Music

Mr. Big were one of the last hair metal outfits to score a hit before January 1992, when Nirvana's Nevermind topped the charts and ushered in the grunge revolution. With America starting to shift its focus away from `80s music, Mr. Big turned their focus to countries like Japan, where audiences remained sympathetic to the band's supersized hard rock until their breakup in 2002. Released eight years later, What If... marks the return of Mr. Big's original lineup, with guitarist Paul Gilbert (who originally left in 1997) joining his bandmates for a back-to-basics collection of muscled rock songs and over-proficient instrumentation. Of course, 2010 isn't exactly the right time for a Mr. Big album -- it's nearly two decades too late -- but What If... has something working for it that none of the earlier Mr. Big albums had: nostalgia. Those who miss the hairsprayed days of guitar virtuosos and Reagan/Bush-era machismo are in luck, since this is a product of an earlier time, with few signs of the 21st century apart

Just when critics seemed ready to consign him to the 1980s nostalgia bin, John Mellencamp began to release some of the most surprising music of his career. Albums like Mr. Happy Go Lucky fulfilled the difficult transition the Indiana singer-songwriter began on Scarecrow from a clichéd Bruce Springsteen of the heartland to an iconoclastic, dark-witted musical poet. Those charmed by Mellencamp's '90s renaissance will find this collection of unreleased studio recordings and live tracks to be further evidence of his growth as an artist. Largely recorded during a 1997 touring break, Mellencamp deconstructs previous work such as "Rain on the Scarecrow, " "Jackie Brown, " and "When Jesus Left Birmingham" and recasts them with a stripped-down, rootsy sensibility that's equal parts country and blues. It's much to his credit that these unadorned songs stand effortlessly alongside covers of early Bob Dylan ("Farewell Angelina" and the gritty "In My Time of Dying, " a cover from Dylan's debut), as well as a deliciously folksy version of the Drifters' "Under the Boardwalk." A live take of Van Morrison's "Wild Night" is the only track here that stoops to Mellencamp's early persona, but set against the rest of the rest of this rustic jewel of an album it's a refreshing coda. Another gratifying surprise from an artist who refuses to be pigeonholed. --Jerry McCulley

Just when critics seemed ready to consign him to the 1980s nostalgia bin, John Mellencamp began to release some of the most surprising music of his career. Albums like Mr. Happy Go Lucky fulfilled the difficult transition the Indiana singer-songwriter began on Scarecrow from a clichéd Bruce Springsteen of the heartland to an iconoclastic, dark-witted musical poet. Those charmed by Mellencamp's '90s renaissance will find this collection of unreleased studio recordings and live tracks to be further evidence of his growth as an artist. Largely recorded during a 1997 touring break, Mellencamp deconstructs previous work such as "Rain on the Scarecrow, " "Jackie Brown, " and "When Jesus Left Birmingham" and recasts them with a stripped-down, rootsy sensibility that's equal parts country and blues. It's much to his credit that these unadorned songs stand effortlessly alongside covers of early Bob Dylan ("Farewell Angelina" and the gritty "In My Time of Dying, " a cover from Dylan's debut), as well as a deliciously folksy version of the Drifters' "Under the Boardwalk." A live take of Van Morrison's "Wild Night" is the only track here that stoops to Mellencamp's early persona, but set against the rest of the rest of this rustic jewel of an album it's a refreshing coda. Another gratifying surprise from an artist who refuses to be pigeonholed. --Jerry McCulley

Just when critics seemed ready to consign him to the 1980s nostalgia bin, John Mellencamp began to release some of the most surprising music of his career. Albums like Mr. Happy Go Lucky fulfilled the difficult transition the Indiana singer-songwriter began on Scarecrow from a clichéd Bruce Springsteen of the heartland to an iconoclastic, dark-witted musical poet. Those charmed by Mellencamp's '90s renaissance will find this collection of unreleased studio recordings and live tracks to be further evidence of his growth as an artist. Largely recorded during a 1997 touring break, Mellencamp deconstructs previous work such as "Rain on the Scarecrow, " "Jackie Brown, " and "When Jesus Left Birmingham" and recasts them with a stripped-down, rootsy sensibility that's equal parts country and blues. It's much to his credit that these unadorned songs stand effortlessly alongside covers of early Bob Dylan ("Farewell Angelina" and the gritty "In My Time of Dying, " a cover from Dylan's debut), as well as a deliciously folksy version of the Drifters' "Under the Boardwalk." A live take of Van Morrison's "Wild Night" is the only track here that stoops to Mellencamp's early persona, but set against the rest of the rest of this rustic jewel of an album it's a refreshing coda. Another gratifying surprise from an artist who refuses to be pigeonholed. --Jerry McCulley

Los Angeles troubadour Michael Penn offers a compelling argument here that personal obsessions can often be a songwriter's most compelling muse. An intriguing concept album that revolves around Penn's introspective take on the brave new world of post-WW II America as channeled by the thoughts of its protagonists, Mr. Hollywood makes little effort at recreating the era's musical aura. Instead Penn details his retro-L.A. landscape via the emotional states of his song cycle's rich cast of characters (which includes the bewildered returning vet of "Walter Reed" and the shadowy film-noir protagonist of "Room 715, The Apache"), a gambit that effectively bridges the decades: Their pensiveness and wistful anxiety seem all too contemporary. The era's technical/historical landmarks are noted by such brief, impressionistic sound pastiches as "The Transistor, " "18 September" (the date the National Security Act was established) and the jaunty "Television Set Waltz." Penn's stately, melancholy way with a ballad forms a firm foundation, yet the album's two-part structural conceit (which replicates LP sides) and such adventurous fare as the hypnotic, ethnically indeterminate dirge "Mary Lynn, " "Bad Sign"'s lush pop-blues and the jangly, cautious optimism of "On Automatic" insure it never rests on nostalgia or the merely familiar. --Jerry McCulley

Los Angeles troubadour Michael Penn offers a compelling argument here that personal obsessions can often be a songwriter's most compelling muse. An intriguing concept album that revolves around Penn's introspective take on the brave new world of post-WW II America as channeled by the thoughts of its protagonists, Mr. Hollywood makes little effort at recreating the era's musical aura. Instead Penn details his retro-L.A. landscape via the emotional states of his song cycle's rich cast of characters (which includes the bewildered returning vet of "Walter Reed" and the shadowy film-noir protagonist of "Room 715, The Apache"), a gambit that effectively bridges the decades: Their pensiveness and wistful anxiety seem all too contemporary. The era's technical/historical landmarks are noted by such brief, impressionistic sound pastiches as "The Transistor, " "18 September" (the date the National Security Act was established) and the jaunty "Television Set Waltz." Penn's stately, melancholy way with a ballad forms a firm foundation, yet the album's two-part structural conceit (which replicates LP sides) and such adventurous fare as the hypnotic, ethnically indeterminate dirge "Mary Lynn, " "Bad Sign"'s lush pop-blues and the jangly, cautious optimism of "On Automatic" insure it never rests on nostalgia or the merely familiar. --Jerry McCulley

The Killers match postpunk guitars with a synthesizer overlay that recalls '80s New Wave without burying their sound in nostalgia. On their debut, Hot Fuss, frontman Brandon Flowers plumbs his imagination for tales of murdered lovers ("Jenny Was a Friend of Mine, " "Midnight Show"), voyeurism ("Mr. Brightside"), and sexual confusion (the single "Somebody Told Me"), Flowers and his mates are obviously canny students; the total effect is of a playacted obsession, but one made irresistible by their skillful, catchy songs. If there's an occasional misstep (the painfully earnest line "I got soul but I'm not a soldier" from "All These Things That I've Done"), it seems of a piece with the Killers' influences. As it is, Hot Fuss is one of several recent releases that bring a diverting faux glamour to the mainstream rock scene. --Rickey Wright

The Killers match postpunk guitars with a synthesizer overlay that recalls '80s New Wave without burying their sound in nostalgia. On their debut, Hot Fuss, frontman Brandon Flowers plumbs his imagination for tales of murdered lovers ("Jenny Was a Friend of Mine, " "Midnight Show"), voyeurism ("Mr. Brightside"), and sexual confusion (the single "Somebody Told Me"). Flowers and his mates are obviously canny students; the total effect is of a playacted obsession, but one made irresistible by their skillful, catchy songs. If there's an occasional misstep (the painfully earnest line "I got soul but I'm not a soldier" from "All These Things That I've Done"), it seems of a piece with the Killers' influences. As it is, Hot Fuss is one of several recent releases that bring a diverting faux glamour to the mainstream rock scene. --Rickey Wright

Who knows what you want for Christmas better than Mannheim Steamroller? Here at Christmas HQ, we've hit the right note every holiday season since 1985. This Christmas, we're serving a mix of nostalgia (Where Are You Christmas?) and flat-out fun (You're a Mean One, Mr. Grinch! And 'Humbugs'! 'Christmasville' is the album the whole family will listen to as you travel over the river and through the woods this season! This record was born out of a once-in-a-lifetime project: Universal Theme Parks commissioned Chip Davis to create music WITH vocals-- for a holiday show called 'Grinchmas'. Thus, for the first time, you'll hear Mannheim Steamroller with voice as the final instrument

The Killers match postpunk guitars with a synthesizer overlay that recalls '80s New Wave without burying their sound in nostalgia. On their debut, Hot Fuss, frontman Brandon Flowers plumbs his imagination for tales of murdered lovers ("Jenny Was a Friend of Mine, " "Midnight Show"), voyeurism ("Mr. Brightside"), and sexual confusion (the single "Somebody Told Me"), Flowers and his mates are obviously canny students; the total effect is of a playacted obsession, but one made irresistible by their skillful, catchy songs. If there's an occasional misstep (the painfully earnest line "I got soul but I'm not a soldier" from "All These Things That I've Done"), it seems of a piece with the Killers' influences. As it is, Hot Fuss is one of several recent releases that bring a diverting faux glamour to the mainstream rock scene. --Rickey Wright

The Killers match postpunk guitars with a synthesizer overlay that recalls '80s New Wave without burying their sound in nostalgia. On their debut, Hot Fuss, frontman Brandon Flowers plumbs his imagination for tales of murdered lovers ("Jenny Was a Friend of Mine, " "Midnight Show"), voyeurism ("Mr. Brightside"), and sexual confusion (the single "Somebody Told Me"), Flowers and his mates are obviously canny students; the total effect is of a playacted obsession, but one made irresistible by their skillful, catchy songs. If there's an occasional misstep (the painfully earnest line "I got soul but I'm not a soldier" from "All These Things That I've Done"), it seems of a piece with the Killers' influences. As it is, Hot Fuss is one of several recent releases that bring a diverting faux glamour to the mainstream rock scene. --Rickey Wright

The Killers match postpunk guitars with a synthesizer overlay that recalls '80s New Wave without burying their sound in nostalgia. On their debut, Hot Fuss, frontman Brandon Flowers plumbs his imagination for tales of murdered lovers ("Jenny Was a Friend of Mine, " "Midnight Show"), voyeurism ("Mr. Brightside"), and sexual confusion (the single "Somebody Told Me"), Flowers and his mates are obviously canny students; the total effect is of a playacted obsession, but one made irresistible by their skillful, catchy songs. If there's an occasional misstep (the painfully earnest line "I got soul but I'm not a soldier" from "All These Things That I've Done"), it seems of a piece with the Killers' influences. As it is, Hot Fuss is one of several recent releases that bring a diverting faux glamour to the mainstream rock scene. --Rickey Wright

The Killers match postpunk guitars with a synthesizer overlay that recalls '80s New Wave without burying their sound in nostalgia. On their debut, Hot Fuss, frontman Brandon Flowers plumbs his imagination for tales of murdered lovers ("Jenny Was a Friend of Mine, " "Midnight Show"), voyeurism ("Mr. Brightside"), and sexual confusion (the single "Somebody Told Me"), Flowers and his mates are obviously canny students; the total effect is of a playacted obsession, but one made irresistible by their skillful, catchy songs. If there's an occasional misstep (the painfully earnest line "I got soul but I'm not a soldier" from "All These Things That I've Done"), it seems of a piece with the Killers' influences. As it is, Hot Fuss is one of several recent releases that bring a diverting faux glamour to the mainstream rock scene. --Rickey Wright

The Killers match postpunk guitars with a synthesizer overlay that recalls '80s New Wave without burying their sound in nostalgia. On their debut, Hot Fuss, frontman Brandon Flowers plumbs his imagination for tales of murdered lovers ("Jenny Was a Friend of Mine, " "Midnight Show"), voyeurism ("Mr. Brightside"), and sexual confusion (the single "Somebody Told Me"), Flowers and his mates are obviously canny students; the total effect is of a playacted obsession, but one made irresistible by their skillful, catchy songs. If there's an occasional misstep (the painfully earnest line "I got soul but I'm not a soldier" from "All These Things That I've Done"), it seems of a piece with the Killers' influences. As it is, Hot Fuss is one of several recent releases that bring a diverting faux glamour to the mainstream rock scene. --Rickey Wright

Gloria Deluxe Music

Mountain Apple ( October 20, 1999 ), Genre: International

Who knows what you want for Christmas better than Mannheim Steamroller? Here at Christmas HQ, we've hit the right note every holiday season since 1985. This Christmas, we're serving a mix of nostalgia (Where Are You Christmas?) and flat-out fun (You're a Mean One, Mr. Grinch! And 'Humbugs'! 'Christmasville' is the album the whole family will listen to as you travel over the river and through the woods this season! This record was born out of a once-in-a-lifetime project: Universal Theme Parks commissioned Chip Davis to create music WITH vocals-- for a holiday show called 'Grinchmas'. Thus, for the first time, you'll hear Mannheim Steamroller with voice as the final instrument

Sister imprint unfold presents a seminal collection of tru thoughts artists 'covers' that have helped define the label over it's 10 year history. This compilation also includes brand new material from artists such as quantic & his combo barbaro, nostalgia 77, lizzy parks, woon, bugz in the attic and more. 'tru thoughts covers' offers a mighty selection of the most pivotal and interesting cover versions to have peppered tru thoughts' ten years of releases. Boasting many crossover hits; from nostalgia 77 and alice russell's epic take on the white stripes; to the quantic soul orchestra's version of 4hero; via the bamboos' mod-soul re-imagining of kings of leon; and hot 8 brass band's rambunctious, world-renowned version of "sexual healing", taking marvin gaye to the mardi gras, in fine style... Plenty of people habitually pigeonhole music, but this album connects the songs of the white stripes, portishead, marvin gaye, 4hero, max sedgeley, mr scruff, frank sinatra, kings of leon, fedde le grand, michael jackson, the strokes, the kooks, eminem, roni size/ reprazent, the quantic soul orchestra, jeff buckley, and olive - and you sure-as-hell don't see those names appearing on the same sleevenotes every day!

Sister imprint unfold presents a seminal collection of tru thoughts artists 'covers' that have helped define the label over it's 10 year history. This compilation also includes brand new material from artists such as quantic & his combo barbaro, nostalgia 77, lizzy parks, woon, bugz in the attic and more. 'tru thoughts covers' offers a mighty selection of the most pivotal and interesting cover versions to have peppered tru thoughts' ten years of releases. Boasting many crossover hits; from nostalgia 77 and alice russell's epic take on the white stripes; to the quantic soul orchestra's version of 4hero; via the bamboos' mod-soul re-imagining of kings of leon; and hot 8 brass band's rambunctious, world-renowned version of "sexual healing", taking marvin gaye to the mardi gras, in fine style... Plenty of people habitually pigeonhole music, but this album connects the songs of the white stripes, portishead, marvin gaye, 4hero, max sedgeley, mr scruff, frank sinatra, kings of leon, fedde le grand, michael jackson, the strokes, the kooks, eminem, roni size/ reprazent, the quantic soul orchestra, jeff buckley, and olive - and you sure-as-hell don't see those names appearing on the same sleevenotes every day!

After nearly twenty years as a concert pianist, I have to admit that, wherever I was, always some kind of nostalgia was leading me back to my country, Greece. So, during the last five years, through many emotions and memories, I have been collecting - very carefully and one by one - the Greek pianistic gems, with which I have created this musical necklace . Through these recordings, I hope to show that this music will speak not only to the heart of the Greek people, but also to listeners around the world - far away from Greece. In this collection, I have included a piece by John Psathas, certainly much more contemporary than the rest of the works featured. I have done so because, according to my opinion, if composers like living legend Mikis Theodorakis represent the glorious past and present of Greek music, John Psathas represents its bright future. Eminent Greek concert pianist DINO MASTROYIANNIS has pursued a career of remarkable diversity. Regarded for his rich and multi-faceted technique , perfect feeling for rhythm and rare expressiveness , he has appeared in such prestigious concert halls as Bridgewater Hall in Manchester, England; Glinka Hall of the St. Petersburg Philharmonic; Ateneul Român in Bucharest; and the Rudolfinum in Prague, to name a few. He has performed in many international festivals and in historic places, including the Bertramka Mozart museum in Prague, the ancient Odeon Theatre of Herodes Atticus as part of the Athens International Festival, and in April 2010 at the Montenegrin National Theater as part of the 9th International A Tempo Festival, of which the newspaper Dan wrote: impressive how a simple piece in the hands of a virtuoso could become truly a work of art which persons of all ages find interesting. Mr. Mastroyiannis first undertook piano study under Ely Adam, himself directly of the Cortot school . He is a graduate of the Music Conservatory of Athens, where he studied under Aliki Vatikioti, receiving a Soloist Diploma with the highest possible distinction and the coveted First Prize. He continued his studies under internationally acclaimed Bulgarian pedagogues Konstantin and Julia Ganevi, former students of Heinrich Neuhaus, and in both solo and chamber music performance in Austria, Germany and at the Sion Music Academy in Switzerland. Mr. Mastroyiannis completed his studies in piano performance as a private student of the greatest virtuoso, Brazilian pianist Roberto Szidon, student of Claudio Arrau and Artur Rubinstein. Dino Mastroyiannis enjoys a special collaboration and friendship with legendary living Greek composer Mikis Theodorakis. Among many of Theodorakis works for piano and orchestra he has performed to critical acclaim, Mastroyiannis achieved tremendous success with the world premiere of Theodorakis Helikon Piano Concerto lost for 44 years - given first in Finland in 2005 with the Mikkeli City Orchestra under Dominique Fanal, and subsequently with orchestras in several other countries. As a recording artist, Mr. Mastroyiannis has worked many times with radio and television entities across Europe, and has released a CD of Saint-Saëns Piano Concerto No.4 with the Catanzaro Symphony Orchestra conducted by Giovanni Froio.

After nearly twenty years as a concert pianist, I have to admit that, wherever I was, always some kind of nostalgia was leading me back to my country, Greece. So, during the last five years, through many emotions and memories, I have been collecting - very carefully and one by one - the Greek pianistic gems, with which I have created this musical necklace . Through these recordings, I hope to show that this music will speak not only to the heart of the Greek people, but also to listeners around the world - far away from Greece. In this collection, I have included a piece by John Psathas, certainly much more contemporary than the rest of the works featured. I have done so because, according to my opinion, if composers like living legend Mikis Theodorakis represent the glorious past and present of Greek music, John Psathas represents its bright future. Eminent Greek concert pianist DINO MASTROYIANNIS has pursued a career of remarkable diversity. Regarded for his rich and multi-faceted technique , perfect feeling for rhythm and rare expressiveness , he has appeared in such prestigious concert halls as Bridgewater Hall in Manchester, England; Glinka Hall of the St. Petersburg Philharmonic; Ateneul Român in Bucharest; and the Rudolfinum in Prague, to name a few. He has performed in many international festivals and in historic places, including the Bertramka Mozart museum in Prague, the ancient Odeon Theatre of Herodes Atticus as part of the Athens International Festival, and in April 2010 at the Montenegrin National Theater as part of the 9th International A Tempo Festival, of which the newspaper Dan wrote: impressive how a simple piece in the hands of a virtuoso could become truly a work of art which persons of all ages find interesting. Mr. Mastroyiannis first undertook piano study under Ely Adam, himself directly of the Cortot school . He is a graduate of the Music Conservatory of Athens, where he studied under Aliki Vatikioti, receiving a Soloist Diploma with the highest possible distinction and the coveted First Prize. He continued his studies under internationally acclaimed Bulgarian pedagogues Konstantin and Julia Ganevi, former students of Heinrich Neuhaus, and in both solo and chamber music performance in Austria, Germany and at the Sion Music Academy in Switzerland. Mr. Mastroyiannis completed his studies in piano performance as a private student of the greatest virtuoso, Brazilian pianist Roberto Szidon, student of Claudio Arrau and Artur Rubinstein. Dino Mastroyiannis enjoys a special collaboration and friendship with legendary living Greek composer Mikis Theodorakis. Among many of Theodorakis works for piano and orchestra he has performed to critical acclaim, Mastroyiannis achieved tremendous success with the world premiere of Theodorakis Helikon Piano Concerto lost for 44 years - given first in Finland in 2005 with the Mikkeli City Orchestra under Dominique Fanal, and subsequently with orchestras in several other countries. As a recording artist, Mr. Mastroyiannis has worked many times with radio and television entities across Europe, and has released a CD of Saint-Saëns Piano Concerto No.4 with the Catanzaro Symphony Orchestra conducted by Giovanni Froio.

2009 release sees prodigious producer Nostalgia 77 (Benedic Lamdin) and close contemporary Riaan Vosloo collaborating with legendary British exponents of avant-garde contemporary music, Keith and Julie Tippett. The result of this intriguing and fruitful marriage of youth and experience is an arrestingly beautiful album of fresh, original material that spans Blues, Jazz and Soul and is threaded through with experimental flourishes that defy categorization. Edgy harmonies and richly layered vocals with powerfully reflective lyrics, and a continually building backdrop of instruments, make for a deeply bluesy vibe imbued with the spirit and flow of Free Jazz. Tru Thoughts.

Sand Snowman's sound hearkens back to a time when people used the word `hearkens.' It is possible that this faerie acid folk is made by actual faeries, with the beautiful lilting harmonies and subtle progressive diversions that only small, winged beasties can perform properly. Gentle, with an edge; sitting atop the same cloud as the more mystical Bunyan, Perhacs, or even Bob Trimble compositions. Quiet, but lush with crisp acoustics leading hand percussion and other exotic instrumentation to the sea shore. This is truly an incredible string band, whose jaw-droppingly beautiful album will hopefully have new initiates seeking out the group's several previous releases. Beware, however, as playing this album may result in a bad case of Green Men.

Nostalgia is a musical stroll through this five-year period of Jonathan s life. Some of the new track titles include Rocky Mountain Reel, Old Mercs and Soirée; nostalgic snapshots from his past. Wind your way through Colorado s peaceful mountainscape in Pike s Peak or cruise along California s crowded highways in Flat Tire. Home is where the heart is in Forest Trails and Jack s Lullaby is sure to make those eyelids heavy. But there s more that he d like to show you so sit back, relax and let Jonathan tell you what he s been up to.

Sand Snowman's sound hearkens back to a time when people used the word `hearkens.' It is possible that this faerie acid folk is made by actual faeries, with the beautiful lilting harmonies and subtle progressive diversions that only small, winged beasties can perform properly. Gentle, with an edge; sitting atop the same cloud as the more mystical Bunyan, Perhacs, or even Bob Trimble compositions. Quiet, but lush with crisp acoustics leading hand percussion and other exotic instrumentation to the sea shore. This is truly an incredible string band, whose jaw-droppingly beautiful album will hopefully have new initiates seeking out the group's several previous releases. Beware, however, as playing this album may result in a bad case of Green Men.

2009 release sees prodigious producer Nostalgia 77 (Benedic Lamdin) and close contemporary Riaan Vosloo collaborating with legendary British exponents of avant-garde contemporary music, Keith and Julie Tippett. The result of this intriguing and fruitful marriage of youth and experience is an arrestingly beautiful album of fresh, original material that spans Blues, Jazz and Soul and is threaded through with experimental flourishes that defy categorization. Edgy harmonies and richly layered vocals with powerfully reflective lyrics, and a continually building backdrop of instruments, make for a deeply bluesy vibe imbued with the spirit and flow of Free Jazz. Tru Thoughts.