input: Around late 2001 he formed the solo project Sugizo & the Spank Your Juice, with whom he toured with until 2004 and released three singles; "Super Love", "Dear Life" and "No More Machineguns Play the Guitar", which entered top 50 on the charts. His acting career also continued in 2002, when he starred in Isao Yukisada's film Rock'n'roll Mishin, and the television series RedIaum, directed by Ken Nikai.  In 2003, following the release of "No More Machineguns Play the Guitar", Sugizo released his second album C:Lear. It peaked at the number 56 on the album charts.  In March 2004, Sugizo formed the rock band the Flare with vocalist Yuna Katsuki. He also created a new record label called "Embryo", which received major distribution from Universal Music Group for the music of The Flare. They performed at Earth Day in Tokyo, Japan's largest event devoted to environmental and peaceful causes. The band would last until 2006, releasing four singles and one album. In May 2005, Sugizo organized the event "Neo Ascension Groove", with psychedelic jam session act Shag. In the band he plays guitar, violin and percussion, while the music is avant-garde with concentration on rhythm. In April 2006, collaborated with trumpeter Toshinori Kondo and celebrated Earth Day by participating in three shows held on April 9, 22 and 23 at the Yoyogi Koen in Tokyo. He later had his first performance with Juno Reactor at the Tokyo Techno Festival, after starting talks with the band in 2005 about a possible collaboration.  In 2007, Sugizo participated in the project Stop Rokkasho run by the Japanese NGO Boomerang Net and headed up by Ryuichi Sakamoto. The project was created to bring attention to the Rokkasho Reprocessing Plant in Aomori Prefecture. In April, he played at the Nagisa Music Festival with Shag. On June 29 at the 2007 Anime Expo convention in Long Beach, California was the debut, and only, performance of S.K.I.N, a supergroup consisting of Sugizo, Yoshiki, Gackt and Miyavi. In July, Juno Reactor performed as the White Stage's main act on the final day of the Fuji Rock Festival. On December 5, he released the remix album Spirituarise, in which artists from both Japan and overseas remixed his original tracks. On December 24, 2007, Luna Sea reunited for a one-night only concert at the Tokyo Dome.

Answer this question "When did Sugizo join C:Lear?"
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input: When composer/arranger Pete Rugolo joined the Stan Kenton Orchestra as staff arranger in late 1945 he brought with him his love of jazz, Stravinsky and Bartok. Given free rein by Kenton, he experimented constantly, creating a sound that was at the same time innovative and popular. Although Kenton himself was already creating somewhat experimental scores prior to Rugolo's tenure, it was Rugolo who brought to the band the extra-jazz influences and the ultra-experimental approach that were to dominate the band through much of its existence.  During his first six months on the staff Rugolo tried to copy Kenton's sound. But on encouragement from the leader, he explored his own voice. By incorporating compositional techniques borrowed from the modern classical music he had studied, with the dramatic excitement of the Kenton sound, Rugolo helped catapult the Kenton band into one of its most fertile and creative periods.  After a string of mostly arrangements, Rugolo turned out three originals that Kenton featured on the band's first album in 1946: (Artistry in Rhythm): "Artistry in Percussion", "Safranski" and "Artistry in Bolero". Added to this mix came "Machito", "Rhythm Incorporated", "Monotony" and "Interlude" in early 1947 (though some were not recorded until later in the year). These compositions, along with June Christy's voice, came to define the Artistry in Rhythm band.  It was during this period that Cuban rhythms started infiltrating the Kenton sound. Rugolo's 1946 composition "Machito", named after the great Cuban band leader that had impressed Kenton, was a regular on concerts in 1947 and 1948. During the subsequent Progressive Jazz era the Cuban sound would become more profound, an influence that was to remain with Kenton until his death.  The Artistry in Rhythm outfit was a powerful band, with outstanding soloists, but with one foot firmly in the tradition. By early 1947, the Stan Kenton Orchestra had reached its highest point of financial and popular success. They played in the best theaters and ballrooms in America, they had hit records ... and the schedule was killing Kenton. Dances at the many ballrooms were typically four hours a night. Theater dates generally involved playing mini concerts between each showing of the movie, sometimes five or six a day, stretching from morning to late night. Most days not on location were spent in buses or cars, racing from town to town. Days off from performing were rare. And for Kenton they just allowed for more record signing, radio station interviews, and pushing the Capitol brand. He was beat. Following an April performance in Tuscaloosa, he broke up the band.

Answer this question "What was the most popular song on the album?"
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