The collected anthology from the innovative group from the late 1980's and early 1990's that includes all their hits and more. The Beloved are a British electronic group best known for the singles "Sweet Harmony", "The Sun Rising", "Hello", "Your Love Takes Me Higher", and "Satellite". Originally a post-punk/new wave band formed in 1983, they underwent a change in direction in the late 1980s to a house/alternative dance sound and experienced chart success inside and outside of the UK.

So Long Celeste is the debut solo album by German singer Marian Gold, released in 1992. Included on the album were cover versions of "The Shape of Things to Come" (originally by The Headboys) and "One Step Behind You" (by Furniture). Marian Gold is a German singer-songwriter who gained fame as the lead singer of the German synth-pop recording act Alphaville, but also had recorded as a solo artist.

Samantha Karen "Sam" Fox is an English dance-pop singer, actress, and former glamour model. In 1983, at the age of 16, she began her topless modeling career on Page 3 of "The Sun", and went on to become an enormously popular pin-up girl. In 1986 she launched her pop music career with her debut single "Touch Me (I Want Your Body)," which became a Number 1 hit in five countries. She has since sold over 30 million albums worldwide. Greatest Hits is a 2009 compilation album by Samantha Fox. It was conceived and developed by British music producer, Carl M Cox, who approached Sony Music with the idea of releasing a definitive hits collection, having discovered a number of unreleased recordings at Pete Waterman's PWL studios to include with material from Fox's first four albums with Jive Records as well as her more recent recordings from the 1990s and early 2000s.

Guitar Man is a classy album from Bread which provided David Gates with reason enough to go solo. Just listen to "Aubrey" to hear how the producer/singer/songwriter could create a strong track with little or no help from his fellow musicians. On the other hand, two of his strongest songs, "Sweet Surrender" and "The Guitar Man," are totally products of a band in a groove. The three hits failed to break the Top Ten, though the title track came close, one notch away. It and the sublime "Sweet Surrender" both topped the adult contemporary charts in 1972, while "Aubrey" followed those two titles, going Top 15 itself in early 1973.

Places of Worship signals trumpeter and composer Arve Henriksen's return to Rune Grammophon and furthers his collaboration with both Jan Bang and Erik Honoré. Here his experimentations with sound, space, and texture offer listening environments that reflect various sacred spaces the world over, hence its title. While these tracks are impossible to separate from the influences of Jon Hassell's Fourth World Music explorations or the more murky moodscapes of Nils Petter Molvær, they are also more than a few steps removed from them. Henriksen never separates himself from the environmental information provided by his natural Nordic landscape. The lush, wild, and open physical vistas of its geography provide an inner map for the trumpeter and vocalist that amounts to a deeply focused series of tone poems.

In the '70s, harmonica man Billy Branch was one of the young upstarts helping to keep the Chicago blues sound alive; in the 21st century, he's matured into one of the Windy City's most venerable blues talents, and as a musician and educator, Branch has spread the word about the blues across the country and around the world. Branch has led the Sons of Blues, his backing band, since the mid-'70s, and despite numerous personnel changes, the SOBs have never wavered in their dedication to pure, unadulterated Chicago blues.

Tam-Tam was Amanda's last album with Ariola Records and was mainly recorded only to fulfill her contract with the label. It was also her first full-length release not to be produced in Munich by Anthony Monn, but only by Italian musicians, primarily Roberto Cacciapaglia who produced the entire material. The album is a blend of synthesizer-based pop and new wave music. Lyrically, it references African folklore, mainly dealing with topics such as black magic. Amanda explained in a 1983 interview: "I'm fascinated with Voodoo, Macumba, exorcisms. Basically, the sphere that goes beyond the perception of rationality". The album artwork is credited to Graphic Studio CGD. It portrays Amanda as an African witch, complete with make-up and outfit. The dress and jewelry are credited to Artemio of Milano, and the photographs are by Angelo Deligio.