Background: New Order are an English rock band formed in 1980 by vocalist and guitarist Bernard Sumner, bassist Peter Hook and drummer Stephen Morris. New Order were formed in the demise of their previous post-punk band Joy Division, following the suicide of vocalist Ian Curtis. They were joined by Gillian Gilbert on keyboards later that year. Their integration of post-punk with electronic and dance music made them one of the most critically acclaimed and influential bands of the 1980s.
Context: The initial release as New Order was the single "Ceremony", backed with "In a Lonely Place". These two songs were written in the weeks before Curtis took his own life. With the release of Movement in November 1981, New Order initially started on a similar route as their previous incarnation, performing dark, melodic songs, albeit with an increased use of synthesisers. The band viewed the period as a low point, as they were still reeling from Curtis' death. Hook commented that the only positive thing to come out of the Movement sessions was that producer Martin Hannett had showed the band how to use a mixing board, which allowed them to produce records by themselves from then on. More recently, Hook indicated a change of heart: "I think Movement gets a raw deal in general really - for me, when you consider the circumstances in which it was written, it is a fantastic record."  New Order visited New York City again in 1981, where the band were introduced to post-disco, freestyle and electro. The band had taken to listening to Italian disco to cheer themselves up, while Morris taught himself drum programming. The singles that followed, "Everything's Gone Green" and "Temptation", saw a change in direction toward dance music.  The Hacienda, Factory Records' own nightclub (largely funded by New Order) opened in May 1982 in Manchester and was even issued a Factory catalogue number: FAC51. The opening of UK's first ever superclub was marked by a nearly 23-minute instrumental piece originally entitled "Prime 5 8 6", but released 15 years later as "Video 5 8 6". Composed primarily by Sumner and Morris, "Prime 5 8 6"/"Video 5 8 6" was an early version of "5 8 6" that contained rhythm elements that would later surface on "Blue Monday" and "Ultraviolence".
Question: what was one of the songs on the album?
Answer: The initial release as New Order was the single "Ceremony", backed with "In a Lonely Place".

Problem: Background: The Incredible String Band (sometimes abbreviated as ISB) were a psychedelic folk band formed by Clive Palmer, Robin Williamson and Mike Heron in Scotland in 1966. The band built a considerable following, especially in the British counterculture, notably with their albums The 5000 Spirits or the Layers of the Onion, The Hangman's Beautiful Daughter, and Wee Tam and the Big Huge. They became pioneers in psychedelic folk and, through integrating a wide variety of traditional music forms and instruments, in the development of world music. Following Palmer's early departure, Williamson and Heron performed as a duo, later augmented by other musicians.
Context: 1968 was the band's annus mirabilis with the release of their two most-celebrated albums, The Hangman's Beautiful Daughter and the double LP Wee Tam and the Big Huge (issued as two separate albums in the US). Hangman's reached the top 5 in the UK album charts soon after its release in March 1968 and was nominated for a Grammy in the US. Robert Plant of Led Zeppelin said his group found their way by playing Hangman's and following the instructions. A departure from the band's previous albums, the set relied heavily on a more layered production, with imaginative use of the then new multitrack recording techniques. The album featured a series of vividly dreamlike Williamson songs, such as "The Minotaur's Song", a surreal music-hall parody told from the point of view of the mythical beast, and its centrepiece was Heron's "A Very Cellular Song", a 13-minute reflection on life, love and amoebas, its complex structure incorporating a Bahamian spiritual ("I Bid You Goodnight"). Williamson and Heron in this album had added their girlfriends, Licorice McKechnie and Rose Simpson, to the band to contribute additional vocals and various instruments, including organ, guitar and percussion. Despite their initially rudimentary skills, Simpson swiftly became a proficient bass guitarist, and some of McKechnie's songs were recorded by the band.  By early 1968 the group were capable of filling major venues in the UK. They left behind their folk club origins and embarked on a nationwide tour incorporating a critically acclaimed appearance at the London Royal Festival Hall. Later in the year they performed at the Royal Albert Hall, at open-air festivals, and at prestigious rock venues, such as the Fillmore auditoriums in San Francisco and New York. After their appearance at the Fillmore East in New York they were introduced to the practice of Scientology by David Simons (aka "Rex Rakish" and "Bruno Wolfe", once of Jim Kweskin's Jug Band). Joe Boyd, in his book White Bicycles: Making Music in the 1960s and elsewhere, described how he was inadvertently responsible for their "conversion" when he introduced the band to Simons, who, having become a Scientologist, persuaded them to enrol in his absence. The band's support for Scientology over the next few years was controversial among some fans and seemed to coincide with what many saw as the beginning of a decline in the quality of their work. In an interview with Oz magazine in 1969 the band spoke enthusiastically of their involvement with it, although the question of its effect on their later albums has provoked much discussion ever since.  Their November 1968 album Wee Tam and the Big Huge, recorded before the US trip, was musically less experimental and lush than Hangman's but conceptually even more avant-garde, a full-on engagement with the themes of mythology, religion, awareness and identity. Williamson's otherworldly songs and vision dominate the album, though Heron's more grounded tracks are also among his very best, and the contrast between the two perspectives gives the record its uniquely dynamic interplay between a sensual experience of life and a quest for metaphysical meaning. The record was released as a double album and also simultaneously as two separate LPs, a strategy which lessened its impact on the charts.
Question: Did the band tour in 1968?
Answer: