In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.

Q: Passage: "Touch Me I'm Sick" was released on August 1, 1988, as a 7" vinyl. It was Mudhoney's debut release. Initially, Sub Pop released 800 clear coffee-brown vinyl copies, 200 black vinyl copies and a few assorted vinyl color copies of the single. The limited release numbers were inspired by another indie label, Amphetamine Reptile. Sub Pop owners Bruce Pavitt and Jonathan Poneman reasoned the limited supply would increase demand, and utilized different colors of vinyl in order to rationalize further limited pressings and to increase the single's allure as a collectible item. The record, which came in a white paper bag without a picture sleeve, had an inscription on the A-side: "What does the word 'crack' mean to you?". The B-side sticker featured the toilet picture that later became the cover art of the sleeved second edition of the single.According to Pavitt, "It was just a limited edition, maybe 800 pieces, but people all over America started raving about it. People that we really respected."
The single was an indie hit in Seattle, and "Touch Me I'm Sick" became Mudhoney's most recognizable song. When asked in an interview about the sales figures of the single, Turner replied, "The first [pressing sold] 1,000, then 3,000 of the reissue, then it was out of print for a while; then they made 2,000 more and those are probably gone." The single's success caught the band by surprise; Arm had initially dismissed the song as a "B-side toss off". "Touch Me I'm Sick" and B-side "Sweet Young Thing Ain't Sweet No More" were later included on the Mudhoney compilation albums Superfuzz Bigmuff Plus Early Singles (1990) and March to Fuzz (2000).

A: What are the names of the compilation albums that include the song released on August 1, 1988?
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Q: Passage: In 1970 Zappa met conductor Zubin Mehta. They arranged a May 1970 concert where Mehta conducted the Los Angeles Philharmonic augmented by a rock band. According to Zappa, the music was mostly written in motel rooms while on tour with the Mothers of Invention. Some of it was later featured in the movie 200 Motels. Although the concert was a success, Zappa's experience working with a symphony orchestra was not a happy one. His dissatisfaction became a recurring theme throughout his career; he often felt that the quality of performance of his material delivered by orchestras was not commensurate with the money he spent on orchestral concerts and recordings.Later in 1970, Zappa formed a new version of the Mothers (from then on, he mostly dropped the "of Invention"). It included British drummer Aynsley Dunbar, jazz keyboardist George Duke, Ian Underwood, Jeff Simmons (bass, rhythm guitar), and three members of the Turtles: bass player Jim Pons, and singers Mark Volman and Howard Kaylan, who, due to persistent legal and contractual problems, adopted the stage name "The Phlorescent Leech and Eddie", or "Flo & Eddie".This version of the Mothers debuted on Zappa's next solo album Chunga's Revenge (1970), which was followed by the double-album soundtrack to the movie 200 Motels (1971), featuring the Mothers, the Royal Philharmonic Orchestra, Ringo Starr, Theodore Bikel, and Keith Moon. Co-directed by Zappa and Tony Palmer, it was filmed in a week at Pinewood Studios outside London. Tensions between Zappa and several cast and crew members arose before and during shooting. The film deals loosely with life on the road as a rock musician. It was the first feature film photographed on videotape and transferred to 35 mm film, a process that allowed for novel visual effects. It was released to mixed reviews. The score relied extensively on orchestral music, and Zappa's dissatisfaction with the classical music world intensified when a concert, scheduled at the Royal Albert Hall after filming, was canceled because a representative of the venue found some of the lyrics obscene. In 1975, he lost a lawsuit against the Royal Albert Hall for breach of contract.After 200 Motels, the band went on tour, which resulted in two live albums, Fillmore East – June 1971 and Just Another Band from L.A.; the latter included the 20-minute track "Billy the Mountain", Zappa's satire on rock opera set in Southern California. This track was representative of the band's theatrical performances—which used songs to build sketches based on 200 Motels scenes, as well as new situations that often portrayed the band members' sexual encounters on the road.

A: What is the last name of the person that did not like orchestral concerts?
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Q: Passage: In the 1960s, Axelrod worked as a producer and A&R executive for Capitol Records in Los Angeles. During this time, he began to conceive his own musical ideas, involving a fusion of baroque classical sounds, R&B rhythms, and spiritual themes. Challenged by what he described as a "new breed of record buyer ... more sophisticated in his thinking", he was one of several Los Angeles-based musical eccentrics during the late 1960s who wanted to expand on the mid-1960s studio experiments of Brian Wilson and George Martin. His first attempt at this creative vision was composing a religious-themed, psychedelic opera for the Electric Prunes, a local garage rock group. When the band found it too challenging to finish the recording, Axelrod enlisted studio musicians from the Wrecking Crew to complete the album, released as Mass in F Minor in 1968. The recording attracted both controversy and national fame for the producer.After the success of Mass in F Minor, Axelrod was asked by Capitol to record a similar album. He wanted to further capitalize on the experimental climate of popular music and chose to adapt works by English poet William Blake on an album. Blake musical settings were at the height of their popularity among musicians and composers. Numerous serious music composers had set his poems to music since the 1870s, and the practice was eventually adapted in other musical fields during the 20th century, including popular music, musical theatre, and the 1960s folk idiom. Axelrod, a self-professed "Blake freak", had been fascinated by Blake's painting and poetry since his late teens and frequently read the poems as an adult. He conceived Song of Innocence after he had bought an edition of Blake's complete poetry while working in Capitol's art department and considered the concept for a few years before Mass in F Minor. Axelrod was not sociable with colleagues, such as record executives who could have helped him professionally, and felt that he could identify with Blake; he considered the poet "very bad at making new friends".

A:
What is the last name of the person who composed a religious-themed opera?
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