Given the below context:  A diocesan return of 1563 recorded 145 households in the parish of New Sleaford, while the Compton Census (1676) reveals that New Sleaford had a Conformist population of 576 people, no "Papists", and 6 Non-conformists. There is a widely held local tradition that St Denys' was used during the English Civil War (1642–51) as a barracks for parliamentary troops  who destroyed the interior furnishings. The local historian Trollope stated that the soldiers looted the brass eagle lectern (last recorded in 1622), broke the stained glass windows and the organ, and stole valuables. Whether this damage occurred or not, repairs to the windows and roof were carried out in 1657, paid for by public subscription. Galleries were also added to the church in the 18th century: the south in 1758, west in 1772, and north in 1783–84. In 1772, Edward Evans, a ship's surgeon on HMS Egmont, donated £300 to replace the organ with one built by Samuel Green of London.For most of the 19th century, the Anglican community dominated Sleaford's civic bodies, including the Board of Guardians, who oversaw the workhouse, and the Local Board of Health. Dr Richard Yerburgh and his son, Richard, were vicars in 1809–51 and 1851–82 respectively and had family connections with the local builders Kirk and Parry; Yerburgh and Thomas Parry (one half of the firm) were on the Board of Guardians and were labelled members of a "family party" by opponents during the Board's 1870 elections (they were nonetheless re-elected). They and other local clergymen were key players in the establishment of National schools in Sleaford and Quarrington, which Kirk and Parry built. The Anglican congregation, at an estimated 700 to 800 people in 1851 (St Denys' had enough space for 743 people), was less than half of the size of the nonconformist community, which was probably larger than 2,000 and tended to flourish in poorer parts of the town.The 19th century also witnessed two major restorations to St Denys'. As the congregation expanded, the need for greater space was met...  Guess a valid title for it!
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Answer: St Denys' Church, Sleaford


Given the below context:  After the band released two slow-paced albums in a row, R.E.M.'s 1994 album Monster was, as Buck said, "a 'rock' record, with the rock in quotation marks." In contrast to the sound of its predecessors, the music of Monster consisted of distorted guitar tones, minimal overdubs, and touches of 1970s glam rock. Like Out of Time, Monster topped the charts in both the US and UK. The record sold about nine million copies worldwide. The singles "What's the Frequency, Kenneth?" and "Bang and Blame" were the band's last American Top 40 hits, although all the singles from Monster reached the Top 30 on the British charts. Warner Bros. assembled the music videos from the album as well as those from Automatic for the People for release as Parallel in 1995.In January 1995, R.E.M. set out on its first tour in six years. The tour was a huge commercial success, but the period was difficult for the group. On March 1, Berry collapsed on stage during a performance in Lausanne, Switzerland, having suffered a brain aneurysm. He had surgery immediately and recovered fully within a month. Berry's aneurysm was only the beginning of a series of health problems that plagued the Monster tour. Mills had to undergo abdominal surgery to remove an intestinal adhesion in July; a month later, Stipe had to have an emergency surgery to repair a hernia. Despite all the problems, the group had recorded the bulk of a new album while on the road. The band brought along eight-track recorders to capture its shows, and used the recordings as the base elements for the album. The final three performances of the tour were filmed at the Omni Coliseum in Atlanta, Georgia and released in home video form as Road Movie.R.E.M. re-signed with Warner Bros. Records in 1996 for a reported $80 million (a figure the band constantly asserted originated with the media), rumored to be the largest recording contract in history at that point. The group's 1996 album New Adventures in Hi-Fi debuted at number two in the US and number one in the UK. The five million copies...  Guess a valid title for it!
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Answer: R.E.M.


Given the below context:  The commission for the brand new house of Knightshayes Court was obtained from Sir John Heathcoat-Amory in 1867 and the foundation stone was laid in 1869. By 1874, the building was still incomplete, owing to ongoing difficulties with Heathcoat-Amory, who objected to many of Burges's designs on the grounds of cost and of style. Although work had begun on the interior, the turbulent relationship between architect and client led to Burges's sacking in 1874 and his replacement by John Dibblee Crace. Nevertheless, Knightshayes Court remains the only example of a medium-sized Burges country house, built in a standard Victorian arrangement. Early French Gothic in style, it follows a standard neo-Tudor plan of a large central block with projecting gables. The tower Burges planned was never built. The interior was to have been a riot of Burgesian excess but not a single room was completed to Burges's designs. Of the few interior features that were fully executed, much was altered or diluted by Heathcoat-Amory and his successors. However some of the interiors, such as the library, vaulted hall and the arched red drawing room, remain or have been re-instated.Since the house passed to the National Trust in 1972, major works of restoration and re-creation have been undertaken and a number of pieces of Burges furniture, mostly not original to the house, are displayed. These include a bookcase from Buckingham Street and a chimney piece from the Hall at Worcester College, Oxford, where, in the 1960s, some decorative works by Burges were removed, although his redecoration of the college Chapel remains. The aim is, as far as possible, to reinstate the work of Burges and Crace.  Guess a valid title for it!
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Answer:
William Burges