Question:
Jean-Philippe Rameau (French: [Zafilip Ramo]; (1683-09-25)25 September 1683 - (1764-09-12)12 September 1764) was one of the most important French composers and music theorists of the 18th century. He replaced Jean-Baptiste Lully as the dominant composer of French opera and is also considered the leading French composer for the harpsichord of his time, alongside Francois Couperin. Little is known about Rameau's early years, and it was not until the 1720s that he won fame as a major theorist of music with his Treatise on Harmony (1722) and also in the following years as a composer of masterpieces for the harpsichord, which circulated throughout Europe.
Unlike Lully, who collaborated with Philippe Quinault on almost all his operas, Rameau rarely worked with the same librettist twice. He was highly demanding and bad-tempered, unable to maintain longstanding partnerships with his librettists, with the exception of Louis de Cahusac, who collaborated with him on several operas, including Les fetes de l'Hymen et de l'Amour (1747), Zais (1748), Nais (1749), Zoroastre (1749; revised 1756), La naissance d'Osiris (1754), and Anacreon (the first of Rameau's operas by that name, 1754). He is also credited with writing the libretto of Rameau's final work, Les Boreades (c. 1763). Many Rameau specialists have regretted that the collaboration with Houdar de la Motte never took place, and that the Samson project with Voltaire came to nothing because the librettists Rameau did work with were second-rate. He made his acquaintance of most of them at La Poupliniere's salon, at the Societe du Caveau, or at the house of the Comte de Livry, all meeting places for leading cultural figures of the day. Not one of his librettists managed to produce a libretto on the same artistic level as Rameau's music: the plots were often overly complex or unconvincing. But this was standard for the genre, and is probably part of its charm. The versification, too, was mediocre, and Rameau often had to have the libretto modified and rewrite the music after the premiere because of the ensuing criticism. This is why we have two versions of Castor et Pollux (1737 and 1754) and three of Dardanus (1739, 1744, and 1760).
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Why did the Samson project come to nothing?

Answer:
because the librettists Rameau did work with were second-rate.

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P.M. Dawn was an American hip hop act, formed in 1988 by the brothers Attrell Cordes (known by his stage name Prince Be, sometimes credited as Prince Be the Nocturnal) and Jarrett Cordes (known as DJ Minutemix) in Jersey City, New Jersey. They earned significant crossover success in the early 1990s with music that merged hip hop, older soul, and more pop-oriented urban R&B. After recording their debut single "Ode to a Forgetful Mind" in 1988, P.M. Dawn released their first album Of the Heart, of the Soul and of the Cross: The Utopian Experience in 1991 to critical acclaim.
Of the Heart, of the Soul and of the Cross featured the international hit "Set Adrift on Memory Bliss", which sampled the Spandau Ballet song "True", and featured a cameo by Spandau Ballet singer Tony Hadley in the music video of the song. "Set Adrift on Memory Bliss" hit #1 the week of November 30, 1991, and holds the distinction of being the first #1 song on the Billboard Hot 100 chart following the introduction of Nielsen SoundScan to the chart. The song also reached #3 in the United Kingdom. "Paper Doll", which was one of the early singles Island released in the United Kingdom, was released in the US as a follow-up to "Set Adrift on Memory Bliss", and peaked at #28 in early 1992. "Paper Doll" is said well over 100 times in the song, which makes it second only to MC Hammer's "Pray", which holds the record for the most times a title is repeated in a US Top 40 hit (147). With the success of their debut album, the band parted company with their manager Nick Hemmings and embarked on a world tour. During this world tour, Prince Be gave an interview to Details magazine in which he expressed skepticism of rapper KRS-One's activism: "KRS-One wants to be a teacher, but a teacher of what?" KRS-One and his crew, Boogie Down Productions, responded by storming a P.M. Dawn concert, forcing the group off the stage and performing their songs "I'm Still #1" and "The Bridge Is Over". Defending his actions to USA Today's James T. Jones IV, KRS-One remarked, "I answered his question. 'A teacher of what?' I'm a teacher of respect." In 1992, P.M. Dawn appeared on the Red Hot Organization's compilation CD Red Hot + Dance, contributing the Richie Rich Mix of "Set Adrift on Memory Bliss". The album, featuring George Michael and Madonna among others, was meant to raise money and awareness in support of the AIDS epidemic.
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Did they have any other hits?

Answer:
Set Adrift on Memory Bliss"