Question: Given the below context:  There were no documentaries or compilation albums in the wake of Drake's death. His public profile remained low throughout the 1970s, although his name appeared occasionally in the music press. By this time, his parents were receiving an increasing number of fans and admirers as visitors to the family home. Island Records, following a 1975 NME article written by Nick Kent, stated they had no plans of repackaging Drake's albums, but in 1979 Rob Partridge joined Island Records as press officer and commissioned the release of the Fruit Tree box set. The release compiled the three studio albums, the four tracks recorded with Wood in 1974, and an extensive biography written by the American journalist Arthur Lubow. Although sales were poor, Island Records never deleted the three albums from its catalogue.By the mid-1980s, Drake was being cited as an influence by musicians such as Peter Buck of R.E.M. and Robert Smith of the Cure; Smith credited the origin of his band's name to a lyric from Drake's song "Time Has Told Me" ("a troubled cure for a troubled mind"). Drake gained further exposure in 1985 with the release of the Dream Academy's hit single "Life in a Northern Town", which included a dedication to Drake on its sleeve. In 1986, a biography of Drake was published in Danish; it was translated, updated with new interviews, and published in English in February 2012. Drake's reputation continued to grow, and by the end of the 1980s, his name was appearing regularly in newspapers and music magazines in the United Kingdom; he had come to represent a "doomed romantic hero".On 20 June 1998, BBC Radio 2 broadcast a documentary, Fruit Tree: The Nick Drake Story, featuring interviews with Boyd, Wood, Gabrielle and Molly Drake, Paul Wheeler, Robert Kirby and Ashley Hutchings, and narrated by Danny Thompson. In early 1999, BBC2 aired a 40-minute documentary, A Stranger Among Us—In Search of Nick Drake. The following year, Dutch director Jeroen Berkvens released the documentary A Skin Too Few: The Days of Nick Drake,...  Guess a valid title for it!
Answer: Nick Drake

Question: Given the below context:  Rumours has been acclaimed by music critics since its release. Robert Christgau, reviewing in The Village Voice, gave the album an "A" and described it as "more consistent and more eccentric" than its predecessor. He added that it "jumps right out of the speakers at you". Rolling Stone magazine's John Swenson believed the interplay among the three vocalists was one of the album's most pleasing elements; he stated, "Despite the interminable delay in finishing the record, Rumours proves that the success of Fleetwood Mac was no fluke." In a review for The New York Times, John Rockwell said the album is "a delightful disk, and one hopes the public thinks so, too", while Dave Marsh of the St. Petersburg Times claimed the songs are "as grandly glossy as anything right now". Robert Hilburn was less receptive and called Rumours a "frustratingly uneven" record in his review for the Los Angeles Times, while Juan Rodriguez of The Gazette suggested that, while the music is "crisper and clearer", Fleetwood Mac's ideas are "slightly more muddled". The album finished fourth in The Village Voice's 1977 Pazz & Jop critics' poll, which aggregated the votes of hundreds of prominent reviewers.In a retrospective review, AllMusic editor Stephen Thomas Erlewine gave Rumours five stars and noted that, regardless of the voyeuristic element, the record was "an unparalleled blockbuster" because of the music's quality; he concluded, "Each tune, each phrase regains its raw, immediate emotional power—which is why Rumours touched a nerve upon its 1977 release, and has since transcended its era to be one of the greatest, most compelling pop albums of all time." According to Slant Magazine's Barry Walsh, Fleetwood Mac drew on romantic dysfunction and personal turmoil to create a timeless, five-star record, while Andy Gill of The Independent claimed it "represents, along with The Eagles Greatest Hits, the high-water mark of America's Seventies rock-culture expansion, the quintessence of a counter-cultural mindset lured into coke-fuelled...  Guess a valid title for it!
Answer: Rumours (album)

Question: Given the below context:  Maura is a down on her luck single mother who's facing eviction from her house, which lead her to the rash decision to marry an illegal immigrant, Wilson, in exchange of €9,000. Maura's daughter Molly believes that her mother truly loves Wilson and that she's getting a new father. Meanwhile, Freddie, a nice guy with OCD-esque habits, is remarrying the selfish and very image-conscious Sophie after a recent divorce. The receptions for both weddings are being held in the same hotel. Freddie and Maura's paths keep crossing, leading to Sophie wrongly assuming that the two are involved in an illicit affair. To complicate matters, two immigration officers arrive at the wedding reception to investigate Wilson and Maura. Eventually Molly learns that her mother is involved in a scam and has no feelings for Wilson. Believing her suspicions of an affair to be true, Sophie flees the wedding. Presuming Freddie responsible, Sophie's aggressive father loses his cool and attempts to assault Freddie. Meanwhile, Sophie has gone to a pub in Dublin with some working class girls who support her decision to run away as they believe Freddie to be a lecherous cheater. Sophie gets drunk with her new friends while Freddie is frantically trying to find her to keep his marriage afloat. It is revealed that one of the reasons for their original breakup wasn't Sophie's mental state, as insinuated, but Freddie's nervous breakdown for his inability to deal with Sophie. Facing ruin and a new divorce, Freddie tries to take his own life by throwing himself off the top floor of the hotel. However, just as he is about to jump, Maura steps in and talks him down from the ledge. When he returns to the wedding, they find both parties have joined together and a drunken Sophie has come back.  Guess a valid title for it!
Answer:
Happy Ever Afters