gaussalgo/Canard_Wiki-augmented huggingface dataset:
Charles Kennedy

Context: In his last general election as leader, in May 2005, he extended his strategy from the 2001 election targeting the seats held by the most senior and/or highly regarded Conservative MPs, dubbed a "decapitation" strategy. The expectation was that without these "key" figures, the Conservatives would be discredited as the official opposition allowing Kennedy and the Liberal Democrats to claim that they were the "effective opposition". At the same time they also hoped to capture marginal Labour seats attracting (particularly Muslim) Labour voters who were dissatisfied because of the invasion of Iraq which Kennedy's party had opposed. They had succeeded with this tactic in by-elections, taking Brent East and Leicester South from Labour.  Just before the election, it had been anticipated by the media and opinion polls that the Liberal Democrats could win up to 100 seats and place them close to the Conservatives in terms of seats as well as votes. They won 62 seats (22.1% of the vote), their greatest number of seats since 1923 but significantly less than most observers had expected the party to win.  They made a net loss of seats to the Conservatives, only managing to win three seats from them (Solihull, Taunton and Westmorland and Lonsdale) with their biggest "scalp" being that of the Shadow Education Secretary Tim Collins. They failed to unseat leading Conservatives such as the Shadow Chancellor of the Exchequer Oliver Letwin, Shadow Home Secretary David Davis, Shadow Secretary of State for the Family Theresa May and the Leader of the Opposition Michael Howard. The "decapitation" strategy was widely seen to have failed.  They won significant numbers of seats from Labour, winning particularly in student areas such as Bristol, Cardiff and Manchester, but did not see the breakthrough in areas with large Asian populations that some had expected, and even lost Leicester South. They succeeded in regaining the seat of Ceredigion, their first gain from the Welsh party Plaid Cymru.  Kennedy heralded the Liberal Democrats, who now had a total of 62 seats, as the "national party of the future", but in the wake of the general election, Kennedy's leadership came under increased criticism from those who felt that the Liberal Democrats could have surged forward with the official opposition Conservative Party having been relatively weak. Many pointed the finger of blame at Kennedy for failing to widen the party's appeal. Others, like the former Deputy Chairman of the Federal Liberal Democrat Party, Donnachadh McCarthy, resigned, citing the party's shift to the right of the political spectrum under Kennedy in pursuit of Conservative votes. CANNOTANSWER

Question: Did the net loss of seats change Charles Kennedy's tactics?
Answer: They failed to unseat leading Conservatives such as the Shadow Chancellor of the Exchequer Oliver Letwin, Shadow Home Secretary David Davis,
PJ Harvey

Context: In July 1988, Harvey became a member of Automatic Dlamini, a band based in Bristol with whom she gained extensive ensemble-playing experience. Formed by John Parish in 1983, the band consisted of a rotating line-up that at various times included Rob Ellis and Ian Oliver. Harvey had met Parish in 1987 through mutual friend Jeremy Hogg, the band's slide guitarist. Providing saxophone, guitars and background vocals, she travelled extensively during the band's early days, including performances in West Germany, Spain and Poland to support the band's debut studio album, The D is for Drum. A second European tour took place throughout June and July 1989. Following the tour, the band recorded Here Catch, Shouted His Father, their second studio album, between late 1989 and early 1990. This is the only Automatic Dlamini material to feature Harvey, but remains unreleased, although bootleg versions of the album are in circulation.  In January 1991, Harvey left to form her own band with former bandmates Ellis and Oliver; yet she had formed lasting personal and professional relationships with certain members, especially Parish, whom she has referred to as her "musical soulmate." Parish would subsequently contribute to, and sometimes co-produce, Harvey's solo studio albums and has toured with her a number of times. As a duo, Parish and Harvey have recorded two collaborative albums where Parish composed the music and Harvey penned the lyrics. Additionally, Parish's girlfriend in the late 1980s was photographer Maria Mochnacz. She and Harvey became close friends and Mochnacz went on to shoot and design most of Harvey's album artwork and music videos, contributing significantly to her public image.  Harvey has said of her time with Automatic Dlamini: "I ended up not singing very much but I was just happy to learn how to play the guitar. I wrote a lot during the time I was with them but my first songs were crap. I was listening to a lot of Irish folk music at the time, so the songs were folky and full of penny whistles and stuff. It was ages before I felt ready to perform my own songs in front of other people." She also credits Parish for teaching her how to perform in front of audiences, saying "after the experience with John's band and seeing him perform I found it was enormously helpful to me as a performer to engage with people in the audience, and I probably did learn that from him, amongst other things." CANNOTANSWER

Question: What was PJ Harvey's Automatic Dlamini?
Answer: Harvey became a member of Automatic Dlamini, a band based in Bristol
PJ Harvey

Context: In July 1988, Harvey became a member of Automatic Dlamini, a band based in Bristol with whom she gained extensive ensemble-playing experience. Formed by John Parish in 1983, the band consisted of a rotating line-up that at various times included Rob Ellis and Ian Oliver. Harvey had met Parish in 1987 through mutual friend Jeremy Hogg, the band's slide guitarist. Providing saxophone, guitars and background vocals, she travelled extensively during the band's early days, including performances in West Germany, Spain and Poland to support the band's debut studio album, The D is for Drum. A second European tour took place throughout June and July 1989. Following the tour, the band recorded Here Catch, Shouted His Father, their second studio album, between late 1989 and early 1990. This is the only Automatic Dlamini material to feature Harvey, but remains unreleased, although bootleg versions of the album are in circulation.  In January 1991, Harvey left to form her own band with former bandmates Ellis and Oliver; yet she had formed lasting personal and professional relationships with certain members, especially Parish, whom she has referred to as her "musical soulmate." Parish would subsequently contribute to, and sometimes co-produce, Harvey's solo studio albums and has toured with her a number of times. As a duo, Parish and Harvey have recorded two collaborative albums where Parish composed the music and Harvey penned the lyrics. Additionally, Parish's girlfriend in the late 1980s was photographer Maria Mochnacz. She and Harvey became close friends and Mochnacz went on to shoot and design most of Harvey's album artwork and music videos, contributing significantly to her public image.  Harvey has said of her time with Automatic Dlamini: "I ended up not singing very much but I was just happy to learn how to play the guitar. I wrote a lot during the time I was with them but my first songs were crap. I was listening to a lot of Irish folk music at the time, so the songs were folky and full of penny whistles and stuff. It was ages before I felt ready to perform my own songs in front of other people." She also credits Parish for teaching her how to perform in front of audiences, saying "after the experience with John's band and seeing him perform I found it was enormously helpful to me as a performer to engage with people in the audience, and I probably did learn that from him, amongst other things." CANNOTANSWER

Question: What was PJ Harvey's role in the band Automatic Dlamini?
Answer: she gained extensive ensemble-playing experience.
PJ Harvey

Context: In July 1988, Harvey became a member of Automatic Dlamini, a band based in Bristol with whom she gained extensive ensemble-playing experience. Formed by John Parish in 1983, the band consisted of a rotating line-up that at various times included Rob Ellis and Ian Oliver. Harvey had met Parish in 1987 through mutual friend Jeremy Hogg, the band's slide guitarist. Providing saxophone, guitars and background vocals, she travelled extensively during the band's early days, including performances in West Germany, Spain and Poland to support the band's debut studio album, The D is for Drum. A second European tour took place throughout June and July 1989. Following the tour, the band recorded Here Catch, Shouted His Father, their second studio album, between late 1989 and early 1990. This is the only Automatic Dlamini material to feature Harvey, but remains unreleased, although bootleg versions of the album are in circulation.  In January 1991, Harvey left to form her own band with former bandmates Ellis and Oliver; yet she had formed lasting personal and professional relationships with certain members, especially Parish, whom she has referred to as her "musical soulmate." Parish would subsequently contribute to, and sometimes co-produce, Harvey's solo studio albums and has toured with her a number of times. As a duo, Parish and Harvey have recorded two collaborative albums where Parish composed the music and Harvey penned the lyrics. Additionally, Parish's girlfriend in the late 1980s was photographer Maria Mochnacz. She and Harvey became close friends and Mochnacz went on to shoot and design most of Harvey's album artwork and music videos, contributing significantly to her public image.  Harvey has said of her time with Automatic Dlamini: "I ended up not singing very much but I was just happy to learn how to play the guitar. I wrote a lot during the time I was with them but my first songs were crap. I was listening to a lot of Irish folk music at the time, so the songs were folky and full of penny whistles and stuff. It was ages before I felt ready to perform my own songs in front of other people." She also credits Parish for teaching her how to perform in front of audiences, saying "after the experience with John's band and seeing him perform I found it was enormously helpful to me as a performer to engage with people in the audience, and I probably did learn that from him, amongst other things." CANNOTANSWER

Question: Did the group Automatic Dlamini put out any albums while PJ Harvey was a member?
Answer: debut studio album, The D is for Drum.
PJ Harvey

Context: In July 1988, Harvey became a member of Automatic Dlamini, a band based in Bristol with whom she gained extensive ensemble-playing experience. Formed by John Parish in 1983, the band consisted of a rotating line-up that at various times included Rob Ellis and Ian Oliver. Harvey had met Parish in 1987 through mutual friend Jeremy Hogg, the band's slide guitarist. Providing saxophone, guitars and background vocals, she travelled extensively during the band's early days, including performances in West Germany, Spain and Poland to support the band's debut studio album, The D is for Drum. A second European tour took place throughout June and July 1989. Following the tour, the band recorded Here Catch, Shouted His Father, their second studio album, between late 1989 and early 1990. This is the only Automatic Dlamini material to feature Harvey, but remains unreleased, although bootleg versions of the album are in circulation.  In January 1991, Harvey left to form her own band with former bandmates Ellis and Oliver; yet she had formed lasting personal and professional relationships with certain members, especially Parish, whom she has referred to as her "musical soulmate." Parish would subsequently contribute to, and sometimes co-produce, Harvey's solo studio albums and has toured with her a number of times. As a duo, Parish and Harvey have recorded two collaborative albums where Parish composed the music and Harvey penned the lyrics. Additionally, Parish's girlfriend in the late 1980s was photographer Maria Mochnacz. She and Harvey became close friends and Mochnacz went on to shoot and design most of Harvey's album artwork and music videos, contributing significantly to her public image.  Harvey has said of her time with Automatic Dlamini: "I ended up not singing very much but I was just happy to learn how to play the guitar. I wrote a lot during the time I was with them but my first songs were crap. I was listening to a lot of Irish folk music at the time, so the songs were folky and full of penny whistles and stuff. It was ages before I felt ready to perform my own songs in front of other people." She also credits Parish for teaching her how to perform in front of audiences, saying "after the experience with John's band and seeing him perform I found it was enormously helpful to me as a performer to engage with people in the audience, and I probably did learn that from him, amongst other things." CANNOTANSWER

Question: Was the album, The D is for Drum, successful?
Answer: A second European tour took place throughout June and July 1989.
PJ Harvey

Context: In July 1988, Harvey became a member of Automatic Dlamini, a band based in Bristol with whom she gained extensive ensemble-playing experience. Formed by John Parish in 1983, the band consisted of a rotating line-up that at various times included Rob Ellis and Ian Oliver. Harvey had met Parish in 1987 through mutual friend Jeremy Hogg, the band's slide guitarist. Providing saxophone, guitars and background vocals, she travelled extensively during the band's early days, including performances in West Germany, Spain and Poland to support the band's debut studio album, The D is for Drum. A second European tour took place throughout June and July 1989. Following the tour, the band recorded Here Catch, Shouted His Father, their second studio album, between late 1989 and early 1990. This is the only Automatic Dlamini material to feature Harvey, but remains unreleased, although bootleg versions of the album are in circulation.  In January 1991, Harvey left to form her own band with former bandmates Ellis and Oliver; yet she had formed lasting personal and professional relationships with certain members, especially Parish, whom she has referred to as her "musical soulmate." Parish would subsequently contribute to, and sometimes co-produce, Harvey's solo studio albums and has toured with her a number of times. As a duo, Parish and Harvey have recorded two collaborative albums where Parish composed the music and Harvey penned the lyrics. Additionally, Parish's girlfriend in the late 1980s was photographer Maria Mochnacz. She and Harvey became close friends and Mochnacz went on to shoot and design most of Harvey's album artwork and music videos, contributing significantly to her public image.  Harvey has said of her time with Automatic Dlamini: "I ended up not singing very much but I was just happy to learn how to play the guitar. I wrote a lot during the time I was with them but my first songs were crap. I was listening to a lot of Irish folk music at the time, so the songs were folky and full of penny whistles and stuff. It was ages before I felt ready to perform my own songs in front of other people." She also credits Parish for teaching her how to perform in front of audiences, saying "after the experience with John's band and seeing him perform I found it was enormously helpful to me as a performer to engage with people in the audience, and I probably did learn that from him, amongst other things." CANNOTANSWER

Question: Did PJ Harvey stay with the band Automatic Dlamini?
Answer: In January 1991, Harvey left to form her own band with former bandmates Ellis and Oliver;
PJ Harvey

Context: In July 1988, Harvey became a member of Automatic Dlamini, a band based in Bristol with whom she gained extensive ensemble-playing experience. Formed by John Parish in 1983, the band consisted of a rotating line-up that at various times included Rob Ellis and Ian Oliver. Harvey had met Parish in 1987 through mutual friend Jeremy Hogg, the band's slide guitarist. Providing saxophone, guitars and background vocals, she travelled extensively during the band's early days, including performances in West Germany, Spain and Poland to support the band's debut studio album, The D is for Drum. A second European tour took place throughout June and July 1989. Following the tour, the band recorded Here Catch, Shouted His Father, their second studio album, between late 1989 and early 1990. This is the only Automatic Dlamini material to feature Harvey, but remains unreleased, although bootleg versions of the album are in circulation.  In January 1991, Harvey left to form her own band with former bandmates Ellis and Oliver; yet she had formed lasting personal and professional relationships with certain members, especially Parish, whom she has referred to as her "musical soulmate." Parish would subsequently contribute to, and sometimes co-produce, Harvey's solo studio albums and has toured with her a number of times. As a duo, Parish and Harvey have recorded two collaborative albums where Parish composed the music and Harvey penned the lyrics. Additionally, Parish's girlfriend in the late 1980s was photographer Maria Mochnacz. She and Harvey became close friends and Mochnacz went on to shoot and design most of Harvey's album artwork and music videos, contributing significantly to her public image.  Harvey has said of her time with Automatic Dlamini: "I ended up not singing very much but I was just happy to learn how to play the guitar. I wrote a lot during the time I was with them but my first songs were crap. I was listening to a lot of Irish folk music at the time, so the songs were folky and full of penny whistles and stuff. It was ages before I felt ready to perform my own songs in front of other people." She also credits Parish for teaching her how to perform in front of audiences, saying "after the experience with John's band and seeing him perform I found it was enormously helpful to me as a performer to engage with people in the audience, and I probably did learn that from him, amongst other things." CANNOTANSWER

Question: What was the name of PJ Harvey's own band?
Answer: CANNOTANSWER
PJ Harvey

Context: In July 1988, Harvey became a member of Automatic Dlamini, a band based in Bristol with whom she gained extensive ensemble-playing experience. Formed by John Parish in 1983, the band consisted of a rotating line-up that at various times included Rob Ellis and Ian Oliver. Harvey had met Parish in 1987 through mutual friend Jeremy Hogg, the band's slide guitarist. Providing saxophone, guitars and background vocals, she travelled extensively during the band's early days, including performances in West Germany, Spain and Poland to support the band's debut studio album, The D is for Drum. A second European tour took place throughout June and July 1989. Following the tour, the band recorded Here Catch, Shouted His Father, their second studio album, between late 1989 and early 1990. This is the only Automatic Dlamini material to feature Harvey, but remains unreleased, although bootleg versions of the album are in circulation.  In January 1991, Harvey left to form her own band with former bandmates Ellis and Oliver; yet she had formed lasting personal and professional relationships with certain members, especially Parish, whom she has referred to as her "musical soulmate." Parish would subsequently contribute to, and sometimes co-produce, Harvey's solo studio albums and has toured with her a number of times. As a duo, Parish and Harvey have recorded two collaborative albums where Parish composed the music and Harvey penned the lyrics. Additionally, Parish's girlfriend in the late 1980s was photographer Maria Mochnacz. She and Harvey became close friends and Mochnacz went on to shoot and design most of Harvey's album artwork and music videos, contributing significantly to her public image.  Harvey has said of her time with Automatic Dlamini: "I ended up not singing very much but I was just happy to learn how to play the guitar. I wrote a lot during the time I was with them but my first songs were crap. I was listening to a lot of Irish folk music at the time, so the songs were folky and full of penny whistles and stuff. It was ages before I felt ready to perform my own songs in front of other people." She also credits Parish for teaching her how to perform in front of audiences, saying "after the experience with John's band and seeing him perform I found it was enormously helpful to me as a performer to engage with people in the audience, and I probably did learn that from him, amongst other things." CANNOTANSWER

Question: Besides PJ Harvey's role in Automatic Dlamini, are there any other interesting aspects about this article?
Answer: Harvey has said of her time with Automatic Dlamini: "I ended up not singing very much but I was just happy to learn how to play the guitar.
The King and I

Context: The first revival of The King and I in New York was presented by the New York City Center Light Opera Company in April and May 1956 for three weeks, starring Jan Clayton and Zachary Scott, directed by John Fearnley, with Robbins' choreography recreated by June Graham. Muriel Smith reprised her London role of Lady Thiang, and Patrick Adiarte repeated his film role, Chulalongkorn. This company presented the musical again in May 1960 with Barbara Cook and Farley Granger, again directed by Fearnley, in another three-week engagement. Atkinson admired the purity of Cook's voice and thought that she portrayed Anna with "a cool dignity that gives a little more stature to the part than it has had before." He noted that Granger brought "a fresh point of view - as well as a full head of hair". Joy Clements played Tuptim, and Anita Darian was Lady Thiang. City Center again presented the show in June 1963, starring Eileen Brennan and Manolo Fabregas, directed by Fearnley. Clements and Darian reprised Tuptim and Thiang. In the final City Center Light Opera production, Michael Kermoyan played the King opposite Constance Towers for three weeks in May 1968. Darian again played Lady Thiang. For all of these 1960s productions, Robbins' choreography was reproduced by Yuriko, who had played the role of Eliza in the original Broadway production and reprised the role in the City Center productions.  The Music Theatre of Lincoln Center, with Rodgers as producer, presented the musical in mid-1964 at the New York State Theater, starring Rise Stevens and Darren McGavin, with Michael Kermoyan as the Kralahome. Lun Tha, Tuptim and Thiang were played by Frank Porretta, Lee Venora and Patricia Neway. Costumes were by Irene Sharaff, the designer for the original productions and the film adaptation. The director was Edward Greenberg, with the Robbins choreography again reproduced by Yuriko. This was Music Theatre's debut production, a five-week limited engagement.  The King and I was revived at London's Adelphi Theatre on October 10, 1973, running for 260 performances until May 25, 1974, starring Sally Ann Howes as Anna and Peter Wyngarde as the King. Roger Redfarn directed, and Sheila O'Neill choreographed. The production, which began in June 1973 with a tour of the English provinces, earned mixed to warm reviews. Michael Billington in The Guardian called the revival "well played and well sung". Although he was enthusiastic about Howes as Anna, Billington thought Wyngarde "too fragile to be capable of inspiring unholy terror". He praised Redfarn's production - "whipped along at a good pace and made a sumptuous eyeful out of the interpolated ballet on 'Uncle Tom's Cabin'." Less favorably, Robert Cushman in The Observer thought the production "scenically and economically under-nourished". He liked Wyngarde's King ("a dignified clown") but thought Howes not formidable enough to stand up to him as Anna. He noted that "she sings beautifully and the songs are the evening's real justification". CANNOTANSWER

Question: Did the October revival of The King and I do well?
Answer: CANNOTANSWER
The King and I

Context: The first revival of The King and I in New York was presented by the New York City Center Light Opera Company in April and May 1956 for three weeks, starring Jan Clayton and Zachary Scott, directed by John Fearnley, with Robbins' choreography recreated by June Graham. Muriel Smith reprised her London role of Lady Thiang, and Patrick Adiarte repeated his film role, Chulalongkorn. This company presented the musical again in May 1960 with Barbara Cook and Farley Granger, again directed by Fearnley, in another three-week engagement. Atkinson admired the purity of Cook's voice and thought that she portrayed Anna with "a cool dignity that gives a little more stature to the part than it has had before." He noted that Granger brought "a fresh point of view - as well as a full head of hair". Joy Clements played Tuptim, and Anita Darian was Lady Thiang. City Center again presented the show in June 1963, starring Eileen Brennan and Manolo Fabregas, directed by Fearnley. Clements and Darian reprised Tuptim and Thiang. In the final City Center Light Opera production, Michael Kermoyan played the King opposite Constance Towers for three weeks in May 1968. Darian again played Lady Thiang. For all of these 1960s productions, Robbins' choreography was reproduced by Yuriko, who had played the role of Eliza in the original Broadway production and reprised the role in the City Center productions.  The Music Theatre of Lincoln Center, with Rodgers as producer, presented the musical in mid-1964 at the New York State Theater, starring Rise Stevens and Darren McGavin, with Michael Kermoyan as the Kralahome. Lun Tha, Tuptim and Thiang were played by Frank Porretta, Lee Venora and Patricia Neway. Costumes were by Irene Sharaff, the designer for the original productions and the film adaptation. The director was Edward Greenberg, with the Robbins choreography again reproduced by Yuriko. This was Music Theatre's debut production, a five-week limited engagement.  The King and I was revived at London's Adelphi Theatre on October 10, 1973, running for 260 performances until May 25, 1974, starring Sally Ann Howes as Anna and Peter Wyngarde as the King. Roger Redfarn directed, and Sheila O'Neill choreographed. The production, which began in June 1973 with a tour of the English provinces, earned mixed to warm reviews. Michael Billington in The Guardian called the revival "well played and well sung". Although he was enthusiastic about Howes as Anna, Billington thought Wyngarde "too fragile to be capable of inspiring unholy terror". He praised Redfarn's production - "whipped along at a good pace and made a sumptuous eyeful out of the interpolated ballet on 'Uncle Tom's Cabin'." Less favorably, Robert Cushman in The Observer thought the production "scenically and economically under-nourished". He liked Wyngarde's King ("a dignified clown") but thought Howes not formidable enough to stand up to him as Anna. He noted that "she sings beautifully and the songs are the evening's real justification". CANNOTANSWER

Question: Did any of the early revivals of The King and I run a long time?
Answer: October 10, 1973, running for 260 performances until May 25, 1974,
Stacie Orrico

Context: Her next effort, the more mainstream and self-titled album Stacie Orrico, was released in 2003 and charted on the US Billboard 200 (debuting at No. 67), Australian ARIA Albums Chart and the UK Albums Chart. The first mainstream single from this album was "Stuck", which became a worldwide hit, reaching the Top 5 on the majority of the world's charts. This was followed by the single "(There's Gotta Be) More to Life", which peaked in the top 20 in Australia (No. 11) and the UK (No. 12), although, overall, "Stuck" charted better, the exception being in the US. This was then followed by "I Promise", written by Orrico (top 30 in the UK), and the final mainstream single "I Could Be the One" (top 40 in the UK on June 2004). Both singles were given limited releases and limited promotion, meaning they did not fare as well as the first two singles. The last three singles were only released to Christian radio in addition to "Strong Enough", which reached No. 1 as the CD's very first single. Stacie Orrico sold over 500,000 copies in the US, enough sales for a Gold certification. The album also sold 600,000 in Japan and an estimated 3.4 million copies worldwide.  In 2004, Orrico's songs "(There's Gotta Be) More to Life" and "Stuck" appeared on the Barbie Hit Mix.  She was nominated in 2004 for the first time at the 46th Annual Grammy Awards in the category Best Pop/Contemporary Gospel Album, but the award was given to Michael W. Smith. CANNOTANSWER

Question: When did the Stacie Orrico album release?
Answer: Her next effort, the more mainstream and self-titled album Stacie Orrico, was released in 2003
Stacie Orrico

Context: Her next effort, the more mainstream and self-titled album Stacie Orrico, was released in 2003 and charted on the US Billboard 200 (debuting at No. 67), Australian ARIA Albums Chart and the UK Albums Chart. The first mainstream single from this album was "Stuck", which became a worldwide hit, reaching the Top 5 on the majority of the world's charts. This was followed by the single "(There's Gotta Be) More to Life", which peaked in the top 20 in Australia (No. 11) and the UK (No. 12), although, overall, "Stuck" charted better, the exception being in the US. This was then followed by "I Promise", written by Orrico (top 30 in the UK), and the final mainstream single "I Could Be the One" (top 40 in the UK on June 2004). Both singles were given limited releases and limited promotion, meaning they did not fare as well as the first two singles. The last three singles were only released to Christian radio in addition to "Strong Enough", which reached No. 1 as the CD's very first single. Stacie Orrico sold over 500,000 copies in the US, enough sales for a Gold certification. The album also sold 600,000 in Japan and an estimated 3.4 million copies worldwide.  In 2004, Orrico's songs "(There's Gotta Be) More to Life" and "Stuck" appeared on the Barbie Hit Mix.  She was nominated in 2004 for the first time at the 46th Annual Grammy Awards in the category Best Pop/Contemporary Gospel Album, but the award was given to Michael W. Smith. CANNOTANSWER

Question: Did Stacie Orrico's self-titled album do well on the charts?
Answer: charted on the US Billboard 200 (debuting at No. 67), Australian ARIA Albums Chart and the UK Albums Chart.
Stacie Orrico

Context: Her next effort, the more mainstream and self-titled album Stacie Orrico, was released in 2003 and charted on the US Billboard 200 (debuting at No. 67), Australian ARIA Albums Chart and the UK Albums Chart. The first mainstream single from this album was "Stuck", which became a worldwide hit, reaching the Top 5 on the majority of the world's charts. This was followed by the single "(There's Gotta Be) More to Life", which peaked in the top 20 in Australia (No. 11) and the UK (No. 12), although, overall, "Stuck" charted better, the exception being in the US. This was then followed by "I Promise", written by Orrico (top 30 in the UK), and the final mainstream single "I Could Be the One" (top 40 in the UK on June 2004). Both singles were given limited releases and limited promotion, meaning they did not fare as well as the first two singles. The last three singles were only released to Christian radio in addition to "Strong Enough", which reached No. 1 as the CD's very first single. Stacie Orrico sold over 500,000 copies in the US, enough sales for a Gold certification. The album also sold 600,000 in Japan and an estimated 3.4 million copies worldwide.  In 2004, Orrico's songs "(There's Gotta Be) More to Life" and "Stuck" appeared on the Barbie Hit Mix.  She was nominated in 2004 for the first time at the 46th Annual Grammy Awards in the category Best Pop/Contemporary Gospel Album, but the award was given to Michael W. Smith. CANNOTANSWER

Question: What singles were released from Stacie Orrico's self-titled album?
Answer: The first mainstream single from this album was "Stuck", which became a worldwide hit, reaching the Top 5 on the majority of the world's charts.
Stacie Orrico

Context: Her next effort, the more mainstream and self-titled album Stacie Orrico, was released in 2003 and charted on the US Billboard 200 (debuting at No. 67), Australian ARIA Albums Chart and the UK Albums Chart. The first mainstream single from this album was "Stuck", which became a worldwide hit, reaching the Top 5 on the majority of the world's charts. This was followed by the single "(There's Gotta Be) More to Life", which peaked in the top 20 in Australia (No. 11) and the UK (No. 12), although, overall, "Stuck" charted better, the exception being in the US. This was then followed by "I Promise", written by Orrico (top 30 in the UK), and the final mainstream single "I Could Be the One" (top 40 in the UK on June 2004). Both singles were given limited releases and limited promotion, meaning they did not fare as well as the first two singles. The last three singles were only released to Christian radio in addition to "Strong Enough", which reached No. 1 as the CD's very first single. Stacie Orrico sold over 500,000 copies in the US, enough sales for a Gold certification. The album also sold 600,000 in Japan and an estimated 3.4 million copies worldwide.  In 2004, Orrico's songs "(There's Gotta Be) More to Life" and "Stuck" appeared on the Barbie Hit Mix.  She was nominated in 2004 for the first time at the 46th Annual Grammy Awards in the category Best Pop/Contemporary Gospel Album, but the award was given to Michael W. Smith. CANNOTANSWER

Question: Aside from "Stuck", what other singles were released from Stacie Orrico's self-title album?
Answer: This was followed by the single "(There's Gotta Be) More to Life", which peaked in the top 20 in Australia (No. 11) and the UK (No. 12),
Stacie Orrico

Context: Her next effort, the more mainstream and self-titled album Stacie Orrico, was released in 2003 and charted on the US Billboard 200 (debuting at No. 67), Australian ARIA Albums Chart and the UK Albums Chart. The first mainstream single from this album was "Stuck", which became a worldwide hit, reaching the Top 5 on the majority of the world's charts. This was followed by the single "(There's Gotta Be) More to Life", which peaked in the top 20 in Australia (No. 11) and the UK (No. 12), although, overall, "Stuck" charted better, the exception being in the US. This was then followed by "I Promise", written by Orrico (top 30 in the UK), and the final mainstream single "I Could Be the One" (top 40 in the UK on June 2004). Both singles were given limited releases and limited promotion, meaning they did not fare as well as the first two singles. The last three singles were only released to Christian radio in addition to "Strong Enough", which reached No. 1 as the CD's very first single. Stacie Orrico sold over 500,000 copies in the US, enough sales for a Gold certification. The album also sold 600,000 in Japan and an estimated 3.4 million copies worldwide.  In 2004, Orrico's songs "(There's Gotta Be) More to Life" and "Stuck" appeared on the Barbie Hit Mix.  She was nominated in 2004 for the first time at the 46th Annual Grammy Awards in the category Best Pop/Contemporary Gospel Album, but the award was given to Michael W. Smith. CANNOTANSWER

Question: Besides "Stuck" and "(There's Gotta Be) More to Life", did any other singles do well on the charts?
Answer: This was then followed by "I Promise", written by Orrico (top 30 in the UK),
Stacie Orrico

Context: Her next effort, the more mainstream and self-titled album Stacie Orrico, was released in 2003 and charted on the US Billboard 200 (debuting at No. 67), Australian ARIA Albums Chart and the UK Albums Chart. The first mainstream single from this album was "Stuck", which became a worldwide hit, reaching the Top 5 on the majority of the world's charts. This was followed by the single "(There's Gotta Be) More to Life", which peaked in the top 20 in Australia (No. 11) and the UK (No. 12), although, overall, "Stuck" charted better, the exception being in the US. This was then followed by "I Promise", written by Orrico (top 30 in the UK), and the final mainstream single "I Could Be the One" (top 40 in the UK on June 2004). Both singles were given limited releases and limited promotion, meaning they did not fare as well as the first two singles. The last three singles were only released to Christian radio in addition to "Strong Enough", which reached No. 1 as the CD's very first single. Stacie Orrico sold over 500,000 copies in the US, enough sales for a Gold certification. The album also sold 600,000 in Japan and an estimated 3.4 million copies worldwide.  In 2004, Orrico's songs "(There's Gotta Be) More to Life" and "Stuck" appeared on the Barbie Hit Mix.  She was nominated in 2004 for the first time at the 46th Annual Grammy Awards in the category Best Pop/Contemporary Gospel Album, but the award was given to Michael W. Smith. CANNOTANSWER

Question: Was "I Promise" the last single released by Stacie Orrico?
Answer: the final mainstream single "I Could Be the One" (top 40 in the UK on June 2004).
Stacie Orrico

Context: Her next effort, the more mainstream and self-titled album Stacie Orrico, was released in 2003 and charted on the US Billboard 200 (debuting at No. 67), Australian ARIA Albums Chart and the UK Albums Chart. The first mainstream single from this album was "Stuck", which became a worldwide hit, reaching the Top 5 on the majority of the world's charts. This was followed by the single "(There's Gotta Be) More to Life", which peaked in the top 20 in Australia (No. 11) and the UK (No. 12), although, overall, "Stuck" charted better, the exception being in the US. This was then followed by "I Promise", written by Orrico (top 30 in the UK), and the final mainstream single "I Could Be the One" (top 40 in the UK on June 2004). Both singles were given limited releases and limited promotion, meaning they did not fare as well as the first two singles. The last three singles were only released to Christian radio in addition to "Strong Enough", which reached No. 1 as the CD's very first single. Stacie Orrico sold over 500,000 copies in the US, enough sales for a Gold certification. The album also sold 600,000 in Japan and an estimated 3.4 million copies worldwide.  In 2004, Orrico's songs "(There's Gotta Be) More to Life" and "Stuck" appeared on the Barbie Hit Mix.  She was nominated in 2004 for the first time at the 46th Annual Grammy Awards in the category Best Pop/Contemporary Gospel Album, but the award was given to Michael W. Smith. CANNOTANSWER

Question: How well did Stacie Orrico's album make?
Answer: Stacie Orrico sold over 500,000 copies in the US, enough sales for a Gold certification. The album also sold 600,000 in Japan and an estimated 3.4 million copies worldwide.
Stacie Orrico

Context: Her next effort, the more mainstream and self-titled album Stacie Orrico, was released in 2003 and charted on the US Billboard 200 (debuting at No. 67), Australian ARIA Albums Chart and the UK Albums Chart. The first mainstream single from this album was "Stuck", which became a worldwide hit, reaching the Top 5 on the majority of the world's charts. This was followed by the single "(There's Gotta Be) More to Life", which peaked in the top 20 in Australia (No. 11) and the UK (No. 12), although, overall, "Stuck" charted better, the exception being in the US. This was then followed by "I Promise", written by Orrico (top 30 in the UK), and the final mainstream single "I Could Be the One" (top 40 in the UK on June 2004). Both singles were given limited releases and limited promotion, meaning they did not fare as well as the first two singles. The last three singles were only released to Christian radio in addition to "Strong Enough", which reached No. 1 as the CD's very first single. Stacie Orrico sold over 500,000 copies in the US, enough sales for a Gold certification. The album also sold 600,000 in Japan and an estimated 3.4 million copies worldwide.  In 2004, Orrico's songs "(There's Gotta Be) More to Life" and "Stuck" appeared on the Barbie Hit Mix.  She was nominated in 2004 for the first time at the 46th Annual Grammy Awards in the category Best Pop/Contemporary Gospel Album, but the award was given to Michael W. Smith. CANNOTANSWER

Question: Did Stacie Orrico win awards?
Answer: She was nominated in 2004 for the first time at the 46th Annual Grammy Awards in the category Best Pop/Contemporary Gospel Album, but the award was given to
Stacie Orrico

Context: Her next effort, the more mainstream and self-titled album Stacie Orrico, was released in 2003 and charted on the US Billboard 200 (debuting at No. 67), Australian ARIA Albums Chart and the UK Albums Chart. The first mainstream single from this album was "Stuck", which became a worldwide hit, reaching the Top 5 on the majority of the world's charts. This was followed by the single "(There's Gotta Be) More to Life", which peaked in the top 20 in Australia (No. 11) and the UK (No. 12), although, overall, "Stuck" charted better, the exception being in the US. This was then followed by "I Promise", written by Orrico (top 30 in the UK), and the final mainstream single "I Could Be the One" (top 40 in the UK on June 2004). Both singles were given limited releases and limited promotion, meaning they did not fare as well as the first two singles. The last three singles were only released to Christian radio in addition to "Strong Enough", which reached No. 1 as the CD's very first single. Stacie Orrico sold over 500,000 copies in the US, enough sales for a Gold certification. The album also sold 600,000 in Japan and an estimated 3.4 million copies worldwide.  In 2004, Orrico's songs "(There's Gotta Be) More to Life" and "Stuck" appeared on the Barbie Hit Mix.  She was nominated in 2004 for the first time at the 46th Annual Grammy Awards in the category Best Pop/Contemporary Gospel Album, but the award was given to Michael W. Smith. CANNOTANSWER

Question: Aside from her singles before 2004, did Stacie Orrico make songs after 2004?
Answer: The last three singles were only released to Christian radio in addition to "Strong Enough", which reached No. 1 as the CD's very first single.
Stacie Orrico

Context: Her next effort, the more mainstream and self-titled album Stacie Orrico, was released in 2003 and charted on the US Billboard 200 (debuting at No. 67), Australian ARIA Albums Chart and the UK Albums Chart. The first mainstream single from this album was "Stuck", which became a worldwide hit, reaching the Top 5 on the majority of the world's charts. This was followed by the single "(There's Gotta Be) More to Life", which peaked in the top 20 in Australia (No. 11) and the UK (No. 12), although, overall, "Stuck" charted better, the exception being in the US. This was then followed by "I Promise", written by Orrico (top 30 in the UK), and the final mainstream single "I Could Be the One" (top 40 in the UK on June 2004). Both singles were given limited releases and limited promotion, meaning they did not fare as well as the first two singles. The last three singles were only released to Christian radio in addition to "Strong Enough", which reached No. 1 as the CD's very first single. Stacie Orrico sold over 500,000 copies in the US, enough sales for a Gold certification. The album also sold 600,000 in Japan and an estimated 3.4 million copies worldwide.  In 2004, Orrico's songs "(There's Gotta Be) More to Life" and "Stuck" appeared on the Barbie Hit Mix.  She was nominated in 2004 for the first time at the 46th Annual Grammy Awards in the category Best Pop/Contemporary Gospel Album, but the award was given to Michael W. Smith. CANNOTANSWER

Question: Besides Stacie Orrico's singles and awards, is there anything else interesting?
Answer: In 2004, Orrico's songs "(There's Gotta Be) More to Life" and "Stuck" appeared on the Barbie Hit Mix.
Avenged Sevenfold

Context: After playing Ozzfest in 2006, Avenged Sevenfold memorably beat out R&B Singers Rihanna and Chris Brown, Panic! at the Disco, Angels & Airwaves and James Blunt for the title of Best New Artist at the MTV Video Music Awards, thanks in part to their Fear and Loathing in Las Vegas-inspired song "Bat Country." They returned to the Vans Warped Tour, this time headlining and then continued on their own "Cities of Evil Tour." In addition, their lead single "Bat Country" reached No.2 on the Billboard Mainstream Rock Charts, No.6 on the Billboard Modern Rock Charts and the accompanying video made it to No.1 on MTV's Total Request Live. Propelled by this success, the album sold well and became Avenged Sevenfold's first gold record. It was later certified platinum in August 2009. Avenged Sevenfold was invited to join Ozzfest tour on the main stage, alongside other well known rock/heavy metal acts such as DragonForce, Lacuna Coil, Hatebreed, Disturbed and System of a Down for the first time in 2006. That same year they also completed a worldwide tour, including the US, The United Kingdom (as well as mainland Europe), Japan, Australia and New Zealand. After a sixteen-month promotion of City of Evil, the band announced that they were cancelling their Fall 2006 tour to record new music. In the interim, the band released their first DVD titled All Excess on July 17, 2007. All Excess, which debuted as the No.1 DVD in the USA, included live performances and backstage footage that spanned the band's eight-year career. Two tribute albums, Strung Out on Avenged Sevenfold: Bat Wings and Broken Strings and Strung Out on Avenged Sevenfold: The String Tribute were also released in October 2007.  On October 26, 2007, Avenged Sevenfold released their self-titled album, the band's fourth studio album. It debuted at No. 4 on the Billboard 200 with over 90,000 copies sold. Two singles, "Critical Acclaim" and "Almost Easy" were released prior to the album's debut. In December 2007, an animated video was made for "A Little Piece of Heaven". Due to the song's controversial subject matter, however, Warner Brothers only released it to registered MVI users over the internet. The third single, "Afterlife" and its video was released in January 2008. Their fourth single, "Dear God", was released on June 15, 2008. Although critical reception was generally mixed the self-titled album went on to sell over 500,000 copies and was awarded "Album of the Year" at the Kerrang! Awards.  Avenged Sevenfold headlined the 2008 Taste of Chaos tour with Atreyu, Bullet for My Valentine, Blessthefall and Idiot Pilot. They used the footage from their last show in Long Beach for Live in the LBC & Diamonds in the Rough, a two-disc B-sides CD and live DVD which was released on September 16, 2008. They also recorded numerous covers, including Pantera's "Walk", Iron Maiden's "Flash of the Blade" and Black Sabbath's "Paranoid". CANNOTANSWER

Question: Did Avenged Sevenfold put out and records between 2006-2008?
Answer: Bat Wings and Broken Strings and Strung Out on Avenged Sevenfold: The String Tribute were also released in October 2007.