Some context: Westlife were an Irish pop vocal group, formed in Dublin in 1998 and disbanded in 2012. Originally signed by Simon Cowell and managed by Louis Walsh, the group's line-up consisted of Nicky Byrne, Kian Egan, Mark Feehily, Shane Filan and Brian McFadden, who was a member until his departure in 2004. Westlife sold over 50 million records worldwide, a total that included studio albums, singles, video releases, and compilation albums. The group accumulated 14 number-one singles in the United Kingdom.
The group released their eleventh UK No. 1 single, "Unbreakable" in 2002. Amidst rumours of a split, Westlife released their first greatest hits album in November that same year titled Unbreakable - The Greatest Hits Vol. 1, which zoomed all the way to No. 1 in the UK. The release was followed by the double A-side single "Tonight/Miss You Nights", which debuted at No. 3 in the UK. At this time, Because Films Inspire made a TV documentary titled "Wild Westlife", directed by Iain MacDonald and starred the group, featuring their daily life as musicians and their tour experiences. In 2003, Westlife went on their third world tour, The Greatest Hits Tour, shrugging off rumours of a split.  In September 2003, Westlife released "Hey Whatever", which peaked at No. 4 on the UK Charts. Their fourth studio album, Turnaround, was then released in November, earning the group another UK No. 1 album. "Mandy", a cover of the Barry Manilow hit, was released in November 2003. Their version won them their third Record of the Year award, in under five years. Their version of "Mandy" is also considered the single with the longest leap to the top (from No. 200 to No. 1) in UK music history. "Obvious" was released as the final single from the album, charting at #3.  On 9 March 2004, just three weeks prior to embarking on their fourth world tour, McFadden left the group to spend more time with his family and work on solo projects. On that day, a press conference was held where all the group's members were present, each giving emotional individual speeches. McFadden's final public performance as part of Westlife was at Newcastle upon Tyne's Powerhouse nightclub on 27 February 2004. He subsequently began a solo career, and reverted the spelling of his first name back to its original 'Brian'. He released his first solo single, "Real To Me", which entered the UK chart at No. 1 and soon after, he released his first solo album Irish Son under Sony Music. McFadden later released more singles, but only with moderate success.  Less than a month after McFadden's departure, the group kicked off their "Turnaround Tour". A live version of "Flying Without Wings" was released as an official UK download, earning them the first official UK Downloads number 1.
What solo projects did McFadden work on?
A: '. He released his first solo single, "Real To Me",
Some context: Fibber McGee and Molly was an American radio comedy series. A staple of the NBC Red Network for the show's entire run and one of the most popular and enduring radio series of its time, the prime time situation comedy ran as a standalone series from 1935 to 1956, then continued as a short-form series as part of the weekend Monitor from 1957 to 1959. The title characters were created and portrayed by Jim and Marian Jordan, a real-life husband and wife team that had been working in radio since the 1920s. Fibber McGee and Molly, which followed up the Jordans' previous radio sitcom Smackout, followed the adventures of a working-class couple, the habitual storyteller Fibber McGee and his sometimes terse but always loving wife
Fibber McGee and Molly originated when the small-time husband-and-wife vaudevillians began their third year as Chicago-area radio performers. Two of the shows they did for station WENR beginning in 1927, both written by Harry Lawrence, bore traces of what was to come and rank as one of the earliest forms of situation comedy. In their Luke and Mirandy farm-report program, Jim played a farmer who was given to tall tales and face-saving lies for comic effect. In a weekly comedy, The Smith Family, Marian's character was an Irish wife of an American police officer. These characterizations, plus the Jordans' change from being singers/musicians to comic actors, pointed toward their future; it was at this time when Marian developed and perfected the radio character "Teeny". It was also at WENR where the Jordans met Donald Quinn, a cartoonist who was then working in radio, and the couple hired him as their writer in 1931. They regarded Quinn's contribution as important and included him as a full partner; the salary for Smackout and Fibber McGee and Molly was split between the Jordans and Quinn.  While working on the WENR farm report, Jim Jordan heard a true story about a shopkeeper from Missouri whose store was brimming with stock, yet he claimed to be "smack out" of whatever a customer would ask him for. The story reached the halls of nearby Columbia College, and the students began visiting the store, which they called "Smackout", to hear the owner's incredible stories.  For station WMAQ in Chicago, beginning in April 1931, the trio created Smackout, a 15-minute daily program that centered on a general store and its proprietor, Luke Grey (Jim Jordan), a storekeeper with a penchant for tall tales and a perpetual dearth of whatever his customers wanted: He always seemed "smack out of it". Marian Jordan portrayed both a lady named Marian and a little girl named Teeny, as well as accompanying the program on piano. During the show's run, Marian Jordan voiced a total of 69 different characters. Smackout was picked up by NBC in April 1933 and broadcast nationally until August 1935.  One of the S. C. Johnson company's owners, Henrietta Johnson Lewis, recommended that her husband, John, Johnson Wax's advertising manager, try the show out on a national network. The terms of the agreement between S. C. Johnson and the Jordans awarded the company ownership of the names "Fibber McGee" and "Molly".
What kind of vaudeville act did they have?
A:
Two of the shows they did for station WENR beginning in 1927, both written by Harry Lawrence,