Problem: Background: Sam & Dave were an American soul and R&B duo who performed together from 1961 until 1981. The tenor (higher) voice was Sam Moore (born 1935) and the baritone/tenor (lower) voice was Dave Prater (1937-1988). Sam & Dave are members of the Rock and Roll Hall of Fame, the Grammy Hall of Fame, the Vocal Group Hall of Fame, the Memphis Music Hall of Fame, and are Grammy Award and multiple gold record award-winning artists.
Context: Sam Moore and Dave Prater's early musical backgrounds involved listening to and singing gospel music in their homes and churches, and in Dave's case, also singing gospel in the choir in his church. Dave later sang with his older brother JT Prater in the gospel group The Sensational Hummingbirds, who recorded "Lord Teach Me" in the 1950s. Sam recorded "Nitey-Nite"/"Caveman Rock" in 1954 with the doo-wop group The Majestics, and later sang with the gospel groups The Gales and The Mellonaires. Moore and Prater listed Jackie Wilson and Sam Cooke as influences on their styles, and Moore was also influenced by Little Willie John, whom he and Dave opened for often in the early 1960s. Sam & Dave met working the gospel music circuit, and later in small clubs in Miami during amateur nights in 1961 according to Dave. They sang together one night at the King of Hearts club, and started working together immediately thereafter, developing a live act featuring gospel-inspired call-and-response. Soul singer and record producer Steve Alaimo discovered them while performing during the same show with them at the King of Hearts nightclub in Miami and signed them to Marlin Records. After two singles in early 1962 were released on the local Marlin label owned by Miami's Henry Stone, Stone helped sign them to Roulette Records in New York City. They released six 45s from 1962-1964 (two were re-releases of Marlin recordings) with Roulette, and one single on Stone and Alaimo's Alston Label. A few of the singles received regional airplay, but did not achieve national chart success. The songs, some of which were produced by Steve Alaimo and some of which were produced by Henry Glover, were similar in many ways to R&B recordings by Sam Cooke, Jackie Wilson and Little Willie John. Prater was the lead vocalist on most of these singles, with Moore singing harmony and alternate verses. In summer 1964, Stone introduced the duo to Atlantic Records' Jerry Wexler, who signed them to Atlantic. Wexler asked Memphis, Tennessee-based Stax Records, which Atlantic distributed nationally, to work with Sam & Dave. Wexler wanted the Southern roots and gospel style of their live performances, so the pair were loaned to Stax to record, although they remained Atlantic Records artists. According to Wexler's autobiography Rhythms & Blues, "Their live act was filled with animation, harmony and seeming goodwill. I put Sam in the sweet tradition of Sam Cooke or Solomon Burke, while Dave had an ominous Four Tops' Levi Stubbs-sounding voice, the preacher promising hellfire."
Question: did they work with anyone else?
Answer:

Problem: Background: "Good Vibrations" is a song composed by Brian Wilson with words by Mike Love for the American rock band the Beach Boys, of which both were members. Released on October 10, 1966, the single was an immediate critical and commercial hit, topping record charts in several countries including the US and UK. Characterized by its complex soundscapes, episodic structure, and subversions of pop music formula, it was the costliest single ever recorded at the time of its release. "Good Vibrations" later became widely acclaimed as one of the greatest masterpieces of rock music.
Context: The song has been covered by artists such as Groove Holmes, the Troggs, Charlie McCoy, and Psychic TV. John Bush commented: "'Good Vibrations' was rarely reprised by other acts, even during the cover-happy '60s. Its fragmented style made it essentially cover-proof." In 1976, a nearly identical cover version was released as a single by Todd Rundgren for his album Faithful. When asked for his opinion, Brian said: "Oh, he did a marvelous job, he did a great job. I was very proud of his version." Rundgren's single peaked at number 34 on the Billboard Hot 100. Rundgren explained: "I used to like the sound of the Beach Boys, but it wasn't until they began to compete with the Beatles that I felt that what they were doing was really interesting--like around Pet Sounds and 'Good Vibrations' ... when they started to shed that whole surf music kind of burden and start to branch out into something that was a little more universal. ... I tried to do [the song] as literally as I could because in the intervening 10 years, radio had changed so much. Radio had become so formatted and so structured that that whole experience was already gone." In 2004, Wilson re-recorded the song as a solo artist for his album Brian Wilson Presents Smile. It was sequenced as the album's closing track, following "In Blue Hawaii". In this version, "Good Vibrations" was the project's only track that eschewed the modular recording method. The song's verses and chorus were recorded as part of one whole take, and were not spliced together. In 2012, Wilson Phillips, a trio consisting of Wilson's daughters Carnie and Wendy, and John Phillips' daughter Chynna, released an album containing covers of songs by the Beach Boys and the Mamas & the Papas titled Dedicated. Their version of "Good Vibrations", with Carnie Wilson, on lead vocals was released as a single from the album and peaked at number 25 on Billboard's A/C chart.
Question: What techniques did the different versions use?
Answer:
The song's verses and chorus were recorded as part of one whole take, and were not spliced together.