input: Following Communication, Womack's profile was raised with two more albums, released in 1972. The first was Understanding, noted for the track "I Can Understand It", later covered by the funk band New Birth and a three-sibling lineup of Bobby's old group, the Valentinos, and two hit singles, "Woman's Gotta Have It" and "Harry Hippie". The latter song was written for Womack by Jim Ford in a country version, which Womack re-arranged in an R&B version. "Harry Hippie" later became Womack's first single to be certified gold. "Woman's Gotta Have It" became Womack's first single to hit number one on the R&B charts. Another hit album released after Understanding was the soundtrack to the blaxploitation film Across 110th Street. The title track became popular during its initial 1972 release and later would be played during the opening and closing scenes of the 1997 film, Jackie Brown. In 1973, Womack released another hit album, Facts of Life, and had a top 40 hit with "Nobody Knows You When You're Down and Out," an older song Sam Cooke had done years before. In 1974, Womack released his most successful single during this period with a remake of his first hit single, "Lookin' for a Love". His solo version of the song became even more successful than the original with the Valentinos, becoming his second number one hit on the R&B chart and peaking at number ten on the Billboard Hot 100, becoming his only hit to reach that high on the pop chart. The song was featured on the album Lookin' for a Love Again and featured the minor charted "You're Welcome, Stop on By", later covered by Rufus & Chaka Khan. Womack's career began stalling after Womack received the news of his brother Harry's death. Womack continued to record albums with United Artists through 1975 and 1976 but with less success than previous albums. In 1975, Womack collaborated with Rolling Stones member Ronnie Wood, on Wood's second solo album, Now Look. Womack languished with his own recordings during the late 1970s but continued to be a frequent collaborator with other artists, most notably Wilton Felder of the Crusaders. In 1980, Wilton Felder released on MCA Records, the album Inherit The Wind, featuring Bobby Womack, that became a jazz-funk classic, notably in the UK - Robbie Vincent at Radio London included the track as one of his all-time winners in October 1982. In 1981, Womack signed with Beverly Glen Records and had his first R&B top 10 single in five years - since the 1976 single "Daylight" - with "If You Think You're Lonely Now" that peaked at number three on the R&B singles chart. His accompanying album The Poet reached number one on the R&B album charts and is now seen as the high point of his long career, bringing him wider acclaim not only in the U.S. but also in Europe. He had two more R&B top 10 singles during the 1980s including the Patti LaBelle duet, "Love Has Finally Come at Last", and "I Wish He Didn't Trust Me So Much". He had a hit featuring on the Wilton Felder single "(No Matter How High I Get) I'll Still Be Looking Up to You".

Answer this question "What other songs did he have?"
output: 1976 single "Daylight" - with "If You Think You're Lonely Now"

input: The writings of Richard Pipes have provoked criticism in the scholarly community, for example in The Russian Review. Criticism of Pipes's interpretation of the events of 1917 has come mostly from "revisionist" Soviet historians, who under the influence of the French Annales school, have tended since the 1970s to center their interpretation of the Russian Revolution on social movements from below in preference to parties and their leaders and interpreted political movements as responding to pressures from below rather than directing them. Among members of this school, Lynne Viola and Sheila Fitzpatrick claim that Pipes has focused too narrowly on intellectuals as causal agents. Peter Kenez (a one-time PhD student of Pipes') argued that Pipes has approached Soviet History as a prosecutor, intent solely on proving the criminal intent of the "defendant" to the exclusion of anything else. Pipes' critics argued that his historical writings perpetuated the Soviet Union as "evil empire" narrative in an attempt "to put the clock back a few decades to the times when Cold War demonology was the norm". Other critics have written that Pipes writes at length about what Pipes describes as Lenin's "unspoken" assumptions and conclusions, while neglecting what Lenin actually said. Alexander Rabinowitch writes that whenever a document can serve Pipes' long-standing crusade to demonize Lenin, Pipes will comment on it at length; if the document allows Lenin to be seen in a less negative light, Pipes passes over it without comment. Pipes, in his turn - following the demise of the USSR - has charged the revisionists with skewing their research, by means of statistics, to support their preconceived ideological interpretation of events, which made the results of their research "as unreadable as they were irrelevant for the understanding of the subject" to provide intellectual cover for Soviet terror and acting as simpletons and /or Communist dupes. He has also stated that their attempt at "history from below" only obfuscated the fact that "Soviet citizens were the helpless victims of a totalitarian regime driven primarily by a lust for power".

Answer this question "What else can you tell me about Peter Kenez?"
output:
argued that Pipes has approached Soviet History as a prosecutor, intent solely on proving the criminal intent of the "defendant" to the exclusion of anything else.