input: The master recording of "Eight Miles High" was recorded on January 24 and 25, 1966, at Columbia Studios in Hollywood, with record producer Allen Stanton guiding the band through the recording process. John Einarson has noted that the influence of Coltrane's saxophone playing and, in particular, his song "India" from the Impressions album, can be clearly heard in "Eight Miles High"--most noticeably in McGuinn's recurring twelve-string guitar solo. In addition to this striking guitar motif, the song is also highlighted by Chris Hillman's driving and hypnotic bass line, Crosby's chunky rhythm guitar playing and the band's ethereal harmonies.  "Eight Miles High" also exhibits the influence of sitarist Ravi Shankar, particularly in the droning quality of the song's vocal melody and in McGuinn's guitar playing. However, the song does not actually feature the sound of the sitar, despite the Byrds having appeared brandishing the instrument at a contemporary press conference held to promote the single. In a 1966 promotional interview, which was added to the expanded CD reissue of the Fifth Dimension album, Crosby said that the song's ending made him "feel like a plane landing."  An earlier version of "Eight Miles High" was recorded with Al Schmitt at RCA Studios in Los Angeles on December 22, 1965, but Columbia Records refused to release that recording because it had not been produced at a Columbia-owned studio. McGuinn has since stated that he believes this original version of the song to be more spontaneous sounding than the better known Columbia release. That opinion was echoed by Crosby, who commented, "It was a stunner, it was better, it was stronger. It had more flow to it. It was the way we wanted it to be." This original version of "Eight Miles High" initially saw release on the 1987 archival album Never Before and was also included as a bonus track on the 1996 Columbia/Legacy CD reissue of Fifth Dimension.

Answer this question "Did they record anything else with Columbia?"
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input: Wilkins signed with A.C. Milan in the summer of 1984. He later remarked that the most difficult part of adapting to the Italian game was the focus on fitness - the coaching staff made him work to reduce his body fat levels and Wilkins described the result as being in the best shape of his career. The Italian team was struggling during this period, having suffered relegation in the 1981-82 Serie A, and Wilkins was joined by fellow Englishman Mark Hateley (himself replacing another compatriot - Luther Blissett). The only foreign players in the squad, the pair helped the team to victory over rivals Inter in the Milan Derby that October, winning plaudits from Italian press and the club's fans. In his first year there, Wilkins played 28 Serie A games to bring the team to fifth in the league and also won a runner-up medal in the Coppa Italia (having eliminated Inter in the semis).  The following season he remained a key player in Milan's midfield, appearing in 29 league games and scoring two goals - one late goal to salvage a draw at Avellino and another goal the following game against Sampdoria. These were the only Serie A goals of his career. Overall, the team struggled for goals, with Pietro Paolo Virdis's total of 13 making him the club's only goalscorer in double figures that year. The club also suffered off the pitch, with owner Giuseppe Farina absconding to South Africa following accusations of bribery and theft.  In Wilkin's final season there (1986-87), he fell out of the first team structure, following the signing of Roberto Donadoni and the continued presence of both Agostino Di Bartolomei and Alberigo Evani. The team finished fifth in the league, beating Inter twice, in Silvio Berlusconi's first year as owner. Wilkins played 105 games (74 in Serie A) for Milan between 1984 and 1987. Corriere della Sera eulogised him as a "serious and meticulous professional who was immediately appreciated for his long and precise passes".  Wilkins signed for Paris Saint-Germain in the middle of 1987, but this proved to be short-lived: he failed to break into the team ahead of Gabriel Calderon and Safet Susic so he eagerly took the option to signed for Rangers for PS250,000 that November. At the Scottish club he won two league titles and one Scottish League Cup under Graeme Souness. He achieved cult status for his volley in the Old Firm game against reigning champions Celtic in August 1988, giving Rangers the lead in a 5-1 win against their rivals. Despite only playing two seasons for the Glasgow club, he was inducted into their Hall of Fame.

Answer this question "How long was his contract at Paris Saint-Germain?"
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input: Guitarist Mick Stewart joined in 1969. Stewart had some rock pedigree, having previously worked with The (Ealing) Redcaps and Simon Scott & The All-Nite Workers in the mid-1960s. In late 1965, that band became The Phil Wainman Set when the future Sweet producer joined on drums and the group cut some singles with Errol Dixon. In early 1966, Stewart left and later worked with Johnny Kidd & The Pirates.  The Sweet signed a new record contract with EMI's Parlophone label. Three bubblegum pop singles were released: "Lollipop Man" (September 1969), "All You'll Ever Get from Me" (January 1970), and a cover version of the Archies' "Get on the Line" (June 1970), all of which failed to chart. Stewart then quit, and was not replaced for some time. Connolly and Tucker had a chance meeting with Wainman, who was now producing, and knew of two aspiring songwriters, Nicky Chinn and Mike Chapman, who were looking for a group to sing over some demos they had written together. Connolly, Priest and Tucker provided the vocals on a track called "Funny Funny" which featured Pip Williams on guitar, John Roberts on bass and Wainman on drums. The latter began offering the track to various recording companies. The band held auditions for a replacement guitarist and settled on Welsh-born Andy Scott. He had most recently been playing with Mike McCartney (brother of Paul) in the Scaffold. As a member of the Elastic Band, he had played guitar on two singles for Decca, "Think of You Baby" and "Do Unto Others". He also appeared on the band's lone album release, Expansions on Life, and on some recordings by the Scaffold. The band rehearsed for a number of weeks before Scott made his live debut with Sweet on 26 September 1970 at the Windsor Ballroom in Redcar.  The Sweet initially attempted to combine various musical influences, including the Monkees and 1960s bubblegum pop groups such as the Archies, with more heavy rock-oriented groups such as the Who. The Sweet adopted the rich vocal harmony style of the Hollies, with distorted guitars and a heavy rhythm section. This fusion of pop and hard rock would remain a central trademark of Sweet's music and prefigured the glam metal of a few years later.  The Sweet's initial album appearance was on the budget label Music for Pleasure as part of a compilation called Gimme Dat Ding, released in December 1970. The Sweet had one side of the record; the Pipkins (whose sole hit, "Gimme Dat Ding", gave the LP its name) had the other. The Sweet side consisted of the A- and B-sides of the band's three Parlophone singles. Andy Scott appears in the album cover shot, even though he did not play on any of the recordings.

Answer this question "Did the new record deal change their success or no?"
output: