input: Sadoveanu returned to his administrative job in 1907, the year of the Peasants' Revolt. Kept in office by the National Liberal cabinet of Ion I. C. Bratianu, he served under the reform-minded Education Minister Spiru Haret. Inspired by the bloody outcome of the Revolt, as well as by Haret's moves to educate the peasantry, Sadoveanu reportedly drew suspicion from the Police when he published self-help guides aimed at industrious ploughmen, a brand of social activism which even resulted in a formal inquiry.  Mihail Sadoveanu became a professional writer in 1908-1909, after joining the Romanian Writers' Society, created in the previous year by poets Cincinat Pavelescu and Dimitrie Anghel, and becoming its President in September of that year. The same year, he, Iosif, and Anghel, together with author Emil Garleanu, set up Cumpana, a monthly directed against both Ovid Densusianu's eclecticism and the Junimist school (the magazine was no longer in print by 1910). At the time, he became a noted presence among the group of intellectuals meeting in Bucharest's Kubler Coffeehouse.  In 1910, he was also appointed head of the National Theater Iasi, a position which he filled until 1919. That year, he translated from the French one of Hippolyte Taine's studies on the genesis of artworks. He resigned his office within the Writers' Society in November 1911, being replaced by Garleanu, but continued to partake in its administration as a member of its leadership committee and a censor. He was a leading presence at Minerva newspaper, alongside Anghel and critic Dumitru Karnabatt, and also published in the Transylvanian traditionalist journal, Luceafarul.  Sadoveanu was again called under arms during the Second Balkan War of 1913, when Romania confronted Bulgaria. Having reached the rank of Lieutenant, he was stationed in Falticeni with the 15th Infantry Regiment, after which he spent a short period on the front. He returned to literary life. Becoming good friends with poet and humorist George Topirceanu, he accompanied him and other writers on cultural tours during 1914 and 1915. The series of writings he published at the time includes the 1915 Neamul Soimarestilor.  In 1916-1917, as Romania entered World War I and was invaded by the Central Powers, Sadoveanu stayed in Moldavia, the only part of Romania's territory still under the state's authority (see Romanian Campaign). The writer oscillated between the Germanophilia of his Viata Romaneasca friends, the stated belief that war was misery and the welcoming of Romania's commitment to the Entente Powers. At the time, he was reelected President of the Writers' Society, a provisional mandate which ended in 1918, when Romania signed the peace with the Central Powers, and, as Army reservist, edited the Entente's regional propaganda outlet, Romania. He was joined by Topirceanu, who had just been released from a POW camp in Bulgaria, and with whom he founded the magazine Insemnari Literare. Sadoveanu subsequently settled in the Iasi neighborhood of Copou, purchasing and redecorating the villa known locally as Casa cu turn ("The House with a Tower"). In the 19th century, it had been the residence of politician Mihail Kogalniceanu, and, during the war, hosted composer George Enescu. During that period, he collaborated with leftist intellectual Vasile Mortun and, together with him and Arthur Gorovei, founded and edited the magazine Ravasul Poporului.

Answer this question "what did he do?"
output: Having reached the rank of Lieutenant, he was stationed in Falticeni with the 15th Infantry Regiment,

input: For the recording sessions of Welch's debut, Revival, Burnett wanted to recapture the bare sound of Welch's live performance. Welch recalled, "That first week was really intense. It was just T-Bone, the engineer, and Dave and myself. We got so inside our little world. There was very little distance between our singing and playing. The sound was very immediate. It was so light and small." Later, they recorded several more songs and played with an expanded group of musicians; guitarist and Rock and Roll Hall of Fame inductee James Burton, bassist Roy Huskey, Jr., and veteran session drummers Jim Keltner, and Buddy Harman.  The album was released in April 1996 to mostly positive reviews. Mark Deming of Allmusic called it a "superb debut" and wrote, "Welch's debts to artists of the past are obvious and clearly acknowledged, but there's a maturity, intelligence, and keen eye for detail in her songs you wouldn't expect from someone simply trying to ape the Carter Family." Bill Friskics-Warren of No Depression praised the album as "breathtakingly austere evocations of rural culture". The Arlington Heights, Illinois Daily Herald's Mark Guarino observed that Revival was "cheered and scrutinized as a staunch revivalist of Depression-era music only because her originals sounded so much like that era." He attributed this to the biblical imagery of the lyrics, Burnett's threadbare production, and the plainly-sung bleakness in Welch's vocals. Ann Powers of Rolling Stone gave Revival a lukewarm review and criticized Welch for not singing of her own experiences, and "manufacturing emotion." Robert Christgau echoed Powers: Welch "just doesn't have the voice, eye, or way with words to bring her simulation off."  The song, "Orphan Girl", from Revival has been covered by Emmylou Harris, Ann Wilson, Karin Bergquist of Over the Rhine, Mindy Smith, Patty Griffin, Linda Ronstandt and Holly Williams. Others who have recorded Welch's songs include Joan Baez, Grace Porter, Courtney Barnett and Kurt Vile, Mike Gordon, Bright Eyes, Calexico, Ani DiFranco, The Decemberists and Jim James.  Revival was nominated for the 1997 Grammy Award for Best Contemporary Folk Album, but lost to Bruce Springsteen's The Ghost of Tom Joad.

Answer this question "Were there any singles?"
output:
The song, "Orphan Girl", from Revival has been covered by Emmylou Harris, Ann Wilson, Karin Bergquist of Over the Rhine, Mindy Smith, Patty Griffin, Linda Ronstandt and Holly Williams.