Question: Which album by British alternative rock band The Verve is this ostinato-based song from?

full_context: Document 1: Recitative: Recitative ( , also known by its Italian name "recitativo" (] )) is a style of delivery (much used in operas, oratorios, and cantatas) in which a singer is allowed to adopt the rhythms of ordinary speech. Recitative does not repeat lines as formally composed songs do. It resembles sung ordinary speech more than a formal musical composition.
Document 2: The Verve discography: The discography of The Verve, a British alternative rock band, consists of four studio albums, two compilation albums, two video albums, three extended plays, fourteen singles, two promotional singles and fifteen music videos. The band formed in 1989 as Verve, with original members Richard Ashcroft, Nick McCabe, Simon Jones and Peter Salisbury, although they later added "The" to their name after a lawsuit from the American jazz label Verve Records. After signing to Virgin Records subsidiary Hut Records in 1991, The Verve released the non-album single "All in the Mind" and a self-titled extended play containing the singles "She's a Superstar" and "Gravity Grave", the former reaching number 66 on the UK Singles Chart. Their debut studio album, "A Storm in Heaven" was released in 1993; despite widespread critical acclaim, it only sold modestly, peaking at number 27 on the UK Albums Chart.
Document 3: Last Time Forever: "Last Time Forever" is the first single released from Squeeze's sixth album, "Cosi Fan Tutti Frutti", and the band's first since 1982 (though main songwriters Chris Difford and Glenn Tilbrook had since recorded music as Difford & Tilbrook). The 12" version of the song, like the album version, contains brief samples from the film "The Shining;" the 7" version edits them out. The single reached number 45 on the UK Singles Chart.
Document 4: Ostinato: In music, an ostinato ] (derived from Italian: "stubborn", compare English, from Latin: 'obstinate') is a motif or phrase that persistently repeats in the same musical voice, usually at the same pitch. Well-known ostinato-based pieces include both classical compositions such as Ravel's "Boléro" and popular songs such as Donna Summer and Giorgio Moroder's "I Feel Love" (1977), Henry Mancini's Theme from Peter Gunn (1959), and The Verve's "Bitter Sweet Symphony" (1997).
Document 5: Bitter Sweet Symphony: "Bitter Sweet Symphony" is a song by British alternative rock band The Verve, and is the lead track on their third studio album, "Urban Hymns" (1997). It is based on an Andrew Loog Oldham orchestral version of The Rolling Stones' song "The Last Time", from which it samples a main theme, and involved some legal controversy surrounding a plagiarism charge as a result. Consequently, Mick Jagger and Keith Richards were added to the songwriting credits. "Bitter Sweet Symphony" was released on 16 June 1997 by Hut Recordings as the first single from the album, reaching number two on the UK Singles Chart and stayed in the chart for three months. The song's momentum built slowly in the US throughout the latter months of 1997, ultimately leading to a CD single release on 3 March 1998 by Virgin Records America, helping the song to reach number 12 on the "Billboard" Hot 100.
Document 6: Stabat Mater (Pergolesi): Stabat Mater is a musical setting of the "Stabat Mater " sequence, composed by Giovanni Battista Pergolesi in 1736. Composed in the final weeks of Pergolesi's life, it is scored for soprano and alto soloists, violin I and II, viola and basso continuo (cello and organ).
Document 7: Please, Please, Please, Let Me Get What I Want: "Please, Please, Please, Let Me Get What I Want" is a song originally performed by British group The Smiths. It was released as the B-side of "William, It Was Really Nothing" in 1984 and later featured on the compilation albums "Hatful of Hollow" and "Louder Than Bombs". The song has been covered by several artists, including The Decemberists, The Halo Benders, Franz Ferdinand, Elefant, OK Go, Deftones, Rob Dickinson, Emilie Autumn, Amanda Palmer, Hootie & the Blowfish, Muse, Cameo, Kaia Wilson, Third Eye Blind, Kate Walsh, The Dream Academy, Josh Rouse, She & Him, Slow Moving Millie, William Fitzsimmons and Sarah Darling, also, the chorus has been featured in a The Weeknd hook. British band Clayhill have covered the song and their version can be heard at the end of the Shane Meadows film "This Is England". Canadian electronic artist Venetian Snares also sampled the original song in "Nobody Really Understands Anybody". Canadian PBR&B singer The Weeknd sampled the song's chorus for the bridge for his song "Enemy". The song has become one of the most well known Smiths songs despite it only being a B-Side and it is often played by Morrissey during shows.
Document 8: Out of Time (The Rolling Stones song): "Out of Time" is a song by the Rolling Stones, first released on their 1966 album "Aftermath" (UK version). A shorter alternative mix was released in the US in 1967 on the album "Flowers". A third version featuring only Mick Jagger's vocal (and the orchestration and backing vocals from Chris Farlowe's cover version plus a new female backing vocal) was released on the 1975 compilation album "Metamorphosis", which was created under the direction of former Stones manager Allen Klein and released on his ABKCO Records label. (Klein owned the rights to the pre-1971 Rolling Stones catalog.)
Document 9: Beggars Banquet: Beggars Banquet is the seventh British and ninth American studio album by English rock band The Rolling Stones. It was released in December 1968 by Decca Records in the United Kingdom and London Records in the United States. The album was a return to roots rock for the band following the psychedelic pop of their 1967 album "Their Satanic Majesties Request". It was the last Rolling Stones album to be released during Brian Jones' lifetime.
Document 10: Stutter edit: The stutter edit is an audio software VST plugin, implementing forms of granular synthesis, sample retrigger, and various effects to create a certain audible manipulation of the sound run through it, in which fragments of audio are repeated in rhythmic intervals. "In plain English, a stutter edit contains a single segment of audio repeated a number of times, giving a performance a decidedly digital flavor." Stutter edits not only occur as the common 16th note repetition, but also as 64th notes and beyond. Stutter edits can go beyond 2,048th notes and can be measured in milliseconds. Above a certain point, these repetitions transition from rhythmic to tonal frequencies, making musical notes out of the repeated audio. These extremely short, fast groups of notes are often placed into the spacing of an eighth or sixteenth note in an otherwise “normal” bar, creating rhythmic accenting and patterns that call attention to a particular section. These patterns can be placed at the beginning of a bar, or towards the end for a more syncopated sound. One example is in the second verse of "Drop It Like It's Hot", Snoop mentions a DJ followed by a stutter edit and turntable scratch in reply.
Document 11: Sweet Virginia: "Sweet Virginia" is the sixth track on the Rolling Stones' 1972 double album "Exile On Main St.". Recorded between 1971 and '72, "Sweet Virginia" is a slow country inspired song, written by Mick Jagger and Keith Richards. The song features a harmonica solo by Jagger, and a saxophone solo by Bobby Keys. Charlie Watts plays a country shuffle rhythm. An alternate version without the backing singers was released on bootlegs.
Document 12: Snare rush: Snare rush is a term often used in electro culture to refer to impossibly fast rolls. A snare rush can vary in tempo considerably, from 16th notes even to 2048th notes. At that sort of speed, the effect is a buzzing sound, but with a detectable pitch, so some artists vary the repeat rate, and can even play a tune. One example of this would be the last 18 seconds of "Ghetto Body Buddy" by Venetian Snares, where the theme from "Sesame Street" is played using only extremely fast snare rushes. The defining characteristic of a snare rush, as opposed to a roll, is the sheer virtuosity it would take for a physical drummer to play a successful one. As such, almost all snare rushes are computer programmed and can be used with bass drums, tom-toms, and cymbals to intensify the effect. They are often used as fills, alongside complex programmed breakbeats. Snare rushes are also often run through analog or dsp effects together with variations in volume, such as a filters or pitch shifting. They are common in trance music, hard techno, gabber music, oldschool jungle, IDM, drill 'n bass, breakcore and glitch music.
Document 13: Music of the African diaspora: Music of the African diaspora was mostly refined and developed during the period of slavery. Slaves did not have easy access to instruments, so vocal work took on new significance. Through chants and work songs people of African descent preserved elements of their African heritage while inventing new genres of music. The culmination of this great sublimation of musical energy into vocal work can be seen in genres as disparate as Gospel Music and Hip-Hop. The music of the African diaspora makes frequent use of ostinato, a motif or phrase which is persistently repeated at the same pitch. The repeating idea may be a rhythmic pattern, part of a tune, or a complete melody. The banjo is a direct decedent of the Akonting created by the Jola people, found in Senegal, Gambia and Guinea-Bissau in West Africa. Hence, the melodic traditions of the African diaspora are probably most alive in Blues and Jazz.
Document 14: Cantabile: In music, cantabile ] , an Italian word, means literally "singable" or "songlike". In instrumental music, it is a particular style of playing designed to imitate the human voice. For 18th-century composers, cantabile is often synonymous with "cantando" (singing), and indicates a measured tempo and flexible, legato playing. For later composers, particularly in piano music, cantabile is the drawing out of one particular musical line against the accompaniment (compare counterpoint). Felix Mendelssohn's six books of "Songs Without Words (Lieder ohne Worte)" are short lyrical piano pieces with song-like melodies written between 1829 and 1845. A modern example is an instrumental by Harry James & His Orchestra, called "Trumpet Blues and Cantabile".
Document 15: Home Sweet Home/Bittersweet Symphony: "Home Sweet Home / Bittersweet Symphony", also known as "Bittersweet Home" is a song by American rock group Limp Bizkit. It was released in December 2005 as the only single from the compilation album "Greatest Hitz". The song is a medley of "Home Sweet Home" by Mötley Crüe and "Bitter Sweet Symphony" by The Verve. It is, along with the songs "Why" and "Lean On Me", the only new content on the "Greatest Hitz" compilation, and is the third cover song Limp Bizkit has released on an album (the others being The Who's "Behind Blue Eyes", and George Michael's "Faith").
ground_truth: Urban Hymns