Background: Sage, also known as Tessa, is a fictional character in the Marvel Comics universe. She has most often been associated with the X-Men and the Hellfire Club, whom she spied upon for Professor Charles Xavier. A mutant, Sage possesses a number of mental abilities and was originally presented as the personal assistant to the Hellfire Club's Sebastian Shaw, but an extended retcon revealed that she was one of the first mutants discovered by Professor Xavier. She has been a member of the original X-Men teams, Excalibur, the Exiles, and a cross-dimensional X-Men team similar to the Exiles known as the X-Treme X-Men.
Context: For reasons yet unknown, Sage leaves Sunspot's side and travels to England to join forces with the newly reformed New Excalibur. She helps them on various missions such as battling the Shadow King, and returning to ancient Camelot to prevent it from being prematurely destroyed. In a more subtle use of her observation abilities, Sage is instrumental in her teammate Nocturne's recovery from a debilitating stroke.  In order to learn more about a mysterious new foe, Albion, and thwart his attempt to conquer Britain, Sage creates the new cover identity and persona of Diana Fox. This persona appears to be fully devoted to Albion and his goals. However, this bothers her teammate Wisdom as he fears she might fail the mission, similar to her time with the Hellfire Club. Her Diana Fox persona climbs up the rank of Albion's Shadow Captains as Britannia, and develops a rivalry with Lionheart. Like the rest of Albion's army, Sage is given a suit that emphasizes loyalty to him, as well as equipping her with flight and superhuman physical strength. Although she has the opportunity to kill Albion, one purpose of her infiltration, she is struck by an errant pulse from an ancient item used by Albion to extinguish power in England. Though Lionheart suspects her betrayal, Albion believes she was only trying to protect him.  Wisdom's fears are realized after this when the Diana Fox persona takes complete control and Sage becomes fully committed to Albion's side. During this time, she slays two of New Excalibur's former allies in Shadow-X, Dark Cyclops and Dark Beast. A direct confrontation with her teammates in New Excalibur helps reassert Sage's original personality. Together with New Excalibur, Shadow-X, and now Lionheart, Sage defeats Albion and his Shadow Captains.
Question: Are there any other interesting aspects about this article?
Answer: However, this bothers her teammate Wisdom as he fears she might fail the mission, similar to her time with the Hellfire Club. Her Diana Fox persona

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: Did they reach the charts in the US?
Answer: