Some context: Uncle Tupelo was an alternative country music group from Belleville, Illinois, active between 1987 and 1994. Jay Farrar, Jeff Tweedy, and Mike Heidorn formed the band after the lead singer of their previous band, The Primitives, left to attend college. The trio recorded three albums for Rockville Records, before signing with Sire Records and expanding to a five-piece. Shortly after the release of the band's major label debut album Anodyne, Farrar announced his decision to leave the band due to a soured relationship with his co-songwriter Tweedy.
Uncle Tupelo is credited as one of the founders of the alternative country genre, a blend of alternative rock and traditional country music. While the genre eventually became associated with solo artists such as Gram Parsons and Lyle Lovett, Uncle Tupelo is considered the first alternative country band. Some media outlets like the BBC have even suggested that they were the genre's sole creator. However, Tweedy and Heidorn dispute this claim, and Farrar says that there is no difference between alternative country and other genres such as roots rock. Heidorn commented in a Country Standard Time interview:  It's strange to hear Uncle Tupelo mentioned because what we were doing was in such a long line of musical history. People are wrong in starting with us and saying we started anything because we were just picking up the ball, starting with Woody Guthrie and on to the early '60s and the Flying Burrito Brothers that we were influenced by. We didn't start a genre. We contributed to a long line of fairly good music. That's the way we looked at it at the time--doing what was right for the song.  The band's first three albums influenced contemporary roots rock artists such as Richmond Fontaine and Whiskeytown. Uncle Tupelo's usage of distorted guitars to play a style of music that was known for its earnestness became a lasting trend in 1990s modern rock. Jason Ankeny wrote in Allmusic that:  With the release of their 1990 debut LP, No Depression, the Belleville, IL, trio Uncle Tupelo launched more than simply their own career--by fusing the simplicity and honesty of country music with the bracing fury of punk, they kick-started a revolution which reverberated throughout the American underground.  Their 1990 album No Depression lent its name to an influential alternative country periodical. Due to the influence of the album and periodical, the term "No Depression" became a byword for alternative country--particularly for bands with punk rock influence. The alternative country movement played an important role in the success of future traditionalist country acts such as Robbie Fulks and Shelby Lynne.
what song was their most popular
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Some context: Mary Violet Leontyne Price (born February 10, 1927) is an American soprano. Born and raised in Laurel, Mississippi, she rose to international acclaim in the 1950s and 1960s, and was the first African American to become a leading artist at the Metropolitan Opera. One critic characterized Price's voice as "vibrant", "soaring" and "a Price beyond pearls", as well as "genuinely buttery, carefully produced but firmly under control", with phrases that "took on a seductive sinuousness." Time magazine called her voice "Rich, supple and shining, it was in its prime capable of effortlessly soaring from a smoky mezzo to the pure soprano gold of a perfectly spun high C." A lirico spinto (Italian for "pushed lyric") soprano, she was considered especially well suited to the roles of Giuseppe Verdi and Giacomo Puccini, as well as several in operas by Wolfgang Amadeus Mozart.
Price's career climaxed on September 16, 1966, when she sang Cleopatra in Antony and Cleopatra by American composer Samuel Barber and conducted by Thomas Schippers, commissioned to open the Met's new house at Lincoln Center. The role of Cleopatra was written especially for Price. Since their early collaborations, Price and Barber had remained close friends and colleagues, and the composer tailored Cleopatra's music to Price's warm middle register and soaring top.  In the performances, although Price's singing was praised, especially in a powerful death scene, the opera as a whole was widely considered a failure. Director Franco Zeffirelli was blamed for burying the music under heavy costumes and huge scenery. Bing admitted he had underestimated the challenge of mounting nine new productions that season (three in the first week), and relying heavily on untested high-tech equipment. (In rehearsals, an expensive turntable broke down and, in the dress rehearsal, another mechanical failure left Price trapped briefly inside a giant pyramid.) The pressures and many of the glitches were chronicled by cameras for a Bell Telephone Hour special documentary, directed by Robert Drew.  Still others complained that Barber's score was difficult to grasp because of the dense Shakespearean verse, and lacked satisfying set pieces (apart from the death scene). The opera was never revived at the Met. However, with the help of Gian Carlo Menotti, Barber later reworked the score for successful productions at the Juilliard School and the Spoleto Festival in Charleston, where it received praise. Barber also prepared a concert suite of Cleopatra's arias, which Price premiered in Washington in 1968 and subsequently recorded. Price lobbied Kurt Herbert Adler to have it produced in San Francisco, but did not succeed.
Did they make any changes because of the complaints?
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However, with the help of Gian Carlo Menotti, Barber later reworked the score for successful productions at the Juilliard School and the Spoleto Festival in Charleston, where it received praise.