Given the below context:  Hex Enduction Hour was the first Fall album to make the UK Albums Chart, where it spent three weeks, peaking at no. 71. By mid-1983 it had sold 20,000 copies, reflecting a surge in the band's popularity, and five years into their career brought them to the attention of record labels. Critics were highly enthusiastic; according to Simon Ford, they could "have hardly been more supportive". Reviewing the album in the NME, Richard Cook described the band as tighter and more disciplined than in earlier recordings, "their master piece to date", while still maintaining their impact. He praised the band's use of recording-studio techniques and atmospherics without resorting to glamorisation. Melody Maker's Colin Irwin said it was "incredibly exciting and utterly compelling".  A dissenter was Neil McCormick of Irish fortnightly Hot Press, who dismissed the album as secondhand melodramatic punk and wondered if the album was "meant to be minimalist or primitive then it fatally ignores the true primitivism of the strong melody and accessible lyrics found in folk music."Later, Record Collector described the album as a "taut, twitchy and ominous masterclass in DIY post-punk", and singled out Smith's lyrics for praise. The Quietus, in 2009, wrote of the album as "arguably ... The Fall's mightiest hour", while Stylus Magazine wrote that "Hex demonstrates the culmination of 'early' Fall: a monolithic beast of ragged grooves piloted through the embittering miasma of English society by the verbose acidity/Joycean all-inclusiveness of Mark E. Smith." Pitchfork listed Hex Enduction Hour as the 33rd best album of the 1980s. Comedian Stewart Lee has called it his favourite album and "probably the best album of all time."According to Smith, the album's lyrics had a negative impact on the band's later career. In 1984, Motown Records expressed interest in signing the band to a new UK division, with a provisional offer of a £46,000 up-front advance. A label executive asked to hear something from the Fall's back catalogue, but Hex was...  Guess a valid title for it!
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Answer: Hex Enduction Hour 3


Q: Given the below context:  In the decades preceding World War I, this stretch of coast became famous for its wildfowling; locals were looking for food, but some more affluent visitors hunted to collect rare birds; Norfolk's first barred warbler was shot on the point in 1884. In 1901, the Blakeney and Cley Wild Bird Protection Society created a bird sanctuary and appointed as its "watcher", Bob Pinchen, the first of only six men, up to 2012, to hold that post.In 1910, the owner of the Point, Augustus Cholmondeley Gough-Calthorpe, 6th Baron Calthorpe, leased the land to University College London (UCL), who also purchased the Old Lifeboat House at the end of the spit. When the baron died later that year, his heirs put Blakeney Point up for sale, raising the possibility of development. In 1912, a public appeal initiated by Charles Rothschild and organised by UCL Professor Francis Wall Oliver and Dr Sidney Long enabled the purchase of Blakeney Point from the Calthorpe estate, and the land was then donated to the National Trust. UCL established a research centre at the Old Lifeboat House in 1913, where Oliver and his college pioneered the scientific study of Blakeney Point. The building is still used by students, and also acts as an information centre. Despite formal protection, the tern colony was not fenced off until the 1960s.The Point was designated as a Site of Special Scientific Interest (SSSI) in 1954, along with the adjacent Cley Marshes reserve, and subsumed into the newly created 7,700-hectare (19,000-acre) North Norfolk Coast SSSI in 1986. The larger area is now additionally protected through Natura 2000, Special Protection Area (SPA) and Ramsar listings, IUCN category IV (habitat/species management area) and is part of the Norfolk Coast Area of Outstanding Natural Beauty. The Point became a National Nature Reserve (NNR) in 1994, and the coast from Holkham NNR to Salthouse, together with Scolt Head Island, became a Biosphere Reserve in 1976.  Guess a valid title for it!
A: Blakeney Point


Question: Given the below context:  The first three symphonies, to which Vaughan Williams assigned titles rather than numbers, form a sub-group within the nine, having programmatic elements, absent from the later six.A Sea Symphony (1910), the only one of the series to include a part for full choir, differs from most earlier choral symphonies in that the choir sings in all the movements. The extent to which it is a true symphony has been debated; in a 2013 study, Alain Frogley describes it as a hybrid work, with elements of symphony, oratorio and cantata. Its sheer length—about eighty minutes—was unprecedented for an English symphonic work, and within its thoroughly tonal construction it contains harmonic dissonances that pre-echo the early works of Stravinsky which were soon to follow.A London Symphony (1911–1913) which the composer later observed might more accurately be called a "symphony by a Londoner", is for the most part not overtly pictorial in its presentation of London. Vaughan Williams insisted that it is "self-expressive, and must stand or fall as 'absolute' music". There are some references to the urban soundscape: brief impressions of street music, with the sound of the barrel organ mimicked by the orchestra; the characteristic chant of the lavender-seller; the jingle of hansom cabs; and the chimes of Big Ben played by harp and clarinet. But commentators have heard—and the composer never denied or confirmed—some social comment in sinister echoes at the end of the scherzo and an orchestral outburst of pain and despair at the opening of the finale. Schwartz comments that the symphony, in its "unified presentation of widely heterogeneous elements", is "very much like the city itself". Vaughan Williams said in his later years that this was his favourite of the symphonies.The last of the first group is A Pastoral Symphony (1921). The first three movements are for orchestra alone; a wordless solo soprano or tenor voice is added in the finale. Despite the title the symphony draws little on the folk-songs beloved of the composer, and the...  Guess a valid title for it!
Answer: Ralph Vaughan Williams


Given the below context:  Set in New York City, Candy Mountain tells the tale of a struggling guitarist named Julius. After he promises a rock star he can find an elusive guitar maker and acquire his valuable products, he sets off on a quest to Canada to find the legendary Elmore Silk, in order to strike a deal with him. Along his journey via T-Bird, Volkswagen, and hitchhiking, he experiences a series of encounters and misadventures with those who claim to have known the reclusive Silk. Each encounter provides him with valuable insight into the kind of man Silk is, and his journey is filled with "musicians playing small roles: David Johanson as the star who wants to buy up the guitars, Tom Waits as Elmore's middle-class brother, Joe Strummer as a punk, Dr. John as Elmore's cranky son-in-law, Leon Redbone as one-half of a peculiar Canadian family who enjoy imprisoning passers-by". As he ventures further North, and reaches Canada, he is finally in the presence of the famous guitarist he had been searching for. Once he meets Silk, he is faced with the realization that financial gain is nothing compared to the development of one's artistic ability.  Guess a valid title for it!
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Answer:
Candy Mountain