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(What's_the_Story)_Morning_Glory?_12783341 | Describe the 'Promotion' section of the article about '(What's the Story) Morning Glory?'. | While "Some Might Say", a number one hit, had been released in April, the single chosen to precede the album's release was "Roll with It", planned for release on 14 August, six weeks before the album was due to hit the shelves. This was an unorthodox method for the time, contrasting the standard industry procedure of r... | [
"(What's the Story) Morning Glory? — Tour\n\nalbum. The band played a few dates, including an appearance on Late Show with David Letterman, as a four piece, before McGuigan was convinced to return for the group's Earls Court shows in early November. When the band broke up for a brief time in late 1996, several US t... |
(What's_the_Story)_Morning_Glory?_12783353 | Describe the 'Reception' section of the article about '(What's the Story) Morning Glory?'. | a distinguishing "attitude" despite being "modestly tuneful". Perhaps the most damning review came from David Stubbs of the now-defunct Melody Maker. Despite stating that "Some Might Say" was "the best single of the year", Stubbs went on to be critical of the album as a whole; "What's the Story [sounds] laboured and la... | [
"(What's the Story) Morning Glory? — Tour\n\nalbum. The band played a few dates, including an appearance on Late Show with David Letterman, as a four piece, before McGuigan was convinced to return for the group's Earls Court shows in early November. When the band broke up for a brief time in late 1996, several US t... |
(What's_the_Story)_Morning_Glory?_12783356 | Summarize the 'Legacy' part of '(What's the Story) Morning Glory?'. | (What's the Story) Morning Glory? is considered an important record of the Britpop era and one of the best albums of the nineties, and it appears in several charts as one of the greatest albums of all time. Rob Sheffield, writing in The Rolling Stone Album Guide (2004), called the album "a triumph, full of bluster and ... | [
"(What's the Story) Morning Glory? — Tour\n\nalbum. The band played a few dates, including an appearance on Late Show with David Letterman, as a four piece, before McGuigan was convinced to return for the group's Earls Court shows in early November. When the band broke up for a brief time in late 1996, several US t... |
(What's_the_Story)_Morning_Glory?_12783330 | Describe the content of the article about '(What's the Story) Morning Glory?'. | record of both the Britpop era and the 1990s in general, as well as appearing on several lists of the greatest albums in rock music. At the 2010 Brit Awards, Morning Glory was named the greatest British album since 1980. It has sold over 22 million copies worldwide, making it one of the best-selling albums of all time.... | [
"(What's the Story) Morning Glory? — Tour\n\nalbum. The band played a few dates, including an appearance on Late Show with David Letterman, as a four piece, before McGuigan was convinced to return for the group's Earls Court shows in early November. When the band broke up for a brief time in late 1996, several US t... |
(What's_the_Story)_Morning_Glory?_12783338 | Reconstruct the content about 'Composition' from the article on '(What's the Story) Morning Glory?'. | and the conventions of the singer's cultural context." Noel Gallagher summed up his own perspective on the album's aesthetic in an interview with Rolling Stone in 1995; "Whilst [Definitely Maybe] is about dreaming of being a pop star in a band, What's the Story is about actually being a pop star in a band." The album h... | [
"(What's the Story) Morning Glory? — Tour\n\nalbum. The band played a few dates, including an appearance on Late Show with David Letterman, as a four piece, before McGuigan was convinced to return for the group's Earls Court shows in early November. When the band broke up for a brief time in late 1996, several US t... |
(What's_the_Story)_Morning_Glory?_12783331 | Based on the article about '(What's the Story) Morning Glory?', describe the 'Background and recording' section. | In May 1995, in the wake of the critical and commercial success of their 1994 debut album, Definitely Maybe, Oasis began recording Morning Glory at Rockfield Studios in Wales, with Owen Morris and Noel Gallagher producing. By the time they had finished in June 1995, Oasis were on the brink of becoming one of the most p... | [
"(What's the Story) Morning Glory? — Tour\n\nalbum. The band played a few dates, including an appearance on Late Show with David Letterman, as a four piece, before McGuigan was convinced to return for the group's Earls Court shows in early November. When the band broke up for a brief time in late 1996, several US t... |
(What's_the_Story)_Morning_Glory?_12783336 | From the article on '(What's the Story) Morning Glory?', restate the 'Composition' content. | The music on (What's the Story) Morning Glory? has been characterised by commentators as rock and Britpop. Music critic John Harris commented in his music history Britpop!: Cool Britannia and the Spectacular Demise of English Rock that much of the music seemed to be "little more inspired than a string of musical hand-m... | [
"(What's the Story) Morning Glory? — Tour\n\nalbum. The band played a few dates, including an appearance on Late Show with David Letterman, as a four piece, before McGuigan was convinced to return for the group's Earls Court shows in early November. When the band broke up for a brief time in late 1996, several US t... |
(What's_the_Story)_Morning_Glory?_12783354 | Summarize the 'Reception' part of '(What's the Story) Morning Glory?'. | significant musical and personal growth." He went on to note that the "stormy" relationship between Liam and Noel proved to be one of the album's strengths; "tension and instability have been inherent traits of great rock teams ... for Oasis, the addition of shared genes gives their songs extra impact and dimension." L... | [
"(What's the Story) Morning Glory? — Tour\n\nalbum. The band played a few dates, including an appearance on Late Show with David Letterman, as a four piece, before McGuigan was convinced to return for the group's Earls Court shows in early November. When the band broke up for a brief time in late 1996, several US t... |
(What's_the_Story)_Morning_Glory?_12783358 | What information does the article about '(What's the Story) Morning Glory?' provide on 'Legacy'? | certified four times platinum by the Recording Industry Association of America. The sixteen platinum certifications in the UK were the highest ever awarded to a single record until Adele's 21, released in 2011. The success of the album resulted in Oasis becoming one of the biggest bands in the world, with substantial a... | [
"(What's the Story) Morning Glory? — Tour\n\nalbum. The band played a few dates, including an appearance on Late Show with David Letterman, as a four piece, before McGuigan was convinced to return for the group's Earls Court shows in early November. When the band broke up for a brief time in late 1996, several US t... |
(What's_the_Story)_Morning_Glory?_12783329 | What information does the article about '(What's the Story) Morning Glory?' provide? | the chart during its initial run and emerged as the band's biggest selling UK hit. "Champagne Supernova" and "Wonderwall" reached number one on the Billboard Alternative Songs chart. At the 1996 Brit Awards, the album won Best British Album. Over several months in 1995 and 1996, the band supported the album with an ext... | [
"(What's the Story) Morning Glory? — Tour\n\nalbum. The band played a few dates, including an appearance on Late Show with David Letterman, as a four piece, before McGuigan was convinced to return for the group's Earls Court shows in early November. When the band broke up for a brief time in late 1996, several US t... |
(What's_the_Story)_Morning_Glory?_12783328 | Summarize the following section from the article on '(What's the Story) Morning Glory?'. | propelled Oasis from being a crossover indie act to a worldwide rock phenomenon, and is seen by critics as a significant record in the timeline of British indie music. Morning Glory sold a record-breaking 345,000 copies in its first week in the UK, spent 10 weeks at number one on the UK Albums Chart. It was also the ba... | [
"(What's the Story) Morning Glory? — Tour\n\nalbum. The band played a few dates, including an appearance on Late Show with David Letterman, as a four piece, before McGuigan was convinced to return for the group's Earls Court shows in early November. When the band broke up for a brief time in late 1996, several US t... |
(What's_the_Story)_Morning_Glory?_12783352 | From the article on '(What's the Story) Morning Glory?', restate the 'Reception' content. | (What's the Story) Morning Glory? was released to lukewarm reviews from the mainstream music press. Many contemporary reviewers expressed disappointment at the album's perceived inferiority to Definitely Maybe, taking aim at the "banal lyrics" and the unoriginal nature of the compositions. David Cavanagh of Q magazine ... | [
"(What's the Story) Morning Glory? — Tour\n\nalbum. The band played a few dates, including an appearance on Late Show with David Letterman, as a four piece, before McGuigan was convinced to return for the group's Earls Court shows in early November. When the band broke up for a brief time in late 1996, several US t... |
(What's_the_Story)_Morning_Glory?_12783343 | Based on the article about '(What's the Story) Morning Glory?', describe the 'Promotion' section. | Oasis' "Roll with It" to the top of the charts, just about every voice in the media felt compelled to express an opinion on the freshly inaugurated age of Britpop." During a promotional interview in September, the month before the album was released, Noel spoke about the rivalry with Damon Albarn and Alex James from Bl... | [
"(What's the Story) Morning Glory? — Tour\n\nalbum. The band played a few dates, including an appearance on Late Show with David Letterman, as a four piece, before McGuigan was convinced to return for the group's Earls Court shows in early November. When the band broke up for a brief time in late 1996, several US t... |
(What's_the_Story)_Morning_Glory?_12783344 | What information does the article about '(What's the Story) Morning Glory?' provide on 'Promotion'? | letter of apology; he later confessed that "my whole world came crashing down in on me then". However, in an interview with The Guardian in 2005, Blur's guitarist Graham Coxon explained that he bore no malice towards Oasis. "At least they were outright about it. They weren't pretending to like us and then slagging us o... | [
"(What's the Story) Morning Glory? — Tour\n\nalbum. The band played a few dates, including an appearance on Late Show with David Letterman, as a four piece, before McGuigan was convinced to return for the group's Earls Court shows in early November. When the band broke up for a brief time in late 1996, several US t... |
(What's_the_Story)_Morning_Glory?_12783333 | Summarize the 'Background and recording' part of '(What's the Story) Morning Glory?'. | backing track was recorded in one take after Noel Gallagher and Morris drunkenly listened to the demo and decided the new version was played too fast, and Noel woke the rest of the band to re-record it. The backing track was faster than intended, with what Morris described as "a really bad speed up during the first thr... | [
"(What's the Story) Morning Glory? — Tour\n\nalbum. The band played a few dates, including an appearance on Late Show with David Letterman, as a four piece, before McGuigan was convinced to return for the group's Earls Court shows in early November. When the band broke up for a brief time in late 1996, several US t... |
(What's_the_Story)_Morning_Glory?_12783349 | Describe the 'Tour' section of the article about '(What's the Story) Morning Glory?'. | walking out of the group, and Liam pulling out of a US leg. In September 1995, bass player Paul "Guigsy" McGuigan walked out on the group after he was subjected to a flurry of verbal abuse from Liam while doing interviews in Paris. McGuigan cited nervous exhaustion as the reason for his departure. Scott McLeod of The Y... | [
"(What's the Story) Morning Glory? — Tour\n\nalbum. The band played a few dates, including an appearance on Late Show with David Letterman, as a four piece, before McGuigan was convinced to return for the group's Earls Court shows in early November. When the band broke up for a brief time in late 1996, several US t... |
(What's_the_Story)_Morning_Glory?_12783334 | Summarize the 'Background and recording' part of '(What's the Story) Morning Glory?'. | It's the Bollocks for this decade." Creation Records boss Alan McGee was similarly enthused, saying that "You just cannot slag this record. It's gonna speak to real, working class lads in a way that a Suede or Radiohead could only dream of doing." The title (What's the Story) Morning Glory? was inspired by Noel's frien... | [
"(What's the Story) Morning Glory? — Tour\n\nalbum. The band played a few dates, including an appearance on Late Show with David Letterman, as a four piece, before McGuigan was convinced to return for the group's Earls Court shows in early November. When the band broke up for a brief time in late 1996, several US t... |
(What's_the_Story)_Morning_Glory?_12783361 | From the article on '(What's the Story) Morning Glory?', restate the '2014 reissue' content. | As part of a promotional campaign entitled Chasing the Sun, the album was re-released on 29 September 2014. The 3-disc deluxe edition includes remastered versions of the album and its associated b-sides from the four UK singles. Bonus content includes 5 demo tracks, and live choices taken from the band's iconic gigs at... | [
"(What's the Story) Morning Glory? — Tour\n\nalbum. The band played a few dates, including an appearance on Late Show with David Letterman, as a four piece, before McGuigan was convinced to return for the group's Earls Court shows in early November. When the band broke up for a brief time in late 1996, several US t... |
(What's_the_Story)_Morning_Glory?_12783339 | What does the article about '(What's the Story) Morning Glory?' say regarding 'Composition'? | by the band on their fifth single, "Whatever", released in December 1994. It was produced in conjunction with the London Symphony Orchestra, resulting in a much more pop-oriented and mellower sound; this would be the template that would come to define many of the songs on What's the Story. In the BBC documentary Seven ... | [
"(What's the Story) Morning Glory? — Tour\n\nalbum. The band played a few dates, including an appearance on Late Show with David Letterman, as a four piece, before McGuigan was convinced to return for the group's Earls Court shows in early November. When the band broke up for a brief time in late 1996, several US t... |
(What's_the_Story)_Morning_Glory?_12783337 | Reconstruct the content about 'Composition' from the article on '(What's the Story) Morning Glory?'. | resemblance to the song "Uptight (Everything's Alright)" by Stevie Wonder that it was removed from the album shortly before release due to the threat of legal action. In Britpop ..., Bennett and Stratton analysed Liam Gallagher's vocal style in significant detail, stressing its importance to the songs of the album; "[L... | [
"(What's the Story) Morning Glory? — Tour\n\nalbum. The band played a few dates, including an appearance on Late Show with David Letterman, as a four piece, before McGuigan was convinced to return for the group's Earls Court shows in early November. When the band broke up for a brief time in late 1996, several US t... |
(What's_the_Story)_Morning_Glory?_12783332 | Explain what '(What's the Story) Morning Glory?' covers in the 'Background and recording' section. | happily creative time I've ever had in a recording studio. I believe people can feel and hear when music is dishonest and motivated by the wrong reasons. Morning Glory, for all its imperfection and flaws, is dripping with love and happiness." Paul Weller joined them in the studio and provided lead guitar and backing vo... | [
"(What's the Story) Morning Glory? — Tour\n\nalbum. The band played a few dates, including an appearance on Late Show with David Letterman, as a four piece, before McGuigan was convinced to return for the group's Earls Court shows in early November. When the band broke up for a brief time in late 1996, several US t... |
(What's_the_Story)_Morning_Glory?_12783342 | Based on the article about '(What's the Story) Morning Glory?', describe the 'Promotion' section. | known as "The Battle of Britpop". The event triggered an unprecedented amount of exposure for both bands in national newspapers and on television news bulletins, supposedly symbolising the battle between the middle class of the south and the working class of the north. In the midst of the battle a Guardian newspaper he... | [
"(What's the Story) Morning Glory? — Tour\n\nalbum. The band played a few dates, including an appearance on Late Show with David Letterman, as a four piece, before McGuigan was convinced to return for the group's Earls Court shows in early November. When the band broke up for a brief time in late 1996, several US t... |
(What's_the_Story)_Morning_Glory?_12783362 | Describe the 'Personnel' section of the article about '(What's the Story) Morning Glory?'. | Liam Gallagher – lead vocals, ; Noel Gallagher – lead and rhythm guitar, backing vocals, lead vocals on "Don't Look Back in Anger", piano, mellotron, E Bow, bass (on "Cast No Shadow", "Wonderwall" and "She's Electric"), production ; Paul "Bonehead" Arthurs – rhythm guitar, piano, mellotron ; Paul "Guigsy" McGuigan – ba... | [
"(What's the Story) Morning Glory? — Tour\n\nalbum. The band played a few dates, including an appearance on Late Show with David Letterman, as a four piece, before McGuigan was convinced to return for the group's Earls Court shows in early November. When the band broke up for a brief time in late 1996, several US t... |
(What's_the_Story)_Morning_Glory?_12783335 | What information does the article about '(What's the Story) Morning Glory?' provide on 'Background and recording'? | for initiating the loudness war, as its heavy use of compression, first widely used by Morris on Definitely Maybe, was leaps and bounds beyond what any other album up until then had attempted. Music journalist Nick Southall, who has written extensively on the loudness war, commented, "If there's a jump-the-shark moment... | [
"(What's the Story) Morning Glory? — Tour\n\nalbum. The band played a few dates, including an appearance on Late Show with David Letterman, as a four piece, before McGuigan was convinced to return for the group's Earls Court shows in early November. When the band broke up for a brief time in late 1996, several US t... |
(What's_the_Story)_Morning_Glory?_12783355 | What information does the article about '(What's the Story) Morning Glory?' provide on 'Reception'? | overriding aesthetic or individual vision may well enjoy", and quipped "give them credit for wanting it all—and (yet another Beatles connection!) playing guitars". Select ranked the album at number two on its end-of-year list of the 50 best albums of 1995. In his book Britpop!, John Harris concluded that the initial ne... | [
"(What's the Story) Morning Glory? — Tour\n\nalbum. The band played a few dates, including an appearance on Late Show with David Letterman, as a four piece, before McGuigan was convinced to return for the group's Earls Court shows in early November. When the band broke up for a brief time in late 1996, several US t... |
(What's_the_Story)_Morning_Glory?_12783340 | What does the article about '(What's the Story) Morning Glory?' say regarding 'Cover'? | The cover is a picture of two men passing each other on Berwick Street in London. The two men are London DJ Sean Rowley and album sleeve designer Brian Cannon (back to the camera). The album's producer Owen Morris can be seen in the background, on the left footpath, holding the album's master tape in front of his face.... | [
"(What's the Story) Morning Glory? — Tour\n\nalbum. The band played a few dates, including an appearance on Late Show with David Letterman, as a four piece, before McGuigan was convinced to return for the group's Earls Court shows in early November. When the band broke up for a brief time in late 1996, several US t... |
(What's_the_Story)_Morning_Glory?_12783327 | Describe the content of the article about '(What's the Story) Morning Glory?'. | (What's the Story) Morning Glory? is the second studio album by English rock band Oasis. Released on 2 October 1995 by Creation Records, it was produced by Owen Morris and the group's guitarist and main songwriter Noel Gallagher. The structure and arrangement style of the album were a significant departure from the gro... | [
"(What's the Story) Morning Glory? — Tour\n\nalbum. The band played a few dates, including an appearance on Late Show with David Letterman, as a four piece, before McGuigan was convinced to return for the group's Earls Court shows in early November. When the band broke up for a brief time in late 1996, several US t... |
(What's_the_Story)_Morning_Glory?_Tour_19856433 | What information does the article about '(What's the Story) Morning Glory? Tour' provide? | at the Nissan Pavilion in Bristow, Virginia, when the band decided to halt touring to focus on the recording of their anticipated third album, Be Here Now. The tour is notable for its UK summer leg of 1996 which consisted of several open-air concerts to record crowds. The tour included such venues as Maine Road in Manc... | [
"(What's the Story) Morning Glory? Tour\n\nat the Nissan Pavilion in Bristow, Virginia, when the band decided to halt touring to focus on the recording of their anticipated third album, Be Here Now. The tour is notable for its UK summer leg of 1996 which consisted of several open-air concerts to record crowds. The ... |
(What's_the_Story)_Morning_Glory?_Tour_19856437 | From the article on '(What's the Story) Morning Glory? Tour', restate the 'Set list' content. | and Glastonbury Festival ; "Take Me Away" played only two times in the whole tour ; "Rockin' Chair" played only two times in the whole tour ; "Cum On Feel the Noize" played at both Maine Road gigs only ; "My Big Mouth" played at the Loch Lomond gig and at Knebworth ; "It's Getting Better (Man!!)" also played at the Loc... | [
"(What's the Story) Morning Glory? Tour\n\nat the Nissan Pavilion in Bristow, Virginia, when the band decided to halt touring to focus on the recording of their anticipated third album, Be Here Now. The tour is notable for its UK summer leg of 1996 which consisted of several open-air concerts to record crowds. The ... |
(What's_the_Story)_Morning_Glory?_Tour_19856436 | What information does the article about '(What's the Story) Morning Glory? Tour' provide on 'Set list'? | 1) "The Swamp Song" ; 2) "Acquiesce" ; 3) "Supersonic" ; 4) "Hello" ; 5) "Some Might Say" ; 6) "Roll with It" ; 7) "Morning Glory" ; 8) "Cigarettes & Alcohol" ; 9) "Slide Away" ; 10) "Champagne Supernova" ; 11) "Whatever" ; 12) "Wonderwall" ; 13) "Cast No Shadow" ; 14) "Don't Look Back in Anger" ; 15) "Live Forever" ; ... | [
"(What's the Story) Morning Glory? Tour\n\nat the Nissan Pavilion in Bristow, Virginia, when the band decided to halt touring to focus on the recording of their anticipated third album, Be Here Now. The tour is notable for its UK summer leg of 1996 which consisted of several open-air concerts to record crowds. The ... |
(What's_the_Story)_Morning_Glory?_Tour_19856434 | Summarize the following section from the article on '(What's the Story) Morning Glory? Tour'. | ticket applications. Whilst the tour was taking place, (What's the Story) Morning Glory? had become a worldwide success and Oasis became one of the biggest bands of the era. The Gallagher brothers regularly made tabloid headlines for their frequent fallouts and rockstar lifestyles. The tour had many disruptions and can... | [
"(What's the Story) Morning Glory? Tour\n\nat the Nissan Pavilion in Bristow, Virginia, when the band decided to halt touring to focus on the recording of their anticipated third album, Be Here Now. The tour is notable for its UK summer leg of 1996 which consisted of several open-air concerts to record crowds. The ... |
(What's_the_Story)_Morning_Glory?_Tour_19856435 | Describe the content of the article about '(What's the Story) Morning Glory? Tour'. | Liam pulled out minutes before the group were to take to the stage; citing a sore throat as to why he could not perform. Noel had to take over lead vocals for the entire performance whilst Liam heckled him from a balcony in the crowd. The band later found out that Liam did not like performing acoustically. Nevertheless... | [
"(What's the Story) Morning Glory? Tour\n\nat the Nissan Pavilion in Bristow, Virginia, when the band decided to halt touring to focus on the recording of their anticipated third album, Be Here Now. The tour is notable for its UK summer leg of 1996 which consisted of several open-air concerts to record crowds. The ... |
(Where_Do_I_Begin?)_Love_Story_9708753 | Summarize the 'Chart success' part of '(Where Do I Begin?) Love Story'. | of the "Theme from Love Story" that also appeared on his 1973 album Superpicker.) In the UK Williams began a run of 18 weeks on March 20 of that year that led to a number four showing. His competition on the UK singles chart came from Shirley Bassey, who debuted her rendition of the song on March 27 and made it to numb... | [
"(Where Do I Begin?) Love Story — Chart success\n\nof the \"Theme from Love Story\" that also appeared on his 1973 album Superpicker.) In the UK Williams began a run of 18 weeks on March 20 of that year that led to a number four showing. His competition on the UK singles chart came from Shirley Bassey, who debuted ... |
(Where_Do_I_Begin?)_Love_Story_9708756 | From the article on '(Where Do I Begin?) Love Story', restate the 'Other uses' content. | "Theme from Love Story" also served as the theme of the 1973–74 NBC romantic anthology television series Love Story. ; In 1979 Williams acted as executive producer of a disco version of his original recording that was arranged, conducted and produced by Bob Esty. ; The Mancini version was sampled in a 2001 song called ... | [
"(Where Do I Begin?) Love Story — Chart success\n\nof the \"Theme from Love Story\" that also appeared on his 1973 album Superpicker.) In the UK Williams began a run of 18 weeks on March 20 of that year that led to a number four showing. His competition on the UK singles chart came from Shirley Bassey, who debuted ... |
(Where_Do_I_Begin?)_Love_Story_9708752 | From the article on '(Where Do I Begin?) Love Story', restate the 'Chart success' content. | also debuted in the February 6 issue on both the Hot 100 and Easy Listening charts, while the Bennett version only managed to "bubble under" the Hot 100 for five weeks that began in the February 13 issue and eked out a peak position at number 114. Williams reached number nine on the Hot 100 during a 13-week stay and en... | [
"(Where Do I Begin?) Love Story — Chart success\n\nof the \"Theme from Love Story\" that also appeared on his 1973 album Superpicker.) In the UK Williams began a run of 18 weeks on March 20 of that year that led to a number four showing. His competition on the UK singles chart came from Shirley Bassey, who debuted ... |
(Where_Do_I_Begin?)_Love_Story_9708749 | Summarize the 'History' part of '(Where Do I Begin?) Love Story'. | Jenny came") and then "suddenly was gone." Paramount executive Robert Evans "thought the lyric was a 'downer.' Further, he couldn't abide the phrase 'Jenny came,' believing it too sexually suggestive for a mainstream audience. He demanded a rewrite," and this upset Carl. "At first, justifiably proud of the fine lyric h... | [
"(Where Do I Begin?) Love Story — Chart success\n\nof the \"Theme from Love Story\" that also appeared on his 1973 album Superpicker.) In the UK Williams began a run of 18 weeks on March 20 of that year that led to a number four showing. His competition on the UK singles chart came from Shirley Bassey, who debuted ... |
(Where_Do_I_Begin?)_Love_Story_9708748 | Summarize the 'History' part of '(Where Do I Begin?) Love Story'. | The score for Love Story was written by Francis Lai, and the company that published the music for Paramount felt that the track heard over the opening and closing credits, which was titled "Theme from Love Story", needed lyrics. Michael Sigman, son of lyricist Carl Sigman, recalled that his father was asked to provide ... | [
"(Where Do I Begin?) Love Story — Chart success\n\nof the \"Theme from Love Story\" that also appeared on his 1973 album Superpicker.) In the UK Williams began a run of 18 weeks on March 20 of that year that led to a number four showing. His competition on the UK singles chart came from Shirley Bassey, who debuted ... |
(Where_Do_I_Begin?)_Love_Story_9708750 | Describe the 'History' section of the article about '(Where Do I Begin?) Love Story'. | made its debut on Billboard's Easy Listening chart in the issue of the magazine dated December 19. Two versions of "(Where Do I Begin?) Love Story"—one by Williams and one by Tony Bennett—were released on January 15, 1971, and an article in the magazine's January 23 issue tried to explain the gap between releases of th... | [
"(Where Do I Begin?) Love Story — Chart success\n\nof the \"Theme from Love Story\" that also appeared on his 1973 album Superpicker.) In the UK Williams began a run of 18 weeks on March 20 of that year that led to a number four showing. His competition on the UK singles chart came from Shirley Bassey, who debuted ... |
(Where_Do_I_Begin?)_Love_Story_9708747 | Describe the content of the article about '(Where Do I Begin?) Love Story'. | "(Where Do I Begin?) Love Story" is a popular song published in 1970, with music by Francis Lai and lyrics by Carl Sigman. The song was first introduced as an instrumental theme in the 1970 film Love Story after the film's distributor, Paramount Pictures, rejected the first set of lyrics that were written. Andy William... | [
"(Where Do I Begin?) Love Story — Chart success\n\nof the \"Theme from Love Story\" that also appeared on his 1973 album Superpicker.) In the UK Williams began a run of 18 weeks on March 20 of that year that led to a number four showing. His competition on the UK singles chart came from Shirley Bassey, who debuted ... |
(White_Man)_In_Hammersmith_Palais_6938244 | Reconstruct the content about 'Inspiration and composition' from the article on '(White Man) In Hammersmith Palais'. | Burton suits. In an NME article at the time, Strummer said this was targeted at the power pop fad hyped by journalists as the next big thing in 1978. The lyric concludes that the new groups are in it only for money and fame. The final lines refer to right wing politics, noting sardonically that things were getting to t... | [
"(White Man) In Hammersmith Palais — Inspiration and composition\n\nBurton suits. In an NME article at the time, Strummer said this was targeted at the power pop fad hyped by journalists as the next big thing in 1978. The lyric concludes that the new groups are in it only for money and fame. The final lines refer t... |
(White_Man)_In_Hammersmith_Palais_6938246 | What information does the article about '(White Man) In Hammersmith Palais' provide on '"The Prisoner"'? | Mick Jones – lead vocals, lead guitar, rhythm guitar, acoustic guitar ; Joe Strummer – backing vocals, lead guitar, rhythm guitar ; Paul Simonon – bass guitar ; Topper Headon – drums | [
"(White Man) In Hammersmith Palais — Inspiration and composition\n\nBurton suits. In an NME article at the time, Strummer said this was targeted at the power pop fad hyped by journalists as the next big thing in 1978. The lyric concludes that the new groups are in it only for money and fame. The final lines refer t... |
(White_Man)_In_Hammersmith_Palais_6938245 | Based on the article about '(White Man) In Hammersmith Palais', describe the '"(White Man) In Hammersmith Palais"' section. | Joe Strummer – lead vocals, piano ; Mick Jones – backing vocals, lead guitar, harmonica ; Paul Simonon – bass guitar ; Topper Headon – drums | [
"(White Man) In Hammersmith Palais — Inspiration and composition\n\nBurton suits. In an NME article at the time, Strummer said this was targeted at the power pop fad hyped by journalists as the next big thing in 1978. The lyric concludes that the new groups are in it only for money and fame. The final lines refer t... |
(White_Man)_In_Hammersmith_Palais_6938241 | Summarize the following section from the article on '(White Man) In Hammersmith Palais'. | "(White Man) In Hammersmith Palais" is a song by the English punk rock band the Clash. It was originally released as a 7-inch single, with the b-side "The Prisoner", on 16 June 1978 through CBS Records. Produced by The Clash and engineered by Simon Humphries, the song was recorded for (but not included on) the group's ... | [
"(White Man) In Hammersmith Palais — Inspiration and composition\n\nBurton suits. In an NME article at the time, Strummer said this was targeted at the power pop fad hyped by journalists as the next big thing in 1978. The lyric concludes that the new groups are in it only for money and fame. The final lines refer t... |
(White_Man)_In_Hammersmith_Palais_6938247 | Explain what '(White Man) In Hammersmith Palais' covers in the 'Critical reception' section. | "(White Man) In Hammersmith Palais" helped the Clash assert themselves as a more versatile band musically and politically than many of their peers, and it broke the exciting but limiting punk mould that had been established by the Sex Pistols; from now on the Clash would be "the thinking man's yobs". Robert Christgau r... | [
"(White Man) In Hammersmith Palais — Inspiration and composition\n\nBurton suits. In an NME article at the time, Strummer said this was targeted at the power pop fad hyped by journalists as the next big thing in 1978. The lyric concludes that the new groups are in it only for money and fame. The final lines refer t... |
(White_Man)_In_Hammersmith_Palais_6938249 | From the article on '(White Man) In Hammersmith Palais', restate the 'Cover versions' content. | Fighting Gravity covered the song on their 1999 live double album Hello Cleveland. In that same year, 311 contributed their rendition of the song to the charity album Burning London: The Clash Tribute. | [
"(White Man) In Hammersmith Palais — Inspiration and composition\n\nBurton suits. In an NME article at the time, Strummer said this was targeted at the power pop fad hyped by journalists as the next big thing in 1978. The lyric concludes that the new groups are in it only for money and fame. The final lines refer t... |
(White_Man)_In_Hammersmith_Palais_6938243 | Describe the 'Inspiration and composition' section of the article about '(White Man) In Hammersmith Palais'. | Leroy Smart and Delroy Wilson. Strummer was disappointed and disillusioned that these performances had been more "pop" and "lightweight" similar to Ken Boothe's brand of reggae, using Four Tops-like dance routines, and that the acts had been "performances" rather than the "roots rock rebel[lion]" that he had been hopin... | [
"(White Man) In Hammersmith Palais — Inspiration and composition\n\nBurton suits. In an NME article at the time, Strummer said this was targeted at the power pop fad hyped by journalists as the next big thing in 1978. The lyric concludes that the new groups are in it only for money and fame. The final lines refer t... |
(White_Man)_In_Hammersmith_Palais_6938248 | What does the article about '(White Man) In Hammersmith Palais' say regarding 'Critical reception'? | "Tracks of the Year" for 1978 by NME. In 2004, Rolling Stone rated the song as No. 430 in its list of the 500 Greatest Songs of All Time. In December 2003, the British music magazine Uncut ranked the song No. 1 on their "The Clash's 30 best songs" list. The list was chosen by a panel including former band members Terry... | [
"(White Man) In Hammersmith Palais — Inspiration and composition\n\nBurton suits. In an NME article at the time, Strummer said this was targeted at the power pop fad hyped by journalists as the next big thing in 1978. The lyric concludes that the new groups are in it only for money and fame. The final lines refer t... |
(White_Man)_In_Hammersmith_Palais_6938242 | Describe the 'Inspiration and composition' section of the article about '(White Man) In Hammersmith Palais'. | The song showed considerable musical and lyrical maturity for the band at the time. Compared with their other early singles, it is stylistically more in line with their version of Junior Murvin's "Police and Thieves" as the powerful guitar intro of "(White Man) In Hammersmith Palais" descends into a slower ska rhythm, ... | [
"(White Man) In Hammersmith Palais — Inspiration and composition\n\nBurton suits. In an NME article at the time, Strummer said this was targeted at the power pop fad hyped by journalists as the next big thing in 1978. The lyric concludes that the new groups are in it only for money and fame. The final lines refer t... |
(Who_Says)_You_Can't_Have_It_All_12043973 | What information does the article about '(Who Says) You Can't Have It All' provide? | "(Who Says) You Can't Have It All" is a song co-written and recorded by American country music artist Alan Jackson. It was released in January 1994 as the fifth and final single from his album A Lot About Livin' (And a Little 'bout Love). The song peaked at number 4 on the U.S. Billboard Hot Country Singles chart and n... | [
"(Who Says) You Can't Have It All\n\n\"(Who Says) You Can't Have It All\" is a song co-written and recorded by American country music artist Alan Jackson. It was released in January 1994 as the fifth and final single from his album A Lot About Livin' (And a Little 'bout Love). The song peaked at number 4 on the U.S... |
(Who_Says)_You_Can't_Have_It_All_12043975 | Summarize the 'Critical reception' part of '(Who Says) You Can't Have It All'. | Deborah Evans Price, of Billboard magazine reviewed the song favorably, calling it a "heartbreak, pure country waltz" and saying that nobody does this type of song better than Jackson. Kevin John Coyne of Country Universe gave the song an A grade, calling it a "pure country song" due to the fiddle. He goes on to say th... | [
"(Who Says) You Can't Have It All\n\n\"(Who Says) You Can't Have It All\" is a song co-written and recorded by American country music artist Alan Jackson. It was released in January 1994 as the fifth and final single from his album A Lot About Livin' (And a Little 'bout Love). The song peaked at number 4 on the U.S... |
(Who_Says)_You_Can't_Have_It_All_12043974 | Describe the 'Content' section of the article about '(Who Says) You Can't Have It All'. | The song is about a man who lost his woman. The narrator tells of the lonely scene of his bedroom alone. "A stark naked light bulb hangs over my head, There's one lonely pillow on my double bed." According to Jackson, it's one of his favorite songs he's written. | [
"(Who Says) You Can't Have It All\n\n\"(Who Says) You Can't Have It All\" is a song co-written and recorded by American country music artist Alan Jackson. It was released in January 1994 as the fifth and final single from his album A Lot About Livin' (And a Little 'bout Love). The song peaked at number 4 on the U.S... |
(Who_Says)_You_Can't_Have_It_All_12043977 | From the article on '(Who Says) You Can't Have It All', restate the 'Chart positions' content. | "(Who Says)" You Can't Have It All" debuted at number 43 on the U.S. Billboard Hot Country Singles & Tracks for the week of January 29, 1994. | [
"(Who Says) You Can't Have It All\n\n\"(Who Says) You Can't Have It All\" is a song co-written and recorded by American country music artist Alan Jackson. It was released in January 1994 as the fifth and final single from his album A Lot About Livin' (And a Little 'bout Love). The song peaked at number 4 on the U.S... |
(Why_Are_We)_Trapped?_1101529 | Describe the content of the article about '(Why Are We) Trapped?'. | "(Why Are We) Trapped?" is a song by avant-garde band King Missile. It was the second single from the band's 1992 album Happy Hour. | [
"(Why Are We) Trapped?\n\n\"(Why Are We) Trapped?\" is a song by avant-garde band King Missile. It was the second single from the band's 1992 album Happy Hour.",
"(Why Are We) Trapped? — Music video\n\nThe video for the edited version of \"(Why Are We) Trapped?\" was directed by George Seminara. In the video, the... |
(Why_Are_We)_Trapped?_1101531 | What information does the article about '(Why Are We) Trapped?' provide on 'Music video'? | The video for the edited version of "(Why Are We) Trapped?" was directed by George Seminara. In the video, the band plays while "trapped" in a dark, gloomy pit. | [
"(Why Are We) Trapped?\n\n\"(Why Are We) Trapped?\" is a song by avant-garde band King Missile. It was the second single from the band's 1992 album Happy Hour.",
"(Why Are We) Trapped? — Music video\n\nThe video for the edited version of \"(Why Are We) Trapped?\" was directed by George Seminara. In the video, the... |
(Why_Are_We)_Trapped?_1101530 | From the article on '(Why Are We) Trapped?', restate the 'Content' content. | In "(Why Are We) Trapped?," a psychedelic rock track with prominent lead guitar, frontman John S. Hall sings variants of the question, "Why are we trapped here in the dark so long?" to an unidentified captor. In the chorus, he insists, "We've done everything you told us to do," and demands, "Let us out." | [
"(Why Are We) Trapped?\n\n\"(Why Are We) Trapped?\" is a song by avant-garde band King Missile. It was the second single from the band's 1992 album Happy Hour.",
"(Why Are We) Trapped? — Music video\n\nThe video for the edited version of \"(Why Are We) Trapped?\" was directed by George Seminara. In the video, the... |
(Wish_I_Could_Fly_Like)_Superman_12026654 | Explain what '(Wish I Could Fly Like) Superman' covers in the 'Lyrics and music' section. | The song also invokes another movie from the era, Saturday Night Fever, and the 1960s Animals hit "We Got to Get Out of This Place." The lyrics describe an average person dreaming of being Superman in order to get through social issues. The lyrics combine "fantasy" and "mundanity," two of Davies' favorite themes. Autho... | [
"(Wish I Could Fly Like) Superman — Lyrics and music\n\nThe song also invokes another movie from the era, Saturday Night Fever, and the 1960s Animals hit \"We Got to Get Out of This Place.\" The lyrics describe an average person dreaming of being Superman in order to get through social issues. The lyrics combine \"... |
(Wish_I_Could_Fly_Like)_Superman_12026651 | Reconstruct the content from the article about '(Wish I Could Fly Like) Superman'. | "(Wish I Could Fly Like) Superman" is a song written by Ray Davies that was first released on the Kinks' 1979 album, Low Budget. The song, inspired by Superman: The Movie, employs a disco beat and lyrics that describe the singer's wish to be like the fictional character Superman. The song's disco style was created as a... | [
"(Wish I Could Fly Like) Superman — Lyrics and music\n\nThe song also invokes another movie from the era, Saturday Night Fever, and the 1960s Animals hit \"We Got to Get Out of This Place.\" The lyrics describe an average person dreaming of being Superman in order to get through social issues. The lyrics combine \"... |
(Wish_I_Could_Fly_Like)_Superman_12026652 | What information does the article about '(Wish I Could Fly Like) Superman' provide on 'Background'? | "(Wish I Could Fly Like) Superman" was inspired by Ray Davies watching Superman: The Movie in late 1978. Ray Davies has said that the song was written as a joke in response to a request by music producer Clive Davis, who was then running Arista Records, for a record to appeal to clubs. Davies said of this: "It was kind... | [
"(Wish I Could Fly Like) Superman — Lyrics and music\n\nThe song also invokes another movie from the era, Saturday Night Fever, and the 1960s Animals hit \"We Got to Get Out of This Place.\" The lyrics describe an average person dreaming of being Superman in order to get through social issues. The lyrics combine \"... |
(Wish_I_Could_Fly_Like)_Superman_12026653 | Explain what '(Wish I Could Fly Like) Superman' covers in the 'Background' section. | not that rock and roll. I think the first two songs [I did] went extremely well and the band wanted to spend some time in New York, to get away from distractions and kept it as a raw band recording." Dave Davies, initially unimpressed with the song, added guitar parts. Dave Davies also said of the song's release, "I th... | [
"(Wish I Could Fly Like) Superman — Lyrics and music\n\nThe song also invokes another movie from the era, Saturday Night Fever, and the 1960s Animals hit \"We Got to Get Out of This Place.\" The lyrics describe an average person dreaming of being Superman in order to get through social issues. The lyrics combine \"... |
(Wish_I_Could_Fly_Like)_Superman_12026656 | What information does the article about '(Wish I Could Fly Like) Superman' provide on 'Release and reception'? | only single from the album to be released in both Britain and America. In addition to its appearance on Low Budget, the song is present on many of the band's compilation albums, including Come Dancing with The Kinks and The Ultimate Collection. Billboard Magazine rated it one of the top tracks from Low Budget. It descr... | [
"(Wish I Could Fly Like) Superman — Lyrics and music\n\nThe song also invokes another movie from the era, Saturday Night Fever, and the 1960s Animals hit \"We Got to Get Out of This Place.\" The lyrics describe an average person dreaming of being Superman in order to get through social issues. The lyrics combine \"... |
(Wish_I_Could_Fly_Like)_Superman_12026658 | What does the article about '(Wish I Could Fly Like) Superman' say regarding 'Personnel'? | Ray Davies – lead vocals, synthesizer ; Dave Davies – lead guitar, backing vocals ; Mick Avory – drums ; Jim Rodford – bass guitar, backing vocals | [
"(Wish I Could Fly Like) Superman — Lyrics and music\n\nThe song also invokes another movie from the era, Saturday Night Fever, and the 1960s Animals hit \"We Got to Get Out of This Place.\" The lyrics describe an average person dreaming of being Superman in order to get through social issues. The lyrics combine \"... |
(Wish_I_Could_Fly_Like)_Superman_12026657 | Explain what '(Wish I Could Fly Like) Superman' covers in the 'Alternate versions' section. | During the recording of Low Budget, many alternate versions of "(Wish I Could Fly Like) Superman" were created, including an approximately six-minute long extended edit that appeared on a 12-inch single in America and Britain. Studio engineer John Rollo said of the many versions: "On 'Superman' we must have mixed that ... | [
"(Wish I Could Fly Like) Superman — Lyrics and music\n\nThe song also invokes another movie from the era, Saturday Night Fever, and the 1960s Animals hit \"We Got to Get Out of This Place.\" The lyrics describe an average person dreaming of being Superman in order to get through social issues. The lyrics combine \"... |
(Wish_I_Could_Fly_Like)_Superman_12026655 | What information does the article about '(Wish I Could Fly Like) Superman' provide on 'Release and reception'? | "(Wish I Could Fly Like) Superman", backed with "Low Budget", was released as the lead single from Low Budget. Although it was a chart failure in Europe, the song found moderate success in North America, reaching number 41 on the American Billboard charts and number 43 on the Canadian RPM charts. Charles Aaron of Spin ... | [
"(Wish I Could Fly Like) Superman — Lyrics and music\n\nThe song also invokes another movie from the era, Saturday Night Fever, and the 1960s Animals hit \"We Got to Get Out of This Place.\" The lyrics describe an average person dreaming of being Superman in order to get through social issues. The lyrics combine \"... |
(Won't_You_Come_Home)_Bill_Bailey_20796673 | Based on the article about '(Won't You Come Home) Bill Bailey', describe the 'Parodies' section. | the name "Bill Bailey" replaced with "Smurf Baby". ; Sandler & Young recorded a 20-minute medley where Bill Bailey is adapted to England, France, Switzerland, Nashville, Italian opera, Bach, Israel (with Jewish jokes), and climaxing with the United States. ; The Capitol Steps performed a version referring to the 2000 D... | [
"(Won't You Come Home) Bill Bailey — Parodies\n\nthe name \"Bill Bailey\" replaced with \"Smurf Baby\". ; Sandler & Young recorded a 20-minute medley where Bill Bailey is adapted to England, France, Switzerland, Nashville, Italian opera, Bach, Israel (with Jewish jokes), and climaxing with the United States. ; The ... |
(Won't_You_Come_Home)_Bill_Bailey_20796671 | What information does the article about '(Won't You Come Home) Bill Bailey' provide on 'Popular recordings'? | In 1960, Bobby Darin recorded the song, where it went to #19 on the Hot 100, and #34 on the UK charts. | [
"(Won't You Come Home) Bill Bailey — Parodies\n\nthe name \"Bill Bailey\" replaced with \"Smurf Baby\". ; Sandler & Young recorded a 20-minute medley where Bill Bailey is adapted to England, France, Switzerland, Nashville, Italian opera, Bach, Israel (with Jewish jokes), and climaxing with the United States. ; The ... |
(Won't_You_Come_Home)_Bill_Bailey_20796672 | Based on the article about '(Won't You Come Home) Bill Bailey', describe the 'Parodies' section. | Parodist Allan Sherman recorded a parody of this song on his 1963 album My Son, the Celebrity, entitled "Won't You Come Home Disraeli?" ; In the "Miss Solar System" episode of The Jetsons, first aired February 3, 1963, Jane belts out "Won't You Fly Home Bill Spacely" in Hanna-Barbera's own parody of the song. Hanna-Bar... | [
"(Won't You Come Home) Bill Bailey — Parodies\n\nthe name \"Bill Bailey\" replaced with \"Smurf Baby\". ; Sandler & Young recorded a 20-minute medley where Bill Bailey is adapted to England, France, Switzerland, Nashville, Italian opera, Bach, Israel (with Jewish jokes), and climaxing with the United States. ; The ... |
(You_Can_Still)_Rock_in_America_31165931 | What does the article about '(You Can Still) Rock in America' say regarding 'In popular culture'? | A re-recording of the song is downloadable content for Rock Band 2 and is a playable track on Guitar Hero: Warriors of Rock. "(You Can Still) Rock in America" was the opening credits theme song for the television series Rock 'N' America. A snippet plays during the series finale of The Drew Carey Show. | [
"(You Can Still) Rock in America — In popular culture\n\nA re-recording of the song is downloadable content for Rock Band 2 and is a playable track on Guitar Hero: Warriors of Rock. \"(You Can Still) Rock in America\" was the opening credits theme song for the television series Rock 'N' America. A snippet plays dur... |
(You_Can_Still)_Rock_in_America_31165930 | From the article on '(You Can Still) Rock in America', restate the 'Background' content. | Night Ranger were on tour in Springfield, Illinois with Sammy Hagar in 1983. Singer Jack Blades bought several music magazines in town on his day off, many of which proclaimed "rock is dead" in favor of new wave artists like Thompson Twins or The Cure. Blades refused to believe it, as his band and Sammy Hagar had playe... | [
"(You Can Still) Rock in America — In popular culture\n\nA re-recording of the song is downloadable content for Rock Band 2 and is a playable track on Guitar Hero: Warriors of Rock. \"(You Can Still) Rock in America\" was the opening credits theme song for the television series Rock 'N' America. A snippet plays dur... |
(You_Can_Still)_Rock_in_America_31165932 | From the article on '(You Can Still) Rock in America', restate the 'Personnel' content. | Jack Blades – bass, lead vocals ; Alan Fitzgerald – keyboards ; Brad Gillis – guitars, vocals ; Kelly Keagy – drums, vocals ; Jeff Watson – guitars, vocals Glenn Hughes – backing vocals on "(You Can Still) Rock in America" Night Ranger Additional musicians | [
"(You Can Still) Rock in America — In popular culture\n\nA re-recording of the song is downloadable content for Rock Band 2 and is a playable track on Guitar Hero: Warriors of Rock. \"(You Can Still) Rock in America\" was the opening credits theme song for the television series Rock 'N' America. A snippet plays dur... |
(You_Can't_Let_the_Boy_Overpower)_The_Man_in_You_2511854 | Based on the article about '(You Can't Let the Boy Overpower) The Man in You', describe the 'Personnel' section. | Smokey Robinson – lead vocals ; Claudette Robinson, Pete Moore, Ronnie White, Bobby Rogers – backing vocals ; Marv Tarplin – guitar ; The Funk Brothers – other instrumentation | [
"(You Can't Let the Boy Overpower) The Man in You — Personnel\n\nSmokey Robinson – lead vocals ; Claudette Robinson, Pete Moore, Ronnie White, Bobby Rogers – backing vocals ; Marv Tarplin – guitar ; The Funk Brothers – other instrumentation",
"(You Can't Let the Boy Overpower) The Man in You\n\n\"(You Can't Let t... |
(You_Can't_Let_the_Boy_Overpower)_The_Man_in_You_2511852 | What information does the article about '(You Can't Let the Boy Overpower) The Man in You' provide? | "(You Can't Let the Boy Overpower) The Man in You" is a 1964 R&B song by the Miracles on Motown Records' Tamla subsidiary label. It was written by Miracles lead singer Bill "Smokey" Robinson, and was produced by Robinson and Motown president/founder Berry Gordy Jr.. One of several gospel-styled call and response tunes ... | [
"(You Can't Let the Boy Overpower) The Man in You — Personnel\n\nSmokey Robinson – lead vocals ; Claudette Robinson, Pete Moore, Ronnie White, Bobby Rogers – backing vocals ; Marv Tarplin – guitar ; The Funk Brothers – other instrumentation",
"(You Can't Let the Boy Overpower) The Man in You\n\n\"(You Can't Let t... |
(You_Can't_Let_the_Boy_Overpower)_The_Man_in_You_2511853 | What information does the article about '(You Can't Let the Boy Overpower) The Man in You' provide? | main theme centering on "parental advice". In this song, it is the father who is giving pearls of wisdom, advising Smokey, as the song's narrator, about the importance of "being a man", being loyal, and treating your wife or girlfriend right, despite the fact that every man has "a boy in his heart" that would lead him ... | [
"(You Can't Let the Boy Overpower) The Man in You — Personnel\n\nSmokey Robinson – lead vocals ; Claudette Robinson, Pete Moore, Ronnie White, Bobby Rogers – backing vocals ; Marv Tarplin – guitar ; The Funk Brothers – other instrumentation",
"(You Can't Let the Boy Overpower) The Man in You\n\n\"(You Can't Let t... |
(You_Can)_Depend_on_Me_29913609 | From the article on '(You Can) Depend on Me', restate the 'Personnel- The Miracles' content. | Smokey Robinson - Lead vocals. ; Bobby Rogers - Background vocals. ; Pete Moore - Background vocals. ; Claudette Robinson - Background vocals. ; Ronnie White - Background vocals. ; Marv Tarplin - Guitar. | [
"(You Can) Depend on Me — Personnel- The Miracles\n\nSmokey Robinson - Lead vocals. ; Bobby Rogers - Background vocals. ; Pete Moore - Background vocals. ; Claudette Robinson - Background vocals. ; Ronnie White - Background vocals. ; Marv Tarplin - Guitar.",
"(You Can) Depend on Me\n\nIf you....need a love like m... |
(You_Can)_Depend_on_Me_29913606 | What information does the article about '(You Can) Depend on Me' provide? | If you....need a love like mine that you can depend on... ; When your whole world's closing in...and you need a friend... ; You can depend... ; On me. "(You Can) Depend on Me" (TAMLA 54028), was a 1959 song by Motown Records group The Miracles, which also appeared on the group's first album, Hi... We're The Miracles (r... | [
"(You Can) Depend on Me — Personnel- The Miracles\n\nSmokey Robinson - Lead vocals. ; Bobby Rogers - Background vocals. ; Pete Moore - Background vocals. ; Claudette Robinson - Background vocals. ; Ronnie White - Background vocals. ; Marv Tarplin - Guitar.",
"(You Can) Depend on Me\n\nIf you....need a love like m... |
(You_Can)_Depend_on_Me_29913608 | Reconstruct the content from the article about '(You Can) Depend on Me'. | Can) Depend On Me” was first released in September 1959 as the b-side of “The Feeling Is So Fine”, which was quickly withdrawn. A re-recording of this song was issued as the b-side of the Miracles’ next single, 1960’s “Way Over There”, but it was the first version which appeared on Hi ... We’re The Miracles and most su... | [
"(You Can) Depend on Me — Personnel- The Miracles\n\nSmokey Robinson - Lead vocals. ; Bobby Rogers - Background vocals. ; Pete Moore - Background vocals. ; Claudette Robinson - Background vocals. ; Ronnie White - Background vocals. ; Marv Tarplin - Guitar.",
"(You Can) Depend on Me\n\nIf you....need a love like m... |
(You_Can)_Depend_on_Me_29913607 | Summarize the following section from the article on '(You Can) Depend on Me'. | that it was included on the group's first greatest hits album, Greatest Hits from the Beginning, and Smokey still sings it, by request, in his live shows today. A slow, intimate ballad number, with relatively sparse orchestration compared to much of their later work, "Depend On Me" starts with the singular guitar of Mi... | [
"(You Can) Depend on Me — Personnel- The Miracles\n\nSmokey Robinson - Lead vocals. ; Bobby Rogers - Background vocals. ; Pete Moore - Background vocals. ; Claudette Robinson - Background vocals. ; Ronnie White - Background vocals. ; Marv Tarplin - Guitar.",
"(You Can) Depend on Me\n\nIf you....need a love like m... |
(You_Don't_Know)_How_Glad_I_Am_8726621 | What information does the article about '(You Don't Know) How Glad I Am' provide on 'Other recordings'? | Am": recorded at the Shoe Productions studio in Memphis, this version spent 13 weeks in the Record World Singles 101-150 chart, rising to No. 101 in September 1980 in which month Cobb's single ranked in the Bubbling Under Hot 100 Singles chart in Billboard and also in Billboard's R&B chart with respective peaks of No. ... | [
"(You Don't Know) How Glad I Am — Other recordings\n\nAm\": recorded at the Shoe Productions studio in Memphis, this version spent 13 weeks in the Record World Singles 101-150 chart, rising to No. 101 in September 1980 in which month Cobb's single ranked in the Bubbling Under Hot 100 Singles chart in Billboard and ... |
(You_Don't_Know)_How_Glad_I_Am_8726618 | Summarize the following section from the article on '(You Don't Know) How Glad I Am'. | "(You Don't Know) How Glad I Am" is a song written by Jimmy Williams and Larry Harrison. In the US, its best-known recorded version is that by Nancy Wilson, a hit single for her, in the summer of 1964. | [
"(You Don't Know) How Glad I Am — Other recordings\n\nAm\": recorded at the Shoe Productions studio in Memphis, this version spent 13 weeks in the Record World Singles 101-150 chart, rising to No. 101 in September 1980 in which month Cobb's single ranked in the Bubbling Under Hot 100 Singles chart in Billboard and ... |
(You_Don't_Know)_How_Glad_I_Am_8726620 | Reconstruct the content about 'Other recordings' from the article on '(You Don't Know) How Glad I Am'. | Kiki Dee recorded "(You Don't Know) How Glad I Am" in 1964 with an arrangement - by Les Reed - based on the Nancy Wilson recording: Dee then remade the song as "How Glad I Am" in 1975, with an uptempo bluesy arrangement, and this version – produced by Gus Dudgeon and credited to the Kiki Dee Band – was issued that spri... | [
"(You Don't Know) How Glad I Am — Other recordings\n\nAm\": recorded at the Shoe Productions studio in Memphis, this version spent 13 weeks in the Record World Singles 101-150 chart, rising to No. 101 in September 1980 in which month Cobb's single ranked in the Bubbling Under Hot 100 Singles chart in Billboard and ... |
(You_Don't_Know)_How_Glad_I_Am_8726619 | What information does the article about '(You Don't Know) How Glad I Am' provide on 'Overview'? | (Nancy Wilson quote:) "I went into the studio with the idea of recording a Top 40 kind of hit [with ' ... How Glad I Am']. Actually though I didn't sing any differently ..... It's the material itself that did it [along with] the arrangement." Wilson, who had been recording since 1960, was afforded her first pop Top 40 ... | [
"(You Don't Know) How Glad I Am — Other recordings\n\nAm\": recorded at the Shoe Productions studio in Memphis, this version spent 13 weeks in the Record World Singles 101-150 chart, rising to No. 101 in September 1980 in which month Cobb's single ranked in the Bubbling Under Hot 100 Singles chart in Billboard and ... |
(You_Drive_Me)_Crazy_10700991 | Describe the 'Critical reception' section of the article about '(You Drive Me) Crazy'. | are "so lamely feel-good" tracks that they "could have been the theme song to a 'Karate Kid' sequel". Evan Sawdey of PopMatters called it a "lightly dorky" song, and Stephen Thomas Erlewine of Allmusic deemed it as a "fluffy dance-pop at its best". In a list compiled by Sara Anderson of AOL Radio, "(You Drive Me) Crazy... | [
"(You Drive Me) Crazy — Critical reception\n\nare \"so lamely feel-good\" tracks that they \"could have been the theme song to a 'Karate Kid' sequel\". Evan Sawdey of PopMatters called it a \"lightly dorky\" song, and Stephen Thomas Erlewine of Allmusic deemed it as a \"fluffy dance-pop at its best\". In a list com... |
(You_Drive_Me)_Crazy_10701007 | Describe the 'Track listings' section of the article about '(You Drive Me) Crazy'. | mix) — 8:03 UK CD maxi single ; 1) "(You Drive Me) Crazy" (The Stop Remix!) — 3:16 ; 2) "(You Drive Me) Crazy" (Spacedust dark dub) — 9:15 ; 3) "(You Drive Me) Crazy" (Spacedust club mix) — 7:20 Cassette single ; 1) "(You Drive Me) Crazy" (The Stop Remix!) — 3:16 ; 2) "I'll Never Stop Loving You" — 3:41 12" vinyl ; 1) ... | [
"(You Drive Me) Crazy — Critical reception\n\nare \"so lamely feel-good\" tracks that they \"could have been the theme song to a 'Karate Kid' sequel\". Evan Sawdey of PopMatters called it a \"lightly dorky\" song, and Stephen Thomas Erlewine of Allmusic deemed it as a \"fluffy dance-pop at its best\". In a list com... |
(You_Drive_Me)_Crazy_10701003 | Reconstruct the content about 'Live performances and covers' from the article on '(You Drive Me) Crazy'. | 2k Tour, Spears changed the opening sequence of the show; the show started with a skit in which the dancers came out of lockers and stayed in the stage until a bell rang. They all sat until a female teacher voice started calling their names. After the teacher called Spears, she emerged at the top of the staircase in a ... | [
"(You Drive Me) Crazy — Critical reception\n\nare \"so lamely feel-good\" tracks that they \"could have been the theme song to a 'Karate Kid' sequel\". Evan Sawdey of PopMatters called it a \"lightly dorky\" song, and Stephen Thomas Erlewine of Allmusic deemed it as a \"fluffy dance-pop at its best\". In a list com... |
(You_Drive_Me)_Crazy_10701006 | Summarize the 'Track listings' part of '(You Drive Me) Crazy'. | European CD single ; 1) "(You Drive Me) Crazy" (The Stop Remix!) — 3:16 ; 2) "(You Drive Me) Crazy" (The Stop Remix!) (instrumental) — 3:16 Australian and European CD maxi single ; 1) "(You Drive Me) Crazy" (The Stop Remix!) — 3:16 ; 2) "(You Drive Me) Crazy" (The Stop Remix!) (instrumental) — 3:16 ; 3) "I'll Never Sto... | [
"(You Drive Me) Crazy — Critical reception\n\nare \"so lamely feel-good\" tracks that they \"could have been the theme song to a 'Karate Kid' sequel\". Evan Sawdey of PopMatters called it a \"lightly dorky\" song, and Stephen Thomas Erlewine of Allmusic deemed it as a \"fluffy dance-pop at its best\". In a list com... |
(You_Drive_Me)_Crazy_10701005 | What does the article about '(You Drive Me) Crazy' say regarding 'Live performances and covers'? | included it on their album Becoming Something Else. American musician Richard Cheese also covered the song in 2003 and included it on his album Tuxicity. American pop band Selena Gomez & the Scene performed a homage to Spears during their 2011 We Own the Night Tour. They performed "(You Drive Me) Crazy" along with a me... | [
"(You Drive Me) Crazy — Critical reception\n\nare \"so lamely feel-good\" tracks that they \"could have been the theme song to a 'Karate Kid' sequel\". Evan Sawdey of PopMatters called it a \"lightly dorky\" song, and Stephen Thomas Erlewine of Allmusic deemed it as a \"fluffy dance-pop at its best\". In a list com... |
(You_Drive_Me)_Crazy_10700992 | From the article on '(You Drive Me) Crazy', restate the 'Critical reception' content. | -- the kind that keeps you up all night". The staff from Entertainment Weekly placed it at number 22 on their ranking of Spears's songs and wrote: "highlighted by her overpronunciation of "you", bell rings, and a backup choir that turns the chorus into a massive singalong. ['(You Drive Me) Crazy'] captures Spears at fu... | [
"(You Drive Me) Crazy — Critical reception\n\nare \"so lamely feel-good\" tracks that they \"could have been the theme song to a 'Karate Kid' sequel\". Evan Sawdey of PopMatters called it a \"lightly dorky\" song, and Stephen Thomas Erlewine of Allmusic deemed it as a \"fluffy dance-pop at its best\". In a list com... |
(You_Drive_Me)_Crazy_10701002 | From the article on '(You Drive Me) Crazy', restate the 'Live performances and covers' content. | Spears performed the song for the very first time at her L'Oreal Hair Zone Mall Tour in New York City, USA on July 1, 1998. As part of promotion for "(You Drive Me) Crazy"s release as a single, Spears performed it at the 1999 MTV Europe Music Awards and at the 1999 Billboard Music Awards. It was also performed on five ... | [
"(You Drive Me) Crazy — Critical reception\n\nare \"so lamely feel-good\" tracks that they \"could have been the theme song to a 'Karate Kid' sequel\". Evan Sawdey of PopMatters called it a \"lightly dorky\" song, and Stephen Thomas Erlewine of Allmusic deemed it as a \"fluffy dance-pop at its best\". In a list com... |
(You_Drive_Me)_Crazy_10700989 | Based on the article about '(You Drive Me) Crazy', describe the 'Composition' section. | "(You Drive Me) Crazy" is a pop song. The song's composition follows a simple formula and infuses drums, guitar, and edgy synthesized instruments, including a recurring cowbell, and having a roughly similar sound to Spears' debut single "...Baby One More Time" (1999). According to the sheet music published at Musicnote... | [
"(You Drive Me) Crazy — Critical reception\n\nare \"so lamely feel-good\" tracks that they \"could have been the theme song to a 'Karate Kid' sequel\". Evan Sawdey of PopMatters called it a \"lightly dorky\" song, and Stephen Thomas Erlewine of Allmusic deemed it as a \"fluffy dance-pop at its best\". In a list com... |
(You_Drive_Me)_Crazy_10700993 | Summarize the 'Critical reception' part of '(You Drive Me) Crazy'. | it's insanely addictive". Nicholas Hautman, from Us Weekly, deemed it the singer's ninth greatest single and said: "This quasi-dorky dance track can be easily summed up using just three words: pure ear candy". For Digital Spy's Alim Kheraj the most notable thing was the song's prominent use of cowbells; "backed up by r... | [
"(You Drive Me) Crazy — Critical reception\n\nare \"so lamely feel-good\" tracks that they \"could have been the theme song to a 'Karate Kid' sequel\". Evan Sawdey of PopMatters called it a \"lightly dorky\" song, and Stephen Thomas Erlewine of Allmusic deemed it as a \"fluffy dance-pop at its best\". In a list com... |
(You_Drive_Me)_Crazy_10700987 | Explain what '(You Drive Me) Crazy' covers in the 'Background' section. | Before recording her debut album, Spears had originally envisioned it in style of "Sheryl Crow music, but younger [and] more adult contemporary". However, the singer agreed with her label's appointment of producers, who had the objective to target a teenage audience at the time. She flew to Cheiron Studios in Stockholm... | [
"(You Drive Me) Crazy — Critical reception\n\nare \"so lamely feel-good\" tracks that they \"could have been the theme song to a 'Karate Kid' sequel\". Evan Sawdey of PopMatters called it a \"lightly dorky\" song, and Stephen Thomas Erlewine of Allmusic deemed it as a \"fluffy dance-pop at its best\". In a list com... |
(You_Drive_Me)_Crazy_10700990 | What information does the article about '(You Drive Me) Crazy' provide on 'Critical reception'? | The song garnered positive reviews from music critics. Kyle Anderson for MTV considered "(You Drive Me) Crazy" as "a similar-sounding anthem [to '...Baby One More Time'] with some streamlined rock guitar taking center stage (there's even a solo). It's catchy enough". Spence D. of IGN considered "(You Drive Me) Crazy" a... | [
"(You Drive Me) Crazy — Critical reception\n\nare \"so lamely feel-good\" tracks that they \"could have been the theme song to a 'Karate Kid' sequel\". Evan Sawdey of PopMatters called it a \"lightly dorky\" song, and Stephen Thomas Erlewine of Allmusic deemed it as a \"fluffy dance-pop at its best\". In a list com... |
(You_Drive_Me)_Crazy_10700996 | Reconstruct the content about 'Chart performance' from the article on '(You Drive Me) Crazy'. | at number 65 in Czech Republic due to high airplay. In the United States, "(You Drive Me) Crazy" peaked at number ten on Billboard Hot 100 on the chart issue dated November 13, 1999, and became Spears' second single to peak inside the top ten in the country. On the same week, it peaked at number four on the Pop Songs c... | [
"(You Drive Me) Crazy — Critical reception\n\nare \"so lamely feel-good\" tracks that they \"could have been the theme song to a 'Karate Kid' sequel\". Evan Sawdey of PopMatters called it a \"lightly dorky\" song, and Stephen Thomas Erlewine of Allmusic deemed it as a \"fluffy dance-pop at its best\". In a list com... |
(You_Drive_Me)_Crazy_10701001 | Summarize the 'Music video' part of '(You Drive Me) Crazy'. | video debuted at number four on Total Request Live. It is the longest running by a female artist on TRL, staying on the top ten for seventy-three days. The video was nominated on the category of Best Dance Video on the 2000 MTV Video Music Awards; it lost, however, to Jennifer Lopez's "Waiting for Tonight" (1999). An a... | [
"(You Drive Me) Crazy — Critical reception\n\nare \"so lamely feel-good\" tracks that they \"could have been the theme song to a 'Karate Kid' sequel\". Evan Sawdey of PopMatters called it a \"lightly dorky\" song, and Stephen Thomas Erlewine of Allmusic deemed it as a \"fluffy dance-pop at its best\". In a list com... |
(You_Drive_Me)_Crazy_10700997 | Summarize the 'Chart performance' part of '(You Drive Me) Crazy'. | best-selling single of 1999 in the country. The track peaked at number five in New Zealand, but failed to reach the top ten in Australia, where it peaked at number 12 on the chart issue dated November 12, 1999. However, the single was later certified Platinum by the Australian Recording Industry Association (ARIA), and... | [
"(You Drive Me) Crazy — Critical reception\n\nare \"so lamely feel-good\" tracks that they \"could have been the theme song to a 'Karate Kid' sequel\". Evan Sawdey of PopMatters called it a \"lightly dorky\" song, and Stephen Thomas Erlewine of Allmusic deemed it as a \"fluffy dance-pop at its best\". In a list com... |
(You_Drive_Me)_Crazy_10701000 | What information does the article about '(You Drive Me) Crazy' provide on 'Music video'? | Teenage Witch, an episode that guest starred Spears. The video opens with Spears as a waitress of a dance club. She then goes with other waitresses to their dressing room, where they finish their makeup and change costumes. Spears, now wearing a sexy, green sequined outfit, goes through the corridor to the dance floor ... | [
"(You Drive Me) Crazy — Critical reception\n\nare \"so lamely feel-good\" tracks that they \"could have been the theme song to a 'Karate Kid' sequel\". Evan Sawdey of PopMatters called it a \"lightly dorky\" song, and Stephen Thomas Erlewine of Allmusic deemed it as a \"fluffy dance-pop at its best\". In a list com... |
(You_Drive_Me)_Crazy_10701004 | What does the article about '(You Drive Me) Crazy' say regarding 'Live performances and covers'? | that ended with Spears saying "Is that the end?", quoting Jackson's phrase from the video. The song was once again performed in a dance-oriented form on the Oops!... I Did It Again Tour (2000–2001), while on the Dream Within a Dream Tour (2001–2002), the performance featured Spears being captured by her dancers. "(You ... | [
"(You Drive Me) Crazy — Critical reception\n\nare \"so lamely feel-good\" tracks that they \"could have been the theme song to a 'Karate Kid' sequel\". Evan Sawdey of PopMatters called it a \"lightly dorky\" song, and Stephen Thomas Erlewine of Allmusic deemed it as a \"fluffy dance-pop at its best\". In a list com... |
(You_Drive_Me)_Crazy_10700986 | Reconstruct the content from the article about '(You Drive Me) Crazy'. | third consecutive single to peak inside the top five, while it reached number 10 in the United States' Billboard Hot 100 and peaked at number one in Belgium (Wallonia) and Iceland. An accompanying music video, directed by Nigel Dick, portrays Spears as a waitress of a dance club and she performs a highly choreographed ... | [
"(You Drive Me) Crazy — Critical reception\n\nare \"so lamely feel-good\" tracks that they \"could have been the theme song to a 'Karate Kid' sequel\". Evan Sawdey of PopMatters called it a \"lightly dorky\" song, and Stephen Thomas Erlewine of Allmusic deemed it as a \"fluffy dance-pop at its best\". In a list com... |
(You_Drive_Me)_Crazy_10700998 | From the article on '(You Drive Me) Crazy', restate the 'Music video' content. | The song's accompanying music video (which uses the Stop! Remix) was directed by Nigel Dick and filmed on June 14 and 15, 1999 at the AES Power Station in Redondo Beach, California. Spears conceptualized the video's treatment, and explained during an interview with MTV in 1999 that "it would be cool to be in a club, an... | [
"(You Drive Me) Crazy — Critical reception\n\nare \"so lamely feel-good\" tracks that they \"could have been the theme song to a 'Karate Kid' sequel\". Evan Sawdey of PopMatters called it a \"lightly dorky\" song, and Stephen Thomas Erlewine of Allmusic deemed it as a \"fluffy dance-pop at its best\". In a list com... |
(You_Drive_Me)_Crazy_10700988 | What information does the article about '(You Drive Me) Crazy' provide on 'Background'? | played the guitar, while bass guitar was done by Thomas Lindberg. Keyboards and programming was done by Kreuger, and additional keyboards by Magnusson. Background vocals were provided by Jeanette Söderholm, Martin, Yacoub and THE FANCHOIR, formed by Chatrin Nyström, Jeanette Stenhammar, Johanna Stenhammar, Charlotte Bj... | [
"(You Drive Me) Crazy — Critical reception\n\nare \"so lamely feel-good\" tracks that they \"could have been the theme song to a 'Karate Kid' sequel\". Evan Sawdey of PopMatters called it a \"lightly dorky\" song, and Stephen Thomas Erlewine of Allmusic deemed it as a \"fluffy dance-pop at its best\". In a list com... |
(You_Drive_Me)_Crazy_10700995 | From the article on '(You Drive Me) Crazy', restate the 'Chart performance' content. | Charts Company, "(You Drive Me) Crazy" is Spears' seventh best-selling single in the United Kingdom, with sales over 275,000 physical units. The song peaked at number two in France and number four in Germany, being certified Gold in both countries for shipping over 250,000 units. It also peaked at number one in Belgium... | [
"(You Drive Me) Crazy — Critical reception\n\nare \"so lamely feel-good\" tracks that they \"could have been the theme song to a 'Karate Kid' sequel\". Evan Sawdey of PopMatters called it a \"lightly dorky\" song, and Stephen Thomas Erlewine of Allmusic deemed it as a \"fluffy dance-pop at its best\". In a list com... |
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