Problem: Background: The Buggles were an English new wave band formed in London, England in 1977 by singer and bassist Trevor Horn and keyboardist Geoffrey Downes. They are best known for their 1979 debut single "Video Killed the Radio Star" that topped the UK Singles Chart and reached number one in 15 other countries. The duo released their first album, The Age of Plastic, in January 1980 with "Video Killed the Radio Star" as its lead single. Soon after the album's release, Horn and Downes joined the progressive rock band
Context: Downes claimed the group's name derived as a pun on the rock band the Beatles, saying: "It was originally called the Bugs ... studio insects--imaginary creatures who lived in recording studios creating havoc. Then somebody said as a joke that the Bugs would never be as big as The Beatles. So we changed it to the Buggles." Horn later spoke of its name: "I know the name's awful, but at the time it was the era of the great punk thing. I'd got fed up of producing people who were generally idiots but called themselves all sorts of clever names like the Unwanted, the Unwashed, the Unheard ... when it came to choosing our name I thought I'd pick the most disgusting name possible. In retrospect I have frequently regretted calling myself Buggles, but in those days I never really thought much about packaging or selling myself, all that really concerned me was the record."  Horn began his career producing jingles and punk rock groups. Downes was a keyboardist in She's French and graduated from Leeds College of Music in 1975, after which he moved to London for keyboard work. The two first met in 1976 at auditions for Tina Charles' backing band and worked with her producer, Biddu, whose backing tracks had an influence on their early work as the Buggles. Horn met musician Bruce Woolley while playing the bass guitar in the house band at the Hammersmith Odeon. Both expressed an interest in Kraftwerk and Daniel Miller, leading them to read Crash by J.G. Ballard. Said Horn, ""We had this idea that at some future point there'd be a record label that didn't really have any artists--just a computer in the basement and some mad Vincent Price-like figure making the records ... One of the groups this computer would make would be the Buggles, which was obviously a corruption of the Beatles, who would just be this inconsequential bunch of people with a hit song that the computer had written ... and would never be seen."  In 1977, Horn, Downes and Woolley got together and began recording a selection of demos in a small room above a stonemason shop in Wimbledon, south west London, including "Video Killed the Radio Star", "Clean, Clean" and "On TV". Though unsure on what they wished to do with them, Downes remembered that "we knew even then ... there was some distant goal that had to be reached", and proceeded to re-record the songs at a 16-track recording studio in north London. Initial searches for the right record label to record and release an album failed, but Horn, having begun a relationship with Jill Sinclair, a co-founder of Sarm East Studios, managed to secure plans for a potential deal. However, the demo of "Video Killed the Radio Star" caught the attention of producer Chris Blackwell of Island Records and, on the day Horn and Downes were due to sign with Sarm East, Blackwell offered them a more lucrative deal, which they accepted. Downes claimed Island rejected them three times before a final deal was agreed upon.
Question: what happened in 1977?
Answer: In 1977, Horn, Downes and Woolley got together and began recording a selection of demos

Problem: Background: Spacemen 3 were an English alternative rock band, formed in 1982 in Rugby, Warwickshire by Peter Kember and Jason Pierce. Their music is known for its brand of "minimalistic psychedelia". Spacemen 3 had their first independent chart hits in 1987, gaining a cult following, and going on to have greater success towards the end of the decade. However, they disbanded shortly afterwards, releasing their final studio album post-split in 1991 after an acrimonious parting of ways.
Context: In November 1985, Spacemen 3 played a gig at a leisure centre in Coventry to an audience of fewer than ten people. Nevertheless, encouraged by the support of Pat Fish, they determined that they ought to record a new demo tape. By this time they had reconfigured and honed their musical style, and their repertoire consisted of newer songs and re-worked older ones. "The band's sound had crystallised into the intense, hypnotic, overloaded psychedelia which characterised their early [record] output, and which would serve as a template for their live act throughout their existence" (Ian Edmond, Record Collector).  At Pierce's instigation, Pete Bain rejoined the band on bass in order to fill out their sound. Despite being a 4-piece again, they would retain the name 'Spacemen 3'. Kember and Pierce opted to upgrade their guitar equipment ahead of recording the new demos. Kember purchased a Burns Jazz electric guitar and 1960s Vox Conqueror amplifier; whilst Pierce bought a Fender Telecaster and a 1970s HH amplifier. Both of their new amplifiers included distortion/fuzz and tremolo; these two effects were key components of Spacemen 3's signature sound.  In January 1986, Spacemen 3 attended the home studio of Carlo Marocco at Piddington, outside Northampton, to record their new demo tape. They spent three-and-a-half days at the 16-track studio. Recording live as a group, with minimal overdubs, they managed to get demos for approximately seven songs. Kember and Pierce handled the production. These "fine set of performances" (Ned Raggett, AllMusic) would later be unofficially released as the vinyl album Taking Drugs to Make Music to Take Drugs To on the Father Yod label in 1990 (albeit described incorrectly as "rehearsals in Rugby").  Spacemen 3 managed to obtain a record deal shortly after producing their new demos. Pat Fish had given a copy of the demo tape to Dave Barker, the owner of the independent record label Glass Records, to whom Fish's band The Jazz Butcher were signed. Spacemen 3 signed a three-year, two-album recording contract with Glass Records in early 1986.
Question: What was the name of the record?
Answer: