input: BoA's second Japanese studio album, Valenti (2003), became her best-selling album, with over 1,249,000 copies sold. In support of the album, BoA launched BoA 1st Live Tour Valenti, her first Japanese concert tour. Later that year, she released two Korean albums, Atlantis Princess and the mini-album Shine We Are!. The former was the fifth-best-selling South Korean record of the year with around 345,000 units sold; the latter sold around 58,000 units. Her third Japanese studio album, Love & Honesty (2004) was a musical "change in direction": it contained a rock-dance song ("Rock with You") and "harder" R&B. Though the album failed to match Valenti in sales, it topped the Oricon chart for two weeks and became RIAJ-certified triple-platinum. In support of the album, BoA held a tour, Live Concert Tour 2004: Love & Honesty. In contrast with 1st Live Tour, which "emphasized exotic Asian design", the Love & Honesty tour had an "outer-space, sci-fi" theme; among the props were a three-story-high space ship and the robot Asimo. The tour, which started in Saitama and ended in Yokohama, spanned nine performances and attracted approximately 105,000 attendants. Her first compilation album, Best of Soul (2005), however, sold over a million copies, making BoA the first non-Japanese Asian singer to have two million-selling albums in Japan. BoA reinvented her image on her fourth Korean album, My Name (2004); she left the "cute" and "youthful" style that had characterized previous years and presented herself as "sexy" and "sultry". The album was the beginning of a foray into the Chinese market and contained two songs sung in Mandarin Chinese. The sales of BoA's Korean albums began to decline: the album sold 191,000 units and became the eleventh-best-selling South Korean album of the year. In September 2004, BoA instigated controversy in Japan when she donated W50 million to a memorial project for Korean independence activist and nationalist An Jung-geun. Her fifth Korean album, Girls on Top (2005), continued her image change. The album portrayed the singer as more "mature and self-confident" and was a "declaration of war on male chauvinism"; the "bohemian" look of the cover photograph represented "freedom and depth", while music videos and album photographs that portrayed BoA in traditional Korean dress brought the "idea of Korean womanhood" into her music. The album also continued BoA's foray into the Chinese market and, like the previous album, contained Mandarin Chinese songs. The album sold less than the previous album; it was the fourteenth-best-selling record of the year in South Korea with 113,000 units sold.

Answer this question "Was her new style well received by her fans?"
output: the album failed to match Valenti in sales, it topped the Oricon chart for two weeks and became RIAJ-certified triple-platinum.

input: The initial lineup of Exodus was formed in the late 1970s by guitarists Kirk Hammett and Tim Agnello, drummer/vocalist Tom Hunting, and vocalist Keith Stewart while attending high school together. The band added bass guitarist Carlton Melson in 1980, and the quintet began making a name for themselves playing backyard parties and various school functions. They played mostly cover songs in the vein of 1970s hard rock and New wave of British heavy metal (NWOBHM) acts but also developed some of their own original songs. Things with Stewart did not work out, and Hunting became the band's sole vocalist for some time. Carlton Melson was replaced in 1981 by bass guitarist Geoff Andrews. Tim Agnello would leave the group soon after to pursue a life of ministry in Stockton, California, leaving Exodus to perform as a power trio until a replacement was found in Hammett's friend and Exodus roadie Gary Holt. Also in 1981, Hammett met El Cerrito resident Paul Baloff at a North Berkeley house party, a friendship that was started - according to Hammett - by their shared admiration for punk rock and 1970s heavy metal music. Baloff became the band's lead vocalist and the quintet recorded a 3-track demo tape in 1982 consisting of the songs "Whipping Queen", "Death and Domination" and "Warlord", a release which would be Hammett's only recording with Exodus. The band's music began to incorporate elements of hardcore punk into their NWOBHM roots, and Exodus were considered the pioneers of the Bay Area thrash metal scene. In November 1982, Exodus opened a show at San Francisco's Old Waldorf venue for Metallica, a then-relatively unknown (and unsigned) band from Los Angeles. As the band began playing more shows in Bay Area clubs, they gained a large, fervent fan base known for their violent concert behavior. In early 1983, Hammett left Exodus to join Metallica on the recommendation of Mark Whitaker, leaving Gary Holt to effectively take creative control of the band. Hammett was replaced short term by Mike Maung, followed by Evan McCaskey, before the band finally found a permanent replacement in guitarist Rick Hunolt. Geoff Andrews also left to start an early incarnation of pioneering death metal band Possessed, and was replaced by bass guitarist Rob McKillop. In the spring of 1984, Exodus entered Turk Street Studios with producer Doug Piercy to record demos of songs that would later appear on their debut album. The band was signed to New York-based Torrid Records and Exodus prepared to enter Prairie Sun Recording Studios that summer.

Answer this question "what were some notable times of their early years?"
output:
The band's music began to incorporate elements of hardcore punk into their NWOBHM roots, and Exodus were considered the pioneers of the Bay Area thrash metal scene.