Background: Louis Thomas Jordan (July 8, 1908 - February 4, 1975) was a pioneering American musician, songwriter and bandleader who was popular from the late 1930s to the early 1950s. Known as "The King of the Jukebox", he was highly popular with both black and white audiences in the later years of the swing era. Jordan was one of the most successful African-American musicians of the 20th century, ranking fifth in the list of the most successful black recording artists according to Joel Whitburn's analysis of Billboard magazine's R&B chart. Though comprehensive sales figures are not available, he had at least four million-selling hits during his career.
Context: Jordan's first band, drawn mainly from members of the Jesse Stone band, was originally a nine-piece group, but he soon scaled it down to a sextet after landing a residency at the Elks Rendezvous club, at 464 Lenox Avenue, in Harlem. The original lineup of the sextet was Jordan (saxes, vocals), Courtney Williams (trumpet), Lem Johnson (tenor sax), Clarence Johnson (piano), Charlie Drayton (bass) and Walter Martin (drums). In his first billing, as Louie Jordan's Elks Rendez-vous Band, his name was spelled Louie so people would know not to pronounce it Lewis.  The new band's first recording date, for Decca Records on December 20, 1938, produced three sides on which they backed an obscure vocalist, Rodney Sturgess, and two novelty sides of their own, "Honey in the Bee Ball" and "Barnacle Bill the Sailor". These recordings were credited to the Elks Rendezvous Band, but Jordan subsequently changed the name to the Tympany Five, since Martin often used tympani in performance. (The word tympany is also an old-fashioned colloquial term meaning "swollen, inflated, puffed-up", etymologically related to timpani, or kettledrums, but historically separate.)  The various lineups of the Tympany Five (which often featured two or three extra players) included Bill Jennings and Carl Hogan on guitar, the renowned pianist-arrangers Wild Bill Davis and Bill Doggett, "Shadow" Wilson and Chris Columbus on drums and Dallas Bartley on bass. Jordan played alto, tenor and baritone saxophone and sang the lead vocal on most songs.  Their next recording date, in March 1939, produced five sides, including "Keep a-Knockin'" (originally recorded in the 1920s and later famously covered by Little Richard), "Sam Jones Done Snagged His Britches" and "Doug the Jitterbug". Lem Johnson subsequently left the group and was replaced by Stafford Simon. Sessions in December 1939 and January 1940 produced two more early Jordan classics, "You're My Meat" and "You Run Your Mouth and I'll Run My Business". Other musicians who passed through the band in 1940 and 1941 included the tenorist Kenneth Hollon (who recorded with Billie Holiday) and the trumpeter Freddie Webster (from Earl Hines's band), who was part of the nascent bebop scene at Minton's Playhouse and influenced Kenny Dorham and Miles Davis.
Question: is there anything else interesting about him?
Answer: Their next recording date, in March 1939, produced five sides, including "Keep a-Knockin'" (originally recorded in the 1920s and later famously covered by Little Richard), "

Problem: Background: The Moody Blues are an English rock band formed in Birmingham, England in 1964. They first came to prominence playing rhythm and blues music, but their second album, Days of Future Passed, which was released in 1967, was a fusion of rock with classical music and established them as pioneers in the development of art rock and progressive rock. It has been described as a "landmark" and "one of the first successful concept albums". The band became known internationally with singles including "Go Now", "Nights in White Satin", "Tuesday Afternoon", and "Question".
Context: In the spring of 1974, after completing a vast world tour that culminated with a tour of Asia, the group took an extended break, erroneously reported as a break-up at the time, because of the other band members feeling exhausted and overshadowed (this was said by Hayward in the final issue of Higher & Higher magazine 2006). Although the band had typically featured four lead vocalists (with Edge also contributing vocally), Hayward was the principal guitarist/vocalist whilst Pinder was considered to be the person most responsible for their symphonic sound, arrangements, and overall conceptual direction. Pinder and Thomas also doubled as the Moodies' onstage MCs (as the 1969 "Caught Live + 5" album displayed).  Before the band's 1973-74 world tour (their last with Pinder), Hayward wrote a song called "Island" with the intention of including it on a potential follow-up album, which the Moodies recorded in 1973 before ultimately going their separate ways. An additional cause of the hiatus were the long tours that had by this time strained Pinder, who needed a rest. In 1974 the band oversaw preparation of the compilation album This Is The Moody Blues which was released that year.  Hayward and Lodge released a duo album, the very successful Blue Jays (1975), and a UK chart single, "Blue Guitar" (no. 8), which was credited to Hayward and Lodge even though it was just Hayward with 10cc backing him. The album had originally been a projected liaison between Hayward and Pinder, but after Pinder dropped out, John Lodge stepped in. (Tony Clarke produced it.) The members then released solo albums. Pinder said he hoped to get the band back together that year. "Having moved to California in 1974, I returned to Britain for a visit in summer 1975. I was trying to get the band to do an album, but the response was so weak I returned to California with my two new Mk5 mellotrons and began work on my solo album The Promise." Edge produced two albums with guitarist Adrian Gurvitz, Kick Off Your Muddy Boots (1975) and Paradise Ballroom (1976); Hayward composed the acoustically textured Songwriter (1977), which was followed up in later years by Night Flight (1980), Moving Mountains (1985), (which Hayward dedicated to Peter Knight) Classic Blue (1989), The View From The Hill (1996) and Live in San Juan Capistrano (1998); Lodge released Natural Avenue (1977); Pinder produced The Promise (1976); and Thomas collaborated on two projects with songwriter Nicky James, producing From Mighty Oaks (1975) and Hopes, Wishes and Dreams (1976).
Question: Why did they take an extended break?
Answer:
band members feeling exhausted and overshadowed