gaussalgo/Canard_Wiki-augmented huggingface dataset:
D'Angelo

Context: D'Angelo released his third studio album, Black Messiah in December 2014, D'Angelo originally wanted to release Black Messiah in 2015, but the controversial decisions in the Ferguson and Eric Garner cases inspired him to release it earlier. On December 12, 2014, Kevin Liles, D'Angelo's manager, shared a 15-second teaser of the album on YouTube. Two days later, the track "Sugah Daddy", which had been part of D'Angelo's set list since 2012, premiered at 3 am EST and 1,000 downloads were available on Red Bull's 20 Before 15 website. After an exclusive listening party in New York, Black Messiah was released digitally on December 15 through iTunes, Google Play Music, and Spotify. The album's unexpected release was compared to Beyonce's self-titled release in 2013. On January 13, 2015, "Really Love" was released to urban adult contemporary radio in the US.  The album was met with universal acclaim from critics and it currently has a 95/100 mean score on review aggregator Metacritic. In its first week of release, Black Messiah debuted at number five on the Billboard 200 and sold 117,000 copies in the United States. In its second week, the album dropped to number twenty five on the chart and sold another 40,254 copies. In the United Kingdom, it debuted at number 47 on the UK Albums Chart with first-week sales of 7,423 copies. D'Angelo supported Black Messiah with a tour called The Second Coming. His band, The Vanguard, includes drummer Chris Dave, bassist Pino Palladino, guitarists Jesse Johnson and Isaiah Sharkey, vocalists Kendra Foster, Jermaine Holmes, and Charles "Redd" Middleton, and keyboardist Cleo "Pookie" Sample. The European leg commenced in Zurich on February 11, 2015, and concluded in Brussels on March 7.  In June 2015, D'Angelo confirmed to Rolling Stone that he was working on more material for a new album, calling it "a companion piece" to Black Messiah. In 2016 Black Messiah won Best R&B Album at the 58th Annual Grammy Awards as well as Best R&B Song for "Really Love" which also was nominated for Record of the Year. Black Messiah, Beyonce's self-titled album (2013), Run the Jewels' Run the Jewels 2 (2014), and Kendrick Lamar's To Pimp a Butterfly (2015) were noted as laying the groundwork down for the political charged releases that happened in 2016, which included Rihanna's Anti, Kanye West's The Life of Pablo, and Beyonce's "Formation".  D'Angelo performed Prince's "Sometimes it Snows in April" on The Tonight Show Starring Jimmy Fallon in April 2016 accompanied by Maya Rudolph and Gretchen Lieberum as a tribute to the late musician, appearing 'overcome with emotion' at the passing of a major influence. CANNOTANSWER

Question: What happen to D'Angelo in 2014?
Answer: D'Angelo released his third studio album, Black Messiah
D'Angelo

Context: D'Angelo released his third studio album, Black Messiah in December 2014, D'Angelo originally wanted to release Black Messiah in 2015, but the controversial decisions in the Ferguson and Eric Garner cases inspired him to release it earlier. On December 12, 2014, Kevin Liles, D'Angelo's manager, shared a 15-second teaser of the album on YouTube. Two days later, the track "Sugah Daddy", which had been part of D'Angelo's set list since 2012, premiered at 3 am EST and 1,000 downloads were available on Red Bull's 20 Before 15 website. After an exclusive listening party in New York, Black Messiah was released digitally on December 15 through iTunes, Google Play Music, and Spotify. The album's unexpected release was compared to Beyonce's self-titled release in 2013. On January 13, 2015, "Really Love" was released to urban adult contemporary radio in the US.  The album was met with universal acclaim from critics and it currently has a 95/100 mean score on review aggregator Metacritic. In its first week of release, Black Messiah debuted at number five on the Billboard 200 and sold 117,000 copies in the United States. In its second week, the album dropped to number twenty five on the chart and sold another 40,254 copies. In the United Kingdom, it debuted at number 47 on the UK Albums Chart with first-week sales of 7,423 copies. D'Angelo supported Black Messiah with a tour called The Second Coming. His band, The Vanguard, includes drummer Chris Dave, bassist Pino Palladino, guitarists Jesse Johnson and Isaiah Sharkey, vocalists Kendra Foster, Jermaine Holmes, and Charles "Redd" Middleton, and keyboardist Cleo "Pookie" Sample. The European leg commenced in Zurich on February 11, 2015, and concluded in Brussels on March 7.  In June 2015, D'Angelo confirmed to Rolling Stone that he was working on more material for a new album, calling it "a companion piece" to Black Messiah. In 2016 Black Messiah won Best R&B Album at the 58th Annual Grammy Awards as well as Best R&B Song for "Really Love" which also was nominated for Record of the Year. Black Messiah, Beyonce's self-titled album (2013), Run the Jewels' Run the Jewels 2 (2014), and Kendrick Lamar's To Pimp a Butterfly (2015) were noted as laying the groundwork down for the political charged releases that happened in 2016, which included Rihanna's Anti, Kanye West's The Life of Pablo, and Beyonce's "Formation".  D'Angelo performed Prince's "Sometimes it Snows in April" on The Tonight Show Starring Jimmy Fallon in April 2016 accompanied by Maya Rudolph and Gretchen Lieberum as a tribute to the late musician, appearing 'overcome with emotion' at the passing of a major influence. CANNOTANSWER

Question: How did the sales of Black Messiah go?
Answer: number five on the Billboard 200 and sold 117,000 copies in the United States.
D'Angelo

Context: D'Angelo released his third studio album, Black Messiah in December 2014, D'Angelo originally wanted to release Black Messiah in 2015, but the controversial decisions in the Ferguson and Eric Garner cases inspired him to release it earlier. On December 12, 2014, Kevin Liles, D'Angelo's manager, shared a 15-second teaser of the album on YouTube. Two days later, the track "Sugah Daddy", which had been part of D'Angelo's set list since 2012, premiered at 3 am EST and 1,000 downloads were available on Red Bull's 20 Before 15 website. After an exclusive listening party in New York, Black Messiah was released digitally on December 15 through iTunes, Google Play Music, and Spotify. The album's unexpected release was compared to Beyonce's self-titled release in 2013. On January 13, 2015, "Really Love" was released to urban adult contemporary radio in the US.  The album was met with universal acclaim from critics and it currently has a 95/100 mean score on review aggregator Metacritic. In its first week of release, Black Messiah debuted at number five on the Billboard 200 and sold 117,000 copies in the United States. In its second week, the album dropped to number twenty five on the chart and sold another 40,254 copies. In the United Kingdom, it debuted at number 47 on the UK Albums Chart with first-week sales of 7,423 copies. D'Angelo supported Black Messiah with a tour called The Second Coming. His band, The Vanguard, includes drummer Chris Dave, bassist Pino Palladino, guitarists Jesse Johnson and Isaiah Sharkey, vocalists Kendra Foster, Jermaine Holmes, and Charles "Redd" Middleton, and keyboardist Cleo "Pookie" Sample. The European leg commenced in Zurich on February 11, 2015, and concluded in Brussels on March 7.  In June 2015, D'Angelo confirmed to Rolling Stone that he was working on more material for a new album, calling it "a companion piece" to Black Messiah. In 2016 Black Messiah won Best R&B Album at the 58th Annual Grammy Awards as well as Best R&B Song for "Really Love" which also was nominated for Record of the Year. Black Messiah, Beyonce's self-titled album (2013), Run the Jewels' Run the Jewels 2 (2014), and Kendrick Lamar's To Pimp a Butterfly (2015) were noted as laying the groundwork down for the political charged releases that happened in 2016, which included Rihanna's Anti, Kanye West's The Life of Pablo, and Beyonce's "Formation".  D'Angelo performed Prince's "Sometimes it Snows in April" on The Tonight Show Starring Jimmy Fallon in April 2016 accompanied by Maya Rudolph and Gretchen Lieberum as a tribute to the late musician, appearing 'overcome with emotion' at the passing of a major influence. CANNOTANSWER

Question: What happen to D'Angelo in the present year?
Answer: CANNOTANSWER
D'Angelo

Context: D'Angelo released his third studio album, Black Messiah in December 2014, D'Angelo originally wanted to release Black Messiah in 2015, but the controversial decisions in the Ferguson and Eric Garner cases inspired him to release it earlier. On December 12, 2014, Kevin Liles, D'Angelo's manager, shared a 15-second teaser of the album on YouTube. Two days later, the track "Sugah Daddy", which had been part of D'Angelo's set list since 2012, premiered at 3 am EST and 1,000 downloads were available on Red Bull's 20 Before 15 website. After an exclusive listening party in New York, Black Messiah was released digitally on December 15 through iTunes, Google Play Music, and Spotify. The album's unexpected release was compared to Beyonce's self-titled release in 2013. On January 13, 2015, "Really Love" was released to urban adult contemporary radio in the US.  The album was met with universal acclaim from critics and it currently has a 95/100 mean score on review aggregator Metacritic. In its first week of release, Black Messiah debuted at number five on the Billboard 200 and sold 117,000 copies in the United States. In its second week, the album dropped to number twenty five on the chart and sold another 40,254 copies. In the United Kingdom, it debuted at number 47 on the UK Albums Chart with first-week sales of 7,423 copies. D'Angelo supported Black Messiah with a tour called The Second Coming. His band, The Vanguard, includes drummer Chris Dave, bassist Pino Palladino, guitarists Jesse Johnson and Isaiah Sharkey, vocalists Kendra Foster, Jermaine Holmes, and Charles "Redd" Middleton, and keyboardist Cleo "Pookie" Sample. The European leg commenced in Zurich on February 11, 2015, and concluded in Brussels on March 7.  In June 2015, D'Angelo confirmed to Rolling Stone that he was working on more material for a new album, calling it "a companion piece" to Black Messiah. In 2016 Black Messiah won Best R&B Album at the 58th Annual Grammy Awards as well as Best R&B Song for "Really Love" which also was nominated for Record of the Year. Black Messiah, Beyonce's self-titled album (2013), Run the Jewels' Run the Jewels 2 (2014), and Kendrick Lamar's To Pimp a Butterfly (2015) were noted as laying the groundwork down for the political charged releases that happened in 2016, which included Rihanna's Anti, Kanye West's The Life of Pablo, and Beyonce's "Formation".  D'Angelo performed Prince's "Sometimes it Snows in April" on The Tonight Show Starring Jimmy Fallon in April 2016 accompanied by Maya Rudolph and Gretchen Lieberum as a tribute to the late musician, appearing 'overcome with emotion' at the passing of a major influence. CANNOTANSWER

Question: Besides D'Angelo release of his third studio album, are there any other interesting aspects about this article?
Answer: ".  D'Angelo performed Prince's "Sometimes it Snows in April" on The Tonight Show Starring Jimmy Fallon in April 2016
D'Angelo

Context: D'Angelo released his third studio album, Black Messiah in December 2014, D'Angelo originally wanted to release Black Messiah in 2015, but the controversial decisions in the Ferguson and Eric Garner cases inspired him to release it earlier. On December 12, 2014, Kevin Liles, D'Angelo's manager, shared a 15-second teaser of the album on YouTube. Two days later, the track "Sugah Daddy", which had been part of D'Angelo's set list since 2012, premiered at 3 am EST and 1,000 downloads were available on Red Bull's 20 Before 15 website. After an exclusive listening party in New York, Black Messiah was released digitally on December 15 through iTunes, Google Play Music, and Spotify. The album's unexpected release was compared to Beyonce's self-titled release in 2013. On January 13, 2015, "Really Love" was released to urban adult contemporary radio in the US.  The album was met with universal acclaim from critics and it currently has a 95/100 mean score on review aggregator Metacritic. In its first week of release, Black Messiah debuted at number five on the Billboard 200 and sold 117,000 copies in the United States. In its second week, the album dropped to number twenty five on the chart and sold another 40,254 copies. In the United Kingdom, it debuted at number 47 on the UK Albums Chart with first-week sales of 7,423 copies. D'Angelo supported Black Messiah with a tour called The Second Coming. His band, The Vanguard, includes drummer Chris Dave, bassist Pino Palladino, guitarists Jesse Johnson and Isaiah Sharkey, vocalists Kendra Foster, Jermaine Holmes, and Charles "Redd" Middleton, and keyboardist Cleo "Pookie" Sample. The European leg commenced in Zurich on February 11, 2015, and concluded in Brussels on March 7.  In June 2015, D'Angelo confirmed to Rolling Stone that he was working on more material for a new album, calling it "a companion piece" to Black Messiah. In 2016 Black Messiah won Best R&B Album at the 58th Annual Grammy Awards as well as Best R&B Song for "Really Love" which also was nominated for Record of the Year. Black Messiah, Beyonce's self-titled album (2013), Run the Jewels' Run the Jewels 2 (2014), and Kendrick Lamar's To Pimp a Butterfly (2015) were noted as laying the groundwork down for the political charged releases that happened in 2016, which included Rihanna's Anti, Kanye West's The Life of Pablo, and Beyonce's "Formation".  D'Angelo performed Prince's "Sometimes it Snows in April" on The Tonight Show Starring Jimmy Fallon in April 2016 accompanied by Maya Rudolph and Gretchen Lieberum as a tribute to the late musician, appearing 'overcome with emotion' at the passing of a major influence. CANNOTANSWER

Question: Besides Black Messiah, what else did D'Angelo get recognized for?
Answer: In 2016 Black Messiah won Best R&B Album at the 58th Annual Grammy Awards as well as Best R&B Song for "Really Love"
D'Angelo

Context: D'Angelo released his third studio album, Black Messiah in December 2014, D'Angelo originally wanted to release Black Messiah in 2015, but the controversial decisions in the Ferguson and Eric Garner cases inspired him to release it earlier. On December 12, 2014, Kevin Liles, D'Angelo's manager, shared a 15-second teaser of the album on YouTube. Two days later, the track "Sugah Daddy", which had been part of D'Angelo's set list since 2012, premiered at 3 am EST and 1,000 downloads were available on Red Bull's 20 Before 15 website. After an exclusive listening party in New York, Black Messiah was released digitally on December 15 through iTunes, Google Play Music, and Spotify. The album's unexpected release was compared to Beyonce's self-titled release in 2013. On January 13, 2015, "Really Love" was released to urban adult contemporary radio in the US.  The album was met with universal acclaim from critics and it currently has a 95/100 mean score on review aggregator Metacritic. In its first week of release, Black Messiah debuted at number five on the Billboard 200 and sold 117,000 copies in the United States. In its second week, the album dropped to number twenty five on the chart and sold another 40,254 copies. In the United Kingdom, it debuted at number 47 on the UK Albums Chart with first-week sales of 7,423 copies. D'Angelo supported Black Messiah with a tour called The Second Coming. His band, The Vanguard, includes drummer Chris Dave, bassist Pino Palladino, guitarists Jesse Johnson and Isaiah Sharkey, vocalists Kendra Foster, Jermaine Holmes, and Charles "Redd" Middleton, and keyboardist Cleo "Pookie" Sample. The European leg commenced in Zurich on February 11, 2015, and concluded in Brussels on March 7.  In June 2015, D'Angelo confirmed to Rolling Stone that he was working on more material for a new album, calling it "a companion piece" to Black Messiah. In 2016 Black Messiah won Best R&B Album at the 58th Annual Grammy Awards as well as Best R&B Song for "Really Love" which also was nominated for Record of the Year. Black Messiah, Beyonce's self-titled album (2013), Run the Jewels' Run the Jewels 2 (2014), and Kendrick Lamar's To Pimp a Butterfly (2015) were noted as laying the groundwork down for the political charged releases that happened in 2016, which included Rihanna's Anti, Kanye West's The Life of Pablo, and Beyonce's "Formation".  D'Angelo performed Prince's "Sometimes it Snows in April" on The Tonight Show Starring Jimmy Fallon in April 2016 accompanied by Maya Rudolph and Gretchen Lieberum as a tribute to the late musician, appearing 'overcome with emotion' at the passing of a major influence. CANNOTANSWER

Question: Besides "Really Love", what other songs Black Messiah had?
Answer: Sometimes it Snows in April
Hey Jude

Context: Upon the single's release, Derek Johnson of the NME wrote: "The intriguing features of 'Hey Jude' are its extreme length and the 40-piece orchestral accompaniment - and personally I would have preferred it without either!" While he viewed the track overall as "a beautiful, compelling song", and the first three minutes as "absolutely sensational", Johnson rued the long coda's "vocal improvisations on the basically repetitive four-bar chorus". Time magazine described the coda as "a fadeout that engagingly spoofs the fadeout as a gimmick for ending pop records". The same reviewer contrasted "Hey Jude" with its B-side, "Revolution", saying that "The other side of the new disk urges activism of a different sort", due to McCartney "liltingly exhort[ing] a friend to overcome his fears and commit himself in love". Rolling Stone also attributed the song's meaning as a message from McCartney to Lennon to end his negative relationships with women: "to break the old pattern; to really go through with love". Other commentators interpreted "Hey Jude" as being directed at Bob Dylan, then semi-retired in Woodstock.  Writing in 1971, Robert Christgau of The Village Voice called it "one of [McCartney's] truest and most forthright love songs" and was critical of its omission from the album The Beatles. In their 1975 book The Beatles: An Illustrated Record, critics Roy Carr and Tony Tyler wrote that "Hey Jude" "promised great things" for the ill-conceived Apple enterprise and described the song as "the last great Beatles single recorded specifically for the 45s market". They noted also that "the epic proportions of the piece" encouraged many imitators, yet these other artists "[failed] to capture the gentleness and sympathy of the Beatles' communal feel".  Among more recent commentators, Alan Pollack admires "Hey Jude" as "such a good illustration of two compositional lessons - how to fill a large canvas with simple means, and how to use diverse elements such as harmony, bassline, and orchestration to articulate form and contrast." Pollack considers that the song's long coda provides "an astonishingly transcendental effect", while AllMusic's Richie Unterberger similarly opines: "What could have very easily been boring is instead hypnotic because McCartney varies the vocal with some of the greatest nonsense scatting ever heard in rock ..." In his book Revolution in the Head, Ian MacDonald wrote that the "pseudo-soul shrieking in the fade-out may be a blemish" but he praised the song as "a pop/rock hybrid drawing on the best of both idioms". MacDonald concluded: "'Hey Jude' strikes a universal note, touching on an archetypal moment in male sexual psychology with a gentle wisdom one might properly call inspired." Lennon said the song was "one of [McCartney's] masterpieces". CANNOTANSWER

Question: When Hey Jude was originally released what did the critics think?
Answer: The intriguing features of 'Hey Jude' are its extreme length and the 40-piece orchestral accompaniment - and personally I would have preferred it without either!"
Hey Jude

Context: Upon the single's release, Derek Johnson of the NME wrote: "The intriguing features of 'Hey Jude' are its extreme length and the 40-piece orchestral accompaniment - and personally I would have preferred it without either!" While he viewed the track overall as "a beautiful, compelling song", and the first three minutes as "absolutely sensational", Johnson rued the long coda's "vocal improvisations on the basically repetitive four-bar chorus". Time magazine described the coda as "a fadeout that engagingly spoofs the fadeout as a gimmick for ending pop records". The same reviewer contrasted "Hey Jude" with its B-side, "Revolution", saying that "The other side of the new disk urges activism of a different sort", due to McCartney "liltingly exhort[ing] a friend to overcome his fears and commit himself in love". Rolling Stone also attributed the song's meaning as a message from McCartney to Lennon to end his negative relationships with women: "to break the old pattern; to really go through with love". Other commentators interpreted "Hey Jude" as being directed at Bob Dylan, then semi-retired in Woodstock.  Writing in 1971, Robert Christgau of The Village Voice called it "one of [McCartney's] truest and most forthright love songs" and was critical of its omission from the album The Beatles. In their 1975 book The Beatles: An Illustrated Record, critics Roy Carr and Tony Tyler wrote that "Hey Jude" "promised great things" for the ill-conceived Apple enterprise and described the song as "the last great Beatles single recorded specifically for the 45s market". They noted also that "the epic proportions of the piece" encouraged many imitators, yet these other artists "[failed] to capture the gentleness and sympathy of the Beatles' communal feel".  Among more recent commentators, Alan Pollack admires "Hey Jude" as "such a good illustration of two compositional lessons - how to fill a large canvas with simple means, and how to use diverse elements such as harmony, bassline, and orchestration to articulate form and contrast." Pollack considers that the song's long coda provides "an astonishingly transcendental effect", while AllMusic's Richie Unterberger similarly opines: "What could have very easily been boring is instead hypnotic because McCartney varies the vocal with some of the greatest nonsense scatting ever heard in rock ..." In his book Revolution in the Head, Ian MacDonald wrote that the "pseudo-soul shrieking in the fade-out may be a blemish" but he praised the song as "a pop/rock hybrid drawing on the best of both idioms". MacDonald concluded: "'Hey Jude' strikes a universal note, touching on an archetypal moment in male sexual psychology with a gentle wisdom one might properly call inspired." Lennon said the song was "one of [McCartney's] masterpieces". CANNOTANSWER

Question: Who wrote the negative review of Hey Jude?
Answer: Derek Johnson of the NME
Hey Jude

Context: Upon the single's release, Derek Johnson of the NME wrote: "The intriguing features of 'Hey Jude' are its extreme length and the 40-piece orchestral accompaniment - and personally I would have preferred it without either!" While he viewed the track overall as "a beautiful, compelling song", and the first three minutes as "absolutely sensational", Johnson rued the long coda's "vocal improvisations on the basically repetitive four-bar chorus". Time magazine described the coda as "a fadeout that engagingly spoofs the fadeout as a gimmick for ending pop records". The same reviewer contrasted "Hey Jude" with its B-side, "Revolution", saying that "The other side of the new disk urges activism of a different sort", due to McCartney "liltingly exhort[ing] a friend to overcome his fears and commit himself in love". Rolling Stone also attributed the song's meaning as a message from McCartney to Lennon to end his negative relationships with women: "to break the old pattern; to really go through with love". Other commentators interpreted "Hey Jude" as being directed at Bob Dylan, then semi-retired in Woodstock.  Writing in 1971, Robert Christgau of The Village Voice called it "one of [McCartney's] truest and most forthright love songs" and was critical of its omission from the album The Beatles. In their 1975 book The Beatles: An Illustrated Record, critics Roy Carr and Tony Tyler wrote that "Hey Jude" "promised great things" for the ill-conceived Apple enterprise and described the song as "the last great Beatles single recorded specifically for the 45s market". They noted also that "the epic proportions of the piece" encouraged many imitators, yet these other artists "[failed] to capture the gentleness and sympathy of the Beatles' communal feel".  Among more recent commentators, Alan Pollack admires "Hey Jude" as "such a good illustration of two compositional lessons - how to fill a large canvas with simple means, and how to use diverse elements such as harmony, bassline, and orchestration to articulate form and contrast." Pollack considers that the song's long coda provides "an astonishingly transcendental effect", while AllMusic's Richie Unterberger similarly opines: "What could have very easily been boring is instead hypnotic because McCartney varies the vocal with some of the greatest nonsense scatting ever heard in rock ..." In his book Revolution in the Head, Ian MacDonald wrote that the "pseudo-soul shrieking in the fade-out may be a blemish" but he praised the song as "a pop/rock hybrid drawing on the best of both idioms". MacDonald concluded: "'Hey Jude' strikes a universal note, touching on an archetypal moment in male sexual psychology with a gentle wisdom one might properly call inspired." Lennon said the song was "one of [McCartney's] masterpieces". CANNOTANSWER

Question: Aside from Derek Johnson, did anyone else write negative reviews of Hey Jude?
Answer: Time magazine described the coda as "a fadeout that engagingly spoofs the fadeout as a gimmick for ending pop records".
Hey Jude

Context: Upon the single's release, Derek Johnson of the NME wrote: "The intriguing features of 'Hey Jude' are its extreme length and the 40-piece orchestral accompaniment - and personally I would have preferred it without either!" While he viewed the track overall as "a beautiful, compelling song", and the first three minutes as "absolutely sensational", Johnson rued the long coda's "vocal improvisations on the basically repetitive four-bar chorus". Time magazine described the coda as "a fadeout that engagingly spoofs the fadeout as a gimmick for ending pop records". The same reviewer contrasted "Hey Jude" with its B-side, "Revolution", saying that "The other side of the new disk urges activism of a different sort", due to McCartney "liltingly exhort[ing] a friend to overcome his fears and commit himself in love". Rolling Stone also attributed the song's meaning as a message from McCartney to Lennon to end his negative relationships with women: "to break the old pattern; to really go through with love". Other commentators interpreted "Hey Jude" as being directed at Bob Dylan, then semi-retired in Woodstock.  Writing in 1971, Robert Christgau of The Village Voice called it "one of [McCartney's] truest and most forthright love songs" and was critical of its omission from the album The Beatles. In their 1975 book The Beatles: An Illustrated Record, critics Roy Carr and Tony Tyler wrote that "Hey Jude" "promised great things" for the ill-conceived Apple enterprise and described the song as "the last great Beatles single recorded specifically for the 45s market". They noted also that "the epic proportions of the piece" encouraged many imitators, yet these other artists "[failed] to capture the gentleness and sympathy of the Beatles' communal feel".  Among more recent commentators, Alan Pollack admires "Hey Jude" as "such a good illustration of two compositional lessons - how to fill a large canvas with simple means, and how to use diverse elements such as harmony, bassline, and orchestration to articulate form and contrast." Pollack considers that the song's long coda provides "an astonishingly transcendental effect", while AllMusic's Richie Unterberger similarly opines: "What could have very easily been boring is instead hypnotic because McCartney varies the vocal with some of the greatest nonsense scatting ever heard in rock ..." In his book Revolution in the Head, Ian MacDonald wrote that the "pseudo-soul shrieking in the fade-out may be a blemish" but he praised the song as "a pop/rock hybrid drawing on the best of both idioms". MacDonald concluded: "'Hey Jude' strikes a universal note, touching on an archetypal moment in male sexual psychology with a gentle wisdom one might properly call inspired." Lennon said the song was "one of [McCartney's] masterpieces". CANNOTANSWER

Question: Other than Derek Johnson and Time Magazine did anybody else not like the song?
Answer: CANNOTANSWER
Hey Jude

Context: Upon the single's release, Derek Johnson of the NME wrote: "The intriguing features of 'Hey Jude' are its extreme length and the 40-piece orchestral accompaniment - and personally I would have preferred it without either!" While he viewed the track overall as "a beautiful, compelling song", and the first three minutes as "absolutely sensational", Johnson rued the long coda's "vocal improvisations on the basically repetitive four-bar chorus". Time magazine described the coda as "a fadeout that engagingly spoofs the fadeout as a gimmick for ending pop records". The same reviewer contrasted "Hey Jude" with its B-side, "Revolution", saying that "The other side of the new disk urges activism of a different sort", due to McCartney "liltingly exhort[ing] a friend to overcome his fears and commit himself in love". Rolling Stone also attributed the song's meaning as a message from McCartney to Lennon to end his negative relationships with women: "to break the old pattern; to really go through with love". Other commentators interpreted "Hey Jude" as being directed at Bob Dylan, then semi-retired in Woodstock.  Writing in 1971, Robert Christgau of The Village Voice called it "one of [McCartney's] truest and most forthright love songs" and was critical of its omission from the album The Beatles. In their 1975 book The Beatles: An Illustrated Record, critics Roy Carr and Tony Tyler wrote that "Hey Jude" "promised great things" for the ill-conceived Apple enterprise and described the song as "the last great Beatles single recorded specifically for the 45s market". They noted also that "the epic proportions of the piece" encouraged many imitators, yet these other artists "[failed] to capture the gentleness and sympathy of the Beatles' communal feel".  Among more recent commentators, Alan Pollack admires "Hey Jude" as "such a good illustration of two compositional lessons - how to fill a large canvas with simple means, and how to use diverse elements such as harmony, bassline, and orchestration to articulate form and contrast." Pollack considers that the song's long coda provides "an astonishingly transcendental effect", while AllMusic's Richie Unterberger similarly opines: "What could have very easily been boring is instead hypnotic because McCartney varies the vocal with some of the greatest nonsense scatting ever heard in rock ..." In his book Revolution in the Head, Ian MacDonald wrote that the "pseudo-soul shrieking in the fade-out may be a blemish" but he praised the song as "a pop/rock hybrid drawing on the best of both idioms". MacDonald concluded: "'Hey Jude' strikes a universal note, touching on an archetypal moment in male sexual psychology with a gentle wisdom one might properly call inspired." Lennon said the song was "one of [McCartney's] masterpieces". CANNOTANSWER

Question: Did Hey Jude get any positive reviews?
Answer: Alan Pollack admires "Hey Jude" as "such a good illustration of two compositional lessons
Hey Jude

Context: Upon the single's release, Derek Johnson of the NME wrote: "The intriguing features of 'Hey Jude' are its extreme length and the 40-piece orchestral accompaniment - and personally I would have preferred it without either!" While he viewed the track overall as "a beautiful, compelling song", and the first three minutes as "absolutely sensational", Johnson rued the long coda's "vocal improvisations on the basically repetitive four-bar chorus". Time magazine described the coda as "a fadeout that engagingly spoofs the fadeout as a gimmick for ending pop records". The same reviewer contrasted "Hey Jude" with its B-side, "Revolution", saying that "The other side of the new disk urges activism of a different sort", due to McCartney "liltingly exhort[ing] a friend to overcome his fears and commit himself in love". Rolling Stone also attributed the song's meaning as a message from McCartney to Lennon to end his negative relationships with women: "to break the old pattern; to really go through with love". Other commentators interpreted "Hey Jude" as being directed at Bob Dylan, then semi-retired in Woodstock.  Writing in 1971, Robert Christgau of The Village Voice called it "one of [McCartney's] truest and most forthright love songs" and was critical of its omission from the album The Beatles. In their 1975 book The Beatles: An Illustrated Record, critics Roy Carr and Tony Tyler wrote that "Hey Jude" "promised great things" for the ill-conceived Apple enterprise and described the song as "the last great Beatles single recorded specifically for the 45s market". They noted also that "the epic proportions of the piece" encouraged many imitators, yet these other artists "[failed] to capture the gentleness and sympathy of the Beatles' communal feel".  Among more recent commentators, Alan Pollack admires "Hey Jude" as "such a good illustration of two compositional lessons - how to fill a large canvas with simple means, and how to use diverse elements such as harmony, bassline, and orchestration to articulate form and contrast." Pollack considers that the song's long coda provides "an astonishingly transcendental effect", while AllMusic's Richie Unterberger similarly opines: "What could have very easily been boring is instead hypnotic because McCartney varies the vocal with some of the greatest nonsense scatting ever heard in rock ..." In his book Revolution in the Head, Ian MacDonald wrote that the "pseudo-soul shrieking in the fade-out may be a blemish" but he praised the song as "a pop/rock hybrid drawing on the best of both idioms". MacDonald concluded: "'Hey Jude' strikes a universal note, touching on an archetypal moment in male sexual psychology with a gentle wisdom one might properly call inspired." Lennon said the song was "one of [McCartney's] masterpieces". CANNOTANSWER

Question: Besides Pollack did anybody else like Hey Jude?
Answer: Roy Carr and Tony Tyler wrote that "Hey Jude" "promised great things" for the ill-conceived Apple enterprise and described the song as "the last great Beatles single recorded
Billy Corgan

Context: Following a brief stint touring with New Order in the summer , Corgan reunited with Chamberlin to form the band Zwan with Corgan's old friend Matt Sweeney in late 2001. According to Neil Strauss of New York Times, during his few live performances with the band, Corgan says "is still a work in progress." The lineup was completed with guitarist David Pajo and bassist Paz Lenchantin. The band had two distinct incarnations, the primary approach being an upbeat rock band with a three-guitar-driven sound, the second, a folk and gospel inspired acoustic side with live strings. The quintet performed throughout 2002, and their debut album, Mary Star of the Sea, was released in early 2003 to generally positive reviews. In the midst of their supporting tour for the album, mounting conflict between Corgan and Chamberlin, and the other band members led to the cancellation of the rest of the tour as the band entered an apparent hiatus, formally announcing a breakup in September 2003.  In 2004 Corgan began writing revealing autobiographical posts on his website and his MySpace page, blaming Iha for the breakup of the Smashing Pumpkins, calling Wretzky "a mean spirited drug addict," and criticizing his former Zwan bandmates' fixation with "indie cred" and calling them "filthy", opportunistic, and selfish.  On September 17, 2003, Billy first presented his poetry at the Art Institute of Chicago's Rubloff Auditorium. In late 2004, Corgan published Blinking with Fists, a book of poetry. Despite mixed reviews, the book debuted on the New York Times Best Seller list. Around this time, he began posting autobiographical writings online under the title The Confessions of Billy Corgan.  Also in 2004, he began a solo music career, landing on an electronic/shoegaze/alternative rock sound for his first solo album, TheFutureEmbrace, co-produced and arranged by Bon Harris of Nitzer Ebb. Released on June 21, 2005, through Reprise Records, it garnered mixed reviews from the press and only sold 69,000 copies. Corgan toured behind his solo album with a touring band that included Linda Strawberry, Brian Liesegang and Matt Walker in 2005. This tour was not as extensive as previous Smashing Pumpkins or Zwan tours. Prior to recording TheFutureEmbrace, Corgan had recorded some 72 songs inspired by Chicago history for the largely acoustic ChicagoSongs project, which have yet to be released. CANNOTANSWER

Question: did Billy Corgan release any songs as a solo artist?
Answer: in 2004, he began a solo music career,
Billy Corgan

Context: Following a brief stint touring with New Order in the summer , Corgan reunited with Chamberlin to form the band Zwan with Corgan's old friend Matt Sweeney in late 2001. According to Neil Strauss of New York Times, during his few live performances with the band, Corgan says "is still a work in progress." The lineup was completed with guitarist David Pajo and bassist Paz Lenchantin. The band had two distinct incarnations, the primary approach being an upbeat rock band with a three-guitar-driven sound, the second, a folk and gospel inspired acoustic side with live strings. The quintet performed throughout 2002, and their debut album, Mary Star of the Sea, was released in early 2003 to generally positive reviews. In the midst of their supporting tour for the album, mounting conflict between Corgan and Chamberlin, and the other band members led to the cancellation of the rest of the tour as the band entered an apparent hiatus, formally announcing a breakup in September 2003.  In 2004 Corgan began writing revealing autobiographical posts on his website and his MySpace page, blaming Iha for the breakup of the Smashing Pumpkins, calling Wretzky "a mean spirited drug addict," and criticizing his former Zwan bandmates' fixation with "indie cred" and calling them "filthy", opportunistic, and selfish.  On September 17, 2003, Billy first presented his poetry at the Art Institute of Chicago's Rubloff Auditorium. In late 2004, Corgan published Blinking with Fists, a book of poetry. Despite mixed reviews, the book debuted on the New York Times Best Seller list. Around this time, he began posting autobiographical writings online under the title The Confessions of Billy Corgan.  Also in 2004, he began a solo music career, landing on an electronic/shoegaze/alternative rock sound for his first solo album, TheFutureEmbrace, co-produced and arranged by Bon Harris of Nitzer Ebb. Released on June 21, 2005, through Reprise Records, it garnered mixed reviews from the press and only sold 69,000 copies. Corgan toured behind his solo album with a touring band that included Linda Strawberry, Brian Liesegang and Matt Walker in 2005. This tour was not as extensive as previous Smashing Pumpkins or Zwan tours. Prior to recording TheFutureEmbrace, Corgan had recorded some 72 songs inspired by Chicago history for the largely acoustic ChicagoSongs project, which have yet to be released. CANNOTANSWER

Question: What is Zwan?
Answer: the band
Billy Corgan

Context: Following a brief stint touring with New Order in the summer , Corgan reunited with Chamberlin to form the band Zwan with Corgan's old friend Matt Sweeney in late 2001. According to Neil Strauss of New York Times, during his few live performances with the band, Corgan says "is still a work in progress." The lineup was completed with guitarist David Pajo and bassist Paz Lenchantin. The band had two distinct incarnations, the primary approach being an upbeat rock band with a three-guitar-driven sound, the second, a folk and gospel inspired acoustic side with live strings. The quintet performed throughout 2002, and their debut album, Mary Star of the Sea, was released in early 2003 to generally positive reviews. In the midst of their supporting tour for the album, mounting conflict between Corgan and Chamberlin, and the other band members led to the cancellation of the rest of the tour as the band entered an apparent hiatus, formally announcing a breakup in September 2003.  In 2004 Corgan began writing revealing autobiographical posts on his website and his MySpace page, blaming Iha for the breakup of the Smashing Pumpkins, calling Wretzky "a mean spirited drug addict," and criticizing his former Zwan bandmates' fixation with "indie cred" and calling them "filthy", opportunistic, and selfish.  On September 17, 2003, Billy first presented his poetry at the Art Institute of Chicago's Rubloff Auditorium. In late 2004, Corgan published Blinking with Fists, a book of poetry. Despite mixed reviews, the book debuted on the New York Times Best Seller list. Around this time, he began posting autobiographical writings online under the title The Confessions of Billy Corgan.  Also in 2004, he began a solo music career, landing on an electronic/shoegaze/alternative rock sound for his first solo album, TheFutureEmbrace, co-produced and arranged by Bon Harris of Nitzer Ebb. Released on June 21, 2005, through Reprise Records, it garnered mixed reviews from the press and only sold 69,000 copies. Corgan toured behind his solo album with a touring band that included Linda Strawberry, Brian Liesegang and Matt Walker in 2005. This tour was not as extensive as previous Smashing Pumpkins or Zwan tours. Prior to recording TheFutureEmbrace, Corgan had recorded some 72 songs inspired by Chicago history for the largely acoustic ChicagoSongs project, which have yet to be released. CANNOTANSWER

Question: who else was in Zwan, besides Billy Corgan?
Answer: Corgan's old friend Matt Sweeney
Billy Corgan

Context: Following a brief stint touring with New Order in the summer , Corgan reunited with Chamberlin to form the band Zwan with Corgan's old friend Matt Sweeney in late 2001. According to Neil Strauss of New York Times, during his few live performances with the band, Corgan says "is still a work in progress." The lineup was completed with guitarist David Pajo and bassist Paz Lenchantin. The band had two distinct incarnations, the primary approach being an upbeat rock band with a three-guitar-driven sound, the second, a folk and gospel inspired acoustic side with live strings. The quintet performed throughout 2002, and their debut album, Mary Star of the Sea, was released in early 2003 to generally positive reviews. In the midst of their supporting tour for the album, mounting conflict between Corgan and Chamberlin, and the other band members led to the cancellation of the rest of the tour as the band entered an apparent hiatus, formally announcing a breakup in September 2003.  In 2004 Corgan began writing revealing autobiographical posts on his website and his MySpace page, blaming Iha for the breakup of the Smashing Pumpkins, calling Wretzky "a mean spirited drug addict," and criticizing his former Zwan bandmates' fixation with "indie cred" and calling them "filthy", opportunistic, and selfish.  On September 17, 2003, Billy first presented his poetry at the Art Institute of Chicago's Rubloff Auditorium. In late 2004, Corgan published Blinking with Fists, a book of poetry. Despite mixed reviews, the book debuted on the New York Times Best Seller list. Around this time, he began posting autobiographical writings online under the title The Confessions of Billy Corgan.  Also in 2004, he began a solo music career, landing on an electronic/shoegaze/alternative rock sound for his first solo album, TheFutureEmbrace, co-produced and arranged by Bon Harris of Nitzer Ebb. Released on June 21, 2005, through Reprise Records, it garnered mixed reviews from the press and only sold 69,000 copies. Corgan toured behind his solo album with a touring band that included Linda Strawberry, Brian Liesegang and Matt Walker in 2005. This tour was not as extensive as previous Smashing Pumpkins or Zwan tours. Prior to recording TheFutureEmbrace, Corgan had recorded some 72 songs inspired by Chicago history for the largely acoustic ChicagoSongs project, which have yet to be released. CANNOTANSWER

Question: is anyone else in Zwan, besides Billy Corgan?
Answer: guitarist David Pajo and bassist Paz Lenchantin.
Billy Corgan

Context: Following a brief stint touring with New Order in the summer , Corgan reunited with Chamberlin to form the band Zwan with Corgan's old friend Matt Sweeney in late 2001. According to Neil Strauss of New York Times, during his few live performances with the band, Corgan says "is still a work in progress." The lineup was completed with guitarist David Pajo and bassist Paz Lenchantin. The band had two distinct incarnations, the primary approach being an upbeat rock band with a three-guitar-driven sound, the second, a folk and gospel inspired acoustic side with live strings. The quintet performed throughout 2002, and their debut album, Mary Star of the Sea, was released in early 2003 to generally positive reviews. In the midst of their supporting tour for the album, mounting conflict between Corgan and Chamberlin, and the other band members led to the cancellation of the rest of the tour as the band entered an apparent hiatus, formally announcing a breakup in September 2003.  In 2004 Corgan began writing revealing autobiographical posts on his website and his MySpace page, blaming Iha for the breakup of the Smashing Pumpkins, calling Wretzky "a mean spirited drug addict," and criticizing his former Zwan bandmates' fixation with "indie cred" and calling them "filthy", opportunistic, and selfish.  On September 17, 2003, Billy first presented his poetry at the Art Institute of Chicago's Rubloff Auditorium. In late 2004, Corgan published Blinking with Fists, a book of poetry. Despite mixed reviews, the book debuted on the New York Times Best Seller list. Around this time, he began posting autobiographical writings online under the title The Confessions of Billy Corgan.  Also in 2004, he began a solo music career, landing on an electronic/shoegaze/alternative rock sound for his first solo album, TheFutureEmbrace, co-produced and arranged by Bon Harris of Nitzer Ebb. Released on June 21, 2005, through Reprise Records, it garnered mixed reviews from the press and only sold 69,000 copies. Corgan toured behind his solo album with a touring band that included Linda Strawberry, Brian Liesegang and Matt Walker in 2005. This tour was not as extensive as previous Smashing Pumpkins or Zwan tours. Prior to recording TheFutureEmbrace, Corgan had recorded some 72 songs inspired by Chicago history for the largely acoustic ChicagoSongs project, which have yet to be released. CANNOTANSWER

Question: what type of music did Zwan play?
Answer: The band had two distinct incarnations, the primary approach being an upbeat rock band with a three-guitar-driven sound,