input: Deal became the bassist and backing vocalist for Pixies in January 1986, after answering an advertisement in the Boston Phoenix that said, ""Band seeks bassist into Husker Du and Peter, Paul and Mary. Please - no chops." Deal was the only person to call them, even though her main instrument was guitar. She borrowed her sister Kelley's bass guitar to use in the band. To complete the lineup, she suggested they hire David Lovering as drummer, a friend of her husband, whom she met at her wedding reception. For the release of the band's first recording Come on Pilgrim (1987), Deal used the nom de disque "Mrs. John Murphy" in the liner notes. She chose the name as an ironic feminist joke, after conversing with a lady who wished to be called only by her husband's name as a form of respect. For Surfer Rosa (1988), Deal sang lead vocals on the album's only single, "Gigantic" ( sample ), which she co-wrote with Black Francis. Doolittle followed a year later, with Deal contributing the song "Silver" and appearing on slide guitar. By this time, however, tensions began to develop between her and Francis, with bickering and standoffs between the two marring the album's recording sessions. This led to increased stress between the band members. Murphy commented that during the sessions, it "went from just all fun to work". Exhaustion, from releasing three records in two years and constant touring, contributed to the friction, particularly between Francis and Deal. The tension and exhaustion culminated at the end of the US "Fuck or Fight" tour, where they were too tired to attend the end-of-tour party. The band soon announced a hiatus.

Answer this question "What did this make them try"
output: Doolittle followed a year later, with Deal contributing the song "Silver

input: Their debut album, Bela Fleck and the Flecktones (Warner Bros, 1989), received a Grammy nomination for Best Contemporary Jazz Album, as did their second album, Flight of the Cosmic Hippo (Warner Bros., 1991), which also received a nomination for Best Instrumental Composition for the song "Blu-Blop". Their second album contained the Flecktones's version of "The Star Spangled Banner". Their next album had another cartoon cover and the palindromic title UFO TOFU (Warner Bros., 1992). The song "Bonnie & Slyde" had Fleck playing banjo atypically with a slide, an idea suggested to him by slide guitarist Bonnie Raitt. UFO Tofu would be the last album the Flecktones recorded with their original lineup until Rocket Science in 2011. Howard Levy left the band in December 1992. While the departure of Levy was tough for the band, it was not unexpected. During their 1992 tour it became evident to the band that Levy was not happy with the rigors of touring and wanted to spend more time with his wife and children. The remaining trio, consisting of Fleck and the Wooten brothers, recorded their fourth album, Three Flew Over the Cuckoo's Nest. "'Once we started rehearsing, everything was fine,' said Fleck. 'We started finding ways to sound good, and it was real exciting.'" Without Levy, the Flecktones as usual spent most of 1993 on the road and released Three Flew Over the Cuckoo's Nest in September of that year. In July 1996 the Flecktones released their fifth album, and first live album, Live Art. Devoted fans who had been seeing the band for several years were clamoring for an album to capture the experience of live Flecktones, and this album fit the bill. The trio took home a Grammy for Best Pop Instrumental Performance in 1997 for the track "Sinister Minister".

Answer this question "What did the Flecktones record?"
output: Their debut album, Bela Fleck and the Flecktones (

input: In Icons of Rock: An Encyclopedia of the Legends Who Changed Music Forever, Scott Schinder and Andy Schwartz describe the Beatles' musical evolution: In their initial incarnation as cheerful, wisecracking moptops, the Fab Four revolutionised the sound, style, and attitude of popular music and opened rock and roll's doors to a tidal wave of British rock acts. Their initial impact would have been enough to establish the Beatles as one of their era's most influential cultural forces, but they didn't stop there. Although their initial style was a highly original, irresistibly catchy synthesis of early American rock and roll and R&B, the Beatles spent the rest of the 1960s expanding rock's stylistic frontiers, consistently staking out new musical territory on each release. The band's increasingly sophisticated experimentation encompassed a variety of genres, including folk-rock, country, psychedelia, and baroque pop, without sacrificing the effortless mass appeal of their early work. In The Beatles as Musicians, Walter Everett describes Lennon and McCartney's contrasting motivations and approaches to composition: "McCartney may be said to have constantly developed - as a means to entertain - a focused musical talent with an ear for counterpoint and other aspects of craft in the demonstration of a universally agreed-upon common language that he did much to enrich. Conversely, Lennon's mature music is best appreciated as the daring product of a largely unconscious, searching but undisciplined artistic sensibility." Ian MacDonald describes McCartney as "a natural melodist - a creator of tunes capable of existing apart from their harmony". His melody lines are characterised as primarily "vertical", employing wide, consonant intervals which express his "extrovert energy and optimism". Conversely, Lennon's "sedentary, ironic personality" is reflected in a "horizontal" approach featuring minimal, dissonant intervals and repetitive melodies which rely on their harmonic accompaniment for interest: "Basically a realist, he instinctively kept his melodies close to the rhythms and cadences of speech, colouring his lyrics with bluesy tone and harmony rather than creating tunes that made striking shapes of their own." MacDonald praises Harrison's lead guitar work for the role his "characterful lines and textural colourings" play in supporting Lennon and McCartney's parts, and describes Starr as "the father of modern pop/rock drumming".

Answer this question "What is notable about their music style?"
output:
". His melody lines are characterised as primarily "vertical", employing wide, consonant intervals which express his "extrovert energy and optimism".