Q: The following article contains an answer for the question: What was Big Star's third album? , can you please find it?   Big Star was an American rock band formed in Memphis, Tennessee, in 1971 by Alex Chilton, Chris Bell, Jody Stephens, and Andy Hummel. The group broke up in early 1975, and reorganized with a new lineup 18 years later following a reunion concert at the University of Missouri.  In its first era, the band's musical style drew on the Beatles, the Rolling Stones, and the Byrds. Big Star produced a style that foreshadowed the alternative rock of the 1980s and 1990s. Before it broke up, Big Star created a "seminal body of work that never stopped inspiring succeeding generations," in the words of Rolling Stone, as the "quintessential American power pop band," and "one of the most mythic and influential cult acts in all of rock & roll".Big Star's first album—1972's #1 Record—was met by enthusiastic reviews, but ineffective marketing by Stax Records, and limited distribution stunted its commercial success. Frustration took its toll on band relations: Bell left not long after the first record's commercial progress stalled, and Hummel left to finish his college education after a second album, Radio City, was completed in December 1973. Like #1 Record, Radio City received excellent reviews, but label issues again thwarted sales—Columbia Records, which had assumed control of the Stax catalog, likewise effectively vetoed its distribution.  After a third album, recorded in the fall of 1974, was deemed commercially unviable and shelved before receiving a title, the band broke up late in 1974. Four years later, the first two Big Star LPs were released together in the UK as a double album. The band's third album was finally issued soon afterward; titled Third/Sister Lovers, it found limited commercial success, but has since become a cult classic. Shortly thereafter, Chris Bell was killed in a car accident at the age of 27. During the group's hiatus in the 1980s, the Big Star discography drew renewed attention when R.E.M. and the Replacements, as well as other popular bands, cited the group as an influence. In 1992, interest was...
A: Third/Sister Lovers

Q: The following article contains an answer for the question: What was the reason given that Brown had undertaken an epic horse ride to Adelaide? , can you please find it?   The Avenue Range Station massacre was the murder of a group of Aboriginal Australians by white settlers during the Australian frontier wars. It occurred in about September 1848 at Avenue Range, a sheep station in the southeast of the Colony of South Australia. Information is scarce about the basic facts of the massacre, including the exact date and number of victims. A contemporary account of the massacre listed nine victims – three women, two teenage girls, three infants, and an "old man blind and infirm". Another account published by Christina Smith in 1880 gave the number of victims as eleven, and specified that they belonged to the Tanganekald people. Pastoralist James Brown and his overseer, a man named Eastwood, were suspected of committing the murders in retaliation for attacks on Brown's sheep. In January 1849, reports of the massacre reached Matthew Moorhouse, the Protector of Aborigines. He visited the district to investigate the claims, and based on his enquiries Brown was charged with the murders in March 1849. Proceedings against Brown began in June 1849 and continued in the Supreme Court of South Australia for several months, but were eventually abandoned. Some key witnesses, including Eastwood, either fled the colony or refused to cooperate with the investigation. There were also significant restrictions on the use of evidence given by Aboriginal witnesses, especially where a verdict could involve capital punishment. These legal hurdles and settler solidarity ensured the case did not go to trial, although the magistrate who committed him for trial told a friend that there was "little question of the butchery or the butcher". Although the details of the case were known for decades after the murders, distortions of the massacre eventually appeared in print and were embellished by local white and Aboriginal historians. Two key aspects of these later accounts were that Brown poisoned rather than shot the victims, and that he had undertaken an epic horse ride to Adelaide to establish an alibi....
A: to establish an alibi.

Q: The following article contains an answer for the question: What style did the man who recorded "Haunted House" use during his first releases in 1990? , can you please find it?   Many independent Chicago-based record labels were also getting their artists on the dance charts. Detroit DJ Terrence Parker uses his advanced turntablism skills and his focus on precision to blend hip hop music DJing styles, such as rhythmic scratching, in his house mixes. Fellow Detroit spinner DJ Minx is a notable woman house DJ. Her records on her Women on Wax label blend Parker-influenced turntablism precision with a funky style. In the UK, any house song released by a Chicago-based label was routinely considered a "must-play" at UK house music clubs. Paradise Garage in New York City was still a top club in the house era, just as it had been during the disco age. The emergence of Todd Terry, a pioneer of the genre, demonstrated the continuum from the underground disco approach which moved to a new house sound. Terry's cover of Class Action's "Weekend" (mixed by Larry Levan) shows how Terry drew on newer hip-hop influences, such as the quicker sampling and the more rugged basslines. In the late 1980s, Nu Groove Records launched and nurtured the careers of Rheji Burrell and Rhano Burrell, collectively known as Burrell (after a brief stay on Virgin America via Timmy Regisford and Frank Mendez). Nu Groove also had a stable of other NYC underground scene DJs. The Burrell's created the "New York Underground" sound of house, and they did 30+ releases on this label featuring this sound. In the 2010s, Nu Groove Record releases like the Burrells' enjoy a cult status among "crate diggers" and DJs. Mint-condition vinyl records by the Burrells from the 1980s can fetch high prices. By the late 1980s, house DJing and production had moved to the US's west coast, particularly to San Francisco, Oakland, Los Angeles, Fresno, San Diego and Seattle. Los Angeles saw am explosion of underground raves, where DJs mixed dance tracks. L.A. DJs Marques Wyatt and Billy Long spun at Jewel's Catch One. In 1989, the L.A.-based, former EBN-OZN singer/rapper Robert Ozn started indie house label One Voice Records. Ozn released the Mike...
A:
Deep House