gaussalgo/Canard_Wiki-augmented huggingface dataset:
Mike McCready

Context: McCready prefers to play "by ear" rather than from a technical standpoint. He stated, "I'm so ignorant of this technical stuff...I'm not into being a tech-head." McCready's guitar style is usually of an aggressive bluesy nature, and was described by Greg Prato of Allmusic as "feel-oriented" and "rootsy." McCready has cited Ace Frehley, BB King, Ronnie Montrose, Alex Lifeson, Muddy Waters, Michael Schenker, Jimi Hendrix, Pete Townshend, David Gilmour, George Harrison, Joe Perry, Stevie Ray Vaughan, Eddie Van Halen, Joe Satriani, Jeff Beck, Brian May, Angus Young, Ritchie Blackmore, Chuck Berry, Eric Clapton, Jimmy Page, Eddie Hazel, UFO, and Randy Rhoads among his influences. When Pearl Jam supported The Rolling Stones in 1997, Vedder made a joke that McCready is such a big fan of the Stones that he would count the number of lines on the band's vinyl records. McCready is known to use a Fender Stratocaster, a Gibson Les Paul, and a Gibson Les Paul Junior. When the band started, Gossard and McCready were clearly designated as rhythm and lead guitarists, respectively. The dynamic began to change when Vedder started to play more rhythm guitar during the Vitalogy era. McCready said in 2006, "Even though there are three guitars, I think there's maybe more room now. Stone will pull back and play a two-note line and Ed will do a power chord thing, and I fit into all that." Of his live performances, McCready has said, "I can kind of get into a meditative state when I'm playing, something I don't get any other way...You might see me staring up in the sky with my eyes closed. I'm not faking it. That just kind of happens."  As time has gone on McCready has contributed more to Pearl Jam's songwriting process. McCready's first writing contribution for Pearl Jam was co-writing the music for the B-side "Yellow Ledbetter" (from the "Jeremy" single), which has since become a regular set closing song during Pearl Jam's live concerts. After co-writing material for Vs. and writing the music for the song "Present Tense" from the album No Code, he wrote the music for three of the tracks on the band's 1998 album, Yield, including one of the band's biggest hits, "Given to Fly". All but one ("Force of Nature", from Backspacer) of McCready's sole compositions for Pearl Jam use alternate tunings, such as open G on "Faithfull" (from Yield), a variation of open D on "Given to Fly", and a variation of open G on "Marker in the Sand" (from Pearl Jam). McCready made his first lyrical contribution for the band with the track "Inside Job", which closes the band's 2006 self-titled album.  McCready also cites punk rock band Social Distortion as a major influence, claiming to have seen them live over fifteen times. He also states that he wrote the music to Pearl Jam B-side "Down" after seeing them in concert. CANNOTANSWER

Question: What was the group Mike McCready's musical style?
Answer: McCready prefers to play "by ear" rather than from a technical standpoint. He stated, "I'm so ignorant of this technical stuff...I'm not into being a tech-head.
Mike McCready

Context: McCready prefers to play "by ear" rather than from a technical standpoint. He stated, "I'm so ignorant of this technical stuff...I'm not into being a tech-head." McCready's guitar style is usually of an aggressive bluesy nature, and was described by Greg Prato of Allmusic as "feel-oriented" and "rootsy." McCready has cited Ace Frehley, BB King, Ronnie Montrose, Alex Lifeson, Muddy Waters, Michael Schenker, Jimi Hendrix, Pete Townshend, David Gilmour, George Harrison, Joe Perry, Stevie Ray Vaughan, Eddie Van Halen, Joe Satriani, Jeff Beck, Brian May, Angus Young, Ritchie Blackmore, Chuck Berry, Eric Clapton, Jimmy Page, Eddie Hazel, UFO, and Randy Rhoads among his influences. When Pearl Jam supported The Rolling Stones in 1997, Vedder made a joke that McCready is such a big fan of the Stones that he would count the number of lines on the band's vinyl records. McCready is known to use a Fender Stratocaster, a Gibson Les Paul, and a Gibson Les Paul Junior. When the band started, Gossard and McCready were clearly designated as rhythm and lead guitarists, respectively. The dynamic began to change when Vedder started to play more rhythm guitar during the Vitalogy era. McCready said in 2006, "Even though there are three guitars, I think there's maybe more room now. Stone will pull back and play a two-note line and Ed will do a power chord thing, and I fit into all that." Of his live performances, McCready has said, "I can kind of get into a meditative state when I'm playing, something I don't get any other way...You might see me staring up in the sky with my eyes closed. I'm not faking it. That just kind of happens."  As time has gone on McCready has contributed more to Pearl Jam's songwriting process. McCready's first writing contribution for Pearl Jam was co-writing the music for the B-side "Yellow Ledbetter" (from the "Jeremy" single), which has since become a regular set closing song during Pearl Jam's live concerts. After co-writing material for Vs. and writing the music for the song "Present Tense" from the album No Code, he wrote the music for three of the tracks on the band's 1998 album, Yield, including one of the band's biggest hits, "Given to Fly". All but one ("Force of Nature", from Backspacer) of McCready's sole compositions for Pearl Jam use alternate tunings, such as open G on "Faithfull" (from Yield), a variation of open D on "Given to Fly", and a variation of open G on "Marker in the Sand" (from Pearl Jam). McCready made his first lyrical contribution for the band with the track "Inside Job", which closes the band's 2006 self-titled album.  McCready also cites punk rock band Social Distortion as a major influence, claiming to have seen them live over fifteen times. He also states that he wrote the music to Pearl Jam B-side "Down" after seeing them in concert. CANNOTANSWER

Question: Who influenced the band Mike McCready?
Answer: " McCready has cited Ace Frehley, BB King, Ronnie Montrose, Alex Lifeson, Muddy Waters, Michael Schenker, Jimi Hendrix, Pete Townshend, David Gilmour, George Harrison,
Mike McCready

Context: McCready prefers to play "by ear" rather than from a technical standpoint. He stated, "I'm so ignorant of this technical stuff...I'm not into being a tech-head." McCready's guitar style is usually of an aggressive bluesy nature, and was described by Greg Prato of Allmusic as "feel-oriented" and "rootsy." McCready has cited Ace Frehley, BB King, Ronnie Montrose, Alex Lifeson, Muddy Waters, Michael Schenker, Jimi Hendrix, Pete Townshend, David Gilmour, George Harrison, Joe Perry, Stevie Ray Vaughan, Eddie Van Halen, Joe Satriani, Jeff Beck, Brian May, Angus Young, Ritchie Blackmore, Chuck Berry, Eric Clapton, Jimmy Page, Eddie Hazel, UFO, and Randy Rhoads among his influences. When Pearl Jam supported The Rolling Stones in 1997, Vedder made a joke that McCready is such a big fan of the Stones that he would count the number of lines on the band's vinyl records. McCready is known to use a Fender Stratocaster, a Gibson Les Paul, and a Gibson Les Paul Junior. When the band started, Gossard and McCready were clearly designated as rhythm and lead guitarists, respectively. The dynamic began to change when Vedder started to play more rhythm guitar during the Vitalogy era. McCready said in 2006, "Even though there are three guitars, I think there's maybe more room now. Stone will pull back and play a two-note line and Ed will do a power chord thing, and I fit into all that." Of his live performances, McCready has said, "I can kind of get into a meditative state when I'm playing, something I don't get any other way...You might see me staring up in the sky with my eyes closed. I'm not faking it. That just kind of happens."  As time has gone on McCready has contributed more to Pearl Jam's songwriting process. McCready's first writing contribution for Pearl Jam was co-writing the music for the B-side "Yellow Ledbetter" (from the "Jeremy" single), which has since become a regular set closing song during Pearl Jam's live concerts. After co-writing material for Vs. and writing the music for the song "Present Tense" from the album No Code, he wrote the music for three of the tracks on the band's 1998 album, Yield, including one of the band's biggest hits, "Given to Fly". All but one ("Force of Nature", from Backspacer) of McCready's sole compositions for Pearl Jam use alternate tunings, such as open G on "Faithfull" (from Yield), a variation of open D on "Given to Fly", and a variation of open G on "Marker in the Sand" (from Pearl Jam). McCready made his first lyrical contribution for the band with the track "Inside Job", which closes the band's 2006 self-titled album.  McCready also cites punk rock band Social Distortion as a major influence, claiming to have seen them live over fifteen times. He also states that he wrote the music to Pearl Jam B-side "Down" after seeing them in concert. CANNOTANSWER

Question: When did Mike McCready cut their first single or album?
Answer: McCready has contributed more to Pearl Jam's songwriting process. McCready's first writing contribution for Pearl Jam was co-writing the music for the B-side "Yellow Ledbetter" (
Mike McCready

Context: McCready prefers to play "by ear" rather than from a technical standpoint. He stated, "I'm so ignorant of this technical stuff...I'm not into being a tech-head." McCready's guitar style is usually of an aggressive bluesy nature, and was described by Greg Prato of Allmusic as "feel-oriented" and "rootsy." McCready has cited Ace Frehley, BB King, Ronnie Montrose, Alex Lifeson, Muddy Waters, Michael Schenker, Jimi Hendrix, Pete Townshend, David Gilmour, George Harrison, Joe Perry, Stevie Ray Vaughan, Eddie Van Halen, Joe Satriani, Jeff Beck, Brian May, Angus Young, Ritchie Blackmore, Chuck Berry, Eric Clapton, Jimmy Page, Eddie Hazel, UFO, and Randy Rhoads among his influences. When Pearl Jam supported The Rolling Stones in 1997, Vedder made a joke that McCready is such a big fan of the Stones that he would count the number of lines on the band's vinyl records. McCready is known to use a Fender Stratocaster, a Gibson Les Paul, and a Gibson Les Paul Junior. When the band started, Gossard and McCready were clearly designated as rhythm and lead guitarists, respectively. The dynamic began to change when Vedder started to play more rhythm guitar during the Vitalogy era. McCready said in 2006, "Even though there are three guitars, I think there's maybe more room now. Stone will pull back and play a two-note line and Ed will do a power chord thing, and I fit into all that." Of his live performances, McCready has said, "I can kind of get into a meditative state when I'm playing, something I don't get any other way...You might see me staring up in the sky with my eyes closed. I'm not faking it. That just kind of happens."  As time has gone on McCready has contributed more to Pearl Jam's songwriting process. McCready's first writing contribution for Pearl Jam was co-writing the music for the B-side "Yellow Ledbetter" (from the "Jeremy" single), which has since become a regular set closing song during Pearl Jam's live concerts. After co-writing material for Vs. and writing the music for the song "Present Tense" from the album No Code, he wrote the music for three of the tracks on the band's 1998 album, Yield, including one of the band's biggest hits, "Given to Fly". All but one ("Force of Nature", from Backspacer) of McCready's sole compositions for Pearl Jam use alternate tunings, such as open G on "Faithfull" (from Yield), a variation of open D on "Given to Fly", and a variation of open G on "Marker in the Sand" (from Pearl Jam). McCready made his first lyrical contribution for the band with the track "Inside Job", which closes the band's 2006 self-titled album.  McCready also cites punk rock band Social Distortion as a major influence, claiming to have seen them live over fifteen times. He also states that he wrote the music to Pearl Jam B-side "Down" after seeing them in concert. CANNOTANSWER

Question: What impressed you most about the band Mike McCready?
Answer: After co-writing material for Vs. and writing the music for the song "Present Tense" from the album No Code,
Mike McCready

Context: McCready prefers to play "by ear" rather than from a technical standpoint. He stated, "I'm so ignorant of this technical stuff...I'm not into being a tech-head." McCready's guitar style is usually of an aggressive bluesy nature, and was described by Greg Prato of Allmusic as "feel-oriented" and "rootsy." McCready has cited Ace Frehley, BB King, Ronnie Montrose, Alex Lifeson, Muddy Waters, Michael Schenker, Jimi Hendrix, Pete Townshend, David Gilmour, George Harrison, Joe Perry, Stevie Ray Vaughan, Eddie Van Halen, Joe Satriani, Jeff Beck, Brian May, Angus Young, Ritchie Blackmore, Chuck Berry, Eric Clapton, Jimmy Page, Eddie Hazel, UFO, and Randy Rhoads among his influences. When Pearl Jam supported The Rolling Stones in 1997, Vedder made a joke that McCready is such a big fan of the Stones that he would count the number of lines on the band's vinyl records. McCready is known to use a Fender Stratocaster, a Gibson Les Paul, and a Gibson Les Paul Junior. When the band started, Gossard and McCready were clearly designated as rhythm and lead guitarists, respectively. The dynamic began to change when Vedder started to play more rhythm guitar during the Vitalogy era. McCready said in 2006, "Even though there are three guitars, I think there's maybe more room now. Stone will pull back and play a two-note line and Ed will do a power chord thing, and I fit into all that." Of his live performances, McCready has said, "I can kind of get into a meditative state when I'm playing, something I don't get any other way...You might see me staring up in the sky with my eyes closed. I'm not faking it. That just kind of happens."  As time has gone on McCready has contributed more to Pearl Jam's songwriting process. McCready's first writing contribution for Pearl Jam was co-writing the music for the B-side "Yellow Ledbetter" (from the "Jeremy" single), which has since become a regular set closing song during Pearl Jam's live concerts. After co-writing material for Vs. and writing the music for the song "Present Tense" from the album No Code, he wrote the music for three of the tracks on the band's 1998 album, Yield, including one of the band's biggest hits, "Given to Fly". All but one ("Force of Nature", from Backspacer) of McCready's sole compositions for Pearl Jam use alternate tunings, such as open G on "Faithfull" (from Yield), a variation of open D on "Given to Fly", and a variation of open G on "Marker in the Sand" (from Pearl Jam). McCready made his first lyrical contribution for the band with the track "Inside Job", which closes the band's 2006 self-titled album.  McCready also cites punk rock band Social Distortion as a major influence, claiming to have seen them live over fifteen times. He also states that he wrote the music to Pearl Jam B-side "Down" after seeing them in concert. CANNOTANSWER

Question: Besides co-writing material for Vs,Would the band Mike McCready ever perform with other singers?
Answer: McCready also cites punk rock band Social Distortion as a major influence, claiming to have seen them live over fifteen times.
Mike McCready

Context: McCready prefers to play "by ear" rather than from a technical standpoint. He stated, "I'm so ignorant of this technical stuff...I'm not into being a tech-head." McCready's guitar style is usually of an aggressive bluesy nature, and was described by Greg Prato of Allmusic as "feel-oriented" and "rootsy." McCready has cited Ace Frehley, BB King, Ronnie Montrose, Alex Lifeson, Muddy Waters, Michael Schenker, Jimi Hendrix, Pete Townshend, David Gilmour, George Harrison, Joe Perry, Stevie Ray Vaughan, Eddie Van Halen, Joe Satriani, Jeff Beck, Brian May, Angus Young, Ritchie Blackmore, Chuck Berry, Eric Clapton, Jimmy Page, Eddie Hazel, UFO, and Randy Rhoads among his influences. When Pearl Jam supported The Rolling Stones in 1997, Vedder made a joke that McCready is such a big fan of the Stones that he would count the number of lines on the band's vinyl records. McCready is known to use a Fender Stratocaster, a Gibson Les Paul, and a Gibson Les Paul Junior. When the band started, Gossard and McCready were clearly designated as rhythm and lead guitarists, respectively. The dynamic began to change when Vedder started to play more rhythm guitar during the Vitalogy era. McCready said in 2006, "Even though there are three guitars, I think there's maybe more room now. Stone will pull back and play a two-note line and Ed will do a power chord thing, and I fit into all that." Of his live performances, McCready has said, "I can kind of get into a meditative state when I'm playing, something I don't get any other way...You might see me staring up in the sky with my eyes closed. I'm not faking it. That just kind of happens."  As time has gone on McCready has contributed more to Pearl Jam's songwriting process. McCready's first writing contribution for Pearl Jam was co-writing the music for the B-side "Yellow Ledbetter" (from the "Jeremy" single), which has since become a regular set closing song during Pearl Jam's live concerts. After co-writing material for Vs. and writing the music for the song "Present Tense" from the album No Code, he wrote the music for three of the tracks on the band's 1998 album, Yield, including one of the band's biggest hits, "Given to Fly". All but one ("Force of Nature", from Backspacer) of McCready's sole compositions for Pearl Jam use alternate tunings, such as open G on "Faithfull" (from Yield), a variation of open D on "Given to Fly", and a variation of open G on "Marker in the Sand" (from Pearl Jam). McCready made his first lyrical contribution for the band with the track "Inside Job", which closes the band's 2006 self-titled album.  McCready also cites punk rock band Social Distortion as a major influence, claiming to have seen them live over fifteen times. He also states that he wrote the music to Pearl Jam B-side "Down" after seeing them in concert. CANNOTANSWER

Question: Did the group Mike McCready ever win any awards?
Answer: CANNOTANSWER
Mike McCready

Context: McCready prefers to play "by ear" rather than from a technical standpoint. He stated, "I'm so ignorant of this technical stuff...I'm not into being a tech-head." McCready's guitar style is usually of an aggressive bluesy nature, and was described by Greg Prato of Allmusic as "feel-oriented" and "rootsy." McCready has cited Ace Frehley, BB King, Ronnie Montrose, Alex Lifeson, Muddy Waters, Michael Schenker, Jimi Hendrix, Pete Townshend, David Gilmour, George Harrison, Joe Perry, Stevie Ray Vaughan, Eddie Van Halen, Joe Satriani, Jeff Beck, Brian May, Angus Young, Ritchie Blackmore, Chuck Berry, Eric Clapton, Jimmy Page, Eddie Hazel, UFO, and Randy Rhoads among his influences. When Pearl Jam supported The Rolling Stones in 1997, Vedder made a joke that McCready is such a big fan of the Stones that he would count the number of lines on the band's vinyl records. McCready is known to use a Fender Stratocaster, a Gibson Les Paul, and a Gibson Les Paul Junior. When the band started, Gossard and McCready were clearly designated as rhythm and lead guitarists, respectively. The dynamic began to change when Vedder started to play more rhythm guitar during the Vitalogy era. McCready said in 2006, "Even though there are three guitars, I think there's maybe more room now. Stone will pull back and play a two-note line and Ed will do a power chord thing, and I fit into all that." Of his live performances, McCready has said, "I can kind of get into a meditative state when I'm playing, something I don't get any other way...You might see me staring up in the sky with my eyes closed. I'm not faking it. That just kind of happens."  As time has gone on McCready has contributed more to Pearl Jam's songwriting process. McCready's first writing contribution for Pearl Jam was co-writing the music for the B-side "Yellow Ledbetter" (from the "Jeremy" single), which has since become a regular set closing song during Pearl Jam's live concerts. After co-writing material for Vs. and writing the music for the song "Present Tense" from the album No Code, he wrote the music for three of the tracks on the band's 1998 album, Yield, including one of the band's biggest hits, "Given to Fly". All but one ("Force of Nature", from Backspacer) of McCready's sole compositions for Pearl Jam use alternate tunings, such as open G on "Faithfull" (from Yield), a variation of open D on "Given to Fly", and a variation of open G on "Marker in the Sand" (from Pearl Jam). McCready made his first lyrical contribution for the band with the track "Inside Job", which closes the band's 2006 self-titled album.  McCready also cites punk rock band Social Distortion as a major influence, claiming to have seen them live over fifteen times. He also states that he wrote the music to Pearl Jam B-side "Down" after seeing them in concert. CANNOTANSWER

Question: Besides McCready citing punk rock band Social Distortion as a major influence,What else was in inspiring in the article?
Answer: McCready said in 2006, "Even though there are three guitars, I think there's maybe more room now.
Mike McCready

Context: McCready prefers to play "by ear" rather than from a technical standpoint. He stated, "I'm so ignorant of this technical stuff...I'm not into being a tech-head." McCready's guitar style is usually of an aggressive bluesy nature, and was described by Greg Prato of Allmusic as "feel-oriented" and "rootsy." McCready has cited Ace Frehley, BB King, Ronnie Montrose, Alex Lifeson, Muddy Waters, Michael Schenker, Jimi Hendrix, Pete Townshend, David Gilmour, George Harrison, Joe Perry, Stevie Ray Vaughan, Eddie Van Halen, Joe Satriani, Jeff Beck, Brian May, Angus Young, Ritchie Blackmore, Chuck Berry, Eric Clapton, Jimmy Page, Eddie Hazel, UFO, and Randy Rhoads among his influences. When Pearl Jam supported The Rolling Stones in 1997, Vedder made a joke that McCready is such a big fan of the Stones that he would count the number of lines on the band's vinyl records. McCready is known to use a Fender Stratocaster, a Gibson Les Paul, and a Gibson Les Paul Junior. When the band started, Gossard and McCready were clearly designated as rhythm and lead guitarists, respectively. The dynamic began to change when Vedder started to play more rhythm guitar during the Vitalogy era. McCready said in 2006, "Even though there are three guitars, I think there's maybe more room now. Stone will pull back and play a two-note line and Ed will do a power chord thing, and I fit into all that." Of his live performances, McCready has said, "I can kind of get into a meditative state when I'm playing, something I don't get any other way...You might see me staring up in the sky with my eyes closed. I'm not faking it. That just kind of happens."  As time has gone on McCready has contributed more to Pearl Jam's songwriting process. McCready's first writing contribution for Pearl Jam was co-writing the music for the B-side "Yellow Ledbetter" (from the "Jeremy" single), which has since become a regular set closing song during Pearl Jam's live concerts. After co-writing material for Vs. and writing the music for the song "Present Tense" from the album No Code, he wrote the music for three of the tracks on the band's 1998 album, Yield, including one of the band's biggest hits, "Given to Fly". All but one ("Force of Nature", from Backspacer) of McCready's sole compositions for Pearl Jam use alternate tunings, such as open G on "Faithfull" (from Yield), a variation of open D on "Given to Fly", and a variation of open G on "Marker in the Sand" (from Pearl Jam). McCready made his first lyrical contribution for the band with the track "Inside Job", which closes the band's 2006 self-titled album.  McCready also cites punk rock band Social Distortion as a major influence, claiming to have seen them live over fifteen times. He also states that he wrote the music to Pearl Jam B-side "Down" after seeing them in concert. CANNOTANSWER

Question: Who has been known to play alongside Mike McCready?
Answer: When the band started, Gossard and McCready were clearly designated as rhythm and lead guitarists, respectively.
Motörhead

Context: In July 1978, the band returned to the management of Douglas Smith, who secured a one-off singles deal with Bronze Records. The resulting "Louie Louie" single was issued in September peaking at number 68 on the UK Singles Chart, and the band toured the UK to promote it, recorded a BBC Radio 1 John Peel in session on 18 September (these tracks were later issued on the 2005 BBC Live & In-Session album), and appeared for the first time on BBC Television's Top of the Pops on 25 October. Chiswick capitalised on this new level of success by re-issuing the debut album Motorhead on white vinyl through EMI Records.  The single's success led to Bronze extending their contract, and put the band back into the studio to record an album, this time with producer Jimmy Miller at Roundhouse Studios. A hint of what the band had recorded for the album came on 9 March 1979 when the band played "Overkill" on Top of the Pops to support the release of the single ahead of the Overkill album, which was released on 24 March. It became Motorhead's first album to break into the top 40 of the UK Albums chart, reaching number 24, with the single reaching number 39 on the UK Singles Chart. These releases were followed by the "Overkill" UK tour which began on 23 March. A subsequent single was released in June, coupling the album track "No Class" as the A-side with the previously unreleased song "Like a Nightmare" on the B-side. It fared worse than both the album and previous single but reached number 61 on the UK singles chart.  During July and August, except for a break to appear at the Reading Festival, the band were working on their next album, Bomber. Released on 27 October, it reached number 12 on the UK Albums Chart. On 1 December, it was followed by the "Bomber" single, which reached number 34 on the UK Singles Chart. The "Bomber" Europe and UK tour followed, with support from Saxon. The stage show featured a spectacular aircraft bomber-shaped lighting rig. During the "Bomber" tour, United Artists put together tapes recorded during the Rockfield Studios sessions in 1975-1976 and released them as the album On Parole, which peaked at number 65 on the UK Albums Chart in December.  On 8 May 1980, while the band were on tour in Europe, Bronze released The Golden Years, which sold better than any of their previous releases, reaching number eight on the UK Singles Chart. The band had, however, preferred the title Flying Tonight, in reference to the "Bomber" lighting rig. On 20 August, the band (40 minutes) and Girlschool (20 minutes) were filmed performing live at the Nottingham Theatre Royal for the Rockstage programme, broadcast on UK television by the ATV station on 4 April 1981. CANNOTANSWER

Question: When was Motörhead's Overkill released?
Answer: 9 March 1979
Motörhead

Context: In July 1978, the band returned to the management of Douglas Smith, who secured a one-off singles deal with Bronze Records. The resulting "Louie Louie" single was issued in September peaking at number 68 on the UK Singles Chart, and the band toured the UK to promote it, recorded a BBC Radio 1 John Peel in session on 18 September (these tracks were later issued on the 2005 BBC Live & In-Session album), and appeared for the first time on BBC Television's Top of the Pops on 25 October. Chiswick capitalised on this new level of success by re-issuing the debut album Motorhead on white vinyl through EMI Records.  The single's success led to Bronze extending their contract, and put the band back into the studio to record an album, this time with producer Jimmy Miller at Roundhouse Studios. A hint of what the band had recorded for the album came on 9 March 1979 when the band played "Overkill" on Top of the Pops to support the release of the single ahead of the Overkill album, which was released on 24 March. It became Motorhead's first album to break into the top 40 of the UK Albums chart, reaching number 24, with the single reaching number 39 on the UK Singles Chart. These releases were followed by the "Overkill" UK tour which began on 23 March. A subsequent single was released in June, coupling the album track "No Class" as the A-side with the previously unreleased song "Like a Nightmare" on the B-side. It fared worse than both the album and previous single but reached number 61 on the UK singles chart.  During July and August, except for a break to appear at the Reading Festival, the band were working on their next album, Bomber. Released on 27 October, it reached number 12 on the UK Albums Chart. On 1 December, it was followed by the "Bomber" single, which reached number 34 on the UK Singles Chart. The "Bomber" Europe and UK tour followed, with support from Saxon. The stage show featured a spectacular aircraft bomber-shaped lighting rig. During the "Bomber" tour, United Artists put together tapes recorded during the Rockfield Studios sessions in 1975-1976 and released them as the album On Parole, which peaked at number 65 on the UK Albums Chart in December.  On 8 May 1980, while the band were on tour in Europe, Bronze released The Golden Years, which sold better than any of their previous releases, reaching number eight on the UK Singles Chart. The band had, however, preferred the title Flying Tonight, in reference to the "Bomber" lighting rig. On 20 August, the band (40 minutes) and Girlschool (20 minutes) were filmed performing live at the Nottingham Theatre Royal for the Rockstage programme, broadcast on UK television by the ATV station on 4 April 1981. CANNOTANSWER

Question: Who were the band members of Motörhead when Overkill was released?
Answer: Chiswick
Motörhead

Context: In July 1978, the band returned to the management of Douglas Smith, who secured a one-off singles deal with Bronze Records. The resulting "Louie Louie" single was issued in September peaking at number 68 on the UK Singles Chart, and the band toured the UK to promote it, recorded a BBC Radio 1 John Peel in session on 18 September (these tracks were later issued on the 2005 BBC Live & In-Session album), and appeared for the first time on BBC Television's Top of the Pops on 25 October. Chiswick capitalised on this new level of success by re-issuing the debut album Motorhead on white vinyl through EMI Records.  The single's success led to Bronze extending their contract, and put the band back into the studio to record an album, this time with producer Jimmy Miller at Roundhouse Studios. A hint of what the band had recorded for the album came on 9 March 1979 when the band played "Overkill" on Top of the Pops to support the release of the single ahead of the Overkill album, which was released on 24 March. It became Motorhead's first album to break into the top 40 of the UK Albums chart, reaching number 24, with the single reaching number 39 on the UK Singles Chart. These releases were followed by the "Overkill" UK tour which began on 23 March. A subsequent single was released in June, coupling the album track "No Class" as the A-side with the previously unreleased song "Like a Nightmare" on the B-side. It fared worse than both the album and previous single but reached number 61 on the UK singles chart.  During July and August, except for a break to appear at the Reading Festival, the band were working on their next album, Bomber. Released on 27 October, it reached number 12 on the UK Albums Chart. On 1 December, it was followed by the "Bomber" single, which reached number 34 on the UK Singles Chart. The "Bomber" Europe and UK tour followed, with support from Saxon. The stage show featured a spectacular aircraft bomber-shaped lighting rig. During the "Bomber" tour, United Artists put together tapes recorded during the Rockfield Studios sessions in 1975-1976 and released them as the album On Parole, which peaked at number 65 on the UK Albums Chart in December.  On 8 May 1980, while the band were on tour in Europe, Bronze released The Golden Years, which sold better than any of their previous releases, reaching number eight on the UK Singles Chart. The band had, however, preferred the title Flying Tonight, in reference to the "Bomber" lighting rig. On 20 August, the band (40 minutes) and Girlschool (20 minutes) were filmed performing live at the Nottingham Theatre Royal for the Rockstage programme, broadcast on UK television by the ATV station on 4 April 1981. CANNOTANSWER

Question: Did the the Motörhead album Overkill do well?
Answer: this new level of success by re-issuing the debut album Motorhead on white vinyl through EMI Records.
Motörhead

Context: In July 1978, the band returned to the management of Douglas Smith, who secured a one-off singles deal with Bronze Records. The resulting "Louie Louie" single was issued in September peaking at number 68 on the UK Singles Chart, and the band toured the UK to promote it, recorded a BBC Radio 1 John Peel in session on 18 September (these tracks were later issued on the 2005 BBC Live & In-Session album), and appeared for the first time on BBC Television's Top of the Pops on 25 October. Chiswick capitalised on this new level of success by re-issuing the debut album Motorhead on white vinyl through EMI Records.  The single's success led to Bronze extending their contract, and put the band back into the studio to record an album, this time with producer Jimmy Miller at Roundhouse Studios. A hint of what the band had recorded for the album came on 9 March 1979 when the band played "Overkill" on Top of the Pops to support the release of the single ahead of the Overkill album, which was released on 24 March. It became Motorhead's first album to break into the top 40 of the UK Albums chart, reaching number 24, with the single reaching number 39 on the UK Singles Chart. These releases were followed by the "Overkill" UK tour which began on 23 March. A subsequent single was released in June, coupling the album track "No Class" as the A-side with the previously unreleased song "Like a Nightmare" on the B-side. It fared worse than both the album and previous single but reached number 61 on the UK singles chart.  During July and August, except for a break to appear at the Reading Festival, the band were working on their next album, Bomber. Released on 27 October, it reached number 12 on the UK Albums Chart. On 1 December, it was followed by the "Bomber" single, which reached number 34 on the UK Singles Chart. The "Bomber" Europe and UK tour followed, with support from Saxon. The stage show featured a spectacular aircraft bomber-shaped lighting rig. During the "Bomber" tour, United Artists put together tapes recorded during the Rockfield Studios sessions in 1975-1976 and released them as the album On Parole, which peaked at number 65 on the UK Albums Chart in December.  On 8 May 1980, while the band were on tour in Europe, Bronze released The Golden Years, which sold better than any of their previous releases, reaching number eight on the UK Singles Chart. The band had, however, preferred the title Flying Tonight, in reference to the "Bomber" lighting rig. On 20 August, the band (40 minutes) and Girlschool (20 minutes) were filmed performing live at the Nottingham Theatre Royal for the Rockstage programme, broadcast on UK television by the ATV station on 4 April 1981. CANNOTANSWER

Question: How did the Motörhead album Overkill do on the charts?
Answer: It became Motorhead's first album to break into the top 40 of the UK Albums chart, reaching number 24,
Motörhead

Context: In July 1978, the band returned to the management of Douglas Smith, who secured a one-off singles deal with Bronze Records. The resulting "Louie Louie" single was issued in September peaking at number 68 on the UK Singles Chart, and the band toured the UK to promote it, recorded a BBC Radio 1 John Peel in session on 18 September (these tracks were later issued on the 2005 BBC Live & In-Session album), and appeared for the first time on BBC Television's Top of the Pops on 25 October. Chiswick capitalised on this new level of success by re-issuing the debut album Motorhead on white vinyl through EMI Records.  The single's success led to Bronze extending their contract, and put the band back into the studio to record an album, this time with producer Jimmy Miller at Roundhouse Studios. A hint of what the band had recorded for the album came on 9 March 1979 when the band played "Overkill" on Top of the Pops to support the release of the single ahead of the Overkill album, which was released on 24 March. It became Motorhead's first album to break into the top 40 of the UK Albums chart, reaching number 24, with the single reaching number 39 on the UK Singles Chart. These releases were followed by the "Overkill" UK tour which began on 23 March. A subsequent single was released in June, coupling the album track "No Class" as the A-side with the previously unreleased song "Like a Nightmare" on the B-side. It fared worse than both the album and previous single but reached number 61 on the UK singles chart.  During July and August, except for a break to appear at the Reading Festival, the band were working on their next album, Bomber. Released on 27 October, it reached number 12 on the UK Albums Chart. On 1 December, it was followed by the "Bomber" single, which reached number 34 on the UK Singles Chart. The "Bomber" Europe and UK tour followed, with support from Saxon. The stage show featured a spectacular aircraft bomber-shaped lighting rig. During the "Bomber" tour, United Artists put together tapes recorded during the Rockfield Studios sessions in 1975-1976 and released them as the album On Parole, which peaked at number 65 on the UK Albums Chart in December.  On 8 May 1980, while the band were on tour in Europe, Bronze released The Golden Years, which sold better than any of their previous releases, reaching number eight on the UK Singles Chart. The band had, however, preferred the title Flying Tonight, in reference to the "Bomber" lighting rig. On 20 August, the band (40 minutes) and Girlschool (20 minutes) were filmed performing live at the Nottingham Theatre Royal for the Rockstage programme, broadcast on UK television by the ATV station on 4 April 1981. CANNOTANSWER

Question: Did Motörhead's album Overkill receive any other attention besides reaching number 24 on the UK Albums chart?
Answer: These releases were followed by the "Overkill" UK tour which began on 23 March.
Motörhead

Context: In July 1978, the band returned to the management of Douglas Smith, who secured a one-off singles deal with Bronze Records. The resulting "Louie Louie" single was issued in September peaking at number 68 on the UK Singles Chart, and the band toured the UK to promote it, recorded a BBC Radio 1 John Peel in session on 18 September (these tracks were later issued on the 2005 BBC Live & In-Session album), and appeared for the first time on BBC Television's Top of the Pops on 25 October. Chiswick capitalised on this new level of success by re-issuing the debut album Motorhead on white vinyl through EMI Records.  The single's success led to Bronze extending their contract, and put the band back into the studio to record an album, this time with producer Jimmy Miller at Roundhouse Studios. A hint of what the band had recorded for the album came on 9 March 1979 when the band played "Overkill" on Top of the Pops to support the release of the single ahead of the Overkill album, which was released on 24 March. It became Motorhead's first album to break into the top 40 of the UK Albums chart, reaching number 24, with the single reaching number 39 on the UK Singles Chart. These releases were followed by the "Overkill" UK tour which began on 23 March. A subsequent single was released in June, coupling the album track "No Class" as the A-side with the previously unreleased song "Like a Nightmare" on the B-side. It fared worse than both the album and previous single but reached number 61 on the UK singles chart.  During July and August, except for a break to appear at the Reading Festival, the band were working on their next album, Bomber. Released on 27 October, it reached number 12 on the UK Albums Chart. On 1 December, it was followed by the "Bomber" single, which reached number 34 on the UK Singles Chart. The "Bomber" Europe and UK tour followed, with support from Saxon. The stage show featured a spectacular aircraft bomber-shaped lighting rig. During the "Bomber" tour, United Artists put together tapes recorded during the Rockfield Studios sessions in 1975-1976 and released them as the album On Parole, which peaked at number 65 on the UK Albums Chart in December.  On 8 May 1980, while the band were on tour in Europe, Bronze released The Golden Years, which sold better than any of their previous releases, reaching number eight on the UK Singles Chart. The band had, however, preferred the title Flying Tonight, in reference to the "Bomber" lighting rig. On 20 August, the band (40 minutes) and Girlschool (20 minutes) were filmed performing live at the Nottingham Theatre Royal for the Rockstage programme, broadcast on UK television by the ATV station on 4 April 1981. CANNOTANSWER

Question: Were there any other Motörhead tours during 1978-1979 besides the Overkill UK tour?
Answer: During July and August, except for a break to appear at the Reading Festival, the band were working on their next album,
Motörhead

Context: In July 1978, the band returned to the management of Douglas Smith, who secured a one-off singles deal with Bronze Records. The resulting "Louie Louie" single was issued in September peaking at number 68 on the UK Singles Chart, and the band toured the UK to promote it, recorded a BBC Radio 1 John Peel in session on 18 September (these tracks were later issued on the 2005 BBC Live & In-Session album), and appeared for the first time on BBC Television's Top of the Pops on 25 October. Chiswick capitalised on this new level of success by re-issuing the debut album Motorhead on white vinyl through EMI Records.  The single's success led to Bronze extending their contract, and put the band back into the studio to record an album, this time with producer Jimmy Miller at Roundhouse Studios. A hint of what the band had recorded for the album came on 9 March 1979 when the band played "Overkill" on Top of the Pops to support the release of the single ahead of the Overkill album, which was released on 24 March. It became Motorhead's first album to break into the top 40 of the UK Albums chart, reaching number 24, with the single reaching number 39 on the UK Singles Chart. These releases were followed by the "Overkill" UK tour which began on 23 March. A subsequent single was released in June, coupling the album track "No Class" as the A-side with the previously unreleased song "Like a Nightmare" on the B-side. It fared worse than both the album and previous single but reached number 61 on the UK singles chart.  During July and August, except for a break to appear at the Reading Festival, the band were working on their next album, Bomber. Released on 27 October, it reached number 12 on the UK Albums Chart. On 1 December, it was followed by the "Bomber" single, which reached number 34 on the UK Singles Chart. The "Bomber" Europe and UK tour followed, with support from Saxon. The stage show featured a spectacular aircraft bomber-shaped lighting rig. During the "Bomber" tour, United Artists put together tapes recorded during the Rockfield Studios sessions in 1975-1976 and released them as the album On Parole, which peaked at number 65 on the UK Albums Chart in December.  On 8 May 1980, while the band were on tour in Europe, Bronze released The Golden Years, which sold better than any of their previous releases, reaching number eight on the UK Singles Chart. The band had, however, preferred the title Flying Tonight, in reference to the "Bomber" lighting rig. On 20 August, the band (40 minutes) and Girlschool (20 minutes) were filmed performing live at the Nottingham Theatre Royal for the Rockstage programme, broadcast on UK television by the ATV station on 4 April 1981. CANNOTANSWER

Question: When was Motörhead's album Bomber released?
Answer: Released on 27 October,
Motörhead

Context: In July 1978, the band returned to the management of Douglas Smith, who secured a one-off singles deal with Bronze Records. The resulting "Louie Louie" single was issued in September peaking at number 68 on the UK Singles Chart, and the band toured the UK to promote it, recorded a BBC Radio 1 John Peel in session on 18 September (these tracks were later issued on the 2005 BBC Live & In-Session album), and appeared for the first time on BBC Television's Top of the Pops on 25 October. Chiswick capitalised on this new level of success by re-issuing the debut album Motorhead on white vinyl through EMI Records.  The single's success led to Bronze extending their contract, and put the band back into the studio to record an album, this time with producer Jimmy Miller at Roundhouse Studios. A hint of what the band had recorded for the album came on 9 March 1979 when the band played "Overkill" on Top of the Pops to support the release of the single ahead of the Overkill album, which was released on 24 March. It became Motorhead's first album to break into the top 40 of the UK Albums chart, reaching number 24, with the single reaching number 39 on the UK Singles Chart. These releases were followed by the "Overkill" UK tour which began on 23 March. A subsequent single was released in June, coupling the album track "No Class" as the A-side with the previously unreleased song "Like a Nightmare" on the B-side. It fared worse than both the album and previous single but reached number 61 on the UK singles chart.  During July and August, except for a break to appear at the Reading Festival, the band were working on their next album, Bomber. Released on 27 October, it reached number 12 on the UK Albums Chart. On 1 December, it was followed by the "Bomber" single, which reached number 34 on the UK Singles Chart. The "Bomber" Europe and UK tour followed, with support from Saxon. The stage show featured a spectacular aircraft bomber-shaped lighting rig. During the "Bomber" tour, United Artists put together tapes recorded during the Rockfield Studios sessions in 1975-1976 and released them as the album On Parole, which peaked at number 65 on the UK Albums Chart in December.  On 8 May 1980, while the band were on tour in Europe, Bronze released The Golden Years, which sold better than any of their previous releases, reaching number eight on the UK Singles Chart. The band had, however, preferred the title Flying Tonight, in reference to the "Bomber" lighting rig. On 20 August, the band (40 minutes) and Girlschool (20 minutes) were filmed performing live at the Nottingham Theatre Royal for the Rockstage programme, broadcast on UK television by the ATV station on 4 April 1981. CANNOTANSWER

Question: Who was involved in the production of Motörhead's album Bomber?
Answer: United Artists