A feisty 4CD clamshell box set exploring the melting pot of British indie dance music that shook the lager drenched dancefloors in the second half of the 1990s. A supersonic soundclash of iconic electronic outfits like The Prodigy, Fatboy Slim, Basement Jaxx, Leftfield, Death In Vegas, Moloko, Orbital and Bentley Rhythm Ace, alongside floor-fillers from indie titans like Blur, Shed Seven, Charlatans, Super Furry Animals, Supergrass, Tricky, Sleeper, Gomez, Radiohead and Cornershop. Over four hours of party tunes and afters grooves, packed with punchy remixes from Chemical Brothers, Arthur Baker, Norman Cook, Midfield General, Mint Royale and Lynch Mob. As Britpop exploded across UK culture, Cool Britannia ruled the airwaves and was plastered across the pages of magazines and newspapers. Music festivals were making their great comeback and DJs and dance acts were sharing stages and headline slots with the biggest guitar bands around. This compilation takes a slippery trip through the hedonistic tunes that were filling the dancefloors, fields, front rooms and bedrooms across Great Britain as the country drank, danced and partied towards a new millennium. Featuring over 50 cuts across 4CDs bouncing from Britpop to Trip Hop and bopping from Big Beat to Techno with a superb selection of relentless remixes, chart-topers and chilled beats thrown in for good measure.

Whatever one may think about the films of director Cameron Crowe, the former music journalist for Rolling Stone always manages to amass amazing soundtrack albums by calling on the connections he made as one of the most artist-friendly writers in music business history. This "music from" various-artists collection is certainly no exception. Vanilla Sky, Crowe's American remake of Spanish director Alejandro Amenábar's film Open Your Eyes, a psychological thriller with a science fiction element starring Tom Cruise, drew mixed notices from critics and filmgoers. But not many movies have theme songs specially written by Paul McCartney (a typically melodic folk-rock ballad) or feature an artist list including tracks by R.E.M., Radiohead, Peter Gabriel, Jeff Buckley, and Bob Dylan (a live acoustic take of "Fourth Time Around" from Blonde on Blonde). Lesser-known artists such as Julianna Gianna, Red House Painters, and Josh Rouse also contribute good songs. The result is an excellent mixtape, irrespective of the virtues of the cinematic complement to the music.

Mystic Mixes features new mixes of songs recorded 1969-1975.

Singles 93–03 is a compilation album by The Chemical Brothers and was released on September 22, 2003. It is a collection of singles published by the band from 1993 to 2003 (though not all the singles are included), plus new songs "Get Yourself High" and "The Golden Path". Early copies of the CD came with a bonus CD. To remain relevant after a decade in the music industry is rare indeed; for a dance act, it's virtually unique. Singles 93-03 ably demonstrates how the Chemical Brothers have managed it. Having first carved a reputation as DJs the Dust Brothers in the early 1990s, the two history graduates narrowly avoided calling themselves the London Dust Explosion before spearheading big beat, becoming a huge live draw, collaborating with Noel Gallagher and having Glastonbury Festival founder Michael Eavis play "Hey Boy, Hey Girl" at his wedding. It's been 10 years of fun, frolics, and gigantean left-field beats for Ed Simmons and Tom Rowland and, as this faultless singles collection testifies, continual reinvention.

Looking back on Fatboy Slim's discography, Palookaville is up against some stiff competition, which makes it the low point only because it isn't another beginning-to-end stunner. The Fatboy himself – Norman Cook – had given plenty of hints in the press before the album's release that this was going to be different. He went through marriage problems and declared a renewed interest in hip-hop over dance music, dance being a genre he sees as going through another dry period. Still, this isn't a "forget everything you know about…" album since the jittery "Slash Dot Dash" and "Jin Go Lo Ba" sound like old outtakes. They're the lesser tracks on an album that could have been tighter had Cook not played it safe by including them.

"Changing Faces" is the self-titled debut album by the R&B duo Changing Faces, released in 1994. The duo, consisting of singers Cassandra Lucas and Charisse Rose, gained popularity in the mid-1990s with their smooth harmonies and soulful sound. The album features a mix of slow jams and up-tempo tracks, highlighting their vocal talents and songwriting skills.

Decksandrumsandrockandroll is the only studio album by the British band Propellerheads, released on 26 January 1998 by Wall of Sound (UK) and DreamWorks (U.S.). The original release of Decksandrumsandrockandroll features 13 tracks, produced by Will White and Alex Gifford. Most are instrumental, sometimes with vocal samples. The exception is "History Repeating", which features vocals from veteran singer Shirley Bassey. "On Her Majesty's Secret Service" is a collaboration with composer David Arnold and his orchestra. It is a remix of John Barry's theme from the James Bond film of the same name which also features a cue from his score for You Only Live Twice.

Gary Moore rocked the world of Blues and Rock with his virtuoso guitar playing and soulful voice. Having played in numerous legendary bands including Thin Lizzy and Skid Row, alongside his own solo career, Moore is regarded as one of the most influential Irish musicians of all time. Having been honoured by both Gibson and Fender with signature guitars, the Northern Irish star is still regarded as one of the best guitar players of all time. A Different Beat, was Moore’s 12th solo album, where he explored new areas of blues and rock. This album has never previously been released on vinyl, and contains new liner notes written by Dave Everley. This release is pressed onto transparent orange vinyl and includes bonus track ‘Can’t Help Myself (E-Z Rollers Remix)’.

Fierce rave-into-hardcore collective that became one of the best-selling dance acts ever thanks to the incendiary "Firestarter". Collection includes: 'Experience' (1992); 'Music For The Jilted Generation' (1994) 2CDs; 'The Fat of the Land' (1997); 'Always Outnumbered, Never Outgunned' (2004); 'Their Law: The Singles 1990-2005' (2005) 2CDs; 'Invaders Must Die' (2009) 2CDs.

Great artists such as, incognito, Quincy Jones, Jackson Sisters, Jean Knight, Young Disciples, and the excellent Family Stand with Ghetto Heaven which is exactly what this cd is - Heaven!

Halfway Between the Gutter and the Stars is the third studio album by British big beat musician Fatboy Slim. It was released on 6 November 2000 through Skint Records. It features Macy Gray, Ashley Slater, Bootsy Collins, Roland Clark, Jim Morrison, and Roger Sanchez as guest contributors. The album's title, mentioned in the single "Weapon of Choice" is an allusion to the Oscar Wilde quote "We are all in the gutter, but some of us are looking at the stars".

All credit to Gary Moore for having the courage to leap into the relative unknown with A Different Beat. It is indeed greatly removed from anything he had released prior to 1999. Perhaps it was the new-found freedom from the guitarist's contract with Virgin that fuelled the change of direction–that and Moore's obvious affinity with outfits along the lines of Apollo 440 and Fatboy Slim (to whom "Fatboy" is a tribute). There's still opportunity for some trademark axe solos, thankfully, and hearing Moore's fretwork gymnastics over contemporary dance beats is a totally unique experience. Most impressive are "Lost in Your Love," given an impassioned vocal and instrumental performance, and the blissed-out "Surrender," the other end of the emotional scale entirely.

The act with the first arena-sized sound in the electronica movement, the Chemical Brothers united such varying influences as Public Enemy, Cabaret Voltaire, and My Bloody Valentine to create a dance-rock-rap fusion which rivaled the best old-school DJs on their own terms – keeping a crowd of people on the floor by working through any number of groove-oriented styles featuring unmissable samples, from familiar guitar riffs to vocal tags to various sound effects. And when the duo (Tom Rowlands and Ed Simons) decided to supplement their DJ careers by turning their bedrooms into recording studios, they pioneered a style of music (later termed big beat) remarkable for its lack of energy loss from the dancefloor to the radio. Chemical Brothers albums were less collections of songs and more hour-long journeys, chock-full of deep bomb-studded beats, percussive breakdowns, and effects borrowed from a host of sources. All in all, the duo proved one of the few exceptions to the rule that intelligent dance music could never be bombastic or truly satisfying to the seasoned rock fan; it's hardly surprising that they were one of the few dance acts to enjoy simultaneous success in the British/American mainstream and in critical quarters.

BMG UK gathered nearly all of Beth Orton's brightest moments for Pass in Time: The Definitive Collection. This double-disc set does a decent job presenting Orton's undeniable gift as an artist, and those who are introduced to her for the first time here will be thoroughly impressed. Those longtime fans who already own her first three albums and the Best Bit EP might be puzzled at Pass in Time's unfashionably early arrival; however, the 24-song compilation merits the same consideration given to Orton's previous work.