Background: Tori Amos (born Myra Ellen Amos, August 22, 1963) is an American singer-songwriter, pianist, and composer. She is a classically trained musician with a mezzo-soprano vocal range. Having already begun composing instrumental pieces on piano, Amos won a full scholarship to the Peabody Institute at Johns Hopkins University at the age of five, the youngest person ever to have been admitted. She was expelled at the age of eleven for what Rolling Stone described as "musical insubordination.
Context: With her Atlantic contract fulfilled after a 15-year stint, Amos signed to Epic in late 2001. In October 2002, Amos released Scarlet's Walk, another concept album. Described as a "sonic novel", the album explores Amos's alter ego, Scarlet, intertwined with her cross-country concert tour following 9/11. Through the songs, Amos explores such topics as the history of America, American people, Native American history, pornography, masochism, homophobia and misogyny. The album had a strong debut at No. 7 on the Billboard 200. Scarlet's Walk is Amos's last album to date to reach certified gold status from the RIAA.  Not long after Amos was ensconced with her new label, she received unsettling news when Polly Anthony resigned as president of Epic Records in 2003. Anthony had been one of the primary reasons Amos signed with the label and as a result of her resignation, Amos formed the Bridge Entertainment Group. Further trouble for Amos occurred the following year when her label, Epic/Sony Music Entertainment, merged with BMG Entertainment as a result of the industry's decline. Amos would later hint in interviews that during the creation of her next album, those in charge at the label following the aforementioned merger were interested "only in making money", the effects of which on the album have not been disclosed.  Amos released two more albums with the label, The Beekeeper (2005) and American Doll Posse (2007). Both albums received generally favorable reviews. The Beekeeper was conceptually influenced by the ancient art of beekeeping, which she considered a source of female inspiration and empowerment. Through extensive study, Amos also wove in the stories of the Gnostic gospels and the removal of women from a position of power within the Christian church to create an album based largely on religion and politics. The album debuted at No. 5 on the Billboard 200, placing her in an elite group of women who have secured five or more US Top 10 album debuts. While the newly merged label was present throughout the production process of The Beekeeper, Amos and her crew nearly completed her next project, American Doll Posse, before inviting the label to listen to it. American Doll Posse, another concept album, is fashioned around a group of girls (the "posse") who are used as a theme of alter-egos of Amos's. Musically and stylistically, the album saw Amos return to a more confrontational nature. Like its predecessor, American Doll Posse debuted at No. 5 on the Billboard 200.  During her tenure with Epic Records, Amos also released a retrospective collection titled Tales of a Librarian (2003) through her former label, Atlantic Records; a two-disc DVD set Fade to Red (2006) containing most of Amos's solo music videos, released through the Warner Bros. reissue imprint Rhino; a five disc box set titled A Piano: The Collection (2006), celebrating Amos's 15-year solo career through remastered album tracks, remixes, alternate mixes, demos, and a string of unreleased songs from album recording sessions, also released through Rhino; and numerous official bootlegs from two world tours, The Original Bootlegs (2005) and Legs & Boots (2007) through Epic Records.
Question: Did the album perform well?
Answer: had a strong debut at No. 7 on the Billboard 200. Scarlet's Walk is Amos's last album to date to reach certified gold status

Background: "Pride (In the Name of Love)" is a song by Irish rock band U2. The second track on the band's 1984 album, The Unforgettable Fire, it was released as the album's lead single in September 1984. Written about Martin Luther King Jr., the song received mixed critical reviews at the time, but it was a major commercial success for the band and has since become one of the band's most popular songs. "Pride" appeared on the compilation
Context: "Pride" reached #3 on the UK Singles Chart and #8 on the Dutch Singles Chart. The song was the band's first top 40 hit in the United States where it peaked at #33. It gained considerable US album-oriented rock radio airplay and its video was on heavy rotation on MTV, thus helping U2 continue its commercial breakthrough begun with the War album. It reached #1 in New Zealand, the first time a U2 single topped a country's singles chart.  Initial critical reactions to "Pride" were mixed, especially in regards to the lyrics. Robert Christgau in The Village Voice complained of "the moralism with the turn-somebody-else's-cheek glorification of Martin Luther King's martyrdom." Meanwhile, Kurt Loder of Rolling Stone wrote that "'Pride' gets over only on the strength of its resounding beat and big, droning bass line, not on the nobility of its lyrics, which are unremarkable."  But the 1984 Pazz & Jop poll of 240 music critics ranked "Pride" as the 12th best single of that year, a higher ranking than the overall album, which finished 29th. The single's ranking remained the highest of any U2 single until "One" achieved 8th in 1992. And in 1989, Spin named the song the 65th-greatest single in history. Rolling Stone magazine later (2010) placed the song at number 388 in their list "The 500 Greatest Songs of All Time". The Rock and Roll Hall of Fame selected "Pride (In the Name of Love)" as one of 500 Songs that Shaped Rock and Roll. Music television network VH1 ranked the song number 38 on the "100 Greatest Songs of the 80s" countdown in its series The Greatest. In 2004, Mojo placed the song at number 63 on its list of the "100 Epic Rock Tracks".  In 2007, the Roots covered "Pride" in a medley with "Sunday Bloody Sunday" for an NAACP dinner honoring Bono. The band also mixed in some of their own "False Media" and bits of Edwin Starr's "War."
Question: What did they like or dislike about the lyrics?
Answer:
The Village Voice complained of "the moralism with the turn-somebody-else's-cheek glorification of Martin Luther King's martyrdom.