gaussalgo/Canard_Wiki-augmented huggingface dataset:
Fairport Convention

Context: In 1998, Dave Mattacks moved to the USA and Gerry Conway took over on drums and percussion. Fairport produced two more studio albums for Woodworm Records: The Wood and the Wire (2000) and XXXV (2002). Then for Over the Next Hill (2004) they established a new label: Matty Grooves Records. In this period the band toured extensively in the UK, Europe, Australasia, Europe, the USA and Canada, and staged a major fund raiser for Dave Swarbrick at the Birmingham Symphony Hall. In 1998, members of the band began their association with the Breton musician Alan Simon. Working in collaboration with numerous others, members of Fairport (predominantly Nicol and Leslie) have performed in and participated in the recordings of all Simon's rock operas, including the Excalibur trilogy (1998, 2007, 2010) and Anne de Bretagne (2008).  2007 was their fortieth anniversary year and they celebrated by releasing a new album, Sense of Occasion. They performed the whole of the Liege & Lief album live at Cropredy, since 2004 renamed Fairport's Cropredy Convention, featuring the 1969 line-up of Dave Swarbrick, Ashley Hutchings, Dave Mattacks, Simon Nicol and Richard Thompson, with singer-songwriter Chris While taking the place of Sandy Denny. Footage of the festival, although not the Liege and Lief performance, was released as part of a celebratory DVD.  The band's first official YouTube video appeared in April 2008. Edited from footage shot for the DVD, the nine-minute mini-documentary includes interviews with Lulu, Jools Holland, Seth Lakeman, Mike Harding, Geoff Hughes and Frank Skinner.  In 2011, the band released a new studio album Festival Bell, the first new album in four years. This was followed in 2012 by Babbacombe Lee Live Again recorded live during the 2011 tour revisiting the Babbacombe Lee album first issued in 1971. In 2012, the band also released By Popular Request, a reworking in the studio of a number of the most popular songs in the band's repertoire (as determined by a mysterious consultation and voting process conducted by the band with its fans).  In January 2015, four years after their previous studio album of original material (Festival Bell), Fairport Convention released a new one entitled Myths and Heroes. CANNOTANSWER

Question: What was Fairport Convention doing during 1998?
Answer: Fairport produced two more studio albums for Woodworm Records:
Fairport Convention

Context: In 1998, Dave Mattacks moved to the USA and Gerry Conway took over on drums and percussion. Fairport produced two more studio albums for Woodworm Records: The Wood and the Wire (2000) and XXXV (2002). Then for Over the Next Hill (2004) they established a new label: Matty Grooves Records. In this period the band toured extensively in the UK, Europe, Australasia, Europe, the USA and Canada, and staged a major fund raiser for Dave Swarbrick at the Birmingham Symphony Hall. In 1998, members of the band began their association with the Breton musician Alan Simon. Working in collaboration with numerous others, members of Fairport (predominantly Nicol and Leslie) have performed in and participated in the recordings of all Simon's rock operas, including the Excalibur trilogy (1998, 2007, 2010) and Anne de Bretagne (2008).  2007 was their fortieth anniversary year and they celebrated by releasing a new album, Sense of Occasion. They performed the whole of the Liege & Lief album live at Cropredy, since 2004 renamed Fairport's Cropredy Convention, featuring the 1969 line-up of Dave Swarbrick, Ashley Hutchings, Dave Mattacks, Simon Nicol and Richard Thompson, with singer-songwriter Chris While taking the place of Sandy Denny. Footage of the festival, although not the Liege and Lief performance, was released as part of a celebratory DVD.  The band's first official YouTube video appeared in April 2008. Edited from footage shot for the DVD, the nine-minute mini-documentary includes interviews with Lulu, Jools Holland, Seth Lakeman, Mike Harding, Geoff Hughes and Frank Skinner.  In 2011, the band released a new studio album Festival Bell, the first new album in four years. This was followed in 2012 by Babbacombe Lee Live Again recorded live during the 2011 tour revisiting the Babbacombe Lee album first issued in 1971. In 2012, the band also released By Popular Request, a reworking in the studio of a number of the most popular songs in the band's repertoire (as determined by a mysterious consultation and voting process conducted by the band with its fans).  In January 2015, four years after their previous studio album of original material (Festival Bell), Fairport Convention released a new one entitled Myths and Heroes. CANNOTANSWER

Question: What was the name of one of Fairport Convention's albums?
Answer: The Wood and the Wire (2000)
Fairport Convention

Context: In 1998, Dave Mattacks moved to the USA and Gerry Conway took over on drums and percussion. Fairport produced two more studio albums for Woodworm Records: The Wood and the Wire (2000) and XXXV (2002). Then for Over the Next Hill (2004) they established a new label: Matty Grooves Records. In this period the band toured extensively in the UK, Europe, Australasia, Europe, the USA and Canada, and staged a major fund raiser for Dave Swarbrick at the Birmingham Symphony Hall. In 1998, members of the band began their association with the Breton musician Alan Simon. Working in collaboration with numerous others, members of Fairport (predominantly Nicol and Leslie) have performed in and participated in the recordings of all Simon's rock operas, including the Excalibur trilogy (1998, 2007, 2010) and Anne de Bretagne (2008).  2007 was their fortieth anniversary year and they celebrated by releasing a new album, Sense of Occasion. They performed the whole of the Liege & Lief album live at Cropredy, since 2004 renamed Fairport's Cropredy Convention, featuring the 1969 line-up of Dave Swarbrick, Ashley Hutchings, Dave Mattacks, Simon Nicol and Richard Thompson, with singer-songwriter Chris While taking the place of Sandy Denny. Footage of the festival, although not the Liege and Lief performance, was released as part of a celebratory DVD.  The band's first official YouTube video appeared in April 2008. Edited from footage shot for the DVD, the nine-minute mini-documentary includes interviews with Lulu, Jools Holland, Seth Lakeman, Mike Harding, Geoff Hughes and Frank Skinner.  In 2011, the band released a new studio album Festival Bell, the first new album in four years. This was followed in 2012 by Babbacombe Lee Live Again recorded live during the 2011 tour revisiting the Babbacombe Lee album first issued in 1971. In 2012, the band also released By Popular Request, a reworking in the studio of a number of the most popular songs in the band's repertoire (as determined by a mysterious consultation and voting process conducted by the band with its fans).  In January 2015, four years after their previous studio album of original material (Festival Bell), Fairport Convention released a new one entitled Myths and Heroes. CANNOTANSWER

Question: Was the Fairport Convention album The Wood and the Wire popular?
Answer: CANNOTANSWER
Fairport Convention

Context: In 1998, Dave Mattacks moved to the USA and Gerry Conway took over on drums and percussion. Fairport produced two more studio albums for Woodworm Records: The Wood and the Wire (2000) and XXXV (2002). Then for Over the Next Hill (2004) they established a new label: Matty Grooves Records. In this period the band toured extensively in the UK, Europe, Australasia, Europe, the USA and Canada, and staged a major fund raiser for Dave Swarbrick at the Birmingham Symphony Hall. In 1998, members of the band began their association with the Breton musician Alan Simon. Working in collaboration with numerous others, members of Fairport (predominantly Nicol and Leslie) have performed in and participated in the recordings of all Simon's rock operas, including the Excalibur trilogy (1998, 2007, 2010) and Anne de Bretagne (2008).  2007 was their fortieth anniversary year and they celebrated by releasing a new album, Sense of Occasion. They performed the whole of the Liege & Lief album live at Cropredy, since 2004 renamed Fairport's Cropredy Convention, featuring the 1969 line-up of Dave Swarbrick, Ashley Hutchings, Dave Mattacks, Simon Nicol and Richard Thompson, with singer-songwriter Chris While taking the place of Sandy Denny. Footage of the festival, although not the Liege and Lief performance, was released as part of a celebratory DVD.  The band's first official YouTube video appeared in April 2008. Edited from footage shot for the DVD, the nine-minute mini-documentary includes interviews with Lulu, Jools Holland, Seth Lakeman, Mike Harding, Geoff Hughes and Frank Skinner.  In 2011, the band released a new studio album Festival Bell, the first new album in four years. This was followed in 2012 by Babbacombe Lee Live Again recorded live during the 2011 tour revisiting the Babbacombe Lee album first issued in 1971. In 2012, the band also released By Popular Request, a reworking in the studio of a number of the most popular songs in the band's repertoire (as determined by a mysterious consultation and voting process conducted by the band with its fans).  In January 2015, four years after their previous studio album of original material (Festival Bell), Fairport Convention released a new one entitled Myths and Heroes. CANNOTANSWER

Question: In addition to The Wood and the Wire, what is the name of another Fairport Convention album?
Answer: XXXV (2002).
Fairport Convention

Context: In 1998, Dave Mattacks moved to the USA and Gerry Conway took over on drums and percussion. Fairport produced two more studio albums for Woodworm Records: The Wood and the Wire (2000) and XXXV (2002). Then for Over the Next Hill (2004) they established a new label: Matty Grooves Records. In this period the band toured extensively in the UK, Europe, Australasia, Europe, the USA and Canada, and staged a major fund raiser for Dave Swarbrick at the Birmingham Symphony Hall. In 1998, members of the band began their association with the Breton musician Alan Simon. Working in collaboration with numerous others, members of Fairport (predominantly Nicol and Leslie) have performed in and participated in the recordings of all Simon's rock operas, including the Excalibur trilogy (1998, 2007, 2010) and Anne de Bretagne (2008).  2007 was their fortieth anniversary year and they celebrated by releasing a new album, Sense of Occasion. They performed the whole of the Liege & Lief album live at Cropredy, since 2004 renamed Fairport's Cropredy Convention, featuring the 1969 line-up of Dave Swarbrick, Ashley Hutchings, Dave Mattacks, Simon Nicol and Richard Thompson, with singer-songwriter Chris While taking the place of Sandy Denny. Footage of the festival, although not the Liege and Lief performance, was released as part of a celebratory DVD.  The band's first official YouTube video appeared in April 2008. Edited from footage shot for the DVD, the nine-minute mini-documentary includes interviews with Lulu, Jools Holland, Seth Lakeman, Mike Harding, Geoff Hughes and Frank Skinner.  In 2011, the band released a new studio album Festival Bell, the first new album in four years. This was followed in 2012 by Babbacombe Lee Live Again recorded live during the 2011 tour revisiting the Babbacombe Lee album first issued in 1971. In 2012, the band also released By Popular Request, a reworking in the studio of a number of the most popular songs in the band's repertoire (as determined by a mysterious consultation and voting process conducted by the band with its fans).  In January 2015, four years after their previous studio album of original material (Festival Bell), Fairport Convention released a new one entitled Myths and Heroes. CANNOTANSWER

Question: What did Fairport Convention do after the albums The Wood and the Wire and XXXV?
Answer: Then for Over the Next Hill (2004) they established a new label: Matty Grooves Records.
Fairport Convention

Context: In 1998, Dave Mattacks moved to the USA and Gerry Conway took over on drums and percussion. Fairport produced two more studio albums for Woodworm Records: The Wood and the Wire (2000) and XXXV (2002). Then for Over the Next Hill (2004) they established a new label: Matty Grooves Records. In this period the band toured extensively in the UK, Europe, Australasia, Europe, the USA and Canada, and staged a major fund raiser for Dave Swarbrick at the Birmingham Symphony Hall. In 1998, members of the band began their association with the Breton musician Alan Simon. Working in collaboration with numerous others, members of Fairport (predominantly Nicol and Leslie) have performed in and participated in the recordings of all Simon's rock operas, including the Excalibur trilogy (1998, 2007, 2010) and Anne de Bretagne (2008).  2007 was their fortieth anniversary year and they celebrated by releasing a new album, Sense of Occasion. They performed the whole of the Liege & Lief album live at Cropredy, since 2004 renamed Fairport's Cropredy Convention, featuring the 1969 line-up of Dave Swarbrick, Ashley Hutchings, Dave Mattacks, Simon Nicol and Richard Thompson, with singer-songwriter Chris While taking the place of Sandy Denny. Footage of the festival, although not the Liege and Lief performance, was released as part of a celebratory DVD.  The band's first official YouTube video appeared in April 2008. Edited from footage shot for the DVD, the nine-minute mini-documentary includes interviews with Lulu, Jools Holland, Seth Lakeman, Mike Harding, Geoff Hughes and Frank Skinner.  In 2011, the band released a new studio album Festival Bell, the first new album in four years. This was followed in 2012 by Babbacombe Lee Live Again recorded live during the 2011 tour revisiting the Babbacombe Lee album first issued in 1971. In 2012, the band also released By Popular Request, a reworking in the studio of a number of the most popular songs in the band's repertoire (as determined by a mysterious consultation and voting process conducted by the band with its fans).  In January 2015, four years after their previous studio album of original material (Festival Bell), Fairport Convention released a new one entitled Myths and Heroes. CANNOTANSWER

Question: Can you tell me more about Matty Grooves Records?
Answer: In this period the band toured extensively in the UK, Europe, Australasia, Europe, the USA and Canada,
Fairport Convention

Context: In 1998, Dave Mattacks moved to the USA and Gerry Conway took over on drums and percussion. Fairport produced two more studio albums for Woodworm Records: The Wood and the Wire (2000) and XXXV (2002). Then for Over the Next Hill (2004) they established a new label: Matty Grooves Records. In this period the band toured extensively in the UK, Europe, Australasia, Europe, the USA and Canada, and staged a major fund raiser for Dave Swarbrick at the Birmingham Symphony Hall. In 1998, members of the band began their association with the Breton musician Alan Simon. Working in collaboration with numerous others, members of Fairport (predominantly Nicol and Leslie) have performed in and participated in the recordings of all Simon's rock operas, including the Excalibur trilogy (1998, 2007, 2010) and Anne de Bretagne (2008).  2007 was their fortieth anniversary year and they celebrated by releasing a new album, Sense of Occasion. They performed the whole of the Liege & Lief album live at Cropredy, since 2004 renamed Fairport's Cropredy Convention, featuring the 1969 line-up of Dave Swarbrick, Ashley Hutchings, Dave Mattacks, Simon Nicol and Richard Thompson, with singer-songwriter Chris While taking the place of Sandy Denny. Footage of the festival, although not the Liege and Lief performance, was released as part of a celebratory DVD.  The band's first official YouTube video appeared in April 2008. Edited from footage shot for the DVD, the nine-minute mini-documentary includes interviews with Lulu, Jools Holland, Seth Lakeman, Mike Harding, Geoff Hughes and Frank Skinner.  In 2011, the band released a new studio album Festival Bell, the first new album in four years. This was followed in 2012 by Babbacombe Lee Live Again recorded live during the 2011 tour revisiting the Babbacombe Lee album first issued in 1971. In 2012, the band also released By Popular Request, a reworking in the studio of a number of the most popular songs in the band's repertoire (as determined by a mysterious consultation and voting process conducted by the band with its fans).  In January 2015, four years after their previous studio album of original material (Festival Bell), Fairport Convention released a new one entitled Myths and Heroes. CANNOTANSWER

Question: Did Fairport Convention have success in their tours?
Answer: CANNOTANSWER
Blonde on Blonde

Context: Most accounts of recording Blonde on Blonde, including those by Dylan scholars Clinton Heylin and Michael Gray, agree that there were two blocks of recording sessions: February 14-17 and March 8-10, 1966. This chronology is based on the logs and files kept by Columbia Records.  Dylan and the Hawks performed concerts in Ottawa, Montreal, and Philadelphia in February and March, and then Dylan resumed recording in Nashville on March 8. On that date, Dylan and the musicians recorded the take of "Absolutely Sweet Marie" that Dylan selected for the album. Historian Sean Wilentz observed that "with the sound of 'Sweet Marie', Blonde on Blonde entered fully and sublimely into what is now considered classic rock and roll". The same day saw the successful takes of "Just Like a Woman", and "Pledging My Time", the latter "driven by Robertson's screaming guitar".  According to Wilentz the final recording session, on March 9-10, produced six songs in 13 hours of studio time. The first number to be recorded to Dylan's satisfaction was "Most Likely You Go Your Way and I'll Go Mine", when McCoy reinforced on trumpet a musical phrase Dylan played on his harmonica, changing the sound of the song radically. Dylan and his band then quickly recorded "Temporary Like Achilles". The session atmosphere began to "get giddy" around midnight when Dylan roughed out "Rainy Day Women #12 & 35" on the piano. Johnston recalled commenting; "That sounds like the damn Salvation Army band". Dylan replied; "Can you get one?" Johnston then telephoned trombonist Wayne Butler, the only additional musician required, and Dylan and the band, with McCoy again on trumpet, played a high-spirited version of the song.  In quick succession Dylan and the musicians then recorded "Obviously 5 Believers" and a final take of "Leopard-Skin Pill-Box Hat" powered by Robertson's lead guitar. The session concluded with "I Want You" on which, as Wilentz notes, "Wayne Moss's rapid-fire sixteenth notes on the guitar" are an impressive element of the recording. CANNOTANSWER

Question: What happened to Blonde on Blonde on February 15 in in Nashville?
Answer: two blocks of recording
Blonde on Blonde

Context: Most accounts of recording Blonde on Blonde, including those by Dylan scholars Clinton Heylin and Michael Gray, agree that there were two blocks of recording sessions: February 14-17 and March 8-10, 1966. This chronology is based on the logs and files kept by Columbia Records.  Dylan and the Hawks performed concerts in Ottawa, Montreal, and Philadelphia in February and March, and then Dylan resumed recording in Nashville on March 8. On that date, Dylan and the musicians recorded the take of "Absolutely Sweet Marie" that Dylan selected for the album. Historian Sean Wilentz observed that "with the sound of 'Sweet Marie', Blonde on Blonde entered fully and sublimely into what is now considered classic rock and roll". The same day saw the successful takes of "Just Like a Woman", and "Pledging My Time", the latter "driven by Robertson's screaming guitar".  According to Wilentz the final recording session, on March 9-10, produced six songs in 13 hours of studio time. The first number to be recorded to Dylan's satisfaction was "Most Likely You Go Your Way and I'll Go Mine", when McCoy reinforced on trumpet a musical phrase Dylan played on his harmonica, changing the sound of the song radically. Dylan and his band then quickly recorded "Temporary Like Achilles". The session atmosphere began to "get giddy" around midnight when Dylan roughed out "Rainy Day Women #12 & 35" on the piano. Johnston recalled commenting; "That sounds like the damn Salvation Army band". Dylan replied; "Can you get one?" Johnston then telephoned trombonist Wayne Butler, the only additional musician required, and Dylan and the band, with McCoy again on trumpet, played a high-spirited version of the song.  In quick succession Dylan and the musicians then recorded "Obviously 5 Believers" and a final take of "Leopard-Skin Pill-Box Hat" powered by Robertson's lead guitar. The session concluded with "I Want You" on which, as Wilentz notes, "Wayne Moss's rapid-fire sixteenth notes on the guitar" are an impressive element of the recording. CANNOTANSWER

Question: When was Blonde on Blonde Nashville's first session?
Answer: February 14-17
Blonde on Blonde

Context: Most accounts of recording Blonde on Blonde, including those by Dylan scholars Clinton Heylin and Michael Gray, agree that there were two blocks of recording sessions: February 14-17 and March 8-10, 1966. This chronology is based on the logs and files kept by Columbia Records.  Dylan and the Hawks performed concerts in Ottawa, Montreal, and Philadelphia in February and March, and then Dylan resumed recording in Nashville on March 8. On that date, Dylan and the musicians recorded the take of "Absolutely Sweet Marie" that Dylan selected for the album. Historian Sean Wilentz observed that "with the sound of 'Sweet Marie', Blonde on Blonde entered fully and sublimely into what is now considered classic rock and roll". The same day saw the successful takes of "Just Like a Woman", and "Pledging My Time", the latter "driven by Robertson's screaming guitar".  According to Wilentz the final recording session, on March 9-10, produced six songs in 13 hours of studio time. The first number to be recorded to Dylan's satisfaction was "Most Likely You Go Your Way and I'll Go Mine", when McCoy reinforced on trumpet a musical phrase Dylan played on his harmonica, changing the sound of the song radically. Dylan and his band then quickly recorded "Temporary Like Achilles". The session atmosphere began to "get giddy" around midnight when Dylan roughed out "Rainy Day Women #12 & 35" on the piano. Johnston recalled commenting; "That sounds like the damn Salvation Army band". Dylan replied; "Can you get one?" Johnston then telephoned trombonist Wayne Butler, the only additional musician required, and Dylan and the band, with McCoy again on trumpet, played a high-spirited version of the song.  In quick succession Dylan and the musicians then recorded "Obviously 5 Believers" and a final take of "Leopard-Skin Pill-Box Hat" powered by Robertson's lead guitar. The session concluded with "I Want You" on which, as Wilentz notes, "Wayne Moss's rapid-fire sixteenth notes on the guitar" are an impressive element of the recording. CANNOTANSWER

Question: Did Blonde on Blonde remove the baffles?
Answer: CANNOTANSWER
Blonde on Blonde

Context: Most accounts of recording Blonde on Blonde, including those by Dylan scholars Clinton Heylin and Michael Gray, agree that there were two blocks of recording sessions: February 14-17 and March 8-10, 1966. This chronology is based on the logs and files kept by Columbia Records.  Dylan and the Hawks performed concerts in Ottawa, Montreal, and Philadelphia in February and March, and then Dylan resumed recording in Nashville on March 8. On that date, Dylan and the musicians recorded the take of "Absolutely Sweet Marie" that Dylan selected for the album. Historian Sean Wilentz observed that "with the sound of 'Sweet Marie', Blonde on Blonde entered fully and sublimely into what is now considered classic rock and roll". The same day saw the successful takes of "Just Like a Woman", and "Pledging My Time", the latter "driven by Robertson's screaming guitar".  According to Wilentz the final recording session, on March 9-10, produced six songs in 13 hours of studio time. The first number to be recorded to Dylan's satisfaction was "Most Likely You Go Your Way and I'll Go Mine", when McCoy reinforced on trumpet a musical phrase Dylan played on his harmonica, changing the sound of the song radically. Dylan and his band then quickly recorded "Temporary Like Achilles". The session atmosphere began to "get giddy" around midnight when Dylan roughed out "Rainy Day Women #12 & 35" on the piano. Johnston recalled commenting; "That sounds like the damn Salvation Army band". Dylan replied; "Can you get one?" Johnston then telephoned trombonist Wayne Butler, the only additional musician required, and Dylan and the band, with McCoy again on trumpet, played a high-spirited version of the song.  In quick succession Dylan and the musicians then recorded "Obviously 5 Believers" and a final take of "Leopard-Skin Pill-Box Hat" powered by Robertson's lead guitar. The session concluded with "I Want You" on which, as Wilentz notes, "Wayne Moss's rapid-fire sixteenth notes on the guitar" are an impressive element of the recording. CANNOTANSWER

Question: What happened to Blonde on Blonde in 1966?
Answer: two blocks of recording
Blonde on Blonde

Context: Most accounts of recording Blonde on Blonde, including those by Dylan scholars Clinton Heylin and Michael Gray, agree that there were two blocks of recording sessions: February 14-17 and March 8-10, 1966. This chronology is based on the logs and files kept by Columbia Records.  Dylan and the Hawks performed concerts in Ottawa, Montreal, and Philadelphia in February and March, and then Dylan resumed recording in Nashville on March 8. On that date, Dylan and the musicians recorded the take of "Absolutely Sweet Marie" that Dylan selected for the album. Historian Sean Wilentz observed that "with the sound of 'Sweet Marie', Blonde on Blonde entered fully and sublimely into what is now considered classic rock and roll". The same day saw the successful takes of "Just Like a Woman", and "Pledging My Time", the latter "driven by Robertson's screaming guitar".  According to Wilentz the final recording session, on March 9-10, produced six songs in 13 hours of studio time. The first number to be recorded to Dylan's satisfaction was "Most Likely You Go Your Way and I'll Go Mine", when McCoy reinforced on trumpet a musical phrase Dylan played on his harmonica, changing the sound of the song radically. Dylan and his band then quickly recorded "Temporary Like Achilles". The session atmosphere began to "get giddy" around midnight when Dylan roughed out "Rainy Day Women #12 & 35" on the piano. Johnston recalled commenting; "That sounds like the damn Salvation Army band". Dylan replied; "Can you get one?" Johnston then telephoned trombonist Wayne Butler, the only additional musician required, and Dylan and the band, with McCoy again on trumpet, played a high-spirited version of the song.  In quick succession Dylan and the musicians then recorded "Obviously 5 Believers" and a final take of "Leopard-Skin Pill-Box Hat" powered by Robertson's lead guitar. The session concluded with "I Want You" on which, as Wilentz notes, "Wayne Moss's rapid-fire sixteenth notes on the guitar" are an impressive element of the recording. CANNOTANSWER

Question: What was one of Blonde on Blonde's songs?
Answer: Just Like a Woman", and "Pledging My Time",
Blonde on Blonde

Context: Most accounts of recording Blonde on Blonde, including those by Dylan scholars Clinton Heylin and Michael Gray, agree that there were two blocks of recording sessions: February 14-17 and March 8-10, 1966. This chronology is based on the logs and files kept by Columbia Records.  Dylan and the Hawks performed concerts in Ottawa, Montreal, and Philadelphia in February and March, and then Dylan resumed recording in Nashville on March 8. On that date, Dylan and the musicians recorded the take of "Absolutely Sweet Marie" that Dylan selected for the album. Historian Sean Wilentz observed that "with the sound of 'Sweet Marie', Blonde on Blonde entered fully and sublimely into what is now considered classic rock and roll". The same day saw the successful takes of "Just Like a Woman", and "Pledging My Time", the latter "driven by Robertson's screaming guitar".  According to Wilentz the final recording session, on March 9-10, produced six songs in 13 hours of studio time. The first number to be recorded to Dylan's satisfaction was "Most Likely You Go Your Way and I'll Go Mine", when McCoy reinforced on trumpet a musical phrase Dylan played on his harmonica, changing the sound of the song radically. Dylan and his band then quickly recorded "Temporary Like Achilles". The session atmosphere began to "get giddy" around midnight when Dylan roughed out "Rainy Day Women #12 & 35" on the piano. Johnston recalled commenting; "That sounds like the damn Salvation Army band". Dylan replied; "Can you get one?" Johnston then telephoned trombonist Wayne Butler, the only additional musician required, and Dylan and the band, with McCoy again on trumpet, played a high-spirited version of the song.  In quick succession Dylan and the musicians then recorded "Obviously 5 Believers" and a final take of "Leopard-Skin Pill-Box Hat" powered by Robertson's lead guitar. The session concluded with "I Want You" on which, as Wilentz notes, "Wayne Moss's rapid-fire sixteenth notes on the guitar" are an impressive element of the recording. CANNOTANSWER

Question: How many takes did it take to release Blonde on Blonde's album?
Answer: CANNOTANSWER
Blonde on Blonde

Context: Most accounts of recording Blonde on Blonde, including those by Dylan scholars Clinton Heylin and Michael Gray, agree that there were two blocks of recording sessions: February 14-17 and March 8-10, 1966. This chronology is based on the logs and files kept by Columbia Records.  Dylan and the Hawks performed concerts in Ottawa, Montreal, and Philadelphia in February and March, and then Dylan resumed recording in Nashville on March 8. On that date, Dylan and the musicians recorded the take of "Absolutely Sweet Marie" that Dylan selected for the album. Historian Sean Wilentz observed that "with the sound of 'Sweet Marie', Blonde on Blonde entered fully and sublimely into what is now considered classic rock and roll". The same day saw the successful takes of "Just Like a Woman", and "Pledging My Time", the latter "driven by Robertson's screaming guitar".  According to Wilentz the final recording session, on March 9-10, produced six songs in 13 hours of studio time. The first number to be recorded to Dylan's satisfaction was "Most Likely You Go Your Way and I'll Go Mine", when McCoy reinforced on trumpet a musical phrase Dylan played on his harmonica, changing the sound of the song radically. Dylan and his band then quickly recorded "Temporary Like Achilles". The session atmosphere began to "get giddy" around midnight when Dylan roughed out "Rainy Day Women #12 & 35" on the piano. Johnston recalled commenting; "That sounds like the damn Salvation Army band". Dylan replied; "Can you get one?" Johnston then telephoned trombonist Wayne Butler, the only additional musician required, and Dylan and the band, with McCoy again on trumpet, played a high-spirited version of the song.  In quick succession Dylan and the musicians then recorded "Obviously 5 Believers" and a final take of "Leopard-Skin Pill-Box Hat" powered by Robertson's lead guitar. The session concluded with "I Want You" on which, as Wilentz notes, "Wayne Moss's rapid-fire sixteenth notes on the guitar" are an impressive element of the recording. CANNOTANSWER

Question: How long was one of Blonde on Blonde's songs?
Answer: CANNOTANSWER
Marmalade (band)

Context: In 1975, Knight linked up with former drummer Alan Whitehead to form 'Vintage Marmalade' with Sandy Newman (vocals, guitar, keyboards) and Charlie Smith (guitar). They were reunited with their old manager, Peter Walsh, to play all the hits on stage and had a full date sheet.  Later in 1975, after Ford and the remaining members called it quits, Knight and Whitehead took over the name Marmalade with the new line-up, fronted by Newman. They signed a deal with Tony Macaulay's Target Records and in 1976, had what turned out to be their final Top 10 hit with the ominously entitled, Macaulay penned song, "Falling Apart at The Seams". The song also reached the easy listening charts in the U.S. and made the Top 50 of the Billboard Hot 100, becoming the group's last charting single on the U.S charts. Subsequent singles failed to chart. One of these was "Talking In Your Sleep", produced by Roger Greenaway and released in January 1978, six months ahead of the Crystal Gayle version of the same song, which became well known worldwide.  Sandy Newman (ex-The Chris McClure Section, 1968-1970) has continued to front Marmalade since 1975, releasing a further eleven singles in the UK (excluding re-releases), seven of which were via Target Records, none of which have charted in the UK or US, and today they continue to tour the nostalgia circuit performing the band's full hit repertoire.  Charlie Smith departed in 1977 to join Nicholson in Blue, and Garth Watt-Roy came in briefly for Marmalade's Only Light On My Horizon Now album, before leaving for the Q-Tips in 1978. He was replaced by guitarist Ian Withington, who appeared alongside Knight, Newman and new drummer Stu Williamson for the next album Doing It All For You (1979).  Alan Whitehead left the band in 1978 to manage other pop groups and singers, which he has continued to do. He also appeared in the 2010 TV series Take Me Out and ran a lap dancing club. CANNOTANSWER

Question: What was the band Marmalade doing in 1975?
Answer: In 1975, Knight linked up with former drummer Alan Whitehead to form 'Vintage Marmalade' with Sandy Newman (vocals, guitar, keyboards) and Charlie Smith (guitar).
Marmalade (band)

Context: In 1975, Knight linked up with former drummer Alan Whitehead to form 'Vintage Marmalade' with Sandy Newman (vocals, guitar, keyboards) and Charlie Smith (guitar). They were reunited with their old manager, Peter Walsh, to play all the hits on stage and had a full date sheet.  Later in 1975, after Ford and the remaining members called it quits, Knight and Whitehead took over the name Marmalade with the new line-up, fronted by Newman. They signed a deal with Tony Macaulay's Target Records and in 1976, had what turned out to be their final Top 10 hit with the ominously entitled, Macaulay penned song, "Falling Apart at The Seams". The song also reached the easy listening charts in the U.S. and made the Top 50 of the Billboard Hot 100, becoming the group's last charting single on the U.S charts. Subsequent singles failed to chart. One of these was "Talking In Your Sleep", produced by Roger Greenaway and released in January 1978, six months ahead of the Crystal Gayle version of the same song, which became well known worldwide.  Sandy Newman (ex-The Chris McClure Section, 1968-1970) has continued to front Marmalade since 1975, releasing a further eleven singles in the UK (excluding re-releases), seven of which were via Target Records, none of which have charted in the UK or US, and today they continue to tour the nostalgia circuit performing the band's full hit repertoire.  Charlie Smith departed in 1977 to join Nicholson in Blue, and Garth Watt-Roy came in briefly for Marmalade's Only Light On My Horizon Now album, before leaving for the Q-Tips in 1978. He was replaced by guitarist Ian Withington, who appeared alongside Knight, Newman and new drummer Stu Williamson for the next album Doing It All For You (1979).  Alan Whitehead left the band in 1978 to manage other pop groups and singers, which he has continued to do. He also appeared in the 2010 TV series Take Me Out and ran a lap dancing club. CANNOTANSWER

Question: Did any of the band Marmalade's members receive formal education?
Answer: CANNOTANSWER
Marmalade (band)

Context: In 1975, Knight linked up with former drummer Alan Whitehead to form 'Vintage Marmalade' with Sandy Newman (vocals, guitar, keyboards) and Charlie Smith (guitar). They were reunited with their old manager, Peter Walsh, to play all the hits on stage and had a full date sheet.  Later in 1975, after Ford and the remaining members called it quits, Knight and Whitehead took over the name Marmalade with the new line-up, fronted by Newman. They signed a deal with Tony Macaulay's Target Records and in 1976, had what turned out to be their final Top 10 hit with the ominously entitled, Macaulay penned song, "Falling Apart at The Seams". The song also reached the easy listening charts in the U.S. and made the Top 50 of the Billboard Hot 100, becoming the group's last charting single on the U.S charts. Subsequent singles failed to chart. One of these was "Talking In Your Sleep", produced by Roger Greenaway and released in January 1978, six months ahead of the Crystal Gayle version of the same song, which became well known worldwide.  Sandy Newman (ex-The Chris McClure Section, 1968-1970) has continued to front Marmalade since 1975, releasing a further eleven singles in the UK (excluding re-releases), seven of which were via Target Records, none of which have charted in the UK or US, and today they continue to tour the nostalgia circuit performing the band's full hit repertoire.  Charlie Smith departed in 1977 to join Nicholson in Blue, and Garth Watt-Roy came in briefly for Marmalade's Only Light On My Horizon Now album, before leaving for the Q-Tips in 1978. He was replaced by guitarist Ian Withington, who appeared alongside Knight, Newman and new drummer Stu Williamson for the next album Doing It All For You (1979).  Alan Whitehead left the band in 1978 to manage other pop groups and singers, which he has continued to do. He also appeared in the 2010 TV series Take Me Out and ran a lap dancing club. CANNOTANSWER

Question: What happened in the year 1978 with the band Marmalade?
Answer: Alan Whitehead left the band in 1978 to manage other pop groups and singers, which he has continued to do.
Marmalade (band)

Context: In 1975, Knight linked up with former drummer Alan Whitehead to form 'Vintage Marmalade' with Sandy Newman (vocals, guitar, keyboards) and Charlie Smith (guitar). They were reunited with their old manager, Peter Walsh, to play all the hits on stage and had a full date sheet.  Later in 1975, after Ford and the remaining members called it quits, Knight and Whitehead took over the name Marmalade with the new line-up, fronted by Newman. They signed a deal with Tony Macaulay's Target Records and in 1976, had what turned out to be their final Top 10 hit with the ominously entitled, Macaulay penned song, "Falling Apart at The Seams". The song also reached the easy listening charts in the U.S. and made the Top 50 of the Billboard Hot 100, becoming the group's last charting single on the U.S charts. Subsequent singles failed to chart. One of these was "Talking In Your Sleep", produced by Roger Greenaway and released in January 1978, six months ahead of the Crystal Gayle version of the same song, which became well known worldwide.  Sandy Newman (ex-The Chris McClure Section, 1968-1970) has continued to front Marmalade since 1975, releasing a further eleven singles in the UK (excluding re-releases), seven of which were via Target Records, none of which have charted in the UK or US, and today they continue to tour the nostalgia circuit performing the band's full hit repertoire.  Charlie Smith departed in 1977 to join Nicholson in Blue, and Garth Watt-Roy came in briefly for Marmalade's Only Light On My Horizon Now album, before leaving for the Q-Tips in 1978. He was replaced by guitarist Ian Withington, who appeared alongside Knight, Newman and new drummer Stu Williamson for the next album Doing It All For You (1979).  Alan Whitehead left the band in 1978 to manage other pop groups and singers, which he has continued to do. He also appeared in the 2010 TV series Take Me Out and ran a lap dancing club. CANNOTANSWER

Question: Who managed the band Marmalade after Alan Whitehead left the band in 1978?
Answer: CANNOTANSWER
Marmalade (band)

Context: In 1975, Knight linked up with former drummer Alan Whitehead to form 'Vintage Marmalade' with Sandy Newman (vocals, guitar, keyboards) and Charlie Smith (guitar). They were reunited with their old manager, Peter Walsh, to play all the hits on stage and had a full date sheet.  Later in 1975, after Ford and the remaining members called it quits, Knight and Whitehead took over the name Marmalade with the new line-up, fronted by Newman. They signed a deal with Tony Macaulay's Target Records and in 1976, had what turned out to be their final Top 10 hit with the ominously entitled, Macaulay penned song, "Falling Apart at The Seams". The song also reached the easy listening charts in the U.S. and made the Top 50 of the Billboard Hot 100, becoming the group's last charting single on the U.S charts. Subsequent singles failed to chart. One of these was "Talking In Your Sleep", produced by Roger Greenaway and released in January 1978, six months ahead of the Crystal Gayle version of the same song, which became well known worldwide.  Sandy Newman (ex-The Chris McClure Section, 1968-1970) has continued to front Marmalade since 1975, releasing a further eleven singles in the UK (excluding re-releases), seven of which were via Target Records, none of which have charted in the UK or US, and today they continue to tour the nostalgia circuit performing the band's full hit repertoire.  Charlie Smith departed in 1977 to join Nicholson in Blue, and Garth Watt-Roy came in briefly for Marmalade's Only Light On My Horizon Now album, before leaving for the Q-Tips in 1978. He was replaced by guitarist Ian Withington, who appeared alongside Knight, Newman and new drummer Stu Williamson for the next album Doing It All For You (1979).  Alan Whitehead left the band in 1978 to manage other pop groups and singers, which he has continued to do. He also appeared in the 2010 TV series Take Me Out and ran a lap dancing club. CANNOTANSWER

Question: Did the band Marmalade lose popularity when Marmalade lost their manager Alan Whitehead in 1978?
Answer: CANNOTANSWER
Grace Hopper

Context: Throughout much of her later career, Hopper was much in demand as a speaker at various computer-related events. She was well known for her lively and irreverent speaking style, as well as a rich treasury of early war stories. She also received the nickname "Grandma COBOL".  While she was working on a Mark II Computer at a US Navy research lab in Dahlgren, Virginia in 1947, her associates discovered a moth that was stuck in a relay; the moth impeded the operation of the relay. While neither Hopper nor her crew mentioned the phrase "debugging" in their logs, the case was held as an instance of literal "debugging." For many years, the term bug had been in use in engineering. The remains of the moth can be found in the group's log book at the Smithsonian Institution's National Museum of American History in Washington, D.C.  Grace Hopper is famous for her nanoseconds visual aid. People (such as generals and admirals) used to ask her why satellite communication took so long. She started handing out pieces of wire that were just under one foot long (11.80 inches = 300 millimeters)--the distance that light travels in one nanosecond. She gave these pieces of wire the metonym "nanoseconds." She was careful to tell her audience that the length of her nanoseconds was actually the maximum speed the signals would travel in a vacuum, and that signals would travel more slowly through the actual wires that were her teaching aids. Later she used the same pieces of wire to illustrate why computers had to be small to be fast. At many of her talks and visits, she handed out "nanoseconds" to everyone in the audience, contrasting them with a coil of wire 984 feet long, representing a microsecond. Later, while giving these lectures while working for DEC, she passed out packets of pepper, calling the individual grains of ground pepper picoseconds.  Jay Elliot described Grace Hopper as appearing to be "'all Navy', but when you reach inside, you find a 'Pirate' dying to be released". CANNOTANSWER

Question: What can you tell me about Grace Hopper's anecdotes?
Answer: Grace Hopper is famous for her nanoseconds visual aid.
Grace Hopper

Context: Throughout much of her later career, Hopper was much in demand as a speaker at various computer-related events. She was well known for her lively and irreverent speaking style, as well as a rich treasury of early war stories. She also received the nickname "Grandma COBOL".  While she was working on a Mark II Computer at a US Navy research lab in Dahlgren, Virginia in 1947, her associates discovered a moth that was stuck in a relay; the moth impeded the operation of the relay. While neither Hopper nor her crew mentioned the phrase "debugging" in their logs, the case was held as an instance of literal "debugging." For many years, the term bug had been in use in engineering. The remains of the moth can be found in the group's log book at the Smithsonian Institution's National Museum of American History in Washington, D.C.  Grace Hopper is famous for her nanoseconds visual aid. People (such as generals and admirals) used to ask her why satellite communication took so long. She started handing out pieces of wire that were just under one foot long (11.80 inches = 300 millimeters)--the distance that light travels in one nanosecond. She gave these pieces of wire the metonym "nanoseconds." She was careful to tell her audience that the length of her nanoseconds was actually the maximum speed the signals would travel in a vacuum, and that signals would travel more slowly through the actual wires that were her teaching aids. Later she used the same pieces of wire to illustrate why computers had to be small to be fast. At many of her talks and visits, she handed out "nanoseconds" to everyone in the audience, contrasting them with a coil of wire 984 feet long, representing a microsecond. Later, while giving these lectures while working for DEC, she passed out packets of pepper, calling the individual grains of ground pepper picoseconds.  Jay Elliot described Grace Hopper as appearing to be "'all Navy', but when you reach inside, you find a 'Pirate' dying to be released". CANNOTANSWER

Question: How is Grace Hopper famous fro her nanoseconds visual aid?
Answer: She started handing out pieces of wire that were just under one foot long (11.80 inches = 300 millimeters)--