Instruct: Given a question, retrieve documents that answer the question.
Query: What was We Five's first album?
We Five's first album produced a major hit with the title tune, Stewart's re-arrangement of the Ian and Sylvia song "You Were on My Mind." Stewart made several changes to the original Sylvia Tyson composition,[4] and the song went directly to the Billboard Top Five in 1965. It sold over one million copies, and was awarded a gold record.[5] The group's second single was an arrangement of the popular Kingston Trio folk tune "Let's Get Together," which reached #31 on the Billboard Hot 100 (and was later a Top Five hit and a million-seller for The Youngbloods as "Get Together").
In the album's liner notes Prine wrote, "What we tried to achieve here is a recording of a five-piece band with a vocalist playing and singing good honest music." Later the singer recalled, "We ended up with something like five hundred hours of tape - and took the best of what we had, and Asylum just about had a heart attack." 
According to Glenn Tilbrook the process for making their first album was rewarding but also frustrating: "For me, U.K. Squeeze wasn’t really very representative of what we were doing at the time. When we worked with John Cale in the studio, he threw out all the songs that we had written. When most bands make their first album, they go in and do a lot of stuff that’s been going down well in their sets; well, that wasn’t the case with us. He told us to write new songs – which we did. He was inspirational guy to work with, but I felt that it was almost like we were writing for what he wanted rather than what the band itself was. When you’re in a position to be making a first album, it’s (A) awe-inspiring to be making an album, and (B) difficult to assert yourself against somebody who knows the ropes."
"After 20 years, we've tried to do an album that would represent what SAMAEL is all about and we did 'Solar Soul'. We feel now it is the right time to [remind] the people where we come from and that's exactly what 'Above' will do. It is like an enhanced version of our three or four first albums, maybe the missing link between 'Ceremony of Opposites' and 'Passage'. With the 'Era One' project we've tried to work on different influences; with 'Above' we stripped everything down."
Jus Oborn late spoke about the development of "Dopethrone" as being part of trilogy with "Come My Fanatics…", and "Supercoven", noting that he looked upon these albums with fondness and that "With those albums, I believe we really found our mark as a band. When we did our first album, none of us had ever been into the studio before – and had no clue what to actually do. But by the time we got to do Dopethrone, we knew what was needed – or, rather I did!"
Rose described the writing process for the album as "a more personal experience to him", and said that due to the events that transpired in the prior year, he would sometimes have trouble coming up with words, and would often write gibberish as a temporary filler. While Rose would be the primary writer, all five members of the band would contribute. Rose focused on more distressing themes, while Witherspoon, who had just become a father, focused his lyrics on responsibility and commitment. The album's first single, "Unraveling", was co-written by Lowery and is about the collapse of a relationship, while "Confession" indirectly addresses Lowery quitting and returning to the band. On Lowery's return, Rose spoke "Since we all write, it's hard to tell exactly what each song is about, but we like to leave it up to the listeners to decide for themselves," Rose says. "It's funny because in the end you almost don't know what you wrote. I remember telling John one time, 'Dude, that was an amazing line you wrote,' and he went, 'What are you talking about? You wrote that.' We wanted to change the template completely from what we did with our last album, 'Hope And Sorrow'. We were going, 'Let's bring back those other elements Clint brought in that made us what we were.' So we sort of made a silent agreement that we were going to let Clint run wild. We said we'll jump in when it's time, but if you've got an idea let's go with it."
In February 1975, the band announced they were splitting with Jonathan King and that they had signed with Mercury Records for US$1 million. The catalyst for the deal was one song – "I'm Not in Love". Stewart recalled:At that point in time we were still on Jonathan King's label, but struggling. We were absolutely skint, the lot of us, we were really struggling seriously, and Philips Phonogram wanted to do a deal with us. They wanted to buy Jonathan's contract. Our manager Ric Dixon invited them to listen to what we've done. Head of A & R Nigel Grainge came up to our Strawberry Studio, heard the album and freaked. He said "This is a masterpiece, it's a done deal!". We did a five-year deal with them for five albums and they paid us a serious amount of money. It was Grainge's idea to release 'Life Is A Minestrone' as the first single holding back the big one to give us more longevity for the album.
"What If We" was released on August 19, 2008 through the Provident Label Group in the United States. It debuted at No. 73 on the "Billboard" 200, being his first album to chart on the "200". It also debuted at No. 3 on Nielsen SoundScan's chart for Christian albums, selling over 7,100 copies in the first week.
In April 2010, Barnes released his fourth full band studio album "What We Want, What We Get" after having released his single "God Gave Me You" from the same album. The single rose into the top-five Contemporary Christian music chart by June. Barnes appeared on the U.S. soap opera "All My Children" as himself and performed the song on June 10, 2010.
His first five years as a producer were largely focused on developing the Swedish indie band The Cardigans, for whom Johansson has produced five of their six albums to date, beginning with the 1994 debut "Emmerdale", excluding their fifth studio album "Long Gone Before Daylight" due to artistic differences. As someone as new to the studio as the band these sessions were an equally valuable learning experience for both parties. According to Johansson, each time they started on a new album, "we sat down and listened to the old album and decided what we liked about it and what we didn't like about it and what direction the new album should go in."
Nowadays Tore Johansson prefers to write for or co-write with solo artists.
Without an album, the group quickly reconfigured and began work on their project, "No Weak Heart Shall Prosper". "OneAlone began to become an albatross the way the first album did, and so much of it was not right for us to perform live that even though it's not what we wanted, the album being abandoned like that was probably best. As we toured more and more, the things that people loved about our live show and our music was not, we realized, on that album. We needed something immediate, powerful and full of energy, and that's what No Weak Heart Shall Prosper is, we're both much happier with this album and how it's coming together. As an album and as a band, this project contains so much more of what we've learned about ourselves in these past three years, that I wouldn't have it any other way, our time is fast approaching, and when it comes, this is what it sounds like. From this we can make the live show that much more incredible, and continue to streamline our sound and accomplish our goal of being the best band in the world."
"We the Best Forever" was met with generally positive reviews from music critics. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics, the album received an average score of 61, based on 7 reviews, indicating "generally favorable reviews ". Amanda Bassa of "HipHopDX" gave the album three out of five stars, saying "At this point listeners are either down with his movement or they aren’t, and while "We The Best Forever" is a solid piece, it’s not different enough from his previous work to change any minds about him. But with emcees ranging from Jadakiss to B.o.B., there really is a little something on his latest LP to satisfy just about anyone who enjoys mainstream Hip Hop." David Jeffries of AllMusic gave the album three and a half stars out of five, saying ""We the Best Forever" may be DJ Khaled’s first release for the Cash Money label, but little else has changed. The good news is that the ringleader’s formula of rounding up superstar talent for an album jammed with potential singles still works, unless you think everything on 2011 radio is trash and that big money ruined hip-hop." Adam Fleischer of "XXL" gave the album an XL, saying "Though the content of "We The Best Forever" is what we’ve come to expect from a DJ Khaled offering—grandiose odes to the grind and getting yours—that he understands how to create those better than most is what makes a DJ Khaled track, and album, worthwhile."
Upon its release Brian Lane noted that fans either seem to love the album or "fucking hate it". In an interview with "Kerrang!", Jesse Lacey commented on the album's content: "It's a pretty exhausting record. It's quite dense and I think some of the decisions we made don't always go in the most obvious direction. We were thinking a lot more about what we'd want to play when we were up onstage rather than actually what you'd want to hear on a record." "Daisy" was placed third on the "Top Thirty Albums of 2009" list by AbsolutePunk.net. "Kerrang!" ranked the album eleventh on their "K! Critics' Albums of the Year" list. The album was placed at fourteenth on "Rock Sound" on "Top Seventy Five Albums of the Year". In "Sputnikmusic" "Staff Picks: Top Fifty Albums of the Year" list, the album was placed at twenty-eight. "Spin" placed the album at twenty-one on their "The 30 Best Albums of 2009... So Far" list.
"After writing the songs, even if they were demos, I was going to show the others what I wrote and let them grow with the song" Deryck said. "Usually, the first things I come up with are terrible, so I continued writing and told myself that most of them would suck. So I showed everyone what I wrote and then I looked through them all and picked the best ones in the end." McCaslin mentioned the band's musical progression that they had been taking with their previous two albums and mentioned that the music got heavier. The band members have mentioned the more pop punk progression that they were going with on this album. McCaslin said that "we didn't seem like the same band we were five or six years ago, so we decided to ask ourselves why we were in a band in the first place." Jocz said "All of us knew what we wanted to achieve with this album, and what we wanted to do was a unified idea, kind of in the style of a concept album, something that's just one thing that is related and all of the songs fit in. And it's like a whole new way of looking at making a record, and I think this is the right way to do it. You should think it through."
A bootleg recording of the demo sessions for the album, titled "Didn't Anybody Tell You?" surfaced in 1999. Many unreleased, scrapped songs from the "Liberty" sessions were heard by the public for the first time:When asked about the bootleg, John Taylor said, "I like coming across things that I've forgotten about. That I've forgotten that we recorded. That's what's really exciting about the "Didn't Anybody Tell You" bootleg, because there's so many songs on there that never got finished. They just take me back to that moment. Actually, what I like about that album is that the "Liberty" album - when we were rehearsing it, when we were writing it was gonna be a great album. I really felt it was gonna be a great album. When we got in the studio I fell apart and the production just wasn't right. It turned out to be a very mediocre album, but at the demo stage, which is what that [bootleg] album is all about, I think there's a great album in there. Could have been great songs."Duran Duran
"For You" received a generally mixed to positive reception upon its release. AllMusic gave the album four out of five stars, writing "Gomez might not be a belter or have the electric personality of some of her contemporaries; what she does possess is style, a winning voice, and lots of good songs -- as "For You" proves again and again." AXS gave the album a score of three and a half, claiming that "Instead of just packaging her hits, Gomez's "For You" is layered with elements of her personality. The album reflects Selena's highs and lows from the past five years in the industry and serves as closure to her time with Hollywood Records. She sneaks in a few last words with love and that's something any fan can appreciate." Idolator also gave the album a three and a half, and wrote "If you’ve slept on Selena’s music career, "For You" is a great starting point. For fans, it offers just enough new material to justify the purchase." The site went on to praise both "The Heart Wants What It Wants" and "Do It". "The Times of India" gave the album a score of three out of five, praising the new material but questioning whether Gomez's career warranted a compilation album at that point. They added, ""For" You really is all about growth. We've got the punky-emo cuts like "Falling Down" to salacious songs like "Come & Get It" and also uplifting anthems that have defined her musical career till date." Popology also praised the album, saying "At the end of it, "For You" shows us where she’s been, where she’s at right now, and where she’s going. It may not include every single release, but the new songs are what counts. They show that she has a vision for herself outside of Hollywood Records. We think we speak for all of her fans when we say we can’t wait to take the next step of her journey with her!"
According to band member Walt Parazaider, when the group went into the studio to record the album, they " 'found out we knew very little about what we were doing. ... The first song was “Does Anybody Really Know What Time It Is?” We tried to record it as a band, live, all of us in the studio at once.' "
In 1992, Dice Records (France) released the Rubettes' first two albums (Wear It's 'At and We Can Do It) as a double CD set. In 2015, Caroline Records released the album We Can Do It, including two bonus tracks, as part of a box CD set of the Rubettes' first five studio albums.
Talking about how the album was created, Joel Houston said: "We took a whole year off really doing something. And we had a bit of a soul search and talked to each other and said, 'if we're gonna do this, as in United, and keep moving with it, what's it going to look like? And how prepared are we? ...Maybe to just ride on the coattails of what we've been doing for the last ten years or so or do we want to really take this thing forward?' And I think we collectively decided, 'you know what? Let's throw ourselves into it like it's the first time we've ever done anything'." The album marks Marty Sampson's return, who sings the title track "Aftermath".
Talk of a reunion commenced weeks after the trio began speaking again. After a two-hour phone conversation between DeLonge and Hoppus, an arrangement was made for the trio to meet up at Hoppus and Barker's Los Angeles studio in October 2008. DeLonge was the first to approach the subject of reuniting. The trio had, in Hoppus's words, "two gnarly heart-to-hearts," during which the three opened up. "Tom had just kind of come out to Los Angeles for the day," recalled Hoppus, "I remember he said, 'So, what do you guys think? Where are your heads at?' And I said, 'I think we should continue with what we've been doing for the past 17 years. I think we should get back on the road and back in the studio and do what we love doing.'" Eventually, the band appeared for the first time on stage together in nearly five years as presenters at the 51st Grammy Awards on February 8, 2009. The band's official website was updated with a statement: "To put it simply, We're back. We mean, really back. Picking up where we left off and then some. In the studio writing and recording a new album. Preparing to tour the world yet again. Friendships reformed. 17 years deep in our legacy."
Among the band's members, there are several different stories for what the album's title means. Mark Lee said "We named the album "Conspiracy No. 5" because we were really into "conspiracy theories" which were swirling around at the time in the wake of the "JFK" movie." The group also found the use of the number five compelling for several reasons: there are five members of the band and it was their fifth project (including their independent releases).
What We Made is the debut studio album released by British recording artist Example. The album was initially due for release in June 2007, as stated on the back of the "We Didn't Invent the Remix" sleeve, however the album was delayed and was finally released on 17 September 2007. "What We Made" was later followed by the "What We Almost Made" mixtape.
"What We Stand For" received barely positive reception from the ratings and reviews of music critics. Grace S. Aspinwall of "CCM Magazine" rated the album four stars, commenting how it is "Authentic and beautiful, the newest project by The Museum is perfection." At New Release Tuesday, Jonathan Francesco rated the album three stars, stating that "The Museum has produced a record that is singable and pleasant, giving the Church another serviceable collection of songs to worship Christ with." Alex "Tincan" Caldwell of Jesus Freak Hideout rated the album two stars out of five, writing that "The Museum is capable of much more." At Indie Vision Music, Jonathan Francesco rated the album three stars out of five, saying how the release "to be honest, still hasn't really lived up to a 2-year-or-so wait." 365 Days of Inspiring Media's Joshua Andre rated the album three-and-a-half stars out of five, remarking "Though they haven’t got everything 100% right, some ingenuity is welcomed and a nice surprise from left field."
The biggest point of difference between the first record and this one is the time we took preparing. The preparation time for the first album was like, a couple of years on the road. So we were basically like a garage pop band who went into a studio. Dennis didn't really give us the chance to develop or grow beyond that. It was like what we knew went onto the record. This time it was... like an exam. We studied way harder; just the preparation was far more intense. Once we had a pretty good idea of what everything was going to sound like, we didn't need much time in the studio, because we had spent six months working on the demos.
Speaking on the album, Meath said in an interview that, following their debut album, the duo felt they needed to "step it up as much as possible to prove that [they] belong [where they are]." Sanborn added that the record felt "much more lived-in and alive" than their previous album due to the fact that they were more assured with what they wanted, whereas their first album came right after their formation as a band. Meath explained that the album's title came from a "deep band existential crisis", and that during the first part of recording the album, they often asked themselves, "Can we still do this or did we lose it?"