This collection is called BEST because it’s my best. I didn’t want to do the obvious thing and simply put out a “Greatest Hits” record as anyone can do that. I always felt I could “do” them better and bring something to them that I’d missed, update the production and make them more vital. And besides, a retrospective was a nice way of looking at my work. I wanted to connect the dots as much for myself as for anyone who might hear it. It’s been a long career and this is the story–BEST yet actually. The story is far from over. - John Waite

During the mid-'90s, Sarah McLachlan was a near-ubiquitous presence in pop music, establishing adult alternative pop radio with 1994's Fumbling Toward Ecstasy and 1997's Surfacing and spearheading the popular Lilith Fair touring festival, but once the last Lilith wound up in 1999, she retreated from the spotlight, had a baby, and seemingly retired from music. Four years later, she made a typically subdued return with Afterglow, her first album in six years. Not much has changed in the time she was away. Afterglow is firmly within the McLachlan signature sound – a softly tuneful, mildly atmospheric blend of classic singer/songwriterism and a touch of vaguely dreamy alternative pop, all shined and immaculately produced by Pierre Marchand.

If you add up all the songs Nat King Cole placed in the various Billboard singles charts – including not only the pop and R&B charts, but also the adult contemporary and even country ones, as well as the lists of discs "bubbling under" the main pop chart – the total comes to a remarkable 123, and that's not including the many repeat appearances of "The Christmas Song (Merry Christmas to You)." The entries begin with "That Ain't Right," the King Cole Trio recording that entered the "Harlem Hit Parade" in the fall of 1942, and end with "Let Me Tell You, Babe," which dropped off the easy listening chart in the summer of 1966 more than two years after Cole's death; they range in popularity from "Straighten Up and Fly Right," which topped the black chart for ten weeks and the country chart for six while also placing in the pop Top Ten in 1944, to "Cappuccina," which spent one week bubbling under the pop chart at number 115 in 1961.

With apologies to Dianne Reeves, Patti Austin has always quite simply been the best jack-of-all-genre singers on the planet, crossing effortlessly from jazz to pop and R&B with a voice that's so sweet, rich, and lovely, it can't help but warm the heart. On the heels of her 1988 masterpiece The Real Me, her GRP debut packs a wallop of festive up tempo tunes, lite funk pop, torchy message songs, passionate ballads, and breezy tenderness – all delivered with a truly Austin-tatious flair. Austin surrounds herself with some of pop jazz's best here, with GRP's 1990 roster well represented: Dave Grusin (whose production is flawless), Don Grusin (with whom she co-wrote the happy "Ooh Wee (The Carnival)"), Deborah Henson-Conant (whose harp adds punch to "In My Dreams"), Lee Ritenour, and Nelson Rangell (whose alto soars on the title cut).

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Neo-prog band Pendragon formed in London during the heady days of punk, but didn't coalesce until 1983, when the band began playing around London and earned a small spot at that year's Reading Festival. The lineup stabilized, after the 1985 album Jewel, around vocalist/guitarist Nick Barrett, bassist Peter Gee, drummer Fudge Smith and keyboard player Clive Nolan. Pendragon recorded the live album 9:15 in 1986 and began to establish a continental fan base the following year. European audiences proved enthusiastic, spawning a contract with the French M.S.I. label; nevertheless, the group was forced to form its own Toff label just to release material in England.