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Tag Archives: design
Album Kit
Electronic Press Kit for Bon Jovi
Electronic Press Kit also known as Electronic Media Kit serves as an innovative marketing and promotional strategy for an artist.
Bon Jovi
Bon Jovi is a popular new-jersey based American hard rock band. Known best for its world famous album “Slippery When Wet (1986)”, the band currently has five members-lead singer Jon Bon Jovi, guitarist Richie Sambora, drummer Tico Torres, keyboardist David Bryan and bassist Hugh McDonald.
How it all started
Jon Bon Jovi met David Bryan when he was only 16. Together they formed a band named “Atlantic City Express way” and began to perform around the area of New Jersey. Jon later formed another band “The Rest” in 1980 which made him popular in the state.
A breakthrough came for John when a New Jersey- based radio station WAPP 103.5 FM included one of his songs “runaway” as part in its compilation album of local homegrown talents. It was here in the radio studio that he met guitarist Tim Pierce, keyboardist Roy Bitta and bassist Hugh Mcdonald who helped him in re-recording the song.
The song was accepted well by the audience and soon other radio stations too began to plat it. The success of the song inspired John to form a new band and after getting nod from his new accompanist he formally launched the band inn1984.
Success
Bon Jovi shot to national fame with its debut album “bon Jovi” in 1984. The album featured the song runaway that made it to US top 40 billboard chart.
Bon Jovi released its second album 7800˚ Fahrenheit in 1985. Some of the songs from the album such as; only lonely, in and out of love and silent night turned out to be chartbuster in the US.
Bon Jovi, however, achieved worldwide recognition with its second album “Slippery When Wet” in 1986.
Bon Jovi has released 11 albums so far out of which three albums have went on to register 300 million sales of their records. The band has so far taken part in more than 2600 live concerts across 50 different countries. Bon Jovi was inducted into British Music Hall of Fame in 2006 and was conferred on with prestigious the Award of Merit at the American Music Awards in 2005.
Electronic Press Kit for Bon Jovi can be ordered online.
About the Author
keshav k solanki is a veteran IT professional with ten years of experience in writing on various technological topics. The author has been associated with various major construction insurance Florida and ocean marine insurance service providers.
Nas – “ILLMATIC” Album Release Press Kit (1994)
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Deluxe Scrapbooking Kit Over 1700 Pieces (Green Album) $29.99 |
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Creative Memories 8×8 Album Kit Jewel VACATION nla $30.33 |
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Creative Memories “Starry Night” Album Kit 54 Pcs PaperDieCutsStickers 1 Pkg SL $28.49 |
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Creative Memories “Candy Cane” Album Kit 1 Pkg SL $22.99 |
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NIP Creative Memories 12×12 Destination Quick Album Kit $62.99 |
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MEMORIES FOREVER STRAP-HINGE MEMORY ALBUM KIT $9.95 |
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NLA Scenic Short Cuts PAPER ALBUM Kit CREATIVE MEMORIES $9.77 |
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CREATIVE MEMORIES ALBUM KIT MICKEY MOUSE CLASSICS $16.99 |
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Creative Memories Paper Album Kit CANDY CANE $15.16 |
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8 X 8 BABY BOY ALBUM KIT ~ OVER 500 PIECES ~ NEW!! $0.99 |
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Bucilla #43279 Baltimore Album Quilt Kit with Pillow Sham Kit NR LOOK $44.49 |
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Melody Ross My Story Mini Album KIt 153 pcs Soul Food Collection Fun Girl’s Gift $5.00 |
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Heidi Grace Baby Girl Scrapbooking Kit with Album – Now! Reduced Price! $14.00 |
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Heidi Grace Baby Boy Scrapbooking Kit with Album – NOW REDUCED PRICE $14.00 |
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K & Company 4×5.5 Mini Book Raw Chipboard Scrapbook Album CUTE Kit $0.99 |
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5×5 Twilight Breaking Dawn (SEWN MATS) Paper Bag Album Kit M&M TPHH $12.99 |
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Studebaker 1951 King Pin Kits Dealer Album Page $6.99 |
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Creative Memories 12 x 12 Quick Kit Album $15.00 |
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BOY BABY’S FIRST YEAR Premade Memory Keepsake Kit 8×8 Scrapbook Album Gift $2.97 |
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GIRL BABY’S FIRST YEAR Premade Memory Keepsake Kit 8×8 Scrapbook Album Gift $2.97 |
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Maya Road HOME IS WHERE Mini Album Kit – FREE Shipping! $39.95 |
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XYRON Dog Puppy Scrapbook ALBUM KIT 6×6 Post-bound NIP $4.97 |
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Bo Bunny Forever Fall Project Kit Album $19.99 |
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GIRLFRIENDS Stencils Stickers Album SCRAPBOOK KIT $24.64 |
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Strap-Hinged Memory Album Kit by Memories Forever Scapebooking Family Photos $14.95 |
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Bo Bunny Welcome Home Project Kit Chipboard Album 8.5″X10″ $21.99 |
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Memories in Minutes Simple Scrapbook Kit with idea page (no album) $8.00 |
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ME & MY BIG IDEAS – LOW TIDE – SCRAPBOOKING ALBUM KIT $39.99 |
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ME & MY BIG IDEAS – EXPLORER – SCRAPBOOKING ALBUM KIT $39.99 |
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ME & MY BIG IDEAS – LITTLE BLACK DRESS – SCRAPBOOKING ALBUM KIT $39.99 |
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Baby Art-Photo Album Kit $21.79 |
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★NEW★Shipping/Mailing/Mailer KIT for 7″ 45rpm EP/LP Vinyl Records Albums♫★♫75-PC $25.00 |
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CM Paper Album Christmas Valentines Scrapbook Kits $7.99 |
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Scrapbook 12 by 12 Album Kit Arts And Crafts Photo New $49.99 |
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Melody Ross My Story Mini Album KIt 153 pcs Soul Food Collection Fun Girl’s Gift $5.00 |
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Creative Memories Paper Album Kit WISHES & DREAMS nla $20.22 |
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CREATIVE MEMORIES Picfolio Album Kit Family 8X8 Olive Green 55 Piece Pkg New SL $58.79 |
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Scrapbooking Creative Memories ALBUM KIT WITH LOVE 7X7in 31 Pieces Incl NIP SL $24.29 |
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Memories Forever Strap Hinge Memory Album Kit 20+ pages New $34.99 |
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BLANK Acrylic Chipboard Choo Choo Train Mini Album Kit $12.99 |
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Sandylion Kelly Panacci Christmas 6×6 Mini Album Kit -BIN3-5 $6.99 |
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Lot of 25 Creative Memories Paper Packs ~ Short Cuts ~ Die Cuts ~ Album Kits $75.00 |
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CREATIVE MEMORIES Paper Album Kits**Beautiful Day & Spice of Life**NIP** $25.99 |
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Melissa Frances ~ KITSCHY KITCHEN ~ Retro Recipe Album Kit $10.50 |
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WALT DISNEY WORLD FOUR PARKS ONE WORLD SCRAPBOOKING KIT PHOTO ALBUM KIT NEW $21.95 |
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Baseball Card Collectors Storage Kit Collecting Supplies Black Album $17.49 |
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Creative Memories Primary Christmas 8 x 8 Album Kit- NIP $17.00 |
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Creative Memories Judaic Album Kit – NIP $11.50 |
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Lot Barbie Camera Photo Albums Wood Stamp Kit $7.99 |
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VINTAGE RECOTON CLEAN SOUND II RECORD LP ALBUM CLEANING CLEANER SET KIT $9.99 |
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Creative Memories Candy Cane Paper Album Kit $6.00 |
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Beatles Original Promotional Press Kit for White Album Release $65.00 |
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Creative Memories Once Upon A baby Girl Album kit $16.50 |
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Christmas 8×8 Album Pack Album Kit -Creative Memories. New! NLA! $14.00 |
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Merry & Bright Paper Album Kit-Creative Memories $9.00 |
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Creative Memories Paper Album Kit BOHEMIAN nla $23.26 |
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Creative Memories Paper Album Kit ESCAPES nla $23.26 |
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Creative Memories Paper Album Kit LULLABY $23.26 |
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Chatter Box Scrapbook Album Project Kit Blue Colored $9.99 |
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Creative Memories Paper Album Kit WISHES & DREAMS nla $23.26 |
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Creative Memories Paper Album Kit ROCK STAR nla $23.26 |
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MME BRAND NEW LOST & FOUND”PARTY” CHPBR ALBUM COVER KIT $4.99 |
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Creative Memories 12X12 Album Kit Primary VACATION $27.82 |
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DAT POLITICS – MAD KIT – CD ALBUM CHICKS ON SPEED NEW $11.99 |
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Keepsake School Years Photo Album & Embellishment Kit Scrapbooking Borders $4.99 |
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Keepsake School Years Photo Album & Embellishment Kit Scrapbooking Borders $4.99 |
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12×12 Luxurious Padded Photo ALBUM with Scrapbook Kit $11.99 |
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Creative Memories GIVE THANKS Paper Album Kit NIP $15.00 |
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K&Co Chocolate & Pink 12×12 Album Scrapbook Kit 235 Pcs $17.99 |
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Mini Scrapbook Kit, Mini Photo Album, Gift Book & 2 pckgs of Adhesive cardstock $9.99 |
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Romance Mini Scrapbook Kit Colorbok – 4X4 album $5.99 |
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Colorbok Step By Step Album kit One Hour Start to Finish – Blue Box Kit $21.99 |
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Creative Memories 8×8 album kit – Primary Christmas $8.75 |
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SCRAPBOOKING KIT MEMORY ALBUM KIT NIB SEALED $14.00 |
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CREATIVE MEMORIES PICFOLIO QUICK KIT CELEBRATION AND ALBUM $29.99 |
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Jose Conseco Baseball Card KIT Talking Card, Album, 20 Cards, and his story $6.99 |
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Ryne Sandburg Baseball Card KIT Talking Card, Album, 20 Cards, and his story $6.99 |
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Don Mattingly Baseball Card KIT Talking Card, Album, 20 Cards, and his story $6.99 |
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Babe Ruth Baseball Card KIT Talking Card, Album, 20 Cards, and his story $9.99 |
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Mickey Mantle Baseball Card KIT Talking Card, Album, 20 Cards, and his story $8.99 |
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Pictorico Inkjet Newport Kolo Album Kit: Red #536156 #536156RED $58.95 |
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d:book All-in-One 8x8in Digital Scrapbook Album Kit #9518825SBK $36.95 |
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Pictorico Inkjet Newport Kolo Album Kit: Lake #536156 #536156LAKE $58.95 |
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CREATIVE MEMORIES ONCE UPON A BABY GIRL ALBUM KIT $18.00 |
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CREATIVE MEMORIES STARRY NIGHT ALBUM KIT $9.99 |
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ZoomAlbum Color Cover Photo Album Kit to make 3 Albums #102K $29.94 |
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Anna Griffin scrapbook scrapbooking kits paper supplies layouts album NIB! $23.96 |
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6×6 MINI SCRAPBOOK ALBUM KIT w/STICKERS ~ BABY GIRL $8.95 |
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6×6 MINI SCRAPBOOK ALBUM KIT w/STICKERS~SCHOOL MEMORIES $8.95 |
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6×6 MINI SCRAPBOOK ALBUM KIT w/STICKERS ~ FOOTBALL $8.95 |
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ZoomAlbum Album Kit, for 3 Albums with Cover Photo #103K $22.99 |
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Nascar Tony Stewart Scrapbook Stickers Paper Album Kit $13.49 |
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Pictorico Inkjet Newport Kolo Album Kit:Choclate#536156 #536156CHOCOLATE $58.95 |
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Creative Memories Celebration Milestones Album Kit $10.00 |
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Unibind PhotoBook Creator Kit, 8.5×11″ Black Album #TDPBCMEDIA3 $89.99 |
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Creative Memories Vintage and Mod Milestones Album Kit $10.00 |
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Creative Memories Inspiration Milestones Album Kit $10.00 |
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Creative Memories Everyday Milestones Album Kit $10.00 |
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New Spider-Man Scrapbooking Kit: Scrapbook Photo Album, Paper, Stickers NIB $19.99 |
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Creative Memories Milestones Album Kits – Lot of Six $24.99 |
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Wee Gallery Mobile, Kikkerland $12.00 Kikkerland Mobiles are ideal for Wee gallery art cards and photos…. |
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Baby Safe Ink Print Kit – Basic $10.95 Take your babys hand or footprints safely from home with these non-toxic, lead and latex free, infant safe ink print kits. Perfect for scrapbooks, photo albums, framing and home-made birth announcements. Unlike inkless print kits or stamp kits these ink plates pick up every fine detail of baby’s print – just like the ones the hospitals use. Use more ink for very dark prints and less for lighter pr… |
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Justin Bieber Seaside Fleece Throw Blanket 50 x 60 $47.99 … |
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Jake & The Never Land Pirates $5.84 AHOY MATEYS! You can finally own the music from the hit Disney Junior TV Series Jake and the Never Land Pirates! This fun much-anticipated CD features songs by the Never Land Pirates like “Never Land Pirates”, ” Aw Coconuts” and the “Jake and the Never Land Pirates Main Title”. Plus the soundtrack includes the Main Theme Song as a Sing-Along! And when inserted into your computer the CD launches al… |
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Born Free $11.11 Kid Rock will release his 8th studio album, ‘Born Free,’ on November 16th via Atlantic Records. The record was produced by Rick Rubin and mixed by Greg Fidelman. The first single from the album will be, appropriately, ‘Born Free’ which hits radio September 14th. ‘Born Free’ is in many ways a transformational album for Kid Rock. While there is still the edge, wit, and swagger of previous albums, he… |
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Ultimate Christmas $5.86 … |
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Rush – R30 – 30th Anniversary Deluxe Edition $25.49 Studio: Uni Dist Corp (music) Release Date: 11/29/2005… |
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Thomas Lang: Creative Control $23.00 CREATIVE CONTROL – DVD Movie… |
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Skip Hop Day To Night Baby Log $33.98 The only baby-log that lights up at night! The Skip Hop Day to Night Baby Log was designed with the new parent in mind. With sections to record daily feedings, changing times and sleeping schedules, this six-month book helps new parents keep track of baby`s busy schedule. Skip Hops patent pending illuminated Time Capsule is perfect for those diaper changes and feedings in the middle of the night… |
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27 Watts 5500K Color corrected Day Light Fluorescent Lamp Photo Bulb – 2 Pack $10.89 This is a fluorescent 27 watts energy saving daylight photo bulb (5500 Kelvin temp.). This Fluorescent lamp bulb emulates a soft daylight measured at full spectrum color of 90 CRI at 1800 lumens. Lifespan: 10,000 hours. Ideal for all Tungsten Continuous Lighting Kit. This photo bulb would cost you $21 each at your local retail store. Best price combo on the internet. **Limited Time Promo**… |
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Jocelyn 1-hour Album Scrapbook Kit $31.49 Creating a finished album is easier than ever with this scrapbook album kit. This has everything you need to create a personalized album that’s perfect for gifts or keepsakes. All you need to provide are your photos and your adhesive of choice. |
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S.E.I One Hour ‘White Elegance’ Scrapbook Album Kit $34.79 Theme: White eleganceMaterials: PaperAlbum dimensions: 12 inches high x 12 inches wide |
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Clarabelle 1-hour Album Scrapbook Kit $25.29 Creating a finished album is easier than ever with this scrapbook album kit. This has everything you need to create a personalized album that’s perfect for gifts or keepsakes. All you need to provide are your photos and your adhesive of choice. |
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MCS Industries Black Shadowbox Frame $10.99 Show off a favorite scrapbook page, trophy, or just about any other memento with this shadowbox frame. This scrapbooking accessory features sturdy construction and a premium gloss black finish. |
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‘Rowdy Boy’ 86-piece 12×12-inch Scrapbook Album Kit $25.54 This is the perfect scrapbooking kit for that special little man in your life’Rowdy Boy’ includes one 12-inch postbound scrapbook album with a photo window on frontPhoto album features high-quality coated paper covering |
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Design Originals Doodle Book $10.69 You will find doodling a relaxing and fun form of expression that is easy to learn with this doodle bookDesign Originals Oodles of Doodles introduction to doodling bookDare to doodle with this scrapbooking supply |
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Postbound Navy Scrapbook Album $26.93 Make scrapbooking time even easier with this K & Company Navy postbound scrapbook album12 x 12-inch album is the perfect addition to your arts and crafts suppliesA die-cast plated medallion is mounted onto the cover |
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Kitschy Kitchen Retro Recipe Album Kit $11.39 Create your own recipe book with this Kitschy Kitchen collection by Melissa Frances. This retro recipe album kit features stickers, covers, cards, dividers and binding rings. |
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Ancestry.com 65-piece 12×12-inch Scrapbook Kit $24.94 This is the perfect scrapbooking kit to document your family history. Ancestry.com includes one 12-inch postbound scrapbook album with photo and name plate windows on front. |
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Postbound Scrapbook Album – Mickey and Friends $29.49 This Mickey and Friends postbound album features a recessed window Art supply is a die-cut of one of America’s favorite characters Craft supply comes with 10 top loading page protectors and inserts |
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Happy Birthday 1-hour Album Scrapbook Kit $25.99 Creating a finished album is easier than ever with this scrapbook album kit. This has everything you need to create a personalized album that’s perfect for gifts or keepsakes. All you need to provide are your photos and your adhesive of choice. |
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Pebbles Share & Tell Baby Pink 12×12-inch Photo / Scrapbooking Album $26.57 The Share & Tell Album offers simple ways to organize and display photos. The album features a durable, easy-to-clean leatherette cover, metal bookplate on the spine for easy labeling, 4×6-inch photo window on the front cover and protective metal corners. |
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Postbound ‘Brownie Girl Scouts’ Scrapbook Album $21.43 Girl Scouts postbound album is blue and brownPostbound scrapbook and features a 3.75 x 3.9 inch die-cut windowPerfect for scrapbooking girl scouts and friends |
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Durham Urban Brown Postbound Scrapbook Album $22.9 Dress your memories in sophisticated style with this album Scrapbook has a leather-like finish and stitched details Album is postbound and provides 20 clear top-loading folios |
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Sandylion Tropical Waves 12×12 Postbound Album $26.5 Present your memories in style with a Sandylion Tropical Waves postbound albumEmbroidered scrapbook album boasts a recessed window with a die-cut character imageCraft accessory comes with ten top-loading page protectors |
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I-Makit 8×8 Postbound Album Cover Kit $19.49 Customize your album cover with a Creative Imagination I-Makit scrapbook cover kitScrapbook kit includes step-by-step instructions Use your favorite papers for embellishing with a postbound album cover kit |
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Postbound Marines Scrapbook Album $26.94 Stunning Scrapbook features a diecast plated Marines medallionAlbum is crafted from bonded leatherKit includes 10 top loading page protectors with paper inserts |
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Soul Food Mini Album 8×6-inch Kit $16.75 This package contains a Mini Album Kit with two chipboard covers, eight chipboard pages, and twenty-four cardstock pages. This kit also included eight chipboard stickers, journal prompt stickers, adhesive rhinestones, and two album rings. |
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Durham Urban Pink Postbound Scrapbook Album $22.9 Dress your memories in sophisticated style with this Urban albumScrapbook features a leather-like finishPostbound album is available in pink color option |
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Freez A Frame Variety Size Magnet Frame Kit $9.3 This Freez A Frame magnetic frame kit offers a variety of hangable frames to keep your precious memories out for easy viewing. Use these frames to decorate your fridge with your keepsake images. |
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Photobook Creator Kit $75.99 Capture all of life’s wonderful moments and make them into a lasting memory with this Photobook creator kit. The PhotoBook thermal resin Binding Machine binds your book in seconds so you can enjoy it forever. |
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‘Little Me’ 5.5×9.5 Chipboard Album Kit $5.54 Add a charming touch to your scrapbook with this album kitThis craft kit includes one chipboard piece in three cover sizesAlbum cover comes with rhinestones and soft spoken embellishments |
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Snapload Retrofit Kit $22.49 Update your scrapbooks with the Snapload conversion kitCraft kit replaces screw posts for quick adding and removing of pagesFive-pack retrofit kit allows pages to lie flat |
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Pebbles Share & Tell Baby Blue 12×12-inch Photo / Scrapbooking Album $22.16 The Share & Tell Album offers simple ways to organize and display photos. The album features a durable, easy-to-clean leatherette cover, metal bookplate on the spine for easy labeling, 4×6-inch photo window on the front cover and protective metal corners. |
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Black Leatherette 8.5 x 11 Photobook Album $8.39 Use this albums with your PhotoBook Creator (sold separately) to create easy, at-home photo albums. Just insert your photos, place your assembled album onto the PhotoBook Creator heating element and it instantly binds your book. |
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Pebbles Share & Tell Red 12×12-inch Photo / Scrapbooking Album $26.57 The Share & Tell Album offers simple ways to organize and display photos. The album features a durable, easy-to-clean leatherette cover, metal bookplate on the spine for easy labeling, 4×6-inch photo window on the front cover and protective metal corners. |
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Tag Book Canvas Kit Family 10-page 6×6-inch Album $12.5 These album kits were designed for elegant display. The dimensional album is a project that anyone can complete and share. This canvas album kit contains everything you need to complete a finished scrapbook. |
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Pebbles Share & Tell White 12 x 12-inch Photo / Scrapbooking Album $26.57 The Share & Tell Album offers simple ways to organize and display photos. Each album features a durable, easy-to-clean leatherette cover, metal bookplate on the spine for easy labeling, photo window on the front cover and protective metal corners. |
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7 Gypsies 6×7 8-page Wood Veneer Album $15.49 7 Gypsies wood veneer album is a unique addition to your scrapbook collectionAlbum is a perfect backdrop for Chatterbox’s Fabulous Collections Scrapbook album has six thick, linen-textured art board pages |
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Retro 8×8-inch Scrapbook Album Set $21.49 Celebrate hip retro trends with a Retro scrapbook setThis kit is sure to add a fun flair to your scrapbooking collection Scrapbooking kit includes everything you need to create a fabulous 8×8-inch album |
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Personal Shopper November 2006 Heritage and Retro Scrapbooking Set $23.99 Save time and money with this Personal Shopper scrapbook kit. The set contains 12×12-inch papers plus coordinating embellishments for creating album pages, cards, gift tags and other paper crafts. |
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Postbound ‘Little House Baby Girl’ Boxed Scrapbook Kit $21.94 Preserve your memories in a ‘Little House Baby Girl’ scrapbookKit includes scrapbook, designer papers, Grand Adhesions, die-cut stickers and Clearly Yours stickersFrame-A-Name postbound album features top-loading page protectors |
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Personal Shopper January 2007 Winter & Bright Scrapbooking Set $21.49 Save time and money with this Personal Shopper scrapbook kit. The set contains 12×12-inch papers plus coordinating embellishments for creating album pages, cards, gift tags and other paper crafts. |
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K&Company Classic Wedding Boxed 12×12 Postbound Scrapbook Kit $21.94 Keep all your cherished memories secure forever in this beautiful postbound albumScrapbook album features an embossed high-quality coated paper coveringScrapbooking accessory includes a framed photo window on the cover |
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Mega Graduation Scrapbook Kit $18.78 This Graduation scrapbook kit has everything you need to make your own scrapbook album. This kit contains an album with page protectors, ten designer papers and three sheets of die-cut stickers. |
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Personal Shopper June 2009 Elegant Ladies Scrapbooking Set $18.99 Save time and money with this Personal Shopper scrapbook kit. The set contains 12×12-inch papers plus coordinating embellishments for creating album pages, cards, gift tags and other paper crafts. |
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Pioneer 4×6 Twin Photo Albums $26.99 Display all your favorite photos in these Pioneer albumsScrapbooking kit comes with two albumsAlbum contains 200 bi-directional 4×6-inch pockets |
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Personal Shopper October 2009 Heritage Scrapbooking Set $20.49 Save time and money with this Personal Shopper scrapbook kit. The set contains 12×12-inch papers plus coordinating embellishments for creating album pages, cards, gift tags and other paper crafts. |
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Personal Shopper March 2007 Ice Cream & Friends Scrapbooking Set $20.99 Save time and money with this Personal Shopper scrapbook kit. The set contains 12×12-inch papers plus coordinating embellishments for creating album pages, cards, gift tags and other paper crafts. |
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We R Classic 12×12 Leather Postbound Album $25.08 Save your favorite memories in a classic postbound album Photo album features a padded cover made from faux leather Scrapbook kit comes with ten top-loading page protectors |
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Personal Shopper April 2009 Dots & Stripes Scrapbooking Set $20.99 Save time and money with this Personal Shopper scrapbook kit. The set contains 12×12-inch papers plus coordinating embellishments for creating album pages, cards, gift tags and other paper crafts. |
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Personal Shopper December 2006 Holiday Scrapbooking Set $20.99 Save time and money with this Personal Shopper scrapbook kit. The set contains 12×12-inch papers plus coordinating embellishments for creating album pages, cards, gift tags and other paper crafts. |
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Blue Awning Flipbook Kit $12.56 Keep your memories with the Blue Awning Flipbook Kit by K & CompanyProtector kit will ensure your craft project can be enjoyed for years to comeAlbum contains a flip book and accessories |
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Pioneer Photo 204 Pocket 4×6 Leather Album $22.99 Show off all your favorite photos with this Pioneer photo albumScrapbooking kit comes with 204 pocket pagesAlbum is designed to display 4×6-inch photos |
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Unibind Pattern Blue and Brown My Book Photobook $5.79 Make a photobook at home in seconds with Unibind’s MyBook system. With the MyBook Collection kits you can make photobooks for family and friends fast. |
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Unibind Silver Metallic My Book Photobook $5.89 Make a photobook at home in seconds with Unibind’s MyBook system. With the MyBook Collection kits you can make photobooks for family and friends fast. |
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We R Classic 12×12 Leather Postbound Album $25.08 Save your favorite memories in a classic postbound album Photo album features a padded cover made from faux leather Scrapbook kit comes with ten top-loading page protectors |
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Personal Shopper May 2009 Floral Scrapbooking Set $20.99 Save time and money with this Personal Shopper scrapbook kit. The set contains 12×12-inch papers plus coordinating embellishments for creating album pages, cards, gift tags and other paper crafts. |
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Quick Quotes ‘Live Laugh Love’ Ribbon-bound Canvas Book Kit $16.49 This album kit is designed for display quality and yields a piece of dimensional art that anyone can complete and display. This crafts kit creates a ribbon-bound canvas book with a ‘Live Laugh Love’ theme. |
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We R Classic 12×12 Leather Postbound Album $25.08 Save your favorite memories in a classic postbound album Photo album features a padded cover made from faux leather Scrapbook kit comes with ten top-loading page protectors |
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13 Japanese Birds, Vol. 8: Kokuchov $18.98 Kokuchov is Merzbow’s eighth volume in the 13 Japanese Birds series, a collection of recordings that underscores his commitment to the natural world and pays tribute to the influence of French composer Olivier Messiaen, whose own tribute to fowl accounts for a valued piece of 20th century classical music known as Catalogue d’Oiseaux. On Kokuchov (nicknamed for a black swan), Masami Akita (Merzbow) returns to his drum kit. He is a formidable drummer, to say the very least; an utterly creative musician, he can play forms as well as visionary improvisations. He employs the drums generously against and in concert with his power electronics. This is especially true on ? Black Swan,? and on the album? s closing track ? Ushiwaka 2.? The latter of these showcases a series of repetitive rhythms slowly evolving as other sounds, from sampled guitar drones and reverb to industrial sounds, are gradually folded in, creating an uncharacteristic set of dynamics that is somewhat less punishing than some of his other pieces. ? Mesmerism,? opens the set with a series of pulsing, gated keyboard sounds that are hopelessly distorted, as drums punctuate the end of every line. As the piece develops, more keyboards are layered on top and folded in, creating a body of sounds that is not unlike what it might be like to hear Martin Rev play with Loop live! Guitar sounds shift in and out of the keyboard racket, drums fill what little space there is and force the rhythmic pulse forward into oblivion. None of the records in this series are dismissable, but Kokuchov ranks among the most diverse and musically compelling in the entire series. ~ Thom Jurek, Rovi |
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3 X 3 POCKET PHOTO ALBUM-POST WTY NBD 1PM $28.79 Canon Photo Album – Photo book kit – 3 in x 3 in – 2 pcs. |
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A Woman After God’s Own Heart Dvd Curriculum $134.71 New – DVD kit with ten 30-minute lessons, 3-minute promo spot, and 15-minute preview CD kit of ten 30-minute lessons, promo spot and preview 120-page A Woman After God’s Own Heart workbook and bookmark Leader guide for planning and leading the study Promotion kit with 4-color posters, plus camera-ready art and promotional copy ready to download Beautiful full-color album |
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A Woman After God’s Own Heart Dvd Curriculum $134.71 New – DVD kit with ten 30-minute lessons, 3-minute promo spot, and 15-minute preview CD kit of ten 30-minute lessons, promo spot and preview 120-page A Woman After God’s Own Heart workbook and bookmark Leader guide for planning and leading the study Promotion kit with 4-color posters, plus camera-ready art and promotional copy ready to download Beautiful full-color album |
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A’s, B’s & EP’s $10.98 The Animals’ output on EMI has been so heavily reissued and recompiled so many times that none of it is especially rare, or notable for that reason — it just stands up as music, especially the singles, which are what we have represented here. The compilation CD A’s B’s & EP’s is a handy way of taking a tour of the group’s early sound, up through the middle of 1965, boiling down their singles, B-sides, and EP’s in excellent sound. It took the group a few tries to really master the art of making a strong album from start to finish, but — as we’re reminded here — their 45s were beyond reproach, exciting, bold, and daring, and all memorable. Hearing Hilton Valentine’s guitar crunching and chiming away on “I’m Crying,” or John Steel’s drums up close and personal on “Boom Boom,” supporting Eric Burdon’s voice and juxtaposed with Alan Price’s organ, is still a bracing experience 40 years later — and on this master, Valentine’s trip down the fret board and Price’s keyboard flourishes exude rippling energy and a bracing presence — even on cheap speakers, Steel’s snare is distinguishable from the rest of the rhythm section; and on “It’s My Life” you can practically hear the action on his kit. And this disc is also a good opportunity for low-level fans to discover obscurities such “I’m Gonna Change the World” which, with its ambitious lyric and form, sort of anticipates the later compositions that Burdon would cut, on his own and away from virtually all help. The annotation is nothing special, the packaging has its weaknesses (in terms of the original releases of the songs), and EMI’s Complete Animals still runs circles around this CD, but it’s an okay piece to have and easier to find than that double-disc set, as of 2004. ~ Bruce Eder, Rovi |
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Alas I Cannot Swim $12.98 Due to her youth (16 when she first hit Myspace, 17 when signed to an imprint of EMI, and 18 when her debut album came out), perky-cute looks and extremely British diction, singer/songwriter Laura Marling got a lot of comparisons to Lily Allen in her early buzz, but the quietly compelling Alas I Cannot Swim is not at all a frothy pop confection. A folk-tinged AAA pop record based on Marling’s alluringly husky voice and graceful acoustic guitar, Alas I Cannot Swim would be more aptly compared to the likes of Feist, Keren Ann, or Regina Spektor. (In the album’s press kit, Marling reveals her primary influence to be Bonnie “Prince” Billy, which also seems appropriate.) Although not to draw too forbidding a comparison, opening track and first single “Ghosts” is most strongly reminiscent of Joni Mitchell circa For the Roses, both in Marling’s expressive vocal phrasing and the expert shifts in the arrangement between solo acoustic passages and full-band sections, not to mention an excellently deployed string section. That old-school ’70s singer/songwriter vibe predominates throughout the album, in fact. There’s one straight-up pop song here, the deceptively chipper-sounding “Cross Your Fingers” (“…hold your toes/We’re all gonna die when the building blows” continues the sweetly sung chorus), but aside from that, Alas I Cannot Swim is the kind of album that takes a couple of listens for its charms to completely sink in. Rather than swath every track in prominent, ear-grabbing hooks, Marling and producer Charlie Fink choose to keep the decorations off in the distance on songs like “The Captain and Hourglass,” where swells of pedal steel stay buried deep in the mix under Marling’s hypnotic guitar line and quietly insistent vocals. There’s every chance that Laura Marling will get lost in the shuffle as the unexpected commercial success of Feist’s The Reminder leads major labels to unleash hordes of similarly talented female singer/songwriters, but Alas I Cannot… |
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Alas I Cannot Swim $12.98 Due to her youth (16 when she first hit Myspace, 17 when signed to an imprint of EMI, and 18 when her debut album came out), perky-cute looks and extremely British diction, singer/songwriter Laura Marling got a lot of comparisons to Lily Allen in her early buzz, but the quietly compelling Alas I Cannot Swim is not at all a frothy pop confection. A folk-tinged AAA pop record based on Marling’s alluringly husky voice and graceful acoustic guitar, Alas I Cannot Swim would be more aptly compared to the likes of Feist, Keren Ann, or Regina Spektor. (In the album’s press kit, Marling reveals her primary influence to be Bonnie “Prince” Billy, which also seems appropriate.) Although not to draw too forbidding a comparison, opening track and first single “Ghosts” is most strongly reminiscent of Joni Mitchell circa For the Roses, both in Marling’s expressive vocal phrasing and the expert shifts in the arrangement between solo acoustic passages and full-band sections, not to mention an excellently deployed string section. That old-school ’70s singer/songwriter vibe predominates throughout the album, in fact. There’s one straight-up pop song here, the deceptively chipper-sounding “Cross Your Fingers” (“…hold your toes/We’re all gonna die when the building blows” continues the sweetly sung chorus), but aside from that, Alas I Cannot Swim is the kind of album that takes a couple of listens for its charms to completely sink in. Rather than swath every track in prominent, ear-grabbing hooks, Marling and producer Charlie Fink choose to keep the decorations off in the distance on songs like “The Captain and Hourglass,” where swells of pedal steel stay buried deep in the mix under Marling’s hypnotic guitar line and quietly insistent vocals. There’s every chance that Laura Marling will get lost in the shuffle as the unexpected commercial success of Feist’s The Reminder leads major labels to unleash hordes of similarly talented female singer/songwriters, but Alas I Cannot… |
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Appearing Nightly $17.98 As is made all but plain by the title, Appearing Nightly is a live outing recorded by Carla Bley’s big band over two nights at New Morning in Paris in the summer of 2006. Of course we’ve heard Bley’s large group in live settings many times over the years, but in this case it’s been five years since we’ve heard them at all — at least on a recording. Her last outing with a large ensemble was in 2003 for the pre-election year political album Looking for America. Bley’s last couple of records were made with her Lost Chords group, all of whom are present here: tenor saxophonist and flutist Andy Sheppard, bassist Steve Swallow, and Billy Drummond on the trap kit. Other players include trumpeters Lew Soloff, Florian Esch, and Earl Gardner; trombonists Gary Valente, Richard Henry, and Gigi Grata; Wolfgang Puschnig, Christophe Panzani, and Julian Arguelles make up the saxophone section, with Karen Mantler holding down the organ chair. Most of these players have been with Bley for many years.The cover of the album also offers a solid clue as to what it sounds like: while it is no doubt a Bley record, meaning its compositions and arrangements are quite contemporary, and if it doesn’t have the sound and feel of what it might have in the 1950s for an ensemble this size, it nonetheless echoes both. Furthermore, Bley’s tunes go to some length to consciously draw these parallels by freely employing elements of well-known tunes from the great American songbook in both her compositions and in her solos. All of these tracks are filled with her requisite sophistication and humor, but standouts include “Appearing Nightly at the Black Orchid,” a 25-minute long suite where Tin Pan Alley composers are paid clever homage in Bley’s own solo, which quotes from “Someone to Watch Over Me” within the very framework of the composition. Other highlights include the fingerpopping swinger “Awful Coffee” with beautiful electric bass work by Swallow, and tough solos from Sheppard and Puschin… |
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At Action Park $19.98 Shellac’s first three singles (especially Uranus) suggested that Steve Albini was moving into more subtle and dynamic territory after the musical and lyrical brutality of Big Black and Rapeman, but the group’s first full-length album, At Action Park, proved that the misanthropic noisemaker responsible for Atomizer and Songs About Fucking was still very much present. “My Black Ass,” “Dog and Pony Show,” and “Il Porno Star” revealed Albini was still obsessed with sex, violence, and anti-social behavior, and the hard, metallic guitar figures of “Pull the Cup” and “Song of the Minerals” were as uncompromisingly abrasive as ever, with Albini’s trademark engineering (dry, stark, and crystal clear) making the rough edges all the more punishing. But At Action Park does reveal a band more musically intelligent and imaginative than Big Black, and while it hits a good bit harder than the 7″ers that preceded it, Shellac is still significantly more concerned with the space between the notes than any of Albini’s earlier projects. Just as importantly, in drummer Todd Trainer and bassist Bob Weston, Albini had found a human rhythm section that lived up to his exacting specifications, with Weston adding both melody and force with his thick, meaty tone and Trainer displaying both precision and an expressive abstraction behind the kit. And while Shellac’s idea of a good time would still make most folks uncomfortable, there’s a dark but genuine humor to a few of the cuts (especially “Il Porno Star”), and “Song of the Minerals” suggests Albini may actually feel compassion for one of his protagonists. At Action Park made it clear that Steve Albini was slowly but surely maturing, while stubbornly refusing to compromise in the process. ~ Mark Deming, Rovi |
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BIAS SoundSaver – Windows PC and Macintosh $39.99 Have you still got precious recordings on vinyl records or tapes or cassettes? Play them to your PC or Mac and digitize them. Bias’ SoundSaver makes the seemingly impossible possible. It’s easy to digitize old recordings.-SoundSaver makes recording LPs, tapes, and other sources super-easy with a complete step-by-step tab-based approach. Regardless of prior experience, anyone can use SoundSaver ? without ever reading a manual ? though electronic documentation is included along with a handy tutorial Video at no additional charge.-While many USB turntables and tape decks include basic conversion Software and/or general-purpose freeware Audio Editing applications, none offer the combined ease-of-use and high-quality cleaning results offered by SoundSaver. Not only does SoundSaver offer far better audio fidelity than other solutions, but being specifically designed for its intended use makes the audio archiving process far simpler and more enjoyable ? meaning users are far more likely to achieve satisfying results.-SoundSaver for Mac and Windows streamlines the process of converting and restoring LPs and tapes with a step-by-step tab-based approach. -The boxed “kit” edition of SoundSaver includes a free 6-foot RoHS-compliant Stereo mini to dual RCA cable. Additional adapters can be added for other connections. SoundSaver uses BIAS’ patent-pending, corrective, linear-phase noise-reduction (CLNR) algorithm. -While SoundSaver offers manual track marking during and/or after recording, it also offers an intelligent Auto-Define Tracks feature. Once a recording is made, tracks may be automatically defined with a single click in most instances, and track markers can always be adjusted if needed. Track names, album titles, artist info and more can be automatically applied by connecting to the Internet and entering the album name. SoundSaver can then export the individual tracks as MP3, uncompressed WAV files, or directly to iTunes with a single click. -While SoundSaver offers man |
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Baby Days Scrapbook Kit $51.33 Used – This kit is perfect for creating a precious record of a baby’s early days. Just take your favourite photos, mount them in the beautiful scrapbook and decorate the pages with the co-ordinating paper and stickers provided. You could even include a birth certificate, scans or little hand and footprints! A detailed instruction leaflet provides tips and techniques to get you started. Your kit contains a deluxe postbound album, twenty stylish album pages, twenty page protectors, fifteen sheets |
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Baby Days Scrapbook Kit $58.37 New – This kit is perfect for creating a precious record of a baby’s early days. Just take your favourite photos, mount them in the beautiful scrapbook and decorate the pages with the co-ordinating paper and stickers provided. You could even include a birth certificate, scans or little hand and footprints! A detailed instruction leaflet provides tips and techniques to get you started. Your kit contains a deluxe postbound album, twenty stylish album pages, twenty page protectors, fifteen sheets o |
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Backyard Explorer Kit $5.95 New – An introduction to nature study that includes a “Tree and Leaf Guide” and a “Leaf Collecting Album.” illustrations accompany the text. |
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Bandwidth $36.98 For release number six by his Circulasione Totale Orchestra, Norwegian free jazz sax master Frode Gjerstad opted for a solid three-CD set of live recordings (from 2008, says the press kit — no recording info is included with the album itself). If you have been looking for a decisive statement from this band, here it is: three discs, three sets, three decibel-heavy collective improvisations full of twists and turns, three times the magic. The Circulasione Totale Orchestra has always been about mixing it up between locals and international figures, and about passing the torch to the younger set — the experience and advice of the seasoned musicians, the fresh excitement and ideas of the up-and-comers, all that circulates freely among orchestra members. Or at least, that’s how CTO is designed. And judging from these three hours of recordings, it works. There are 15 musicians on the recordings, 13 at a time, and the cast is a stunning blend of major players from the American free jazz and European free improvisation scene. In the “seasoned improvisers” category we find, beside Gjerstad, drummer Louis-Moholo-Moholo (of Chris McGregor fame), American free jazz greats Bobby Bradford (trumpet) and Sabir Mateen (sax); Kevin Norton (vibes), once in Anthony Braxton’s standards and non-standards bands, and longtime William Parker collaborator Hamid Drake (drums). Among the younger and local players are Anders Hana (guitar, of MoHa! and Noxagt) and the killer rhythm section of Ingebrigt Haker Flaten and Paal Nilssen-Love (both of the Thing). Lasse Marhaug and John Hegre (Jazkamer) are handling noise, electronics, and live manipulation/mix duties, with more electronic input from Morten Johan Olsen (of MoHa! and Ultralyd). It could have been totally chaotic, and at some points (especially on discs one and three) it borders on a catastrophe, but the musicians are clearly listening intently to one another and are ready to bounce back and put the train back on its rails when ne… |
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Blood from Stars $17.98 Blood from Stars is the album Joe Henry’s been getting at since Scar. He’s worked with jazz musicians often, but he’s never made a record that employs the form so prominently. His band includes Marc Ribot, Patrick Warren, Jay Bellerose, David Pilch, and now his son Levon on saxophones and clarinet, as well as vibist Keefus Ciancia. Engineer Ryan Freeland is as important as the players: he managed to give this record its strange yet welcoming sound. It begins with the short “Prelude,” played by Jason Moran. It introduces all the characters here, with a note or two here, a chord flourish there. Some are immediately identifiable; others you’ve never met before and perhaps hope never to. Henry’s love of traditional jazz has blossomed — the album sprawls over history, genre, and song forms, but there is no consciously retro aspect in its presentation and it is not a jazz album. Many of these songs are based on the blues (and even folk-blues); some are standards-style pop; some walk out the jazz of New Orleans, St. Louis, and Kansas City from the early 20th century; some even rock — a little. Many are dressed in horn arrangements and offbeat sounds that seem to enter in from the rafters. They drift in and out and are allowed to play a part in the songs. Who cannot relate to the swinging blues (? la “St. James Infirmary”) led by piano, upright bass, acoustic guitar, and a minimal trap kit? The music seems to come from antiquity in “The Man I Keep Hid,” but Henry’s voice is right firmly in the historical present: his protagonist voices his desires and how they are thwarted — usually by himself — as horns, organs, piano, and rhythm section swell and offer the chaos just under the surface of the singer’s voice. “Channel” follows it, a love song about disorder that is played as anything but. Henry’s character asks simple questions that offer significant difficulties in his inner world, but he embraces them: “I want my story straight/But all the others bend/Fro… |
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Breaking Atoms $12.99 The chemistry between the Large Professor, Sir Scratch, and K-Cut was sufficiently powerful to make Breaking Atoms an appreciated album upon its release in 1991, as well as a historically valued recording after the breakup of the original crew. The production credits on Breaking Atoms go to the collective Main Source; listening to the album in hindsight, it is difficult to miss the stylistic trademarks (such as the raspy drum kit of the EMU SP1200 and the groove and soul music samples) that typically identify the Large Professor’s production. In any case, Breaking Atoms featured original concepts, innovative production, and conscientious lyrics. Some of the stand out tracks include “Just a Friendly Game of Baseball,” a well-developed rhyme in which the Large Professor uses a detailed analogy of baseball to describe — in no subtle way — the brutality with which police treat young black men. “Just Hangin’ Out” employs a wild horn loop underneath a slow and melodic string sample as the Large Professor flows about — what else — hangin’ out. “Looking at the Front Door” (one of the three commercial singles released from this album) was very popular and was accompanied by a video which helped Main Source to obtain an audience. The two other commercial single releases were “Peace Is Not the Word to Play” and “Live at the Barbeque.” Commenting on the excess of violence in American society, “Peace Is Not…” is a brief, uptempo warning against the casual use of the term “peace,” especially considering the lack of real peace in the world. The Large Professor’s singular verse in this song is supplemented by Sir Scratch and K-Cut’s minute-long medley of creative, energetic scratching. “Live at the Barbeque” was another very influential track, serving as the launching pad for the careers of both Akinyele and Nas. A diehard favorite of serious hip-hop fans, “Live at the Barbeque” is a classic posse cut which has not only Nas and Akinyele delivering tight l… |
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Breaks from the Border $10.98 Rather than take a well-deserved break after a U.S. festival tour, Leeds U.K. funk quartet the New Mastersounds flew to Tomillo, Texas’ Sonic Ranch, a residential neighborhood studio located near the border between the States and Mexico. Deciding they wanted to append their near-constant instrumental output with vocals — that have primarily occurred on stages rather than in the studio — they flew in Rhianna “Freckles” Kenny to collaborate in the writing, arranging, and recording process. Cut in just over a week, Breaks from the Border reflects the bubbling, energetically infectious sounds of the New Mastersounds at their best, while adding depth and dimension to some beautifully breezy, elastic, harmonically savvy vocals that never manage to get in the way of the quartet’s knotty, rave-up funky grooves. All four members harmonize on opener “Take What You Need,” which merely highlights their backbeat-driven Meters-influenced funk with an into-the-red bassline groove led by Pete Shand. They pick up the tempo with “Run the Gauntlet,” featuring a smoking B-3 solo by Joe Tatton. The knotty breaks by kit man Simon Allen fuel the shimmering group vocals on “On the Border,” while the finger-popping dialogue between the bassline and Eddie Roberts’ jazz guitar wrangling on “Freckles” accounts for one of the finest moments on the disc. The burning Afro-funk at the heart of “Walk in These Shoes” reveals the quartet at full rhythm burn, even with the four-part harmonies adding a breezy, humid element to the mix. Roberts’ guitar break is one of the best on any New Mastersounds studio effort. “Josus” walks on the jazz side of funk and “Can You Get It?” sounds like an update of the Meters’ bubble and broil. Kenny takes her own lead vocal break on the album-closing jazzer “Up in the Air,” with spacy psychedelic soul grooves from the New Mastersounds. On paper, it would have seemed that Breaks from the Border might have fallen short; as it stands, however, this… |
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C’est Com…Com…Compliqu? $19.98 As strange and chaotic as the journey of Germany’s Faust has been since 1970, one thing has been constant: no matter what they have issued, in whatever incarnation, Faust have never sounded like anyone else. They have been a myth since the very beginning, and a mystery to all but one another. C’est Com…Com…Compliqu? , issued in early 2009, was recorded by the studio incarnation of Faust: original members Jean Herv? Peron and Werner “Zappi” Diermaier along with Amaury Cambuzat of French vanguard rock outfit Ulan Bator. (There is also an expanded live version of the band with former Henry Cow reed and woodwind man Geoff Leigh, singer Lucianne Lassalle, British poet Zo? Skoulding, and members of Welsh experimentalist band Ectogram.) The album was recorded at the now legendary Electric Avenue Studio in Hamburg by Tobias Levin. The music on this set is much less anarchic than some previous Faust releases, but that doesn’t make it any less enjoyable or adventurous. Rhythmically, Dermaier’s drumming is as trancelike as ever, whether he’s using his kit or various other percussion instruments (or those adopted as such); Peron’s basslines are throbbing, pulsing and incantatory; and Cambuzat’s wildly original use of guitars, various primitive keyboards, toy instruments, and household elements fills out a sound that is more speculative than aggressive, though there is no lack of drama in these proceedings. A listen to the nine-plus-minute mantra-like “Kundalini Tremolos,” which is Krautrock to its very core, is example enough. But there are much stranger things on offer here as well, such as “Petits Sons App? tissants,” with its strummed nylon-string guitars; lunatic-fringe French poetry; Wurlitzer piano; bass drums; tom-toms; and crashing, thunder-like sheets of metal percussion. The guitar and bass freakout that introduces “Bonjour Gioacchino” is the most “rockist” thing here; its sense of power and overdrive with shimmering reverb and clattering cymbals an… |
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Cakewalk Music Creator 6 – Windows $39.99 Make your creative dreams a reality and achieve polished, Professional recordings from your home Computer with Music Creator 6 – no previous recording experience required! Get professional sounding results using Music Creator’s powerful tools, instruments, and effects. Creating music on your PC has never been this easy or fun – all from Cakewalk, makers of one of the top selling music Software in the world.-Music Creator turns your computer into your own Personal recording studio and includes everything you need to create, edit, and mix professional recordings. Whether it?s a cover of your favorite tune or an original composition, turn a simple idea into a finished song with Music Creator?s powerful suite of tools, loops, instruments, and effects. And when you?re ready to share your music with the world, you can burn a CD or use SoundCloud to post your music on Facebook and Twitter. Based on Cakewalk?s acclaimed professional studio software, Music Creator?s elegant design and Drag and drop Interface makes creating and sharing music fast, easy, and fun. -Features:-Based on Cakewalk?s acclaimed SONAR X1 professional studio software-Record up to 160 tracks of Audio & MIDI (32 audio and 128 MIDI) -Professional 24-bit audio quality -Drag & drop instrument sounds, loops, more (over 4 GBs of content)-Song Construction Kits for fast and easy creation of backing tracks-Hundreds of instruments and over 1,000 professionally recorded music loops (beats, bass, guitars, keyboards, horns, strings, and more)-3 fantastic virtual instruments: Cakewalk Sound Center for easy access of hundreds of instrument sounds, TTS-1 General MIDI sound module featuring genuine Roland? sounds, and Studio Instruments Drums that looks just like a real drum kit!-Pro effects include EQ, Reverb, Delay and epic guitar amp tones from IK Multimedia? AmpliTube 3 CS guitar amp simulator-Remix tracks and jam with the Matrix View-Create playlists and burn songs or an entire album to audio CD-Upload songs direct |
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Camel: Camel-Album, the Snow Goose, Mel Collins, Nude, the Single Factor, I Can See Your House from Here, Rain Dances, Breathless $15.19 Used – Kilde: Wikipedia. Sider: 38. Kapitler: Camel-album, The Snow Goose, Mel Collins, Nude, The Single Factor, I Can See Your House from Here, Rain Dances, Breathless, Stationary Traveller, Moonmadness, Harbour of Tears, Andrew Latimer, Dust and Dreams, Colin Bass, Greasy Truckers Live at Dingwalls Dance Hall, Mirage, Dave Sinclair, A Live Record, Never Let Go, Coming of Age, Richard Sinclair, Lady Fantasy, Rajaz, Chris Rainbow, Jan Schelhaas, On the Road 1982, The Brew, Kit Watkins, The Paris |
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Canon 0041B009 3×3 Pocket Size Photo Album $19.95 Canon has re-invented the wallet-sized photo with the new Photo Album 3″x 3″ Pocket Size. The ultimate stocking stuffer or personalized party favor, the small pocket-sized album holds 12 different photos, as well as a custom wraparound photo hardcover. The hardcover wrapping can be customized and printed using your own images for a truly unique photo album experience.-Print-your-own photo album kit includes print Paper for Canon photo printers-Easy-to-use photo selection and text Editing Software -Compatible when used with most Canon Inkjet photo printers-Holds up to 12 photos-Pack of 2 albums |
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Canon 3295B002 PIXMA Pro9000 Mark II Photo Printer $349.99 The PIXMA Pro9000 Mark II possesses the functionality and technology you need for high-quality Output so you can be the photographer you’ve always wanted to be. Its 8-color ink system widens your color palette along with advanced Easy-PhotoPrint Pro Software to fine tune your prints plus Ambient Light Correction, which optimizes color output to match the specified lighting condition you would display in. This fantastic Printer does all of this and more while supporting Canon Fine Art Photo Papers up to 13″ x 19″ with two separate paper paths, including a front feeder for heavyweight paper types. The ChromaLife100 system combines the benefits of genuine Canon dye-based ink and photo paper with FINE print Head technology to produce long-lasting, beautiful prints with a wide color gamut for vivid coloration and high glossiness. The PIXMA Pro9000 Mark II takes your photo printing to all-new Professional levels.-ChromaLife100: combines FINE Technology with genuine Canon papers and inks which promotes outstanding color vividness and long-lasting prints for up to 100 years when stored in an archival quality photo album -Ambient Light Correction: optimizes color output to match the specified lighting condition of the room you’re admiring your photos in-Auto Photo Fix: automatically categorizes your images into one of five types – Portrait, Scenery, Night Scenery, Snapshot with Scenery, and Snapshot with Night Scenery – then applies optimal image correction-2 Way Paper Feeding-PictBridge: print photos directly from your compatible Digital camera, DV camcorder or camera phone (cable not included)-Print Resolution (Up to): 4800 x 2400 DPI (color), 4800 x 2400 dpi (black)-OS Compatibility: Windows Vista/XP/2000 and Mac OS X v10.3.9 to v10.5.x7 -In the box: -PIXMA Pro9000 Mark II Inkjet Photo Printer-Document Kit: Adobe Photoshop Elements Installation Sheet, Cross Sell Sheet, Getting Started, Important Information Sheet, Safety Environment Information, Setup Software & User’s Gu |
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Canon PIXMA iX6520 Inkjet Photo Printer $149.99 For those who seek a single function printing solution up to 13″ x 19,” the PIXMA iX6520 Inkjet Business Printer will seamlessly become a member of your office team. With superior 9600 x 2400 maximum Color dpi, you can confidently and easily print marketing materials that are a combination of text and graphics, large accounting spreadsheets or legal contracts all with crisp text. The iX6520 is also great for graphic designers printing posters, concept art, sketches and storyboards all with superb color and graphic detail. –Your photo printing options now also expand to Full HD video. Full HD Movie Print turns your favorite HD movie clips captured with compatible Canon EOS Digital SLR or PowerShot cameras into beautiful photo prints. If you’re looking to customize your own Web layouts, you’ll enjoy Easy-WebPrint EX so you only print what you want, when you want off the web! -Package Contents: iX6520 inkjet Printer, Document Kit, Ink Tanks (PGI-225, CLI-226), Power Cords, Print Head-Extraordinary Resolution – Realize the power of 9600 x 2400 maximum color dpi firing with 1pl. This produces incredible quality and detail in both your business documents and photos.-High Performance Individual Ink System – This 5-color ink system consists of four dye-based inks for exceptional photos plus a pigment-based black ink for crisp Professional quality text. -ChromaLife100+ – This system combines enhanced FINE print head technology with select genuine Canon photo papers and inks for beautiful borderless photos that will last up to 300 years when stored in an archival-quality photo album.-Amazing Photo Printing Versatility – Print stunning photo quality on various types of photo paper from 4″ x 6″ to 13″ x 19.”-Full HD Movie Print – Full HD Movie Print Software turns your favorite HD movie clips captured with compatible Canon EOS Digital SLR or PowerShot cameras into beautiful photo prints.-Easy-WebPrint EX – Clip, arrange and print web page contents so you can p |
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Chewing on Glass & Other Miracle Cures $15.98 Canadian hip-hop beathead Sixtoo belongs to a generation of producers who forsake the Classic Beats and Breaks style of track construction for an aesthetic that samples and reworks their own playing as well as that of their friends — Pretty Purdie plus Roscoe Mitchell. Based in Halifax and later Montreal, the veteran of his own solo records as well as productions and accompanying gigs for Buck 65, 1200 Hobos, and Anticon among others, his first record for Ninja Tune isn’t instrumental hip-hop but rather down-tempo funk with a cinematic flair — a close compatriot of J Swinscoe’s Cinematic Orchestra. Sixtoo’s productions are dripping with atmosphere, and he possesses the fiending of a soundtracker for sounds that listeners haven’t heard before but can immediately associate with a feeling — and that feeling is usually a delicious sense of dread. “Boxcutter Emporium, Pt. 2,” one of three tracks in a suite interspersed throughout the album, succeeds despite only sparsely using a few elements: a hi-hat-heavy drum kit, a bassline with only one change, and an oscillating bell sound. “Storm Clouds & Silver Linings,” his feature collaboration with Can vocalist Damo Suzuki, is an inspired piece of avant funk, wherein a friend’s sampled drumming and Matt Kelly’s distorted guitar frames Suzuki’s improvised vocalizing. These highlights, however, don’t serve to frame a compelling full-length. In fact, the two collaborations with the highest profiles — separate tracks featuring a pair of Godspeed You Black Emperor! members, cellist Norsola Johnson and bassist Thierry Amar — are meandering and ineffective. ~ John Bush, Rovi |
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Click Book & Camera Kit $11.97 Used – With the information and equipment readers find here, there won’t be any blurred shots, washed out photos, or heads cut off in their collection. In this all-in-one kit, readers find a paperback copy of “Click! Fun with Photography”, a full-color guide to film, lighting, framing, focusing, special effects, and other techniques; a bright blue, 35mm reusable camera, complete with auto focus; and a big, red 4 x 6 photo album with 24 pages. |
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Click Book & Camera Kit $11.97 Used – With the information and equipment readers find here, there won’t be any blurred shots, washed out photos, or heads cut off in their collection. In this all-in-one kit, readers find a paperback copy of “Click! Fun with Photography”, a full-color guide to film, lighting, framing, focusing, special effects, and other techniques; a bright blue, 35mm reusable camera, complete with auto focus; and a big, red 4 x 6 photo album with 24 pages. |
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Click!: Fun with Photography; Book and Kit $35.24 New – Includes a bright blue, 35mm reusable camera with automatic focus; a 4 x 6 photo album with 12 sleeves; a magnetic photo frame; and a double frame for 8 x 10 pictures. |
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Click!: Fun with Photography; Book and Kit $35.24 New – Includes a bright blue, 35mm reusable camera with automatic focus; a 4 x 6 photo album with 12 sleeves; a magnetic photo frame; and a double frame for 8 x 10 pictures. |
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Click!: Fun with Photography; Book and Kit $7.95 Used – Includes a bright blue, 35mm reusable camera with automatic focus; a 4 x 6 photo album with 12 sleeves; a magnetic photo frame; and a double frame for 8 x 10 pictures. |
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Clovis People, Vol. 3 $18.98 Over a decade, folk-blues songwriter Otis Taylor has come up with compelling, often puzzling album titles; Clovis People, Vol. 3 is no exception. For starters, there aren? t any previous volumes. Also, the Clovis People he refers to don? t exist. Their name was chosen by archaeologists near Taylor? s own home in Pueblo, Colorado, who discovered the tools and pottery of a culture that had died out over 13,000 years ago. Taylor? s approach is quite spare and atmospheric, though his ensemble is sometimes exotic: some of his guests include jazz trumpeter Ron Miles, electric guitar slinger Gary Moore, Fara Tolno on djembe, pedal steel guitarist Chuck Campbell, and his regulars, daughter Cassie on bass and theremin, and Larry Thompson on drums, along with assorted guests. Taylor? s trademark vocals and guitar are ever-present. These blues are moody, sometimes menacing: ? Little Willie? is a narrative account of a young boy shot dead on a school playground. A biting lead guitar line is answered by Taylor? s stuttering rhythmic one. Campbell? s pedal steel weaves between the two as Cassie? s bass rumbles, and the skeletal, pulsing crackle of Thompson? s kit heats up Taylor’s moan toward a biting crescendo. On ? Rain So Hard,? Miles’ trumpet paints Taylor? s National steel with ethereal single notes and short runs, as a theremin, pedal steel, and a cello fill out the bottom. It? s a slow, hypnotic John Lee Hooker-esque shuffle about lost love. ? Lee and Arnez? is a folk song textured by Moore? s trademark guitar snarl, a violin, and an organ. Its fragmented narrative is about race and changing times. Taylor? s reclaiming the ghosts of people he knew and staking a claim to what was always true, even if America didn? t know it at the time (and may still not): ? There? s no color/there? s no difference.? ? Ain? t No Cowgirl? features Moore’s electric guitar against Tolno’s djemebe. They snake and pulse under a sparse lyric about a truly dange… |
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Cosmic Ocean Ship $12.99 Cosmic Ocean Ship, Mia Doi Todd’s ninth album, is an aural travelogue that reflects her inner and geographical journeys, evoking the spirit of summertime no matter what musical atmosphere she employs in order to do so. The set contains eight originals and a pair of expertly chosen covers that touch on love, its loss, renewal, leavings, and arrivals; it was released on Todd’s City Zen imprint, and produced by multi-instrumentalist Jonathan Wilson, with a small group of players. Todd uses her voice, guitars, ukulele, percussion, and carvaquinho to explore Latin, Brazilian, and her own Los Angeles brand of alt-folk. The Brazilian influence makes itself felt on album opener “Paraty,” named for the old colonial port town three hours south of Rio. Todd’s nylon-string guitar, Gabe Noel’s bass, and Andres Renteria’s hand percussion introduce this gorgeous bossa that transforms itself seamlessly into a jazzy samba after the first two verses when Wilson’s electric guitar and a drum kit are layered into the mix. Todd sings in a breezy, sensual voice of the pleasures of the town’s lazy, summery atmosphere. “My Baby Lives in Paris” harks back to Todd’s longtime fascination with Joni Mitchell. While not as rhythmically fluid as one of Mitchell’s tunes, the lyrics that touch on time, place, and metaphors of imprinted emotional memory are saturated with her influence. The lithe Latin rhythms of “Under the Sun” are countered by Todd’s open, folksy vocal, which suggests Sandy Denny in her phrasing. “Summer Lover,” in waltz time, is reminiscent of the Laurel Canyon sound of the early ’70s, and in the piano, guitars, basslines, and shimmering drums, one can hear the trace of a Mitchell arrangement. The reading of Baden Powell’s classic “Canto de Lemanj? ” is introduced by Todd’s voice in layered echoes, before her nylon-string guitar enters, augmented by bowed cello, intermittent percussion, and spacy reverb. She does a provocative reading of the tune that breaks open int… |
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Crooked Rain, Crooked Rain $12.99 It may be a bit reductive to call Crooked Rain, Crooked Rain the Reckoning to Slanted & Enchanted’s Murmur — not mention easy, considering that Pavement recorded a song-long tribute to R.E.M.’s second album during the Crooked Rain sessions — but there’s a certain truth in that statement all the same. Slanted & Enchanted is an enigmatic masterpiece, retaining its mystique after countless spins, but Crooked Rain strips away the hiss and fog of S&E, removing some of Pavement’s mystery yet retaining their fractured sound and spirit. It’s filled with loose ends and ragged transitions, but compared to the fuzzy, dense Slanted, Crooked Rain is direct and immediately engaging — it puts the band’s casual melodicism, sprawling squalls of feedback, disheveled country-rock, and Stephen Malkmus’ deft wordplay in sharp relief. It’s the sound of a band discovering its own voice as a band, which is only appropriate because up until Crooked Rain, Pavement was more of a recording project between Malkmus and Scott Kannberg than a full-fledged rock & roll group. During the supporting tour for Slanted, Malkmus and Kannberg recruited bassist Mark Ibold and percussionist Bob Nastanovich, and original drummer Gary Young was replaced by Steve West early into the recording for this album, and the new blood gives the band a different feel, even if the aesthetic hasn’t changed much. The full band gives the music a richer, warmer vibe that’s as apparent on the rampaging, noise-ravaged “Unfair” as it is on the breezy, sun-kissed country-rock of “Range Life” or its weary, late-night counterpart, “Heaven Is a Truck.” Pavement may still be messy, but it’s a meaningful, musical messiness from the performance to the production: listen to how “Silence Kit” begins by falling into place with its layers of fuzz guitars, wah wahs, cowbells, thumping bass, and drum fills, how what initially seems random gives way into a lush Californian pop song. That’s Crooked Rain a nutshell — what initial… |
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Decade of Aggression: Live $15.99 Decade of Aggression is Slayer’s live double disc. It was recorded in 1990 and 1991, with mobile units in Lakeland, FL, at Wembley Arena in London, and in San Bernardino. A live set from this band is risky business because it’s Slayer live that gained an international reputation for taking on all comers and ripping them to shreds on a stage. The fear is simply that the audio recording alone — without the subsequent live DVDs they’ve issued — won’t capture the sheer overblown intensity of the unit in a concert setting. The bad news is that it doesn’t; the good news is that it comes a lot closer than one might imagine before hearing it. It’s a double live album that approaches the league of Ted Nugent’s Double Live Gonzo!, the Who’s Live at Leeds, and the Allman Brothers’ At Fillmore East when it comes to representing a band perfectly. This is the original incarnation of Slayer with blastbeat progenitor Dave Lombardo beating hell out of the drum kit, guitarists Kerry King and Jeff Hanneman, and vocalist/bassist Tom Araya. They run through the material on virtually all of their studio albums to that point, going all the way back to 1983′s Show No Mercy with the tracks “The Anti-Christ” and “Black Magic.” While it’s true that the majority of the tunes here come from South of Heaven, Reign in Blood, and Seasons in the Abyss, that’s as it should be, reflecting live the band’s compositional and overdriven blend of thrash, hardcore, and classic death metal. Producer Rick Rubin stays out of the way; his production seems to be in terms of shaping the live sound to make it sound like this is all one gig. It’s exhilarating (“South of Heaven”) and exhausting (“Dead Skin Mask”), and by the time they get to “Angel of Death” closing the first disc, most listeners will be drained. That said, disc two is just as furious, with classic Slayer performances of “Born of Fire,” “Spirit in Black,” and the closer, “Chemical Warfare.” Decade of Aggression is a record for … |
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Deep Fried Satisfied $15.98 Hay is a one-man band from Australia who plays live with a double-necked guitar/bass that he loops with various pedals to set up a mighty wail of blues/rock guitar noise. On this album he plays drums, bass, sitar, and electronic percussion, using mainly electronics to produce the sound of a real drum kit. Hay’s feel-good music has a notable punk/funk edge and he’s got considerable chops, especially on slide guitar, and an over the top vocal approach that makes him sound like a party animal. As you might expect from the album title, Hay also has an irrepressible sense of absurd humor, although he does get relatively serious once a while. On “Friend,” one of the more sedate tunes on the disc, he gives us a slow, funkified blues with stuttering James Brown-influenced guitar accents and a wall-shaking bassline. It’s a salute to a pal who got him through some hard times, but adds a promise of a drunken binge. Think George Clinton meets J.J. Cale. “Get Me Some” gives the details of a New York City snack attack that leads Hay to the portals of a pizza joint. He salutes thin crust pizza using slashing acoustic slide and crunchy rock chords. “Deep Fried Satisfied” describes Hay’s ambivalence about fast food. He’d like a salad, but the chicken tastes so good, even as he ironically describes its affect on his arteries. While the rest of the songs are not about barbecue or fried chicken, they are greasy in that good, ol’ fashion, down-home way. He rails about dishonest used car salesmen on “Don’t Give Me That,” the tribulations of trying to pay bills over the phone on the stomping “On Hold,” and sings the praises of true love on “Heading Home” and “Miss You So.” The most surprising track is a cover of Queen’s “We Will Rock You,” an explosion of slide guitar delivered over a primitive drumbeat. Hay delivers the lyric as a staccato rap, then closes with a quiet moaning chorus that takes the tune back to the Mississippi Delta. ~ j. poet, Rovi |
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Ecim [Bonus Tracks] $13.98 The versatile quartet’s first release found its own voice already firmly established — almost totally out of sync with prevailing trends in 1992, now Ecim seems prophetic in its embrace of styles and influences that would come to much greater prominence throughout the decade. The obvious Krautrock fetish alone — clear from the first few seconds of the album thanks to the motorik drive of “Death Kit Train,” as fine a Can/Neu! tribute as any ever recorded — found the band inadvertently on the cutting edge in later years. Similarly styled numbers crop up throughout, generally tending more toward Can’s dark experiments and jams. Unlike many bands that never moved beyond tribute, however, Cul de Sac do not limit themselves to one particular approach, but rather embrace a wide range of possibilities. The choice of cover songs is telling — while “Song to the Siren” acknowledged both Tim Buckley’s striking original and This Mortal Coil’s later, evocative version, arguably more impressive was a take on future collaborator John Fahey’s “The Portland Cement Factory at Monolith, California.” It’s a full-band version, Glenn Jones’ playing to the fore but the rest of the band able to add a gentle rock swing and, two minutes in, sudden bursts of white noise. Certainly Jones’ abilities on guitar elsewhere show a clear debt to Fahey’s genre-busting work, and titles like “Stranger at Coney Island” and “The Moon Scolds the Morning Star” have a certain hint of Fahey as well. Again, though, it’s not just that, but a collage of styles, including soft chimes, musical saw, chopped-up vocals from a Nico recitation, and sounds from the Contraption, Jones’ other instrument besides guitar. Dredd Foole’s guest vocals don’t sound too out of place in the end — his work on the Buckley cover is just right, though certainly his wordless opening yells on “Homunculus” make for an attention-getter. [The 2006 edition includes three bonus tracks.] ~ Ned Raggett, Rovi |
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Enemy Within $13.98 Known mostly for his session work, guitarist Chris Spedding’s Enemy Within release contains enough fragments of mild rockabilly, pop, and traditional rock & roll to keep it afloat. Sounding an awful lot like Mark Knopfler, Spedding fails to unleash any real surprises, as songs like “Signs of Love,” “Enemy Within,” and “Hi-Heel Shoes” are straight-ahead little rock & rollers with an abundance of catchy licks and recognizable rhythms. Many of the songs employ an echo effect to Spedding’s voice which does become a bit trite, but his playing more than makes up for it, and his guitar does become the main focus throughout the 12 cuts. Once in a while, Carter Cathcart’s keyboards join Spedding’s indulgent riffs to create a wee bit of differentiation and lean toward an ’80s sound, while drummer Anton Fig is consistent as always behind the kit. Even his renditions of “Shakin’ All Over” and Ronnie Hawkins’ “Mary Lou,” in which Spedding openly struts his talent, are admissible, and the dreariness of “Go West” is really the only cut that sounds out of place. There’s nothing on Enemy Within that matches the amiability of his biggest hit, “Motorbikin,” and he isn’t as colorful as he was on Roy Harper’s HQ album, but nearly every track displays relevant amounts of Spedding’s own guitar “oomph” in one way or another. ~ Mike DeGagne, Rovi |
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Family History Kit $13.17 Used – Step back in time to investigate your family history. Then create a beautiful scrapbook you’ll want to share for generations to come. This kit contains everything you need to become a Family History Investigator, including a family tree poster to decorate your bedroom wall, cool investigator handbook, CD-Rom packed with clip art (so you can create replicas of family documents), family album, stickers, envelopes for storing keepsakes, mini-book and memory notes. Find out where your family |
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Family History Kit $1.9 Used – Offering a valuable bonding experience for the whole family, this exciting kit gets kids interested in their family history. Packed with tips and tools to help young readers investigate the personal histories of their parents, grandparents, and other relatives, the kit includes a ring-bound album, a CD-ROM, a family-tree poster, stickers, and more. Full color. Pkg. Consumable. |
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Family History Kit $77.95 New – Step back in time to investigate your family history. Then create a beautiful scrapbook you’ll want to share for generations to come. This kit contains everything you need to become a Family History Investigator, including a family tree poster to decorate your bedroom wall, cool investigator handbook, CD-Rom packed with clip art (so you can create replicas of family documents), family album, stickers, envelopes for storing keepsakes, mini-book and memory notes. Find out where your family c |
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Fondo $16.98 With his sophomore release, Vieux Farka Tour? steps out of the shadow of his late, illustrious father. He’s not only developed into a convincing songwriter and singer (but one who happily concedes the microphone to other talents, like Afel Bocoum, who sings on three tracks here), but a stunning guitarist, as well. You can hear traces of his father in his work, but the style is very much his own, flowing and free, rippling almost like a kora, but also throwing in lovely, darting runs, as on “A? Ha? ra,” where the fills — not to mention the solo — are delicious, powered along by talking drum. It’s all ineffably West African, and he’s not afraid to play, as most of the tracks top the four-minute mark, leaving lots of room for him to display his fretboard talent. Of course, there are a number of bluesy touches, notably “Souba Souba,” which simmers as guitar and ngoni work together. “Slow Jam” lives up to its name perfectly, while the closing reprise of “Fafa” gives a soft acoustic end to the electric opening cut. The use of a drum kit can often bring added urgency to the music, which it does on “Sarama,” which is nothing less than primal rock & roll, although Tour? is quite capable of stepping away from all that for an acoustic, hold-your-breath duet with the wonderful Toumani Diabat? for “Paradise,” where guitar and kora play simply around a gorgeous melody. With Fondo, Tour? has created a mature, exciting, and jubilant album, and shows himself already a master. ~ Chris Nickson, Rovi |
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Gathering [Bonus Track] $21.98 Now here is an aptly named title for the veteran thrash band, as this is truly the definitive “gathering” of musicians for Testament’s lineup. Joining the ranks of vocalist Chuck Billy and guitarist Eric Peterson is guitarist aficionado James Murphy (Death, Cancer, Obituary), bassist Steve DiGiorgio (Death and Sadus), and the human drumming machine himself, Dave Lombardo (Slayer and Fantomas). Testament, for the first time in many a full moon, is a complete, well-oiled musical machine. Sounding tighter then the previous four releases combined, Testament has used Demonic as the foundation from which they will once again build their metal legacy. The riffs are faster, heavier, and tighter, while the drumming is simple, but at the same time extraordinary (would you expect anything less from Lombardo?). Billy is one of thrash metal’s most gifted vocalists. Continuing to expand upon his over the top performance from the last album, Billy demonstrates an aggressive versatility that is unheard of in this genre, as his voice fluctuates from angry to more angry to downright snarling. Demonic suffered because it lacked vision, however, The Gathering is pure focused aggression, which is why it is such a monumental release for Testament. Songs like “Eyes of Wrath,” “True Believer,” and “Careful What You Wish For” demonstrate a catchy, uncanny songwriting ability previously unseen in this band. While “Legions of the Dead” is bar none the heaviest song Testament has ever written. Nevertheless, it is “Riding the Snake” that takes the cake on this album. Here the entire band pulls out their finest arsenal. Lombardo pounds away at his kit with equal precision and intensity, while Murphy and Peterson’s guitar interplay is playful and masterful. The real gem is DiGiorgio’s four-stringed feats, which consist of a Tony Choy-esque solo that is nothing short of extraordinary. Testament will be unconquerable if they can maintain this lineup, but for the time being, The Gathe… |
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Gathering [Bonus Track] $12.99 Now here is an aptly named title for the veteran thrash band, as this is truly the definitive “gathering” of musicians for Testament’s lineup. Joining the ranks of vocalist Chuck Billy and guitarist Eric Peterson is guitarist aficionado James Murphy (Death, Cancer, Obituary), bassist Steve DiGiorgio (Death and Sadus), and the human drumming machine himself, Dave Lombardo (Slayer and Fantomas). Testament, for the first time in many a full moon, is a complete, well-oiled musical machine. Sounding tighter then the previous four releases combined, Testament has used Demonic as the foundation from which they will once again build their metal legacy. The riffs are faster, heavier, and tighter, while the drumming is simple, but at the same time extraordinary (would you expect anything less from Lombardo?). Billy is one of thrash metal’s most gifted vocalists. Continuing to expand upon his over the top performance from the last album, Billy demonstrates an aggressive versatility that is unheard of in this genre, as his voice fluctuates from angry to more angry to downright snarling. Demonic suffered because it lacked vision, however, The Gathering is pure focused aggression, which is why it is such a monumental release for Testament. Songs like “Eyes of Wrath,” “True Believer,” and “Careful What You Wish For” demonstrate a catchy, uncanny songwriting ability previously unseen in this band. While “Legions of the Dead” is bar none the heaviest song Testament has ever written. Nevertheless, it is “Riding the Snake” that takes the cake on this album. Here the entire band pulls out their finest arsenal. Lombardo pounds away at his kit with equal precision and intensity, while Murphy and Peterson’s guitar interplay is playful and masterful. The real gem is DiGiorgio’s four-stringed feats, which consist of a Tony Choy-esque solo that is nothing short of extraordinary. Testament will be unconquerable if they can maintain this lineup, but for the time being, The Gathe… |
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Guitar Hero: Smash Hits $19.99 Following the heroic feat of four consecutive top-selling releases, it’s not unusual for a rock star to reissue a selection of fan-favorite tracks on a single compilation album. Guitar Hero fans receive such a collection in Smash Hits. The game includes playable songs originally featured in the first four games in the series: Guitar Hero III: Legends of Rock, Guitar Hero Encore: Rocks the 80s, Guitar Hero II, and the original Guitar Hero. The collection comprises four dozen of the series’ most popular and challenging pre-Guitar Hero: World Tour tracks, including Deep Purple’s “Smoke on the Water” and “I Love Rock ‘n Roll” by Joan Jet and the Blackhearts (Guitar Hero); “Carry On Wayward Son” by Kansas and Alice in Chains’ “Them Bones” (Guitar Hero II); “I Wanna Rock” by Twisted Sister and “Nothin’ but a Good Time” by Poison (Rocks the 80s); and “Rock and Roll All Nite” by Kiss and Heart’s “Barracuda” (Legends of Rock). All 48 tracks are compatible with the game’s full selection of contemporary Guitar Hero: World Tour instruments, including the drum kit and mic controllers, allowing a complete band of players to rock out on tunes previously only available to one or two guitarists. The Smash Hits edition of Guitar Hero also features the series’ “Music Studio” song-mixing software, supports the “GHTunesSM” format for sharing songs with friends online, and includes the “Rock Star Creator” custom character designer. ~ T.J. Deci, All Game Guide |
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Hail Hornet $13.98 When one considers the, shall we say, “social” interaction that is usually involved with smoking weed, it’s no wonder that the stoner rock community seems to produce more intra-group collaborations than most musical cliques, and in Hail Hornet, the genre has yet another such “supergroup” to follow in the footsteps of luminary predecessors like Down, the Desert Sessions, and the Mighty Nimbus. Comprised of vocalist Troy Medlin (of Sourvein), guitarist Vincent Burke (Beaten Back to Pure, Sourvein), bassist “Dixie” Dave Collins (Weedeater, Buzzov*en, Bongzilla), and drummer Erik Larson (normally a guitarist with Alabama Thunderpussy, the Mighty Nimbus, etc.), Hail Hornet’s pedigree certainly reads like an embarrassment of riches, and their eponymous debut album doesn’t give failure a chance with its notably energetic brand of stoner metal. If anything, the quartet seem focused on their hardcore influences, as this would explain the preponderance of short, slam dancing numbers like “Golden Whore,” “Devil’s Hound,” “Concussion Conspiracy,” and the wildly schizophrenic “Nerves,” which provides an especially stellar showcase for Larson’s talents behind the kit. But the guys in Hail Hornet also pile on the sludge nice ‘n’ thick for more deliberate dirges like the ultra-creepy “He Who Walks Behind the Rose Bros.” (featuring some wonderfully wacky whispered lyrics) and protracted album closer “Swarm of Malice,” while making use of every gear available when chugging down the highway strapped to voracious riff engines like “Believe in Black,” “Life’s Riddle,” and the soft/hard knockout of “Foxy F**k / No Solution.” All told, the group’s fine-tuned musical interplay and obviously effortless creative collaboration make this a surefire candidate for stoner rock album of the year, and suggests it won’t be the last time we hear from Hail Hornet, no matter how busy their primary bands may keep them. ~ Eduardo Rivadavia, Rovi |
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I Can See Your House From Here $10.98 Although not an honest representation of the band’s character, this is undoubtedly their most popular work. The one-time addition of American Kit Watkins produces some fine keyboard lead work. Rupert Hine’s resourceful production and appearances by Phil Collins and Mel Collins round out this strong import release. “Survival” and “Who We Are” feature some fine orchestrations, and guitarist Latimer delivers some exceptional lead work on the album’s closer, “Ice.” ~ Matthew Plichta, Rovi |
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I Have the Room Above Her $17.98 The sum total of the nuanced, elliptical lyricism at the heart of Paul Motian’s compositional method can be heard in the opening seconds of “Osmosis Part III,” the first track from I Have the Room Above Her. Recorded for ECM — with producer Manfred Eicher, guitarist Bill Frisell and saxophonist Joe Lovano — this date is Motian’s first as a leader for the label in more than 20 years. This is the same team that recorded the seminal album It Should’ve Happened a Long Time Ago in 1984. At that time, Lovano and Frisell were just beginning to establish themselves as bandleaders though they had each recorded under their own names. The weight placed on each member of this band is tremendous since standard rhythmic and harmonic anchors such as bass and piano are absent. Instead, melody, spatial dynamics and a sense of expressionistic harmony become the triad on which these group interactions are built. Motian’s tunes dominate the set and rightfully so, they bear the mantle of improvisational adventure — particularly in the aforementioned “Ocmosis III” a fine revisitation of “Dance” from his 1977 album of the same name, the utterly beguiling contrapuntal swing in “The Riot Act,” and an outside yet texturally lyrical exploration in “The Bag Man.” The title track by Jerome Kern and Oscar Hammerstein from the film version of Showboat is utterly lovely; it sings on the tags and refrains, while keeping everything in balance as Motian’s cymbal work offers support while ushering in each change. The other cover is Thelonious Monk’s “Dreamland,” which closes the album. Motian began his career playing with Monk and the pianist/composer’s lasting influence while not obvious is nonetheless pronounced. Motian’s approach to the rhythm and cadence in the tune is an independent one, he hears on the underside and urges his soloists — particularly Lovano here — to explore the shadowy harmonics underneath the tune’s framework. Motian dances the tune on his kit, floats it, ne… |
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Invisible Cinema $17.98 Pianist and composer Aaron Parks is best known as a member of trumpeter Terence Blanchard’s excellent sextet that recorded Bounce (2003) and Flow (2005). In addition, he worked with Blanchard on the soundtrack to Spike Lee’s Inside Man and score for Lee’s Katrina: A Tale of God’s Will. Invisible Cinema is his debut on Blue Note Records. Parks teams with Eric Harland, the brilliant drummer from Charles Lloyd’s group, as well as bassist Matt Penman and guitarist Mike Moreno. This is an interesting group with interlocking histories, creating a sense of familiarity with one another that all comes together here. Parks and Moreno played together on former Blanchard alum Kendrick Scott’s album The Source, as well as Moreno’s own Between the Lines. Penman and Harland are members of the SF Jazz Collective, and Harland and Parks backed Penman on Catch of the Day. The name of the game here is in the title; this is imagistic music that is big on nuance, space, and beautifully constructed melodies made up of equal parts piano and guitar, underscored and articulately dramatized by Penman’s pristine sense of time and pulse and Harland’s dancing movement but yet very physical manner of inhabiting his drum kit. Melodic improvisation is the key in Parks’ mysterious, strangely beautiful compositions, such as the elliptical, shapeshifting “Peaceful Warrior.” Parks employs his elegant style to full effect, allowing his sense of restraint and economy to create tension and drama, which is pointedly accented by Moreno. The dialogue between them is uncanny even in sparser moments — one can think of only two other piano/guitar pairings like this one, Pat Metheny/Lyle Mays and Ketil Bj? rnstad/Terje Rypdal. Here the structured euphoric feel of the former and the spaciousness and haunting melodic sense of the latter are combined. The sheer physicality of Harland’s kit work asserts itself on “Nemesis,” a track that, while not completely unhinged, is nonetheless more insistent and drivin… |
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Keep It Together $14.99 If there were any justice, Guster’s underappreciated masterpiece, Lost and Gone Forever, would have elevated the band to superstar status, and the follow-up, Keep It Together, would have been one of the most hyped releases of 2003. But while the Boston trio has built up one of the most formidable grassroots followings in music through constant touring, powerful live performances, and a level of interaction with its fans that rivals any band in the biz, Keep It Together has the goods to finally make Guster a household name. While their two previous releases flourished through an almost bipolar combination of dark rockers and upbeat pop melodies married to biting lyrics, Keep It Together takes a different path for the most part, focusing on even-keeled love songs. From the album’s low-key opener, “Diane,” to the sunny shuffle of “Ramona,” Guster displays its formerly hidden well-adjusted side. Guest musician Joe Pisapia embellishes the group’s already flawless harmonies on the immediately memorable “Careful,” and contributes vocals and banjo to the rootsy “Jesus on the Radio,” which he also co-wrote. Ben Kweller shows up on the album’s official closer, the surprisingly reserved “I Hope Tomorrow Is Like Today.” Fans of the band’s quirkier moments aren’t left behind either, with “Red Oyster Cult” featuring prog rock guitar, ELO harmonies, jingle bells, and a whistled solo worthy of the Scorpions. But there’s no arguing that the high point of this album is the impossibly catchy “Amsterdam.” Breaking all of Guster’s self-made rules (as it does throughout the album) by adding bass and a drum kit to the mix, the band combines a radio-ready yet experimental production style with power chords, layers of vocals, and screaming slide guitar for three and a half minutes of the finest pop/rock you’re ever likely to hear. Keep It Together may not feature the emotional dynamics or track-by-track genius of Lost and Gone Forever, but it has something that its predeces… |
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Kit Chan $52.8 Used – High Quality Content by WIKIPEDIA articles! Kit Chan is a Singaporean singer. She was a member of the pioneer generation of Singaporean singers to successfully break into the international market, marked in particular by her breakthrough into the competitive and highly critical Taiwanese market with her hit Mandarin album Heartache in 1994. She had released an EP “Don’t Spoil the Harmony” the previous year. She is also the ambassador to the Christian relief organization, “World Vision.” F |
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Kodak Photo Paper Kit ( 50 Pack ) $20.24 The new G series Kodak Photo Paper Kit, designed exclusively for the Kodak EasyShare G600 Printer Dock, enables you to make borderless 4 x 6-inch (10 x 15-centimeter) prints and you will have Kodak quality pictures that last with Xtralife Lamination. Kodak Xtralife Lamination provides a special protective coating to produce worry-free pictures that are waterproof, stain-resistant and last a lifetime under typical album display. The quantity of photo paper exactly matches the Color cartridge so you are sure to get the exact number of prints every time.-Prints are waterproof, stain resistant and last a lifetime-Quantity of photo paper matches the color cartridge for exact number of prints |
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Mad Kit $19.98 Though DAT Politics’ neon-bright sound is immediately recognizable, the band has always made each of its albums vividly distinct from each other. Mad Kit is no exception — setting aside the lovably boxy pop of Wow Twist, the group channels their 8-bit charm into a harder-edged, more percussive sound that aims straight at the dancefloor. Are Oui Phony’s “Step Back” hinted at this streamlined approach, and it appears here in an even more stripped-down mix that’s scarcely more than stuttering vocals and the most jagged, rudimentary synths and beats that DAT Politics could tweak out of their mad kits. Instrumentals make up nearly half of the album, as if to underscore the band’s newfound commitment to groove and ever-so-slightly more serious bent. Parts one and two of “Own Thing,” with their rapid-fire melodies, are even a little ominous; while “Wish Ya”‘s squiggly synths are the musical equivalent of a glow stick, they’re held in check by a punishing rhythm section. Even the more overtly mischievous robo-disco of “Moving Like DAT” and “Bloc Newton,” which shakes its pixels like it just doesn’t care, are more elongated and muscular than DAT Politics’ earlier work. This feeling seeps into most of Mad Kit’s more pop-oriented songs as well — they’re a little more straightforward than some of the band’s previous material, and not quite as tweaked and distorted to low-res abstraction as they’ve been in the past (though the gleeful title track is a notable exception). The breezy and bittersweet “Bad Dream Machine” is one of the clearest love letters to their synth pop inspirations that the band has written, and though “Freak Me Out” is just as paranoid as it is catchy, it’s one of the album’s least quirky moments. Mad Kit’s sleeker sound makes it less cute than some of DAT Politics’ earlier albums, but it’s so kinetic that it ends up being just as much fun in its own right. ~ Heather Phares, Rovi |
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Mandopop: Album Mandopop, Brani Musicali Mandopop, Cantanti Mandopop, Cantautori Mandopop, Ep Mandopop, Gruppi Musicali Mandopop $24.11 Used – Fonte: Wikipedia. Pagine: 134. Capitoli: Album mandopop, Brani musicali mandopop, Cantanti mandopop, Cantautori mandopop, EP mandopop, Gruppi musicali mandopop, Musicisti mandopop, S.H.E, Fahrenheit, Jackie Chan, A-mei, Jam Hsiao, Jimmy Lin, Super Junior-M, Leehom Wang, 5566, Teresa Teng, Top Combine, Alec Su, Wu Bai, Vic Zhou, JVKV, Elva Hsiao, Li Xianglan, Valen Hsu, Hey Girl, Ming Dao, The Flowers, Fish Leong, Nicky Wu, JJ Lin, Kit Chan, Kingone Wang, Tanya Chua, Hebe Tien, Rainie Yang |
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Molina & Johnson $14.98 It would be silly to pretend that an album like Molina & Johnson was created in a vacuum, when the principals — Jason Molina and Will Johnson — each have such a rich history behind them. The two singer/songwriters are best known for Magnolia Electric Co. and Centro-Matic, respectively, but it’s their other, more explicitly rootsy/acoustic projects, Johnson’s indie folk alter ego South San Gabriel and Molina’s Songs: Ohia that are more relevant to the pair’s collaborative outing. For the most part, Molina & Johnson is even more stripped-down than the latter two bands. Things start off at a deceptively brisk clip — at least brisk for this album — with “Twenty Cycles to the Ground,” the fullest-sounding track here, featuring lambent electric guitar licks, atmospheric organ lines, and an actual drum kit. Neither drums nor anything even approaching midtempo appear again on this album dominated by spare, slow-and-low ballads. That’s not a pejorative observation, though — sparse settings and an unhurried pace are exactly what these tunes require to put their point across. One of the most interesting things about the results of this partnership is the way these two alt-Americana troubadours, who generally seem to have so much in common, start to show their differences when crunched up so close together. Molina, whose voice has suggested Will Oldham with better pitch control ever since his Songs: Ohia days, is very much in the songpoet mode, crafting resonant images with a powerful and precise use of imagery. Johnson, meanwhile, bears a slightly lower, gruffer tone and traffics in a more personal, conceptually evanescent brand of songwriting — his sound might feel closer to the ground, but he’s somehow harder to pin down. Together, usually accompanied by little more than acoustic guitar and piano, they create emotionally rich musical miniatures that only ever take up as much room — both musically and lyrically — as they need. ~ J. Allen, Rovi |
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Nothing But a Burning Light $16.98 Nothing but a Burning Light, Bruce Cockburn’s first release for Columbia, teams him with producer T-Bone Burnett, whose singer/songwriter background, and spiritual leanings, seemed to be a perfect match. Throughout, Burnett’s production is understated, allowing Cockburn’s voice, guitar, and songs to lead the way over a solid foundation of bass, drums, and tasteful organ by Booker T. Jones. This sort of sympathetic production brings out the best in Cockburn and his material, which is consistently strong. Songs such as “Kit Carson,” “Mighty Trucks of Midnight,” and “Indian Wars” continue the weightier concerns of his work of the past decade, but the majority of the record takes on a more personal, introspective tone. “One of the Best Ones” and “Great Big Love” are winning affirmations of love and life, while the retelling of the nativity, “Cry of a Tiny Babe,” is as beautiful and moving a contemporary Christmas song as you’re likely to hear. Cockburn also decides to include a rare cover, his excellent reading of the Blind Willie Johnson gospel-blues “Soul of a Man,” which fits nicely in the whole of the album. Though it may lack the immediate power, Nothing but a Burning Light is Bruce Cockburn’s best since his 1984 release Stealing Fire. Jackson Browne and Sam Phillips guest on backing vocals. ~ Brett Hartenbach, Rovi |
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One Step Beyond [RVG Bonus Track] $12.99 In 1963, alto saxophonist Jackie McLean was well aware of John Coltrane and Ornette Coleman. He assembled a band with vibist Bobby Hutcherson, who had already played with Eric Dolphy, drummer Tony Williams, bassist Eddie Khan, and trombonist/composer Grachan Moncur III. While still adhering to the hard bop principle, One Step Beyond’s title is literal. The introduction of space as an element in the twin-horn front line is consistent with what would come later that year on Destination Out! McLean is clearly hearing the Eastern modalism and intervallic invention in Coltrane’s sound at this point, but still moves in his own direction, sticking very close to the blues and the hard, even relentless, swing provided by Williams on the kit. The CD version of the album contains two takes of McLean’s “Saturday and Sunday,” which make use of the insistent blues line and Williams’ driving and dancing drumming style. But the true visionary compositions here are Moncur’s “Frankenstein” and “Ghost Town.” Their unconventional solo horn melodic statements followed by two horn choruses and their irrepressible urge to use Hutcherson’s vibes as a contrapuntal element, while spreading out his chords so wide that he comes off as a pair of pianos playing complementary harmonic strategies, are revolutionary. Add to this Moncur’s insistence on soloing inside the changes as McLean moves through the register and becomes increasingly dissonant, and you have a true doppelg? nger effect — but one that swings like mad. One Step Beyond may have been the first volley McLean fired in the direction of the new jazz, and played it safe enough to ride out the hard bop he helped to create, but he cannot be faulted as a bandleader, as this music still sounds fresh, vital, and full of grainy mystery. [A Rudy Van Gelder-remastered version was released in 2008.] ~ Thom Jurek, Rovi |
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Oxford, U.K.: June 6 2005 $18.98 This is the Magic Band that was assembled at the request of Matt Groening for the All Tomorrow’s Parties festival in 2003 (with Michael Traylor replacing Robert Williams on drums while Drumbo sings). In addition to that show, they played a couple short tours in 2004 and 2005. This is one of those shows. In the liner notes, John “Drumbo” French remarks on how comfortable the band was with a couple shows under their belts, and that really comes through on this recording. This clearly isn’t the set as it was played: the songs fade in and out, sometimes during the stage announcements, which makes for a slightly disjointed listen. But that minor quibble aside, the band smokes. Gary Lucas and Denny Walley’s guitars are raw and slashing, Mark Boston is bedrock on bass, and John French effectively channels both the Captain’s vocals and harmonica. His vocals are so good, it’s almost eerie, and his harmonica playing is equally impressive. Things start in swamp blues territory with “Gimme Dat Harp Boy” and move through a handful of early Buddha-label tracks, but they end up doing tunes from every era. Beefheart’s music is generally complex and pretty well scripted, but Walley and Lucas get a chance to shine as they trade solos on “When It Blows Its Stacks,” one of the album highlights. Drumbo gets behind the drum kit for the instrumentals when they get into some of the trickiest material like “Hair Pie” and “Abba Zaba.” “Alice in Blunderland” is another highlight, with Gary Lucas turning in a guitar solo nearly as deranged as the Winged-Eel Fingerling (Eliot Ingber) original. French really gets into a great version of “Electricity,” then it’s time for Lucas’ solo spot: “Evening Bell,” which has been a staple of his live shows for decades. The home stretch is great, concluding with an excellent “Mirror Man” replete with weird, treated vocals as on the original. It’s great how this version of the Magic Band really covers all facets of Captain Beefheart’s mus… |
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Press Kit $73.2 Used – High Quality Content by WIKIPEDIA articles! A press kit, often referred to as a media kit in business environments, is a pre-packaged set of promotional materials of a person, company, or organization distributed to members of the media for promotional use. They are often distributed to announce a release or for a news conference. Press kits are a common promotional tool used by musicians when launching a new album. An electronic press kit (EPK) is a press kit equivalent in electronic for |
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Press Kit $75.25 New – High Quality Content by WIKIPEDIA articles! A press kit, often referred to as a media kit in business environments, is a pre-packaged set of promotional materials of a person, company, or organization distributed to members of the media for promotional use. They are often distributed to announce a release or for a news conference. Press kits are a common promotional tool used by musicians when launching a new album. An electronic press kit (EPK) is a press kit equivalent in electronic form |
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Question and Answer $12.99 Here you have three absolutely breathtaking jazz performers locked into a studio for a day or so. From this combination of guitar, standup bass, and acoustic drum kit, you’ve got nine tracks of sheer jazz joy — three guys just blowing for the hell of it, recorded on the fly. There’s a strong sense here that engineer Rob Eaton probably tried to get everybody properly set up and balanced before the session started and just gave up when everybody started playing. It’s a delight to hear, because everything has gone into the performance, which is spontaneous and graceful — no going back for the next take here. Pat Metheny’s playing is definitely modernistic, highly fluid, almost liquid lightning — no effects boxes here, though (he does play Synclavier on the last track, “Three Flights Up,” but it’s great anyway). Roy Haynes, likewise, should be heard by anybody wanting to get behind the traps: this man has a sense of humor, and he’s a blur of motion. Dave Holland, on bass, is no slouch either, keeping pace with Metheny’s guitar lines, and balancing up against Haynes’ drums. Together, these guys are incredible. They get into both original material and standards (including an ecstatic version of Miles Davis’ “Solar” that opens the album) with the same energy and feel for what they’re doing. This is an album with serious crossover potential, and it should definitely be heard by anyone serious about music in any way. ~ Steven McDonald, Rovi |
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R $17.98 More of a remix album than a new LP, R finds Stefan Betke revisiting the song that put him on the map as Pole. Originally recorded in late 1996 and initially released by Din in 1998, the Raum 12″ made waves in the Berlin dub-techno community and set the stage for Pole’s late-’90s breakthrough. In 2001, Betke returned to his early recording and began working on what would eventually result in four different reworkings of the initial “Raum” track. Moreover, he collaborated with guitarist D. Meteo for these four new reworkings, spicing things up a bit. To make an LP out of the affair, Betke then farmed out the “Raum” tracks to Kit Clayton and Burnt Friedman for remix treatment. Each producer offered two differing remixes. So, here’s what you ultimately get: the original two “Raum” tracks, four new reworkings by Betke, and two remixes each from Clayton and Friedman. Despite the original source for these ten resulting tracks, the ultimate results are quite eclectic, making for an interesting listen. It’s not quite as fascinating as a new Pole LP, but is a nice gap-filler and showcases Betke’s commitment to creativity and forward-thinking. [The vinyl version of this album doesn't include the two original versions of "Raum."] ~ Jason Birchmeier, Rovi |
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Sam Cooke Albums: Ain’t That Good News, Live at the Harlem Square Club, 1963, Portrait of a Legend: 1951-1964, Night Beat $12.84 New – Purchase includes free access to book updates online and a free trial membership in the publisher’s book club where you can select from more than a million books without charge. Chapters: Ain’t That Good News, Live at the Harlem Square Club, 1963, Portrait of a Legend: 1951-1964, Night Beat, the Best of Sam Cooke, the Man and His Music, Encore, Hit Kit. Excerpt: Ain’t That Good News is a studio album by American R |
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Scrapbook Kit $161.17 Used – Preserve your treasured photographs and memories with a scrapbook album and turn your favorite moments into works of art. This is the perfect starter kit containing a specially made mini-album just right to your pictures safe. Use it to commemorate an anniversary or birthday, a special journey or a new addition to the family. Archival quality materials ensure that your precious photographs don’t fade or get brittle with age, preserving them for future generations. Combine your photographs |
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Scrapbook Kit $41.77 New – Preserve your treasured photographs and memories with a scrapbook album and turn your favorite moments into works of art. This is the perfect starter kit containing a specially made mini-album just right to your pictures safe. Use it to commemorate an anniversary or birthday, a special journey or a new addition to the family. Archival quality materials ensure that your precious photographs don’t fade or get brittle with age, preserving them for future generations. Combine your photographs |
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Scrapbook in a Box: Friendship: Quick & Easy Memory Book Kit $49.73 New – Over 150 pieces, including: Padded scrapbook album 48-page fully illustrated instruction book 17 page layouts Archival-quality scrapbook pages High-quality sticker sheet Perforated tags 2 yards of assorted colored ribbons Buttons and brads Keepsake gift box |
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Security $16.98 Antibalas established themselves in the late 1990s as a burning, tough, horn, bass and drum driven Afrobeat ensemble cut from the Fela Kuti mold, who were politically savvy and socially conscious. Their live shows have been incendiary events where rhythm and perspiration from completely crazy, booty-shaking audience members shared something deeper and wider than the music itself. Security is Antibalas’ fourth album. It was co-produced by the band with John McEntire from Tortoise (he also mixed the set). While opening horn lines let the listener know immediately that this is Antibalas, virtually everything else is different. It’s not like the Afrobeat is gone, but it’s been stretched to the breaking point to include organic funk, electronic sounds, hip-hop rhythms, and a wicked backbeat on some tracks that could whip out the kinks in a tight spine better than a chiropractor. One has to wonder, though, if the appearance and acclaim of NOMO a couple of years back — an Ann Arbor, MI band that has been deeply influenced by Afrobeat yet which also includes elements of free jazz, funk, soul and deep dread reggae in their mix — provided any sort of inspiration to walk out the Afrobeat to include other musics in a tight, nearly cinematic in-your-face mix. Warren Defever, NOMO’s producer, is also an experimental rocker. But no matter.What’s here accounts for the finest Antibalas moment yet. The grooves on every track burn — check the cuts written by Stuart Bogie like “Beaten Metal,” which opens the set. There are literally bits and pieces of metal being played in counterpoint rhythms to the jacked trap kit and other drums. They are layered right onto the top of the dense mix, playing around and through the horn charts. Bogie also wrote the moody funk cut “I.C.E.,” where a B-3 chills the tune into a slightly eerie vibe, while McEntire contributes a smoking little hammered dulcimer vamp amid various rhythm instruments. When the horns and guitar enter, the horns play c… |
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Sign Here! $6 Used – This complete autograph kit comes with a 24-page booklet filled with 125 of the best autograph rhymes as well as 100 color stickers to add a little pizzazz to each entry. Where to put them? In the 132-page autograph album that is also included. Take the kit to parties, camp, or the last day of school to collect memories to treasure for years. |
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Soledad Brothers $13.98 Guitarist/vocalist Johnny Walker presents a faux southern minister’s drawl for much of the record, and while some of the tracks become repetitive (“Gospel According to John”), they are saved by Walker’s Delta bluesman-derived style of fingerpicking between the bass and treble strings on his guitar. This helps to fill out the bass-less sound of the duo. Drummer Ben Swank keeps his playing straightforward for much of the record, adding fills only where they’re needed (“Front St. Front,” “Gimme Back My Wig”). Swank also knows where to add feeling and depth, such as on “The Weight of the World,” where he only accents the first beat of every measure with his drums for the first half of the song until the tension builds and the full drum kit enters. Walker and Swank also manage to sound like a more threatening and haunting version of the “Play With Fire”-era Rolling Stones on tracks like “Mysterious Ways” and “Handle Song.” This is a raw album that should be well liked by fans of the British Invasion and blues artists such as John Lee Hooker and Honeyboy Edwards. ~ Stephen Howell, Rovi |
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Speech $19.98 Musically, Steamhammer was the cream of the crop of all rock bands from their thriving primordial era. In the realm of power rock trios, they were comparable to Cream. Yet this band is far superior in every way, but they failed to get the rave reviews and critical attention that the flashier Cream garnered. Diverging from the typical power rock style on Speech, their fourth and final album, the band found themselves in a dilemma without their vocalist, who had left after the previous release, Mountains. This led to a radical development for the band. Instead of hiring a new singer, the rest of the group picked up the slack, and reduced the role of the vocals significantly, opting for a progressive jam style that was hugely innovative for its time. Guitarist Martin Pugh offers a crashing, furious style that mixes Jimmy Page with early Robert Fripp. When Pugh seeks passages of beauty and tranquility, he finds them with ease, but when he aims for intensity, watch out! He literally attacks the listener, pounding them with his mammoth, perfectly executed riffs. Meanwhile, bassist Louis Cennamo is so talented and innovative that he single-handedly brought the bow into rock music with his bowed bass intro to the album. Several years before Page would pick up the bow for “Kashmir,” Cennamo uses the bowed bass as means to an end, not for simple effect. Just as a normal bassist alone, masters within the genre owe their lifeblood to him. For he is able to play along with just about the toughest, most technical drumming around, that of drummer Mick Bradley, who is easily the most accomplished musician of the trio. To state that he is rock’s greatest drummer is simply not enough. His energetic approach to the drum kit helped him become one of the first and only drummers in rock history, along with King Crimson’s Michael Giles, to use polyrhythmic drumming, a style commonly used by jazz drummers. His dynamic performance on the primarily instrumental “For Against,” which bl… |
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Sphere $16.98 Merzbow in the 21st century has been an interesting ride for listeners. He conquered noise mountain, retired the analog gear (mostly) in favor of a laptop computer, and continued to expand the once reductive palette of sound at his disposal. In the analog era it was just electronics (sometimes identified as synthesizer or theremin and sometimes not) along with tapes or metal objects, but more and more Masami Akita has gone out of his way to identify his sources in this phase of his Merzbow work. Sphere credits computer and percussion, and there is some electric bass here as well. There are four tracks, with the title track separated into three parts. The album opener, “Sphere, Pt.1,” starts with drums that sound closer to traditional Japanese drums than the drum kit employed on 2001′s Doors Open at 8 AM. A wash of steady midrange static soon enters the picture and the drums become the foil of Merzbow’s filtering. Pitch and tempo fluctuate wildly for a while, with a single low drum slowly pulsing in the background. Eventually, the chaotic modulations achieve a rhythmic flow and lock in with the slow beat of the lone drum, creating the hypnotic center that closes the piece. The transformation sneaks up and the track is long gone before listeners can realize just how subtle and clever the whole thing was. The other two parts of “Sphere” follow their own shadowy logic, using the same sources as “Pt. 1″ and introducing some new ones, like the gritty low-end bass that starts “Pt. 2,” to different ends. At just under half an hour, the last piece on the disc, “Untitled for Vasteras,” would have stood as a release on its own in the old days of ten to 30 Merzbow releases a month. “Vasteras” displays the same mastery of sonics as the three parts of “Sphere” but without the identifiable acoustic instrument markers; it is therefore more than just length that makes this track feel so different from the rest of the album. While it doesn’t necessarily jibe with the… |
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Station $14.98 For those who celebrated the intricate heaviness of Russian Circles’ debut album, Enter, or better yet saw them devastate live audiences with the sheer metallic roar of it all, Station may seem a little underwhelming — at first. Brian Cook of Botch/These Arms Are Snakes has replaced bassist Colin DeKuiper (on record at least). That said, one should expect a wall of sonic attack that would make the gods cower, right? Not exactly. Texture and dimension have become a big part of Russian Circles sound on this six- track album. They’ve tried to get themselves out of the post-rock “build up and up and up and finally explode” equation that has actually hampered the growth of the music. They haven’t left metal behind, but have tempered it somewhat with some softer sounds, a more gradual expansion, and layered textures on any given theme, or some set thereof. About half the album relies on this technique, and admittedly, it can be a bit frustrating on first listen because there are so many parts folded into one another it simply isn’t as obvious as Enter was. Mike Sullivan’s guitar playing relies as much on fingerpicked swells that shimmer and refract as it does power chugging riffs. Dave Turncrantz’s drums won’t announce the shifts and twists and turns, either. He jumps in with the rest of the band, playing to the sense of drama and tension that get spread beautifully over the dimensions of space and power, framed perfectly by producer-engineer Matt Bayles. “Harper Lewis” takes the ominous heaviness that Russian Circles are known for, pours paranoid ambient sonics around the drum kit, and allows Cook to let that low end bass just throb wide open, until Sullivan just crushes the entire thing with his wall of squall stun riffing. It takes a little while to develop, but the payload is big. This is also true to a greater degree on the title track. Back and forth guitar and bass thrumming becomes a push and pull between the two players until only the thudding drum fills … |
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Steppenwolf/Steppenwolf the Second $32.99 The domestic MCA CDs of Steppenwolf’s first two albums offered surprisingly good sound quality for 1960s reissues of the late ’80s. That must be testament to the sheer power of the master tapes, which overcame most of the limitations of late-’80s digital audio and the usual timidity of the engineers of that era. The music fairly burned, its sheer loudness and impact overpowering even on those early CDs. Beat Goes On’s reissue of the two albums in a narrow double-CD package does offer improved fidelity (especially on Steppenwolf the Second), but it won’t prove quite as big a revelation as one would expect, except for the discriminating listener. The music is mastered at a higher volume, but the MCA discs were done at a pretty high volume as well — the big difference, especially on the second album, is the volume and presence of the rhythm instruments; you can practically hear the action on Jerry Edmonton’s drum kit on much of the second album, and Rushton Moreve’s bass is far better represented on both discs, all of which makes for a more powerful sound. The break on “Magic Carpet Ride” has sort of had its impact restored here, despite 38 years of overexposure, and “Faster Than the Speed of Life” makes for an imposing opener. The first album isn’t improved as dramatically, though it is good to hear its blues pieces in their optimum state, and “Born to Be Wild” does have some of that heavy metal thunder. The clarity also presents the group’s trademarked distortion in about as sharp relief as anyone is likely to have heard it since the actual recording sessions. The annotation by Sean Egan gives a good account of the group’s early history and the more unusual attributes of their music (which, somehow, never earned the respect of the first generation of rock music critics). Perhaps the group was too successful on the charts, and signed to a too shamelessly commercial label (ABC-Dunhill) ever to be taken seriously by those late-’60s rock writers, but as this re… |
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Stoner Witch $16.96 The early to mid-’90s proved the Melvins’ golden age, and the three principal albums from that period — Stoner Witch provides the centerpiece — are virtually unassailable in their range, depth, power, and experimental courage. Picking up on the basic framework of Houdini, Stoner Witch resolves into an ear-catching workup of classic rock themes, tempered, of course, with a fairly judicious sampling of acid-trip detours. Where Houdini resided more in an expansive — though lugubriously heavy — metal vein, refining the techniques built up through the band’s early struggles, Stoner Witch truly showcases the band at the apex of their wide-ranging creative abilities. The melodies — yes, melodies — work seamlessly with the ubiquitous chugging riffs; Buzzo’s vocals, often reminiscent of a David Thomas (Pere Ubu) after a few weeks of no-nonsense boot camp, are sometimes quiet and reflective, and more often than not, positively Stentorian. And naturally, drummer Dale Crover’s percussion and pounding behind the kit is astonishing, powerful, and daring. The album opens with the distorted thud of “Skweetis,” the amps and cymbals washing well into red-line territory before yielding to a three-count of heavy-duty classic rock with “Queen,” “Sweet Willy Rollbar,” and “Revolve.” From that point on, there is a deliberate sea-change, beginning with the faux-lounge tweaking of “Goose Freight Train,” the nearly unlistenable Merzbow-noise of “Magic Pig Detective,” and ultimately the hammer-down hardcore of “June Bug” sandwiched between two ambient tracks: “Shevil” and the album closer, “Lividity.” ~ Patrick Kennedy, Rovi |
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Strange Faith and Practice $12.98 When Jeb Loy Nichols issued Parish Bar in the early part of 2009, he claimed it was an in-between recording, one that was an amalgam of bits and pieces that would have to do until he could record a “proper” album. Funny thing, though, it turned out to be one of his finest outings because of the diversity of its tracks and the overall looseness of the proceedings. That said, his statements pointing to his forthcoming project all come to fruition here. Strange Faith and Practice was recorded with his own septet and a string section. It’s deeply focused around certain themes, moods, and feelings (these are all love songs), and comes off as a seamless piece of work. Recorded and mixed by Benedic Lamdin and bassist Riaan Vosloo, this is the most organic-sounding record Nichols has ever made — and that’s saying something, because all of his previous offerings have been warm and intimate. The instruments sound live and cut from the floor, and on certain tracks — such as the beautifully spooky “The Day That Never Came” — it even feels as if he used his original scratch vocal in the final mix. The use of saxophones, trumpets, flutes, Rhodes piano, and Wurlitzer gives the set more of a jazz feel than anything he’s recorded before. Keyboardist Jennifer Carr shines here, as she is Nichols’ main support; her embellishments from classic jazz to classical music — check her gorgeous solo piano intro on “Can’t Stay Here” — lend a sense of weight and purpose to these lithe yet nocturnal songs. Other standouts on the set include the opener, with its shuffling brushed drum kit and Mark Hanslip’s saxophone solo seeming to hover about Nichols’ vocal, and the shimmering shuffle of the title track, with Jonny Spall’s baritone saxophone leading an entire horn section that includes Hanslip and trumpeter Fulvio Sigurta. Hanslip’s tenor solo is laid-back but intricate as Carr and bassist Vosloo find room to push him a bit further. “Cruel Winter” is a dark number where Nichols i… |
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Sweet Warrior $14.99 After being given his walking papers by Capitol Records in 2000, Richard Thompson has taken a modest approach to his subsequent studio releases, 2003′s The Old Kit Bag (a purposefully spare trio set) and 2005′s Front Parlour Ballads (an acoustic collection recorded in Thompson’s home studio). But Thompson seems to have relaxed a bit with 2007′s Sweet Warrior, which boasts a more expansive sound and ambitious reach than those two albums. Produced by Thompson with his longtime aide de camp Simon Tassano, Sweet Warrior more clearly recalls 1991′s Rumor and Sigh than any of Thompson’s other albums; it lacks the high gloss of Mitchell Froom’s production on that disc, but the broad dynamic between upbeat and dour numbers and the thematic sweep of these 14 songs certainly suggest Thompson was thinking big while making this album, and it suits him. Thompson is able to play his traditional theme of romance on the rocks for laughs on this set with the witty “Needle and Thread” and the droll but pointed “Mr. Stupid,” while the sax-infused “Bad Monkey” is downright rollicking and the ska-influenced offbeat of “Francesca” is slinky and sensual. At the same time, Thompson digs deep into more serious themes, especially on the striking “Dad’s Gonna Kill Me,” a tense first-person tale of a soldier on patrol in Iraq, and while a very different sort of combat frames “Guns Are the Tongues,” its story of a dull-witted boy turned against his own interests is equally compelling; both songs show Thompson’s narrative skill and gift for wordplay are as strong as ever. Producer Thompson gives guitarist Thompson just the right amount of room to show off his estimable skills on these sessions, and the core band — bassists Danny Thompson and Taras Prodaniuk, drummer Michael Jerome, and rhythm guitarist Michael Hays — is as strong and versatile as one could hope for. At 68 minutes, Sweet Warrior feels just a bit overstuffed, especially given the simplicity of its immediate predec… |
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The Clarke/Duke Project, Vols. 1-3 $24.98 In 2010, Great Britain’s BGO imprint began re-releasing Stanley Clarke’s CBS recordings, which include the three records he made with George Duke as the Clarke/Duke Project between 1981 and 1990. To listen to this double disc is to hear an aural portrait of the fusion scene as it really met and and melded with adult contemporary and ’80s R&B. The first album issued in 1981 included drummer John Robinson (Rufus) and some guests, and both men on vocals. The first set netted them a crossover hit single in “Sweet Baby,” an unlikely midtempo groove ballad. (It hit number 19 on the pop chart and number six at R&B.) The sheer imagination on the first Clarke/Duke Project record is startling in its reach, from the accessible melodic fusion of its opener “Wild Dog” and its funk cover of “Louie Louie” (that, criminally, never made it onto any of the various-artists collections that showcased the legendary Richard Berry tune), to the P-Funk-drenched “Let’s Get Started” to the ’80s soul ballad “Touch and Go.” The second C/DP set was issued in 1983, and from its opener, “Put It on the Line,” it showcased the degree that drum machines began to dominate rock, soul, and pop. The trio was also joined by renowned session players and guest vocalists Jeffrey Osborne and Howard Hewett (Shalamar), and Lynn Davis. It reflected more than anything the kinds of productions Duke was doing for other artists at the time. It also reveals the attempts at pop songwriting both men were doing at the time — clearly they enjoyed being on the charts. That said, it’s musically consistent despite its production excesses. The third C/DP album released in 1990 was as slick as its predecessor. Dennis Chambers replaced Robinson on the drum kit, and Osborne and Hewett returned from the previous outing. Rappers Above the Law appear on “No Place to Hide,” which also features a stellar sung lead vocal from a teenage Rahsaan Patterson. Wayne Shorter and Joe Henderson make guest appearances on “… |
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The Destroyers of All $12.98 The third full-length from New Zealand-based death metal band Ulcerate isn’t that different from its predecessor, 2009′s Everything Is Fire. The band still balances between atmospheric guitar textures (calling what Michael Hoggard plays “riffs” is extremely reductive) and powerful, blastbeat-driven but equally spacious drumming from Jamie Saint Merat. Bassist/vocalist Paul Kelland is a forceful growler and in some ways a second guitar voice; he’s not playing traditional basslines that attempt to anchor the music in any way. “Dead Oceans,” for example, has two or three things going on at once — Saint Merat is demolishing the drum kit while Hoggard plays desolate, soundscape-like guitar figures that are in a much slower tempo than whatever the drummer’s doing, and Kelland chants his lyrics like a preacher. Periodically, it all comes together in a hammering assault, and that’s Ulcerate in a nutshell. They are clearly a death metal band, but a very adventurous one that owes more to Isis and Meshuggah than Morbid Angel or Cannibal Corpse, and this is an album fans of progressive, forward-looking metal will find very satisfying indeed. ~ Phil Freeman, Rovi |
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The Front Bottoms $13.98 Their music is lively, off-kilter pop you can dance to, and their lead singer talks and rants in an eccentric fashion much more than he sings, so on first listen it’s not hard to imagine the Front Bottoms are some sort of junior league version of Cake. Except that while Cake’s music sounds carefully calculated and willfully odd, the Front Bottoms seem as if this stuff spontaneously exploded out of them, as guitarist and vocalist Brian Sella valiantly tries to get his wildly complicated train of thought to travel from his brain to his mouth before it derails, and drummer Mathew Uychich swats madly at his kit as he urges his buddy along. While the 12 songs on The Front Bottoms’ first album for Bar/None often sound like they happened in a burst of frantic emotion more than they were composed, that doesn’t change the fact this duo has a real way with a tune, urgent and confident at the same time, with a dash of punk immediacy coexisting with a grand pop vision that finds room for everything from stripped-back Brill Building classicism to cool proto-disco dance grooves. The Front Bottoms write fine melodies, and the simple but sturdy production (with the band filling out their two-man arrangements with keyboard overdubs, added guitars, and again like Cake, the occasional trumpet) suits them well, but what makes this album stand out is Sella’s gifts as a vocalist and a lyricist. Sella has a knack for a superior rant about the minutia of twenty-something life, but let it sink in and the details give these songs a richness that’s truly satisfying, as noting the glassware at a keg party gives way to one kid’s desperate love for an unattainable girl, or stray thoughts about the gal he loves ties in to contemplation of homelessness and dashed hopes among his peers. At his best, Sella is one of the most interesting and satisfying new songwriters to emerge in some time, and with Uychich at his side, he’s part of a band that brings his tunes to glorious life, and The Front Bot… |
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The Old Kit Bag [Bonus CD] $16.98 Richard Thompson is the sort of artist destined to be a cherished cult item rather than a bona fide star, which at the dawn of the 21st century puts him in an uncomfortable place in the music industry — being able to reliably sell 100,000 copies of an album makes you too small for a major label, no matter how long they’ve kept you on the roster. In 2000, after a dozen years with Capitol Records, Thompson’s contract was not renewed, and 2003′s The Old Kit Bag found him recording for an independent for the first time since 1985. Creatively, this actually turns out to be a good thing; after the periodically excessive and self-conscious production Mitchell Froom imposed on nearly all of Thompson’s releases for Capitol, 1999′s Mock Tudor, (produced by Tom Rothrock and Rob Schnapf) found Thompson going for a leaner and liver sound, and with John Chelew at the controls, Thompson follows suit on The Old Kit Bag. Cut in a straightforward and stripped-down manner, with just bassist Danny Thompson, drummer Michael Jerome, and harmony vocalist Judith Owen along for company, The Old Kit Bag captures Thompson in spare but sympathetic circumstances; the performances are strong and confident, without a note or gesture wasted, and Thompson’s interplay with his rhythm section is nothing short of superb. While Thompson eases back on the “wow, listen to that!” solos on The Old Kit Bag, his playing is fluid and superbly tasteful throughout, and his subtle overdubs show he’s as good an accompanist as a bandleader. And Thompson’s songwriting chops are still in superb shape; “A Love You Can’t Survive” and “I’ll Tag Along” are further meditations on Thompson’s favorite theme — love and life gone wrong — and “Outside of the Inside” (which Thompson introduced on tour as “a song about how the Taliban see the West”) is a chilling look inside a man blinded by his culture and his faith (and a bit of a surprise coming from a devout Muslim). The Old Kit Bag is Richard Thompson’s lea… |
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The Reflection $15.98 Being labeled and marketed as a blues musician was never really a good fit for Keb’ Mo’. True, he first came to the attention of most when he came out of Compton playing Robert Johnson songs on a National Steel guitar, and that? s how his recording career started, but this is a guy who used to be a staff songwriter for A&M Records, so he has always had plenty of pop, soul, R&B, and jazz in his kit bag and, truth be known, he? s really closer to an artist like James Taylor than he is to Howlin? Wolf. His new album, The Reflection, the first on his own Yolabelle record imprint (he also self-produced the album) after several releases with Sony, has nothing on it that could be called blues, and nothing that even really comes close. It? s a calm, easy, and mellow mixture of adult pop, urban soul, and very light funk, but then Mo’ has been flirting with this kind of thing for a couple of albums now and it? s clear that this is closer to what he? s all about than being a blues preservationist — which he really never was in the first place. The sound on this release is crisp and warm, smooth as honey, and never jarring, as Mo’ muses on love and its difficulties in different settings, his vocals full of sincerity and good will. It? s all as pleasant as an easy summer afternoon, which is both a strength here and a problem. Nothing about The Reflection has an edge of any sort and as song after song rolls by, it gets lulling, and only a handful of the songs immediately stand out, most notably ? We Don? t Need It,? a timely song about a man who loses his job and has to come home and tell his family, and ? Crush on You,? which features guest vocals from India.Arie and has a charmingly light and innocent groove to it. A version of the Eagles’ ? One of These Nights,? which features alto sax from Dave Koz, also stands out, but not for the right reasons. Mo’ has turned the song, which was fueled by the feeling of desperate lust in the original Eagles version, in… |
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The Trouble With Humans $16.98 Making music is an unpredictable business. Songwriter Chip Taylor and singer Carrie Rodriguez liked the way their voices sounded together, so they decided to record Let’s Leave This Town together in 2002. While the album wasn’t bad, it failed to convey that magic ingredient that takes the music to the next level. The Trouble With Humans is a much more natural effort, with a lovely bare-bones production and relaxed performances by the duo. As a matter of fact, The Trouble With Humans sounds a lot like a demo that couldn’t be improved on. On the title track and “I Need a Wall,” both singers take things real slow, softly holding forth to the sounds of an acoustic guitar, quiet drum kit, and lonesome steel. Rodriguez’s vocals are much more impressive here than on the duo’s debut. Her off the cuff downhearted woman gasp hits the listener deep in the gut on “Dirty Little Texas Story,” and reminds one of Lucinda Williams. Taylor’s lyrics are sex-obsessed here as always, but they nonetheless sound right when he and Rodriguez harmonize together, as though the words somehow derive from their life experiences. “We Come Up Shining” is the bonus track and serves as a pleasing closer to a finely crafted album. The Trouble With Humans will convince anyone who wasn’t quite sure about Let’s Leave This Town to give Rodriguez and Taylor another listen. ~ Ronnie D. Lankford Jr., Rovi |
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Third Day – Offerings $4.23 Used – Offerings was named the 2001 Praise and Worship Album of the Year. 11 songs, including: Agnus Dei/Worthy * All the Heavens * Consuming Fire * King of Glory * Love Song * My Hope Is You * Saved * These Thousand Hills * Thief * You’re Everywhere * Your Love Oh Lord. More than a folio, this is a worship resource kit! Includes: guitar/vocal sheet music, guitar sheets, plus transparency and Power Point masters on CD-ROM. |
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This Is It and I Am It and You Are It and So Is That and He Is It And She I $15.98 Marnie Stern’s sophomore album on Kill Rock Stars is cursed with a 30-word title that begins This Is It…. She blames an Alan Watts essay but punters can blame her — until they hear it, that is. While her debut, In Advance of the Broken Arm, was filled with her now wildly celebrated guitar pyrotechnics inside a sprawling yet inarguably hooky pop song setting, this set goes off in a different direction entirely. Stern is accompanied here by the same crew that worked on her debut: ? ber drummer Zach Hill and bassist and engineer John Reed Thompson. Musically, this set feels like the more rocked-up twin album to Hill’s brilliant and crazy Astrological Straits (also released in 2008 on Ipecac). Tempos veer and careen everywhere, from thrash to stop-and-start near-proggish excess to no wave constructions of indefinable origin. The rather interior emotional scope of In Advance of the Broken Arm is thrown to the wind as surreal, fractured lyrical constructs are set to match this ambitious mental hybrid brand of guitar rock. “Transformer,” with its extreme metallic hammer-on repetitive riffing, carries an amelodic framework for her caterwauling voice with some stretched dynamics. Her guitar heroine-ism is still unchallenged here, and it matches the speedy powerhouse forcefulness of Hill’s drumming. The back-and-forth twin-neck counterpoint in “Shea Stadium” ambles between proggish anthem and rock & roll arena finale. With the tempo changing nearly constantly, Stern’s high-pitched voice, offering something unmistakably artful (? la Yoko Ono but multi-tracked), becomes a blur, whirling by with her piercing strings and Hill’s jazzed-up (as in Billy Cobham’s) kit work as the only things to hold on to. Believe it that this is not tape manipulated music, as it sounds very close to the thrilling musical acrobatics of Stern’s live performances. All of this said, there isn’t a pretentious note on This Is It…; Stern may be ambitious but her songs are grounded in humor, ex… |
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Tommy $14.98 Martin Dosh describes the minimal, repetitive soundscapes he assembles as post-rock, a genre that’s as vague and inclusive as the music he makes on Tommy. (The album has absolutely nothing in common with the Who’s album of the same name, in case you’re wondering.) The pieces here — it’s hard to call them songs or tracks — are almost ambient, but there’s too much noise and too many shifting sounds to keep you from spacing out for too long. It could be called space music, but it eschews the soothing sounds associated with that genre. Maybe you could call it music from the heart of a black hole, a thick sonic stew that can shift from compellingly rhythmic to playfully experimental to annoyingly harsh. There is more singing here than on most of Dosh’s other albums, but the results aren’t actually songs as such. Scatting voices, skittering keyboards, and what sounds like a toy piano swim through the vaguely African rhythms of “Subtractions.” A vocal that sounds like a distracted child making up a “song” weaves in and out of the dense layers of percussion on “Town Mouse” accompanied by random sax squeaks. Andrew Bird sings on “Number 41″ over ambient steel guitar, a thumping almost-rock rhythm section heavy on the bass, and occasional acoustic guitar. It’s as close to pop as the album gets. The drum’n'bass excursion of “Yer Face” has woozy mostly unintelligible vocals, but it’s charming nonetheless. Bird also contributes vocals to “Nevermet,” but again they get buried in the thumping mix of bass, acoustic guitar, and drums. The instrumentals include “Loud,” with a linear piano line and effects that create the feeling of a big dark echoing space; “Airlift,” with its choppy beat and long, sustained keyboard notes; “Country Road X,” which sounds like an electric piano floating through a ’70s airport lounge in the mid-afternoon; and the disc closer, “Gare de Lyon,” the most unique and annoying track on the disc. Drums that sound like a real drum kit p… |
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True Devotion $15.98 On 2007? s Brag & Cuss, singer/songwriter Rocky Votolato wrote Americana songs about the loneliness of clubs, the road, empty conversations, and the inherent paradoxes in his life. The album proved a signpost to a period of depression where he quit writing altogether and went into seclusion. A year later, he tried to find his way out; he began looking at his demons, and reading and investigating philosophy, spiritual, and esoteric thought. Eventually, his depression relented enough that he could begin writing the songs that became True Devotion; his finest collection. Produced with Casey Foubert, this is a set of profoundly honest, lyrical, predominantly acoustic tunes that reflect on his condition, the origins of its cause, and find a path to acceptance. On ? Red River,? accompanied by a percussive acoustic and a small trap kit, he sings: ? This is what life feels like underground . . . I? ve been searching for the waves to carry us home. . . .? ? Sparklers,? with its gorgeous fingerpicking, is a small song with the large implications of impermanence. His nearly whispered refrain is: ? Everything? s right, everything? s wrong/Sparklers only burn for so long . . . ? and in the bridge: ? I? m a pendulum that swings/trapped into the disappearing of the setting sun, the moonlight at dawn/That book of matches burning its own flesh.? A solitary guitar and harmonica introduce ? Instrument,? where he expresses desire by negation: ? I don? t want this tensile glory/or empty praise that I can? t carry/I want no more of this delusion/I only want to come back home to you.? This is a love song, but it? s as much a spiritual one as an earthly one. Other songs, such as ? What Waited for Me,? ? Sun Devil,? and ? Please Don? t Be Angry? accept personal responsibility in familial and ultimately spiritual ways and try to make amends. This is a singular album in Votolato’s career. It? s deep, but readily accessible; full of a sadness that pro… |
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U.s. Stamp Collecting Kit for Beginners $13.48 New – Everything a beginner needs: an illustrated album with room for over 1,000 stamps; a guide booklet; a catalog listing hundreds of historic stamps; magnifying glass; adhesive hinges; 25 real U.S. postage stamps |
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U.s. Stamp Collecting Kit for Beginners $13.48 Used – Everything a beginner needs: an illustrated album with room for over 1,000 stamps; a guide booklet; a catalog listing hundreds of historic stamps; magnifying glass; adhesive hinges; 25 real U.S. postage stamps |
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Wail & Ride $16.98 For those who’ve been living under a rock, don’t go to movies, or don’t read books, it suffices to say that Grayson Capps is a songwriter recently departed form New Orleans, just as many of musicians were after Katrina. He was in a film and wrote four songs for the film A Love Song for Bobby Long. The film was made from a screenplay taken from Capps’ father’s then-unpublished novel about desperate but visionary people who live hard lives, are seized by hard times, and seek redemption. Capps is 39-years-old in 2006, but has the wizened, road-weary face of a wandering troubadour from the Dustbowl or of those who left the Deep South in the 1940s seeking work in Chicago, Detroit, St. Louis, and other Northern climes. Wail & Ride is his second solo album and it’s full of blood and spit and raw, raw, heavy soul. As a songwriter, Capps is steeped in the Southern music tradition. His press kit has all kinds of stuff in about J.J. Cale, Ry Cooder, and Townes Van Zandt. Nah — don’t you believe it. You can hear Tony Joe White in there for sure, you can hear, perhaps, a spirit similar to that of the North Mississippi Allstars, or some of the crazies who’ve recorded on Fat Possum like R.L. Burnside and David Malone, or the desperation of recently departed ghosts of Chris Whitley and the Gun Club’s Jeffrey Lee Pierce. You can also hear the raucous blues that comes out of the bars at night and in the little courts and galleries of what used to be New Orleans. Capps has rhythm and time; he’s always in the pocket. He can moan and call down thunder or fire, and he can whisper like a man reaching out for the first and last time to someone or something he’s only just now understood and hoping it’s not too late. He calls himself an actor, but he’s really a channeler. He digs into the spirit of things in order to report on the parts of them that people can’t readily see, whether that’s in the complications of a human heart, the interactions between lovers who can’t seem to get it rig… |
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Which Way Is East $27.98 Over two CDs, these recordings of Charles Lloyd and his longtime collaborator and friend, the late Billy Higgins, offer perhaps an even more fitting epitaph for the great drummer than the previously issued Water Is Wide and companion album Hyperion With Higgins, both with the Lloyd sextet. These sides were recorded just five months before Higgins’ death. The music is divided into eight suites, and the two men pulled every trick out of the kit bag for these sessions. Lloyd mans his usual array of saxophones and flutes as well as sings and plays taragato, Tibetan oboe, and piano. Higgins, on the other hand, in addition to his ever-dancing style of drumming, plays blues guitar, guimbri, various hand drums, and the Syrian one-string lute. The combinations are intimate yet the music is sprawling in its reach. Whether in duet or in the various solos included — notable is “All This Is That: Blues Tinge,” on which Higgins plays a stellar Delta blues on acoustic guitar and sings — the notion that there are no boundaries and no time, that everything must get onto tape, is the pervasive m.o. Here are two men who know each other so well that the anticipation of utterance comes from the least likely sources. Egos have no place here, and neither does didactic discussion. Here, notions of song, tonality, sonorous expression, and spirituality are the guidelines for trying to get to feelings, nuances, and individual places that they’ve not traveled before. They succeed in spades. Despite its smallness and the quiet spirit that weaves these pieces together, there is crackling energy, humor, warmth, and a complete commitment to expressing what may indeed be beyond real expression. Not since John Coltrane and Rashied Ali’s Interstellar Space — though they sound nothing alike — has there been a duet recording of such unfettered communication. Highly recommended. ~ Thom Jurek, Rovi |
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Zebra & Giraffe $66 Used – High Quality Content by WIKIPEDIA articles! Zebra & Giraffe (abbreviated to Z & G) is an alternative rock band from South Africa. The band’s debut album, Collected Memories, was released on 5 May 2008.Carlin grew up in Midrand, a suburb outside Johannesburg, South Africa where he attended Irene Primary School before progressing to high school at Midrand High School, which he graduated in 1999. Carlin first realised his passion for music after receiving a drum kit as a gift at the age of t |
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