Question: Grace Beverly Jones (born 19 May 1948) is a Jamaican singer, songwriter, supermodel, record producer, and actress. Born in Jamaica, she moved when she was 13, along with her siblings, to live with her parents in Syracuse, New York. Jones began her modelling career in New York state, then in Paris, working for fashion houses such as Yves St. Laurent and Kenzo, and appearing on the covers of Elle and Vogue. She worked with photographers such as Jean-Paul Goude, Helmut Newton, Guy Bourdin, and Hans Feurer, and became known for her distinctive androgynous appearance and bold features.

Jones was signed by Island Records, who put her in the studio with disco record producer, Tom Moulton. Moulton worked at Sigma Sound Studios in Philadelphia, and Portfolio, was released in 1977. The album featured three songs from Broadway musicals, "Send in the Clowns" by Stephen Sondheim from A Little Night Music, "What I Did for Love" from A Chorus Line and "Tomorrow" from Annie. The second side of the album opens up with a seven-minute reinterpretation of Edith Piaf's "La Vie en rose" followed by three new recordings, two of which were co-written by Jones, "Sorry", and "That's the Trouble". The album finished with "I Need a Man", Jones' first club hit. The artwork to the album was designed by Richard Bernstein, an artist for Interview. In 1978, Jones and Moulton made Fame, an immediate follow-up to Portfolio, also recorded at Sigma Sound Studios. The album featured another reinterpretation of a French classic, "Autumn Leaves" by Jacques Prevert. The Canadian edition of the vinyl album included another French language track, "Comme un oiseau qui s'envole", which replaced "All on a Summers Night"; in most locations this song served as the B-side of the single "Do or Die". In the North American club scene, Fame was a hit album and the "Do or Die"/"Pride"/"Fame" side reached top 10 on both the US Hot Dance Club Play and Canadian Dance/Urban charts. The album was released on compact disc in the early 1990s, but soon went out of print. In 2011, it was released and remastered by Gold Legion, a record company that specialises in reissuing classic disco albums on CD. Jones' live shows were highly sexualized and flamboyant, leading her to be called "Queen of the Gay Discos." Muse was the last of Jones' disco albums. The album features a re-recorded version "I'll Find My Way to You", which Jones released three years prior to Muse. Originally appearing in the 1976 Italian film, Colt 38 Special Squad in which Jones had a role as a club singer, Jones also recorded a song called "Again and Again" that was featured in the film. Both songs were produced by composer Stelvio Cipriani. Icelandic keyboardist Thor Baldursson arranged most of the album and also sang duet with Jones on the track "Suffer". Like the last two albums, the cover art is by Richard Bernstein. Like Fame, Muse was later released by Gold Legion.

Using a quote from the above article, answer the following question: who was her producer?
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Answer: producer, Tom Moulton.

Question: The Future Sound of London (often abbreviated to FSOL) is a British electronic music group composed of Garry Cobain (sometimes stylised as Gaz Cobain) and Brian Dougans. The duo are often credited with pushing the boundaries of electronic music experimentation and of pioneering a new era of dance music. Although often associated with ambient music, Cobain and Dougans usually resist being typecast into any one particular genre. Their work covers many areas of electronic music, such as ambient techno, house music, trip hop, ambient dub, acid techno.

After a four-year hiatus, rumours of mental illness began to spread which turned out to be nothing more than exaggeration of Cobain's mercury poisoning from fillings in his teeth. Cobain gained much from the experience, realizing that music was a tool for psychic exploration and entertainment but also one for healing . The pair returned in 2002 with "The Isness", a record heavily influenced by 1960s and 1970s psychedelia and released under their alias Amorphous Androgynous. It was preceded by Papua New Guinea Translations, a mini album which contained a mixture of remixes of FSOL's track as well as new material from The Isness sessions. The album received mixed press due to the drastic change in sound which was inspired by Cobain's and Dougan's (separate) travels to India and immersion in spiritualism, nevertheless the majority was positive with Muzik magazine offering the album a 6/5 mark and dubbing it "...a white beam of light from heaven..." and other British publications such as The Times, The Guardian and MOJO praising the album and the band's ability to do something so completely different from what they had done before. Three years on, they followed the album with a continuation of the Amorphous Androgynous project, Alice in Ultraland. Rumoured to be accompanied by a film of the same title, the album took The Isness' psychedelic experimentation and toned it down, giving the album a singular theme and sound, and replacing the more bizarre moments with funk and ambient interludes. The album was ignored by the press, but was received more favourably among fans than its predecessor. Unlike The Isness, which featured almost 100 musicians over the course of it and the various alternative versions and remix albums, Alice in Ultraland featured a fairly solid band lineup throughout, which extended to live shows which the band had undertaken away from the ISDN cables from 2005 onwards. ...song form has just become too limited. And when I say 'psychedelic', it's not a reference to 60s music but to the basic outlook of a child, which we all have. I think this is the only salvation now. Dance music taught us how to use the studio in a new way, but we have to now take that knowledge and move on with it. This stuff, electronic music, is not dead. It's a process that is ongoing. We have to take hold of the past and go forward with it...

Using a quote from the above article, answer the following question: Is there anything else interesting?
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Answer:
Unlike The Isness, which featured almost 100 musicians over the course of it and the various alternative versions and remix albums, Alice in Ultraland featured a fairly solid band lineup