input: Rickenbacker wanted to join the Allied troops in World War I, but the U.S. had not yet entered the war. He had several chance encounters with aviators, including a fortuitous incident in which he repaired a stranded aircraft for Townsend F. Dodd, a man who later became General John J. Pershing's aviation officer and an important contact in Rickenbacker's attempt to join air combat. During World War I, with its anti-German atmosphere, he -- like many other German Americans -- changed his surname; the "h" in "Rickenbacher" became a "k" in an effort to "take the Hun out of his name." As he was already well known at the time, the change received wide publicity. "From then on", as he wrote in his autobiography, "most Rickenbachers were practically forced to spell their name in the way I had..." He believed his given name "looked a little plain." He signed his name 26 times, with a different middle initial each time. After settling upon "V", he selected "Vernon" as a middle name. In 1916, Rickenbacker traveled to London, with the aim of developing an English car for American races. Because of an erroneous press story and Rickenbacker's known Swiss heritage, he was suspected of being a spy. En route and in England, agents closely monitored his actions. On a sea voyage back to America, he came up with the idea to recruit his race car driver friends as fighter pilots, on the theory that such men were accustomed to tight spaces and high speeds. His suggestion was ignored by the military.

Answer this question "DId he come up with any other ideas?"
output: His suggestion was ignored by the military.

input: "Her Majesty" was recorded by McCartney on 2 July when he arrived before the rest of the group at Abbey Road. It was included in a rough mix of the side two medley, appearing between "Mean Mr. Mustard" and "Polythene Pam". McCartney disliked the way the medley sounded when it included "Her Majesty", so he asked for it to be cut. The second engineer, John Kurlander, had been instructed not to throw out anything, so after McCartney left, he attached the track to the end of the master tape after 20 seconds of silence. The tape box bore an instruction to leave "Her Majesty" off the final product, but the next day when mastering engineer Malcolm Davies received the tape, he (also trained not to throw anything away) cut a playback lacquer of the whole sequence, including "Her Majesty". The Beatles liked this effect and included it on the album. "Her Majesty" opens with the final, crashing chord of "Mean Mr. Mustard", while the final note of "Her Majesty" remained buried in the mix of "Polythene Pam". This is the result of "Her Majesty" being snipped off the reel during a rough mix of the medley on 30 July. The medley was subsequently mixed again from scratch although "Her Majesty" was not touched again and still appears in its rough mix on the album. Original US and UK pressings of Abbey Road do not list "Her Majesty" on the album's cover nor on the record label, making it a hidden track. The song title appears on the inlay card and disc of the 1987 remastered CD reissue, as track 17. It also appears on the sleeve, booklet and disc of the 2009 remastered CD reissue, but not on the cover or record label of the 2012 vinyl reissue.

Answer this question "When was it listed later?"
output: The song title appears on the inlay card and disc of the 1987 remastered CD reissue, as track 17.

input: Edgar Froese arrived in West Berlin in the mid-1960s to study art. His first band, the psychedelic rock-styled The Ones, disbanded after releasing only one single. After The Ones, Froese experimented with musical ideas, playing smaller gigs with a variety of musicians. Most of these performances were in the famous Zodiak Free Arts Lab, although one grouping also had the distinction of being invited to play for the surrealist painter Salvador Dali. The music was partnered with literature, painting, early forms of multimedia, and more. It seemed as though only the most outlandish ideas attracted any attention, leading Froese to comment, "In the absurd often lies what is artistically possible." As members of the group came and went, the direction of the music continued to be inspired by the Surrealists, and the group came to be called by the surreal-sounding name of Tangerine Dream, inspired by the line "tangerine trees and marmalade skies" from The Beatles' track "Lucy in the Sky with Diamonds." Froese was fascinated by technology and skilled in using it to create music. He built custom-made instruments and, wherever he went, collected sounds with tape recorders for use in constructing musical works later. His early work with tape loops and other repeating sounds was the obvious precursor to the emerging technology of the sequencer, which Tangerine Dream quickly adopted upon its arrival. The first Tangerine Dream album, Electronic Meditation, was a tape-collage Krautrock piece, using the technology of the time rather than the synthesized music they later became famous for. The line-up for the album was Froese, Klaus Schulze, and Conrad Schnitzler. Electronic Meditation was published by Ohr in 1970, and began the period known as the Pink Years (the Ohr logo was a pink ear). But starting with their second album, Alpha Centauri, the group has been a trio or occasionally duo of electronic instruments, commonly augmented by guitar from Froese (or, much later, other musicians as well), and occasionally also other instruments. Of these, drums from Christopher Franke and organ from Steve Schroyder (on Alpha Centauri) or Peter Baumann (on subsequent releases) feature prominently in the band's music during the early 70s. They also started their heavy usage of the Mellotron during this period.

Answer this question "did they put out albums with this sound?"
output:
Froese experimented with musical ideas, playing smaller gigs with a variety of musicians.