Problem: Mitchell William "Mitch" Miller (July 4, 1911 - July 31, 2010) was an American oboist, conductor, recording producer and recording industry executive. He was involved in almost all aspects of the industry, particularly as a conductor, and artist and repertoire (A&R) man. Miller was one of the most influential people in American popular music during the 1950s and early 1960s, both as the head of A&R at Columbia Records and as a best-selling recording artist with an NBC television series, Sing Along with Mitch. A graduate of the Eastman School of Music of the University of Rochester in the early 1930s, Miller began his musical career as an accomplished player of the oboe and English horn, making numerous highly regarded classical and popular recordings, but he is best remembered as a choral conductor on television and as a recordings executive.

As a record producer, Miller gained a reputation for both innovation and gimmickry. Although he oversaw dozens of chart hits, his relentlessly cheery arrangements and his penchant for novelty material -- for example, Come On-a My House (Rosemary Clooney), "Mama Will Bark" (Frank Sinatra and Dagmar) -- has drawn criticism from some admirers of traditional pop music. Music historian Will Friedwald wrote in his book Jazz Singing (Da Capo Press, 1996) that Miller exemplified the worst in American pop. He first aroused the ire of intelligent listeners by trying to turn -- and darn near succeeding in turning -- great artists like Sinatra, Clooney, and Tony Bennett into hacks. Miller chose the worst songs and put together the worst backings imaginable -- not with the hit-or-miss attitude that bad musicians traditionally used, but with insight, forethought, careful planning, and perverted brilliance. At the same time, Friedwald acknowledges Miller's great influence on later popular music production: Miller established the primacy of the producer, proving that even more than the artist, the accompaniment, or the material, it was the responsibility of the man in the recording booth whether a record flew or flopped. Miller also conceived the idea of the pop record "sound" per se: not so much an arrangement or a tune, but an aural texture (usually replete with extramusical gimmicks) that could be created in the studio and then replicated in live performance, instead of the other way around. Miller was hardly a rock 'n' roller, yet without these ideas there could never have been rock 'n' roll. "Mule Train", Miller's first major hit (for Frankie Laine) and the foundation of his career, set the pattern for virtually the entire first decade of rock. The similarities between it and, say, "Leader of the Pack", need hardly be outlined here. While some of Columbia's performers, including Harry James, Frank Sinatra and Rosemary Clooney, resented Miller's methods, the label maintained a high hit-to-release ratio during the 1950s. Sinatra particularly blamed his temporary fall from popularity while at Columbia on Miller; the crooner felt that he was forced by Miller to record material like "Mama Will Bark" and "The Hucklebuck". Miller countered that Sinatra's contract gave him the right to refuse any song. In the early 1950s Miller recorded with Columbia's house band as "Mitchell Miller and His Orchestra". He also recorded a string of successful albums and singles, featuring a male chorale and his own distinctive arrangements, under the name "Mitch Miller and the Gang" starting in 1950. The ensemble's hits included "The Children's Marching Song" (more commonly known as "This Old Man"), "Tzena, Tzena, Tzena", and "The Yellow Rose of Texas", which topped the U.S. Billboard chart, sold over one million copies in the United States alone, and reached #2 on the UK Singles Chart. Miller's medley of the two marches from The Bridge on the River Kwai, "The River Kwai March" and "Colonel Bogey March", lasted 29 weeks on the Billboard pop charts in 1958, longer than any other record completely within that year. In 1957, Miller's orchestra and chorus recorded U.S. Air Force Blue, a United States Air Force recruiting song, in a format that today would be called music video. He and his orchestra also recorded children's music for the Golden Records label. A choral group called The Sandpiper Singers provided the vocals for these recordings, including an album of Mother Goose nursery rhymes. In 1961, Miller also provided two choral tracks set to Dimitri Tiomkin's title music on the soundtrack to The Guns of Navarone. Followed by the theme of The Longest Day over the end credits in 1962 and the "Major Dundee March", the theme song to Sam Peckinpah's 1965 Major Dundee. Though the film was a box-office bomb, paradoxically the song remained popular for years. In 1987, Miller conducted the London Symphony Orchestra with pianist David Golub in a well-received recording of Gershwin's An American in Paris, Rhapsody in Blue, and Concerto in F.

Did he have any music videos?

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Problem: The Gaither Vocal Band is an American southern gospel vocal group, named after its founder and leader Bill Gaither. On March 1, 2017, it was announced that the Gaither Vocal Band lineup consisted of Reggie Smith, Wes Hampton, Adam Crabb, Todd Suttles, and Bill Gaither, as of April 1. Although the group started out recording contemporary Christian music in the 1980s, it became known for southern gospel after the popularity of the Gaither Homecoming videos. The lineup of the band changes often, with artists leaving to work on solo careers, and new and old ones coming to replace them.

Michael English was hired as the new lead singer, so McSpadden was moved down to baritone, and Gaither dropped to the lowest part. At this point the group dropped the "new" part of their name. Although the previous album (New Point of View) had been more contemporary than its predecessors, the album with this version of the group (One X 1) took it even further. After this album, Larnelle left and was replaced by Lemuel Miller. The group did not record an album with Lemuel before he too left. He was replaced by Imperials alumnus, Jim Murray. This line up cut one album (Wings) before Gary McSpadden left to start his solo career. Mark Lowry was convinced to replace him. Along with a great voice, Lowry added comedy to the mix. Their Gospel roots project Homecoming in 1991 caused most Southern Gospel fans to welcome the Vocal Band with open arms. Jim Murray left and was replaced by Terry Franklin. The album Southern Classics was released in 1993 with the hit "I Bowed On My Knees". Later Michael English left. He was replaced by Buddy Mullins. Mullins was only a temporary fill-in, but he was included on the album Testify. Terry Franklin soon left and was replaced by yet another Imperials alumnus, Jonathan Pierce (formerly known as Jonathan Hildreth, his first and last name--then changed to his first and middle name). Strengthened by the popularity of the Homecoming video series, the Vocal Band added Guy Penrod at lead. After Pierce's departure, Gaither hired David Phelps at tenor. After Lowry's departure, Imperials alumnus Russ Taff sang baritone for a couple of years. Marshall Hall was his replacement. Wes Hampton succeeded Phelps in 2005. The group has had three number one songs on the Singing News chart. "Yes, I Know" held the top position from July to October 1997, as did "I Will Go On" in November 2006. "Greatly Blessed" was their third number one single. The group has routinely performed classic Southern Gospel songs including many written by Bill and Gloria Gaither like "He Touched Me", "I Believe In A Hill Called Mount Calvary", and "Sinner Saved By Grace."

Tell me about Gaithers band popularity

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The group has had three number one songs on the Singing News chart.