10]

Early on life [edit]

Paul was born Lester William Polsfuss^[xi] in Waukesha, Wisconsin, to George^[10] and Evelyn (Stutz) Polsfuss, both of German ancestry.^[12] His just sibling, Ralph, was seven years older. Paul's female parent was related to the founders of Milwaukee's Valentin Blatz Brewing Company and the makers of the Stutz automobile.^[13] His parents divorced when he was a child.^[14] His mother simplified their Prussian family name showtime to Polfuss, then to Polfus, although Les Paul never legally changed his name. Before taking the stage name Les Paul, he performed equally Red Hot Reddish^[fifteen] and Rhubarb Red.^[16]

At the historic period of eight, Paul began playing the harmonica. After learning the pianoforte, he switched to the guitar. During this time he invented a neck-worn harmonica holder, which allowed him to play both sides of the harmonica hands-free while accompanying himself on the guitar. It is still manufactured using his bones pattern.^[17] By age xiii, Paul was performing semi-professionally as a country-music singer, guitarist, and harmonica actor. While playing at Waukesha area drive-ins and roadhouses, Paul began his get-go experiment with sound. Wanting to make his audio-visual guitar heard by more people at the local venues, he wired a phonograph needle to his guitar and connected it to a radio speaker.^[18] Every bit a teen Paul experimented with sustain by using a two-pes piece of rail from a nearby railroad train line.^[19] At age seventeen, Paul played with Rube Tronson's Texas Cowboys, and soon later on he dropped out of high school to team upward with Sunny Joe Wolverton'southward Radio Band in St. Louis, Missouri, on KMOX.

Career [edit]

Early career [edit]

Paul and Wolverton moved to Chicago in 1934, where they continued to perform country music on radio station WBBM and at the 1934 Chicago World'southward Off-white. While in Chicago, Paul learned jazz from the great performers on Chicago's Southside. During the twenty-four hour period, he played state music as Rhubarb Ruby-red on the radio. At dark, he was Les Paul, playing jazz. He met pianist Fine art Tatum, whose playing influenced him to keep with the guitar rather than play jazz on the piano.^[20] His first two records were released in 1936, credited to "Rhubarb Red", Paul's hillbilly change ego. He also served as an accompanist for other bands signed to Decca. During this fourth dimension, he began adding dissimilar sounds and adopted his stage name of Les Paul.^[21]

Paul'southward guitar manner was strongly influenced by the music of Django Reinhardt, whom he greatly admired.^[22] Following World War II, Paul sought out and made friends with Reinhardt. When Reinhardt died in 1953, Paul paid for part of the funeral's cost.^[23] One of Paul'due south prized possessions was a Selmer acoustic guitar given to him by Reinhardt'southward widow.^[xv]

Paul formed a trio in 1937 with 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 1938,^[25] landing a featured spot with Fred Waring'southward radio show. Chet Atkins later wrote that his brother, domicile on a family visit, presented him with an expensive Gibson archtop guitar that Les Paul had given to Jim. Chet recalled that information technology was the kickoff professional-quality instrument he ever owned.^[26]

While jamming in his apartment basement in 1941,^[25] Paul nearly succumbed to electrocution. During two years of recuperation, he moved to Chicago where he was the music director for radio stations WJJD and WIND. In 1943, he moved to Hollywood where he performed on radio and formed a new trio.

He was drafted into the U.Southward. Ground forces in 1943,^[25] where he served in the Armed Forces Radio Network, bankroll such artists equally Bing Crosby and the Andrews Sisters, and performing in his ain right.^[27]

As a terminal-minute replacement for Oscar Moore, Paul played with Nat King Cole and other artists in the countdown Jazz at the Philharmonic concert in Los Angeles, California, on July 2, 1944. His solo on "Trunk and Soul" is a demonstration of his admiration for and emulation of Django Reinhardt, equally well as his development of original lines.

Also that year, Paul'southward trio appeared on Bing Crosby'southward radio show. Crosby sponsored Paul's recordings. They recorded together several times, including "Information technology's Been a Long, Long Fourth dimension", which was a No. 1 hit in 1945. Paul recorded several albums for Decca in the 1940s. The Andrews Sisters hired his trio to open for them during a tour in 1946. Their director, Lou Levy, said watching Paul'south fingers while he played guitar was like watching a railroad train go by.^[28] Their conductor, Vic Schoen, said his playing was ever original.^[28] Maxine Andrews said, "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... near 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."^[28] In the 1950s, when he recorded Mary Ford's vocals on multiple tracks, he created music that sounded like the Andrews Sisters.^[28]

In January 1948, Paul shattered his right arm and elbow among multiple injuries in a near-fatal auto accident on an icy Route 66 west of Davenport, Oklahoma. Mary Ford was driving the Buick convertible, which plunged off the side of a railroad overpass and dropped twenty feet into a ravine. They were returning from Wisconsin to Los Angeles after visiting family.^[25] Doctors at Oklahoma City's Wesley Hospital told Paul that they could not rebuild his elbow. Their other choice was amputation. Paul was flown to Los Angeles, where his arm was set at an angle—but nether xc degrees—that allowed him to cradle and pick the guitar. Information technology took him nearly a year and a one-half to recover.^[29]

Guitar builder [edit]

Gibson '58 Reissue Les Paul guitar (2005)

In 1940, Les Paul revisited his experiments with the train rail. This fourth dimension he created a similar prototype instrument, a i-off solid-body electric guitar known as "The Log", which was a length of a 4x4 piece of lumber with a bridge, neck, strings, and paw-wound pickup. The Log was built afterwards-hours past Paul at the Epiphone guitar manufactory, and is one of the first solid-trunk electrical guitars.^{[thirty] [31]} For the sake of advent, he attached the body of an Epiphone hollow-body guitar sawn lengthwise with The Log in the center. This solved his ii 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 audio through the guitar trunk. These instruments were constantly being improved and modified over the years, and Paul connected to use them in his recordings even later the evolution of his eponymous Gibson model.

Paul approached the Gibson Guitar Corporation with his thought of a solid-trunk electric guitar in 1941,^[25] but Gibson showed no involvement until Fender began marketing its Esquire and Broadcaster guitars in 1950 (the Broadcaster was renamed the Telecaster in 1952).

Gibson's Ted McCarty was the chief designer of the guitar, which was based on Paul's drawings and later dubbed the Gibson Les Paul. Gibson entered into a promotional and fiscal arrangement with Les Paul, paying him a royalty on sales.^[32] The guitar went on sale in 1952. Paul continued to make design suggestions.

In 1960, sales of the original Les Paul model had dropped, so a more modernistic model was introduced (today called the SG), merely and then nevertheless bearing the Les Paul name. Non liking the new look and severe bug with the force of the trunk and neck, made Paul dissatisfied with this new Gibson guitar. This, and a pending divorce from Mary Ford, led to Paul ending his endorsement and utilize of his proper name on Gibson guitars from 1964 until 1966, by which fourth dimension his divorce was completed.^[33]

Paul connected to advise technical improvements, although they were not always successful commercially. In 1962, Paul was issued United states Patent No. 3,018,680, for a pickup in which the whorl was physically attached to the strings.^[34] In the mid-1940s, he introduced an aluminum guitar with the tuning mechanisms beneath the span. Equally it had no headstock, and the cord attachments were at the nut, it was the first "headless" guitar. Unfortunately, Paul'due south guitar was and then sensitive to the rut from stage lights that it would not keep melody. However, he used it for several of his hit recordings. This style was further developed past others, almost successfully Ned Steinberger.^[35]

A less-expensive version of the Les Paul guitar is manufactured for Gibson's Epiphone brand.^[36]

Multitrack recording [edit]

Paul start experimented with sound on sound while in elementary school when he punched holes in the piano scroll for his mother'southward actor pianoforte. In 1946, his female parent complimented him on a song she had heard on the radio, when in fact she had heard George Barnes, not Paul.^[37] This motivated Paul to spend ii years in his Hollywood garage recording studio, creating his unique sound, his New Sound. Paul stunned the music industry with his New Sound in 1948.

Paul recorded several songs with Bing Crosby, almost notably "Information technology'south Been a Long, Long Fourth dimension," which was a number-one single in 1945.^[38]

Subsequently a recording session, Bing Crosby suggested that Paul build a recording studio then he could produce the audio he wanted. Paul started his studio in the garage of his home on North Curson Street in Hollywood. The studio drew many vocalists and musicians who wanted the benefit of his expertise. His experiments included microphone placement, track speed, and recording overdubs. These methods resulted in a clarity previously unheard in this blazon of multitrack recording. People began to consider his recording techniques as instruments—as of import to production as a guitar, bass, or drums.^[39]

Capitol Records released "Lover (When Yous're Virtually Me)", on which Paul played eight different parts on electrical guitar, some recorded at one-half-speed, hence "double-fast" when played back at normal speed for the primary. This was the starting time time he used multitracking in a recording. His early on multitrack recordings, including "Lover" and "Brazil" were fabricated with acetate discs. He recorded a track onto a disk, then recorded himself playing another role with the first. He congenital the multitrack recording with overlaid tracks rather than parallel ones as he did afterwards. By the time he had a consequence that satisfied him, he had discarded some v hundred recording disks.

As a teen he had built a disc-cutter assembly using the flywheel from a Cadillac, a dental belt and other parts from his father's machine repair shop. Years afterwards in his Hollywood garage, he used the acetate disc setup to record parts at dissimilar speeds and with delay, resulting in his signature sound with echoes and birdsong-like guitar riffs.

In 1949, Crosby gave Paul ane of the first Ampex Model 200A reel to reel tape recorders.^[25] Paul invented audio on audio recording using this motorcar by placing an additional playback caput, located earlier the conventional erase/record/playback heads. This allowed Paul to play along with a previously recorded track, both of which were mixed together onto a new track. The Ampex was a monophonic tape recorder with just ane track across the unabridged width of quarter-inch tape, and therefore, the recording was "destructive" in the sense that the original recording was permanently replaced with the new, mixed recording. He somewhen enhanced this by using ane tape machine to play dorsum the original recording and a second to record the combined track. This preserved the original recording.^[40]

In 1952, Paul invented the flange effect, where a sound phases in and out in harmonic tone. The starting time instance of this can exist heard on his song "Mammy's Boogie".^{[41] [42]}

Observing moving picture recordings inspired Paul to design the stacking of eight tape recorders. He worked with Ross Snyder on the design of the first 8-track recording deck built for him past Ampex for his home studio.^{[43] [44] [40]} Rein Narma built a custom 8-aqueduct mixing panel for him.^[45] The mixing board included in-line equalization and vibrato effects. He named the recorder "The Octopus" and the mixing console "The Monster".^[46] The proper name "octopus" was inspired by comedian W. C. Fields who was the first person to hear Paul play his multi-tracked guitar experiments. "He came to my garage to make a trivial record (in 1946)," Les recalled. "I played him the acetate of 'Lover' that I'd done. When he heard it, he said, 'My boy, you sound similar an octopus.'"^[47]

Les Paul and Mary Ford [edit]

Paul and Mary Ford in 1954

In the summer of 1945, Paul met state-western vocaliser Iris Colleen Summers. They began working together on Paul'south radio bear witness, as Rhubarb Red and The Ozark Apple Knockers with Mary Lou. Later Paul suggested the stage name Mary Ford. They married in Milwaukee in 1949.

Their hits included "How High the Moon", "Adieu Bye Blues", "Vocal in Blue", "Don'cha Hear Them Bells", "The Globe Is Waiting for the Sunrise", and "Vaya con Dios". The songs were recorded with multiple tracks where Ford harmonized with herself and Paul played multiple layers of guitars.

They used the recording technique known as close miking^[43] where the microphone is less than 6 inches (15 cm) from the singer'due south mouth. This produces a more intimate, less reverberant sound than when a vocaliser is i foot (30 cm) or more than from the microphone. When using a pressure-slope (uni- or bi-directional) microphone, it emphasizes low-frequency sounds in the voice due to the microphone's proximity result and gives a more than relaxed experience considering the performer is not working equally difficult. The result is a singing fashion which diverged from the unamplified theater style of the musical comedies of the 1930s and 1940s.

They too performed music-hall style semi-comic routines with Mary mimicking whatever line Les decided to improvise.^[48]

Radio and television programs [edit]

Paul hosted a xv-infinitesimal radio program, The Les Paul Show, on NBC Radio in 1950, featuring his trio (himself, Ford and rhythm player Eddie Stapleton) and his electronics. The plan was recorded from their home and with gentle humor betwixt Paul and Ford bridging musical selections, some of which had already been successful on records, some of which anticipated the couple'south recordings, and many of which presented re-interpretations of such jazz and popular selections as "In the Mood", "Niggling Rock Getaway", "Brazil", and "Tiger Rag". More than than ten of these shows survive among old-time radio collectors today.^[49]

When Paul used magnetic tape, he could accept his recording equipment on tour, making episodes for his fifteen-minute radio show in a hotel room.

The bear witness appeared on television a few years afterward with the same format, but excluding the trio and retitled 'Les Paul & Mary Ford at Home with "Vaya Con Dios" every bit the theme vocal. Sponsored by Warner–Lambert'due south Listerine mouthwash, information technology was aired on NBC television during 1954–1955, and and so was syndicated until 1960. The five-infinitesimal bear witness, consisting of the operation of simply one or two songs, aired 5 times a day, 5 days a week, and therefore was used as a cursory interlude or fill-in for 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.^[50]

During his radio shows, Paul introduced the fictional " Les Paulverizer " device, which multiplies annihilation fed into it, such as a guitar sound or a voice. It was Paul'southward way of explaining how his single guitar could be multiplied to become a grouping 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, Paul created a real Les Paulverizer that he attached to his guitar. The invention allowed Paul to access pre-recorded layers of songs during live performances and then he could replicate his recorded sound on stage.^[51]

Later career [edit]

In 1965, Paul went into semi-retirement, although he did return to his studio occasionally. He and Ford had divorced at the finish of 1964 afterward she became tired of touring.^[52] Ane of Paul's about recognizable recordings from then through the mid-1970s was an album for London Records/Phase iv Stereo, Les Paul Now (1968), on which he updated some of his earlier hits. Paul played the initial guitar track, and George Barnes laid down the additional tracks while Paul engineered in his dwelling house studio. He also recorded 2 albums, Chester and Lester (1976) and Guitar Monsters (1978), for RCA Victor, comprising a meld of jazz and country improvisation with guitar virtuoso Chet Atkins, backed by some of Nashville'due south celebrated studio musicians.

In 1969 Paul produced the anthology Poe Through the Glass Prism for RCA. The album featured songs based on Edgar Allan Poe'due south writing by the northeastern Pennsylvania band the Glass Prism. The album produced a unmarried titled "The Raven" that appeared on Billboard's Hot 100.

As years progressed Paul played at slower tempos with a large pick that was easier to hold in his arthritic hand. In 2006, at the historic period of 90, he won 2 Grammy Awards at the 48th Annual Grammy Awards for his anthology Les Paul & Friends: American Fabricated World Played. He also performed every Monday night at Manhattan'southward Iridium Jazz Gild with guitarist Lou Pallo, bassist Paul Nowinski (and subsequently, Nicki Parrott), and guitarist Frank Vignola and for a few years, pianist John Colianni. Paul, Pallo and Nowinski besides performed at Fat Tuesdays. ^{[53] [54] [55] [56]}

Composer Richard Stein sued Paul for plagiarism, charging that Paul'southward "Johnny (is the Male child for Me)" was taken from Stein'south 1937 song "Sanie cu zurgălăi" (Romanaian for "Sleigh with Bells"). In 2000, a comprehend 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.^{[57] [58]}

Personal life [edit]

Paul with pianist John Colianni

Les Paul married Virginia Webb in 1937.^[59] They had 2 children, Les Paul Jr. (Rusty) (1941–2015), and Gene (1944), who was named after player-songwriter Factor Lockhart.

Later getting divorced in 1949, Paul married Mary Ford (built-in Iris Colleen Summers).^[sixty] The best man and matron of honor were the parents of guitarist Steve Miller, whose family unit was from Milwaukee. Paul was Miller's godfather and his first guitar teacher.^{[61] [62]} Ford gave birth to their showtime child on November xxx, 1954, but the girl was born prematurely and died when she was 4 days old.^[60] They adopted a girl, Colleen, in 1958, and their son, Robert (Bobby), was born the following year. Paul and Ford divorced in December 1964.^[52]

Paul and Ford maintained a business firm in Mahwah, New Bailiwick of jersey,^[63] and after their divorce Paul lived there until her death (she died in 1977).

In 1995, Paul established the Les Paul Foundation, which was designed to remain dormant until his death. The Les Paul Foundation inspires innovative and artistic thinking by sharing the legacy of Les Paul through support of music education, recording, innovation, and medical enquiry related to hearing (Mission statement.) The Foundation established the Les Paul Innovation Award in 1991 and the Les Paul Spirit Award in 2016.

Decease [edit]

On August 12, 2009, Paul died of complications from pneumonia at White Plains Infirmary in White Plains, New York.^{[64] [65]} After hearing about his death, many musicians commented on his importance. Slash called him "vibrant and full of positive energy", while Richie Sambora called him a "revolutionary in the music business". The Border said, "His legacy as a musician and inventor will live on and his influence on stone and roll will never be forgotten."^{[66] [67] [68]} On Baronial 21, 2009, he was buried in Prairie Home Cemetery, Waukesha, Wisconsin.^{[69] [70]}

Awards and honors [edit]

Paul and audio engineer Roger Nichols, both winners of Technical Grammy Awards

A few of Les Paul'south many awards are listed below. In 2007, he was given the National Medal of Arts from U.S. President George W. Bush.^[71]

Paul was inducted into the National Inventors Hall of Fame (2005) for his development of the solid-body electric guitar.^[72] In 1988, he was inducted into the Rock and Roll Hall of Fame past guitarist Jeff Beck, who said, "I've copied more licks from Les Paul than I'd like to acknowledge." He was as well inducted into the Songwriters Hall of Fame (2005), the Big Ring & Jazz Hall of Fame (1990), the New Bailiwick of jersey Inventors Hall of Fame (1996), and the New Jersey Hall of Fame (2010).^[73]

Two of his songs entered the Grammy Hall of Fame: "How High the Moon" and "Vaya Con Dios".^{[74] [75]} In 1976, he and Chet Atkins received the Grammy Award for Best State Instrumental.^[76] In 2005, he won Best Pop Instrumental for "Caravan" and Best Rock Instrumental for "69 Freedom Special."

In 1983, Paul received a Grammy Trustees Award for lifetime achievement. In 2001, he was honored with the Special Merit/Technical Grammy Award, which recognizes "individuals or institutions that accept ready the highest standards of excellence in the creative application of sound technology," a select award given to masters of sound innovation including Thomas Alva Edison, Leo Fender, and Beatles recording engineer Geoff Emerick.^[77] In 2004, he received an Emmy Lifetime Achievement Award in Engineering and a Lifetime Achievement in Music Education from the Wisconsin Foundation for School Music.^[76]

In 1960, he and Mary Ford received a star on the Hollywood Walk of Fame.^[76]

In 2009, Paul was named one of the top ten electric guitarists of all fourth dimension by Time magazine.^[78] 2 years later he was named the eighteenth greatest guitarist of all fourth dimension by Rolling Stone magazine.^[79] During the aforementioned year, his name was added to the Nashville Walk of Fame.^[76]

Concerts and exhibitions [edit]

In July 2005, a 90th-birthday tribute concert was held for Les Paul at Carnegie Hall in New York City. After performances by Steve Miller, Peter Frampton, Jose Feliciano, and a number of others, Paul was presented with a commemorative guitar from the Gibson Guitar Corporation.^[lxxx] 3 years subsequently, at a tribute concert at the Land Theater in Cleveland, Ohio, he received the Rock and Roll Hall of Fame's American Music Masters Honor.^[81] On June 9, 2015, a yearlong commemoration of Paul'due south 100th birthday kicked off in Times Square with performances by musicians including Steve Miller, Jose Feliciano, and Neal Schon, a memorabilia exhibition, and a proclamation from the Les Paul Foundation declaring June ix as Les Paul Day.^[82]

In 2007, the biographical moving-picture show Les Paul Chasing Sound was aired on the public television series American Masters. The premier showing was held at Milwaukee's Downer Theater in conjunction with a concert Paul put on for the Waukesha County Historical Club & Museum. The film independent interviews with Les Paul, performances by his trio on his 90th birthday, and interview commentary and performances past other musicians.^[83]

In June 2008, an exhibit showcasing Paul's legacy and featuring items from his personal drove opened at Discovery World in Milwaukee.^[84] Paul played a concert in Milwaukee to coincide with the opening of the exhibit.^[85] Paul's hometown of Waukesha, Wisconsin, opened a permanent exhibit titled "The Les Paul Experience" at the Waukesha Canton Museum in June 2013. The exhibit features artifacts on loan from the Les Paul Foundation. A self-guided tour of Les Paul's Waukesha was created by the Les Paul Foundation.^{[86] [87]}

A permanent Les Paul showroom is likewise located at the Mahwah Historical Museum.^[88] Other museums that include Les Paul are the Museum of Making Music in Phoenix and the Grammy Museum in Newark, NJ.

In 2009, the concert film Les Paul Live in New York was aired on public television showing Les Paul performing on his 90th altogether at the Iridium Jazz Lodge in New York and in archival clips.^[89]

Discography [edit]

Albums [edit]

• The New Sound (Capitol, 78 rpm and 45 rpm EP, 1950; 33+ 1⁄iii rpm LP, 1955)
• Les Paul's New Sound, Vol. 2 (Capitol, 1951)
• Cheerio Cheerio Dejection! (Capitol, 1952)
• The Hit Makers! (Capitol, 1953)
• Les and Mary (Capitol, 1955)
• Songs of Today (Capitol, 45 rpm EP, 1956)
• Time to Dream (Capitol, 1957)
• The Hits of Les and Mary (Capitol, 1960)
• Les Paul and Mary Ford (Capitol, 33+ one⁄3 rpm EP, 1961)
• Bouquet of Roses (Columbia, 1962)
• Warm and Wonderful (Columbia, 1962)
• Les Paul Now (Decca, 1968)
• The World Is Even so Waiting For The Sunrise (Capitol, 1974)
• Chester and Lester with Chet Atkins (RCA Victor, 1976)
• Guitar Monsters with Chet Atkins (RCA Victor, 1978)
• Early Les Paul (Capitol, 1982)
• Feed Dorsum 1944–1955 (Circle, 1986)
• The Best of the Capitol Masters: Selections from "The Legend and the Legacy" Box Set (Capitol, 1992)
• American Made World Played (Capitol, 2005)
• A Tribute to a Legend (Immergent, 2008)

Hit singles [edit]

Year	Single	Chart positions
		Us	CB	US Country	UK [xc]
1945	"It'south Been a Long, Long Time" (with Bing Crosby)	1
1946	"Rumors Are Flying" (with The Andrews Sisters)	4
1948	"Lover"	21
	"Brazil"	22
	"What Is This Thing Chosen Beloved?"	xi
1950	"Nola"	ix
	"Goofus"	21
	"Trivial Rock Getaway"	xviii
	"Tennessee Waltz"	half-dozen
1951	"Jazz Me Blues"	23
	"Mockin' Bird Hill"(gold record)	two		vii
	"How High the Moon"(gold record) A	1
	"Josephine"	12
	"I Wish I Had Never Seen Sunshine"	18
	"The World Is Waiting for the Sunrise"(gilt record)	2
	"Whispering"	7
	"Just One More Chance"	5
	"Jingle Bells"	10
1952	"Tiger Rag"	2
	"I'm Confessin'"	13
	"Carioca"	xiv
	"In the Good Old Summer"	15
	"Fume Rings"	14
	"Run across Mister Callaghan"	five	4
	"Accept Me in Your Artillery and Hold Me"	xv	22
	"Lady of Spain"	8
	"My Baby's Comin' Abode"	7	11
1953	"Goodbye Farewell Blues"	five	14
	"I'm Sitting on Summit of the World"	x	eight
	"Sleep"	21	31
	"Vaya Con Dios"(gold tape)	1	1		7
	"Johnny (Is the Boy for Me)"	15	25
	"The Kangaroo"	25	23
	"Don'cha Hear Them Bells"	13	28
1954	"I Really Don't Want To Know"	eleven	33
	"South"		18
	"I'm a Fool to Care"	six	13
	"Auctioneer"		28
	"Whither Grand Goest"	x	12
	"Mandolino"	19	22
1955	"Song in Blue"		17
	"Anytime Sweetheart"		39
	"No Letter Today"		27
	"Hummingbird"	seven	half-dozen
	"Amukiriki"	38	24
	"Magic Tune"	96	43
1956	"Texas Lady"	91	47
	"Cimarron (Roll On)"		48
	"Moritat"	49
	"Nuevo Laredo"	91
1957	"Cinco Robles"	35	24
1958	"Put a Ring on My Finger"	32	43
	"Jealous Eye"		71
1961	"Jura"	37	81
	"It'southward Been a Long, Long Time"	105

• ^A peaked at No. 2 on Hot R&B/Hip-Hop Songs charts

Singles [edit]

• "It'southward Been a Long, Long Time"—Bing Crosby with Les Paul & His Trio (1945), #1 on Billboard Popular singles chart, ane week, December 8
• "Rumors Are Flying"—The Andrews Sisters with Les Paul and Vic Schoen & His Orchestra (1946)
• "This Tin can't Be Love"//"Up And At 'Em"—The Les Paul Trio (1946), V-Disc 664A
• "Guitar Boogie" (1947)
• "Lover (When You're Most Me)" (1948)
• "Brazil" (1948)
• "What Is This Thing Called Love?" (1948)
• "Suspicion"—equally Rhubarb Red with Fos Carling (1948)
• "Nola" (1950)
• "Goofus" (1950)
• "Dry My Tears"/"Cryin'" (1950)
• "Little Rock Getaway" (1950/1951)
• "Tennessee Waltz"—Les Paul & Mary Ford (1950/1951), #1, Cashbox
• "Mockin' Bird Colina"—Les Paul & Mary Ford (1951), #ane, Cashbox
• "How Loftier The Moon"—Les Paul & Mary Ford (1951), #1, Billboard Popular singles chart, 9 weeks, April 21 – June 16; #ane, Cashbox, 2 weeks; #2, R&B chart
• "I Wish I Had Never Seen Sunshine"—Les Paul & Mary Ford (1951)
• "The Globe Is Waiting for the Sunrise"—Les Paul & Mary Ford (1951), #2, Billboard; #3, Cashbox
• "But 1 More Chance"—Les Paul & Mary Ford (1951)
• "Jazz Me Dejection" (1951)
• "Josephine" (1951)
• "Whispering" (1951)
• "Jingle Bells" (1951)
• "Tiger Rag"—Les Paul & Mary Ford (1952), #ii, Billboard; #8, Cashbox
• "I'm Confessin' (That I Love You)"—Les Paul & Mary Ford (1952)
• "Carioca" (1952)
• "In the Good Old Summer"—Les Paul & Mary Ford (1952)
• "Smoke Rings"—Les Paul & Mary Ford (1952)
• "Meet Mister Callaghan" (1952), #5, Billboard
• "Take Me in Your Arms and Agree Me"—Les Paul & Mary Ford (1952)
• "Lady of Kingdom of spain" (1952)
• "My Baby's Coming Home"—Les Paul & Mary Ford (1952)
• "Bye Farewell Blues"—Les Paul & Mary Ford (1953)
• "I'yard Sitting on Height of the Earth"—Les Paul & Mary Ford (1953)
• "Slumber" (Fred Waring'due south theme song) (1953)
• "Vaya Con Dios"—Les Paul & Mary Ford (1953), #one, Billboard Popular singles nautical chart, 11 weeks, August eight – October 3, November 7–14; #1, Cashbox, 5 weeks
• "Johnny (Is The Boy for Me)"—Les Paul & Mary Ford (1953), #xv, Billboard; #25, Cashbox
• "Don'cha Hear Them Bells"—Les Paul & Mary Ford (1953), #13, Billboard; #28, Cashbox
• "The Kangaroo" (1953), #25, Billboard; #23, Cashbox
• "I Really Don't Want To Know"—Les Paul & Mary Ford (1954)
• "I'one thousand 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 Tune"—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)
• "All I Need Is You"—Les Paul & Mary Ford (1959)
• "Jura (I Swear I Honey You lot)"—Les Paul & Mary Ford (1961)
• "Dear Sneakin' Up on You"—Les Paul, Joss Stone & Sting (2005)

Compositions [edit]

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", "Deep in the Blues", "All I Need is Y'all", "Have a Warning", "Mammy's Boogie", "Up And At 'Em", "Pacific Breeze", "Aureate Sands", "Hawaiian Charms", "Mountain Railroad", "Move Along, Baby (Don't Waste product My Time)", "Dry out My Tears", "I Don't Want You No More", "Doing the Boondocks", "Les' Dejection",^[91] "No Strings Attached", "Subterfuge", "Complaining For Strings", "5 Alarm Fire", "You Tin can't Be Fit every bit a Fiddle (When You're Tight as a Pulsate)", and "Walkin' and Whistlin' Blues".

See likewise [edit]

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

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Bibliography [edit]

• Garrett, Charles, ed. "Paul Les [Polfuss, Lester Williams]" The Grove Dictionary of American Music, 2d edition. Oxford Academy Printing. 2006. Print.^{[ ISBN missing ] [ page needed ]}

External links [edit]

• Official website The Les Paul Foundation
• Les Paul Chasing Audio biography
• Les Paul Live in New York concert movie
• Remembering Les Paul Sound interviews at WGN Radio
• The Les Paul Show, Sound archive (costless mp3s) of Les Paul's radio show
• "Classic Tracks: Les Paul & Mary Ford 'How High the Moon'" at Sound on Sound
• Les Paul's final interview at Performing Musician
• NAMM Oral History Program Interview Sound interview (2001)

merrillrefereall.blogspot.com

Source: https://en.wikipedia.org/wiki/Les_Paul

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