Question: Which cut made the band who wrote the song that Greil Marcus rated as one of three masterpieces more money, "A Man I'll Never Be" or "More Than a Feeling"? Passage 1:Ibrahim was born in Cape Town on 9 October 1934, and was baptized Adolph Johannes Brand. He attended Trafalgar High School in Cape Town's District Six, and began piano lessons at the age of seven, making his professional debut at 15. He is of mixed-race heritage, making him a Coloured person according to the South African government. His mother played piano in a church, the musical style of which would remain an influence; in addition, he learned to play several genres of music during his youth in Cape Town, including marabi, mbaqanga, and American jazz. He became well known in jazz circles in Cape Town and Johannesburg. In 1959 and 1960, Ibrahim played with the Jazz Epistles group in Sophiatown, alongside saxophonist Kippie Moeketsi, trumpeter Hugh Masekela, trombonist Jonas Gwangwa (who were all in the orchestra of the musical King Kong that opened in Johannesburg in February 1959), bassist Johnny Gertze and drummer Makaya Ntshoko; in January 1960, the six musicians went into the Gallo studio and recorded the first full-length jazz LP by Black South African musicians, Jazz Epistle Verse One, with 500 copies being produced. Although the group avoided explicitly political activity, the apartheid government was suspicious of it and other jazz groups, and targeted them heavily during the increase in state repression following the Sharpeville massacre, and eventually, the Jazz Epistles broke up.
 Passage 2:Sara Jordan Powell was born on October 6, 1938 in Houston, Texas, the daughter of a minister and pastor at the Turner Memorial Church of God in Christ, and his wife, who was a homemaker. She was born the third of twelve children in her family. Powell started singing at the age of two years. She is a Texas Southern University graduate with a Bachelor's degree in English while minoring in drama and history. After graduation from Texas Southern University, she headed out to Chicago, Illinois to live with her sister, and she apprenticed under, Thomas A. Dorsey, while she was working for him during her tenure in Chicago. She was found by the Sallie Martin Singers while in Chicago with Dorsey, and she joined the group, after auditioning successfully. After the Sallie Martin Singers, she was a part of the Voices of Melody, headed by Dr. Charles Clency. Soon thereafter her father became ill and died, and she and her husband departed for Houston in order to handle the church's affairs. While she was back in Houston, Powell became a teacher at a school, where she was encouraged to sing during a commencement ceremony, and after that she was a highly sought after local artist. Around 1971, Rev. James Cleveland eavesdropped on one of her singing engagements in Los Angeles, California, and at his request, she met with him the next day. He asked her about recording, but Powell had never given it much thought. He encouraged her, and she quickly found success in 1972 with the songs, "Touch Somebody's Life" and "When Jesus Comes," which achieved significant radio airtime, and were on her debut album "Touch Somebody's Life" that came out in 1975 on the Savoy label. She attended Southwest Theological Seminary, and obtained her Master's degree from University of St. Thomas, after achieving musical success. Powell had the opportunity to perform "Amazing Grace" for President Jimmy Carter at the White House, while they were honoring the Black Music Association, with the likes of Chuck Berry, Billy Eckstine, Evelyn "Champagne" King, and Andraé Crouch on June 7, 1979. She was an academic advisor at Oral Roberts University after she and her husband relocated there for her husband to pursue his Juris Doctor degree. Powell was the Church of God in Christ's Fine Arts Executive Director for ten years. She was asked to served on the Year of the Bible Committee by President Ronald Reagan. Powell had the opportunity to minister to President Bill Clinton in Memphis, Tennessee, along with Dr. Bernard Johnson, at the requested of Bishop Lewis Henry Ford.
 Passage 3:Billboard Magazine rated the song one of the best cuts on Don't Look Back. Greil Marcus rated the song as one of three masterpieces on Don't Look Back, along with "A Man I'll Never Be" and "Used to Bad News." Allmusic critic Tim Sendra described its riff as "killer," saying that it was similar to that in "More Than a Feeling." The New Rolling Stone Album Guide critic Paul Evans felt that "Don't Look Back" was the one song on its album that could "hold its own" on Boston's first album. Ultimate Classic Rock critic Eduardo Rivadavia similarly stated that it "met every expectation set by Boston’s nearly perfect debut." Ultimate Classic Rock critic Michael Gallucci rated it the band's 4th all time best song. AXS contributor Bill Craig similarly rated it Boston's 3rd greatest song, describing it as an "arena rock style sonic blast." Philip Booth of the Lakeland Ledger called it one "of the most-played-by-garage-band rockers of the '70s." Pete Prown and Harvey P. Newquist praised the "layers of guitar harmonies" as well as Barry Goudreau's slide guitar playing and rideout guitar solo. Ottawa Journal critic Mike Voslin rated the song as a live performance highlight.

Output: 3