input: Warne began his 2006/07 Ashes campaign with an indifferent Test in Brisbane and a poor first innings showing in Adelaide. However, his second innings performance, including bowling Kevin Pietersen around the legs, triggered England's fifth-day collapse and Australia's victory. Warne again bowled well in the second innings in the third Test, and took the final wicket of Monty Panesar as Australia regained the Ashes. On 21 December 2006 Warne announced his retirement, which came into effect after the fifth Ashes Test match at the SCG. Warne said that it was his intention to "go out on top", adding that he might have retired after the 2005 Ashes series, had Australia won. In his second-last Test, he took his 700th Test wicket at 3.18 pm on 26 December 2006 (AEST) by bowling English batsman Andrew Strauss out at the Melbourne Cricket Ground, in what was almost certainly his final appearance at the ground. This was the first occasion that a player had taken 700 Test wickets. The wicket was described as a "classic Warne dismissal" to which the crowd of 89,155 gave a standing ovation. Warne's final Test was held at the same venue as his first, 15 years earlier: the Sydney Cricket Ground. Warne ended England's first innings by trapping Monty Panesar lbw for a duck and his 1000th total international wicket. His final Test wicket was that of all-rounder Andrew Flintoff, stumped by Adam Gilchrist. He is just 1 of two bowlers to have taken 1000+ wickets in international cricket.He is currently the second leading wicket taker in international cricket(1001) after Muttiah Muralitharan

Answer this question "Did he retire on a positive note?"
output: Warne said that it was his intention to "go out on top",

input: Using the same equipment from the sessions that produced the majority of Feed Me Weird Things Tom now set about working on the material for his first album for Warp. His broad conception for this record was "to push away from the jazz influence that was being felt at the time to a more soundtrack-type of sound". According to Tom he was listening to, amongst other things, early Lalo Schifrin and the "Deathwish" soundtrack by Herbie Hancock around this time. That said, the album also contains some abrupt diversions into quite different musical territory, evidenced in what Tom calls the "Industrial Psychedelia" of "Chin Hippy" and "Rustic Raver". Tom's electric bass work becomes very apparent on this record. He states that he was "still battling with the influence of Pastorius." He wanted to "make the styles interrogate each other, such that one track would question the premises of another and vice versa. As such I suppose it might indicate tentativeness, but in my mind at the time I liked the idea of bringing musical assumptions into question by smashing stylistically divergent elements into each other". In this he follows a precedent set by Frank Zappa, whom Tom claims is "always hovering in the background" for him. The sleeve artwork was generated from a set of images taken by Tom wandering about Chelmsford town centre. The front cover image is based on a view of the Gasometers situated at Wharf Road, near where he lived as a teenager. The 8-bit graphics reflect Tom's resurgence of interest in old video consoles and home computers at that time. This location was subsequently used in some of the press shots in the Hello Everything promotional campaign.

Answer this question "What events preceded the recording of Hard Normal Daddy?"
output: Using the same equipment from the sessions that produced the majority of Feed Me Weird Things Tom now set about working on the material for his first album for Warp.

input: Stereolab's music is politically and philosophically charged. Laetitia Sadier, who writes the group's lyrics, said that her inspiration was most recently her anger towards the Iraq War. The Surrealist and Situationist cultural and political movements were also influences, as noted by Sadier and Gane in a 1999 Salon.com interview. Stewart Mason commented in an AllMusic review that the lyrics from the 1997 song "Miss Modular" "sound influenced by the Situationist theory of the 'spectacle'." Critics have noted Marxist allusions in the band's lyrics, and have gone so far as to call the band members themselves Marxist. Music journalist Simon Reynolds commented that Sadier's lyrics tend to lean towards Marxist social commentary rather than "affairs of the heart". "Ping Pong", a 1994 single included on the album Mars Audiac Quintet, was noted for its alleged Marxist lyrics. In the song, Sadier sings "about capitalism's cruel cycles of slump and recovery" with lyrics that constitute "a plainspoken explanation of one of the central tenets of Marxian economic analysis" (said critics Simon Reynolds and Stewart Mason, respectively). Band members have resisted attempts to link the group and its music to Marxism. In a 1999 interview, Gane stated that "none of us are Marxists ... I've never even read Marx." Gane said that although Sadier's lyrics touch on political topics, they do not cross the line into "sloganeering". Sadier also said that she had read very little Marx. In contrast, Cornelius Castoriadis, a radical political philosopher but strong critic of Marxism, has been cited as a marking influence in Sadier's thinking. The name of her side project, Monade, and its debut album title, Socialisme ou Barbarie, are also references to the work of Castoriadis. Stereolab's album and song titles occasionally reference avant-garde political groups and artists. Gane said that the title of their 1999 album Cobra and Phases Group Play Voltage in the Milky Night contains the names of two Surrealist organisations, "CoBrA" and "Phases Group", "Brakhage", the title of the first song on the 1997 album Dots and Loops, is a nod to experimental filmmaker Stan Brakhage. Other examples are the 1992 compilation Switched On, named after Wendy Carlos' 1968 album Switched on Bach, and the 1992 single "John Cage Bubblegum", named after experimental composer John Cage.

Answer this question "what influenced the title?"
output:
the title of their 1999 album Cobra and Phases Group Play Voltage in the Milky Night contains the names of two Surrealist organisations, "CoBrA" and "Phases Group",