Background: The Outfield were an English rock band based in London, England. The band achieved success in the mid-1980s and are best remembered for their hit single, "Your Love". The band's lineup consisted of guitarist John Spinks, vocalist and bassist Tony Lewis, and drummer Alan Jackman. They had an unusual experience for a British band in that they enjoyed commercial success in the US, but never in their homeland.
Context: Bassist/singer Tony Lewis, guitarist/keyboardist and songwriter John Spinks and drummer Alan Jackman played together in the late 1970s in a straightforward power pop band called Sirius B. After rehearsing for about six months and playing several gigs, their style did not match the punk rock that was surging in popularity in England and they broke up. Several years afterward, the three gathered back together in London's East End under the name The Baseball Boys. They performed in and around England until a demo got them signed to Columbia/CBS Records in 1984. Spinks adopted the name 'Baseball Boys' from a teen gang called "The Baseball Furies" in the cult film The Warriors, a movie that he had just seen. Although he used the name as a joke and "just to be outrageous", record company people responded favourably. The band got a reputation as a very "American-sounding" group and signed in the US after playing for just a few months in England. Their manager, an American living in England, recommended a new band name with a similar attitude since 'Baseball Boys' seemed too "tacky" and "tongue-in-cheek". Spinks has said, "the Outfield was the most left-wing kind of thing we liked." Spinks expressed an interest for the American sport of baseball, while also being a devoted fan of association football. He claimed that the group "didn't know what an outfield was" until they came to the US, and that "We're just learning about baseball. It's an acquired taste and we're trying to acquire a taste for it." He expounded upon this in a Chicago Tribune piece: The thing about American sports - baseball and football - is that they're far more show business, far more a spectacle, than British sports. In England, it's just sort of everyday soccer matches. You get 30,000 people in the freezing cold in the middle of winter watching guys chase around in mud. In America, you have the sunny days, and the baseball diamond is really nicely laid out. In England, you'd see these guys covered in mud within 10 minutes. It's not such a nice spectacle to watch. Their debut album, Play Deep, produced by William Wittman, was issued in 1985, and was a success. The album would go on to reach triple platinum sales status and the Top 10 in the US album charts; it also featured a Top 10 single entry with "Your Love", which peaked at No. 6. It went on to be featured in a number of 80s-themed compilation albums, and over 1,000 covers and remixes by other artists have been released physically and/or online. The band toured extensively, opening for Journey and Starship. Spinks made a point of mentioning in interviews that the band was "totally into not smoking or doing drugs".
Question: Are there any other interesting aspects about this article?
Answer: their style did not match the punk rock

Background: Brian Douglas Wilson (born June 20, 1942) is an American musician, singer, songwriter, and record producer who co-founded the Beach Boys. After signing with Capitol Records in 1962, Wilson wrote or co-wrote more than two dozen Top 40 hits for the group. In addition to his lifelong struggles with mental illness, Wilson is known for his unorthodox approaches to pop composition and mastery of recording techniques, and he is widely acknowledged as one of the most innovative and significant songwriters of the late 20th century. The Beach Boys were formed by Brian, his brothers Carl and Dennis, their cousin Mike Love, and friend Al Jardine.
Context: Recording sessions for the band's first album took place in Capitol's basement studios in the famous tower building in August 1962, but early on Brian lobbied for a different place to cut Beach Boy tracks. The large rooms were built to record the big orchestras and ensembles of the 1950s, not small rock groups. At Brian's insistence, Capitol agreed to let the Beach Boys pay for their own outside recording sessions, to which Capitol would own all the rights, and in return the band would receive a higher royalty rate on their record sales. Additionally, during the taping of their first LP Brian fought for, and won, the right to be in charge of the production - though this fact was not acknowledged with an album liner notes production credit. In January 1963, the Beach Boys recorded their first top-ten (cresting at number three in the United States) single, "Surfin' U.S.A.", which began their long run of highly successful recording efforts at Hollywood's United Western Recorders on Sunset Boulevard. It was during the sessions for this single that Brian made the production decision from that point on to use double tracking on the group's vocals, resulting in a deeper and more resonant sound. The Surfin' U.S.A. album was also a big hit in the United States, reaching number two on the national sales charts by early July 1963. The Beach Boys had become a top-rank recording and touring band. Brian was for the first time officially credited as the Beach Boys' producer on the Surfer Girl album, recorded in June and July 1963 and released that September. This LP reached number seven on the national charts, containing singles that were top 15 hits. Feeling that surfing songs had become limiting, Brian decided to produce a set of largely car-oriented tunes for the Beach Boys' fourth album, Little Deuce Coupe, which was released in October 1963, only three weeks after the Surfer Girl LP. The departure of guitarist David Marks from the band that month meant that Brian was forced to resume touring with the Beach Boys, for a time reducing his availability in the recording studio. For much of the decade, Brian attempted to establish himself as a record producer by working with various artists. On July 20, 1963, "Surf City", which he co-wrote with Jan Berry of Jan and Dean, was his first composition to reach the top of the US charts. The resulting success pleased Brian, but angered both Murry and Capitol Records. Murry went so far as to order his oldest son to sever any future collaborations with Jan and Dean. Brian's other non-Beach Boy work in this period included tracks by the Castells, Donna Loren, Sharon Marie, the Timers, and the Survivors. The most notable group to which Wilson would attach himself in this era would be the Honeys, which Wilson intended as the female counterpart to the Beach Boys, and as an attempt to compete with Phil Spector-led girl groups such as the Crystals and the Ronettes. He continued juggling between recording with the Beach Boys and producing records for other artists, but with less success at the latter--except for Jan and Dean.
Question: How did it perform on the charts?
Answer:
reaching number two on the national sales charts by early July 1963.