Problem: Background: Modern Sounds in Country and Western Music is a studio album by American R&B singer-songwriter and musician Ray Charles. It was recorded by Charles in February 1962 at Capitol Studios in New York City and at United Recording Studios in Hollywood, then released in April of that year by ABC-Paramount Records. The album departed stylistically from the singer's previous rhythm and blues music. It featured country, folk, and Western music standards reworked by Charles in popular song forms of the time, including R&B, pop, and jazz.
Context: Following his blues fusion with gospel and jazz influences on his earlier Atlantic material, which had brought him much fame and controversy, Charles sought to experiment with country music. As noted by himself in the liner notes for What'd I Say (1959), Charles was influenced by the genre in his youth, stating that he "used to play piano in a hillbilly band" and that he believed that he "could do a good job with the right hillbilly song today." At Atlantic, he attempted to incorporate this style and influence with his cover of country singer Hank Snow's "I'm Movin' On". Charles later said about the song, "When I heard Hank Snow sing 'Moving On', I loved it. And the lyrics. Keep in mind, I'm a singer, so I like lyrics. Those lyrics are great, so that's what made me want to do it." The "I'm Movin' On" sessions were his last for Atlantic. Charles's recording of his acclaimed studio effort The Genius of Ray Charles (1959) brought him closer to expressing his jazz and pop crossover ambitions. Described by one music critic as "the most important of his albums for Atlantic", the record was the first to introduce Charles's musical approach of blending his brassy R&B sound with the more middle of the road, pop-oriented style, while performing in the presence of a big band ensemble. Recording of the album, as well his ABC-Paramount debut, The Genius Hits the Road (1960), a collection of place-name songs devoted to parts of the United States, expanded on Charles's thematic and conceptually-organized approach to albums rather than commercially successful singles production. Inspired by this approach and his recording of "I'm Movin' On", Charles originally made plans for a single-less concept album. When Charles had announced that he wanted to work on an album of country music in 1961, during a period of racial segregation and tension in the United States, he received generally negative commentary and feedback from his peers, including fellow R&B musicians and ABC-Paramount executives. The country album concept, however, meant more to Charles as a test of his record label's faith in him and respect for his artistic freedom than as a test of social tolerance among listeners amid racial distinctions of country and R&B. Fueled by his esteem for creative control, Charles pitched the idea of a country album to ABC representatives. Following the successful lobby of the concept and a contract renewal in early 1962, which was linked to the launching of his own Tangerine label, Charles prepared his band for the recording sessions that produced Modern Sounds in Country and Western Music.
Question: Did he have any success in the country theme music?
Answer: he received generally negative commentary and feedback

Problem: Background: Morbid Angel is an American death metal band based in Tampa, Florida formed in 1983 by guitarist and sole remaining original member Trey Azagthoth, vocalist and bassist Dallas Ward, and drummer Mike Browning. Widely considered as one of the most influential bands in the genre and important in the transition of death metal from its thrash metal roots, they were one of the first bands to incorporate guttural vocals, up-tempo blast beats, multiple tempo changes and dark atmosphere. They have been described as one of "the most influential and emulated bands in death metal", alongside Obituary and Cannibal Corpse, and have been cited as an influence by many later bands. They were also the first death metal band to experience mainstream success in connection with being signed to Giant Records in 1992, heavy rotation of their music videos on MTV, and having the music video for the song "God of Emptiness" shown on an episode of Beavis and Butt-head.
Context: Morbid Angel was formed in 1983 in Tampa, Florida by guitarist Trey Azagthoth and drummer/vocalist Mike Browning. The band made their debut in 1987 on the New Renaissance Records record label. They recorded their debut album, Abominations of Desolation, in 1986, but the band was unsatisfied with the final product and it remained unreleased until 1991, printing 10,000 copies. In the early stages of their career the band developed a reputation for "gruesome stage antics." In 1986, David Vincent joined the band, replacing Michael Manson and Sterling von Scarborough as vocalist and bassist respectively. Fellow Terrorizer drummer Pete Sandoval soon followed. Their first studio album, Altars of Madness, was released in 1989, and is regarded by many as one of the most important death metal albums of all time. It is also considered the first true death metal album. Music journalist Jason Birchmeier writes that: Few albums struck a chord within the ears and minds of the late-'80s underground metal scene like Morbid Angel's Altars of Madness did at the end of the decade, setting a new precedent for metal bands to reach. With the arguable exception of Chuck Schuldiner's Death, never before had a heavy metal band carried their lightning-fast guitar riffs and equally spellbinding guitar solos into such horrific territory. Venom and Slayer redefined the extent to which a metal band could align itself with all things evil during the beginning of the decade, but Morbid Angel made these two groups sound like children's music compared to the Florida-based group's assaulting death metal sounds and their blasphemous lyrics.
Question: Were there any influences in marking of these?
Answer:

Problem: Background: Rogers Clark Ballard Morton (September 19, 1914 - April 19, 1979) was an American politician who served as the U.S. Secretary of the Interior and Secretary of Commerce during the administrations of Presidents Richard M. Nixon and Gerald R. Ford, Jr., respectively. He also served as a member of the U.S. House of Representatives from Maryland. Though he was born in Louisville, Kentucky, Morton moved to a farm on the Eastern Shore of Maryland in the early 1950s. In 1962, he was elected to the House of Representatives, in which capacity he established an environmental record.
Context: Morton continued to serve in the House and as chairman of the RNC until 1971, when he was nominated to be Secretary of the Interior by President Nixon. He was unanimously confirmed by the United States Senate Subcommittee on the Interior, though some concerns regarding Morton's record of environmental protection were raised by Phillip Berry, then-President of the Sierra Club. Morton's predecessor, Walter Joseph Hickel, had been chosen over Morton to fill the job in 1969, but was fired by Nixon in late 1970 for criticizing White House policy. Morton was the only person from the east coast to serve as Interior Secretary in the 20th century. Upon assuming the office of Secretary of the Interior, Morton promised he would seek to "purify the environment". However, as his tenure progressed, he was gradually isolated from the proceedings of the White House and lost several major divisions to other departments. During the 1973 oil crisis, for example, the oil and natural gas divisions of the department were transferred to the Office of Emergency Preparedness. Furthermore, though Morton was the one who announced the construction of the Trans-Alaska Pipeline System, speculation was put forward that he did not play a major role in determining its route. On August 1, 1974, Morton approved Anza-Borrego State Park for inclusion in the national registry of natural landmarks. As he was leaving his post in 1975, further criticism was directed at Morton for his overseeing the partial dismantling of the Interior Department. He was also criticized for lacking the vigor necessary to serve as head of a cabinet department, and for failing to see through the proposed creation of a new, stronger cabinet department that would have replaced the Interior.
Question: what else is known about the construction?
Answer:
speculation was put forward that he did not play a major role in determining its route.