gaussalgo/Canard_Wiki-augmented huggingface dataset:
Duke Ellington

Context: When his drummer Sonny Greer was invited to join the Wilber Sweatman Orchestra in New York City, Ellington made the fateful decision to leave behind his successful career in Washington, D.C., and move to Harlem, ultimately becoming part of the Harlem Renaissance. New dance crazes such as the Charleston emerged in Harlem, as well as African-American musical theater, including Eubie Blake's Shuffle Along. After the young musicians left the Sweatman Orchestra to strike out on their own, they found an emerging jazz scene that was highly competitive and hard to crack. They hustled pool by day and played whatever gigs they could find. The young band met stride pianist Willie "The Lion" Smith, who introduced them to the scene and gave them some money. They played at rent-house parties for income. After a few months, the young musicians returned to Washington, D.C., feeling discouraged.  In June 1923, a gig in Atlantic City, New Jersey, led to a play date at the prestigious Exclusive Club in Harlem. This was followed in September 1923 by a move to the Hollywood Club - 49th and Broadway - and a four-year engagement, which gave Ellington a solid artistic base. He was known to play the bugle at the end of each performance. The group was initially called Elmer Snowden and his Black Sox Orchestra and had seven members, including trumpeter James "Bubber" Miley. They renamed themselves The Washingtonians. Snowden left the group in early 1924 and Ellington took over as bandleader. After a fire, the club was re-opened as the Club Kentucky (often referred to as the Kentucky Club).  Ellington made eight records in 1924, receiving composing credit on three including "Choo Choo". In 1925, Ellington contributed four songs to Chocolate Kiddies starring Lottie Gee and Adelaide Hall, an all-African-American revue which introduced European audiences to African-American styles and performers. Duke Ellington and his Kentucky Club Orchestra grew to a group of ten players; they developed their own sound by displaying the non-traditional expression of Ellington's arrangements, the street rhythms of Harlem, and the exotic-sounding trombone growls and wah-wahs, high-squealing trumpets, and sultry saxophone blues licks of the band members. For a short time soprano saxophonist Sidney Bechet played with them, imparting his propulsive swing and superior musicianship to the young band members. CANNOTANSWER

Question: How long did Duke Ellington play in Harlem?
Answer: After a few months, the young musicians returned to Washington, D.C., feeling discouraged.
Duke Ellington

Context: When his drummer Sonny Greer was invited to join the Wilber Sweatman Orchestra in New York City, Ellington made the fateful decision to leave behind his successful career in Washington, D.C., and move to Harlem, ultimately becoming part of the Harlem Renaissance. New dance crazes such as the Charleston emerged in Harlem, as well as African-American musical theater, including Eubie Blake's Shuffle Along. After the young musicians left the Sweatman Orchestra to strike out on their own, they found an emerging jazz scene that was highly competitive and hard to crack. They hustled pool by day and played whatever gigs they could find. The young band met stride pianist Willie "The Lion" Smith, who introduced them to the scene and gave them some money. They played at rent-house parties for income. After a few months, the young musicians returned to Washington, D.C., feeling discouraged.  In June 1923, a gig in Atlantic City, New Jersey, led to a play date at the prestigious Exclusive Club in Harlem. This was followed in September 1923 by a move to the Hollywood Club - 49th and Broadway - and a four-year engagement, which gave Ellington a solid artistic base. He was known to play the bugle at the end of each performance. The group was initially called Elmer Snowden and his Black Sox Orchestra and had seven members, including trumpeter James "Bubber" Miley. They renamed themselves The Washingtonians. Snowden left the group in early 1924 and Ellington took over as bandleader. After a fire, the club was re-opened as the Club Kentucky (often referred to as the Kentucky Club).  Ellington made eight records in 1924, receiving composing credit on three including "Choo Choo". In 1925, Ellington contributed four songs to Chocolate Kiddies starring Lottie Gee and Adelaide Hall, an all-African-American revue which introduced European audiences to African-American styles and performers. Duke Ellington and his Kentucky Club Orchestra grew to a group of ten players; they developed their own sound by displaying the non-traditional expression of Ellington's arrangements, the street rhythms of Harlem, and the exotic-sounding trombone growls and wah-wahs, high-squealing trumpets, and sultry saxophone blues licks of the band members. For a short time soprano saxophonist Sidney Bechet played with them, imparting his propulsive swing and superior musicianship to the young band members. CANNOTANSWER

Question: What did Duke do in Washington D.C.?
Answer: CANNOTANSWER
Duke Ellington

Context: When his drummer Sonny Greer was invited to join the Wilber Sweatman Orchestra in New York City, Ellington made the fateful decision to leave behind his successful career in Washington, D.C., and move to Harlem, ultimately becoming part of the Harlem Renaissance. New dance crazes such as the Charleston emerged in Harlem, as well as African-American musical theater, including Eubie Blake's Shuffle Along. After the young musicians left the Sweatman Orchestra to strike out on their own, they found an emerging jazz scene that was highly competitive and hard to crack. They hustled pool by day and played whatever gigs they could find. The young band met stride pianist Willie "The Lion" Smith, who introduced them to the scene and gave them some money. They played at rent-house parties for income. After a few months, the young musicians returned to Washington, D.C., feeling discouraged.  In June 1923, a gig in Atlantic City, New Jersey, led to a play date at the prestigious Exclusive Club in Harlem. This was followed in September 1923 by a move to the Hollywood Club - 49th and Broadway - and a four-year engagement, which gave Ellington a solid artistic base. He was known to play the bugle at the end of each performance. The group was initially called Elmer Snowden and his Black Sox Orchestra and had seven members, including trumpeter James "Bubber" Miley. They renamed themselves The Washingtonians. Snowden left the group in early 1924 and Ellington took over as bandleader. After a fire, the club was re-opened as the Club Kentucky (often referred to as the Kentucky Club).  Ellington made eight records in 1924, receiving composing credit on three including "Choo Choo". In 1925, Ellington contributed four songs to Chocolate Kiddies starring Lottie Gee and Adelaide Hall, an all-African-American revue which introduced European audiences to African-American styles and performers. Duke Ellington and his Kentucky Club Orchestra grew to a group of ten players; they developed their own sound by displaying the non-traditional expression of Ellington's arrangements, the street rhythms of Harlem, and the exotic-sounding trombone growls and wah-wahs, high-squealing trumpets, and sultry saxophone blues licks of the band members. For a short time soprano saxophonist Sidney Bechet played with them, imparting his propulsive swing and superior musicianship to the young band members. CANNOTANSWER

Question: Was Duke Ellington successful?
Answer: In June 1923, a gig in Atlantic City, New Jersey, led to a play date at the prestigious Exclusive Club in Harlem.
Duke Ellington

Context: When his drummer Sonny Greer was invited to join the Wilber Sweatman Orchestra in New York City, Ellington made the fateful decision to leave behind his successful career in Washington, D.C., and move to Harlem, ultimately becoming part of the Harlem Renaissance. New dance crazes such as the Charleston emerged in Harlem, as well as African-American musical theater, including Eubie Blake's Shuffle Along. After the young musicians left the Sweatman Orchestra to strike out on their own, they found an emerging jazz scene that was highly competitive and hard to crack. They hustled pool by day and played whatever gigs they could find. The young band met stride pianist Willie "The Lion" Smith, who introduced them to the scene and gave them some money. They played at rent-house parties for income. After a few months, the young musicians returned to Washington, D.C., feeling discouraged.  In June 1923, a gig in Atlantic City, New Jersey, led to a play date at the prestigious Exclusive Club in Harlem. This was followed in September 1923 by a move to the Hollywood Club - 49th and Broadway - and a four-year engagement, which gave Ellington a solid artistic base. He was known to play the bugle at the end of each performance. The group was initially called Elmer Snowden and his Black Sox Orchestra and had seven members, including trumpeter James "Bubber" Miley. They renamed themselves The Washingtonians. Snowden left the group in early 1924 and Ellington took over as bandleader. After a fire, the club was re-opened as the Club Kentucky (often referred to as the Kentucky Club).  Ellington made eight records in 1924, receiving composing credit on three including "Choo Choo". In 1925, Ellington contributed four songs to Chocolate Kiddies starring Lottie Gee and Adelaide Hall, an all-African-American revue which introduced European audiences to African-American styles and performers. Duke Ellington and his Kentucky Club Orchestra grew to a group of ten players; they developed their own sound by displaying the non-traditional expression of Ellington's arrangements, the street rhythms of Harlem, and the exotic-sounding trombone growls and wah-wahs, high-squealing trumpets, and sultry saxophone blues licks of the band members. For a short time soprano saxophonist Sidney Bechet played with them, imparting his propulsive swing and superior musicianship to the young band members. CANNOTANSWER

Question: Did Duke Ellington have a band?
Answer: The group was initially called Elmer Snowden and his Black Sox Orchestra and had seven members,
Duke Ellington

Context: When his drummer Sonny Greer was invited to join the Wilber Sweatman Orchestra in New York City, Ellington made the fateful decision to leave behind his successful career in Washington, D.C., and move to Harlem, ultimately becoming part of the Harlem Renaissance. New dance crazes such as the Charleston emerged in Harlem, as well as African-American musical theater, including Eubie Blake's Shuffle Along. After the young musicians left the Sweatman Orchestra to strike out on their own, they found an emerging jazz scene that was highly competitive and hard to crack. They hustled pool by day and played whatever gigs they could find. The young band met stride pianist Willie "The Lion" Smith, who introduced them to the scene and gave them some money. They played at rent-house parties for income. After a few months, the young musicians returned to Washington, D.C., feeling discouraged.  In June 1923, a gig in Atlantic City, New Jersey, led to a play date at the prestigious Exclusive Club in Harlem. This was followed in September 1923 by a move to the Hollywood Club - 49th and Broadway - and a four-year engagement, which gave Ellington a solid artistic base. He was known to play the bugle at the end of each performance. The group was initially called Elmer Snowden and his Black Sox Orchestra and had seven members, including trumpeter James "Bubber" Miley. They renamed themselves The Washingtonians. Snowden left the group in early 1924 and Ellington took over as bandleader. After a fire, the club was re-opened as the Club Kentucky (often referred to as the Kentucky Club).  Ellington made eight records in 1924, receiving composing credit on three including "Choo Choo". In 1925, Ellington contributed four songs to Chocolate Kiddies starring Lottie Gee and Adelaide Hall, an all-African-American revue which introduced European audiences to African-American styles and performers. Duke Ellington and his Kentucky Club Orchestra grew to a group of ten players; they developed their own sound by displaying the non-traditional expression of Ellington's arrangements, the street rhythms of Harlem, and the exotic-sounding trombone growls and wah-wahs, high-squealing trumpets, and sultry saxophone blues licks of the band members. For a short time soprano saxophonist Sidney Bechet played with them, imparting his propulsive swing and superior musicianship to the young band members. CANNOTANSWER

Question: Was Elmer Snowden a pseudonym for Duke Ellington?
Answer: CANNOTANSWER
Renaissance (band)

Context: As The Yardbirds were transforming into The New Yardbirds (with Jimmy Page) in 1968 and then Led Zeppelin, departing members Keith Relf and Jim McCarty formed an acoustic duo called Together.  They released "Henry's Coming Home" b/w "Love Mum And Dad" as a single on Columbia Records in November 1968 without chart success.  In January 1969, Relf and McCarty organised a new group devoted to experimentation with rock, folk, and classical forms. In his book Mountains come out of the sky: an illustrated history of prog rock, Will Romano quoted McCarty:  This quintet -- Relf on guitar and vocals, McCarty on drums and vocals, plus bassist Louis Cennamo, pianist John Hawken, and Relf's sister Jane as an additional vocalist -- released a pair of albums on Elektra (US) and Island (UK-ILPS 9112), the first one, titled simply Renaissance, being produced by fellow ex-Yardbird Paul Samwell-Smith.  The band had begun performing in May 1969, before recording had commenced for the debut LP, mostly in the UK, but with occasional forays abroad, including festivals in Belgium (Amougies, October 1969) and France (Operation 666 at the Olympia in January 1970, and Le Bourget in March 1970, both in Paris). In February 1970 they embarked on a North American tour, but that month-long trek proved only marginally successful. Because of their Yardbirds credentials, they found themselves paired with bands such as The Kinks and their new classically oriented direction did not always go down well because audiences were expecting rock/blues-based material.  Beginning in the late spring of 1970 as touring began to grind on them, the original band gradually dissolved. Relf and McCarty decided to quit performing, and Cennamo joined Colosseum. Hawken organised a new line-up to fulfill contractual obligations to Island Records and complete the band's second album, Illusion which had been left unfinished. CANNOTANSWER

Question: When did the original line up of the Renaissance (band) begin playing together?
Answer: January 1969, Relf and McCarty organised a new group
Renaissance (band)

Context: As The Yardbirds were transforming into The New Yardbirds (with Jimmy Page) in 1968 and then Led Zeppelin, departing members Keith Relf and Jim McCarty formed an acoustic duo called Together.  They released "Henry's Coming Home" b/w "Love Mum And Dad" as a single on Columbia Records in November 1968 without chart success.  In January 1969, Relf and McCarty organised a new group devoted to experimentation with rock, folk, and classical forms. In his book Mountains come out of the sky: an illustrated history of prog rock, Will Romano quoted McCarty:  This quintet -- Relf on guitar and vocals, McCarty on drums and vocals, plus bassist Louis Cennamo, pianist John Hawken, and Relf's sister Jane as an additional vocalist -- released a pair of albums on Elektra (US) and Island (UK-ILPS 9112), the first one, titled simply Renaissance, being produced by fellow ex-Yardbird Paul Samwell-Smith.  The band had begun performing in May 1969, before recording had commenced for the debut LP, mostly in the UK, but with occasional forays abroad, including festivals in Belgium (Amougies, October 1969) and France (Operation 666 at the Olympia in January 1970, and Le Bourget in March 1970, both in Paris). In February 1970 they embarked on a North American tour, but that month-long trek proved only marginally successful. Because of their Yardbirds credentials, they found themselves paired with bands such as The Kinks and their new classically oriented direction did not always go down well because audiences were expecting rock/blues-based material.  Beginning in the late spring of 1970 as touring began to grind on them, the original band gradually dissolved. Relf and McCarty decided to quit performing, and Cennamo joined Colosseum. Hawken organised a new line-up to fulfill contractual obligations to Island Records and complete the band's second album, Illusion which had been left unfinished. CANNOTANSWER

Question: How many members were in Renaissance (band) group?
Answer: This quintet -- Relf on guitar and vocals, McCarty on drums and vocals, plus bassist Louis Cennamo, pianist John Hawken, and Relf's sister Jane
Renaissance (band)

Context: As The Yardbirds were transforming into The New Yardbirds (with Jimmy Page) in 1968 and then Led Zeppelin, departing members Keith Relf and Jim McCarty formed an acoustic duo called Together.  They released "Henry's Coming Home" b/w "Love Mum And Dad" as a single on Columbia Records in November 1968 without chart success.  In January 1969, Relf and McCarty organised a new group devoted to experimentation with rock, folk, and classical forms. In his book Mountains come out of the sky: an illustrated history of prog rock, Will Romano quoted McCarty:  This quintet -- Relf on guitar and vocals, McCarty on drums and vocals, plus bassist Louis Cennamo, pianist John Hawken, and Relf's sister Jane as an additional vocalist -- released a pair of albums on Elektra (US) and Island (UK-ILPS 9112), the first one, titled simply Renaissance, being produced by fellow ex-Yardbird Paul Samwell-Smith.  The band had begun performing in May 1969, before recording had commenced for the debut LP, mostly in the UK, but with occasional forays abroad, including festivals in Belgium (Amougies, October 1969) and France (Operation 666 at the Olympia in January 1970, and Le Bourget in March 1970, both in Paris). In February 1970 they embarked on a North American tour, but that month-long trek proved only marginally successful. Because of their Yardbirds credentials, they found themselves paired with bands such as The Kinks and their new classically oriented direction did not always go down well because audiences were expecting rock/blues-based material.  Beginning in the late spring of 1970 as touring began to grind on them, the original band gradually dissolved. Relf and McCarty decided to quit performing, and Cennamo joined Colosseum. Hawken organised a new line-up to fulfill contractual obligations to Island Records and complete the band's second album, Illusion which had been left unfinished. CANNOTANSWER

Question: Did Renaissance (band) record an album in January 1969
Answer: released a pair of albums on Elektra (US) and Island (UK-ILPS 9112),
Renaissance (band)

Context: As The Yardbirds were transforming into The New Yardbirds (with Jimmy Page) in 1968 and then Led Zeppelin, departing members Keith Relf and Jim McCarty formed an acoustic duo called Together.  They released "Henry's Coming Home" b/w "Love Mum And Dad" as a single on Columbia Records in November 1968 without chart success.  In January 1969, Relf and McCarty organised a new group devoted to experimentation with rock, folk, and classical forms. In his book Mountains come out of the sky: an illustrated history of prog rock, Will Romano quoted McCarty:  This quintet -- Relf on guitar and vocals, McCarty on drums and vocals, plus bassist Louis Cennamo, pianist John Hawken, and Relf's sister Jane as an additional vocalist -- released a pair of albums on Elektra (US) and Island (UK-ILPS 9112), the first one, titled simply Renaissance, being produced by fellow ex-Yardbird Paul Samwell-Smith.  The band had begun performing in May 1969, before recording had commenced for the debut LP, mostly in the UK, but with occasional forays abroad, including festivals in Belgium (Amougies, October 1969) and France (Operation 666 at the Olympia in January 1970, and Le Bourget in March 1970, both in Paris). In February 1970 they embarked on a North American tour, but that month-long trek proved only marginally successful. Because of their Yardbirds credentials, they found themselves paired with bands such as The Kinks and their new classically oriented direction did not always go down well because audiences were expecting rock/blues-based material.  Beginning in the late spring of 1970 as touring began to grind on them, the original band gradually dissolved. Relf and McCarty decided to quit performing, and Cennamo joined Colosseum. Hawken organised a new line-up to fulfill contractual obligations to Island Records and complete the band's second album, Illusion which had been left unfinished. CANNOTANSWER

Question: How did the albums on Elektra (US) and Island (UK-ILPS 9112), do in the charts?
Answer: CANNOTANSWER
Renaissance (band)

Context: As The Yardbirds were transforming into The New Yardbirds (with Jimmy Page) in 1968 and then Led Zeppelin, departing members Keith Relf and Jim McCarty formed an acoustic duo called Together.  They released "Henry's Coming Home" b/w "Love Mum And Dad" as a single on Columbia Records in November 1968 without chart success.  In January 1969, Relf and McCarty organised a new group devoted to experimentation with rock, folk, and classical forms. In his book Mountains come out of the sky: an illustrated history of prog rock, Will Romano quoted McCarty:  This quintet -- Relf on guitar and vocals, McCarty on drums and vocals, plus bassist Louis Cennamo, pianist John Hawken, and Relf's sister Jane as an additional vocalist -- released a pair of albums on Elektra (US) and Island (UK-ILPS 9112), the first one, titled simply Renaissance, being produced by fellow ex-Yardbird Paul Samwell-Smith.  The band had begun performing in May 1969, before recording had commenced for the debut LP, mostly in the UK, but with occasional forays abroad, including festivals in Belgium (Amougies, October 1969) and France (Operation 666 at the Olympia in January 1970, and Le Bourget in March 1970, both in Paris). In February 1970 they embarked on a North American tour, but that month-long trek proved only marginally successful. Because of their Yardbirds credentials, they found themselves paired with bands such as The Kinks and their new classically oriented direction did not always go down well because audiences were expecting rock/blues-based material.  Beginning in the late spring of 1970 as touring began to grind on them, the original band gradually dissolved. Relf and McCarty decided to quit performing, and Cennamo joined Colosseum. Hawken organised a new line-up to fulfill contractual obligations to Island Records and complete the band's second album, Illusion which had been left unfinished. CANNOTANSWER

Question: Did  Renaissance (band) go on tour?
Answer: ). In February 1970 they embarked on a North American tour,
Renaissance (band)

Context: As The Yardbirds were transforming into The New Yardbirds (with Jimmy Page) in 1968 and then Led Zeppelin, departing members Keith Relf and Jim McCarty formed an acoustic duo called Together.  They released "Henry's Coming Home" b/w "Love Mum And Dad" as a single on Columbia Records in November 1968 without chart success.  In January 1969, Relf and McCarty organised a new group devoted to experimentation with rock, folk, and classical forms. In his book Mountains come out of the sky: an illustrated history of prog rock, Will Romano quoted McCarty:  This quintet -- Relf on guitar and vocals, McCarty on drums and vocals, plus bassist Louis Cennamo, pianist John Hawken, and Relf's sister Jane as an additional vocalist -- released a pair of albums on Elektra (US) and Island (UK-ILPS 9112), the first one, titled simply Renaissance, being produced by fellow ex-Yardbird Paul Samwell-Smith.  The band had begun performing in May 1969, before recording had commenced for the debut LP, mostly in the UK, but with occasional forays abroad, including festivals in Belgium (Amougies, October 1969) and France (Operation 666 at the Olympia in January 1970, and Le Bourget in March 1970, both in Paris). In February 1970 they embarked on a North American tour, but that month-long trek proved only marginally successful. Because of their Yardbirds credentials, they found themselves paired with bands such as The Kinks and their new classically oriented direction did not always go down well because audiences were expecting rock/blues-based material.  Beginning in the late spring of 1970 as touring began to grind on them, the original band gradually dissolved. Relf and McCarty decided to quit performing, and Cennamo joined Colosseum. Hawken organised a new line-up to fulfill contractual obligations to Island Records and complete the band's second album, Illusion which had been left unfinished. CANNOTANSWER

Question: When did the original lineup of the  Renaissance (band)stop playing together?
Answer: in the late spring of 1970 as touring began to grind on them, the original band gradually dissolved.
Renaissance (band)

Context: As The Yardbirds were transforming into The New Yardbirds (with Jimmy Page) in 1968 and then Led Zeppelin, departing members Keith Relf and Jim McCarty formed an acoustic duo called Together.  They released "Henry's Coming Home" b/w "Love Mum And Dad" as a single on Columbia Records in November 1968 without chart success.  In January 1969, Relf and McCarty organised a new group devoted to experimentation with rock, folk, and classical forms. In his book Mountains come out of the sky: an illustrated history of prog rock, Will Romano quoted McCarty:  This quintet -- Relf on guitar and vocals, McCarty on drums and vocals, plus bassist Louis Cennamo, pianist John Hawken, and Relf's sister Jane as an additional vocalist -- released a pair of albums on Elektra (US) and Island (UK-ILPS 9112), the first one, titled simply Renaissance, being produced by fellow ex-Yardbird Paul Samwell-Smith.  The band had begun performing in May 1969, before recording had commenced for the debut LP, mostly in the UK, but with occasional forays abroad, including festivals in Belgium (Amougies, October 1969) and France (Operation 666 at the Olympia in January 1970, and Le Bourget in March 1970, both in Paris). In February 1970 they embarked on a North American tour, but that month-long trek proved only marginally successful. Because of their Yardbirds credentials, they found themselves paired with bands such as The Kinks and their new classically oriented direction did not always go down well because audiences were expecting rock/blues-based material.  Beginning in the late spring of 1970 as touring began to grind on them, the original band gradually dissolved. Relf and McCarty decided to quit performing, and Cennamo joined Colosseum. Hawken organised a new line-up to fulfill contractual obligations to Island Records and complete the band's second album, Illusion which had been left unfinished. CANNOTANSWER

Question: Did any of the original members of the  Renaissance (band) remain in the band?
Answer: CANNOTANSWER
Renaissance (band)

Context: As The Yardbirds were transforming into The New Yardbirds (with Jimmy Page) in 1968 and then Led Zeppelin, departing members Keith Relf and Jim McCarty formed an acoustic duo called Together.  They released "Henry's Coming Home" b/w "Love Mum And Dad" as a single on Columbia Records in November 1968 without chart success.  In January 1969, Relf and McCarty organised a new group devoted to experimentation with rock, folk, and classical forms. In his book Mountains come out of the sky: an illustrated history of prog rock, Will Romano quoted McCarty:  This quintet -- Relf on guitar and vocals, McCarty on drums and vocals, plus bassist Louis Cennamo, pianist John Hawken, and Relf's sister Jane as an additional vocalist -- released a pair of albums on Elektra (US) and Island (UK-ILPS 9112), the first one, titled simply Renaissance, being produced by fellow ex-Yardbird Paul Samwell-Smith.  The band had begun performing in May 1969, before recording had commenced for the debut LP, mostly in the UK, but with occasional forays abroad, including festivals in Belgium (Amougies, October 1969) and France (Operation 666 at the Olympia in January 1970, and Le Bourget in March 1970, both in Paris). In February 1970 they embarked on a North American tour, but that month-long trek proved only marginally successful. Because of their Yardbirds credentials, they found themselves paired with bands such as The Kinks and their new classically oriented direction did not always go down well because audiences were expecting rock/blues-based material.  Beginning in the late spring of 1970 as touring began to grind on them, the original band gradually dissolved. Relf and McCarty decided to quit performing, and Cennamo joined Colosseum. Hawken organised a new line-up to fulfill contractual obligations to Island Records and complete the band's second album, Illusion which had been left unfinished. CANNOTANSWER

Question: Are there any other interesting aspects about this article other than the Original incarnation (1969-70) ?
Answer: Because of their Yardbirds credentials, they found themselves paired with bands such as The Kinks
Hit 'Em Up

Context: Finishing the recording of the song, Shakur felt very positively about the track, saying the "song is going to be playing in every club., every country. Deejays are calling from everywhere, wanting to get a piece of this." "Hit 'Em Up" appeared first as a B-side, on the single "How Do U Want It", by Shakur featuring The Outlawz. On June 4, 1996 under the label Death Row Records, "Hit 'Em Up" was released on compact disc, 12-inch, and a 45 RPM. The original cover for the single had Puffy's head on a snake's body, and Biggie's head on a pig's. It also appeared posthumously on several compilations, including the 2004 release of Shakur's last recorded live performance, Live at the House of Blues. "Hit 'Em Up" was also remixed on Nu-Mixx Klazzics. Upon its release, "Hit 'Em Up" received frequent radio airplay, which was attributed to the public interest in the ongoing feud and radio stations' desire to garner high ratings. However, some radio stations, such as the Los Angeles-based KPWR, refused to play it. The follow-up to "Hit 'Em Up" was the song "Bomb First (My Second Reply)".  "Hit 'Em Up" has been called "controversial," "infamous," "disturbing," and "brutal." Shakur's insults against virtually the entire East Coast scene of rappers were said to be ferocious. The song, along with "Dear Mama," has been viewed as one of Shakur's songs that resonated with and was spoken of the most by young people. Some felt that "Hit 'Em Up" showcased Shakur ranting and raving like a fool, and J.R. Reynolds of Billboard called it horrendous, noting that Shakur revealed his true colors upon recording the song. He also went on to say that although sympathetic to the shooting, "Hit 'Em Up" had "fan[ned] the flames of hatred ...and affect[ed] an entire black culture's psyche"; he called the song "repugnant and unacceptable." Among associates of Shakur, it was called a "bad-luck song." Los Angeles radio director Bruce St. James called the song "the be-all, end-all, curse-word, dirty-lyric, violent song of all time." Game's manager has called it the best diss record. Documentary filmmaker Carl Weston believed that "most people in Biggie's shoes would have wanted to at least hurt Tupac" in a Spin magazine interview.  Among musicians, the song drew criticism from singer Dionne Warwick, and disapproval from fellow rappers Kool Moe Dee and Chuck D, as written in their book There's a God on the Mic: The True 50 Greatest MCs. They felt that although Shakur was one of the most substantive rappers of that period, he had gone too far with "Hit 'Em Up," causing some of Shakur's fans to turn on him, according to the two rappers. CANNOTANSWER

Question: When was the song Hit 'Em Up released?
Answer: On June 4, 1996
Hit 'Em Up

Context: Finishing the recording of the song, Shakur felt very positively about the track, saying the "song is going to be playing in every club., every country. Deejays are calling from everywhere, wanting to get a piece of this." "Hit 'Em Up" appeared first as a B-side, on the single "How Do U Want It", by Shakur featuring The Outlawz. On June 4, 1996 under the label Death Row Records, "Hit 'Em Up" was released on compact disc, 12-inch, and a 45 RPM. The original cover for the single had Puffy's head on a snake's body, and Biggie's head on a pig's. It also appeared posthumously on several compilations, including the 2004 release of Shakur's last recorded live performance, Live at the House of Blues. "Hit 'Em Up" was also remixed on Nu-Mixx Klazzics. Upon its release, "Hit 'Em Up" received frequent radio airplay, which was attributed to the public interest in the ongoing feud and radio stations' desire to garner high ratings. However, some radio stations, such as the Los Angeles-based KPWR, refused to play it. The follow-up to "Hit 'Em Up" was the song "Bomb First (My Second Reply)".  "Hit 'Em Up" has been called "controversial," "infamous," "disturbing," and "brutal." Shakur's insults against virtually the entire East Coast scene of rappers were said to be ferocious. The song, along with "Dear Mama," has been viewed as one of Shakur's songs that resonated with and was spoken of the most by young people. Some felt that "Hit 'Em Up" showcased Shakur ranting and raving like a fool, and J.R. Reynolds of Billboard called it horrendous, noting that Shakur revealed his true colors upon recording the song. He also went on to say that although sympathetic to the shooting, "Hit 'Em Up" had "fan[ned] the flames of hatred ...and affect[ed] an entire black culture's psyche"; he called the song "repugnant and unacceptable." Among associates of Shakur, it was called a "bad-luck song." Los Angeles radio director Bruce St. James called the song "the be-all, end-all, curse-word, dirty-lyric, violent song of all time." Game's manager has called it the best diss record. Documentary filmmaker Carl Weston believed that "most people in Biggie's shoes would have wanted to at least hurt Tupac" in a Spin magazine interview.  Among musicians, the song drew criticism from singer Dionne Warwick, and disapproval from fellow rappers Kool Moe Dee and Chuck D, as written in their book There's a God on the Mic: The True 50 Greatest MCs. They felt that although Shakur was one of the most substantive rappers of that period, he had gone too far with "Hit 'Em Up," causing some of Shakur's fans to turn on him, according to the two rappers. CANNOTANSWER

Question: Was there any controversy with the song Hit 'Em Up?
Answer: However, some radio stations, such as the Los Angeles-based KPWR, refused to play it.
Hit 'Em Up

Context: Finishing the recording of the song, Shakur felt very positively about the track, saying the "song is going to be playing in every club., every country. Deejays are calling from everywhere, wanting to get a piece of this." "Hit 'Em Up" appeared first as a B-side, on the single "How Do U Want It", by Shakur featuring The Outlawz. On June 4, 1996 under the label Death Row Records, "Hit 'Em Up" was released on compact disc, 12-inch, and a 45 RPM. The original cover for the single had Puffy's head on a snake's body, and Biggie's head on a pig's. It also appeared posthumously on several compilations, including the 2004 release of Shakur's last recorded live performance, Live at the House of Blues. "Hit 'Em Up" was also remixed on Nu-Mixx Klazzics. Upon its release, "Hit 'Em Up" received frequent radio airplay, which was attributed to the public interest in the ongoing feud and radio stations' desire to garner high ratings. However, some radio stations, such as the Los Angeles-based KPWR, refused to play it. The follow-up to "Hit 'Em Up" was the song "Bomb First (My Second Reply)".  "Hit 'Em Up" has been called "controversial," "infamous," "disturbing," and "brutal." Shakur's insults against virtually the entire East Coast scene of rappers were said to be ferocious. The song, along with "Dear Mama," has been viewed as one of Shakur's songs that resonated with and was spoken of the most by young people. Some felt that "Hit 'Em Up" showcased Shakur ranting and raving like a fool, and J.R. Reynolds of Billboard called it horrendous, noting that Shakur revealed his true colors upon recording the song. He also went on to say that although sympathetic to the shooting, "Hit 'Em Up" had "fan[ned] the flames of hatred ...and affect[ed] an entire black culture's psyche"; he called the song "repugnant and unacceptable." Among associates of Shakur, it was called a "bad-luck song." Los Angeles radio director Bruce St. James called the song "the be-all, end-all, curse-word, dirty-lyric, violent song of all time." Game's manager has called it the best diss record. Documentary filmmaker Carl Weston believed that "most people in Biggie's shoes would have wanted to at least hurt Tupac" in a Spin magazine interview.  Among musicians, the song drew criticism from singer Dionne Warwick, and disapproval from fellow rappers Kool Moe Dee and Chuck D, as written in their book There's a God on the Mic: The True 50 Greatest MCs. They felt that although Shakur was one of the most substantive rappers of that period, he had gone too far with "Hit 'Em Up," causing some of Shakur's fans to turn on him, according to the two rappers. CANNOTANSWER

Question: Why did some radio stations refuse to play the song Hit 'Em Up?
Answer: )".  "Hit 'Em Up" has been called "controversial," "
Hit 'Em Up

Context: Finishing the recording of the song, Shakur felt very positively about the track, saying the "song is going to be playing in every club., every country. Deejays are calling from everywhere, wanting to get a piece of this." "Hit 'Em Up" appeared first as a B-side, on the single "How Do U Want It", by Shakur featuring The Outlawz. On June 4, 1996 under the label Death Row Records, "Hit 'Em Up" was released on compact disc, 12-inch, and a 45 RPM. The original cover for the single had Puffy's head on a snake's body, and Biggie's head on a pig's. It also appeared posthumously on several compilations, including the 2004 release of Shakur's last recorded live performance, Live at the House of Blues. "Hit 'Em Up" was also remixed on Nu-Mixx Klazzics. Upon its release, "Hit 'Em Up" received frequent radio airplay, which was attributed to the public interest in the ongoing feud and radio stations' desire to garner high ratings. However, some radio stations, such as the Los Angeles-based KPWR, refused to play it. The follow-up to "Hit 'Em Up" was the song "Bomb First (My Second Reply)".  "Hit 'Em Up" has been called "controversial," "infamous," "disturbing," and "brutal." Shakur's insults against virtually the entire East Coast scene of rappers were said to be ferocious. The song, along with "Dear Mama," has been viewed as one of Shakur's songs that resonated with and was spoken of the most by young people. Some felt that "Hit 'Em Up" showcased Shakur ranting and raving like a fool, and J.R. Reynolds of Billboard called it horrendous, noting that Shakur revealed his true colors upon recording the song. He also went on to say that although sympathetic to the shooting, "Hit 'Em Up" had "fan[ned] the flames of hatred ...and affect[ed] an entire black culture's psyche"; he called the song "repugnant and unacceptable." Among associates of Shakur, it was called a "bad-luck song." Los Angeles radio director Bruce St. James called the song "the be-all, end-all, curse-word, dirty-lyric, violent song of all time." Game's manager has called it the best diss record. Documentary filmmaker Carl Weston believed that "most people in Biggie's shoes would have wanted to at least hurt Tupac" in a Spin magazine interview.  Among musicians, the song drew criticism from singer Dionne Warwick, and disapproval from fellow rappers Kool Moe Dee and Chuck D, as written in their book There's a God on the Mic: The True 50 Greatest MCs. They felt that although Shakur was one of the most substantive rappers of that period, he had gone too far with "Hit 'Em Up," causing some of Shakur's fans to turn on him, according to the two rappers. CANNOTANSWER

Question: Why was the song Hit 'Em Up called controversial?
Answer: CANNOTANSWER
Hit 'Em Up

Context: Finishing the recording of the song, Shakur felt very positively about the track, saying the "song is going to be playing in every club., every country. Deejays are calling from everywhere, wanting to get a piece of this." "Hit 'Em Up" appeared first as a B-side, on the single "How Do U Want It", by Shakur featuring The Outlawz. On June 4, 1996 under the label Death Row Records, "Hit 'Em Up" was released on compact disc, 12-inch, and a 45 RPM. The original cover for the single had Puffy's head on a snake's body, and Biggie's head on a pig's. It also appeared posthumously on several compilations, including the 2004 release of Shakur's last recorded live performance, Live at the House of Blues. "Hit 'Em Up" was also remixed on Nu-Mixx Klazzics. Upon its release, "Hit 'Em Up" received frequent radio airplay, which was attributed to the public interest in the ongoing feud and radio stations' desire to garner high ratings. However, some radio stations, such as the Los Angeles-based KPWR, refused to play it. The follow-up to "Hit 'Em Up" was the song "Bomb First (My Second Reply)".  "Hit 'Em Up" has been called "controversial," "infamous," "disturbing," and "brutal." Shakur's insults against virtually the entire East Coast scene of rappers were said to be ferocious. The song, along with "Dear Mama," has been viewed as one of Shakur's songs that resonated with and was spoken of the most by young people. Some felt that "Hit 'Em Up" showcased Shakur ranting and raving like a fool, and J.R. Reynolds of Billboard called it horrendous, noting that Shakur revealed his true colors upon recording the song. He also went on to say that although sympathetic to the shooting, "Hit 'Em Up" had "fan[ned] the flames of hatred ...and affect[ed] an entire black culture's psyche"; he called the song "repugnant and unacceptable." Among associates of Shakur, it was called a "bad-luck song." Los Angeles radio director Bruce St. James called the song "the be-all, end-all, curse-word, dirty-lyric, violent song of all time." Game's manager has called it the best diss record. Documentary filmmaker Carl Weston believed that "most people in Biggie's shoes would have wanted to at least hurt Tupac" in a Spin magazine interview.  Among musicians, the song drew criticism from singer Dionne Warwick, and disapproval from fellow rappers Kool Moe Dee and Chuck D, as written in their book There's a God on the Mic: The True 50 Greatest MCs. They felt that although Shakur was one of the most substantive rappers of that period, he had gone too far with "Hit 'Em Up," causing some of Shakur's fans to turn on him, according to the two rappers. CANNOTANSWER

Question: What was the most notable thing said when the song Hit 'Em Up was released?
Answer: saying the "song is going to be playing in every club.,
Dean Martin

Context: For nearly a decade, Martin had recorded as many as four albums a year for Reprise Records. That stopped in November 1974, when Martin recorded his final Reprise album, Once in a While, which was released in 1978. His last recordings were for Warner Brothers Records. The Nashville Sessions was released in 1983, from which he had a hit with "(I Think That I Just Wrote) My First Country Song", which was recorded with Conway Twitty and made a respectable showing on the country charts. A follow-up single, "L.A. Is My Home"/"Drinking Champagne", came in 1985. The 1975 film drama Mr. Ricco marked Martin's final starring role, in which he played a criminal defense lawyer. He played a featured role in the 1981 comedy The Cannonball Run and its sequel, both starring Burt Reynolds.  In 1972, he filed for divorce from his second wife, Jeanne. A week later, his business partnership with the Riviera hotel in Las Vegas dissolved amid reports of the casino's refusal to agree to Martin's request to perform only once a night. He was taken by the MGM Grand Hotel and Casino, where he was the featured performer on the hotel's opening night December 23, 1973, and also signed a three-picture deal with MGM Studios. Less than a month after his second marriage had dissolved, Martin married 26-year-old Catherine Hawn, on April 25, 1973. Hawn had been the receptionist at the chic Gene Shacrove hair salon in Beverly Hills. They divorced November 10, 1976. He was also briefly engaged to Gail Renshaw, Miss World-U.S.A. 1969. Eventually, Martin reconciled with Jeanne, though they never remarried.  He also made a public reconciliation with Lewis on the Jerry Lewis MDA Telethon in 1976. Sinatra shocked Lewis by bringing Martin out on stage. As Martin and Lewis embraced, the audience cheered and the phones lit up, resulting in one of the telethon's most profitable years. Lewis reported the event was one of the three most memorable of his life. Lewis quipped, "So, you working?" Martin, playing drunk, replied that he was "at the Meggum" (meaning the MGM Grand). This, with the death of Martin's son Dean Paul Martin more than a decade later, helped bring the two men together. They maintained a quiet friendship, but only performed again once, in 1989, on Martin's 72nd birthday. CANNOTANSWER

Question: When did Dean Martin's later career begin?
Answer: CANNOTANSWER
Dean Martin

Context: For nearly a decade, Martin had recorded as many as four albums a year for Reprise Records. That stopped in November 1974, when Martin recorded his final Reprise album, Once in a While, which was released in 1978. His last recordings were for Warner Brothers Records. The Nashville Sessions was released in 1983, from which he had a hit with "(I Think That I Just Wrote) My First Country Song", which was recorded with Conway Twitty and made a respectable showing on the country charts. A follow-up single, "L.A. Is My Home"/"Drinking Champagne", came in 1985. The 1975 film drama Mr. Ricco marked Martin's final starring role, in which he played a criminal defense lawyer. He played a featured role in the 1981 comedy The Cannonball Run and its sequel, both starring Burt Reynolds.  In 1972, he filed for divorce from his second wife, Jeanne. A week later, his business partnership with the Riviera hotel in Las Vegas dissolved amid reports of the casino's refusal to agree to Martin's request to perform only once a night. He was taken by the MGM Grand Hotel and Casino, where he was the featured performer on the hotel's opening night December 23, 1973, and also signed a three-picture deal with MGM Studios. Less than a month after his second marriage had dissolved, Martin married 26-year-old Catherine Hawn, on April 25, 1973. Hawn had been the receptionist at the chic Gene Shacrove hair salon in Beverly Hills. They divorced November 10, 1976. He was also briefly engaged to Gail Renshaw, Miss World-U.S.A. 1969. Eventually, Martin reconciled with Jeanne, though they never remarried.  He also made a public reconciliation with Lewis on the Jerry Lewis MDA Telethon in 1976. Sinatra shocked Lewis by bringing Martin out on stage. As Martin and Lewis embraced, the audience cheered and the phones lit up, resulting in one of the telethon's most profitable years. Lewis reported the event was one of the three most memorable of his life. Lewis quipped, "So, you working?" Martin, playing drunk, replied that he was "at the Meggum" (meaning the MGM Grand). This, with the death of Martin's son Dean Paul Martin more than a decade later, helped bring the two men together. They maintained a quiet friendship, but only performed again once, in 1989, on Martin's 72nd birthday. CANNOTANSWER

Question: What was one of Dean Martin's shows?
Answer: lawyer. He played a featured role in the 1981 comedy The Cannonball Run and its sequel,