Easy Pop
THE CHEAPEST & EASIEST POP CAN HEATER EVER!!
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Babycakes CP-12 Cake Pop Maker, Purple, 12 Cake Pops $17.91 Nonstick Baking PlatesMakes 12 Cake PopsMetal Cooking RackStandLifing ForkPaper SticksFill Injectors… |
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Baker’s Secret 116424001 Basics Nonstick 24-Cup Mini Muffin Pan $9.99 Baker’s Secret Non Stick Basics 24-Cup Muffin Pan includes 1-Each 24-Cup mini muffin pan. Baker’s Secret is the original non-stick metal bakeware that performs great from start to finish. Baker’s Secret is the metal bakeware consumers rely on for all their baking needs because it provides even baking results, easy release of baked goods and effortless cleanup…. |
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Oxo Good Grips POP Square Storage Containers The OXO Good Grips POP Containers are airtight, stackable and space-efficient, making it easy to keep your dry foods fresh and your kitchen organized. The Containers have a unique push-button mechanism that creates an airtight seal with just one touch. The button also serves as a handle to lift off the lid. The Containers are designed for modular stacking so that you can efficiently organize your … |
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We Found Love $0.99 … |
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Romance: Songs From The Heart $5.00 … |
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The Definitive Collection $6.95 Includes the Commodores classics \Three Times a Lady… |
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Irish Dancing Made Easy [VHS] $36.98 The title of this video just about sums it up. While the lightning-quick footwork of traditional Irish dancing could never really be called easy to learn, this straightforward instructional tape does its best to be clear and simple. The instructor is Seamus Kerrigan, who runs the Kerrigan School of Traditional Irish Dance in Ireland. A trim, no-nonsense man, Kerrigan couldn’t be called a sparkling… |
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Liberace Live [VHS] $2.98 … |
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American Glory [VHS] $2.24 Take a journey across the United States with Pat Boone’s “American Glory.” See our country in all of its splendor as Pat sings some of America’s favorite patriotic songs, set against the beauty of our country and some of our most cherished monuments…. |
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LightWedge Pocket Magnifier The LightWedge Pocket Magnifier is a portable tool with a built-in LED. Small in size, not in power, this model provides 3x magnification power. Simply slide the magnifying glass out from the handle for use and back in for storage; the LED will turn on and off automatically. The handle is rubberized for a soft, easy gripping surface. It fits easily in a pocket or a purse, so you can always keep it… |
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’80s Gold $19.99 Beneath the flourish, extravagance, and pretension that saturated the pop charts during the ’80s lay a culture rich in innovation that brought about the rise of truly groundbreaking music and an indomitable spirit of independence, not to mention nationwide networks that fostered originality and valued substance over style. That side of things is nowhere documented in ’80s Gold. However, there was such an overabundance of highly polished, catchy tunes in such a wide variety of genres that it’s nearly impossible to document it all (though there have been more than enough earnest attempts) without leaving a sense of exhaustion. This two-disc, 33-song collection represents some of the best of the best of the decade, as every single song on here was a number one Billboard Hot 100 chart hit at one point or another. And to its credit, Universal presents a wide scope of sounds and styles here. Case in point: where else can one find Blondie sitting right next to Christopher Cross’ smooth “Sailing” anthem next to Diana Ross next to Rick Springfield and have it all make sense? There is literally something for everyone here, from new wave to new jack, and while it’s easy to point out all of the obvious omissions, the quality control is so high that it’s quite easy to forget about what’s missing and simply enjoy what’s here. Most fans of ’80s music will already have most of these tunes on other compilations, but those looking for an awesome starting reference point will find that ’80s Gold is an excellent edition to any pop collection. ~ Rob Theakston, Rovi |
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((Un)) [Bonus Tracks] $10.99 Dan Black was one of the main proponents of the ? wonky pop? scene in late 2000s, that is, unabashedly ? pop? but with some brains and musical invention, and not just slavish re-creations of current musical trends designed to get your songs in the charts. His early singles (which are collected here on his debut album) were strutting, ultra-hooky songs that mixed up hip-hop, rock, funk, and pop into a very appealing sound fronted by Black? s smooth and insistent vocals. ? Yours? and ? Alone? are both very inventive tracks, and easy-to-digest songs that fans of radio pop could get into, “Symphonies,” which is his high point as an artist so far, slows things down and wraps Black? s voice in a beautiful string sample, and shows he can deliver some real emotion. In other words, Black? s singles are a perfect manifestation of wonky pop. ((Un)) works almost as well. The singles are the best tracks, but there is plenty of competition. The rocking, dancefloor filler “Pump My Pumps,” the stuttering, fake hip-hop jam “I Love Life,” and the fun and huge-sounding “U + Me =” all come very close to dethroning the previously released singles for top honors. Black? s arrangements are always fresh-sounding, never too glossy, and filled with surprising little touches that let you know you are in the hands of a whiz kid, not just a pop singer. ((Un)) is a very impressive first record that shows tons of promise. If Black can keep the right amount of wonky in his pop, he could do something truly wonderful (like an album full of songs as good as “Symphonies”). [The American release of the album adds three tracks, including a version of "Symphonies" featuring Kid Cudi rapping the verses.] ~ Tim Sendra, Rovi |
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1 $18.98 Apparently, there was a gap in the Beatles’ catalog, after all — all the big hits weren’t on one tidy, single-disc compilation. It’s not the kind of gap you’d necessarily notice — it’s kind of like realizing you don’t have a pair of navy blue dress socks — but it was a gap all the same, so the group released The Beatles 1 late in 2000, coinciding with the publication of their official autobiography, the puzzlingly titled Anthology. The idea behind this compilation is to have all the number one singles the Beatles had, either in the U.K. or U.S., on one disc, and that’s pretty much what this generous 27-track collection is. It’s easy, nay, necessary, to quibble with a couple of the judgment calls — look, “Please Please Me” should be here instead of “From Me to You,” and it’s unforgivable to bypass “Strawberry Fields Forever” (kick out “Yellow Submarine” or “Eleanor Rigby”) — but there’s still no question that this is all great music, and there is a bit of a rush hearing all these dazzling songs follow one after another. If there’s any complaint, it’s that even if it’s nice to have something like this, it’s not really essential. There’s really no reason for anyone who owns all the records to get this too — if you’ve lived happily without the red or blue albums, you’ll live without this. But, if you give this to any six or seven year old, they’ll be a pop fan, even fanatic, for life. And that’s reason enough for it to exist. ~ Stephen Thomas Erlewine, Rovi |
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10 Great Songs $12.98 The Band? s greatest strength was their ability to sound like the whole history of American pop music rolled into one big rustic blender, creating in the process a kind of frozen mythic landscape that somehow informs the present by suggesting the past. It was quite a hat trick, and it? s easy to glimpse a little bit of that funky and mythic R&B carnival the Band represented in this brief ten-song set. Songs like ? The Night They Drove Old Dixie Down,? ? Rag Mama Rag,? ? Chest Fever,? ? It Makes No Difference,? and ? The Shape I? m In? add up to a whole universe of time, place, and status. Calling yourself the Band was a little arrogant. It was also tremendously modest. It was all part of a brilliant balancing act. Even at only ten tracks, this sampler shows clearly why the Band truly deserved to be called the Band. ~ Steve Leggett, Rovi |
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16 Biggest Hits $7.99 Determining the “16 biggest hits” of most recording artists isn’t much of a challenge, but a couple of factors complicate such a task in the case of Andy Williams. For one thing, Williams scored different kinds of hits at different periods in his career. In the 1950s, he had a handful of Top Ten pop hits in styles ranging from light rock & roll to Hawaiian music. In the 1960s, he made a transition to big ballads, many of them movie themes, and as a result was among the top album and easy listening artists of the decade, though the rankings of his pop singles chart entries suffered. For another thing, some of the songs most closely associated with him are not among his biggest hits as measured by the singles charts, if they were singles at all — the primary example being his signature song, “Moon River,” featured on his breakthrough LP, Moon River & Other Great Movie Themes, but never even released as a single. Given these circumstances, the compiler of a Williams hits collection has more latitude in making his choices than he might for another artist. Compilation producers Didier C. Deutsch and Darcy M. Proper have exercised their judgment in assembling 16 Biggest Hits. They begin with six of Williams’ early pop hits, originally recorded for Cadence Records, among them the chart-topper “Butterfly.” They also include two Top Ten hits recorded for Columbia, “Can’t Get Used to Losing You” and the movie theme “(Where Do I Begin) Love Story.” “Dear Heart,” another movie theme, is also among Williams’ biggest chart hits, having reached the pop Top 20 and just missing the top of the easy listening charts. Also included are “In the Arms of Love,” which topped the easy listening charts, and “Music to Watch Girls By,” another major easy listening hit. “Moon River” is featured, of course, as is “Days of Wine and Roses,” the title song from Williams’ highest charting album as well as being a Top 40 pop hit and Top Ten easy listening hit. Williams’ versio… |
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20th Century Masters – The Millennium Collection: The 70s $9.99 No album containing only 12 songs with a running time of 52 minutes can claim anything like a comprehensive look at the 1970s, much less present “the best” of the decade. But Hip-O’s discount-priced compilation, part of Universal Music’s 20th Century Masters – The Millennium Collection series and drawing upon the major label’s vast archives, plus a couple of licensed songs from other companies, can attempt to be representative of the diverse musical styles of the ’70s. Major trends in popular music included singer/songwriters (Cat Stevens’ “Wild World”) and Southern rock (Lynyrd Skynyrd’s “Sweet Home Alabama”). R&B music (often referred to as “soul” in the ’70s) continued to be broadly popular, but it had expanded its styles to include social concerns (Marvin Gaye’s “What’s Going On,” Edwin Starr’s “War”) as well as easy listening (Gladys Knight & the Pips’ “Midnight Train to Georgia”) and bubblegum (the Jackson 5′s “ABC”). Similarly, the British Invasion that had begun in the ’60s continued to lap American shores, but it was diverse, touching on everything from reggae (Eric Clapton’s “I Shot the Sheriff”) to creamy pop (Elton John’s “Daniel”) and even folk-rock (Rod Stewart’s “Maggie May”). All of these songs were popular, but the only two titles to rank among the most successful records of the decade are the final two on the disc: Three Dog Night’s “Joy to the World,” a piece of pure pop, and Don McLean’s epic “American Pie.” Annotator Sal Nunziato says of the latter that it “could be the ‘anthem’ of the decade,” which is both ironic and fitting, since the song’s lyrics actually constitute a musical history of the ’60s, the decade from which most people spent the ’70s recovering. ~ William Ruhlmann, Rovi |
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20th Century Masters – The Millennium Collection: The Best of Burl Ives $9.99 MCA/Decca’s full-priced 18-track Burl Ives collection Greatest Hits, released in 1996, was still in print when the label issued this 12-track budget set five years later, so it’s worth comparing the two. The less-expensive album actually contains a couple of big hits — Ives’ Top 40 pop/Top Ten country cover of Hank Thompson’s “Wild Side of Life” from 1952 and the 1962 single “Mary Ann Regrets,” which went Top 40 pop and Top 20 country and easy listening — not featured on the more expensive one. In fact, there is an overlap of only seven tracks between the two albums. On the whole, Greatest Hits is the preferable compilation, boasting roughly chronological sequencing and including some minor chart entries not featured on the new album, as well as licensing the Top Ten pop hit “On Top of Old Smoky” from Columbia Records. But 20th Century Masters — The Millennium Collection: The Best of Burl Ives (despite the hopelessly ungainly title) really covers the essentials, from the early signature songs like “Big Rock Candy Mountain” and “Foggy, Foggy Dew” to the early-’60s country hits like “A Little Bitty Tear” and “Funny Way of Laughin’.” Ives recorded prolifically for Decca Records in the ’40s, ’50s, and ’60s, and compilations of his occasional fluke hits over the years aren’t really representative of his overall output. (For one thing, they make him seem like more of a country artist that he was.) But if one accepts the premise of a best-of that assembles an artist’s most broadly exposed tracks on a single disc, this one is as good as any and arguably a better buy for the money than the 1996 Greatest Hits album. ~ William Ruhlmann, Rovi |
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6 and 12 String Guitar $14.98 Leo Kottke’s wide-release debut came about after he sent a cassette to John Fahey’s Takoma label. Not surprisingly, it recalls Fahey’s work in a number of respects: the synthesis of numerous influences from blues, pop, classical, and folk styles, the weirdly titled instrumentals, even the tongue-in-cheek liner notes. Kottke’s brand of virtuosity, however, is more soothing and easy on the ear than Fahey’s. It’s far from sappy, though, the rich and resonant picking intimating some underlying restlessness, like peaceful open fields after a storm. Establishing much of the territory Kottke was to explore throughout his career, this release was also one of his most popular, eventually selling over 500,000 copies. ~ Richie Unterberger, Rovi |
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A Brief History of Love $19.98 On their debut album, A Brief History of Love, the Big Pink immerse themselves in all aspects of the first wave of shoegaze. The duo of Robbie Furze and Milo Cordell have doubtlessly made a complete study of the guitar music coming out of their native U.K. in the late ’80s and early ’90s and worked to build their sound into an impressive conglomeration of influences that’s made up of components like the proggy excess of the Catherine Wheel, the guitar overload of My Bloody Valentine, the drum loops and dance elements of Chapterhouse, the dark, industrial sheen of Curve, and the epic sweep of the Verve but with plenty of modern production tricks. The influence extends to the vocals, which recall the expansiveness of the Verve’s Richard Ashcroft rather than the dreaminess of the Thames Valley shoegaze contingent. Seeing (and hearing) all these comparisons may make it easy for some to instantly write the band off as record collectors or scene fetishists with no ideas of their own, but that would be a mistake. Yes, they are derivative. Yes, they are rehashing the past. This is key, though. They write really good songs and make them sound really good, too. That’s the neat trick that allows them to escape the retro-revivalist label and that’s why A Brief History of Love should appeal to both fans of shoegaze days gone by and the people who are still discovering the past and digging other groups who, like the Big Pink, are keeping shoegaze alive. The best songs on the album would do all right if stacked up against the work of their idols. Take “Dominos,” for example. The thundering drums combine with an instantly memorable hook, the kind that makes you want to sing along before the first chorus is half over, to make it soar. “At War with the Sun,” too, has a thrilling chorus and an uplifting feel, “Tonight” rollicks and rolls like a goofy cross between Jane’s Addiction at their most pop and Medicine at their frothiest, and “Love in Vain” is a heartbreaking balla… |
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A Child’s Guide to Good and Evil $16.98 The band’s third album for Reprise has its advocates among psychedelic cultists, but it really is a letdown when stacked against their previous two Reprise LPs, even if those LPs (particularly the second) were haphazard in their psychedelic-pop-folk-rock admixtures. When they play it straight, the songs are often average or even unmemorable, easy-going late-1960s L.A. rock. When they are obviously trying to be strange, as on the title cut, it sounds contrived, and if you’ve heard the previous Reprise LPs already, Bob Markley’s occasional deranged rants will be old hat. The minute-and-a-half “Anniversary of World War III” is entirely silent: a radical notion for a rock album of the time, perhaps, but something that had already been done by John Cage. There are some pleasing moments here and there, like the melancholy folk-rock ballad “Eighteen Is Over the Hill,” which has some exquisite pop harmonies, and there are the usual disturbing and dark undercurrents in Markley’s lyrics if you listen closely. The CD reissue on Sundazed adds the mono single mixes of “Shifting Sands” and “1906″ as bonus tracks, although those songs are actually from their 1967 Part One album, not A Child’s Guide to Good and Evil. ~ Richie Unterberger, Rovi |
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This entry was posted on Monday, December 19th, 2011 at 1:37 pm and is filed under Music MP3. You can follow any responses to this entry through the RSS 2.0 feed. You can leave a response, or trackback from your own site.
