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.

[EX Q]: Passage: The first three symphonies, to which Vaughan Williams assigned titles rather than numbers, form a sub-group within the nine, having programmatic elements, absent from the later six.A Sea Symphony (1910), the only one of the series to include a part for full choir, differs from most earlier choral symphonies in that the choir sings in all the movements. The extent to which it is a true symphony has been debated; in a 2013 study, Alain Frogley describes it as a hybrid work, with elements of symphony, oratorio and cantata. Its sheer length—about eighty minutes—was unprecedented for an English symphonic work, and within its thoroughly tonal construction it contains harmonic dissonances that pre-echo the early works of Stravinsky which were soon to follow.A London Symphony (1911–1913) which the composer later observed might more accurately be called a "symphony by a Londoner", is for the most part not overtly pictorial in its presentation of London. Vaughan Williams insisted that it is "self-expressive, and must stand or fall as 'absolute' music". There are some references to the urban soundscape: brief impressions of street music, with the sound of the barrel organ mimicked by the orchestra; the characteristic chant of the lavender-seller; the jingle of hansom cabs; and the chimes of Big Ben played by harp and clarinet. But commentators have heard—and the composer never denied or confirmed—some social comment in sinister echoes at the end of the scherzo and an orchestral outburst of pain and despair at the opening of the finale. Schwartz comments that the symphony, in its "unified presentation of widely heterogeneous elements", is "very much like the city itself". Vaughan Williams said in his later years that this was his favourite of the symphonies.The last of the first group is A Pastoral Symphony (1921). The first three movements are for orchestra alone; a wordless solo soprano or tenor voice is added in the finale. Despite the title the symphony draws little on the folk-songs beloved of the composer, and the pastoral landscape evoked is not a tranquil English scene, but the French countryside ravaged by war. Some English musicians who had not fought in the First World War misunderstood the work and heard only the slow tempi and quiet tone, failing to notice the character of a requiem in the music and mistaking the piece for a rustic idyll. Kennedy comments that it was not until after the Second World War that "the spectral 'Last Post' in the second movement and the girl's lamenting voice in the finale" were widely noticed and understood. 
Question: What is the title of the symphony that draws little on the folk-songs beloved by the composer?
[EX A]: A Pastoral Symphony.

[EX 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?
[EX A]: Cobra and Phases Group Play Voltage in the Milky Night.

[EX Q]: Passage: Harrison first introduced "Something" at a Beatles session on 19 September 1968, when he played it to George Martin's stand-in as producer of The Beatles, Chris Thomas, while the latter was working out the harpsichord part for Harrison's track "Piggies". Despite Thomas's enthusiasm for the new composition, Harrison chose to focus on "Piggies". He told Thomas that he intended to offer "Something" to singer Jackie Lomax, whose debut album Harrison was producing for Apple Records. "Something" was not among the tracks released on Lomax's album, however, much of which was recorded in Los Angeles following the completion of the White Album.After Harrison rejoined the Beatles in January 1969 for their Get Back film project (later released as Let It Be), "Something" was one of many recent compositions that he offered to the group. Leng describes this period as a prolific one for Harrison as a songwriter, comparing it with John Lennon's peak of creativity over 1963–64, yet Harrison's songs received little interest from Lennon and McCartney amid the tense, uncooperative atmosphere within the band. Martin was also unimpressed by "Something" at first, considering it "too weak and derivative", according to music journalist Mikal Gilmore.The Beatles rehearsed the song at Apple Studio on 28 January. With the proceedings being recorded by director Michael Lindsay-Hogg for the planned documentary film, tapes reveal Harrison discussing his unfinished lyrics for "Something" with Lennon and McCartney, since he had been unable to complete the song's second line, which begins "Attracts me ..." To serve as a temporary filler, Lennon suggested "like a cauliflower", which Harrison then altered to "like a pomegranate". In their study of the available tapes, Doug Sulpy and Ray Schweighardt write that the Beatles gave the song two run-throughs that day, which was the only occasion that they attempted it during the Get Back/Let It Be project. 
Question: What is the first name of the person who showed little interest in "Something" with McCartney?
[EX A]:
John.