Please answer this: Read the following paragraph and extract the answer for the question: What are the first names of the three people who moved to the CBS studios in Nashville, Tennessee?  Blonde on Blonde is the seventh studio album by American singer-songwriter Bob Dylan, released June 20, 1966 on Columbia Records. Recording sessions began in New York in October 1965 with numerous backing musicians, including members of Dylan's live backing band, the Hawks. Though sessions continued until January 1966, they yielded only one track that made it onto the final album—"One of Us Must Know (Sooner or Later)". At producer Bob Johnston's suggestion, Dylan, keyboardist Al Kooper, and guitarist Robbie Robertson moved to the CBS studios in Nashville, Tennessee. These sessions, augmented by some of Nashville's top session musicians, were more fruitful, and in February and March all the remaining songs for the album were recorded. Blonde on Blonde completed the trilogy of rock albums that Dylan recorded in 1965 and 1966, starting with Bringing It All Back Home and Highway 61 Revisited. Critics often rank Blonde on Blonde as one of the greatest albums of all time. Combining the expertise of Nashville session musicians with a modernist literary sensibility, the album's songs have been described as operating on a grand scale musically, while featuring lyrics one critic called "a unique mixture of the visionary and the colloquial". It was one of the first double albums in rock music. The album peaked at number nine on the Billboard 200 chart in the US, where it eventually was certified double platinum, and it reached number three in the UK. Blonde on Blonde spawned two singles that were top-twenty hits in the US: "Rainy Day Women #12 & 35" and "I Want You". Two additional songs—"Just Like a Woman" and "Visions of Johanna"—have been named as among Dylan's greatest compositions and were featured in Rolling Stone's 500 Greatest Songs of All Time list.
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Answer: Bob

Problem: Read the following paragraph and extract the answer for the question: What is the last name of the person who was inspired to write a song by the growing tension among the Beatles  Paul McCartney said he came up with the title "The Long and Winding Road" during one of his first visits to his property High Park Farm, near Campbeltown in Scotland, which he purchased in June 1966. The phrase was inspired by the sight of a road "stretching up into the hills" in the remote Highlands surroundings of lochs and distant mountains. He wrote the song at his farm in 1968, inspired by the growing tension among the Beatles. Based on other comments McCartney has made, author Howard Sounes writes, the lyrics can be seen as McCartney expressing his anguish at the direction of his personal life, as well as a nostalgic look back at the Beatles' history. McCartney recalled: "I just sat down at my piano in Scotland, started playing and came up with that song, imagining it was going to be done by someone like Ray Charles. I have always found inspiration in the calm beauty of Scotland and again it proved the place where I found inspiration."Once back in London, McCartney recorded a demo version of "The Long and Winding Road" during one of the recording sessions for The Beatles. Later, he offered the song to Tom Jones on the condition that the singer release it as his next single. In Jones' recollection, he was forced to turn it down since his record company were about to issue "Without Love" as a single.The song takes the form of a piano-based ballad, with conventional chord changes. McCartney described the chords as "slightly jazzy" and in keeping with Charles' style. The song's home key is E-flat major but it also uses the relative C minor. Lyrically, it is a sad and melancholic song, with an evocation of an as-yet unrequited, though apparently inevitable, love. In an interview in 1994, McCartney described the lyric more obliquely: "It's rather a sad song. I like writing sad songs, it's a good bag to get into because you can actually acknowledge some deeper feelings of your own and put them in it. It's a good vehicle, it saves having to go to a psychiatrist."The opening theme is repeated throughout. The...

A: McCartney

Q: Read the following paragraph and extract the answer for the question: What is the first name of the person who said Beat It was Jackson's first successful rock cross-over piece?  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.
A:
Steve