input: The group then went on hiatus while Bowie conducted his solo Sound+Vision Tour. In December 1990, Bowie split from EMI. Hunt Sales said that EMI "kind of freaked out a little bit at the strident, single-less Tin Machine debut", which partially explained why Bowie switched music labels. In March 1991, the band signed to Victory Music, a new label launched by JVC and distributed worldwide by London Records and Polygram, and recorded more new material. This was combined with tracks from the Sydney sessions to form the Tin Machine II album. The album was described as "just as impure and twisted [as their first album], but more R&B and less abrasive." Gabrels explained the change between the first and second album was because by the second album, "we knew one another as musicians. ... It wasn't as dense. And we actually left more room, I think for David to come up with some interesting melodies. There was more room for vocals on this record." In late 1991 Bowie reiterated that he was still happy being in the band during that time, stating "I'm content. ... I'm deriving a great deal of fulfillment from working with Tin Machine", and band-mate Gabrels agreed, saying "we're doing exactly what we wanted to do." During press performances for songs on the album, Gabrels played his guitar with a vibrator and for a performance on BBC's "Top of the Pops", who banned the use of the vibrator, he mimed playing his guitar with a chocolate eclair. From 5 October 1991 to 17 February 1992, the group undertook a larger tour, known as the It's My Life Tour. The band was joined on this tour by guitarist Eric Schermerhorn. On 23 November 1991, the band was the musical guest during Saturday Night Live's 17th season.

Answer this question "who sang on it?"
output: Bowie

input: At the time of his retirement, Tittle held the following NFL records: Tittle was the fourth player to throw seven touchdown passes in a game, when he did so in 1962 against the Redskins. He followed Sid Luckman (1943), Adrian Burk (1954), and George Blanda (1961). The feat has since been equaled by four more players: Joe Kapp (1969), Peyton Manning (2013), Nick Foles (2013), and Drew Brees (2015). Tittle, Manning and Foles did it without an interception. His 36 touchdown passes in 1963 set a record which stood for over two decades until it was surpassed by Dan Marino in 1984; as of 2016 it remains a Giants franchise record. Despite record statistics and three straight championship game appearances, Tittle was never able to deliver a title to his team. His record as a starter in postseason games was 0-4. He threw four touchdown passes against 14 interceptions and had a passer rating of 33.8 in his postseason career, far below his regular season passer rating of 74.3. Seth Wickersham, writing for ESPN The Magazine in 2014, noted the dichotomy in the 1960s between two of New York's major sports franchises: "... Gifford, Huff and Tittle, a team of Hall of Famers known for losing championships as their peers on the Yankees--with whom they shared a stadium, a city, and many rounds of drinks--became renowned for winning them." The Giants struggled after Tittle's retirement, posting only two winning seasons from 1964 to 1980. He made seven Pro Bowls, four first-team All-Pro teams, and four times was named the NFL's Most Valuable Player or Player of the Year: in 1957 and 1962 by the UPI; in 1961 by the NEA; and in 1963 by the AP and NEA. In a sports column in 1963, George Strickler for the Chicago Tribune remarked Tittle had "broken records that at one time appeared unassailable and he has been the hero of more second half rallies than Napoleon and the Harlem Globetrotters." He was featured on four Sports Illustrated covers: three during his playing career and one shortly after retirement. His first was with the 49ers in 1954. With the Giants, he graced covers in November 1961, and he was on the season preview issue for 1964; a two-page fold-out photo from the 1963 title game. Tittle was on a fourth cover in August 1965. The trade of Tittle for Lou Cordileone is seen as one of the worst trades in 49ers history; it is considered one of the best trades in Giants franchise history. Cordileone played just one season in San Francisco.

Answer this question "What team did he play for"
output: His first was with the 49ers in 1954.

input: Two records were released that were neither cover versions of nor answers to Thornton's release, yet used a similar melody without any attribution to Leiber and Stoller. The first was Smiley Lewis's "Play Girl", credited to D. Bartholomew and released by the Imperial Records label (Imperial 45-5234) by the end of March 1953. Described as a "stomping uptempo boogie rocker", it began: "You ain't nothin' but a Play Girl / Staying out all night long". In April 1955, female impersonator Jesse "Big 'Tiny'" Kennedy recorded "Country Boy" accompanied by His Orchestra that was released by RCA's Groove Records (Groove 4G-0106) by May 21. While credited solely to Kennedy, this song has a similar melody to "Hound Dog": "'Country Boy' has a deceptively slouching flip on the 'Hound Dog' motif - this time with Tiny proclaiming proudly that he 'ain't nothing but a country boy'". In the early 1970s Robert Loers, owner of Dutch label Redita Records, found a song with the same melody as "Hound Dog" called "(You Ain't Nuttin' But a) Juicehead" on an anonymous acetate at Select-o-Hits, the Memphis distributorship owned by Sam Phillips' brother, Tom, where Sun artifacts were stored. When Juice Head first appeared on a Redita Records LP [in 1974], it was credited to Rosco Gordon. But it's not Rosco. It simply is not him. Really. Even Rosco confirmed that. It might not even be a Memphis Recording Service demo. Just substitute the words "Hound Dog" for "Juice Head" and what have you got? Of course the inspiration for this song came from Big Mama Thornton's "Hound Dog" or perhaps even from Rufus Thomas' "Bear Cat". But the song's other parent is Eddie Vinson's slowed down "Juicehead Blues" which harks to the previous decade...If indeed this originated from Sam Phillips' studio, it was nothing that Phillips needed to touch because it was another lawsuit waiting to happen." Philip H. Ennis sees "Two Hound Dogs", which was recorded on May 10, 1955, by Bill Haley & His Comets (Decca 29552), as a response to Thornton's recording. While not an answer record in the traditional sense, the lyric characterized "Rhythm" and "Blues" as the titular "Two Hound Dogs," an apparent testament to the stature of "Hound Dog."

Answer this question "How many different versions of this song were recorded?"
output:
Two records were released that were neither cover versions of nor answers to Thornton's release,