Problem: Background: Celtic Frost () were a Swiss heavy metal band from Zurich. They are known for their strong influence on the development of extreme metal. Formed in 1982 as Hellhammer, the band became Celtic Frost in 1984 and was active until 1993. It re-formed in 2001 and disbanded following frontman Tom Gabriel Fischer's departure in 2008.
Context: One of their more influential recordings was 1985's To Mega Therion which did not feature Ain on bass, but stand-in Dominic Steiner. The cover artwork is a painting by H.R. Giger entitled Satan I. The album was a major influence on the then-developing death metal and black metal genres. Ain did return after the album was recorded however. In 1987 followed Into the Pandemonium. The album is more varied than many of Celtic Frost's past LPs, with unlikely covers (Wall of Voodoo's "Mexican Radio"), emotionally charged love songs, the album's recurring industrial-influenced rhythmic songs of demons and destruction, traditional Frost styled songs about dreams and fear, and a dark, classical piece with female vocals.  The album is vastly different from the band's previous work and cemented its late 80s avant-garde metal term; it is also a departure from the extreme style found on the band's previous albums, Morbid Tales and To Mega Therion that Celtic Frost had become known for. However, it does have the recurring symphonic elements found on previous albums. The album has a more classic heavy metal style within the songs with elements of industrial, classical and gothic rock, and even has an industrial/electronic body music (EBM)-inspired rhythm in "One in Their Pride". It does have a few black metal elements remaining in Warrior's vocals, though, and some thrash-influenced guitar riffs.  These albums were some of the pivotal LPs for underground metal and introduced a new and more varied sound. Celtic Frost, along with Venom and Bathory were pioneers in the still underground black metal scene, although Celtic Frost were much more experimental with the addition of classical instruments, operatic female vocals and sampling. Celtic Frost was often labeled by critics as avant-garde metal.
Question: Where there any mega hits?
Answer: Satan I.

Problem: Background: "Cross Road Blues" (also known as "Crossroads") is a blues song written and recorded by American blues artist Robert Johnson in 1936. Johnson performed it as a solo piece with his vocal and acoustic slide guitar in the Delta blues-style. The song has become part of the Robert Johnson mythology as referring to the place where he supposedly sold his soul to the Devil in exchange for his musical talents, although the lyrics do not contain any specific references. Bluesman Elmore James revived the song with recordings in 1954 and 1960-1961.
Context: Little is known about Johnson's life and musical career, although his recordings are well documented. In October 1936, Johnson auditioned for music store owner and sometime talent scout H. C. Speir in Jackson, Mississippi; Speir passed on Johnson's contact information to Ernie Oertle, who was a representative for ARC Records. After a second audition, Oertle arranged for Johnson to travel to San Antonio, Texas, for a recording session. Johnson recorded 22 songs for ARC over three days from November 23 to 27, 1936. During the first session, he recorded his most commercially appealing songs. They mostly represented his original pieces and reflected current, piano-influenced musical trends. The songs include "Terraplane Blues" (his first single and most popular record) along with "Sweet Home Chicago" and "I Believe I'll Dust My Broom", which became blues standards after others recorded them.  A second and third recording date took place in San Antonio after a two-day break. Johnson reached back into his long-standing repertoire for songs to record. The material reflects the styles of country blues performers Charley Patton and Son House, who influenced Johnson in his youth. The songs are among Johnson's most heartfelt and forceful, and music historian Ted Gioia sees a shift in the lyrical themes:  At the close of the San Antonio session, the darker, more apocalyptic side of Johnson's work emerges ... [he] evokes the themes of damnation and redemption, darkness and light ... glimpses into the musician's inner life, and all its attendant turmoils.  "Cross Road Blues" was recorded during Johnson's third session in San Antonio, on Friday November 27, 1936. The sessions continued at an improvised studio in Room 414 at the Gunter Hotel. ARC producers Art Satherley and Don Law supervised the recording and used a portable disc cutting machine. It is unknown what input, if any, they had into Johnson's selection of material to record or how to present it. Two similar takes of the song were recorded.
Question: Did the recording go well?
Answer: 

Problem: Background: Landon was born Eugene Maurice Orowitz on October 31, 1936, in Forest Hills, a neighborhood of Queens, New York. His parents were Peggy (nee O'Neill; a dancer and comedian) and Eli Maurice Orowitz. Eugene was the Orowitz family's second child; their daughter, Evelyn, was born three years earlier. In 1941, when Landon was four years old, he and his family moved to the Philadelphia suburb of Collingswood, New Jersey.
Context: The year after Bonanza was canceled, Landon went on to star as Charles Ingalls in the pilot of what became another very successful television series, Little House on the Prairie, again for NBC. The show was taken from a 1935 book written by Laura Ingalls Wilder, whose character in the show was played by nine-year-old actress Melissa Gilbert. In addition to Gilbert, two other unknown actresses also starred on the show: Melissa Sue Anderson, who appeared as Mary Ingalls, the oldest daughter in the Ingalls family, and Karen Grassle as Charles' wife, Caroline. Landon served as executive producer, writer, and director of Little House. The show, a success in its first season, emphasized family values and relationships. Little House became Landon's second-longest running series.  The show was nominated for several Emmy and Golden Globe awards. After eight seasons, Little House was retooled by NBC in 1982 as Little House: A New Beginning, which focused on the Wilder family and the Walnut Grove community. Though Landon remained the show's executive producer, director and writer, A New Beginning did not feature Charles and Caroline Ingalls. A New Beginning was actually the final chapter of Little House, as the series ended in 1983. The following year, three made-for-television movies aired.  Melissa Gilbert said of her on- and off-screen chemistry with Landon, "He was very much like a 'second father' to me. My own father passed away when I was 11, so, without really officially announcing it, Michael really stepped in." When not working on the Little House set, Gilbert spent most of the weekends visiting Landon's real-life family. She once said, "The house was huge. We ran like banshees through that house, and Mike would hide behind doorways and jump out and scare us." In a 2015 interview, Gilbert said of Landon, "He gave me so much advice...the overall idea that he pounded into me, from a little girl, into my brain was that nothing's more important than 'Home & Family'; no success, no career, no achievements, no accomplishments, nothing's more important than loving the people you love and contributing to a community. Though we were working, really, really hard, we were 'Not Saving The World', one episode of television at a time, we're just entertaining people and there are more important things to do.... and have fun; no matter what."
Question: are there any other interesting aspects of this time
Answer:
The show was taken from a 1935 book written by Laura Ingalls Wilder, whose character in the show was played by nine-year-old actress Melissa Gilbert.