input: Dangers and Stephens had formed the English pop group Perennial Divide in 1986 with Paul Freeguard and released the first few Meat Beat Manifesto singles as a side project. They left Perennial Divide in 1988 to record a full Meat Beat album. The tapes of what would have been the debut MBM album were claimed to have been destroyed in a studio fire before it could be released (detailed in a publicity statement). The former founder of Sweat Box Records (Rob Deacon) said that the fire never happened. Jack Dangers confirmed the story of the fire in a 2010 interview. The pair then recorded the LP Storm The Studio, which got them pigeonholed as an industrial act because Sweat Box Records sold the rights to the LP to Wax Trax Records for release in the United States. In response, they released 99%, which was more techno-influenced, in May 1990. In August they released Armed Audio Warfare, which was an effort to re-create the lost tracks of the would-be debut album.  The band's live show was conceived as an intense audio-visual experience, with dancers, led by choreographer Marcus Adams, in costumes and sets designed by artist Craig Morrison and video clips accompanying live instruments, sequenced electronic instruments, and live DJing. In the United States, they opened for Nine Inch Nails on their debut national tour in 1990. In 1991, they performed at The Limelight in Manhattan. Despite his contributions being nonmusical in nature, Adams was credited as a full band member and appeared in many of the band's record sleeves and promo photos until the release of Satyricon in 1992. Adams also appeared in several of MBM's early videos, such as "Strapdown" and "Psyche-Out".  1992's Satyricon continued to show Meat Beat adopting a more mainstream electronic sound, crediting influences of such newly popular dance bands as Orbital, The Shamen, and The Orb, all of whom had either remixed or been remixed by MBM. The album produced the hits "Mindstream" and "Circles". "Original Control (Version 2)", renamed "I Am Electro" in later compilations, is the best-known track from the album, featuring samples of recordings from the 1939 World's Fair exhibit Elektro The Robot, and was the opening song in MBM's 2005-2006 tour.

Answer this question "Was Meat Beat successful?"
output: The tapes of what would have been the debut MBM album were claimed to have been destroyed in a studio fire before it could be released

input: In March 1987, the new lineup of Expose released its debut album Exposure on Arista Records, led by the pop/dance hit "Come Go with Me" which reached #5 on the US Billboard Hot 100 chart. During the summer of 1987, a re-recorded version of "Point of No Return" was released, with Jurado now performing lead vocals, and it too topped out at #5 on the US Hot 100. While the initial distribution of Exposure to suppliers contained the original 1984 version of that song, subsequent pressings contained the new version. "Let Me Be the One", a mid-tempo R&B song with Bruno on lead vocal, became yet another hit reaching #7 on the US Hot 100 and also garnering significant R&B radio airplay. The group's highest charting hit occurred in February 1988 with the #1 US hit ballad "Seasons Change". Along with that came a Soul Train Award nomination for Best New Artist; television appearances on American Bandstand, Solid Gold, Showtime at the Apollo, and The Late Show Starring Joan Rivers; and the group was tapped to be the opening act for Lisa Lisa and Cult Jam during its national tour.  Expose also performed backing vocals on Kashif's 1987 Arista/BMG Records album Love Changes, on the song "Who's Getting Serious?".  During Expose's peak, the group endured legal issues behind the scenes. The members had a restrictive contract and there were reports in the media of backstage battles. According to Bruno, they were only paid $200 per show. Reportedly, the record label had to intervene to try to keep the peace between the members and their producers. Despite this intervention, the members filed a lawsuit and ultimately settled their legal case for a renegotiated contract.

Answer this question "How did this hit do?"
output: it too topped out at #5 on the US Hot 100.

input: Sakamoto's production credits represent a prolific career in this role. In 1983, he produced Mari Iijima's debut album Rose, the same year that the Yellow Magic Orchestra was disbanded. Sakamoto subsequently worked with artists such as Thomas Dolby; Aztec Camera, on the Dreamland (1993) album; and Imai Miki, co-producing her 1994 album A Place In The Sun.  Roddy Frame, who worked with Sakamoto as a member of Aztec Camera, explained in a 1993 interview preceding the release of Dreamland that he had had to wait a lengthy period of time before he was able to work with Sakamoto, who wrote two soundtracks, a solo album and the music for the opening ceremony at the Barcelona Olympics, prior to working with Frame over four weeks in a New York studio. Frame said that he was impressed by the work of YMO and the Merry Christmas Mr Lawrence soundtrack, explaining: "That's where you realise that the atmosphere around his compositions is actually in the writing - it's got nothing to do with synthesisers." Frame's decision to ask Sakamoto was finalized after he saw his performance at the Japan Festival that was held in London, United Kingdom. Of his experience recording with Sakamoto, Frame said:  He's got this reputation as a boffin, a professor of music who sits in front of a computer screen. But he's more intuitive than that, and he's always trying to corrupt what he knows. Halfway through the day in the studio, he will stop and play some hip hop or some house for 10 minutes, and then go back to what he was doing. He's always trying to trip himself up like that, and to discover new things. Just before we worked together he'd been out in Borneo, I think, with a DAT machine, looking for new sounds.

Answer this question "Did his music win award?"
output: