The various releases of The Very Best of the Doors during 2001 and 2007 in the U.S. and the U.K. are very similar, both in their single-disc and double-disc permutations -- as well as a limited edition that adds a DVD to the two-CD version -- so it's very easy to get all three compilations confused. That said, there are notable differences between all three U.K. comps and the original U.S. set. The American disc from 2007 weighs in at 16 tracks while the single-disc U.K. set is longer at 20 tracks and, in fact, boasts a stronger overall selection of songs, making this arguably the best single-disc introduction to the band yet assembled. The double-disc U.K. set doesn't just add a second disc, it has a different sequencing as well and consequently feels like a very different beast than the original set. It's a compilation that digs deeper into album tracks and radio favorites, sometimes getting songs that maybe should have been on the U.K. single disc -- such as Five to One, for instance, a Doors standard that's on the U.S. single disc but not the U.K. -- but its real strength is how it paints a richer portrait of the band. It's for the listener who wants a bigger picture of the Doors without investing in the actual albums or a box set and, in that sense, this Very Best of the Doors (along with the version with the DVD) does its job well. So, choose wisely: if you're looking for an introduction or just the hits, take either of the 2001 or 2007 single discs; if you're looking for most of the best, pick the double-disc set, either with or without the DVD; if you know you love the band already, go for Perception. ~ Stephen Thomas Erlewine, Rovi

Assembly (2007) / Region 3 PAL DVD / Audio: Chinese, Thai / Subtitle: English, Thai / Actors: Hu Jun, Liao Fan, Wang Baoqiang / Director: Feng Xiaogang 8852758070895 Feng Xiaogang is better known for colorful epics such as The Banquet in the U.S.. Well, the Chinese filmmaker is poised to redefine war epics in the Chinese war film The ASSEMBLY (2007). The Chinese have dubbed this film as their answer to the award-winning film by Spielberg; Saving Private Ryan and to South Korea`s Tae Guk Gi. The film is a powerful achievement in Chinese cinema, because of the humanity of its portrayal and the technically sound intense battle sequences. The film was inspired by true events

2007 US Open 2007 Pin. Officially licensed product. Usually ships same business day.

This is the second full-length release by DJ and producer False (aka Matthew Dear, Audion). Essentially a special one-off live set, 2007 defines Dear's relationship with M_nus. Together with the accompanying vinyl release of Fed On Youth/Face The Rain, he's concocted a work of such stunning intricacy, verve and substance that it will surely be amongst the favorites when this year's highlights are assessed. The opening sequence unfurls gradually, but even as the ominous Indy 3000 drifts into the metronomic comfort of Meat Me In The Market, you can already feel the gravitational pull sucking you in. The electro shock therapy of Warm Co. and the pensive minimalism of Timing and Alright Liar continue turning the screw -- and before you know it, you're lost in a void of slow, chugging sub-beats, filtered vox fx and dense, disorienting reverb. Distant melodies somehow make it through, like the soft, meditative tones on Plus Plus and the melancholy motif of Face the Rain, which leaves you temporarily frozen and suspended before the energetic Dollar Down ushers in the pivotal, subsonic avalanche of Disease/George Washington. The album starts to gather momentum on the home stretch, as the tension and suspense of Act Like Children/Excalibur rolls into In The Heather, which in turn, breaks under the weight of Fed On Youth as Dear finally unleashes a sequence of laser-guided synth stabs that recall the hi-octane drive-by of the intro. Stomachs/Ankle Biter extends the climactic conclusion amid a wash of analog white noise before Forgetting finally releases the pressure valve, slowly drifting back to the initial point of origin. What is so memorable about this collection of tracks is the way it strikes the perfect balance between abstract experimentation and full-on techno nirvana without ever breaking stride or losing focus. There's nothing brash or over-blown here, all the real action is nestled between the beats -- enticing yet unreachable -- while the grooves he concocts are all so earthy and raw that the kick drum functions as an alternative rather than a necessity.

Guitarist Pat Metheny and pianist Brad Mehldau created a stir in 2006 with their wonderful duet recording. On that set, two of the album's ten cuts featured Mehldau's rhythm section of bassist Larry Grenadier and drummer Jeff Ballard. Quartet is a mirror image: seven of these 11 cuts are full quartet sides. The musical magic established by that collaboration sets the stage for the pair to dig deeper here. It's true that melodic and harmonic invention is the root of each of the tunes here, though that doesn't mean there isn't room to move. Metheny's Way Up recording offered ample of evidence of how compositional sophistication could accomplish virtually anything. There, the players had written parts, but also had room for improvisation within that framework. The same happens here, though the pieces are shorter. Partial evidence of this is the disc's second selection, The Sound of Water, which has a nearly pastoral theme. But Metheny uses counterpoint on a 12-string guitar to meet Mehldau's chordal investigation. One need only go one cut further in on Fear and Trembling, by Mehldau, to see how quickly the two can step outside their bonds while retaining their commitment. The knotty playing with distortion by Metheny moves toward the rhythm section, which establishes the kind of fluidity his sense of time requires. Mehldau's own post-bop modal solo works through the lyric frames in the tune's structure and cuts through them, finding their densities and spaces. Grenadier's elasticity as a bassist allows the time to float and shift -- seemingly -- without ever losing the harmonic thread even when Metheny moves outside toward the end of the cut. The duet ballad Don't Wait, with Metheny on acoustic guitar, comes together with all the warmth and textured lyric sensibility that their debut displayed. These two men are not at all self-conscious here; they seem to hear each other in both solo and chorus with equally gentle ears. The shimmering piano on Towards the Light finds Mehldau exploring those gorgeous multi-note phrases he loves so much, with Metheny reacting sparely and creating a virtual shimmering in the cut. Ballard is very impressive here as he shades his beats with cymbals and rim shots, and gives the entire cut something earthy to hang onto. There are two Latin-tinged (barely) tunes, En la Terra Que No Olvida (Metheny) and Santa Cruz Slacker (Mehldau). The former is knottier and less obvious, but the meter is one Brubeck employed a lot in the early '60s and perhaps it serves as a model here. The latter cut is more languid on the surface, but Ballard's drumming is simply out of this world as he skitters and scampers all over and in front of the band throughout. There is perhaps no surprise at how well these two communicate -- especially with a rhythm section as wonderful as this one is. If there is a feeling that some tunes run together, they don't; this is not a suite, but a solid amalgam of brilliant musicianship, with a humble approach that is elegant and dignified. These guys have come up with a gorgeous and sexy creation, and listeners should be delighted to spend some time with it. ~ Thom Jurek, Rovi

The Singles is exactly what the title says -- a collection of the Clash's U.K. single A-sides. This approach can hardly result in a definitive compilation, since the Clash's albums were such cohesive, important works in their own right, and even more erratic LPs like Sandinista! and Combat Rock had their share of fine album tracks. Nevertheless, the collection does have some value, particularly for more casual fans who don't want to spend the time or money sifting through those uneven albums. And because the best way to hear the Clash is on their original albums, The Singles can also be useful for fans who already own those albums and don't want to purchase the three-disc Clash on Broadway, thereby duplicating a good portion of their collection. The Singles does illustrate the progression of the Clash's music from raw, energetic punk to eclectic dabblings in rockabilly, reggae, and dance-rock (even if it doesn't do so as seamlessly as London Calling), and so far, it is the only single-disc Clash comp to feature the original version of the non-LP single Bankrobber (the one on Super Black Market Clash is a dub version with most of the lyrics missing). So, the utility of The Singles all depends on how deeply you want to dig into the Clash, and how much tolerance you have for duplication in the compilations necessary for supplementing the original albums (if your tolerance is high, stick with the more thorough Clash on Broadway). [The 2007 reissue adds Train in Vain and Groovy Times .] ~ Steve Huey, Rovi

9/22/07, Lincoln, NE. Ball State pushed NU to the limit, missing a last second field goal to fall 27-25. Both teams throw the ball all over the field, combining for 860 yards and 6 TD's through the air. Marlon Lucky has 188 total yards and Sam Keller completes 29 of 37 attempts. Entire game on DVD, radio broadcast for audio. 150 minutes. Produced by Husker Video.

Click to view full size Full Size Image Click to close full size. 2007 CORE Wine Company Ground Around California (Tempranillo, Grenache Syrah) 'Loads of Pleasure' - Parker $21.00 Retail: $37.00 Ratings: 93 Insider Points Silver Medal - San Francisco Chronicle Wine Competition   Varietal:Tempranillo 64%, Grenache 18%, Syrah 18% Appellation:California Alcohol:15.5% Size:750ml Information Reviews Tasting Notes Perfect Pairings Please scroll down to the shipping tab at the bottom of the page to s