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

These 3 carabiner keychains are, as you know, some of the best business promotional items around - they are low cost, high quality and have perceived value. Practical + Useful = Staying power . If you want something with even more use and value, look at the Utility Carabiner . Our carabiners have high quality springs and gates, and will open and close smoothly and strongly each time. Imagine people everywhere, in every age group using these to clip their keys to straps and belt loops - keeping your logo , name or slogan in plain view. Available in two styles - Round (most popular) , and Flat edge. Also available in a smaller size 2 carabiner , 2.25 carabiner, a 2.75 carabiner and with a web strap . You can trust the carabiner experts - we have more colors and more quantity in stock - rush orders available. See blue box below for more details on your carabiner keychains. Blank products are available - call for pricing. The second side is available for laser etching for $0.20 per piece. Features Vibrant colors available (blue, purple, red, green, black, orange, gold, aqua, pink, lime green, graphite, olive drab) You can mix carabiner colors to reach volume discounts Nylon web straps available: Gold PMS 1255C, Purple PMS 262C, Red PMS 186C, Blue PMS 2747C, Green PMS 347C, Black Length 3, Width 1-5/8, Thickness 5/16 (8cm x 4cm x .75cm) Imprint Area : 2 (enough room for two lines) (2nd side +$0.20/each) Easily fits 27 characters per line. We can fit up to 35 by changing the font/sizing Includes 1 detachable split ring Material : Tough, True, High Strength Anodized Aluminum Add:  Carabiner with Web Strap Information Item Code: %prodcode% Decoration Method:  Laser Etched (etching comes out silver/white) Production Time : 3-5 business days (rush orders available - more info) We can ship carabiners Same Day or Next Day if needed Shipping info (free standard shipping on this item) (weight per 50: 2.84lbs) Packaging: Bulk/other options available Setup Charges:  None* rush service is available on this item ( what's this? )

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|

Autism-Products.com presents the Watchminder3The Watchminder3 is here to help students having trouble concentrating, remembering daily tasks and chores. This terrific sports wristwatch displays text messages like PAY ATTN, MEDS or DO HOMEWORK up to 3 times a day. The watch is a private (uses a vibration alert) training and reminder system. Use any of the 65 preprogrammed messages or create your own personal reminder messages. No computer or paging service is needed. The Watchminder3 is perfect for behavior modification, self monitoring and independence training. The watch is being used by thousands of children and adolescents who have been diagnosed with AD/HD, learning disabilities, hearing impairments, autism and developmental delays. The watch facilitates IDEA compliance and is an excellent tool for functional behavioral assessment and behavioral intervention.Teachers, psychologists and parents love the Watchminder3. Dimensions: 1-1/2 x 9-1/2 (3.8cm x 24.1cm).Features Include: Sports watch for all wrist sizes - perfect for children, teens and those with smaller wrists Rechargeable battery (with charger included) Easy on-screen programming 65 pre-programmed messages to chose from with 30 daily recurring alarms Helpful training and reminder modes Vibrating alert with snooze repeat feature Waterproof

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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

The hottest new way to listen to audio—podcasting—meets GarageBand 3, the ingenious Apple software most noted for its music-making capabilities. In Podcasting with GarageBand 3, Scott Bourne takes you step by step through optimizing GarageBand 3 for podcasting, working with track settings for professional-sounding audio, and choosing the best hardware for recording music or vocals. He also covers techniques for recording voice versus music, how to add background loops to the recording's timeline, the best ways to publish your podcast, and more. Exercise files accompany the training videos, allowing you to follow along and learn at your own pace.

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.

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Dufus' 1:3:1 is an almost impenetrably dense, genuinely weird record. What it lacks in coherence, it makes up for in sheer chutzpah and ambition. Coming off as a more folkish cross of sound collage-era Frank Zappa (adapted for a live band) and the frantic ravings of Captain Beefheart, 1:3:1 is the kind of record that could potentially change a listener's life, if received at the right age. Dufus' anti-folk blends the insolence of punk with the innocence of youth into a joyful anti-authoritarian stance that manifests itself in unusually musical ways. Songs careen from section to impossible section, changing vocalists, time signatures, melodies, and instrumentation (horns, strings, keyboards, noise blurps) in the blink of an eye. For those not at the right age, well, 1:3:1 might just sound like a bloody mess -- a bunch of kids with way too much time on their hands, out to confound the listener at every turn with blasts of true sonic anarchy. Not for passive listening. ~ Jesse Jarnow, Rovi

Singer Shemekia Copeland must have been pleased with the way 2009's Never Going Back turned out because she returns to the well and again employs the services of the Wood Brothers' Oliver Wood as producer/guitarist, and some of the same backing musicians, on this follow-up released three years later. As on the last disc, there is a decided shift away from the sassy blues belter style that powered her Alligator catalog (the disc is dedicated to Koko Taylor, an obvious role model) to a still rootsy but more reserved rock/gospel/R&B groove. She addresses serious socio-political topics of violence against women in the Robert Cray-styled Ain't Gonna Be Your Tattoo (which includes a fiery guest solo from Buddy Guy), phony religious demagoguery on the rollicking and very Stonesy Somebody Else's Jesus, and the depressing economic climate circa 2012 on the opening Lemon Pie. These tracks were co-written with Copeland's longtime manager John Hahn and guitarist/producer Wood, who seem to make a good songwriting team. Her covers of Bob Dylan (a stripped-down, swamped-up, I'll Be Your Baby Tonight), Sam Cooke (a percussively peppy Ain't that Good News) and JJ Grey's churchy A Woman (with a wild, nearly unhinged pedal steel solo from Charlie Starr) are terrific rearrangements of these tunes, and she sings them with passion and conviction. Wood taps his Atlanta-based side project Burnt Bacon for frontman Jon Liebman (ex-Sean Costello) who blows sizzling electrified harp on the deep Chicago vibe of I Sing the Blues, the album's bluesiest and toughest performance. As usual, Copeland covers one of her dad Johnny's compositions; this time it's the jazzy soul of One More Time. The singer was only 33 1/3 years old at the time of this album's 2012 release which, along with her love of vinyl, accounts for its title. Still, she sounds older and wiser than her chronological years would dictate, as she energizes these terrific songs with guts, power, and a restraint powered by experience and natural talent. ~ Hal Horowitz, Rovi

Curiously, given the title of this repackaging of three European Harry Belafonte CDs, none of them is precisely an original release. And, in fact, they cover material from four, not three LPs, plus a couple of other stray tracks. But such qualifications are only to suggest that 3 Originals actually contains more music than you might expect. At a total running time of nearly three hours, the boxed set includes: a 1993 CD called Golden Records, Vol. 1, which is a reissue of the 14-track 1964 German LP compilation Golden Records (containing identical tracks, but in a different sequence) that gathers together Belafonte's biggest singles hits (Jamaica Farewell, Mary's Boy Child, Banana Boat [Day-O], Mama Look a Boo-Boo [Shut Your Mouth ' Go Away], Cocoanut Woman, and Island in the Sun) along with other favorites; a 1995 CD reissue of Belafonte's 1960 album My Lord What a Mornin', subtitled Belafonte Sings Spirituals, which contains the original LP's 11 tracks plus five bonus tracks drawn from other LPs from the artist; and the 1995 CD 2Gether on 1, a two-fer containing his 1961 calypso album Jump Up Calypso and his 1962 folk album The Midnight Special. That adds up to 51 tracks, but four recordings are repeated either on the hits compilation or among the bonus tracks. Still, that leaves 47 different performances, ranging from familiar calypso hits like Banana Boat (Day-O) to a cappella spirituals and the singer's reworked versions of folk standards like Michael Row the Boat Ashore. He recorded much more than that, of course, but 3 Originals succeeds in presenting a big chunk of his best work, and upon release it was available at modest prices in U.S. mail order catalogs. ~ William Ruhlmann, Rovi