gaussalgo/Canard_Wiki-augmented huggingface dataset:
The Kooks

Context: Rafferty was fired from the band on 31 January 2008, after a series of absences due to illness and long-standing rumours about his place in the band; drug addiction was also quoted as one of the reasons for his departure. Rafferty subsequently refuted these claims, saying that he had been fired from the band because he "didn't think Konk was very good, and I said that." Dan Logan, bassist with a local Brighton band Cat the Dog, was drafted in as a temporary replacement for Rafferty. After the departure of Rafferty, the band had considered splitting up. Singer Luke Pritchard had told The Sun's Something for the Weekend that "Splitting does go through your mind. It's hard to let go of something you care about so much. We have fans to think of." Pritchard also discussed the possibility of Dan Logan joining the band as their new bassist, "It's been really strange for us but it's something that had to happen. Dan hasn't joined the band properly yet. We're trying him out, but I love playing with him." In October 2008, Peter Denton - who had previously filled in for Rafferty during the Inside In/Inside Out touring cycle - was chosen as the permanent bassist.  The Kooks released their second album, Konk, in April 2008. The record was named after the studio where it was recorded and produced by Tony Hoffer, who worked on the band's debut album, Inside In/Inside Out. Prior to releasing the album, in an interview with NME, lead singer Luke Pritchard had claimed to have 80-90 songs written for the album, stating, "I want this album to be big......I've got an ego, I want the album to do well. I want our singles to come on the radio and for people to literally have their heads blown off by them". Recorded over a total of seven weeks in London and Los Angeles Pritchard told NME the band had wanted more input into their second album. "Tony's a genius, but this time we wanted more involvement in the production," said Pritchard.  Konk went on to debut on the UK Albums Chart at number one with first week sales of 65,901 units. The album also spawned three top 50 hits including their highest chart performer to date, "Always Where I Need to Be", which peaked at number three. In the United States, it reached number 41 on the Billboard 200 and the album's first single, "Always Where I Need to Be", peaked at number 22 on the Alternative Songs chart. The album was certified gold in both the UK and Ireland. A second limited edition two disc version of Konk entitled RAK was also released. The name was taken from the London studio where The Kooks recorded seven new live tracks along with the Arctic Monkeys and Mike Crossey, producer for The Zutons.  Allmusic said with Konk, The Kooks "explores pop and rock in all their glory," while BBC Music described their second album as "a little contrived with the recycling of old guitar lines and intros." NME suggested the departure of Rafferty affected Konk's production, stating "Konk is the sound of a band in disarray, unsuccessfully attempting to hold things together." CANNOTANSWER

Question: Why did The Kooks Rafferty depart?
Answer: Rafferty was fired from the band on 31 January 2008,
The Kooks

Context: Rafferty was fired from the band on 31 January 2008, after a series of absences due to illness and long-standing rumours about his place in the band; drug addiction was also quoted as one of the reasons for his departure. Rafferty subsequently refuted these claims, saying that he had been fired from the band because he "didn't think Konk was very good, and I said that." Dan Logan, bassist with a local Brighton band Cat the Dog, was drafted in as a temporary replacement for Rafferty. After the departure of Rafferty, the band had considered splitting up. Singer Luke Pritchard had told The Sun's Something for the Weekend that "Splitting does go through your mind. It's hard to let go of something you care about so much. We have fans to think of." Pritchard also discussed the possibility of Dan Logan joining the band as their new bassist, "It's been really strange for us but it's something that had to happen. Dan hasn't joined the band properly yet. We're trying him out, but I love playing with him." In October 2008, Peter Denton - who had previously filled in for Rafferty during the Inside In/Inside Out touring cycle - was chosen as the permanent bassist.  The Kooks released their second album, Konk, in April 2008. The record was named after the studio where it was recorded and produced by Tony Hoffer, who worked on the band's debut album, Inside In/Inside Out. Prior to releasing the album, in an interview with NME, lead singer Luke Pritchard had claimed to have 80-90 songs written for the album, stating, "I want this album to be big......I've got an ego, I want the album to do well. I want our singles to come on the radio and for people to literally have their heads blown off by them". Recorded over a total of seven weeks in London and Los Angeles Pritchard told NME the band had wanted more input into their second album. "Tony's a genius, but this time we wanted more involvement in the production," said Pritchard.  Konk went on to debut on the UK Albums Chart at number one with first week sales of 65,901 units. The album also spawned three top 50 hits including their highest chart performer to date, "Always Where I Need to Be", which peaked at number three. In the United States, it reached number 41 on the Billboard 200 and the album's first single, "Always Where I Need to Be", peaked at number 22 on the Alternative Songs chart. The album was certified gold in both the UK and Ireland. A second limited edition two disc version of Konk entitled RAK was also released. The name was taken from the London studio where The Kooks recorded seven new live tracks along with the Arctic Monkeys and Mike Crossey, producer for The Zutons.  Allmusic said with Konk, The Kooks "explores pop and rock in all their glory," while BBC Music described their second album as "a little contrived with the recycling of old guitar lines and intros." NME suggested the departure of Rafferty affected Konk's production, stating "Konk is the sound of a band in disarray, unsuccessfully attempting to hold things together." CANNOTANSWER

Question: Did any of the singles from the Konk hit the charts?
Answer: The album also spawned three top 50 hits
The Kooks

Context: Rafferty was fired from the band on 31 January 2008, after a series of absences due to illness and long-standing rumours about his place in the band; drug addiction was also quoted as one of the reasons for his departure. Rafferty subsequently refuted these claims, saying that he had been fired from the band because he "didn't think Konk was very good, and I said that." Dan Logan, bassist with a local Brighton band Cat the Dog, was drafted in as a temporary replacement for Rafferty. After the departure of Rafferty, the band had considered splitting up. Singer Luke Pritchard had told The Sun's Something for the Weekend that "Splitting does go through your mind. It's hard to let go of something you care about so much. We have fans to think of." Pritchard also discussed the possibility of Dan Logan joining the band as their new bassist, "It's been really strange for us but it's something that had to happen. Dan hasn't joined the band properly yet. We're trying him out, but I love playing with him." In October 2008, Peter Denton - who had previously filled in for Rafferty during the Inside In/Inside Out touring cycle - was chosen as the permanent bassist.  The Kooks released their second album, Konk, in April 2008. The record was named after the studio where it was recorded and produced by Tony Hoffer, who worked on the band's debut album, Inside In/Inside Out. Prior to releasing the album, in an interview with NME, lead singer Luke Pritchard had claimed to have 80-90 songs written for the album, stating, "I want this album to be big......I've got an ego, I want the album to do well. I want our singles to come on the radio and for people to literally have their heads blown off by them". Recorded over a total of seven weeks in London and Los Angeles Pritchard told NME the band had wanted more input into their second album. "Tony's a genius, but this time we wanted more involvement in the production," said Pritchard.  Konk went on to debut on the UK Albums Chart at number one with first week sales of 65,901 units. The album also spawned three top 50 hits including their highest chart performer to date, "Always Where I Need to Be", which peaked at number three. In the United States, it reached number 41 on the Billboard 200 and the album's first single, "Always Where I Need to Be", peaked at number 22 on the Alternative Songs chart. The album was certified gold in both the UK and Ireland. A second limited edition two disc version of Konk entitled RAK was also released. The name was taken from the London studio where The Kooks recorded seven new live tracks along with the Arctic Monkeys and Mike Crossey, producer for The Zutons.  Allmusic said with Konk, The Kooks "explores pop and rock in all their glory," while BBC Music described their second album as "a little contrived with the recycling of old guitar lines and intros." NME suggested the departure of Rafferty affected Konk's production, stating "Konk is the sound of a band in disarray, unsuccessfully attempting to hold things together." CANNOTANSWER

Question: What were spawned three top 50 hits?
Answer: "Always Where I Need to Be", which peaked at number three.
Rosa Ponselle

Context: Rosa Ponselle made her Metropolitan Opera debut on November 15, 1918, just a few days after the Great War had finished, as Leonora in Verdi's La forza del destino, opposite Caruso. It was her first performance on any opera stage. She was quite intimidated for being in the presence of Caruso, and in spite of an almost paralyzing case of nervousness (which she suffered from throughout her operatic career), she scored a tremendous success, both with the public and with the critics. New York Times critic James Huneker wrote: "...what a promising debut! Added to her personal attractiveness, she possesses a voice of natural beauty that may prove a gold mine; it is vocal gold, anyhow, with its luscious lower and middle tones, dark, rich and ductile, brilliant in the upper register."  In addition to Leonora, Ponselle's roles in the 1918/19 season included Santuzza in Cavalleria rusticana, Rezia in Weber's Oberon, and Carmelita in the (unsuccessful) world premiere of Joseph Carl Breil's The Legend.  In the following Met seasons, Ponselle's roles included the lead soprano roles in La Juive (opposite Caruso's Eleazar, his last new role before he died), William Tell, Ernani, Il trovatore, Aida, La Gioconda, Don Carlos, L'Africaine, L'amore dei tre re, Andrea Chenier, La vestale, and in 1927 the role that many considered her greatest achievement, the title role in Bellini's Norma. In addition to her operatic activities, which were centered at the Met, Ponselle had a lucrative concert career. A tour of the West coast included an appearance at the Lobero Theatre in Santa Barbara on March 14, 1927 in the Artist Series of the Community Arts Association's Music Branch, accompanied by pianist Stuart Ross. CANNOTANSWER

Question: When did Rosa Ponselle make her debut?
Answer: Rosa Ponselle made her Metropolitan Opera debut on November 15, 1918,
Rosa Ponselle

Context: Rosa Ponselle made her Metropolitan Opera debut on November 15, 1918, just a few days after the Great War had finished, as Leonora in Verdi's La forza del destino, opposite Caruso. It was her first performance on any opera stage. She was quite intimidated for being in the presence of Caruso, and in spite of an almost paralyzing case of nervousness (which she suffered from throughout her operatic career), she scored a tremendous success, both with the public and with the critics. New York Times critic James Huneker wrote: "...what a promising debut! Added to her personal attractiveness, she possesses a voice of natural beauty that may prove a gold mine; it is vocal gold, anyhow, with its luscious lower and middle tones, dark, rich and ductile, brilliant in the upper register."  In addition to Leonora, Ponselle's roles in the 1918/19 season included Santuzza in Cavalleria rusticana, Rezia in Weber's Oberon, and Carmelita in the (unsuccessful) world premiere of Joseph Carl Breil's The Legend.  In the following Met seasons, Ponselle's roles included the lead soprano roles in La Juive (opposite Caruso's Eleazar, his last new role before he died), William Tell, Ernani, Il trovatore, Aida, La Gioconda, Don Carlos, L'Africaine, L'amore dei tre re, Andrea Chenier, La vestale, and in 1927 the role that many considered her greatest achievement, the title role in Bellini's Norma. In addition to her operatic activities, which were centered at the Met, Ponselle had a lucrative concert career. A tour of the West coast included an appearance at the Lobero Theatre in Santa Barbara on March 14, 1927 in the Artist Series of the Community Arts Association's Music Branch, accompanied by pianist Stuart Ross. CANNOTANSWER

Question: Did Rosa Ponselle do anything or sing anything in particular at her debut?
Answer: Verdi's La forza del destino,
Rosa Ponselle

Context: Rosa Ponselle made her Metropolitan Opera debut on November 15, 1918, just a few days after the Great War had finished, as Leonora in Verdi's La forza del destino, opposite Caruso. It was her first performance on any opera stage. She was quite intimidated for being in the presence of Caruso, and in spite of an almost paralyzing case of nervousness (which she suffered from throughout her operatic career), she scored a tremendous success, both with the public and with the critics. New York Times critic James Huneker wrote: "...what a promising debut! Added to her personal attractiveness, she possesses a voice of natural beauty that may prove a gold mine; it is vocal gold, anyhow, with its luscious lower and middle tones, dark, rich and ductile, brilliant in the upper register."  In addition to Leonora, Ponselle's roles in the 1918/19 season included Santuzza in Cavalleria rusticana, Rezia in Weber's Oberon, and Carmelita in the (unsuccessful) world premiere of Joseph Carl Breil's The Legend.  In the following Met seasons, Ponselle's roles included the lead soprano roles in La Juive (opposite Caruso's Eleazar, his last new role before he died), William Tell, Ernani, Il trovatore, Aida, La Gioconda, Don Carlos, L'Africaine, L'amore dei tre re, Andrea Chenier, La vestale, and in 1927 the role that many considered her greatest achievement, the title role in Bellini's Norma. In addition to her operatic activities, which were centered at the Met, Ponselle had a lucrative concert career. A tour of the West coast included an appearance at the Lobero Theatre in Santa Barbara on March 14, 1927 in the Artist Series of the Community Arts Association's Music Branch, accompanied by pianist Stuart Ross. CANNOTANSWER

Question: Other than Verdi's La forza del destino, what else did Rosa Ponselle perform during her early career?
Answer: Santuzza in Cavalleria rusticana, Rezia in Weber's Oberon, and Carmelita in the (unsuccessful) world premiere of Joseph Carl Breil's The Legend.
Rosa Ponselle

Context: Rosa Ponselle made her Metropolitan Opera debut on November 15, 1918, just a few days after the Great War had finished, as Leonora in Verdi's La forza del destino, opposite Caruso. It was her first performance on any opera stage. She was quite intimidated for being in the presence of Caruso, and in spite of an almost paralyzing case of nervousness (which she suffered from throughout her operatic career), she scored a tremendous success, both with the public and with the critics. New York Times critic James Huneker wrote: "...what a promising debut! Added to her personal attractiveness, she possesses a voice of natural beauty that may prove a gold mine; it is vocal gold, anyhow, with its luscious lower and middle tones, dark, rich and ductile, brilliant in the upper register."  In addition to Leonora, Ponselle's roles in the 1918/19 season included Santuzza in Cavalleria rusticana, Rezia in Weber's Oberon, and Carmelita in the (unsuccessful) world premiere of Joseph Carl Breil's The Legend.  In the following Met seasons, Ponselle's roles included the lead soprano roles in La Juive (opposite Caruso's Eleazar, his last new role before he died), William Tell, Ernani, Il trovatore, Aida, La Gioconda, Don Carlos, L'Africaine, L'amore dei tre re, Andrea Chenier, La vestale, and in 1927 the role that many considered her greatest achievement, the title role in Bellini's Norma. In addition to her operatic activities, which were centered at the Met, Ponselle had a lucrative concert career. A tour of the West coast included an appearance at the Lobero Theatre in Santa Barbara on March 14, 1927 in the Artist Series of the Community Arts Association's Music Branch, accompanied by pianist Stuart Ross. CANNOTANSWER

Question: What did people think of Rosa Ponselle's early performances?
Answer: she possesses a voice of natural beauty that may prove a gold mine; it is vocal gold,
Rosa Ponselle

Context: Rosa Ponselle made her Metropolitan Opera debut on November 15, 1918, just a few days after the Great War had finished, as Leonora in Verdi's La forza del destino, opposite Caruso. It was her first performance on any opera stage. She was quite intimidated for being in the presence of Caruso, and in spite of an almost paralyzing case of nervousness (which she suffered from throughout her operatic career), she scored a tremendous success, both with the public and with the critics. New York Times critic James Huneker wrote: "...what a promising debut! Added to her personal attractiveness, she possesses a voice of natural beauty that may prove a gold mine; it is vocal gold, anyhow, with its luscious lower and middle tones, dark, rich and ductile, brilliant in the upper register."  In addition to Leonora, Ponselle's roles in the 1918/19 season included Santuzza in Cavalleria rusticana, Rezia in Weber's Oberon, and Carmelita in the (unsuccessful) world premiere of Joseph Carl Breil's The Legend.  In the following Met seasons, Ponselle's roles included the lead soprano roles in La Juive (opposite Caruso's Eleazar, his last new role before he died), William Tell, Ernani, Il trovatore, Aida, La Gioconda, Don Carlos, L'Africaine, L'amore dei tre re, Andrea Chenier, La vestale, and in 1927 the role that many considered her greatest achievement, the title role in Bellini's Norma. In addition to her operatic activities, which were centered at the Met, Ponselle had a lucrative concert career. A tour of the West coast included an appearance at the Lobero Theatre in Santa Barbara on March 14, 1927 in the Artist Series of the Community Arts Association's Music Branch, accompanied by pianist Stuart Ross. CANNOTANSWER

Question: Was Rosa Ponselle traveling a lot during her early career?
Answer: A tour of the West coast included an appearance at the Lobero Theatre in Santa Barbara on March 14, 1927
Rosa Ponselle

Context: Rosa Ponselle made her Metropolitan Opera debut on November 15, 1918, just a few days after the Great War had finished, as Leonora in Verdi's La forza del destino, opposite Caruso. It was her first performance on any opera stage. She was quite intimidated for being in the presence of Caruso, and in spite of an almost paralyzing case of nervousness (which she suffered from throughout her operatic career), she scored a tremendous success, both with the public and with the critics. New York Times critic James Huneker wrote: "...what a promising debut! Added to her personal attractiveness, she possesses a voice of natural beauty that may prove a gold mine; it is vocal gold, anyhow, with its luscious lower and middle tones, dark, rich and ductile, brilliant in the upper register."  In addition to Leonora, Ponselle's roles in the 1918/19 season included Santuzza in Cavalleria rusticana, Rezia in Weber's Oberon, and Carmelita in the (unsuccessful) world premiere of Joseph Carl Breil's The Legend.  In the following Met seasons, Ponselle's roles included the lead soprano roles in La Juive (opposite Caruso's Eleazar, his last new role before he died), William Tell, Ernani, Il trovatore, Aida, La Gioconda, Don Carlos, L'Africaine, L'amore dei tre re, Andrea Chenier, La vestale, and in 1927 the role that many considered her greatest achievement, the title role in Bellini's Norma. In addition to her operatic activities, which were centered at the Met, Ponselle had a lucrative concert career. A tour of the West coast included an appearance at the Lobero Theatre in Santa Barbara on March 14, 1927 in the Artist Series of the Community Arts Association's Music Branch, accompanied by pianist Stuart Ross. CANNOTANSWER

Question: Did Rosa Ponselle travel anywhere else besides Santa Barbara?
Answer: CANNOTANSWER
Rosa Ponselle

Context: Rosa Ponselle made her Metropolitan Opera debut on November 15, 1918, just a few days after the Great War had finished, as Leonora in Verdi's La forza del destino, opposite Caruso. It was her first performance on any opera stage. She was quite intimidated for being in the presence of Caruso, and in spite of an almost paralyzing case of nervousness (which she suffered from throughout her operatic career), she scored a tremendous success, both with the public and with the critics. New York Times critic James Huneker wrote: "...what a promising debut! Added to her personal attractiveness, she possesses a voice of natural beauty that may prove a gold mine; it is vocal gold, anyhow, with its luscious lower and middle tones, dark, rich and ductile, brilliant in the upper register."  In addition to Leonora, Ponselle's roles in the 1918/19 season included Santuzza in Cavalleria rusticana, Rezia in Weber's Oberon, and Carmelita in the (unsuccessful) world premiere of Joseph Carl Breil's The Legend.  In the following Met seasons, Ponselle's roles included the lead soprano roles in La Juive (opposite Caruso's Eleazar, his last new role before he died), William Tell, Ernani, Il trovatore, Aida, La Gioconda, Don Carlos, L'Africaine, L'amore dei tre re, Andrea Chenier, La vestale, and in 1927 the role that many considered her greatest achievement, the title role in Bellini's Norma. In addition to her operatic activities, which were centered at the Met, Ponselle had a lucrative concert career. A tour of the West coast included an appearance at the Lobero Theatre in Santa Barbara on March 14, 1927 in the Artist Series of the Community Arts Association's Music Branch, accompanied by pianist Stuart Ross. CANNOTANSWER

Question: Did Rosa Ponselle have any performances that were not well-received?
Answer: the (unsuccessful) world premiere of Joseph Carl Breil's The Legend.
Steeleye Span

Context: With their star now conspicuously ascendant, the band brought in producer Mike Batt (best known for his musical association with the Wombles and, more recently, Katie Melua) to work on their eighth album, All Around My Hat, and their biggest success would come with the release of the title track as a single - it reached number 5 in the UK Charts in late 1975. The single was also released in other European countries and gave them a breakthrough in the Netherlands and Germany.  Other well-known tracks on the album included "Black Jack Davy" (sampled by rappers Goldie Lookin Chain on their track "The Maggot") and the rocky "Hard Times of Old England". But while All Around My Hat was the height of the band's commercial success, the good times were not to last long. Despite touring almost every year since 1975, they have not had another hit single, nor any success in the album chart since the late 1970s.  The follow-up album Rocket Cottage (1976), also produced by Batt, proved to be a commercial flop, despite having much in common musically with its immediate predecessor. The opening track, "London", was penned by Rick Kemp as a follow-up to "All Around My Hat", in response to a request from the record label that Kemp describes as "we'll have another one of those, please", and released as a single. The song failed to make the UK Chart, in complete contrast to "All Around My Hat", despite having much in common with its predecessor - a 12/8 time signature, upbeat tempo, solo verses and full harmony chorus. Rocket Cottage also included experimental tracks "Fighting for Strangers" (with sparse vocals singing concurrently in a variety of keys) and, on the final track, excerpts of studio banter between the band members and a seemingly impromptu rendition of "Camptown Races", in which Prior gets the lyrics wrong.  But while their seventh album, Commoners Crown, was one of their most interesting and varied, including the epic "Long Lankin", the advent of punk saw the mainstream market turning away from folk rock almost overnight, heralding a downturn in commercial fortunes for the band. However, as a thank you to their committed fans (and also to possibly to garner some publicity for their underperforming album), Steeleye Span showered attendees of a November 1976 concert in London, England, with the then-equivalent of US$13,600 in British pound notes. The unannounced idea was Maddy Prior's, and--remarkably--no-one was injured in the rush to grab the falling bills. Indeed, contemporary press reports indicated that it took some time for the crowd to even realise what was happening. Thanks to their connection with Mike Batt, band members appeared in Womble costumes on Top of the Pops, performing the Wombles hit "Superwomble". CANNOTANSWER

Question: What is important about the Mike Batt era?
Answer: the band brought in producer Mike Batt (best known for his musical association with the Wombles and, more recently, Katie Melua) to work on their eighth album,
Steeleye Span

Context: With their star now conspicuously ascendant, the band brought in producer Mike Batt (best known for his musical association with the Wombles and, more recently, Katie Melua) to work on their eighth album, All Around My Hat, and their biggest success would come with the release of the title track as a single - it reached number 5 in the UK Charts in late 1975. The single was also released in other European countries and gave them a breakthrough in the Netherlands and Germany.  Other well-known tracks on the album included "Black Jack Davy" (sampled by rappers Goldie Lookin Chain on their track "The Maggot") and the rocky "Hard Times of Old England". But while All Around My Hat was the height of the band's commercial success, the good times were not to last long. Despite touring almost every year since 1975, they have not had another hit single, nor any success in the album chart since the late 1970s.  The follow-up album Rocket Cottage (1976), also produced by Batt, proved to be a commercial flop, despite having much in common musically with its immediate predecessor. The opening track, "London", was penned by Rick Kemp as a follow-up to "All Around My Hat", in response to a request from the record label that Kemp describes as "we'll have another one of those, please", and released as a single. The song failed to make the UK Chart, in complete contrast to "All Around My Hat", despite having much in common with its predecessor - a 12/8 time signature, upbeat tempo, solo verses and full harmony chorus. Rocket Cottage also included experimental tracks "Fighting for Strangers" (with sparse vocals singing concurrently in a variety of keys) and, on the final track, excerpts of studio banter between the band members and a seemingly impromptu rendition of "Camptown Races", in which Prior gets the lyrics wrong.  But while their seventh album, Commoners Crown, was one of their most interesting and varied, including the epic "Long Lankin", the advent of punk saw the mainstream market turning away from folk rock almost overnight, heralding a downturn in commercial fortunes for the band. However, as a thank you to their committed fans (and also to possibly to garner some publicity for their underperforming album), Steeleye Span showered attendees of a November 1976 concert in London, England, with the then-equivalent of US$13,600 in British pound notes. The unannounced idea was Maddy Prior's, and--remarkably--no-one was injured in the rush to grab the falling bills. Indeed, contemporary press reports indicated that it took some time for the crowd to even realise what was happening. Thanks to their connection with Mike Batt, band members appeared in Womble costumes on Top of the Pops, performing the Wombles hit "Superwomble". CANNOTANSWER

Question: How well did the band perform when Mike Batt era brought in the producer Mike Batt and Katie Melua?
Answer: All Around My Hat, and their biggest success would come with the release of the title track as a single -
Steeleye Span

Context: With their star now conspicuously ascendant, the band brought in producer Mike Batt (best known for his musical association with the Wombles and, more recently, Katie Melua) to work on their eighth album, All Around My Hat, and their biggest success would come with the release of the title track as a single - it reached number 5 in the UK Charts in late 1975. The single was also released in other European countries and gave them a breakthrough in the Netherlands and Germany.  Other well-known tracks on the album included "Black Jack Davy" (sampled by rappers Goldie Lookin Chain on their track "The Maggot") and the rocky "Hard Times of Old England". But while All Around My Hat was the height of the band's commercial success, the good times were not to last long. Despite touring almost every year since 1975, they have not had another hit single, nor any success in the album chart since the late 1970s.  The follow-up album Rocket Cottage (1976), also produced by Batt, proved to be a commercial flop, despite having much in common musically with its immediate predecessor. The opening track, "London", was penned by Rick Kemp as a follow-up to "All Around My Hat", in response to a request from the record label that Kemp describes as "we'll have another one of those, please", and released as a single. The song failed to make the UK Chart, in complete contrast to "All Around My Hat", despite having much in common with its predecessor - a 12/8 time signature, upbeat tempo, solo verses and full harmony chorus. Rocket Cottage also included experimental tracks "Fighting for Strangers" (with sparse vocals singing concurrently in a variety of keys) and, on the final track, excerpts of studio banter between the band members and a seemingly impromptu rendition of "Camptown Races", in which Prior gets the lyrics wrong.  But while their seventh album, Commoners Crown, was one of their most interesting and varied, including the epic "Long Lankin", the advent of punk saw the mainstream market turning away from folk rock almost overnight, heralding a downturn in commercial fortunes for the band. However, as a thank you to their committed fans (and also to possibly to garner some publicity for their underperforming album), Steeleye Span showered attendees of a November 1976 concert in London, England, with the then-equivalent of US$13,600 in British pound notes. The unannounced idea was Maddy Prior's, and--remarkably--no-one was injured in the rush to grab the falling bills. Indeed, contemporary press reports indicated that it took some time for the crowd to even realise what was happening. Thanks to their connection with Mike Batt, band members appeared in Womble costumes on Top of the Pops, performing the Wombles hit "Superwomble". CANNOTANSWER

Question: Around what dates did the release of the title track as a single happen?
Answer: it reached number 5 in the UK Charts in late 1975.
Steeleye Span

Context: With their star now conspicuously ascendant, the band brought in producer Mike Batt (best known for his musical association with the Wombles and, more recently, Katie Melua) to work on their eighth album, All Around My Hat, and their biggest success would come with the release of the title track as a single - it reached number 5 in the UK Charts in late 1975. The single was also released in other European countries and gave them a breakthrough in the Netherlands and Germany.  Other well-known tracks on the album included "Black Jack Davy" (sampled by rappers Goldie Lookin Chain on their track "The Maggot") and the rocky "Hard Times of Old England". But while All Around My Hat was the height of the band's commercial success, the good times were not to last long. Despite touring almost every year since 1975, they have not had another hit single, nor any success in the album chart since the late 1970s.  The follow-up album Rocket Cottage (1976), also produced by Batt, proved to be a commercial flop, despite having much in common musically with its immediate predecessor. The opening track, "London", was penned by Rick Kemp as a follow-up to "All Around My Hat", in response to a request from the record label that Kemp describes as "we'll have another one of those, please", and released as a single. The song failed to make the UK Chart, in complete contrast to "All Around My Hat", despite having much in common with its predecessor - a 12/8 time signature, upbeat tempo, solo verses and full harmony chorus. Rocket Cottage also included experimental tracks "Fighting for Strangers" (with sparse vocals singing concurrently in a variety of keys) and, on the final track, excerpts of studio banter between the band members and a seemingly impromptu rendition of "Camptown Races", in which Prior gets the lyrics wrong.  But while their seventh album, Commoners Crown, was one of their most interesting and varied, including the epic "Long Lankin", the advent of punk saw the mainstream market turning away from folk rock almost overnight, heralding a downturn in commercial fortunes for the band. However, as a thank you to their committed fans (and also to possibly to garner some publicity for their underperforming album), Steeleye Span showered attendees of a November 1976 concert in London, England, with the then-equivalent of US$13,600 in British pound notes. The unannounced idea was Maddy Prior's, and--remarkably--no-one was injured in the rush to grab the falling bills. Indeed, contemporary press reports indicated that it took some time for the crowd to even realise what was happening. Thanks to their connection with Mike Batt, band members appeared in Womble costumes on Top of the Pops, performing the Wombles hit "Superwomble". CANNOTANSWER

Question: How long did "All Around My Hat" stay on the UK charts?
Answer: CANNOTANSWER
Steeleye Span

Context: With their star now conspicuously ascendant, the band brought in producer Mike Batt (best known for his musical association with the Wombles and, more recently, Katie Melua) to work on their eighth album, All Around My Hat, and their biggest success would come with the release of the title track as a single - it reached number 5 in the UK Charts in late 1975. The single was also released in other European countries and gave them a breakthrough in the Netherlands and Germany.  Other well-known tracks on the album included "Black Jack Davy" (sampled by rappers Goldie Lookin Chain on their track "The Maggot") and the rocky "Hard Times of Old England". But while All Around My Hat was the height of the band's commercial success, the good times were not to last long. Despite touring almost every year since 1975, they have not had another hit single, nor any success in the album chart since the late 1970s.  The follow-up album Rocket Cottage (1976), also produced by Batt, proved to be a commercial flop, despite having much in common musically with its immediate predecessor. The opening track, "London", was penned by Rick Kemp as a follow-up to "All Around My Hat", in response to a request from the record label that Kemp describes as "we'll have another one of those, please", and released as a single. The song failed to make the UK Chart, in complete contrast to "All Around My Hat", despite having much in common with its predecessor - a 12/8 time signature, upbeat tempo, solo verses and full harmony chorus. Rocket Cottage also included experimental tracks "Fighting for Strangers" (with sparse vocals singing concurrently in a variety of keys) and, on the final track, excerpts of studio banter between the band members and a seemingly impromptu rendition of "Camptown Races", in which Prior gets the lyrics wrong.  But while their seventh album, Commoners Crown, was one of their most interesting and varied, including the epic "Long Lankin", the advent of punk saw the mainstream market turning away from folk rock almost overnight, heralding a downturn in commercial fortunes for the band. However, as a thank you to their committed fans (and also to possibly to garner some publicity for their underperforming album), Steeleye Span showered attendees of a November 1976 concert in London, England, with the then-equivalent of US$13,600 in British pound notes. The unannounced idea was Maddy Prior's, and--remarkably--no-one was injured in the rush to grab the falling bills. Indeed, contemporary press reports indicated that it took some time for the crowd to even realise what was happening. Thanks to their connection with Mike Batt, band members appeared in Womble costumes on Top of the Pops, performing the Wombles hit "Superwomble". CANNOTANSWER

Question: What happened after "All Around My Hat" reached number 5 in the UK charts?
Answer: Other well-known tracks on the album included "Black Jack Davy" (sampled by rappers Goldie Lookin Chain on their track "The Maggot")
Steeleye Span

Context: With their star now conspicuously ascendant, the band brought in producer Mike Batt (best known for his musical association with the Wombles and, more recently, Katie Melua) to work on their eighth album, All Around My Hat, and their biggest success would come with the release of the title track as a single - it reached number 5 in the UK Charts in late 1975. The single was also released in other European countries and gave them a breakthrough in the Netherlands and Germany.  Other well-known tracks on the album included "Black Jack Davy" (sampled by rappers Goldie Lookin Chain on their track "The Maggot") and the rocky "Hard Times of Old England". But while All Around My Hat was the height of the band's commercial success, the good times were not to last long. Despite touring almost every year since 1975, they have not had another hit single, nor any success in the album chart since the late 1970s.  The follow-up album Rocket Cottage (1976), also produced by Batt, proved to be a commercial flop, despite having much in common musically with its immediate predecessor. The opening track, "London", was penned by Rick Kemp as a follow-up to "All Around My Hat", in response to a request from the record label that Kemp describes as "we'll have another one of those, please", and released as a single. The song failed to make the UK Chart, in complete contrast to "All Around My Hat", despite having much in common with its predecessor - a 12/8 time signature, upbeat tempo, solo verses and full harmony chorus. Rocket Cottage also included experimental tracks "Fighting for Strangers" (with sparse vocals singing concurrently in a variety of keys) and, on the final track, excerpts of studio banter between the band members and a seemingly impromptu rendition of "Camptown Races", in which Prior gets the lyrics wrong.  But while their seventh album, Commoners Crown, was one of their most interesting and varied, including the epic "Long Lankin", the advent of punk saw the mainstream market turning away from folk rock almost overnight, heralding a downturn in commercial fortunes for the band. However, as a thank you to their committed fans (and also to possibly to garner some publicity for their underperforming album), Steeleye Span showered attendees of a November 1976 concert in London, England, with the then-equivalent of US$13,600 in British pound notes. The unannounced idea was Maddy Prior's, and--remarkably--no-one was injured in the rush to grab the falling bills. Indeed, contemporary press reports indicated that it took some time for the crowd to even realise what was happening. Thanks to their connection with Mike Batt, band members appeared in Womble costumes on Top of the Pops, performing the Wombles hit "Superwomble". CANNOTANSWER

Question: Did any of the other well-known tracks on the album included "Black Jack Davy", reach the charts?
Answer: they have not had another hit single, nor any success in the album chart since the late 1970s.
Steeleye Span

Context: With their star now conspicuously ascendant, the band brought in producer Mike Batt (best known for his musical association with the Wombles and, more recently, Katie Melua) to work on their eighth album, All Around My Hat, and their biggest success would come with the release of the title track as a single - it reached number 5 in the UK Charts in late 1975. The single was also released in other European countries and gave them a breakthrough in the Netherlands and Germany.  Other well-known tracks on the album included "Black Jack Davy" (sampled by rappers Goldie Lookin Chain on their track "The Maggot") and the rocky "Hard Times of Old England". But while All Around My Hat was the height of the band's commercial success, the good times were not to last long. Despite touring almost every year since 1975, they have not had another hit single, nor any success in the album chart since the late 1970s.  The follow-up album Rocket Cottage (1976), also produced by Batt, proved to be a commercial flop, despite having much in common musically with its immediate predecessor. The opening track, "London", was penned by Rick Kemp as a follow-up to "All Around My Hat", in response to a request from the record label that Kemp describes as "we'll have another one of those, please", and released as a single. The song failed to make the UK Chart, in complete contrast to "All Around My Hat", despite having much in common with its predecessor - a 12/8 time signature, upbeat tempo, solo verses and full harmony chorus. Rocket Cottage also included experimental tracks "Fighting for Strangers" (with sparse vocals singing concurrently in a variety of keys) and, on the final track, excerpts of studio banter between the band members and a seemingly impromptu rendition of "Camptown Races", in which Prior gets the lyrics wrong.  But while their seventh album, Commoners Crown, was one of their most interesting and varied, including the epic "Long Lankin", the advent of punk saw the mainstream market turning away from folk rock almost overnight, heralding a downturn in commercial fortunes for the band. However, as a thank you to their committed fans (and also to possibly to garner some publicity for their underperforming album), Steeleye Span showered attendees of a November 1976 concert in London, England, with the then-equivalent of US$13,600 in British pound notes. The unannounced idea was Maddy Prior's, and--remarkably--no-one was injured in the rush to grab the falling bills. Indeed, contemporary press reports indicated that it took some time for the crowd to even realise what was happening. Thanks to their connection with Mike Batt, band members appeared in Womble costumes on Top of the Pops, performing the Wombles hit "Superwomble". CANNOTANSWER

Question: Aside from "All Around My Hat", What happened afterwards since the Mike Batt era didn't have another single or success?
Answer: The follow-up album Rocket Cottage (1976), also produced by Batt, proved to be a commercial flop,
Rubin Carter

Context: After his release from prison in September 1961, Carter became a professional boxer. At 5 ft 8 in (1.73 m), Carter was shorter than the average middleweight, but he fought all of his professional career at 155-160 lb (70-72.6 kg). His aggressive style and punching power (resulting in many early-round knockouts) drew attention, establishing him as a crowd favorite and earning him the nickname "Hurricane." After he defeated a number of middleweight contenders--such as Florentino Fernandez, Holley Mims, Gomeo Brennan, and George Benton--the boxing world took notice. The Ring first listed him as one of its "Top 10" middleweight contenders in July 1963. At the end of 1965, they ranked him as the number five middleweight.  He fought six times in 1963, winning four bouts and losing two. He remained ranked in the lower part of the top 10 until December 20, when he surprised the boxing world by flooring past and future world champion Emile Griffith twice in the first round and scoring a technical knockout. That win resulted in The Ring's ranking of Carter as the number three contender for Joey Giardello's world middleweight title. Carter won two more fights (one a decision over future heavyweight champion Jimmy Ellis) in 1964, before meeting Giardello in Philadelphia for a 15-round championship match on December 14. Carter landed a few solid rights to the head and staggered Giardello in the fourth, but was unable to follow them up, and Giardello took control of the fight in the fifth round. The judges awarded Giardello a unanimous decision.  After that fight, Carter's ranking in The Ring began to decline. He fought nine times in 1965, winning five but losing three of four against contenders Luis Manuel Rodriguez, Dick Tiger, and Harry Scott. Tiger, in particular, floored Carter three times in their match. "It was," Carter said, "the worst beating that I took in my life--inside or outside the ring." During his visit to London (to fight Scott) Carter was involved in an incident in which a shot was fired in his hotel room.  Carter's career record in boxing was 27 wins, 12 losses, and one draw in 40 fights, with 19 total knockouts (8 KOs and 11 TKOs). He received an honorary championship title belt from the World Boxing Council in 1993 (as did Joey Giardello at the same banquet) and was later inducted into the New Jersey Boxing Hall of Fame. CANNOTANSWER

Question: How was Rubin Carter's career?
Answer: After his release from prison in September 1961, Carter became a professional boxer.
Rubin Carter

Context: After his release from prison in September 1961, Carter became a professional boxer. At 5 ft 8 in (1.73 m), Carter was shorter than the average middleweight, but he fought all of his professional career at 155-160 lb (70-72.6 kg). His aggressive style and punching power (resulting in many early-round knockouts) drew attention, establishing him as a crowd favorite and earning him the nickname "Hurricane." After he defeated a number of middleweight contenders--such as Florentino Fernandez, Holley Mims, Gomeo Brennan, and George Benton--the boxing world took notice. The Ring first listed him as one of its "Top 10" middleweight contenders in July 1963. At the end of 1965, they ranked him as the number five middleweight.  He fought six times in 1963, winning four bouts and losing two. He remained ranked in the lower part of the top 10 until December 20, when he surprised the boxing world by flooring past and future world champion Emile Griffith twice in the first round and scoring a technical knockout. That win resulted in The Ring's ranking of Carter as the number three contender for Joey Giardello's world middleweight title. Carter won two more fights (one a decision over future heavyweight champion Jimmy Ellis) in 1964, before meeting Giardello in Philadelphia for a 15-round championship match on December 14. Carter landed a few solid rights to the head and staggered Giardello in the fourth, but was unable to follow them up, and Giardello took control of the fight in the fifth round. The judges awarded Giardello a unanimous decision.  After that fight, Carter's ranking in The Ring began to decline. He fought nine times in 1965, winning five but losing three of four against contenders Luis Manuel Rodriguez, Dick Tiger, and Harry Scott. Tiger, in particular, floored Carter three times in their match. "It was," Carter said, "the worst beating that I took in my life--inside or outside the ring." During his visit to London (to fight Scott) Carter was involved in an incident in which a shot was fired in his hotel room.  Carter's career record in boxing was 27 wins, 12 losses, and one draw in 40 fights, with 19 total knockouts (8 KOs and 11 TKOs). He received an honorary championship title belt from the World Boxing Council in 1993 (as did Joey Giardello at the same banquet) and was later inducted into the New Jersey Boxing Hall of Fame. CANNOTANSWER

Question: Was Rubin Carter good at boxing?
Answer: His aggressive style and punching power (resulting in many early-round knockouts) drew attention,