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were a rock radio staple in the post-grunge era.\n\r\n∙ While Dylan was reluctant to talk about it in The Wallflowers’ early days, his father is legendary singer-songwriter Bob Dylan, whose music and humility were influential on his son’s career.\r\n∙ Bringing Down the Horse, the band’s 1996 breakout, produced the smash “One Headlight” and earned two Grammys and a spot on Rolling Stone’s 100 Greatest Pop Songs list.\r\n∙ The soundtrack for the 1998 blockbuster Godzilla went Platinum, propelled by their cover of David Bowie’s 1977 classic, “Heroes,” which was the album’s lead single.\r\n∙ Longtime family friend T Bone Burnett produced Dylan’s critically acclaimed 2010 solo album Women and Country, which landed in the Top 20 of the Billboard 200.\r\n∙ Mick Jones of The Clash appeared on 2012’s Glad All Over—The Wallflowers’ first album in seven years—playing on “Reboot the Mission,” a No. 1 hit on Billboard’s Triple A Songs chart.","isGroup":true,"bornOrFormed":"1990","name":"The 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some doors for Jakob Dylan, but being Bob Dylan's son was just as likely a heavy load to carry as well, and the younger Dylan handled the pressure with relative élan. Born in 1969, Jakob Dylan was raised in Los Angeles by his mother, Sara Lowndes, after his parents' divorce in 1977. \r\nHe studied at private schools in L.A. and New York, and eased into the music business during the late '80s by forming the Wallflowers with guitarist Tobi Miller, keyboard player Rami Jaffee, bassist Barrie Maguire, and drummer Peter Yanowitz. Featuring a classic heartland sound that was closer to Tom Petty & the Heartbreakers or John Mellencamp than any of Bob Dylan's work, the band signed with Virgin and released a self-titled debut album in 1992. The record sold poorly, however, and Virgin dropped the band. \r\nDylan assembled a second version of the Wallflowers, one in which he and Jaffee were joined by a trio of new members -- guitarist Michael Ward, bassist Greg Richling, and drummer Mario Calire. The \"new\" group signed to Interscope Records and recorded an album with producer (and Dylan family friend) T Bone Burnett. Bringing Down the Horse was released in 1996, producing the alternative radio hit \"6th Avenue Heartache.\" A second single from the same album, \"One Headlight,\" followed later in the year, and by the spring of 1997 it had become a Top Ten hit, firmly establishing the Wallflowers as a legitimate commercial band. \r\nWhile the media naturally played up Dylan's connection to his father, the Wallflowers possessed their own sound, and Jakob's similarities to his dad -- as both a singer and a songwriter -- were only occasional at best. A third single from Bringing Down the Horse, \"The Difference,\" was issued in 1997, and the album hung on as a big seller throughout 1997. One year later, \"One Headlight\" won Grammys for Best Rock Song and Best Rock Performance by a Duo or Group with Vocal. \r\nThe typical next move would have been to quickly record a third album, but Dylan and the Wallflowers decided to take a long break from the studio instead. They returned in October 2000 with Breach, a fairly impressive effort that was largely ignored by mainstream radio. Red Letter Days appeared a year later in 2001, featuring a more commercial sound, and the band closed out its deal with Interscope by issuing Rebel, Sweetheart two years later. \r\nDylan signed a solo contract in 2006 with Columbia Records, his dad's longtime label, and issued the acoustic-based Seeing Things -- recorded by Rick Rubin at the producer's Hollywood Hills studio -- under his own name in 2008. Although the move seemingly left the status of the Wallflowers up in the air, the band reconvened one year later to tour in support of a greatest-hits album. It wasn't long before Dylan turned back to his solo career, though, and he released the sophomore effort Women + Country in 2010. ~ Steve Leggett","isGroup":false,"bornOrFormed":"December 9, 1969","name":"Jakob Dylan","editorialArtwork":{}}},{"id":"35719","type":"artists","href":"/v1/catalog/us/artists/35719?l=en-US","attributes":{"artwork":{"width":2400,"height":2400,"url":"https://is4-ssl.mzstatic.com/image/thumb/Features114/v4/64/26/f8/6426f8a4-ac9c-ac0c-ff66-0f81d0d391bd/mzl.gtesazdx.jpg/{w}x{h}bb.jpeg","bgColor":"19120d","textColor1":"e1dcb8","textColor2":"c0dad9","textColor3":"b9b496","textColor4":"9eb2b0"},"hero":[{"content":[{"artwork":{"width":2400,"url":"https://is4-ssl.mzstatic.com/image/thumb/Features114/v4/64/26/f8/6426f8a4-ac9c-ac0c-ff66-0f81d0d391bd/mzl.gtesazdx.jpg/{w}x{h}bb.jpeg","height":2400,"textColor3":"b9b496","textColor2":"c0dad9","textColor4":"9eb2b0","textColor1":"e1dcb8","bgColor":"19120d","recommendedCropCodes":["va","vd","vb","vc"]}}]}],"origin":"Berkeley, CA","url":"https://music.apple.com/us/artist/counting-crows/35719","genreNames":["Rock"],"artistBio":"In 1993, when grunge was still the coin of the realm, Counting Crows flew into view as an alternative to the alternative. Fronted by commanding, quirky singer Adam Duritz, the band formed in the Bay Area in 1991 and released their debut, August and Everything After, two years later. With reflective, poetic lyrics and a sound that seemed influenced in equal parts by ’80s alt bands like R.E.M. and classic rockers like The Band and Van Morrison, the group connected with those hungry for something other than heavy guitars. The album became a blockbuster, going multiplatinum and birthing a huge hit single with “Mr. Jones.” For the 1996 follow-up, Recovering the Satellites, they introduced new members Ben Mize on drums and Dan Vickrey on guitar while expanding their sound to include string orchestrations on several songs. The record went to No. 1 and generated a hit in the elegiac, piano-led “A Long December.” It would be the band’s last visit to the Top 10—though their albums continued to find a loyal audience, by the 2000s their rootsy, introspective sound had fallen out of style. They effectively became one of America’s biggest cult bands, touring successfully without the aid of hit singles, and continuing to create carefully crafted, expertly nuanced records.","isGroup":true,"bornOrFormed":"August, 1991","name":"Counting Crows","editorialArtwork":{}}},{"id":"58757","type":"artists","href":"/v1/catalog/us/artists/58757?l=en-US","attributes":{"artwork":{"width":2400,"height":2400,"url":"https://is5-ssl.mzstatic.com/image/thumb/Features124/v4/63/ec/15/63ec15a8-e9a9-a5df-a7a4-6a481d04bb3a/mzl.ksfntrjn.jpg/{w}x{h}bb.jpeg","bgColor":"ffffff","textColor1":"292421","textColor2":"402a22","textColor3":"54504e","textColor4":"66554e"},"hero":[{"content":[{"artwork":{"width":2400,"height":2400,"url":"https://is5-ssl.mzstatic.com/image/thumb/Features124/v4/63/ec/15/63ec15a8-e9a9-a5df-a7a4-6a481d04bb3a/mzl.ksfntrjn.jpg/{w}x{h}bb.jpeg","bgColor":"ffffff","textColor1":"292421","textColor2":"402a22","textColor3":"54504e","textColor4":"66554e"}}]}],"origin":"Kennett, MO","url":"https://music.apple.com/us/artist/sheryl-crow/58757","genreNames":["Pop"],"artistBio":"Even though Sheryl Crow’s first album was a huge success, she was no overnight sensation. She had already spent years singing out of the spotlight, on commercial jingles and as a backup singer for Michael Jackson, Jimmy Buffett, Don Henley, and others. Her breakthrough, Tuesday Night Music Club, released in 1993 but not a blockbuster until a year later, was named after the collective that cowrote the album with her, including the ironic pop megahit “All I Wanna Do” and the gentle ballad “Strong Enough.” The multiplatinum Grammy magnet made Crow—born in 1962 in Kennett, MO—a superstar. Crow took the production reins for her self-titled 1996 follow-up and wound up with a couple more ubiquitous hits in “If It Makes You Happy” and “Everyday Is a Winding Road,” serving notice that her success was no one-shot deal. She went from strength to strength in the 2000s. Her 2002 duet with Kid Rock on the ballad “Picture” became not only a pop smash but a country crossover hit, and she was all over the radio with big singles like “Soak Up the Sun” and her cover of Cat Stevens’ “The First Cut Is the Deepest.” Even a bout with breast cancer in 2006 didn’t keep her down for long. Crow only grew in stature in the years to come, becoming one of American pop’s most respected singer/songwriters. The roll call on Threads, her 2019 album of all-star collaborations—including the likes of Sting, Keith Richards, Neil Young, and Willie Nelson—stands as an indication of the lofty status she’s attained.","isGroup":false,"bornOrFormed":"February 11, 1962","name":"Sheryl Crow","editorialArtwork":{"subscriptionHero":{"width":4320,"height":1080,"url":"https://is4-ssl.mzstatic.com/image/thumb/Features113/v4/20/4a/60/204a602e-2c01-94a8-69fe-72f3036d01de/source/{w}x{h}bb.jpeg","bgColor":"040100","textColor1":"dfb47e","textColor2":"d2a569","textColor3":"b39064","textColor4":"a88454"}},"editorialNotes":{"short":"Watch Sheryl Crow's moving video for “Redemption Day,” featuring Johnny Cash."}}},{"id":"316381","type":"artists","href":"/v1/catalog/us/artists/316381?l=en-US","attributes":{"artwork":{"width":3840,"height":3840,"url":"https://is1-ssl.mzstatic.com/image/thumb/Features114/v4/58/f8/9e/58f89ee7-d2e5-1578-7237-757ea93c8d0a/mza_14553030413220045248.png/{w}x{h}bb.jpeg","bgColor":"5a5a5c","textColor1":"fbdeca","textColor2":"e8d6cc","textColor3":"dbc3b4","textColor4":"cbbdb5"},"hero":[{"content":[{"artwork":{"width":3840,"url":"https://is1-ssl.mzstatic.com/image/thumb/Features114/v4/58/f8/9e/58f89ee7-d2e5-1578-7237-757ea93c8d0a/mza_14553030413220045248.png/{w}x{h}bb.jpeg","height":3840,"textColor3":"dbc3b4","textColor2":"e8d6cc","textColor4":"cbbdb5","textColor1":"fbdeca","bgColor":"5a5a5c","recommendedCropCodes":["va","vb","vc"]}}]}],"origin":"Sale, Cheshire, England","url":"https://music.apple.com/us/artist/david-gray/316381","genreNames":["Singer/Songwriter"],"artistBio":"As a teenager, David Gray formed a band called The Prawns, who were inspired by The Cramps and played a nine-minute cover of The Who’s “Won’t Get Fooled Again.”\n\n∙ Gray studied painting at the Liverpool College of Art, selling his art to support his music career.\n∙ Before breaking through with the album White Ladder, he had released three full-length albums on major labels.\n∙ While he initially self-released White Ladder, the album took off after Dave Matthews signed him to his label, ATO Records, and reissued it in 2000.\n∙ He provided vocals for “Illuminate,” a 2001 single by electronic duo Orbital.\n∙ Gray has twice won the prestigious Ivor Novello Award for Best Song Musically & Lyrically—for “Babylon” and “The Other Side.”","isGroup":false,"bornOrFormed":"June 13, 1968","name":"David Gray","editorialArtwork":{"originalFlowcaseBrick":{"width":3200,"height":600,"url":"https://is3-ssl.mzstatic.com/image/thumb/Features4/v4/1a/97/c1/1a97c1b8-c10c-f1dd-0bed-c6d3a6e9b764/source/{w}x{h}bb.jpeg","bgColor":"dfc984","textColor1":"0a0602","textColor2":"441f17","textColor3":"342d1c","textColor4":"63412d"},"storeFlowcase":{"width":4320,"height":1080,"url":"https://is3-ssl.mzstatic.com/image/thumb/Features113/v4/a6/d3/dc/a6d3dc4c-8676-0fd7-c027-9335ab967a5c/source/{w}x{h}bb.jpeg","bgColor":"5d5d5f","textColor1":"ffffff","textColor2":"f1c1a7","textColor3":"dedede","textColor4":"d3ad99"},"subscriptionHero":{"width":4320,"height":1080,"url":"https://is2-ssl.mzstatic.com/image/thumb/Features113/v4/4e/b5/73/4eb57356-9bff-e11e-8f0a-00beb5f7fc89/source/{w}x{h}bb.jpeg","bgColor":"575758","textColor1":"f7d7c7","textColor2":"f1c7ac","textColor3":"d7bdb1","textColor4":"d2b09b"},"bannerUber":{"width":4320,"height":1080,"url":"https://is3-ssl.mzstatic.com/image/thumb/Features113/v4/9c/06/62/9c066224-9b80-0a48-041a-66da35e6dc22/source/{w}x{h}bb.jpeg","bgColor":"5e5f61","textColor1":"fddccd","textColor2":"fbcdae","textColor3":"ddc3b7","textColor4":"dbb79f"}}}},{"id":"388900","type":"artists","href":"/v1/catalog/us/artists/388900?l=en-US","attributes":{"artwork":{"width":3000,"height":3000,"url":"https://is5-ssl.mzstatic.com/image/thumb/Features114/v4/36/7c/c2/367cc2e9-7504-1aef-2b8b-7ecf732f52da/mzl.vulfftlv.jpg/{w}x{h}bb.jpeg","bgColor":"241c18","textColor1":"d5e2e4","textColor2":"d0d9ea","textColor3":"b1babb","textColor4":"aeb3c0"},"hero":[{"content":[{"artwork":{"width":3000,"url":"https://is5-ssl.mzstatic.com/image/thumb/Features114/v4/36/7c/c2/367cc2e9-7504-1aef-2b8b-7ecf732f52da/mzl.vulfftlv.jpg/{w}x{h}bb.jpeg","height":3000,"textColor3":"b1babb","textColor2":"d0d9ea","textColor4":"aeb3c0","textColor1":"d5e2e4","bgColor":"241c18","recommendedCropCodes":["va","vd","vb","vc"]}}]}],"origin":"Heidelberg, Germany","url":"https://music.apple.com/us/artist/jackson-browne/388900","genreNames":["Rock"],"artistBio":"In the ‘70s California folk music scene, Jackson Browne loomed large, helping define the sound and spirit of the era—and the West Coast itself—with his intimate, insightful songwriting and rootsy sound. Born Clyde Jackson Browne in 1948 in West Germany, he was still a toddler when his parents headed to Los Angeles, and by the time he was a teen, he was writing songs and playing folk clubs in the city. Browne didn’t make waves as a solo act until his first, self-titled record in 1972, but for nearly a decade before its release, he proved himself as a wunderkind songwriter and musician, working with artists like the Nitty Gritty Dirt Band, Tim Buckley, Nico, and Linda Ronstadt. Jackson Browne’s biggest song was “Doctor My Eyes,” an upbeat but world-weary, piano-driven tune. While not a huge success commercially, the album opened the floodgates on Browne’s defining decade. Songs like 1973’s country rocker “Take It Easy” (also a massive hit for the Eagles) and albums like 1977’s Running on Empty, a folk-rock opus that laid bare the trials of touring, showed the ways Browne could meld accessibility with perceptive lyrics. Taking into account his often politically charged ‘80s output and a return to his signature style of inward-looking songwriting in the ‘90s and well into the 21st century, Browne’s legacy is that of a true rock ‘n’ roll lifer.","isGroup":false,"bornOrFormed":"October 9, 1948","name":"Jackson Browne","editorialArtwork":{}}},{"id":"462006","type":"artists","href":"/v1/catalog/us/artists/462006?l=en-US","attributes":{"artwork":{"width":3840,"height":3840,"url":"https://is5-ssl.mzstatic.com/image/thumb/Features114/v4/1d/4a/81/1d4a813d-536f-18af-3370-6d75f074901b/mza_7927877654710502640.png/{w}x{h}bb.jpeg","bgColor":"1d1d1d","textColor1":"ebebeb","textColor2":"cdcdcd","textColor3":"c1c1c1","textColor4":"aaaaaa"},"hero":[{"content":[{"artwork":{"width":3840,"url":"https://is5-ssl.mzstatic.com/image/thumb/Features114/v4/1d/4a/81/1d4a813d-536f-18af-3370-6d75f074901b/mza_7927877654710502640.png/{w}x{h}bb.jpeg","height":3840,"textColor3":"c1c1c1","textColor2":"cdcdcd","textColor4":"aaaaaa","textColor1":"ebebeb","bgColor":"1d1d1d","recommendedCropCodes":["va","vd","vb","vf","vc"]}}]}],"origin":"Duluth, MN","url":"https://music.apple.com/us/artist/bob-dylan/462006","genreNames":["Rock"],"artistBio":"The history of popular music can essentially be divided into two eras: before and after Dylan. The Minnesotan raconteur born Robert Zimmerman didn’t just unleash rock ‘n’ roll’s latent social conscience and poetic potential, he ushered in the age of the artist as auteur—the idea that true art in music, particularly in the practice of album-making, comes from the personal expression of the artist himself. During the societal upheaval of the early ’60s, he emerged as an icon thanks to inspirational singalongs like “Blowin’ in the Wind” and “The Times They Are A-Changin’.” But since shocking his folky faithful by going electric in 1965—a transformation heralded by his seething signature track, “Like a Rolling Stone”—he’s constantly defied expectations by pursuing his every whim, laying out a road map to creative freedom that was immediately inherited by the likes of The Beatles, Jimi Hendrix, and Neil Young. That non-conformist ethos has endured long past the ‘60s: Dig into “Subterranean Homesick Blues,” and you’ll find the seeds of punk’s sneering attitude, rap’s motor-mouthed repartee, and indie rock’s ramshackle DIY aesthetic. And yet Dylan is perpetually at the center of the conversation—an artist who's encompassed the entire American musical experience over his career, from folk and country to blues and gospel to jazz and rock—and one step removed from it. From the bad-romance wreckage of 1975’s Blood on the Tracks to the sobering meditations on mortality that permeate 1997’s Time Out of Mind to his 21st-century restorations of the Great American Songbook, he’s retained his uncanny ability to tap into the human condition while continuing to cultivate his singularly enigmatic aura.","isGroup":false,"bornOrFormed":"May 24, 1941","name":"Bob Dylan","editorialArtwork":{"originalFlowcaseBrick":{"width":1778,"height":600,"url":"https://is5-ssl.mzstatic.com/image/thumb/Features6/v4/ae/bf/e1/aebfe10f-28bd-e9be-c02b-f214ed175e53/source/{w}x{h}bb.jpeg","bgColor":"010001","textColor1":"f3f3f1","textColor2":"d7cfce","textColor3":"c3c2c1","textColor4":"aca6a5"},"storeFlowcase":{"width":4320,"height":1080,"url":"https://is3-ssl.mzstatic.com/image/thumb/Features7/v4/4a/6b/f8/4a6bf803-9320-d994-ff69-f757bf516e0d/source/{w}x{h}bb.jpeg","bgColor":"000000","textColor1":"f6f6f6","textColor2":"d6d7d0","textColor3":"c4c4c4","textColor4":"abaca7"},"subscriptionHero":{"width":4320,"height":1080,"url":"https://is4-ssl.mzstatic.com/image/thumb/Features71/v4/1d/7d/58/1d7d584f-3277-832e-5aa3-1b38415f7b13/source/{w}x{h}bb.jpeg","bgColor":"000000","textColor1":"dbdbd9","textColor2":"cac4c0","textColor3":"afafad","textColor4":"a19d99"},"bannerUber":{"width":4320,"height":1080,"url":"https://is3-ssl.mzstatic.com/image/thumb/Features19/v4/4e/62/84/4e6284bc-5bd7-92b6-576f-b523732bb1ee/source/{w}x{h}bb.jpeg","bgColor":"000000","textColor1":"dbdcd6","textColor2":"c3c1bb","textColor3":"afb0ab","textColor4":"9c9a95"}}}},{"id":"463277","type":"artists","href":"/v1/catalog/us/artists/463277?l=en-US","attributes":{"artwork":{"width":2400,"height":2400,"url":"https://is1-ssl.mzstatic.com/image/thumb/Features114/v4/f5/c3/92/f5c392e1-f9d2-8fb7-460b-f827ad185e0d/mzl.fzrzukev.jpg/{w}x{h}bb.jpeg","bgColor":"010707","textColor1":"f2decb","textColor2":"94c9d0","textColor3":"c2b3a4","textColor4":"76a2a8"},"hero":[{"content":[{"artwork":{"width":2400,"url":"https://is1-ssl.mzstatic.com/image/thumb/Features114/v4/f5/c3/92/f5c392e1-f9d2-8fb7-460b-f827ad185e0d/mzl.fzrzukev.jpg/{w}x{h}bb.jpeg","height":2400,"textColor3":"c2b3a4","textColor2":"94c9d0","textColor4":"76a2a8","textColor1":"f2decb","bgColor":"010707","recommendedCropCodes":["va","vd","vb","vc"]}}]}],"origin":"Winston-Salem, NC","url":"https://music.apple.com/us/artist/ben-folds/463277","genreNames":["Rock"],"artistBio":"American singer, songwriter, and producer Ben Folds emerged in the mid-'90s as the leader of the power pop trio Ben Folds Five, before striking out on a successful solo career in 2001. His knack for crafting engaging melodies paired with lyrics that can go from heartbreakingly earnest to biting and sarcastic helped to fuel his slow dive into the mainstream, from piano-climbing college rock upstart to commercial crooner and likable (and knowledgeable) co-judge on NBC's hit a cappella singing competition series The Sing-Off. Since debuting in 1995 with the eponymous Ben Folds Five, Folds has released a string of acclaimed albums, including the platinum-selling Whatever and Ever Amen (1997), the chart-topping Songs for Silverman (2005) and Way to Normal (2008), and The Sound of the Life of the Mind (2012), the latter of which saw him reconvening Ben Folds Five and skillfully merging his snarky, punk-infused past with the more accessible, ballad-heavy output of his solo career. In addition to his own work, Folds has collaborated with a wide array of artists, including William Shatner, Sara Bareilles, and Regina Spektor, and authors Nick Hornby and Neil Gaiman.\r\nFollowing a late-'80s stint playing bass for the band Majosha, the North Carolina native spent several years in Nashville working largely as a session drummer. Folds dabbled in acting after relocating to New York, while performing solo gigs around the city and further developing his piano and songwriting skills.\r\nMoving back to North Carolina, in 1994 Folds formed Ben Folds Five, a trio that also included bassist Robert Sledge and drummer Darren Jessee. Whereas most alternative bands of the '90s specialized in distorted teen-angst rock, the guitarless trio was a refreshing break from the norm, its sound akin to such past power popsters as Todd Rundgren, Jellyfish, and early Joe Jackson, and such piano-driven artists as Billy Joel and early Elton John. But like punk bands, Ben Folds Five put on a high-energy, blistering live show. Their self-titled debut arrived in 1995 on Caroline Records, yielding their first cult hit, \"Underground.\" With some help from MTV's 120 Minutes and plenty of touring, the band generated enough buzz to land a deal with Epic Records, which released their follow-up. \r\nReleased in 1997, Whatever and Ever Amen proved to be Ben Folds Five's commercial breakthrough, thanks in part to the single \"Brick.\" Unlike the majority of Ben Folds Five's material, which was upbeat, the song contained melancholic music and vocals, as the lyrics told the story of a teenage couple who decide to get an abortion, a story later confirmed by Folds to be autobiographical. Eventually going platinum in the U.S., Whatever also fared similarly abroad, particularly in Australia and Japan.\r\nWhile 1998 didn't see a new studio album by the band, their former label, Caroline, issued a 16-track rarities collection (Naked Baby Photos), while Folds released his first solo album, Volume 1, under the pseudonym Fear of Pop. Although the solo effort went largely unnoticed, it included the song \"In Love,\" which featured some melodramatic vocals from none other than Captain Kirk himself, William Shatner, and which was performed on The Conan O'Brien Show shortly after the album's release. Ben Folds Five regrouped with 1999's The Unauthorized Biography of Reinhold Messner, which was a more mature work than its predecessors, and featured some of Folds' strongest songwriting to date. It would also prove to be the band's last record for over a decade.\r\nFolds made his official solo debut with Rockin' the Suburbs, a more diversely arranged set that arrived in late 2001. A 2003 live effort, Ben Folds Live, was followed by a series of EPs before Folds returned to the piano trio format with the introspective Songs for Silverman in 2005. He released Supersunnyspeedgraphic: The LP in 2006, followed by the full-length Way to Normal in 2008. That same year saw a reunion show by Ben Folds Five during which they performed their third album in its entirety. In 2009, Folds contributed two songs to University A Cappella!, a collection of covers of some of Folds' best tracks by various university groups. Continuing to branch out in various directions, Folds joined NBC's a cappella talent show The Sing-Off as one of the judges, a job he would hold for three seasons. Lonely Avenue, a collaboration with British novelist/essayist Nick Hornby (High Fidelity, About a Boy), arrived in 2010, followed by the 18-track Retrospective: The Best Imitation of Myself 1995-2011, which represented Folds' first U.S. career overview. The compilation included a new song with the original Ben Folds Five, who re-formed the following year and released their fourth studio album, The Sound of the Life of the Mind, followed by Ben Folds Five Live in 2013. \r\nIn 2015, Folds released So There, an eight-track collection of chamber pop originals that he recorded with New York City-based classical sextet yMusic. The album also included a performance of his \"Concerto for Piano and Orchestra\" with the Nashville Symphony. The album reached number one on Billboard's classical and classical crossover charts. Over the following years, Folds issued a pair of live albums, In Concert 2015-2016 and Live in Perth, the latter recorded with the West Australian Symphony Orchestra. In 2018 Edsel issued the exhaustive Brick: The Songs of Ben Folds 1995–2012, a 13-disc box set that included all four Ben Folds Five albums, all of his solo albums (up until 2012), live recordings, B-sides, and other bonus material. ~ Greg Prato","isGroup":false,"bornOrFormed":"September 12, 1966","name":"Ben Folds","editorialArtwork":{}}},{"id":"78500","type":"artists","href":"/v1/catalog/us/artists/78500?l=en-US","attributes":{"artwork":{"width":2400,"height":2400,"url":"https://is2-ssl.mzstatic.com/image/thumb/Features125/v4/81/cd/6a/81cd6a7e-e424-743b-0c49-2b84c5816ad5/mza_3908144279955888356.png/{w}x{h}bb.jpeg","bgColor":"d7d4d3","textColor1":"040206","textColor2":"262626","textColor3":"2e2c2f","textColor4":"494949"},"hero":[{"content":[{"artwork":{"width":2400,"url":"https://is2-ssl.mzstatic.com/image/thumb/Features125/v4/81/cd/6a/81cd6a7e-e424-743b-0c49-2b84c5816ad5/mza_3908144279955888356.png/{w}x{h}bb.jpeg","height":2400,"textColor3":"2e2c2f","textColor2":"262626","textColor4":"494949","textColor1":"040206","bgColor":"d7d4d3","recommendedCropCodes":["va","vd","vb","vf","vc"]}}]}],"origin":"Dublin, Ireland","url":"https://music.apple.com/us/artist/u2/78500","genreNames":["Rock"],"artistBio":"No band has embodied the fundamental belief that rock ’n’ roll can change the world quite like U2. As their late-’70s post-punk peers were intent on deconstructing rock music into shards of rhythm and discord, the Dublin quartet of Bono (vocals), The Edge (guitars), Adam Clayton (bass), and Larry Mullen Jr. (drums) redirected that wiry energy to more impassioned, altruistic use, transforming themselves into a generation-defining band that combined the idealistic fervor of The Clash with the game-changing pop-cultural omnipotence of The Beatles. On their 1983 breakthrough album, War, Bono emerged as alt-rock’s preeminent preacher man, his wailing voice embodying the futility of The Troubles on the raging “Sunday Bloody Sunday.” But upon enlisting producers Brian Eno and Daniel Lanois on 1984’s The Unforgettable Fire, U2 traded in punk-schooled fury for celebratory civil-rights anthems (“Pride [In the Name of Love]”) and slow-burn rapture (“Bad”), a transition that reached its apex on 1987’s The Joshua Tree (also produced by Eno and Lanois). With The Edge’s slashing style giving way to rippling textures, the album’s heart-racing hymns (“I Still Haven’t Found What I’m Looking For,” “Where the Streets Have No Name”) imbued U2’s arena-sized ardor with a spiritual grace, lending The Joshua Tree a universal appeal that made it one of the top-selling albums of all time. Comfortably nestled on their perch as the most popular rock band in the world, U2 only seemed to get bigger and bolder: 1991’s Achtung Baby and 1993’s Zooropa were daring explorations of post-rave rhythms that bookended the groundbreaking Zoo TV tour, which redefined the stadium spectacle as a sensory-overloading, multimedia extravaganza. But no matter where their musical curiosities led them, no matter how elaborate their stage shows get, and no matter how many world leaders Bono rubs shoulders with to further his activist work, U2 have never lost sight of their inspirational mission, with post-millennial highlights like “Beautiful Day” (2000) and “You’re the Best Thing About Me” (2017) soundly reasserting their power to unify and elevate. 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In their late-’80s infancy, the Buffalo natives were a ragtag power trio flexing enough hardcore heft to get them signed to heavy-music imprint Metal Blade. But as irreverent bassist/singer Robby Takac began to cede lead vocal duties to the band’s resident rugged romantic, guitarist Johnny Rzeznik, their sound settled into a more tuneful style of punky power pop. Once the band scored their first hit single in 1995 with the wistful, Westerbergian serenade “Name,” The Goo Goo Dolls became a bellwether for a new strain of post-grunge, adult-contemporary rock that reached its zenith with 1998’s string-swept power ballad “Iris”—at which point the group seemed less like a replacement for The Replacements than a big-brother act to emergent TRL phenoms like Matchbox 20 and Third Eye Blind. And they’ve continued to finesse that formula into the 21st century, cementing their rarefied position as the only band that started out playing punk dives with The Dead Milkmen and ended up headlining amphitheaters with Daughtry. 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