Background: "Eleanor Rigby" is a song by the Beatles, released on the 1966 album Revolver and as a 45 rpm single. It was written primarily by Paul McCartney, and credited to Lennon-McCartney. The song continued the transformation of the Beatles from a mainly rock and roll- and pop-oriented act to a more experimental, studio-based band. With a double string octet arrangement by George Martin and striking lyrics about loneliness, "Eleanor Rigby" broke sharply with popular music conventions, both musically and lyrically.
Context: "Eleanor Rigby" does not have a standard pop backing. None of the Beatles played instruments on it, though John Lennon and George Harrison did contribute harmony vocals. Like the earlier song "Yesterday", "Eleanor Rigby" employs a classical string ensemble--in this case an octet of studio musicians, comprising four violins, two violas, and two cellos, all performing a score composed by producer George Martin. Where "Yesterday" is played legato, "Eleanor Rigby" is played mainly in staccato chords with melodic embellishments. McCartney, reluctant to repeat what he had done on Yesterday, explicitly expressed that he did not want the strings to sound too cloying. For the most part, the instruments "double up"--that is, they serve as a single string quartet but with two instruments playing each of the four parts. Microphones were placed close to the instruments to produce a more biting and raw sound. Engineer Geoff Emerick was admonished by the string players saying "You're not supposed to do that." Emerick was starting to develop a reputation at EMI for being a bit of a maverick and not adhering to the strict rules and proceedures prescribed by the Recording Handbooks that all staff engineers were required to follow. Fearing such close proximity to their instruments would expose the slightest deficiencies in their technique, the players kept moving their chairs away from the microphones until George Martin got on the talk-back system and scolded "Stop moving the chairs!" Martin recorded two versions, one with and one without vibrato, the latter of which was used. Lennon recalled in 1980 that "Eleanor Rigby" was "Paul's baby, and I helped with the education of the child ... The violin backing was Paul's idea. Jane Asher had turned him on to Vivaldi, and it was very good." The octet was recorded on 28 April 1966, in Studio 2 at Abbey Road Studios; it was completed in Studio 3 on 29 April and on 6 June. Take 15 was selected as the master. George Martin, in his autobiography All You Need Is Ears, takes credit for combining two of the vocal parts--"Ah! look at all the lonely people" and "All the lonely people"--having noticed that they would work together contrapuntally. He cited the influence of Bernard Herrmann's work on his string scoring. (Originally he cited the score for the film Fahrenheit 451, but this was a mistake as the film was not released until several months after the recording; Martin later stated he was thinking of Herrmann's score for Psycho.) The original stereo mix had McCartney's voice only in the right channel during the verses, with the string octet mixed to one channel, while the mono single and mono LP featured a more balanced mix. On the Yellow Submarine Songtrack and Love versions, McCartney's voice is centred and the string octet appears in stereo, creating a modern-sounding mix.
Question: Are there any other interesting aspects about this article?
Answer: None of the Beatles played instruments on it, though John Lennon and George Harrison did contribute harmony vocals.

Problem: Background: Hunter was born in New York City, the son of Gertrude (nee Gelien) and Charles Kelm. His mother, from Hamburg, was a German Roman Catholic immigrant, and his father was Jewish. Hunter's father was reportedly abusive, and within a few years of his birth, his parents divorced. Tab grew up in California with his mother, older brother Walter, and maternal grandparents, John Henry and Ida (nee Sonnenfleth)
Context: Hunter had a 1957 hit record with the song "Young Love," which was No. 1 on the Billboard Hot 100 chart for six weeks (seven weeks on the UK Chart) and became one of the larger hits of the Rock 'n' Roll era. It sold over one million copies, and was awarded a gold disc by the RIAA. He had the hit, "Ninety-Nine Ways," which peaked at No. 11 in the US and No. 5 in the UK. His success prompted Jack L. Warner to enforce the actor's contract with the Warner Bros. studio by banning Dot Records, the label for which Hunter had recorded the single (and which was owned by rival Paramount Pictures), from releasing a follow-up album he had recorded for them. He established Warner Bros. Records specifically for Hunter. Hunter's acting career was also at its zenith. William Wellman used him again in a war film, Lafayette Escadrille (1958). Columbia Pictures borrowed him for a Western, Gunman's Walk (1958), a film that Hunter considers his favorite role. Hunter starred in the 1958 musical film Damn Yankees, in which he played Joe Hardy of Washington, D.C.'s American League baseball club. The film had originally been a Broadway show, but Hunter was the only one in the film version who had not appeared in the original cast. The show was based on the 1954 best-selling book The Year the Yankees Lost the Pennant by Douglass Wallop. Hunter later said the filming was hellish because director George Abbott was only interested in recreating the stage version word for word. He also starred in They Came to Cordura (1959), with Gary Cooper and Rita Hayworth. Sidney Lumet starred him opposite Sophia Loren in That Kind of Woman (1959).
Question: Did the song do well?
Answer:
No. 1 on the Billboard Hot 100 chart for six weeks (seven weeks on the UK Chart) and became one of the larger hits of the Rock 'n' Roll era.