Background: Women in Finland enjoy a "high degree of equality" and "traditional courtesy" among men. In 1906, the women of Finland became the first women in Europe to be granted the right to vote. There are many women in Finland who hold prominent positions in Finnish society, in the academics, in the field of business, and in the government of Finland. An example of powerful women in Finnish politics is Tarja Halonen, who became the first female president of the country (she was Foreign Minister of Finland before becoming president).
Context: The area that in 1809 became Finland was a group of integral provinces of the Kingdom of Sweden for over 600 years, signifying that also women in Finland were allowed to vote during the Swedish Age of Liberty (1718-1772), when suffrage was granted to tax-paying female members of guilds  The predecessor state of modern Finland, the Grand Duchy of Finland was part of the Russian Empire from 1809 to 1917 and enjoyed a high degree of autonomy. In 1863 taxpaying women were granted municipal suffrage in the countryside, and in 1872, the same reform was given to the cities  The Parliament Act in 1906 established the unicameral parliament of Finland and both women and men were given the right to vote and stand for election. Thus Finnish women became the first in the world to have unrestricted rights both to vote and to stand for parliament. In elections the next year, 19 female MPs, first ones in the world, were elected and women have continued to play a central role in the nation's politics ever since. Miina Sillanpaa, a key figure in the worker's movement, became the first female minister in 1926.  Finland's first female President Tarja Halonen was voted into office in 2000 and for a second term in 2006. Since the 2011 parliamentary election, women's representation stands at 42,5%. In 2003 Anneli Jaatteenmaki became the first female Prime Minister of Finland, and in 2007 Matti Vanhanen's second cabinet made history as for the first time there were more women than men in the cabinet of Finland (12 vs. 8).
Question: did Parliament pass any other women's right's bills?
Answer: and in 1872, the same reform was given to the cities

Problem: Background: The Incredible String Band (sometimes abbreviated as ISB) were a psychedelic folk band formed by Clive Palmer, Robin Williamson and Mike Heron in Scotland in 1966. The band built a considerable following, especially in the British counterculture, notably with their albums The 5000 Spirits or the Layers of the Onion, The Hangman's Beautiful Daughter, and Wee Tam and the Big Huge. They became pioneers in psychedelic folk and, through integrating a wide variety of traditional music forms and instruments, in the development of world music. Following Palmer's early departure, Williamson and Heron performed as a duo, later augmented by other musicians.
Context: 1968 was the band's annus mirabilis with the release of their two most-celebrated albums, The Hangman's Beautiful Daughter and the double LP Wee Tam and the Big Huge (issued as two separate albums in the US). Hangman's reached the top 5 in the UK album charts soon after its release in March 1968 and was nominated for a Grammy in the US. Robert Plant of Led Zeppelin said his group found their way by playing Hangman's and following the instructions. A departure from the band's previous albums, the set relied heavily on a more layered production, with imaginative use of the then new multitrack recording techniques. The album featured a series of vividly dreamlike Williamson songs, such as "The Minotaur's Song", a surreal music-hall parody told from the point of view of the mythical beast, and its centrepiece was Heron's "A Very Cellular Song", a 13-minute reflection on life, love and amoebas, its complex structure incorporating a Bahamian spiritual ("I Bid You Goodnight"). Williamson and Heron in this album had added their girlfriends, Licorice McKechnie and Rose Simpson, to the band to contribute additional vocals and various instruments, including organ, guitar and percussion. Despite their initially rudimentary skills, Simpson swiftly became a proficient bass guitarist, and some of McKechnie's songs were recorded by the band.  By early 1968 the group were capable of filling major venues in the UK. They left behind their folk club origins and embarked on a nationwide tour incorporating a critically acclaimed appearance at the London Royal Festival Hall. Later in the year they performed at the Royal Albert Hall, at open-air festivals, and at prestigious rock venues, such as the Fillmore auditoriums in San Francisco and New York. After their appearance at the Fillmore East in New York they were introduced to the practice of Scientology by David Simons (aka "Rex Rakish" and "Bruno Wolfe", once of Jim Kweskin's Jug Band). Joe Boyd, in his book White Bicycles: Making Music in the 1960s and elsewhere, described how he was inadvertently responsible for their "conversion" when he introduced the band to Simons, who, having become a Scientologist, persuaded them to enrol in his absence. The band's support for Scientology over the next few years was controversial among some fans and seemed to coincide with what many saw as the beginning of a decline in the quality of their work. In an interview with Oz magazine in 1969 the band spoke enthusiastically of their involvement with it, although the question of its effect on their later albums has provoked much discussion ever since.  Their November 1968 album Wee Tam and the Big Huge, recorded before the US trip, was musically less experimental and lush than Hangman's but conceptually even more avant-garde, a full-on engagement with the themes of mythology, religion, awareness and identity. Williamson's otherworldly songs and vision dominate the album, though Heron's more grounded tracks are also among his very best, and the contrast between the two perspectives gives the record its uniquely dynamic interplay between a sensual experience of life and a quest for metaphysical meaning. The record was released as a double album and also simultaneously as two separate LPs, a strategy which lessened its impact on the charts.
Question: What albums did they release?
Answer:
The Hangman's Beautiful Daughter and the double LP Wee Tam and the Big Huge