input: Journey's album sales did not improve and Columbia Records requested that they change their musical style and add a frontman, with whom keyboardist Gregg Rolie could share lead vocal duties. The band hired Robert Fleischman and transitioned to a more popular style, akin to that of Foreigner and Boston. Journey went on tour with Fleischman in 1977 and together the new incarnation of the band wrote the hit "Wheel in the Sky"; however, management differences resulted in Fleischman leaving within the year.  In late 1977, Journey hired Steve Perry as their new lead singer. Herbie Herbert, the band's manager, also hired Roy Thomas Baker as a producer to add a layered sound approach as Baker had done with his previous band, Queen. With their new lead singer and talented new producer, Journey released their fourth album, Infinity (1978). This album set Journey on their road to stardom with their first RIAA-certified platinum album. This album, with their hit song "Wheel in the Sky" (#57 U.S.), set Journey on a new path with a more mainstream sound to make their highest chart success to date.  In late 1978, manager Herbie Herbert fired drummer Aynsley Dunbar, who joined Bay Area rivals Jefferson Starship shortly thereafter. He was replaced by Berklee-trained jazz drummer Steve Smith. Perry, Schon, Rolie, Smith and Valory recorded Evolution (1979), which gave the band their first Billboard Hot 100 Top 20 single, "Lovin', Touchin', Squeezin'" (#16); and Departure (1980), which reached No. 8 on the album charts.  Journey's newfound success brought the band an almost entirely new fan base. During the 1980 Departure world tour, the band recorded a live album, Captured.  Keyboardist Gregg Rolie then left the band, the second time in his career he left a successful act. Keyboardist Stevie "Keys" Roseman was brought in to record the lone studio track for Captured, "The Party's Over (Hopelessly in Love)," but Rolie recommended pianist Jonathan Cain of The Babys as the permanent replacement. With Cain's replacement of Rolie's Hammond B-3 organ with his own synthesizers, the band was poised for a new decade in which they would achieve their greatest musical success.

Answer this question "Did it have a hit single?"
output: their hit song "Wheel in the Sky" (#

input: In this book (Oxford 1988: 116), Money develops a conception of 'bodymind,' as a way for scientists, in developing a science about sexuality, to move on from the platitudes of dichotomy between nature versus nurture, innate versus the acquired, biological versus the social, and psychological versus the physiological. He suggests that all of these capitalize on the ancient, pre-Platonic, pre-biblical conception of body versus the mind, and the physical versus the spiritual. In coining the term "bodymind", in this sense, Money wishes to move beyond these very ingrained principles of our folk or vernacular psychology.  Money also develops here (Oxford 1988: 114-119) a view of "Concepts of Determinism," which, transcultural, transhistorical, and universal, all people have in common, sexologically or otherwise. These include pairbondage, troopbondage, abidance, ycleptance, foredoomance, with these coping strategies: adhibition (engagement), inhibition, explication.  Money suggests that the concept of threshold (Oxford 1988: 115) - the release or inhibition of sexual (or other) behavior - is most useful for sex research as a substitute for any concept of motivation. Moreover, it confers the distinct advantage of having continuity and unity to what would otherwise be a highly disparate and varied field of research. It also allows for the classification of sexual behavior. For Money, the concept of threshold has great value because of the wide spectrum to which it applies. "It allows one to think developmentally or longitudinally, in terms of stages or experiences that are programmed serially, or hierarchically, or cybernetically (i.e. regulated by mutual feedback)." (Oxford 1988: 116)

Answer this question "What is the book about?"
output: Money suggests that the concept of threshold (Oxford 1988: 115) - the release or inhibition of sexual (or other) behavior -

input: "Let's Get It On" features soulful, passionate lead vocals and multi-tracked background singing, both by Gaye. It has a 1950s-styled melody and begins with three wah-wah guitar notes and centers on simple chord changes, while its arrangements are centered on an eccentric rhythm pattern. Its signature guitar line is played by session musician Don Peake. Music journalist Jon Landau dubs the song "a classic Motown single, endlessly repeatable and always enjoyable". The song is reprised on the fourth track, "Keep Gettin' It On". It expands on the title track's sensual theme with political overtones: "won't you rather make love, children / as opposed to war, like you know you should."  "Distant Lover" has Gaye crooning over serene instrumentation, leading to soulful screams near the end; from a heartbroken croon to an impassioned wail. The song's lyrics chronicled the yearning its narrator feels for a lover who is "so many miles away", as he pleads for her return and laments the emptiness he feels without her. Music writer Donarld A. Guarisco later wrote of the song's sound, in that "Marvin Gaye's studio recording enhances the dreamy style of the song with stately horn and strings, tumbling drum fills that gently nudge the song along, and mellow, doo wop-styled background vocals that echo "love her, you love her" under his romantic pleas. The song later became a concert favorite for Gaye and a live concert version, featuring female fans screaming in the background, was released as a single from his Marvin Gaye Live! album in 1974.  "You Sure Love to Ball" is one of Gaye's most sexually overt and controversial singles, with its intro and outro featuring moaning sounds made by a man and woman engaged in sex. The sexual-explicit and risque nature of the album's content were, at the time, controversial, and the recording of such an album was deemed as a commercial risk by Motown A&R's (Artists and Repertoire) and label executives.

Answer this question "What genre of music did he sing?"
output:
It has a 1950s-styled melody