[Q]: Given the below context:  Although Island neither expected nor wanted a third album, Drake approached Wood in October 1971 to begin work on what would be his final release. Sessions took place over two nights, with only Drake and Wood present in the studio. The bleak songs of Pink Moon are short, and the eleven-track album lasts only 28 minutes, a length described by Wood as "just about right. You really wouldn't want it to be any longer." Drake had expressed dissatisfaction with the sound of Bryter Layter, and believed that the string, brass and saxophone arrangements resulted in a sound that was "too full, too elaborate". Drake appears on Pink Moon accompanied only by his own carefully recorded guitar save for a piano overdub on the title track. Wood later said: "He was very determined to make this very stark, bare record. He definitely wanted it to be him more than anything. And I think, in some ways, Pink Moon is probably more like Nick is than the other two records."Drake delivered the tapes of Pink Moon to Chris Blackwell at Island Records, contrary to a popular legend which claims he dropped them off at the receptionist's desk without saying a word. An advertisement for the album in Melody Maker in February opened with "Pink Moon—Nick Drake's latest album: the first we heard of it was when it was finished." Pink Moon sold fewer copies than its predecessors, although it received some favourable reviews. In Zigzag, Connor McKnight wrote, "Nick Drake is an artist who never fakes. The album makes no concession to the theory that music should be escapist. It's simply one musician's view of life at the time, and you can't ask for more than that."Blackwell felt Pink Moon had the potential to bring Drake to a mainstream audience; however, his staff were disappointed by Drake's unwillingness to promote it. A&R manager Muff Winwood recalled "tearing his hair out" in frustration, and said that without Blackwell's enthusiastic support "the rest of us would have given him the boot". At Boyd's insistence, Drake agreed to an interview with...  Guess a valid title for it!
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[A]: Nick Drake


[Q]: Given the below context:  Many critics have noted the extraordinary development of Dylan's songwriting immediately after completing his first album. One of Dylan's biographers Clinton Heylin connects the sudden increase in lyrics written along topical and political lines to the fact that Dylan had moved into an apartment on West 4th Street with his girlfriend Suze Rotolo in January 1962. Rotolo's family had strong left-wing political commitments; both of her parents were members of the American Communist Party. Dylan acknowledged her influence when he told an interviewer: "Suze was into this equality-freedom thing long before I was. I checked out the songs with her."Dylan's relationship with Rotolo also provided an important emotional dynamic in the composition of the Freewheelin' album. After six months of living with Dylan, Rotolo agreed to her mother's proposal that she travel to Italy to study art. Dylan missed her and wrote long letters to her conveying his hope that she would return soon to New York. She postponed her return several times, finally coming back in January 1963. Critics have connected the intense love songs expressing longing and loss on Freewheelin' to Dylan's fraught relationship with Rotolo. In her autobiography, Rotolo explains that musicians' girlfriends were routinely described as "chicks", and she resented being regarded as "a possession of Bob, who was the center of attention".The speed and facility with which Dylan wrote topical songs attracted the attention of other musicians in the New York folk scene. In a radio interview on WBAI in June 1962, Pete Seeger described Dylan as "the most prolific songwriter on the scene" and then asked Dylan how many songs he had written recently. Dylan replied, "I might go for two weeks without writing these songs. I write a lot of stuff. In fact, I wrote five songs last night but I gave all the papers away in some place called the Bitter End." Dylan also expressed the impersonal idea that the songs were not his own creation. In an interview with Sing Out! magazine, Dylan...  Guess a valid title for it!
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[A]: The Freewheelin' Bob Dylan


[Q]: Given the below context:  In 1933, Lewis Tater, an aspiring novelist who harbors dreams of becoming the next Zane Grey, decides to leave his family home in Iowa to go to the University of Titan in Nevada so he can soak up the western atmosphere. He arrives to find that there is no university, only a mail order correspondence course scam run by two crooks out of the local hotel. He tries to spend the night at the hotel, but is attacked by one of the men in an attempted robbery. He escapes his attacker, grabs his suitcase, and steals their car to get away, but after awhile   it runs out of gas. He looks in the car trunk, and finds a toolbox containing a revolver and ammunition. Afraid the two crooks are still in pursuit of him, he takes the tool box and his suitcase and walks off into the desert.  Wandering and exhausted, the next morning he happens upon a threadbare film-unit from Tumbleweed Productions grinding out a "B" western. Later that day, he catches a lift with the cowboy actors to Los Angeles. After applying for work at Tumbleweed, he is referred by crusty old extra Howard Pike to the Rio, a western-themed restaurant. While washing dishes at the Rio, he is called by Tumbleweed, where Howard mentors him to be an actor. After proving himself as a stuntman, unit manager Kessler offers him a speaking role. Tater then falls in love with spunky script girl Miss Trout. Meanwhile, the crooks trace him to Los Angeles to retrieve the safe-box containing their money that was in the car stolen by Lewis.  Guess a valid title for it!
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[A]: Hearts of the West


[Q]: Given the below context:  Gloria Wandrous wakes up in the apartment of wealthy executive Weston Liggett and finds that he has left her $250. An insulted Gloria, whose dress is torn, takes Liggett's wife Emily's (Dina Merrill) mink coat to cover herself and scrawls "No Sale" in lipstick on the mirror, but she orders her telephone answering service, BUtterfield 8, to put Liggett through if he calls. Gloria visits a childhood friend, pianist Steve Carpenter, who chastises her for wasting her life on one-night stands but agrees to ask his girlfriend Norma to lend her a dress. Gloria leaves, and Norma tells Steve to choose between her and Gloria. Liggett takes a train to the countryside where his wife Emily is caring for her mother. A friend, Bingham Smith, advises him to end his adulterous relationships and return to Bing's law firm instead of working for the chemical business of Emily's father. Meanwhile, Gloria lies to her mother Annie, claiming to have spent the night at Norma's. Liggett returns home. Finding the lipstick and money, he phones Gloria to explain the money was meant for her to buy a new dress, to replace the one that he had torn. While drinking later that night, Liggett advises her to ask a high price for her lovemaking talents. She insists she does not take payment from her dates and claims she has been hired as a model to advertise the dress she is wearing at three bistros that night. Liggett follows Gloria, watching her flirt with dozens of men at several clubs. He then drives her to a run-down motel. After sleeping together, Liggett and Gloria decide to explore their relationship further. Together for five days, they grow closer, falling genuinely in love with one another and parting only upon the return of Liggett's wife.  Guess a valid title for it!
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[A]:
BUtterfield 8