In this task, you're expected to write answers to questions involving multiple references to the same entity. The answer to the question should be unambiguous and a phrase in the paragraph. Most questions can have only one correct answer.

[Q]: Passage: The vocals were taped in Britannia Row and Protocol studios between May and June 1991, the first time vocalist Bilinda Butcher was involved in the recording. Shields and Butcher hung curtains on the window between the studio control room and the vocal booth, and only communicated with the engineers when they would acknowledge a good take by opening the curtain and waving. According to engineer Guy Fixsen, "We weren't allowed to listen while either of them were doing a vocal. You'd have to watch the meters on the tape machine to see if anyone was singing. If it stopped, you knew you had to stop the tape and take it back to the top." On most days, the couple arrived without having written the lyrics for the song they were to record. Dutt recalled: "Kevin would sing a track, and then Bilinda would get the tape and write down words she thought he might have sung".In July 1991, Creation agreed to relocate the production to Eastcote studio, following unexplained complaints from Shields. However, the cash-poor Creation Records was unable to pay the bill for their time at Britannia Row, and the studio refused to return the band's equipment. Dutt recalled, "I don't know what excuse Kevin gave them for leaving. He had to raise the money himself to get the gear out." Shields' unpredictable behaviour, the constant delays, and studio changes were having a material effect on Creation's finances and the health of their staff. Dutt later said he had been desperate to leave the project, while Creation's second-in-command Dick Green had a nervous breakdown. Green recalled, "It was two years into the album, and I phoned Shields up in tears. I was going 'You have to deliver me this record'."Shields and Butcher became afflicted with tinnitus, and had to delay recording for further weeks while they recovered. Concerned friends and band members suggested this was a result of the unusually loud volumes the group played at their shows, which Shields dismissed as "Ill-informed hysteria." Although Alan McGee was still positive about his investment, the 29-year-old Green, who by this time was opening the label's morning post "shaking with fear," became a concern to his co-workers. Publicist Laurence Verfaillie, aware of the label's inability to cover further studio bills, recalled Green's hair turning grey overnight, which she attributed to the album.With the vocal tracks completed, a final mix of the album was undertaken with engineers Dick Meaney (the Jesus and Mary Chain) and Darren Allison (Spiritualized) at the Church in Crouch End, the nineteenth studio in which Loveless had been worked on. The album was edited on an aged machine that had been used to cut together dialog for movies in the 1970s; its computer threw the entire album out of phase. Shields was able to put it back together from memory, but took thirteen days to master the album rather than the usual one, to Creation's dismay.As the previously prolific band were unusually quiet, the British music press began to speculate. Melody Maker calculated that the total recording cost had come close to £250,000; however, McGee, Green, and Shields dispute this. Shields argued that the estimated cost and Creation's near-bankruptcy were a myth exaggerated by McGee. According to Shields, "the amount we spent nobody knows because we never counted. But we worked it out ourselves just by working out how much the studios cost and how much all the engineers cost. 160 thousand pounds was the most we could come to as the actual money that was spent." In Green's opinion, the estimate made by Melody Maker was understated by £20,000, and that "once you'd even got it recorded and mixed, the very act of compiling, EQ-ing, etcetera took weeks on its own." In December 1991, Shields said that most of the money claimed to have been spent on the album was simply "money to live on" over three years, with the album itself only costing "a few thousand". He also claimed that the album represented only four months' work over two years. He said that most of the money spent came from the band's own funds, while "Creation probably spent fifteen to twenty thousand pounds of their own money on it, and that's it. They never showed us any accounts, and then they got bought out by Sony.". 
Question: What is the name of the album that was edited on an aged machine that had been used to cut together dialog for movies in the 1970s?
[A]: Loveless.


[Q]: Passage: Their records have been heavily influenced by the "motorik" technique of 1970s krautrock groups such as Neu! and Faust. Tim Gane has supported the comparison: "Neu! did minimalism and drones, but in a very pop way." Dave Heaton of PopMatters said that their music also had "echoes of bubblegum, of exotica, of Beach Boys and bossa nova", with their earlier work "bearing strong Velvet Underground overtones". Funk, jazz, and Brazilian music were additional inspirations for the band. Stephan Davet of French newspaper Le Monde said that Emperor Tomato Ketchup (1996) had musical influences such as Burt Bacharach, and Françoise Hardy. The sounds influenced by minimalist composers Philip Glass and Steve Reich can be found on the 1999 album Cobra and Phases Group Play Voltage in the Milky Night. The same album, according to Rick Reger of Chicago Tribune, "charts [a course] somewhere between the Beach Boys and Kraftwerk." Stereolab's style also incorporates easy-listening music of the 1950s and '60s. Barney Hoskyns wrote in a review for Dots and Loops (1997) that the group moved "away from the one-chord Velvets drone-mesh of its early days" toward easy-listening and Europop. Joshua Klein in Washington Post said that, "Years before everyone else caught on, Stereolab [were] referencing the 1970s German bands Can and Neu!, the Mexican lounge music master Esquivel and the decidedly unhip Burt Bacharach." Regarding their later work such as Instant 0 in the Universe (2003) and Margerine Eclipse (2004), critics have compared the releases to the band's earlier guitar-driven style. 
Question: What is the name of the album that Rick Reger said it was between the Beach Boys and Kraftwerk?
[A]: Cobra and Phases Group Play Voltage in the Milky Night.


[Q]: Passage: Radcliffe Tower is all that remains of an early 15th-century stone-built manor house.  The structure is a Grade I listed building and protected as a Scheduled Monument.  The construction of a nearby tithe barn is not documented, but it was probably built between 1600 and 1720. It was used for storage of the local tithes (a tenth of a farm's produce).  Along with Radcliffe Tower, the Parish Church of St Mary is a Grade I listed building.  The town also has two Grade II* listed buildings; Dearden Fold Farmhouse, completed during the 16th century, and Radcliffe Cenotaph, built in 1922 to commemorate the First World War.  Outwood Viaduct, and Radcliffe's most visible landmark, St Thomas' Church, are Grade II listed buildings.  St Thomas' took nine years to complete. The first stone was laid by Viscount Grey de Wilton (grandson of the Countess Grosvenor) on 21 July 1862, and it was consecrated in 1864 by the first Bishop of Manchester, James Prince Lee.  Construction of the tower began in 1870 and the building was completed in 1871.  The building cost £7,273, (£670 thousand today) and the tower cost £1,800 (£160 thousand today). The first vicar was the Reverend Robert Fletcher.
Radcliffe's first public ornament was a drinking fountain located at the bottom of Radcliffe New Road.  It was presented to the town by a Mrs Noah Rostron in memory of her husband, and erected in August 1896.  The fountain no longer exists at this location.
Built in 1911 the town hall was on the junction of Water Street and Spring Lane.  For many years after the town lost its urban district status, the building was unoccupied.  It was converted to private accommodation in 1999. 
Question: What is the name of the building that Viscount Grey de Wilton laid the first stone for?
[A]:
St Thomas' Church.