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.

Passage: Both Surfer Rosa and Steve Albini's production of the album have been influential on alternative rock, and on grunge in particular. Nirvana's Kurt Cobain cited Surfer Rosa as the basis for Nevermind's songwriting. When he first heard the album, Cobain discovered a template for the mix of heavy noise and pop he was aiming to achieve. He remarked in 1992 that he "heard songs off of Surfer Rosa that I'd written but threw out because I was too afraid to play them for anybody." Cobain hired Albini to produce Nirvana's 1993 album In Utero, primarily due to his contribution to Surfer Rosa. The Smashing Pumpkins' Billy Corgan described Surfer Rosa as "the one that made me go, 'holy shit'. It was so fresh. It rocked without being lame." Corgan was impressed by the album's drum sound, and acknowledged that The Smashing Pumpkins used to study the record for its technical elements. Musician PJ Harvey said that Surfer Rosa "blew my mind," and that she "immediately went to track down Steve Albini." Cobain listed Surfer Rosa as number 2 of the top 50 albums he thought were most influential to Nirvana's sound in his journal in 1993.People connected with the band were impressed by the record. Ivo Watts-Russell recalled: "I remember when I first heard Surfer Rosa thinking, 'I didn't know the Pixies could sound like The Fall.' That was my immediate reaction, in other words, incredibly raw." Gary Smith, who at the time was in a disagreement with the band, admitted he "was really happy that they had made such a forceful, aggressive, record." Dinosaur Jr.'s J Mascis, comparing the record to the later Pixies albums Bossanova and Trompe le Monde, said he thought that Steve Albini's production "sounded way better than the other ones."In 1991, as Pixies were recording Trompe le Monde, Albini described his impressions of Pixies during the recording of Surfer Rosa to the fan magazine Forced Exposure: "A patchwork pinch loaf from a band who at their top dollar best are blandly entertaining college rock. Their willingness to be 'guided' by their manager, their record company and their producers is unparalleled. Never have I seen four cows more anxious to be led around by their nose rings." Albini later apologized for his remarks, saying, "to this day I regret having done it. I don't think that I regarded the band as significantly as I should have.". 
Question: What is the first name of the person who was hired for their work with Surfer Rosa?
Steve.

Passage: Too Much Too Soon received positive reviews from contemporary critics. Reviewing for Rolling Stone in 1974, Dave Marsh hailed the New York Dolls as the leading hard rock band in the US and noted what he felt was Nolan's competent drumming, Johansen's ability to add depth to his characters, and Thunders's innovative guitar playing. Marsh especially praised his playing on "Chatterbox", calling it "a classic", and believed even the most brazen songs sounded successful because Morton's production highlighted the group's more unrefined musical qualities. Writing for Creem magazine, Christgau said the polished sound reproduction preserved the band's raw qualities, especially in the case of Johansen's vocals and Nolan's drumming, and remarked that Rundgren "should be ashamed—Shadow Morton has gotten more out of the Dolls than they can give us live on any but their best nights." Robert Hilburn from the Los Angeles Times felt Too Much Too Soon was a better-produced album that proved the band to be "the real thing", calling it the best record of derisive punk rock since Exile on Main St. by the Rolling Stones in 1972. In The New Yorker, Ellen Willis wrote that she learned to appreciate Too Much Too Soon more than New York Dolls after seeing the band perform songs from the former album in concert, particularly "Human Being" and "Puss 'n' Boots", while Ron Ross from Phonograph Record magazine said the group's "easy going ironic sensibility" was expressed "far more amusingly and accessibly" here than on their debut album.Some reviewers were critical of Too Much Too Soon for what they felt was a poorly recorded and overproduced sound. In a negative review for NME, Nick Kent said it sounded cluttered and "shot through with unfulfilled potential", while Circus magazine panned the record as "cut after cut of annoying screeching". It was nonetheless voted the tenth best album of 1974 in the Pazz & Jop, an annual poll of American critics nationwide, published in The Village Voice. Willis, one of the critics polled, listed it as her fifth favorite record of the year. Christgau, the poll's creator and supervisor, named it third best, and in a decade-end list for The Village Voice, he named it the fourth best album of the 1970s. Los Angeles Times critic Richard Cromelin included it in his list of favorite records from the decade and wrote that Morton's production made it slightly better than New York Dolls. 
Question: What did Christgau, the poll's creator and supervisor, name third best?
Too Much Too Soon.

Passage: Sailors on nearby ships heard the series of signals and, realizing that a collision was imminent, gathered to watch as Imo bore down on Mont-Blanc. Both ships had cut their engines by this point, but their momentum carried them right on top of each other at slow speed. Unable to ground his ship for fear of a shock that would set off his explosive cargo, Mackey ordered Mont-Blanc to steer hard to port (starboard helm) and crossed the bow of Imo in a last-second bid to avoid a collision. The two ships were almost parallel to each other, when Imo suddenly sent out three signal blasts, indicating the ship was reversing its engines. The combination of the cargoless ship's height in the water and the transverse thrust of her right-hand propeller caused the ship's head to swing into Mont-Blanc. Imo's prow pushed into the No. 1 hold of Mont Blanc, on her starboard side.The collision occurred at 8:45 am. The damage to Mont Blanc was not severe, but barrels of deck cargo toppled and broke open.  This flooded the deck with benzol that quickly flowed into the hold. As Imo's engines kicked in, she disengaged, which created sparks inside Mont-Blanc's hull. These ignited the vapours from the benzol. A fire started at the water line and travelled quickly up the side of the ship. Surrounded by thick black smoke, and fearing she would explode almost immediately, the captain ordered the crew to abandon ship. A growing number of Halifax citizens gathered on the street or stood at the windows of their homes or businesses to watch the spectacular fire. The frantic crew of Mont-Blanc shouted from their two lifeboats to some of the other vessels that their ship was about to explode, but they could not be heard above the noise and confusion. As the lifeboats made their way across the harbour to the Dartmouth shore, the abandoned ship continued to drift and beached herself at Pier 6 near the foot of Richmond street.Towing two scows at the time of the collision, Stella Maris responded immediately to the fire, anchoring the barges and steaming back towards Pier 6 to spray the burning ship with their fire hose. The tug's captain, Horatio H. Brannen, and his crew realized that the fire was too intense for their single hose and backed off from the burning Mont Blanc. They were approached by a whaler from HMS Highflyer and later a steam pinnace belonging to HMCS Niobe. Captain Brannen and Albert Mattison of Niobe agreed to secure a line to the French ship's stern so as to pull it away from the pier to avoid setting it on fire. The five-inch (127-millimetre) hawser initially produced was deemed too small and orders for a ten-inch (254-millimetre) hawser came down. It was at this point that the blast occurred. 
Question: What were the full names of the two ships that approached the ship that was burning?

HMCS Niobe.