input question: Given the below context: A young English admirer, Eric Fenby, learning that Delius was trying to compose by dictating to Jelka, volunteered his services as an unpaid amanuensis. For five years, from 1928, he worked with Delius, taking down his new compositions from dictation, and helping him revise earlier works. Together they produced Cynara (a setting of words by Ernest Dowson), A Late Lark (a setting of W. E. Henley), A Song of Summer, a third violin sonata, the Irmelin prelude, and Idyll (1932), which reused music from Delius's short opera Margot la rouge, composed thirty years earlier. McVeagh rates their greatest joint production as The Songs of Farewell, settings of Whitman poems for chorus and orchestra, which were dedicated to Jelka. Other works produced in this period include a Caprice and Elegy for cello and orchestra written for the distinguished British cellist Beatrice Harrison, and a short orchestral piece, Fantastic Dance, which Delius dedicated to Fenby. The violin sonata incorporates the first, incomprehensible, melody that Delius had attempted to dictate to Fenby before their modus operandi had been worked out. Fenby's initial failure to pick up the tune led Delius to the view that "[the] boy is no good ... he cannot even take down a simple melody". Fenby later wrote a book about his experiences of working with Delius. Among other details, Fenby reveals Delius's love of cricket. The pair followed the 1930 Test series between England and Australia with great interest, and regaled a bemused Jelka with accounts of their boyhood exploits in the game. Guess a valid title for it!???
output answer: Frederick Delius
Given the below context: Soon after composing "Halo", Tedder worked with Kelly Clarkson on her fourth studio album, All I Ever Wanted (2009), for which they wrote "Already Gone" together. When the song came out, critics noted a resemblance to Beyonce's "Halo". Clarkson, however, initially stated that she was unaware of any similarities between the two songs. She eventually realized their resemblance when she listened to both recordings closely; the similarities are most notable in the backing tracks, which in both cases feature a melancholy piano, loud drums, and handclaps. Clarkson tried to prevent "Already Gone" from being included on All I Ever Wanted, but it was impossible to make last minute changes, as her album was already being printed when I Am... Sasha Fierce was released. She accused Tedder of using the same arrangement on both "Already Gone" and "Halo", and complained that people would, incorrectly, assume she was stealing it from Beyonce.Clarkson was furious, and confronted Tedder on the phone. In response, Tedder commented that he would never give two artists the same musical arrangement, and that her criticism was "hurtful and absurd". He asserted that the concept, melodies, and lyrics of "Already Gone" and "Halo" are completely different. Calling "Already Gone" one of the best songs he had ever composed, Tedder challenged people to "listen [to the two ballads] and form their own opinions". Clarkson also tried to stop her label, RCA, from releasing "Already Gone" as a single because she respected Beyonce, but they went against her will and released it. She said, "It's one of those things I have no control over. I already made my album. At this point, the record company can do whatever they want with it." Clarkson later told James Montgomery of MTV News that it was unfortunate "Already Gone" and "Halo" sound so similar, but noted that at least they have different vocal melodies. Guess a valid title for it!
----
Answer: "Halo" (Beyonce song)
Problem: Given the question: Given the below context: Yorke said that the starting point for the record was the "incredibly dense and terrifying sound" of Bitches Brew, the 1970 avant-garde jazz fusion album by Miles Davis. He described the sound of Bitches Brew to Q: "It was building something up and watching it fall apart, that's the beauty of it. It was at the core of what we were trying to do with OK Computer." Yorke identified "I'll Wear It Proudly" by Elvis Costello, "Fall on Me" by R.E.M., "Dress" by PJ Harvey and "A Day in the Life" by the Beatles as particularly influential on his songwriting. Radiohead drew further inspiration from the recording style of film soundtrack composer Ennio Morricone and the krautrock band Can, musicians Yorke described as "abusing the recording process". Jonny Greenwood described OK Computer as a product of being "in love with all these brilliant records ... trying to recreate them, and missing."According to Yorke, Radiohead hoped to achieve an "atmosphere that's perhaps a bit shocking when you first hear it, but only as shocking as the atmosphere on the Beach Boys' Pet Sounds." They expanded their instrumentation to include electric piano, Mellotron, cello and other strings, glockenspiel and electronic effects. Jonny Greenwood summarised the exploratory approach as "when we've got what we suspect to be an amazing song, but nobody knows what they're gonna play on it." Spin characterised OK Computer as sounding like "a DIY electronica album made with guitars".Critics suggested a stylistic debt to 1970s progressive rock, an influence that Radiohead have disavowed. According to Andy Greene in Rolling Stone, Radiohead "were collectively hostile to seventies progressive rock ... but that didn't stop them from reinventing prog from scratch on OK Computer, particularly on the six-and-a-half-minute 'Paranoid Android'." Writing in 2017, The New Yorker's Kelefa Sanneh said OK Computer "was profoundly prog: grand and dystopian, with a lead single that was more than six minutes long." Guess a valid title for it!
++++++++++++++++++++++++++++++++
The answer is:
OK Computer