Problem: Background: Sam & Dave were an American soul and R&B duo who performed together from 1961 until 1981. The tenor (higher) voice was Sam Moore (born 1935) and the baritone/tenor (lower) voice was Dave Prater (1937-1988). Sam & Dave are members of the Rock and Roll Hall of Fame, the Grammy Hall of Fame, the Vocal Group Hall of Fame, the Memphis Music Hall of Fame, and are Grammy Award and multiple gold record award-winning artists.
Context: Sam Moore and Dave Prater's early musical backgrounds involved listening to and singing gospel music in their homes and churches, and in Dave's case, also singing gospel in the choir in his church. Dave later sang with his older brother JT Prater in the gospel group The Sensational Hummingbirds, who recorded "Lord Teach Me" in the 1950s. Sam recorded "Nitey-Nite"/"Caveman Rock" in 1954 with the doo-wop group The Majestics, and later sang with the gospel groups The Gales and The Mellonaires. Moore and Prater listed Jackie Wilson and Sam Cooke as influences on their styles, and Moore was also influenced by Little Willie John, whom he and Dave opened for often in the early 1960s.  Sam & Dave met working the gospel music circuit, and later in small clubs in Miami during amateur nights in 1961 according to Dave. They sang together one night at the King of Hearts club, and started working together immediately thereafter, developing a live act featuring gospel-inspired call-and-response. Soul singer and record producer Steve Alaimo discovered them while performing during the same show with them at the King of Hearts nightclub in Miami and signed them to Marlin Records.  After two singles in early 1962 were released on the local Marlin label owned by Miami's Henry Stone, Stone helped sign them to Roulette Records in New York City. They released six 45s from 1962-1964 (two were re-releases of Marlin recordings) with Roulette, and one single on Stone and Alaimo's Alston Label. A few of the singles received regional airplay, but did not achieve national chart success. The songs, some of which were produced by Steve Alaimo and some of which were produced by Henry Glover, were similar in many ways to R&B recordings by Sam Cooke, Jackie Wilson and Little Willie John. Prater was the lead vocalist on most of these singles, with Moore singing harmony and alternate verses.  In summer 1964, Stone introduced the duo to Atlantic Records' Jerry Wexler, who signed them to Atlantic. Wexler asked Memphis, Tennessee-based Stax Records, which Atlantic distributed nationally, to work with Sam & Dave. Wexler wanted the Southern roots and gospel style of their live performances, so the pair were loaned to Stax to record, although they remained Atlantic Records artists. According to Wexler's autobiography Rhythms & Blues, "Their live act was filled with animation, harmony and seeming goodwill. I put Sam in the sweet tradition of Sam Cooke or Solomon Burke, while Dave had an ominous Four Tops' Levi Stubbs-sounding voice, the preacher promising hellfire."
Question: did they work with anyone else?
Answer: 

Background: Pink Floyd were an English rock band formed in London in 1965. They achieved international acclaim with their progressive and psychedelic music. Distinguished by their use of philosophical lyrics, sonic experimentation, extended compositions, and elaborate live shows, they are one of the most commercially successful and influential groups in popular music history. Pink Floyd were founded by students Syd Barrett on guitar and lead vocals, Nick Mason on drums, Roger Waters on bass and vocals, and Richard Wright on keyboards and vocals.
Context: In 1975, Pink Floyd bought a three-storey group of church halls at 35 Britannia Row in Islington and began converting the building into a recording studio and storage space. In 1976, they recorded their tenth album, Animals, in their newly finished 24-track studio. The concept of Animals originated with Waters, loosely based on George Orwell's political fable, Animal Farm. The album's lyrics described different classes of society as dogs, pigs, and sheep. Hipgnosis received credit for the packaging of Animals; however, Waters designed the final concept, choosing an image of the ageing Battersea Power Station, over which they superimposed an image of a pig.  The division of royalties was a source of conflict between band members, who earned royalties on a per-song basis. Although Gilmour was largely responsible for "Dogs", which took up almost the entire first side of the album, he received less than Waters, who contributed the much shorter two-part "Pigs on the Wing". Wright commented: "It was partly my fault because I didn't push my material ... but Dave did have something to offer, and only managed to get a couple of things on there." Mason recalled: "Roger was in full flow with the ideas, but he was really keeping Dave down, and frustrating him deliberately." Gilmour, distracted by the birth of his first child, contributed little else toward the album. Similarly, neither Mason nor Wright contributed much toward Animals; Wright had marital problems, and his relationship with Waters was also suffering. Animals is the first Pink Floyd album that does not include a writing credit for Wright, who commented: "Animals... wasn't a fun record to make ... this was when Roger really started to believe that he was the sole writer for the band ... that it was only because of him that [we] were still going ... when he started to develop his ego trips, the person he would have his conflicts with would be me."  Released in January 1977, the album peaked on the UK chart at number two, and the US chart at number three. NME described the album as "one of the most extreme, relentless, harrowing and downright iconoclastic hunks of music", and Melody Maker's Karl Dallas called it "[an] uncomfortable taste of reality in a medium that has become in recent years, increasingly soporific".  Pink Floyd performed much of the album's material during their "In the Flesh" tour. It was the band's first experience playing large stadiums, whose size caused unease in the band. Waters began arriving at each venue alone, departing immediately after the performance. On one occasion, Wright flew back to England, threatening to leave the band. At the Montreal Olympic Stadium, a group of noisy and enthusiastic fans in the front row of the audience irritated Waters so much that he spat at one of them. The end of the tour marked a low point for Gilmour, who felt that the band achieved the success they had sought, with nothing left for them to accomplish.
Question: Did anything else interesting happen on tour?
Answer:
" Gilmour, distracted by the birth of his first child, contributed little else toward the album.