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In a brief interview that precedes this CD's four bonus tracks--all unreleased gems from the original 1984 sessions--Stevie Ray Vaughan makes the point that "music used to be more based on common everyday occurrences like a train's sound going down the track ... a horse walking." Then he comes on with a version of Freddie King's "Hideaway" that chugs like a locomotive. There's also a heretofore unheard slide-guitar-powered "Give Me Back My Wig" and a blueprint of what became Soul to Soul's radio hit "Look at Little Sister." All those follow the improved mixes of the original CD, which include Vaughan's heartbreak chronicles "Couldn't Stand the Weather" and "Cold Shot"; his first jazzer, "Stang's Swang"; and his initial Hendrix outing, "Voodoo Chile (Slight Return)." It's the sound of the guitar hero growing as an artist on his own terms--sidestepping the irony that poisoned '90s rock to stay true to the real-life aesthetic of the blues. --Ted Drozdowski

No Description Available.Genre: Popular MusicMedia Format: Compact DiskRating: Release Date: 23-MAR-1999

The successful follow-up to Turn It Loud includes the singles "Feel It (Feel My Body)" and "Don't Stand In The Line Of Fire." Headpins toured extensively with KISS, Billy Squier, Quiet Riot, and Whitesnake at the time of original release in 1982. Biographical liner notes written by Kerry Doole.

Audio CD

4 Fully Animated Cartoons Mary's Little Lamb The Pin Cushion Man Gold Rush Daze Lone Star State

No Description Available.Genre: Children's VideoRating: NRRelease Date: 30-OCT-2007Media Type: DVD

The fifth collection of Looney Tunes and Merrie Melodies continues Warner Bros.' scattershot approach, mixing classics and obscurities. Among the best-known and funniest cartoons are "Ali Baba Bunny" (Daffy yelling, "I'm rich! I'm socially secure!"), "Bewitched Bunny" (Witch Hazel galloping off in a cloud of hair pins), and "Buccaneer Bunny" (a sterling example of one of director Friz Freleng's favorite gags: having the characters run up and down stairs and in and out of various doors). "Gold Diggers of '49" and "Little Red Walking Hood" show Tex Avery beginning to explore the self-reflexive gags that would be become one of the hallmarks of his mature style. In "Walking Hood," Grandma stops the action to answer the phone and place her order with the grocer--including a case of gin. "The Daffy Doc" is Bob Clampett at his most surreal, with Daffy and Porky getting sucked into an iron lung, bulging and shrinking like balloon animals. Some of the earliest cartoons predate the adoption of "The Merry-Go-Round Broke Down" as the theme song for the Warner Bros. cartoons. Many shorts from the early '30s were built around songs from Warner's musicals: "I've Got to Sing a Torch Song" (written for Gold Diggers of 1933) features caricatures of Mae West, George Bernard Shaw, Benito Mussolini, and Bing Crosby frolicking to the title tune. Greta Garbo delivers the closing, "That's All, Folks!" Like the previous four sets, Golden Collection Volume 5 comes loaded with extras that range from three WWII films in which Mr. Hook urges sailors to buy war bonds to "Extremes and In-Betweens: A Life in Animation" (2000), a documentary about Oscar-winning director Chuck Jones. Many of these cartoons will have viewers of all ages in stitches. (Unrated, suitable for ages 6 and older: cartoon violence, ethnic stereotypes, mild risqué humor, alcohol and tobacco use) --Charles Solomon

ADVENTURES OF OSWALD THE LUCKY RABBIT - DVD Movie

Before Mickey, there was Oswald: By 1926, Walt Disney's first series, the live-action/animation "Alice" comedies, had run its course. Under pressure from distributor Charles Mintz and Carl Laemmle of Universal, Disney and his artists created Oswald the Lucky Rabbit in 1927. Within months, Moving Picture World praised the cartoons' "astounding feat of jumping into first-run favor overnight." During the "Oswald" series, Disney's talents as an organizer and story man began to emerge; his friend and head animator Ub Iwerks designed Oswald's appearance and imbued him with a jaunty style of movement. But in 1928, Mintz took the character away from Disney. To replace Oswald, Walt created Mickey Mouse. This important collection includes the 13 surviving silent "Oswald" shorts (of 26). Many of them feel like rough drafts for later Mickey cartoons. When Oswald enters a trans-Atlantic race in "The Ocean Hop," the antics he performs in his airplane prefigure the ones in "Plane Crazy." In "Sky Scrappers," Oswald takes a job on a construction site where his girlfriend (an unnamed cat) sells box lunches, anticipating the Mickey and Minnie cartoon "Building a Building" (1933)--down to the opening shot of a dinosaur-like steam shovel at work. The silent "Oswald" shorts have rarely been seen since they were first released 80 years ago: Some viewers may grow impatient with these relatively crude cartoons, but they remain intriguing examples into Walt Disney's early work. Leslie Iwerks' informative documentary The Hand Behind the Mouse: The Ub Iwerks Story (1999) traces the life of her grandfather. One of the greatest talents of the silent cartoon era, Ub Iwerks animated the first Mickey shorts and "Silly Symphonies" almost single-handedly. Iwerks left Disney to start his own studio in 1930. Although it attracted an impressive array of talent, it closed in 1938. Two years later, Iwerks returned to Disney, where he won two Oscars for innovations in visual effects technology. Hand suggests that the Iwerks cartoons were too sophisticated for the era of the Hays Code. But for all his talent as an animator and technical innovator, Iwerks was not an effective director: His studio's cartoons simply weren't very good. Included on this disc are three "Alice" comedies, "Plane Crazy," "Steamboat Willie," and "The Skeleton Dance," which showcase Iwerks' endearingly bouncy animation. (Unrated: suitable for all ages: cartoon violence) --Charles Solomon

CHRONOLOGICAL DONALD, THE-VOLUME 2: 1942

As the number of cartoons in The Chronological Donald series indicates, Donald Duck was Walt Disney's biggest star during the '40s and '50s. Between 1941 and 1965, the studio made 106 Donald shorts, but only 49 Goofys and 14 Mickeys. With his flashpan temper, Donald was well suited to the more aggressive humor of wartime America. Donald's plump derrière got kicked, stung, swatted, or stuck in things with predictably pyrotechnic results. No character had to deal with less cooperative tools, and no character threw bigger tantrums when his equipment failed to work properly. The Disney shorts of this era offer beautiful animation, lavish special effects, and elegantly painted backgrounds. But by 1942, Walt Disney's interests had shifted away from short films to features and war work. The artists at Warner Bros. and MGM were pushing the boundaries to make cartoons that were faster, brasher, and funnier. Compared to the work of Chuck Jones, Tex Avery, Bob Clampett, and Friz Freleng, the wartime Donald shorts feel tame. The mystery spoof "Duck Pimples" is one of the nuttiest shorts the Disney Studio ever released, but it can't match the take-no-prisoners insanity of Avery's "Red" cartoons, its obvious model. Any serious Disneyphile or student of animation will want The Chronological Donald, as it's been impossible to see many of the cartoons for decades. The extras include "A Day in the Life of Donald Duck," a 1956 episode of "Disneyland" that features Donald arguing with Clarence Nash, the actor who provided his voice; and a conversation between host Leonard Maltin and Tony Anselmo, Donald's current voice. (Unrated, suitable for all ages: cartoon violence, tobacco use, ethnic stereotypes) --Charles Solomon

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