When they were in Thee Shams, Andy Gabbard and Zach Gabbard played music that was firmly rooted in the sounds of the mid-'60s, but with their third album, their band Buffalo Killers has moved bravely into the early '70s, and they sound right at home there. Buffalo Killers 3 suggests a meeting of the minds between Crazy Horse and the James Gang during a few mellow days in Laurel Canyon, and if you didn't read the credits or look at the copyright date, many listeners would never guess this music was recorded in the 21st century. While there isn't much here that suggests a shameless rip-off of any artist in particular, 3 conjures up a sense of time and place with ease, and the loose, sun-burnt vibe of this music, fused with Andy's fluid but forceful guitar work, Zach's simple but effective basslines, and Joey Sebaali's colorful percussion work drifts between country-rock and hard rock in a way that suggests the strengths of both without hitching itself to either. Lyrically, the Killers don't have a whole lot to say, but the melodies are fine stuff and the band plays with a seasoned air of musical intuition, knowing where to fill the spaces and how to make the most of their power trio format. Joining the Killers on their journey through the past are Kelley Deal, Brian Olive, and James Leg, but even if this is a very Ohio-centric cast of characters, this music has a rich West Coast feel, and in this case, that's a good thing. Buffalo Killers 3 finds this band easing into an comfortable but deep groove, and not many bands have mined a late hippie-era approach with more satisfying results. ~ Mark Deming, Rovi

Susanna Wallumrød's albums with and without the Magical Orchestra (aka Jaga Jazzist's Morten Qvenild) have all taken a similar approach, whether she focuses on her own songs (List of Lights and Buoys, Sonata Mix Dwarf Cosmos) or the songs of others (Melody Mountain, Flower of Evil): her subtly remarkable voice -- which carries within it echoes of singers from Nina Simone to Karen Carpenter -- came first and foremost, surrounded by abstract arrangements soft enough not to detract from her vocals, but interesting enough to enhance them. Often, she sounded like she was singing with the weight of the world on her shoulders, but on the simply named 3, she and Qvenild sound like they're bound for the stars. Lighter and more overtly electronic than Susanna & the Magical Orchestra's previous work, these songs have a sci-fi glamour and wistfulness to them, as well as a grandeur that suggests vast dark skies filled with twinkling lights. 3 begins with one of its boldest departures, Recall, which sets Wallumrød's voice adrift on bubbling analog synths, weaving a hypnotic spell broken by huge drums that sound all the more massive compared to the polite percussion on her previous work. Palpatine's Dream is even more striking, a song about Star Wars' Sith lord made sleek and strangely sexy with electronics that stream by like meteorites and backing vocals by Wildbirds & Peacedrums' Mariam Wallentin and Susanna's brother Fredrik Wallumrød. Not all of 3 is this drastically different than what came before it. Gently insightful songs like The Game and Come On could have appeared on Wallumrød's earlier albums, and she includes a couple of covers that reinforce what a gifted interpreter she is: Roy Harper's Another Day becomes a dead-of-night piano meditation, and Rush's Subdivisions is turned into a sparkling, ironically detached manifesto against conformity. Throughout, Wallumrød, Qvenild, and company never lose the purity of their vision, particularly on Lost, an aching ballad so simple and vulnerable it feels like a cover when it actually isn't, and Someday, which blends the album's alien frostiness with all-too-human intimacy, hope, and despair. Ambitious and diverse, 3 opens new possibilities for Susanna & the Magical Orchestra, but it shares the sense of wonder and beauty in all of their music. ~ Heather Phares, Rovi

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A compact, light, strong, expedition tent, the EV 3™ is designed for the rigors of high altitude mountaineering. The EV 3 shelters three persons, has a trim design to fit on ledges, and its clip set-up aids high-wind pitches. TX07 PU fabric, a lightweight, strong, non-stretch laminate, stabilizes and strengthens when pitched. Interior zip and built in ventilation help frost management while integrated vestibule provides protection from the elements. UPDATED: DAC Featherlight™ NSL poles, Lighter shell fabric.|Industry leading DAC Featherlight™ NSL poles|Proprietary Evolution Tension Arch™ stabilizes tent using fewer poles|Designed with 'integrated vestibule' to allow space for boots and other items near door while still maintaining living space|5 welded adjustable vents with mesh and zippers allow versatile ventilation options|2 SVX windows for a brighter interior and visibility of exterior conditions|Welded zipper flaps and watertight door zipper constructions|Reflective zipper pulls|Watertight snow port in floor allows an exit point for accumulated frost/snow|Superlight 1/4 buckles and webbing reduce tent weight|

For their third album, 2005's TCV3, Southern hard rockers the Cherry Valence jump from Estrus to Bifocal Media and shuffle their lineup but otherwise they haven't changed much. There is still plenty of riffin'; there are songs that sound like they would fit quite snugly in the rotation of a mid-'70s AOR station next to Nazareth, Ted Nugent, and Led Zeppelin and they continue to sport dual drummer/vocalists, which still kicks serious rock & roll business. TCV3 kicks off with a trio of tunes that stake a claim right at the head of 2005's hard rock revival class. Sunglasses and Headlights motors like classic Montrose with some fierce guitar and a killer chorus, Minutes is more laid-back, riding a nicely funky groove much like the one the Black Crowes lost many years ago, and Only Game in Town is a tight rocker that jumps like something off of the MC5's Back in the USA. From there the record hits a relaxed groove that kind of lulls the listener into taking it for granted. Not that there is anything bad going on, but apart from the awesomely rocking Couldn't Stop It, there just isn't anything quite as fierce and entertaining as the opening volley. Near the end of the record things slam back into focus with a batch of wall-rattling rockers (Two Steps Forward, the super-catchy You've Got to Wait, and Caves of Steel) that leaves you in a sweaty pile by the conclusion and generally saves the record from mediocrity. Even pushes it toward above average, maybe. The patch of standard-issue CV tunes in the heart of the album could mean that the band is nearing the end of its run, but then again they also come up with some of their best songs as well. Hmm...well, why waste your time scratching your head over it, just load the six or seven songs that will shake your foundation on your iPod, or better still, a dusty old cassette, and blast them next time you need an retro-AOR fix. ~ Tim Sendra, Rovi

For their album 3, the self-proclaimed Godfathers of Groove mix it up a bit more within the soul-jazz arena, playing interpretations of pop tunes, some straight-ahead jazz, originals, and in essence the funky music that is at the core of their identities. Bassist Jerry Jemmott was the special guest on their previous album, but here it is the veteran jazz saxophonist Bill Easley, who plays on selected cuts with his usual professional verve, panache, and solid, fluid lines. Guitarist Grant Green, Jr. is coming into his own as heard more clearly, while organist Reuben Wilson and drummer Bernard Purdie continue to stake their estimable reputations on the chitlin circuit music they grew up with. When the band chooses to swing, as on the basic 12-bar groove My Blues with its fleet organ solo amidst Purdie's shuffle beat, or the straight-ahead, uncomplicated, and simple Down Hill with Easley's deft tenor leading the way, there's little stopping them. A very, very, very slow take of Stella by Starlight gives Green Jr. an opportunity to emulate his famous father's unmistakable snappy technique, pulled off the bone and well done. His singing, a bit gritty, crops up on versions of Light My Fire and What's Going On, admirable but not a strong suit. Where Wilson shines is his ability to either shred solos and melodies, as on the head-nodding groove of the delightfully rendered The Funkster or on the solid-sending feed he provides during Groove On above Green's overdubbed guitar parts. Of course, there is no more readily identifiable drummer than Purdie when he shakes and bakes the clockwork rhythms of Monkey Milk, in an Average White Band Pick Up the Pieces mode, or adds his personal and widely copied light contemporary funk to a modified version of Autumn Leaves. Purdie also proves he can swing with the best of jazz drummers, an aspect of his personality and career not always given due credit. This is a good recording with many high moments, the GOG laying in wait to deliver their collective goods on the truly killer effort they are certainly capable of. ~ Michael G. Nastos, Rovi

3T has long been in the business of making innovative handlebars, staking their claim to the market in the early 1960's. That tradition continues today, though steel and alloy have fallen out of favor for their top-end products. 3T makes their top-of-the-line Eryx LTD Carbon Handlebar with high modulus unidirectional carbon fiber. It's notable for its strength and lightweight as well as for the compact width allowed for the oversized center section.What the 3T compact design does for you is allow a significantly greater clamping area for width adjustments for your cockpit controls with room to spare for fork lockouts and lighting systems. It doesn't matter if you like a narrower bar and cut it down to their minimum recommended width of 570mm, you'll still have all the mounting freedom you could ask for. The 3T Eryx LTD Carbon Handlebar comes with a clearcoated carbon finish with silver graphics and is 640mm (25-3/16) wide. It's a riser bar with 31mm of total rise from the centerline at the 31.8mm clamp zone. The clamp surface is textured for a no-slip fit inside your stem. The 7 degree backsweep is perfect for long days in the saddle and for technical terrain as well. It's one of those things that just feels right -- not too straight like the days of old, and not too much bend like a cruiser bar. A 3 degree upsweep is gentle and maintains a natural hand position when you stand up to grope your way up rocky climbs.