Question: Funeral for a Friend were a Welsh post-hardcore band from Bridgend, formed in 2001. The band consisted of lead vocalist Matthew Davies-Kreye and guitarist Kris Coombs-Roberts for its entire history, with Darran Smith (guitar), Gareth Davies (bass) and Ryan Richards (drums and screaming vocals) completing the line-up for the band's first four studio albums. Between 2008 and 2012 the band transitioned towards its final line-up, which saw Davies-Kreye and Coombs-Roberts alongside guitarist and occasional vocalist Gavin Burrough, bassist Richard Boucher and drummer Pat Lundy (who left the band in 2014). Funeral for a Friend's popularity rose in the United Kingdom with the release of their debut album, Casually Dressed & Deep in Conversation (2003).

When Michael Davies, one of January Thirst's original vocalists, quit in December 2001, Matthew Evans (vocals) and Johnny Phillips (drums) invited Matt Davies (later Davies-Kreye) to try out for the vacated singer position. Soon afterward, the band reformed as Funeral for a Friend; the name is derived from a song by Planes Mistaken for Stars, one of Davies' favourite bands at the time.  During the start of the New Year they parted ways with second guitarist Kerry Roberts (Kris Coombs-Roberts's brother) and found a suitable replacement in Darran Smith (ex-Tripcage). The band recorded four tracks at Mighty Atom Studios for a proposed self-financed EP with another Welsh band From This Moment On. Upon hearing the tracks, Mighty Atom Records approached the band and offered a two-album deal, resulting in their debut EP, Between Order and Model (2002). Before the EP's release, Andi Morris (bass) quit, with Phillips and Evans also leaving. The band then recruited Gareth Davies (later Ellis-Davies) on bass and Ryan Richards on drums. Matt Davies became the band's only primary vocalist, with Gareth Davies performing backing melodies and Richards taking over Evans' screaming role.  In 2003, Funeral for a Friend recorded their second EP, Four Ways to Scream Your Name, produced and mixed by Colin Richardson. In mid-2003, the band secured their first Kerrang! award, winning the award for "Best UK Newcomer", beating The Darkness, who won in all other nominated categories. Funeral for a Friend's win was largely attributed to their fervent fan base, as the awards winner was decided by public vote online at the official Kerrang! Web site. In August 2003, Funeral for a Friend opened the Concrete Jungle stage at the Reading and Leeds Festivals.

Using a quote from the above article, answer the following question: what was their most popular song during this period?
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Answer: their second EP, Four Ways to Scream Your Name,


Question: Douglas Clare Fischer (October 22, 1928 - January 26, 2012) was an American keyboardist, composer, arranger, and bandleader. After graduating from Michigan State University (from which, five decades later, he would receive an honorary doctorate), he became the pianist and arranger for the vocal group the Hi-Lo's in the late 1950s. Fischer went on to work with Donald Byrd and Dizzy Gillespie, and became known for his Latin and bossa nova recordings in the 1960s. He composed the Latin jazz standard "Morning", and the jazz standard "Pensativa".

Fischer next lived in Detroit, Michigan, whereupon, after first hearing the vocal quartet The Hi-Lo's in a live performance, he promptly offered his services. Over the next five years, Fischer recorded several albums with the group, serving as pianist and, on occasion, arranger. In addition, he contributed several vocal arrangements, making his debut in that capacity; it was these arrangements that Herbie Hancock would later point to as a major influence:  [T]hat's when I really learned some much farther-out voicings - like the harmonies I used on Speak Like a Child - just being able to do that. I really got that from Clare Fischer's arrangements for the Hi-Lo's. Clare Fischer was a major influence on my harmonic concept... I heard some of his last records, and he was still doing amazing harmonic stuff. And, of course, he was a wonderful pianist, too. But it was those vocal harmonies that were the first thing I heard. I was in awe of him.  When Fischer moved to Hollywood in 1958, he went to East L.A. to play and learn more about Latin-Jazz. He started in a charanga group with Modesto Duran as leader and played with many different groups. On November 2, 1959, he made a particularly fruitful connection within this genre when he appeared with the Hi-lo's at the First Annual Los Angeles Jazz Festival on the same bill with the already popular Latin jazz group led by vibraphonist Cal Tjader. Both his playing and arranging made an immediate impression on Tjader, who went on to employ Fischer in both capacities on several recordings over the next three years; the two would reunite in the mid-seventies, leading eventually to the formation of Fischer's own Latin jazz unit, Salsa Picante.  In 1961, Fischer became interested in Brazilian music through the recordings of Elizete Cardoso and Joao Gilberto. This discovery, coupled with his introduction to the music of Mexican composer Mario Ruiz Armengol, led to Fischer's subsequent collaboration with Cal Tjader, a 1962 LP devoted jointly to Armengol's music and that of assorted contemporary Brazilian composers. Over the following year, Fischer collaborated on two Bossa Nova-themed LPs with saxophonist Bud Shank, and arranged another for pianist George Shearing.  While with The Hi-Lo's, Fischer arranged a record by trumpeter Donald Byrd, which, by virtue of Fischer's use of strings and harps, imbued well-known standards with an unaccustomed, melancholic quality. Although it would be twenty-five years before the album was finally released, September Afternoon paid immediate dividends when Byrd played a copy for Dizzy Gillespie. In turn, Gillespie hired Fischer to write arrangements for a small ensemble featuring brass and woodwinds for his own album, A Portrait of Duke Ellington, which was well received. In 1960 albums for vibraphonist Cal Tjader and pianist George Shearing followed, as did an eight-year career of writing music for commercials, as well as the signing of Fischer's first record contract.

Using a quote from the above article, answer the following question: What recording group was that contract with?
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Answer:
with Modesto Duran