gaussalgo/Canard_Wiki-augmented huggingface dataset:
Maria Shriver

Context: In 1977, Tom Brokaw introduced Maria to Austrian bodybuilder and actor Arnold Schwarzenegger at a charity tennis tournament being held at her mother's home. She married Schwarzenegger on April 26, 1986, in Hyannis, Massachusetts, at St. Frances Xavier Roman Catholic Church. They have four children: Katherine Eunice (born 1989), Christina Maria Aurelia (born 1991), Patrick Arnold (born 1993), and Christopher Sargent Shriver (born 1997). On May 9, 2011, Schwarzenegger and Shriver announced their separation after 25 years of marriage, with Shriver moving out of the couple's Brentwood mansion. In a message for her Twitter followers posted on May 13, 2011, Shriver said: "Thank you all for the kindness, support and compassion. I am humbled by the love. Thank you." On May 17, 2011, Schwarzenegger publicly admitted to fathering a child with a longtime member of their household staff, Mildred Patricia Baena, 14 years earlier, and before his election as Governor of California. He confessed to Shriver only after she confronted him with the information, having earlier confirmed what she had suspected about the child in a confrontation with Baena. Shriver described Schwarzenegger's admission as "painful and heartbreaking." She declined to speak further on the issue, saying: "As a mother, my concern is for the children. I ask for compassion, respect and privacy as my children and I try to rebuild our lives and heal." Shriver filed for divorce on July 1, 2011. citing "irreconcilable differences". In 2013, Shriver began dating political consultant Matthew Dowd, the strategist for Arnold Schwarzenegger's 2006 reelection campaign. CANNOTANSWER

Question: what is a noteworthy fact about Maria Shrivers personal llfe?
Answer: He confessed to Shriver only after she confronted him with the information, having earlier confirmed what she had suspected about the child in a confrontation with Baena.
Maria Shriver

Context: In 1977, Tom Brokaw introduced Maria to Austrian bodybuilder and actor Arnold Schwarzenegger at a charity tennis tournament being held at her mother's home. She married Schwarzenegger on April 26, 1986, in Hyannis, Massachusetts, at St. Frances Xavier Roman Catholic Church. They have four children: Katherine Eunice (born 1989), Christina Maria Aurelia (born 1991), Patrick Arnold (born 1993), and Christopher Sargent Shriver (born 1997). On May 9, 2011, Schwarzenegger and Shriver announced their separation after 25 years of marriage, with Shriver moving out of the couple's Brentwood mansion. In a message for her Twitter followers posted on May 13, 2011, Shriver said: "Thank you all for the kindness, support and compassion. I am humbled by the love. Thank you." On May 17, 2011, Schwarzenegger publicly admitted to fathering a child with a longtime member of their household staff, Mildred Patricia Baena, 14 years earlier, and before his election as Governor of California. He confessed to Shriver only after she confronted him with the information, having earlier confirmed what she had suspected about the child in a confrontation with Baena. Shriver described Schwarzenegger's admission as "painful and heartbreaking." She declined to speak further on the issue, saying: "As a mother, my concern is for the children. I ask for compassion, respect and privacy as my children and I try to rebuild our lives and heal." Shriver filed for divorce on July 1, 2011. citing "irreconcilable differences". In 2013, Shriver began dating political consultant Matthew Dowd, the strategist for Arnold Schwarzenegger's 2006 reelection campaign. CANNOTANSWER

Question: when did Maria Shriver begin dating  political consultant Matthew Dowd?
Answer: In 2013,
Kool G Rap

Context: In 1995, G Rap started his solo career with the album 4, 5, 6, which featured production from Buckwild, and guest appearances from Nas, MF Grimm and B-1. It has been his most commercially successful record, reaching No.24 on the US Billboard 200 album chart. This was followed by Roots of Evil in 1998. In 1997 G Rap was featured on Frankie Cutlass' "Politic & Bullsht" album track titled "Know Da Game" which also featured Mobb Deep. He was then meant to release his next album, The Giancana Story in 2000, on Rawkus Records, but due to several complications with the label, the album was pushed back several times, and eventually released in 2002. "My Life" the hit single from the album featuring Talk Box legend G-Wise reached No. 6 on the US Billboard Hot 100 Rap singles charts. He then released a joint album with his group, 5 Family Click, on his own Igloo Ent. label to mild success. In the following years, mixtapes were made and further collaborations continued. There were even rumors of G Rap's signing to both Rocafella and G-Unit Records, and even at one point Maybach Music. In 2007 he released Half a Klip on Chinga Chang Records, featuring production from, among others, DJ Premier and Marley Marl. A full LP was released in 2011, Riches, Royalty, Respect showcasing his true to form style and lyricism. The promise and prospects of collaboration albums were announced later the next year on his own, newly formed label FullMettle. In later years G Rap's interests extended outside hip-hop. He stated in further interviews his desire to begin writing movie scripts, an ambition taken in for a few years as he sought out various collaborators, and even a clothing line was also at one point apparently in the works. CANNOTANSWER

Question: How many albums did Kool G Rap have in his solo career?
Answer: In 1995, G Rap started his solo career with the album 4, 5, 6,
Kool G Rap

Context: In 1995, G Rap started his solo career with the album 4, 5, 6, which featured production from Buckwild, and guest appearances from Nas, MF Grimm and B-1. It has been his most commercially successful record, reaching No.24 on the US Billboard 200 album chart. This was followed by Roots of Evil in 1998. In 1997 G Rap was featured on Frankie Cutlass' "Politic & Bullsht" album track titled "Know Da Game" which also featured Mobb Deep. He was then meant to release his next album, The Giancana Story in 2000, on Rawkus Records, but due to several complications with the label, the album was pushed back several times, and eventually released in 2002. "My Life" the hit single from the album featuring Talk Box legend G-Wise reached No. 6 on the US Billboard Hot 100 Rap singles charts. He then released a joint album with his group, 5 Family Click, on his own Igloo Ent. label to mild success. In the following years, mixtapes were made and further collaborations continued. There were even rumors of G Rap's signing to both Rocafella and G-Unit Records, and even at one point Maybach Music. In 2007 he released Half a Klip on Chinga Chang Records, featuring production from, among others, DJ Premier and Marley Marl. A full LP was released in 2011, Riches, Royalty, Respect showcasing his true to form style and lyricism. The promise and prospects of collaboration albums were announced later the next year on his own, newly formed label FullMettle. In later years G Rap's interests extended outside hip-hop. He stated in further interviews his desire to begin writing movie scripts, an ambition taken in for a few years as he sought out various collaborators, and even a clothing line was also at one point apparently in the works. CANNOTANSWER

Question: what were Kool G Rap most famous singles?
Answer: My Life" the hit single from the album featuring Talk Box legend G-Wise reached No. 6 on the US Billboard Hot 100
Kool G Rap

Context: In 1995, G Rap started his solo career with the album 4, 5, 6, which featured production from Buckwild, and guest appearances from Nas, MF Grimm and B-1. It has been his most commercially successful record, reaching No.24 on the US Billboard 200 album chart. This was followed by Roots of Evil in 1998. In 1997 G Rap was featured on Frankie Cutlass' "Politic & Bullsht" album track titled "Know Da Game" which also featured Mobb Deep. He was then meant to release his next album, The Giancana Story in 2000, on Rawkus Records, but due to several complications with the label, the album was pushed back several times, and eventually released in 2002. "My Life" the hit single from the album featuring Talk Box legend G-Wise reached No. 6 on the US Billboard Hot 100 Rap singles charts. He then released a joint album with his group, 5 Family Click, on his own Igloo Ent. label to mild success. In the following years, mixtapes were made and further collaborations continued. There were even rumors of G Rap's signing to both Rocafella and G-Unit Records, and even at one point Maybach Music. In 2007 he released Half a Klip on Chinga Chang Records, featuring production from, among others, DJ Premier and Marley Marl. A full LP was released in 2011, Riches, Royalty, Respect showcasing his true to form style and lyricism. The promise and prospects of collaboration albums were announced later the next year on his own, newly formed label FullMettle. In later years G Rap's interests extended outside hip-hop. He stated in further interviews his desire to begin writing movie scripts, an ambition taken in for a few years as he sought out various collaborators, and even a clothing line was also at one point apparently in the works. CANNOTANSWER

Question: What  music awards did Kool G Rap win?
Answer: CANNOTANSWER
Kool G Rap

Context: In 1995, G Rap started his solo career with the album 4, 5, 6, which featured production from Buckwild, and guest appearances from Nas, MF Grimm and B-1. It has been his most commercially successful record, reaching No.24 on the US Billboard 200 album chart. This was followed by Roots of Evil in 1998. In 1997 G Rap was featured on Frankie Cutlass' "Politic & Bullsht" album track titled "Know Da Game" which also featured Mobb Deep. He was then meant to release his next album, The Giancana Story in 2000, on Rawkus Records, but due to several complications with the label, the album was pushed back several times, and eventually released in 2002. "My Life" the hit single from the album featuring Talk Box legend G-Wise reached No. 6 on the US Billboard Hot 100 Rap singles charts. He then released a joint album with his group, 5 Family Click, on his own Igloo Ent. label to mild success. In the following years, mixtapes were made and further collaborations continued. There were even rumors of G Rap's signing to both Rocafella and G-Unit Records, and even at one point Maybach Music. In 2007 he released Half a Klip on Chinga Chang Records, featuring production from, among others, DJ Premier and Marley Marl. A full LP was released in 2011, Riches, Royalty, Respect showcasing his true to form style and lyricism. The promise and prospects of collaboration albums were announced later the next year on his own, newly formed label FullMettle. In later years G Rap's interests extended outside hip-hop. He stated in further interviews his desire to begin writing movie scripts, an ambition taken in for a few years as he sought out various collaborators, and even a clothing line was also at one point apparently in the works. CANNOTANSWER

Question: what were Kool G Rap record sales like?
Answer: CANNOTANSWER
Todd Rundgren

Context: Rundgren's unhappiness with the production on the Nazz recordings prompted him to educate himself in audio engineering and production, and after leaving the Nazz in 1969, he relocated to New York, signed with Albert Grossman and began working as a producer for other groups, as well as recording his own material, which was initially released through the Ampex Records label (a short-lived joint venture between Grossman and the Ampex company). He also apparently considered working as a computer programmer. Subsequently, he became one of the first artists signed to Grossman's Bearsville Records label (distributed through Warner Bros. Records). After signing with Bearsville, Rundgren worked almost constantly on production projects through the early 1970s. His first project for Bearsville was a Philadelphia band called The American Dream, followed by a trip to Nashville to produce Ian and Sylvia Tyson's group Great Speckled Bird, with a backing band featuring guitarist Amos Garrett, pedal steel player Buddy Cage, pianist David Briggs and bassist Norbert Putnam and drummer N. D. Smart, with whom Rundgren worked on several later projects. During this period, Rundgren also made an abortive attempt to record with Janis Joplin and her band for Joplin's next studio album, but the sessions came to nothing and the project was eventually taken over by Paul A. Rothchild; the result was Joplin's final LP Pearl, which Rothchild pieced together from the incomplete session tapes, following the singer's death from a heroin overdose. Grossman recommended Rundgren to Robbie Robertson of The Band as the engineer for an album Robertson was producing, by singer-songwriter Jesse Winchester, who was at the time living in exile in Canada to avoid the draft. This was followed by a live album for the Paul Butterfield Blues Band. Having impressed Robertson with his work on the Winchester LP, Rundgren was then asked to engineer The Band's third album, Stage Fright, which was recorded in a series of sessions at the Woodstock Playhouse. One of these was attended by New York writer Patti Smith, and their chance meeting led to an enduring friendship. Smith wrote several strongly positive reviews of Rundgren's early solo work in the rock press, and in 1979 Rundgren produced the final Patti Smith Group album Wave. His work for The Band was followed by a second album for Winchester (which was then shelved for two years) and the album Taking Care of Business by the James Cotton Blues Band. This project resulted in Rundgren meeting Cotton's keyboard player Mark "Moogy" Klingman, who in turn introduced Rundgren to keyboard player Ralph Schuckett, both of whom worked extensively with Rundgren over the next few years. CANNOTANSWER

Question: What was the first album produced by Rundgren?
Answer: Subsequently, he became one of the first artists signed to Grossman's Bearsville Records label (distributed through Warner Bros. Records).
Todd Rundgren

Context: Rundgren's unhappiness with the production on the Nazz recordings prompted him to educate himself in audio engineering and production, and after leaving the Nazz in 1969, he relocated to New York, signed with Albert Grossman and began working as a producer for other groups, as well as recording his own material, which was initially released through the Ampex Records label (a short-lived joint venture between Grossman and the Ampex company). He also apparently considered working as a computer programmer. Subsequently, he became one of the first artists signed to Grossman's Bearsville Records label (distributed through Warner Bros. Records). After signing with Bearsville, Rundgren worked almost constantly on production projects through the early 1970s. His first project for Bearsville was a Philadelphia band called The American Dream, followed by a trip to Nashville to produce Ian and Sylvia Tyson's group Great Speckled Bird, with a backing band featuring guitarist Amos Garrett, pedal steel player Buddy Cage, pianist David Briggs and bassist Norbert Putnam and drummer N. D. Smart, with whom Rundgren worked on several later projects. During this period, Rundgren also made an abortive attempt to record with Janis Joplin and her band for Joplin's next studio album, but the sessions came to nothing and the project was eventually taken over by Paul A. Rothchild; the result was Joplin's final LP Pearl, which Rothchild pieced together from the incomplete session tapes, following the singer's death from a heroin overdose. Grossman recommended Rundgren to Robbie Robertson of The Band as the engineer for an album Robertson was producing, by singer-songwriter Jesse Winchester, who was at the time living in exile in Canada to avoid the draft. This was followed by a live album for the Paul Butterfield Blues Band. Having impressed Robertson with his work on the Winchester LP, Rundgren was then asked to engineer The Band's third album, Stage Fright, which was recorded in a series of sessions at the Woodstock Playhouse. One of these was attended by New York writer Patti Smith, and their chance meeting led to an enduring friendship. Smith wrote several strongly positive reviews of Rundgren's early solo work in the rock press, and in 1979 Rundgren produced the final Patti Smith Group album Wave. His work for The Band was followed by a second album for Winchester (which was then shelved for two years) and the album Taking Care of Business by the James Cotton Blues Band. This project resulted in Rundgren meeting Cotton's keyboard player Mark "Moogy" Klingman, who in turn introduced Rundgren to keyboard player Ralph Schuckett, both of whom worked extensively with Rundgren over the next few years. CANNOTANSWER

Question: When did Rundgren work with the album The American Dream?
Answer: early 1970s.
Todd Rundgren

Context: Rundgren's unhappiness with the production on the Nazz recordings prompted him to educate himself in audio engineering and production, and after leaving the Nazz in 1969, he relocated to New York, signed with Albert Grossman and began working as a producer for other groups, as well as recording his own material, which was initially released through the Ampex Records label (a short-lived joint venture between Grossman and the Ampex company). He also apparently considered working as a computer programmer. Subsequently, he became one of the first artists signed to Grossman's Bearsville Records label (distributed through Warner Bros. Records). After signing with Bearsville, Rundgren worked almost constantly on production projects through the early 1970s. His first project for Bearsville was a Philadelphia band called The American Dream, followed by a trip to Nashville to produce Ian and Sylvia Tyson's group Great Speckled Bird, with a backing band featuring guitarist Amos Garrett, pedal steel player Buddy Cage, pianist David Briggs and bassist Norbert Putnam and drummer N. D. Smart, with whom Rundgren worked on several later projects. During this period, Rundgren also made an abortive attempt to record with Janis Joplin and her band for Joplin's next studio album, but the sessions came to nothing and the project was eventually taken over by Paul A. Rothchild; the result was Joplin's final LP Pearl, which Rothchild pieced together from the incomplete session tapes, following the singer's death from a heroin overdose. Grossman recommended Rundgren to Robbie Robertson of The Band as the engineer for an album Robertson was producing, by singer-songwriter Jesse Winchester, who was at the time living in exile in Canada to avoid the draft. This was followed by a live album for the Paul Butterfield Blues Band. Having impressed Robertson with his work on the Winchester LP, Rundgren was then asked to engineer The Band's third album, Stage Fright, which was recorded in a series of sessions at the Woodstock Playhouse. One of these was attended by New York writer Patti Smith, and their chance meeting led to an enduring friendship. Smith wrote several strongly positive reviews of Rundgren's early solo work in the rock press, and in 1979 Rundgren produced the final Patti Smith Group album Wave. His work for The Band was followed by a second album for Winchester (which was then shelved for two years) and the album Taking Care of Business by the James Cotton Blues Band. This project resulted in Rundgren meeting Cotton's keyboard player Mark "Moogy" Klingman, who in turn introduced Rundgren to keyboard player Ralph Schuckett, both of whom worked extensively with Rundgren over the next few years. CANNOTANSWER

Question: What was the name of the album Rundgren produced with The American Dream?
Answer: CANNOTANSWER
Todd Rundgren

Context: Rundgren's unhappiness with the production on the Nazz recordings prompted him to educate himself in audio engineering and production, and after leaving the Nazz in 1969, he relocated to New York, signed with Albert Grossman and began working as a producer for other groups, as well as recording his own material, which was initially released through the Ampex Records label (a short-lived joint venture between Grossman and the Ampex company). He also apparently considered working as a computer programmer. Subsequently, he became one of the first artists signed to Grossman's Bearsville Records label (distributed through Warner Bros. Records). After signing with Bearsville, Rundgren worked almost constantly on production projects through the early 1970s. His first project for Bearsville was a Philadelphia band called The American Dream, followed by a trip to Nashville to produce Ian and Sylvia Tyson's group Great Speckled Bird, with a backing band featuring guitarist Amos Garrett, pedal steel player Buddy Cage, pianist David Briggs and bassist Norbert Putnam and drummer N. D. Smart, with whom Rundgren worked on several later projects. During this period, Rundgren also made an abortive attempt to record with Janis Joplin and her band for Joplin's next studio album, but the sessions came to nothing and the project was eventually taken over by Paul A. Rothchild; the result was Joplin's final LP Pearl, which Rothchild pieced together from the incomplete session tapes, following the singer's death from a heroin overdose. Grossman recommended Rundgren to Robbie Robertson of The Band as the engineer for an album Robertson was producing, by singer-songwriter Jesse Winchester, who was at the time living in exile in Canada to avoid the draft. This was followed by a live album for the Paul Butterfield Blues Band. Having impressed Robertson with his work on the Winchester LP, Rundgren was then asked to engineer The Band's third album, Stage Fright, which was recorded in a series of sessions at the Woodstock Playhouse. One of these was attended by New York writer Patti Smith, and their chance meeting led to an enduring friendship. Smith wrote several strongly positive reviews of Rundgren's early solo work in the rock press, and in 1979 Rundgren produced the final Patti Smith Group album Wave. His work for The Band was followed by a second album for Winchester (which was then shelved for two years) and the album Taking Care of Business by the James Cotton Blues Band. This project resulted in Rundgren meeting Cotton's keyboard player Mark "Moogy" Klingman, who in turn introduced Rundgren to keyboard player Ralph Schuckett, both of whom worked extensively with Rundgren over the next few years. CANNOTANSWER

Question: What was Rundgren's second project for Bearsville?
Answer: followed by a trip to Nashville to produce Ian and Sylvia Tyson's group Great Speckled Bird,
Todd Rundgren

Context: Rundgren's unhappiness with the production on the Nazz recordings prompted him to educate himself in audio engineering and production, and after leaving the Nazz in 1969, he relocated to New York, signed with Albert Grossman and began working as a producer for other groups, as well as recording his own material, which was initially released through the Ampex Records label (a short-lived joint venture between Grossman and the Ampex company). He also apparently considered working as a computer programmer. Subsequently, he became one of the first artists signed to Grossman's Bearsville Records label (distributed through Warner Bros. Records). After signing with Bearsville, Rundgren worked almost constantly on production projects through the early 1970s. His first project for Bearsville was a Philadelphia band called The American Dream, followed by a trip to Nashville to produce Ian and Sylvia Tyson's group Great Speckled Bird, with a backing band featuring guitarist Amos Garrett, pedal steel player Buddy Cage, pianist David Briggs and bassist Norbert Putnam and drummer N. D. Smart, with whom Rundgren worked on several later projects. During this period, Rundgren also made an abortive attempt to record with Janis Joplin and her band for Joplin's next studio album, but the sessions came to nothing and the project was eventually taken over by Paul A. Rothchild; the result was Joplin's final LP Pearl, which Rothchild pieced together from the incomplete session tapes, following the singer's death from a heroin overdose. Grossman recommended Rundgren to Robbie Robertson of The Band as the engineer for an album Robertson was producing, by singer-songwriter Jesse Winchester, who was at the time living in exile in Canada to avoid the draft. This was followed by a live album for the Paul Butterfield Blues Band. Having impressed Robertson with his work on the Winchester LP, Rundgren was then asked to engineer The Band's third album, Stage Fright, which was recorded in a series of sessions at the Woodstock Playhouse. One of these was attended by New York writer Patti Smith, and their chance meeting led to an enduring friendship. Smith wrote several strongly positive reviews of Rundgren's early solo work in the rock press, and in 1979 Rundgren produced the final Patti Smith Group album Wave. His work for The Band was followed by a second album for Winchester (which was then shelved for two years) and the album Taking Care of Business by the James Cotton Blues Band. This project resulted in Rundgren meeting Cotton's keyboard player Mark "Moogy" Klingman, who in turn introduced Rundgren to keyboard player Ralph Schuckett, both of whom worked extensively with Rundgren over the next few years. CANNOTANSWER

Question: How did Rundgren's project for Bearsville go?
Answer: CANNOTANSWER
Todd Rundgren

Context: Rundgren's unhappiness with the production on the Nazz recordings prompted him to educate himself in audio engineering and production, and after leaving the Nazz in 1969, he relocated to New York, signed with Albert Grossman and began working as a producer for other groups, as well as recording his own material, which was initially released through the Ampex Records label (a short-lived joint venture between Grossman and the Ampex company). He also apparently considered working as a computer programmer. Subsequently, he became one of the first artists signed to Grossman's Bearsville Records label (distributed through Warner Bros. Records). After signing with Bearsville, Rundgren worked almost constantly on production projects through the early 1970s. His first project for Bearsville was a Philadelphia band called The American Dream, followed by a trip to Nashville to produce Ian and Sylvia Tyson's group Great Speckled Bird, with a backing band featuring guitarist Amos Garrett, pedal steel player Buddy Cage, pianist David Briggs and bassist Norbert Putnam and drummer N. D. Smart, with whom Rundgren worked on several later projects. During this period, Rundgren also made an abortive attempt to record with Janis Joplin and her band for Joplin's next studio album, but the sessions came to nothing and the project was eventually taken over by Paul A. Rothchild; the result was Joplin's final LP Pearl, which Rothchild pieced together from the incomplete session tapes, following the singer's death from a heroin overdose. Grossman recommended Rundgren to Robbie Robertson of The Band as the engineer for an album Robertson was producing, by singer-songwriter Jesse Winchester, who was at the time living in exile in Canada to avoid the draft. This was followed by a live album for the Paul Butterfield Blues Band. Having impressed Robertson with his work on the Winchester LP, Rundgren was then asked to engineer The Band's third album, Stage Fright, which was recorded in a series of sessions at the Woodstock Playhouse. One of these was attended by New York writer Patti Smith, and their chance meeting led to an enduring friendship. Smith wrote several strongly positive reviews of Rundgren's early solo work in the rock press, and in 1979 Rundgren produced the final Patti Smith Group album Wave. His work for The Band was followed by a second album for Winchester (which was then shelved for two years) and the album Taking Care of Business by the James Cotton Blues Band. This project resulted in Rundgren meeting Cotton's keyboard player Mark "Moogy" Klingman, who in turn introduced Rundgren to keyboard player Ralph Schuckett, both of whom worked extensively with Rundgren over the next few years. CANNOTANSWER

Question: Did Rundgren produce besides Bearsville?
Answer: Grossman recommended Rundgren to Robbie Robertson of The Band as the engineer for an album Robertson was producing,
Todd Rundgren

Context: Rundgren's unhappiness with the production on the Nazz recordings prompted him to educate himself in audio engineering and production, and after leaving the Nazz in 1969, he relocated to New York, signed with Albert Grossman and began working as a producer for other groups, as well as recording his own material, which was initially released through the Ampex Records label (a short-lived joint venture between Grossman and the Ampex company). He also apparently considered working as a computer programmer. Subsequently, he became one of the first artists signed to Grossman's Bearsville Records label (distributed through Warner Bros. Records). After signing with Bearsville, Rundgren worked almost constantly on production projects through the early 1970s. His first project for Bearsville was a Philadelphia band called The American Dream, followed by a trip to Nashville to produce Ian and Sylvia Tyson's group Great Speckled Bird, with a backing band featuring guitarist Amos Garrett, pedal steel player Buddy Cage, pianist David Briggs and bassist Norbert Putnam and drummer N. D. Smart, with whom Rundgren worked on several later projects. During this period, Rundgren also made an abortive attempt to record with Janis Joplin and her band for Joplin's next studio album, but the sessions came to nothing and the project was eventually taken over by Paul A. Rothchild; the result was Joplin's final LP Pearl, which Rothchild pieced together from the incomplete session tapes, following the singer's death from a heroin overdose. Grossman recommended Rundgren to Robbie Robertson of The Band as the engineer for an album Robertson was producing, by singer-songwriter Jesse Winchester, who was at the time living in exile in Canada to avoid the draft. This was followed by a live album for the Paul Butterfield Blues Band. Having impressed Robertson with his work on the Winchester LP, Rundgren was then asked to engineer The Band's third album, Stage Fright, which was recorded in a series of sessions at the Woodstock Playhouse. One of these was attended by New York writer Patti Smith, and their chance meeting led to an enduring friendship. Smith wrote several strongly positive reviews of Rundgren's early solo work in the rock press, and in 1979 Rundgren produced the final Patti Smith Group album Wave. His work for The Band was followed by a second album for Winchester (which was then shelved for two years) and the album Taking Care of Business by the James Cotton Blues Band. This project resulted in Rundgren meeting Cotton's keyboard player Mark "Moogy" Klingman, who in turn introduced Rundgren to keyboard player Ralph Schuckett, both of whom worked extensively with Rundgren over the next few years. CANNOTANSWER

Question: What halted Rundgren's album with Janis Joplin?
Answer: the sessions came to nothing
Todd Rundgren

Context: Rundgren's unhappiness with the production on the Nazz recordings prompted him to educate himself in audio engineering and production, and after leaving the Nazz in 1969, he relocated to New York, signed with Albert Grossman and began working as a producer for other groups, as well as recording his own material, which was initially released through the Ampex Records label (a short-lived joint venture between Grossman and the Ampex company). He also apparently considered working as a computer programmer. Subsequently, he became one of the first artists signed to Grossman's Bearsville Records label (distributed through Warner Bros. Records). After signing with Bearsville, Rundgren worked almost constantly on production projects through the early 1970s. His first project for Bearsville was a Philadelphia band called The American Dream, followed by a trip to Nashville to produce Ian and Sylvia Tyson's group Great Speckled Bird, with a backing band featuring guitarist Amos Garrett, pedal steel player Buddy Cage, pianist David Briggs and bassist Norbert Putnam and drummer N. D. Smart, with whom Rundgren worked on several later projects. During this period, Rundgren also made an abortive attempt to record with Janis Joplin and her band for Joplin's next studio album, but the sessions came to nothing and the project was eventually taken over by Paul A. Rothchild; the result was Joplin's final LP Pearl, which Rothchild pieced together from the incomplete session tapes, following the singer's death from a heroin overdose. Grossman recommended Rundgren to Robbie Robertson of The Band as the engineer for an album Robertson was producing, by singer-songwriter Jesse Winchester, who was at the time living in exile in Canada to avoid the draft. This was followed by a live album for the Paul Butterfield Blues Band. Having impressed Robertson with his work on the Winchester LP, Rundgren was then asked to engineer The Band's third album, Stage Fright, which was recorded in a series of sessions at the Woodstock Playhouse. One of these was attended by New York writer Patti Smith, and their chance meeting led to an enduring friendship. Smith wrote several strongly positive reviews of Rundgren's early solo work in the rock press, and in 1979 Rundgren produced the final Patti Smith Group album Wave. His work for The Band was followed by a second album for Winchester (which was then shelved for two years) and the album Taking Care of Business by the James Cotton Blues Band. This project resulted in Rundgren meeting Cotton's keyboard player Mark "Moogy" Klingman, who in turn introduced Rundgren to keyboard player Ralph Schuckett, both of whom worked extensively with Rundgren over the next few years. CANNOTANSWER

Question: Besides Bearsville project, are there any other interesting aspects about Rundgren's work?
Answer: His work for The Band was followed by a second album for Winchester
Cass Elliot

Context: With two female members, the New Journeymen needed a new name. According to Doherty, Elliot had the inspiration for the band's new name; as written on his website: We're all just lying around vegging out watching TV and discussing names for the group. The New Journeymen was not a handle that was going to hang on this outfit. John was pushing for the Magic Cyrcle. Eech, but none of us could come up with anything better, then we switch the channel and, hey, it's the Hells Angels on the Carson show... And the first thing we hear is: "Now hold on there, Hoss. Some people call our women cheap, but we just call them our Mamas." Cass jumped up: "Yeah! I want to be a Mama." And Michelle is going: "We're the Mamas! We're the Mamas!" OK. I look at John. He's looking at me going: "The Papas?" Problem solved. A toast! To the Mamas and the Papas. Well, after many, many toasts, Cass and John are passed out." Doherty also said that the occasion marked the beginning of his affair with Michelle Phillips. Elliot was in love with Doherty and was displeased when he told her of the affair. Doherty has said that Elliot once proposed to him, but that he was so stoned at the time that he could not even respond. Elliot was known for her sense of humor and optimism, and was considered by some to be the most charismatic member of the group. Her powerful, distinctive voice was a major factor in their success. She is best remembered for her vocals on the group's hits "California Dreamin'", "Monday, Monday", "Words of Love", and the solo "Dream a Little Dream of Me", which the group recorded in 1968 after learning about the death of Fabian Andre, one of the men who co-wrote it, whom Michelle Phillips had met years earlier. Elliot's version is noteworthy for its contemplative pace, whereas almost all earlier recordings of "Dream a Little Dream of Me" (including one by Nat King Cole and another by Ozzie Nelson) had been up-tempo versions--the song having been written in 1931 as a dance tune. The Mamas & the Papas continued to record to meet the terms of their record contract. Their final album was released in 1971. CANNOTANSWER

Question: When was The Mamas and the Papas formed?
Answer: CANNOTANSWER
Cass Elliot

Context: With two female members, the New Journeymen needed a new name. According to Doherty, Elliot had the inspiration for the band's new name; as written on his website: We're all just lying around vegging out watching TV and discussing names for the group. The New Journeymen was not a handle that was going to hang on this outfit. John was pushing for the Magic Cyrcle. Eech, but none of us could come up with anything better, then we switch the channel and, hey, it's the Hells Angels on the Carson show... And the first thing we hear is: "Now hold on there, Hoss. Some people call our women cheap, but we just call them our Mamas." Cass jumped up: "Yeah! I want to be a Mama." And Michelle is going: "We're the Mamas! We're the Mamas!" OK. I look at John. He's looking at me going: "The Papas?" Problem solved. A toast! To the Mamas and the Papas. Well, after many, many toasts, Cass and John are passed out." Doherty also said that the occasion marked the beginning of his affair with Michelle Phillips. Elliot was in love with Doherty and was displeased when he told her of the affair. Doherty has said that Elliot once proposed to him, but that he was so stoned at the time that he could not even respond. Elliot was known for her sense of humor and optimism, and was considered by some to be the most charismatic member of the group. Her powerful, distinctive voice was a major factor in their success. She is best remembered for her vocals on the group's hits "California Dreamin'", "Monday, Monday", "Words of Love", and the solo "Dream a Little Dream of Me", which the group recorded in 1968 after learning about the death of Fabian Andre, one of the men who co-wrote it, whom Michelle Phillips had met years earlier. Elliot's version is noteworthy for its contemplative pace, whereas almost all earlier recordings of "Dream a Little Dream of Me" (including one by Nat King Cole and another by Ozzie Nelson) had been up-tempo versions--the song having been written in 1931 as a dance tune. The Mamas & the Papas continued to record to meet the terms of their record contract. Their final album was released in 1971. CANNOTANSWER

Question: How was The Mamas & the Papas formed?
Answer: With two female members, the New Journeymen needed a new name.
Cass Elliot

Context: With two female members, the New Journeymen needed a new name. According to Doherty, Elliot had the inspiration for the band's new name; as written on his website: We're all just lying around vegging out watching TV and discussing names for the group. The New Journeymen was not a handle that was going to hang on this outfit. John was pushing for the Magic Cyrcle. Eech, but none of us could come up with anything better, then we switch the channel and, hey, it's the Hells Angels on the Carson show... And the first thing we hear is: "Now hold on there, Hoss. Some people call our women cheap, but we just call them our Mamas." Cass jumped up: "Yeah! I want to be a Mama." And Michelle is going: "We're the Mamas! We're the Mamas!" OK. I look at John. He's looking at me going: "The Papas?" Problem solved. A toast! To the Mamas and the Papas. Well, after many, many toasts, Cass and John are passed out." Doherty also said that the occasion marked the beginning of his affair with Michelle Phillips. Elliot was in love with Doherty and was displeased when he told her of the affair. Doherty has said that Elliot once proposed to him, but that he was so stoned at the time that he could not even respond. Elliot was known for her sense of humor and optimism, and was considered by some to be the most charismatic member of the group. Her powerful, distinctive voice was a major factor in their success. She is best remembered for her vocals on the group's hits "California Dreamin'", "Monday, Monday", "Words of Love", and the solo "Dream a Little Dream of Me", which the group recorded in 1968 after learning about the death of Fabian Andre, one of the men who co-wrote it, whom Michelle Phillips had met years earlier. Elliot's version is noteworthy for its contemplative pace, whereas almost all earlier recordings of "Dream a Little Dream of Me" (including one by Nat King Cole and another by Ozzie Nelson) had been up-tempo versions--the song having been written in 1931 as a dance tune. The Mamas & the Papas continued to record to meet the terms of their record contract. Their final album was released in 1971. CANNOTANSWER

Question: How did The Mamas & the Papas choose the name?
Answer: And the first thing we hear is: "Now hold on there, Hoss. Some people call our women cheap, but we just call them our Mamas."
Cass Elliot

Context: With two female members, the New Journeymen needed a new name. According to Doherty, Elliot had the inspiration for the band's new name; as written on his website: We're all just lying around vegging out watching TV and discussing names for the group. The New Journeymen was not a handle that was going to hang on this outfit. John was pushing for the Magic Cyrcle. Eech, but none of us could come up with anything better, then we switch the channel and, hey, it's the Hells Angels on the Carson show... And the first thing we hear is: "Now hold on there, Hoss. Some people call our women cheap, but we just call them our Mamas." Cass jumped up: "Yeah! I want to be a Mama." And Michelle is going: "We're the Mamas! We're the Mamas!" OK. I look at John. He's looking at me going: "The Papas?" Problem solved. A toast! To the Mamas and the Papas. Well, after many, many toasts, Cass and John are passed out." Doherty also said that the occasion marked the beginning of his affair with Michelle Phillips. Elliot was in love with Doherty and was displeased when he told her of the affair. Doherty has said that Elliot once proposed to him, but that he was so stoned at the time that he could not even respond. Elliot was known for her sense of humor and optimism, and was considered by some to be the most charismatic member of the group. Her powerful, distinctive voice was a major factor in their success. She is best remembered for her vocals on the group's hits "California Dreamin'", "Monday, Monday", "Words of Love", and the solo "Dream a Little Dream of Me", which the group recorded in 1968 after learning about the death of Fabian Andre, one of the men who co-wrote it, whom Michelle Phillips had met years earlier. Elliot's version is noteworthy for its contemplative pace, whereas almost all earlier recordings of "Dream a Little Dream of Me" (including one by Nat King Cole and another by Ozzie Nelson) had been up-tempo versions--the song having been written in 1931 as a dance tune. The Mamas & the Papas continued to record to meet the terms of their record contract. Their final album was released in 1971. CANNOTANSWER

Question: What was the first recording of The Mamas & the Papas?
Answer: CANNOTANSWER
Cass Elliot

Context: With two female members, the New Journeymen needed a new name. According to Doherty, Elliot had the inspiration for the band's new name; as written on his website: We're all just lying around vegging out watching TV and discussing names for the group. The New Journeymen was not a handle that was going to hang on this outfit. John was pushing for the Magic Cyrcle. Eech, but none of us could come up with anything better, then we switch the channel and, hey, it's the Hells Angels on the Carson show... And the first thing we hear is: "Now hold on there, Hoss. Some people call our women cheap, but we just call them our Mamas." Cass jumped up: "Yeah! I want to be a Mama." And Michelle is going: "We're the Mamas! We're the Mamas!" OK. I look at John. He's looking at me going: "The Papas?" Problem solved. A toast! To the Mamas and the Papas. Well, after many, many toasts, Cass and John are passed out." Doherty also said that the occasion marked the beginning of his affair with Michelle Phillips. Elliot was in love with Doherty and was displeased when he told her of the affair. Doherty has said that Elliot once proposed to him, but that he was so stoned at the time that he could not even respond. Elliot was known for her sense of humor and optimism, and was considered by some to be the most charismatic member of the group. Her powerful, distinctive voice was a major factor in their success. She is best remembered for her vocals on the group's hits "California Dreamin'", "Monday, Monday", "Words of Love", and the solo "Dream a Little Dream of Me", which the group recorded in 1968 after learning about the death of Fabian Andre, one of the men who co-wrote it, whom Michelle Phillips had met years earlier. Elliot's version is noteworthy for its contemplative pace, whereas almost all earlier recordings of "Dream a Little Dream of Me" (including one by Nat King Cole and another by Ozzie Nelson) had been up-tempo versions--the song having been written in 1931 as a dance tune. The Mamas & the Papas continued to record to meet the terms of their record contract. Their final album was released in 1971. CANNOTANSWER

Question: How did the first song of The Mamas & the Papas do on the charts?
Answer: CANNOTANSWER
Cass Elliot

Context: With two female members, the New Journeymen needed a new name. According to Doherty, Elliot had the inspiration for the band's new name; as written on his website: We're all just lying around vegging out watching TV and discussing names for the group. The New Journeymen was not a handle that was going to hang on this outfit. John was pushing for the Magic Cyrcle. Eech, but none of us could come up with anything better, then we switch the channel and, hey, it's the Hells Angels on the Carson show... And the first thing we hear is: "Now hold on there, Hoss. Some people call our women cheap, but we just call them our Mamas." Cass jumped up: "Yeah! I want to be a Mama." And Michelle is going: "We're the Mamas! We're the Mamas!" OK. I look at John. He's looking at me going: "The Papas?" Problem solved. A toast! To the Mamas and the Papas. Well, after many, many toasts, Cass and John are passed out." Doherty also said that the occasion marked the beginning of his affair with Michelle Phillips. Elliot was in love with Doherty and was displeased when he told her of the affair. Doherty has said that Elliot once proposed to him, but that he was so stoned at the time that he could not even respond. Elliot was known for her sense of humor and optimism, and was considered by some to be the most charismatic member of the group. Her powerful, distinctive voice was a major factor in their success. She is best remembered for her vocals on the group's hits "California Dreamin'", "Monday, Monday", "Words of Love", and the solo "Dream a Little Dream of Me", which the group recorded in 1968 after learning about the death of Fabian Andre, one of the men who co-wrote it, whom Michelle Phillips had met years earlier. Elliot's version is noteworthy for its contemplative pace, whereas almost all earlier recordings of "Dream a Little Dream of Me" (including one by Nat King Cole and another by Ozzie Nelson) had been up-tempo versions--the song having been written in 1931 as a dance tune. The Mamas & the Papas continued to record to meet the terms of their record contract. Their final album was released in 1971. CANNOTANSWER

Question: What album was the first song of The Mamas & the Papas on?
Answer: CANNOTANSWER