A friend asked me to answer this question: What is the real full name of the person that intimidated the blacksmith?, using the article: In 1878 a hardened American gunfighter arrives in a small town in the foothills of the Canadian Rockies, a place that doesn't understand or appreciate the brutal code of the American Wild West. Gunslinger Sean Lafferty, known as the Montana Kid, has a bounty on his head for killing eleven people across the western United States. He arrives in town on his horse, riding backwards, bound, with a noose around his neck, and dragging the broken tree branch over which a group had tried to hang him on the American side of the border. After being helped off his horse by a young Chinese girl named Adell, he begins to explore the town, starting with the town general store. After leaving the store, he finds his horse gone and accuses Jack, the blacksmith, of stealing it, even though Jack was simply replacing the horse's damaged shoes. After unsuccessfully trying to intimidate the blacksmith, the Montana Kid decides to call him out. Since the blacksmith has no gun, though, Sean can't shoot him because the Kid lives by a code of ethics that prevents him from killing unarmed men. When she witnesses this, Jane Taylor, one of the townsfolk, says the Kid can have her broken gun (to fix and give to Jack) if he builds her a windmill. Sean proceeds to go with her and stays in a sod house at her farm, alternately working on the windmill and repairing the gun. After a few days, however, the Kid begins to develop feelings toward Jane while also becoming friends with the townsfolk. In the meantime, a roaming band of American bounty hunters crosses into Canada and heads for the town to claim the price on Sean's head. They terrorize a camp of Chinese railroad workers to find out his whereabouts., what would be the answer ?
Ans: Sean Lafferty

A friend asked me to answer this question: What album did the man who wrote the song "I Won't Hold You Back" claim to have contributed writing to every song?, using the article: Lukather is the original lead guitarist for Toto, serving in that capacity for the band's entire history, as well as a lead and backing vocalist and composer. Lukather won three of his five Grammy Awards for work with Toto, twice as an artist and once as a producer. David Paich led the band's songwriting efforts during the development of 1978's Totohe penned all but two of the album's tracks, including all four of its singles. Lukather also credits Jeff Porcaro for his leadership within the band during that period. However, Lukather's role in Toto evolved over time owing to the changing needs of the band. In August 1992, Jeff Porcaro collapsed while doing yard work at home and subsequently died of heart failure. The death profoundly affected Toto and Lukather in particular, who felt that he needed to step up and make sure the band kept going. Thus, he began taking more of a leadership role. Toto went through several lead vocalists over the years, including Bobby Kimball, Fergie Frederiksen, and Joseph Williams. After the 1990 dismissal of their fourth vocalist, Jean-Michel Byron, Toto was without a lead singer until around 1997; Lukather assumed most of the vocal duties for the band during that time. He performed lead vocals for every track on 1992's Kingdom of Desire and 1995's Tambu except for two instrumental tracks. The Tambu single "I Will Remember", co-written by Lukather and Stan Lynch, reached number 64 on UK charts. Some Tambu reviewers contrasted Lukather's vocals with those of former singers Kimball and Williams (and indeed, heavily criticized the entire album), some concert reviewers noted that he struggled vocally on certain songs, and a number of backup singers and guest vocalists accompanied the band's live shows during that period. It was not until Toto brought back Williams and Kimball to collaborate on 1998's Toto XX that Lukather returned predominantly to the role of backup vocalist.Lukather's songwriting contributions grew from a smattering of tracks on early Toto albums to co-writing..., what would be the answer ?
Ans: Spiritual Man

A friend asked me to answer this question: What publication called the album that received a score of 70% on review aggregator Metacritic one of the "albums of the decade"?, using the article: Critical reception to Vol. 3: The Subliminal Verses was generally positive. It received a score of 70% on review aggregator Metacritic based on 12 reviews. Johnny Loftus of AllMusic called the album "not just another flashy alt-metal billboard", praising the band's "dedication to making it a Slipknot album". Todd Burns of Stylus wrote that people who accuse the band of having "softened" are "mistaking softness for maturation". Burns went on to call the album "the best pop inflected metal album since System of a Down's Toxicity". Sean Richardson of Entertainment Weekly gave the album an A and wrote that it is a "deranged hippie update" of Slayer's "masterpiece" Reign in Blood, which was also produced by Rubin. Q hailed Vol. 3: The Subliminal Verses as "a triumph". John Robb of PlayLouder complimented Slipknot's unexpected rise to become "one of the biggest groups in the world", dubbing "Before I Forget" a "classic [Slipknot] anthem". Robb added that the album is better than Iowa, citing its "differing textures". Rolling Stone gave the album a rating of 3 out of 5, stating the album presented "newer extremes" for the band, "which in Slipknot's case means tunefulness and traditional song structures".A review from the BBC praised the album, declaring that there "is no finer metal band on the planet". It cited the group's integration of "hyperactive bass drums, complex, compelling riffs and ridiculously fast fretwork" with more melodic styles and described Vermilion as "the key track ... an emotional, melodramatic, utterly convincing rollercoaster ride".Alternative Press criticized the album, writing that it "plays out like a tepid, second-rate version of Iowa, which pretty much makes it a third-rate anything else." Yahoo!'s Chris Heath also reviewed the album negatively, writing that "The Nameless" combines "the ludicrously vicious and ridiculously placid" and that by doing so makes the track feel "awkward". Heath added, "the themes are predictably absurd ... yet mildly comical given the inclusion of such..., what would be the answer ?
Ans: Metal Hammer