MP3s

Steve Jordan’s Drum Set arrives at Memphis Drum Shop

Zyliss 11370 Classic Rotary-Style Cheese Grater $11.09 Zyliss Classic Cheese Grater is a category first with an ingenious design. The Classic Cheese Grater is designed to grate more cheese in less time, while being more comfortable to use. Features a fine drum for grating hard cheese, chocolate and much more. To assemble, insert drum into unit and hold the drum by resting the finger in recess on edge on the edge of the drum designed for this purpose….

Fred Cool Jazz Ice Cube Tray $4.00 Fred & Friends Cool Jazz Ice Stirrers….

Zyliss All Cheese Grater, Fine and Coarse Drum Set, White $14.99 Winner of the RedDot design award in 2005, this Zyliss rotary grater will grate any type of cheese with ease. Two interchangeable rotary drums with large, clog-free barrels click in and out of the white plastic housing to transition easily between fine and coarse grating. The large handle flips open to store the uncut cheese and features a non-slip thumb rest for a safe, and secure hold. If you ev…

Queen: Rock Montreal & Live Aid [Blu-ray] $12.00 QUEEN ROCK MONTREAL & LIVE AID – Blu-Ray Movie…

Nightmare $7.38 AVENGED SEVENFOLD NIGHTMARE…

Neil Peart Taking Center Stage: Lifetime of Live Performances $21.57 Neil Peart – Taking Center Stage was filmed in various locations over the course of a year. In it, Neil Peart takes you on a behind-the-scenes look at Rush’s 2010-11 Time Machine tour. This includes rare and exclusive footage of Neil’s personal pre-tour rehearsals and backstage events at a Rush concert (including a visit to the soundcheck, and an unprecedented backstage interview as Neil warms up …

The Lion King Trilogy (Eight-Disc Combo: Blu-ray 3D / Blu-ray / DVD / Digital Copy) $63.92 Not an ideal choice for younger kids, this hip and violent animated feature from Disney was nevertheless a huge smash in theaters and on video, and it continues to enjoy life in an acclaimed Broadway production. The story finds a lion cub, son of a king, sent into exile after his father is sabotaged by a rivalrous uncle. The little hero finds his way into the “circle of life” with some new friends…

Neverending Story 1 & 2 [VHS] $11.89 The two part collection of the Neverending Story. A great movie for young children….

Santa & Rudolph & Frosty & Little Drum [VHS] $12.95 …

Step Brothers (Single-Disc Unrated Edition) $6.95 STEP BROTHERS – DVD Movie…

‘Cause I Sez So $16.98 Five years into one of the most unlikely reunions in recent rock & roll history, the New York Dolls have begun to acknowledge the great paradox of the new edition of the band. If ever there was a band with a distinctive musical and emotional personality, it was the Dolls, but with only two members of the original lineup still alive and able to take the stage in 2009, David Johansen and Syl Sylvain have had a heavy burden to bear, trying to make music that feels and sounds like the New York Dolls without their iconic lead guitarist, their original rhythm section, and the sort of lifestyle that defined their world view when they were the edgiest band in America’s toughest city. The new Dolls created a reasonable approximation of what their old sound would have been like had they all survived into the new millennium on 2006′s One Day It Will Please Us to Remember Even This, but 2009′s ‘Cause I Sez So suggests this band has little interest in living in the past, including their own. Todd Rundgren, who produced the Dolls’ brilliant 1973 debut, was behind the controls for this set, and the first two songs, “‘Cause I Sez So” and “Muddy Bones,” conjure up the sloppy downtown energy of the Dolls Mk. 1 better than anything on One Day It Will Please Us, full of dirty guitars, crashing drums, and broadly strutting vocals from Johansen, complemented by Rundgren’s roomy, natural-sounding production. But after that one-two punch, the album shifts gears, easing into a groove that’s more easygoing and (gulp) mature than the classic Dolls assault, with a warmer and more subdued approach. “Lonely So Long” is a great pop tune with a faint resemblance to the Beatles, “Nobody Got No Bizness” is a high-spirited, hip-shaking R&B shuffle, “Temptation to Exist” is a melodramatic ballad that sounds like it could have fit onto one of Johansen’s Buster Poindexter albums, “This Is Ridiculous” is a blues-influenced number that gives the singer plenty of room to showboat, and “Maki…

‘Cause I Sez So $16.98 Five years into one of the most unlikely reunions in recent rock & roll history, the New York Dolls have begun to acknowledge the great paradox of the new edition of the band. If ever there was a band with a distinctive musical and emotional personality, it was the Dolls, but with only two members of the original lineup still alive and able to take the stage in 2009, David Johansen and Syl Sylvain have had a heavy burden to bear, trying to make music that feels and sounds like the New York Dolls without their iconic lead guitarist, their original rhythm section, and the sort of lifestyle that defined their world view when they were the edgiest band in America’s toughest city. The new Dolls created a reasonable approximation of what their old sound would have been like had they all survived into the new millennium on 2006′s One Day It Will Please Us to Remember Even This, but 2009′s ‘Cause I Sez So suggests this band has little interest in living in the past, including their own. Todd Rundgren, who produced the Dolls’ brilliant 1973 debut, was behind the controls for this set, and the first two songs, “‘Cause I Sez So” and “Muddy Bones,” conjure up the sloppy downtown energy of the Dolls Mk. 1 better than anything on One Day It Will Please Us, full of dirty guitars, crashing drums, and broadly strutting vocals from Johansen, complemented by Rundgren’s roomy, natural-sounding production. But after that one-two punch, the album shifts gears, easing into a groove that’s more easygoing and (gulp) mature than the classic Dolls assault, with a warmer and more subdued approach. “Lonely So Long” is a great pop tune with a faint resemblance to the Beatles, “Nobody Got No Bizness” is a high-spirited, hip-shaking R&B shuffle, “Temptation to Exist” is a melodramatic ballad that sounds like it could have fit onto one of Johansen’s Buster Poindexter albums, “This Is Ridiculous” is a blues-influenced number that gives the singer plenty of room to showboat, and “Maki…

‘Round Midnight $11.99 Criminally unsung pianist and singer Andy Bey had the most visible career after he and his sisters Salome and Geraldine Bey broke up their performing trio after an 11-year run in 1967, but this family singing ensemble was far more than just the act that launched Andy, and he wasn’t really the focus of the group. All three siblings were highlighted equally in the trio, and their harmonies together were the ethereal kind that can only happen in a family where all involved have grown up hearing each other’s voices and phrasing every single day. The Bey trio recorded very little together, unfortunately, just a single album for RCA in 1961 and two albums for Prestige, Now! Hear!, released in 1964, and this one, ‘Round Midnight, from 1965. Part gospel, part muted R&B, part stylized blues, the Bey trio was also very much a jazz outfit, due in no small part to Andy’s underappreciated piano playing and the presence of bop veterans like Milt Hinton on bass, Osie Johnson on drums, and Kenny Burrell (who appears on about half of the tracks here) on guitar. In essence, the Bey trio sounded like a thinned-out and more jazzy, gauzy version of the Staple Singers. Highlights from this reissue, which is quite short (only around 33 minutes) by modern CD standards, are a wonderfully balanced version of Ray Charles’ “Hallelujah, I Love Her So,” a stirring take on Billie Holiday’s “God Bless the Child,” the ever expanding and ascending “Feeling Good,” and a fine rendition of the title track, Thelonious Monk’s “‘Round Midnight,” which has never been the easiest song in the world to sing effectively, but the trio nails it here in what might have been deemed a definitive version if it had actually been heard by more than a handful of people. Prestige released Andy Bey & the Bey Sisters in 2000, which includes both the trio’s albums for the label on one disc, and that is definitely the way to go, although this short set does do a decent job showing off the range and talents of thi…

127 Rose Avenue $14.99 Released in June of 2009, the first single from Hank Williams, Jr.’s 127 Rose Avenue is called “Red, White & Pink Slip Blues,” a paean to the economic uncertainty of 21st century recession America. It’s like a lot of contemporary country singles these days, anthemic truth tales reflecting the concerns of the common (wo)man, who is struggling to find his/her place in a country that seems to have packed itself up and left them behind. The single was a hit and may carry the album to the higher rungs of the charts with it. That said, this has nothing to do with the actual quality of the music. In many ways, Williams has been remaking the same record since the early 1980s. It has his seamless blend of loud Southern rock-style guitars, rowdy, rebellious lyrics, hell-raising drums, and fist-pumping choruses, with a ballad or two thrown in for good measure. It’s a formula, but one that has worked to keep Williams with Curb Records and on the charts for nearly 30 years. No matter what the trend in the music itself, from the Urban Cowboy days on, Williams has remained in style remarkably enough because his songwriting reflects the timeless concerns of country fans. He first took up the heady electric guitar sound in the late ’70s and perfected it in the early ’80s. 127 Rose Avenue changes the production style to reflect what’s going on in contemporary country — big compressed guitars, melds of fiddles and banjos, and rock & roll drum kits. The other notable tracks on this set are the loud and proud, self-penned, “Farm Song” with a guest appearance by pedal steel guitar icon Robert Randolph; “All the Roads,” a duet with the Grascals, and, as is usual on a Hank Jr. record, an homage to his father called the “The Last Driftin’ Cowboy,” with a sample from “Honky Tonk Blues,.” If you dig Bocephus’ countless previous albums and/or are a fan of the new brand of Nashville rock that calls itself “contemporary country,” you’ll dig this. ~ Thom Jurek, Rovi

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

1970s Rock TrackPak – Apple Loops for GarageBand and Logic $29.99 We’ve taken 12 of the most famous classic rock tunes of the 1970s and set them up for you to mix, loop, cut, edit, and play along with any way you please using the power and flexibility of GarageBand. Each song includes loops for each instrument, plus the complete tracks! You can take just the drums from Tom Petty’s “American Girl” or the guitar riff from Van Halen’s “Runnin’ with the Devil,” and loop them, remix them, or drop them into your own projects. The only limit is your creativity! Other songs include: All Right Now (Free) • Beast of Burden (The Rolling Stones) • Breathe (Pink Floyd) • Gimme Three Steps (Lynyrd Skynyrd) • Ramblin’ Man (The Allman Brothers) • and more.GarageBand has been named the Product of the Year by Music Trades magazine! Click here for more info”

1994 $12.99 When Shawn Camp cut his self-titled album for Warner/Reprise back in 1994, he was riding the coattails of two charting singles from his debut the previous year: “Never Felt So Good” and “Confessin’ My Love.” The artist, management, and industry insiders assumed the set would be a breakout. When it was turned over to the label, however, it was deemed “uncommercial,” and a wave of changes was “suggested.” (This was the era when Travis Tritt, Tim McGraw, Faith Hill, Trisha Yearwood, and Martina McBride had broken wide open and were topping the charts.) Camp refused and the album was shelved. Fast forward to 2009 when Warner Music Nashville President/CEO John Esposito caught Camp at a guitar pull during a music conference and was impressed. He discovered that the company owned the album, and went through the steps to bring it to market. On the one hand, one can almost exonerate the company for not releasing it at the time. Compared to the aforementioned artists, Camp’s meld of rootsy acoustic and electric instruments playing bluegrass and honky tonk-inspired modern country music was nowhere on the charts in 1994. That said, excellence is excellence: nobody ever told George Strait he couldn’t release a record because he was too country. Camp’s collection of originals and covers is timeless; it sounds “classic,” not nostalgic. Other than the choogling opener “Near Mrs.” with its up-front Telecasters and tight ringing snare drums, everything else here is far more traditional. Whether it’s a moving ballad such as “My Frame of Mind,” the broken-hearted two-step “Little Bitty Crack in Her Heart” with its whinnying fiddles and Dobros, the electric bluegrass in “Stop, Look and Listen (Cow Catcher Blues),” or the midtempo honky tonker “Worn Through Stone,” this album is the place where the history of country music meets the future and melds rather than clashes, for a lone reason: it’s honest. The record espouses a quiet passion, even in its humorous moment…

23rd & Stout $15.98 After more than 30 years in the music biz, Chuck E. Weiss is still best known (a) as one of Tom Waits’ best friends, and (b) for being the subject of Rickie Lee Jones’ hit “Chuck E.’s in Love.” The latter distinction hasn’t done much for him lately, but he seems to be counting on the former to draw interest in his fourth album, 23rd & Stout. Most of 23rd & Stout sounds like some unreleased Tom Waits album that walks in a Twilight Zone between the Beefheart-influenced throb of Swordfishtrombones and the laid-back beatnik vibe of Blue Valentine. While it’s entirely possible that Waits has borrowed a bit of his buddy Weiss’ schtick over the years, there’s also little argument that Waits is far better at it, and it doesn’t help that Weiss’ band here (headlined by Tony Gilkyson on guitar and Don Heffington on drums) isn’t able to deliver the gloriously strange groove of Waits’ more recent work, though the group sounds great on the jazz-leaning material. When Weiss goes into a shaggy-dog story like the title cut or a lurching stomp such as “Prince Minsky’s Lament,” it’s all but impossible not to compare him to Waits, but in all fairness Weiss is a better than average songwriter, and when he lets his funny side take over (like he does on “Half Off at the Rebop Shop,” “Sho Is Cold,” or “Piccolo Pete”), he’s an enjoyable and absorbing performer. (His sly interpretation of “Primrose Lane” also suggests he could deliver a fine set of standards if he were so inclined.) Too much of 23rd & Stout makes Chuck E. Weiss sound like the Baja Marimba Band to Tom Waits’ Tijuana Brass, and the shame of that is he’s clearly talented enough establish a more distinctive creative identity by now, as the best moments of this album confirm. ~ Mark Deming, Rovi

3 and 1 $17.98 One of the enduring instrumental combinations for musical expression, whether jazz or classical, is the piano trio. The great jazz pianists from Teddy Wilson and Art Tatum through Bill Evans and Oscar Peterson to Brad Mehldau and Keith Jarrett have used this vehicle for their personal jazz expressions. With this offering, Seattle-based Dave Peck knocks on the door to be admitted to this exalted company. On the jazz scene as a performer, arranger, and composer for more than 25 years, Peck is no newcomer. His performing credentials include sideman assignments with such notables as Chet Baker, Sonny Stitt, Lee Konitz, and Art Farmer. He has worked with Bud Shank as arranger/composer since 1985. Peck’s approach to the piano falls somewhere between Bill Evans and Oscar Peterson, with some Thelonious Monk influence on Peck’s “If…Then….” Admittedly a wide gap, but plausible here. There’s that wonderful thoughtful lyricism that characterizes Evans’ work, but he adds a little more embellishment to his playing than the late master, nudging closer (not close) to Oscar Peterson. This respectable uniting of styles is apparent in a perceptive seven-and-a-half minute exploration of “Star Eyes,” where every aspect of this popular 1943 classic standard is probed, pushed, pulled, and prodded by Peck and his cohorts. And his cohorts are critical to the success of this session. Dean Hodges’ drums set the pace without ever becoming intrusive, staying with the traditional role of a drummer in a small group. Chuck Deardorf, on the other hand, gets ample opportunity to enliven the musical feast with his refreshing bass solos. He is especially telling on “If I Were a Bell” and on Monk’s “Eronel.” With a play list of jazz and classic standards, Brazilian rhythms, and originals by Peck, 3 and 1 is welcomed to the jazz piano trio literature with open arms. Recommended. [The unusual label moniker Let’s Play Stella finds its derivation in a joke about the naming of Peck’s dog, now…

40th Anniversary Collection $22.98 This reviewer is usually loathe to give compilation albums the highest rating, as they have an unfair advantage over original albums; and it’s not as though there aren’t already good multi-CD sets on the Searchers, including their 30th Anniversary Collection from Sequel Records. But this two-disc, 56-song collection goes into territory where the early triple-disc set never ventured as the first Searchers compilation to encompass not only their most familiar work on Pye Records, but also Phonogram, RCA, Sire, PRT, and Coconut Records. It also avails itself of the vast expansion of the band’s tape library in recent decades, including demos and live tracks, all in state-of-the-art sound. The result is not only the first truly comprehensive overview of this group, which never had a bad or a dull period, but also their best-sounding account in terms of the sharpness of the remastering. What may surprise even longtime fans is how well their 1963 vintage demos and live tracks come off as performances. Based on the evidence here, these guys were ready to record that far back and had some edges that were a lot rougher and sometimes sharper than the polished, rhythm guitar focused sound that they later cultivated in the studio. In a sense, listening to this collection from front to back is a lot like going through the Beatles’ history, except that the Searchers never took a left turn into psychedelia or, with the exceptions of Tony Jackson and Chris Curtis, developed egos that threatened the integrity of the group. The 2003 remastering has also given their stuff a startling immediacy of impact that outstrips their best prior CDs. You can actually hear the action on the guitars and the drums on this collection, especially on “Sweets for My Sweet” and “Ain’t Gonna Kiss Ya,” the two earliest official releases. The rhythm guitars on “Needles and Pins” and “When You Walk in the Room” chime loud and melodiously in the best mastering job they’ve ever received, and, for th…

Tags: set drums child, set drums games, set drums guitar hero, set drums sale, set drums set up

This entry was posted on Friday, December 9th, 2011 at 11:53 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.