Neil Young
Neil Young – Heart Of Gold
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Neil Young Magnet $2.00 This magnet features an image of young Neil Young… |
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HEART OF AU GOLD Mug Coffee Cup 11 oz ~ Periodic Table of Elements This high quality ceramic mug makes a great gift for anyone! The design is on both sides of the mug! The image is adhered through a heat process that makes it durable and long lasting. The colors won’t fade, so the mug can be enjoyed for years to come!… |
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HEART OF AU GOLD Mug Coffee Cup 11 oz This is a high quality 11 oz ceramic mug that is great as a gift for any occasion or just as a treat for yourself! The design is on both sides of the mug! The image on the mug is adhered through a heat sublimation process making it durable and long lasting. Dishwasher & Microwave Safe… |
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Monty Python’s Life Of Brian – The Immaculate Edition [Blu-ray] $9.99 “Blessed are the cheesemakers,” a wise man once said. Or maybe not. But the point is Monty Python’s Life of Brian is a religious satire that does not target specific religions or religious leaders (like, say, Jesus of Nazareth). Instead, it pokes fun at the mindless and fanatical among their followers–it’s an attack on religious zealotry and hypocrisy–things that that fellow from Nazareth didn’t… |
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Babes In Toyland (1986) $13.07 Once a bright and cheerful community, Toyland is in great danger from the terrible Barnaby and his scary creatures who live in the forest of the night. They are trying to turn Toyland into a world without toys. The only person who can save Toyland is Lisa (Drew Barrymore), a girl from Cinncinnati who lands in Toyland on Christmas Eve. But since Lisa is a very grown up little girl, she doesn’t be… |
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Rude Awakening [VHS] $9.98 … |
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Back to the Future $2.99 … |
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Monty Python and the Holy Grail (Special Edition) $5.89 DVD(2)… |
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Back to the Future Part II $2.99 … |
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NEIL YOUNG Acoustic Guitar & Harmonica COMPUTER MOUSEPAD $9.99 Mouse pad is brand new in excellent condition. Mouse pad measures 9 inches by 8 inches and is 1/8th of an inch thick. Mousepad is made of a durable heat resistant polyester fabric top, and backed with a non slip rubber. Mousepad will not discolor or fade. Mousepad will be shipped the day of purchase (including Saturday), or next business day by the latest…. |
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13 $17.98 The Ozark Mountain Daredevils’ return to recording after 17 years of solo projects and festival appearances finds the Daredevils’ voices sounding a little older and a little gruffer. However, if Neil Young and Johnny Cash have taught the world anything, it’s that a singer/songwriter can improve with age as long as what he’s saying is still worth listening to. Unfortunately, it seems as though these guys were torn between making either a smooth Nashville country album or a laid-back Jimmy Buffett-style good-time album. The chunky “Bar Hoppin’” is a loose handful of fun, as is the leadoff track, “Dream-O,” but the slick “I’m Still Dreamin’” and the radio-friendly “Everywhere She Goes” are a little too clean in contrast. Still, it’s a well-produced album with a grab-bag of solid songs, particularly “If It’s True,” the sole contribution by original Daredevil Larry Lee (whose voice hasn’t slackened a bit since the mid-’70s). As is evidenced by 13, the band is older, a little less reckless, and a little more cautious, but the people who bought the Ozark Mountain Daredevils’ records in their heyday have aged too, and maybe this is just the sound they’re looking for. ~ Zac Johnson, Rovi |
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4 Way Street $54.98 Expanded by almost 40 minutes, the double-CD version of 4 Way Street simply built on the existing foundation of a landmark live album, and for a change, there was no diminishing of the original release. Crosby, Stills, Nash & Young had come out of Woodstock as the hottest new music act on the planet, and followed it up with Deja Vu, recorded across the second half of 1969 and released in March of 1970, supported by a tour in the summer of that year. As it happened, despite some phenomenal music-making, the tour was fraught with personal conflicts, and the quartet split up upon its completion. And 4 Way Street followed, released in April of 1971: a live double-LP set, chock-full of superb music distilled down from a bunch of nights on that tour that more than fulfilled the promise of the group. Indeed, contained on those original four LP sides was the embodiment of everything great that the unique ethos behind this group — which was not a “group” but four individuals working together — might have yielded. Each of the participants got to show off a significant chunk of his best work, whether presented alone or in tandem with the others, and the shared repertory — “Long Time Gone,” “Ohio” etc. — binding it all together as more than a documentary of some joint appearances. Conceptually it was all as diffuse as the concept behind the group, but musically, 4 Way Street was one of the great live rock documents of its time, a status it retains along with such touchstones as the Allman Brothers’ At Fillmore East, the live half of the Cream’s Wheels of Fire, and the Grateful Dead’s Live/Dead; some of the extended guitar jams between Stills and Young (“Southern Man”) go on longer than strict musical sense would dictate, but it seemed right at the time, and they capture a form that was far more abused in other hands after this group broke up. Although Neil Young and Stephen Stills had the advantage of the highest wattage on their songs and their jams together, Da… |
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A Friend of a Friend $15.98 Ironically, the most telling line on Dave Rawlings’ first album as a frontman comes from one of the few tracks he didn’t write. On his version of the Bright Eyes song Method Acting, imagine a more direct explanation of A Friend of a Friend’s genesis. Singer/guitarist/songwriter/producer Rawlings has worked with Bright Eyes and Old Crow Medicine Show in the past, and members of both bands return the favor by appearing here, but of course he’s best-known for being Gillian Welch’s musical foil throughout her career. After a decade-and-a-half spent as the shadowy figure in the background, chiming in with those reedy harmonies and concise guitar licks on demand, Rawlings is long overdue for this solo debut. While he has hidden light under a proverbial bushel, he hasn’t been concealing any unexpected predilections — the overall approach here is pretty much in line with that of the albums he’s made with Welch, which makes sense, considering that he was the producer on half of those. The biggest difference is a slightly more expanded sonic palette, a result of Rawlings bringing his aforementioned buddies on board, in addition to Tom Petty’s ivory-tickler Benmont Tench and of course, longtime singing partner Welch. But even though a string section pops up on a couple of tunes, A Friend of a Friend is essentially a low-key, acoustic-based Americana outing that feels more like a 21st century version of the early-? 70s Laurel Canyon cowboy aesthetic than anything else. The old, new, borrowed and blue song selection is balanced to present a quintessential picture of where Rawlings is coming from; he tackles Ryan Adams and Old Crow tunes he co-wrote, covers cohorts Bright Eyes as well as inspirations Neil Young and Jesse Fuller, and rounds things out with a batch of new Rawlings/Welch compositions. And while he doesn’t exactly adopt an in-your-face approach to the leading-man role, preferring to become part of the powerful collective he’s assembled, Rawlings proves himself f… |
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Achilles Heel $13.98 Achilles’ Heel, Pedro the Lion’s fifth album, is a hallmark for the band, a culmination of their previous work, and — upon its release — their best album to date. Breaking down the linear narratives of The Only Reason I Feel Secure and Control into broader concepts and themes that rely far less on storytelling and more on topical personal politics turns out to be a winning approach. Walking through the emotional fray of America’s suburban ennui, David Bazan and company have built a beautiful and wavering mix of indie rock and country-folk. Ester Drang keyboardist James McAlister is a shining addition to Bazan and longtime contributor T.W. Walsh, adding a syrupy keyboard undercurrent to contrast Bazan’s longing melodies and lyrics — and the guitar work reaches new levels of uncharacteristic gritty rock on the venomous “Keep Swinging” (don’t expect it for more than one track, though). With some of the best songs of the band’s career — the classic, simple, country-tinged “Foregone Conclusions” and the lush, soaring “The Fleecing,” for example — Pedro the Lion cast themselves as a Neil Young for the tract homes and convenience stores, a middle-class hero for those caught in the mundane space between the McMansions and the nine-to-five grind. Bazan is a master of this stuff, delving through the routine and ordinary for every drop of melancholy and poetry. While lilting and humorless (don’t expect anything as fun as the Darkness here), these songs are like literature set to music, the indie rock counterpart to a novel like A.M. Homes’ The Safety of Objects — maybe a little tough to swallow or make it all the way through, but brilliantly rendered nonetheless. ~ Charles Spano, Rovi |
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Action-Refraction $16.98 Bassist Ben Allison’s latest album is a collection of covers, or interpretations, of others’ songs; only one is a jazz standard (Thelonious Monk’s “Jackie-Ing”), and that’s barely recognizable as such. The rock-oriented band, which includes saxophonist/bass clarinetist Michael Blake, guitarist Steve Cardenas (and a second guitarist, Brandon Seabrook, on two tracks), keyboardist Jason Lindner, and drummer Rudy Royston, churns through PJ Harvey’s “Missed,” Donny Hathaway’s “Some Day We’ll All Be Free,” Neil Young’s “Philadelphia,” and Paul Williams’ “We’ve Only Just Begun,” along with classical composer Samuel Barber’s “St Ita’s Vision” and one Allison original, the album-closing “Broken.” The sound, frequently led by Cardenas with Allison providing a rocksteady throb beneath, is somewhere in the neighborhood of rock; “Missed” sounds like Tom Waits’ incorporation of rhumba on 1985′s Rain Dogs, while the Hathaway tune becomes a repetitive vamp with Lindner’s keyboards providing swooping noises and atmospheric static. “Philadelphia” strips the band down to guitar, bass and gently brushed drums, sounding like a Bill Frisell project in the process. “St. Ita’s Vision” brings the keyboards front and center, going for a spacy prog rock vibe reminiscent of early-’70s Tangerine Dream or some Krautrock outfit. “We’ve Only Just Begun” is the closest thing here to true jazz, with melodic extrapolations rather than repetition, rhythmic fluidity, etc. Blake even launches a tenor solo that goes pretty out, with plenty of squeaks and squawks to strip the song of any lingering associations with the Carpenters. “Broken” is another atmospheric slow burner, Lindner’s keyboard sounds reminiscent of Autechre at times. Action-Refraction isn’t a straight jazz album, but it’s more likely to appeal to young jazz listeners than to indie rock fans, though it offers pleasures for anyone with open ears. ~ Phil Freeman, Rovi |
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Alcohol Fueled Brewtality Live!! $17.98 Former Ozzy Osbourne axe-slinger Zakk Wylde rose to international guitar acclaim for the better part of the 1990s after helping co-author Ozzy’s No Rest for the Wicked, No More Tears, and Ozzmosis. From there, Wylde formed Pride and Glory, a Southern-fried combo that released a disc and then yielded the hammer and thunder of Black Label Society, whose incorrigible, heavyweight riffs and rhythms are showcased here on the band’s completely live, un-overdubbed Alcohol Fueled Brewtality Live!! Most of the material resides somewhere between the chugging, lugubrious redneck metal of Pantera and labelmates Crowbar, and the more Southern approach of latter-day Corrosion of Conformity — in other words, super-heavy, down-tuned riffage. What obviously sets this apart is Wylde’s lightning-fast leads and sheer six-string ability. The songs may be little more than basic collections of riffs, and Wylde far too often entreats the crowd to “make some f*cking noise!” but this is a testosterone-fueled sound often rejected by the mainstream press and heartily embraced by an aggressive listenership. Black Label Society does this as well as anyone out there, and it’s heartening to see four guys on a stage hammering it out, riff by riff, beat by beat. Add Wylde’s raw, bluesy baritone — at times reminiscent of Jerry Cantrell or Layne Staley — on top of that, and you’ve got a hearty meal. The second disc treats the listener to five slightly quieter, somewhat acoustic tunes, including a cover of Neil Young’s “Heart of Gold.” ~ Patrick Kennedy, Rovi |
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Amerikkka’s Nightmare, Pt. 2: Children of War $16.98 Affiliates of the larger Bootclamp Click collective, not to mention their firearm-inspired moniker, Smif-N-Wessun, have always had the military theme on their side. But, one-half of the Brooklyn duo, Steele, ups the ante on this solo LP, Amerikkka’s Nightmare Pt. 2: Children of War, moving into deeper conceptual waters and stylistic experimentation. Lacking the usual cartoonish gangsta posturing, Children of War is a moodier meditation on contemporary America in its many conflicts with Steele’s lyrics focused on social justice (or a lack thereof), government corruption, economic oppression, mass media smoke screens, and the varying places that war occupies in the national imagination. Sonically, the record is divided evenly among clear lines with two unknown beatsmiths doing the production honors. Che Triumph obviously favors a rapcore approach, contributing seven hard rock-driven tracks built on heavy electric guitar lines and pounding drum kits, while 7ven HD excels at composing weighty military themed beatscapes out of rolling drum lines, foot-stomp percussion, and brooding piano loops. There are plenty of thought-provoking moments, from Dead Prez’s apt guest spot on the extraordinary “Cry Freedom” to the bleak musings of “Tomorrow’s Children” and “I Had a Vision” which utilizes spoken word samples from H. Rap Brown and James Baldwin. Elsewhere, Che Triumph borrows liberally from Neil Young and Edwin Starr on the surprising classic rock-themed outing “Child of War.” He pulls a similar studio trick a few tracks later working the raucous “Home of the Brave (Jimmy’s Song)” out of Jimi Hendrix’s Woodstock performance. The album’s high point comes as Steele cuts through empty political talking points and mass media spin on the compelling but embittered “State of the Union Address.” Far more than a simple one-gimmick record, Children of War represents an unexpected departure for Steele; it’s a different kind of gangsta rap where thug life nihilism, popul… |
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Beyond $14.98 More than most bands, Dinosaur Jr. left behind some unfinished business — not just in one regard but two. First, there was the notoriously acrimonious dismissal of original bassist Lou Barlow after the group’s third album, Bug, just before the band made the leap to the majors, but when the time came for guitarist/singer/songwriter J Mascis to retire the band’s name, he slyly turned the words of his idol Neil Young upside down, choosing to fade away rather than burn out. After 1997′s Hand It Over, Mascis ran out the clock, bringing his contract with Sire/Reprise to a close, doing some solo acoustic tours before forming the Fog and cutting a couple records with them without making any real impact outside of his devoted fans. And since he didn’t break beyond his cult, Dinosaur Jr. seemed to belong solely to the history books — the band that bridged the gap between the Replacements and Nirvana, the band that was seminal but not widely popular, a band that for whatever reason wasn’t passed down to younger brothers and sisters the way their Boston compatriots the Pixies were. Perhaps it was because, unlike the Pixies, they summed up their times too well, since there was no other alt-rock musician that was as quintessentially slacker as J Mascis. With his laconic drawl and anthems of ambivalence, he was a figurehead for a generation who chose to stay on the sidelines, so sliding away from the spotlight was a logical path for Mascis: he never seemed to really want the fame, so it seemed that he’d be happier on the fringe, which is where he wound up.All of this made the reunion of the classic J-Lou-Murph lineup in 2005 all the more surprising: there may have been unfinished business, but such a mess seemed inherent to their mystique. But the group got together to tour in support of reissues of their first three albums, and defying all logic, the reunion worked — working so well that the band decided to record a full-length album, Beyond, releasing it in May 2007. The v… |
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Closer to You: The Pop Sides $18.99 When most jazz singers do standards, they come from the “classic” American songbook, the one that includes show tunes and pop songs from a bygone era, one that was powered by names such as Gershwin, Lerner & Loewe, Rodgers & Hammerstein, Sammy Kahn, Johnny Mercer, and so many others. That said, Cassandra Wilson is not just any jazz vocalist, and her Blue Note catalog — the label she’s been with since 1993 — proves this beyond a shadow of a doubt. Wilson has explored her deep love of jazz and blues to be sure, covering everyone from Robert Johnson to Miles Davis, but along the way she’s also covered tunes by modern composers, those who have stormed the pop charts in the last 30 years or so, and those who are still on them. Closer to You: The Pop Side is a retrospective collection that looks at this side of Wilson’s complex musical persona, and offers a selection of 11 tunes from her Blue Note albums, all of them focusing on songs from the rock, pop, and soul genres, and all executed in her own idiosyncratic manner. The stellar version of Van Morrison’s “Tupelo Honey” is sung from a female perspective and drenched in acoustic guitars and upright bass, with a lone snare. Then there is her languid, deeply committed reading of Cyndi Lauper’s “Time After Time” and her drenched-in-strangeness reading of Neil Young’s “Harvest Moon,” which is as much ambience as it is instrumentation, with only her voice to hold it in place and keep it from disappearing into the ether. Along the way are signature readings of U2′s “Love Is Blindness” and Sting’s “Fragile,” as well as one of the finest versions of Jimmy Webb’s “Wichita Lineman” ever committed to tape, though its scope is very different from the author’s or the now canonical Glen Campbell version. Her reading of Ann Peebles’ “I Can’t Stand the Rain” reflects the singer’s deep commitment to the soul vernacular, and while a bit less edgy than the original, it contains plenty of hidden passageways of emotion n… |
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Coraline [2 Discs] [3D] [Blu-ray/DVD] $49.98 A young girl walks through a secret door and discovers a parallel reality that is eerily similar to the life she already knows, yet deeply unsettling in a number of ways, in director Henry Selick’s animated adaptation of Neil Gaiman’s international best-seller. Eleven-year-old Coraline Jones (voice of Dakota Fanning) is fearlessly courageous, and perhaps far too adventurous for her own good. Coraline and her parents (Teri Hatcher and John Hodgman) have recently relocated to Oregon from Michigan. Bored in her new home since her parents are distracted by work and she has yet to make any new friends, Coraline passes the time by exploring her new neighborhood with an annoying local boy named Wybie Lovat (Robert Bailey Jr.). But after paying a visit to her eccentric neighbors Miss Spink (Jennifer Saunders) and Miss Forcible (Dawn French), a pair of aging British actresses, and crossing paths with the outright weird Mr. Bobinsky (Ian McShane), the precocious young girl becomes convinced that her new surroundings are just as dull as she’d initially suspected. Shortly thereafter, Coraline discovers a hidden door in her new house, and decides to investigate. Venturing into the eerie passageway inside, Coraline emerges into an alternate version of her own reality. At first glance, this strange new world seems even better than the real thing; there her parents aren’t distracted by work, and Coraline is always the center of attention. There’s even a mysterious Cat (Keith David) that’s fascinated by her every move. But when Coraline’s button-eyed Other Mother (also Hatcher) attempts to make her stay permanent, the frightened young girl must summon her resourcefulness and bravery in order to find her way back home and save her real family. ~ Jason Buchanan, Rovi |
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