Read the following paragraph and extract the answer for the question: What are the first names of the people who asked the Talbot family to "write down a list of the songs that Connie would sing at her birthday party?" Connie Talbot entered the public eye appearing, aged six, on the first series of the reality programme Britain's Got Talent, reaching the final. After briefly recording with Sony BMG, Talbot was signed to Rainbow Recording Company, an offshoot of the label Rhythm Riders made specifically for her. To produce Over the Rainbow, Talbot worked with John Arnison, then-manager to Gabrielle and Billy Ocean, and Marc Marot, a former managing director of Island Records. It was produced and mixed by Simon Hill and Rob May. A recording schedule was worked out so that Talbot could continue with her normal school activities while recording the album in her aunt Vicky's spare bedroom, which her mother described as "a better solution" than the one offered by Sony BMG, "which has not robbed her of her childhood". Talbot said that "it was just amazing that we could do it in my auntie's house". Arnison and Marot asked the Talbot family to "write down a list of the songs that Connie would sing at her birthday party" to help choose the track listing, and then "thought long and hard" about including more adult songs on the album. Talbot herself insisted that they should.The final version of Over the Rainbow was recorded at Olympic Studios, on 12 October 2007. Arnison described the recording process by saying that Talbot "hadn't sung nursery rhymes; she'd always sung classic tracks. So it was actually quite an easy task to make the record". The album was released on 26 November 2007, with an initial pressing of 50,000 copies. However, an additional 120,000 had to be created after the album sold out in a matter of days.Over the Rainbow was re-released on 18 June 2008, with the new version being made available for pre-order in May. The re-release featured three new tracks to replace the Christmas-themed songs on the original album. The new tracks were made available from Talbot's official website so that those who bought the original need not buy the re-release. Talbot's cover of Bob Marley's "Three Little Birds" was released as a...
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Answer: John

Read the following paragraph and extract the answer for the question: What is the last name of the person whose humanitarian themes later became a recurring theme in his lyrics and public persona? Jackson explored genres including pop, soul, rhythm and blues, funk, rock, disco, post-disco, dance-pop and new jack swing. Steve Huey of AllMusic wrote that Thriller refined the strengths of Off the Wall; the dance and rock tracks were more aggressive, while the pop tunes and ballads were softer and more soulful. Its tracks included the ballads "The Lady in My Life", "Human Nature", and "The Girl Is Mine", the funk pieces "Billie Jean" and "Wanna Be Startin' Somethin'", and the disco set "Baby Be Mine" and "P.Y.T. (Pretty Young Thing)".With Off the Wall, Jackson's "vocabulary of grunts, squeals, hiccups, moans, and asides" vividly showed the singer's maturation into an adult, Robert Christgau wrote in Christgau's Record Guide: Rock Albums of the Seventies (1981). The album's title track suggested to the critic a parallel between Jackson and Stevie Wonder's "oddball" music personas: "Since childhood his main contact with the real world has been on stage and in bed." With Thriller, Christopher Connelly of Rolling Stone commented that Jackson developed his long association with the subliminal theme of paranoia and darker imagery. AllMusic's Stephen Thomas Erlewine noted this on the songs "Billie Jean" and "Wanna Be Startin' Somethin'". In "Billie Jean", Jackson depicts an obsessive fan who alleges he has fathered her child, and in "Wanna Be Startin' Somethin'" he argues against gossip and the media. "Beat It" decried gang violence in a homage to West Side Story, and was Jackson's first successful rock cross-over piece, according to Huey. He also observed that the title track "Thriller" began Jackson's interest with the theme of the supernatural, a topic he revisited in subsequent years. In 1985, Jackson co-wrote the charity anthem "We Are the World"; humanitarian themes later became a recurring theme in his lyrics and public persona.
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Answer: Jackson

Read the following paragraph and extract the answer for the question: What song has mid-tempo riffing, followed by a bass solo at half-tempo? "The Thing That Should Not Be" was inspired by the Cthulhu Mythos created by famed horror writer H.P. Lovecraft, with notable direct references to The Shadow Over Innsmouth and to Cthulhu himself, who is the subject matter of the song's chorus. It is considered the heaviest track on the album, with the main riff emulating a beast dragging itself into the sea. The Black Sabbath-influenced guitars are downtuned, creating slow and moody ambiance. "Welcome Home (Sanitarium)" was based on Ken Kesey's novel One Flew Over the Cuckoo's Nest and conveys the thoughts of a patient unjustly caged in a mental institution. The song opens with a section of clean single strings and harmonics. The clean, arpeggiated main riff is played in alternating 44 and 64 time signatures. The song is structured with alternating somber clean guitars in the verses, and distorted heavy riffing in the choruses, unfolding into an aggressive finale. This structure follows a pattern of power ballads Metallica set with "Fade to Black" on Ride the Lightning and would revisit with "One" on ...And Justice for All."Disposable Heroes" is an anti-war song about a young soldier whose fate is controlled by his superiors. With sections performed at 220 beats per minute, it is one of the most intense tracks on the record. The guitar passage at the end of each verse was Hammett's imitation of the sort of music he found in war films. The syncopated riffing of "Leper Messiah" challenges the hypocrisy of the televangelism that emerged in the 1980s. The song describes how people are willingly turned into blind religious followers who mindlessly do whatever they are told. The 136 beats per minute mid-tempo riffing of the verses culminates in a descending chromatic riff in the chorus; it increases to a galloping 184 beats per minute for the middle section that climaxes in a distorted scream of "Lie!". The title derives from the lyrics to the David Bowie song "Ziggy Stardust". "Orion" is a multipart instrumental highlighting Burton's bass playing. It opens with...
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Answer:
Orion