Ace Undulated Clipper Staples
Ace Clipper 70001 Undulated Staples 5,000 per Box for Clipper 702 & 700 Staples offer a chisel point for precise stapling Staples are designed for use in Ace Clipper Stapler and other clipper staplers
Ace Bayou X-ROCKER Wireless Gaming Chair with Pedestal
The X Rocker Pro Series has a wireless design that lets you enjoy your favorite tunes from any room in the house. Contoured and connected, this X Rocker Pro is perfect for extended gaming sessions or sitting comfortably while working with your mobile devices.
Ace Clipper Stapler Lightweight 210 Staple Capacity Chrome 07020
Clipper Stapler is ideal for office use, stores, laundries, dry cleaners or factories. All-steel construction has a chrome finish and 2-5/8" throat depth. 210-staple strip of Clipper undulated staples (70001) have twice the holding power of standard staples.
Ciao Bella! Italian Girl Singers of the 60s 180g LP (White Vinyl)
& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;180g White Vinyl LP! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; Connoisseurs of 1960s girl-pop have been well served in today's market, particularly those with a preference for American or British singers. Good music, of course, is not exclusive to the English-speaking world. Collections devoted to the female vocalists of France, Japan, Spain, and Germany are also available, but to the best of Ace Records' knowledge, their Italian counterparts have not been anthologized. If Ciao Bella!, released as a 12-track white vinyl LP in gatefold sleeve is the first of its kind, lets hope its not the last. & lt;br & gt; & lt;br & gt; In a country known for its song festivals, most notably the prestigious event held annually in Sanremo, lushly orchestrated ballads have always been especially popular, and a few exceptional examples are featured here. The album opens, however, with a selection of uptempo titles. & lt;br & gt; & lt;br & gt; The 12-track vinyl LP opens with Brunetta's prized dance floor-filler 'Baluba Shake' and closes with 'Pà Diglielo A Mà', a dramatic ballad by big-voiced Nada. The prolific Mina - queen bee of Italy's female singers - gets two tracks: folk rock nugget 'No' and 'Se Telefonando,' a sophisto-pop epic courtesy of maestro Ennio Morricone. & lt;br & gt; & lt;br & gt; Other highlights include the sitar-embellished Il Mio Posto Qualè by Ornella Vanoni, a convincing cover of Baby Please Dont Go by beat girl Caterina Caselli, Gigliola Cinquettis superbly orchestrated Eurovision-winner Non Ho Letà (Per Amarti) and breathy-voiced actress Catherine Spaaks bossa-flavored La Notte È Fatta Per Rubare.' & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;/b & gt; & lt;br & gt; 180g Vinyl & lt;br & gt; White Vinyl & lt;br & gt; Gatefold Jacket & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; Side One: & lt;/b & gt; & lt;br & gt; 1. Baluba Shake - Brunette & amp; Her Balubas & lt;br & gt; 2. No - Mina & lt;br & gt; 3. Il Mio Posto Quale - Ornella Vanoni & lt;br & gt; 4. Sono Qui Con Vol - Caterina Caselli & amp; Friends & lt;br & gt; 5. Un Amore Inutile - Isabella Iannetti & lt;br & gt; 6. La Notte E Fatta Per Rubare - Catherine Spaak & lt;br & gt; & lt;b & gt;Side Two: & lt;/b & gt; & lt;br & gt; 1. Il Geghege - Rita Pavone & lt;br & gt; 2. Questa Sinfonia - Carmen Villani & lt;br & gt; 3. Ragazzo Triste - Patty Pravo & lt;br & gt; 4. Non E Mal Tardi - Rita Monico & lt;br & gt; 5. Se Telefonando - Mina & lt;br & gt; 6. Pa Diglielo A Ma - Nada
Link Wray Early Recordings Mono LP (Vinyl)
& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;45/100 Rolling Stone Greatest Guitarists! Powerful and Haunting! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; Quite simply, Link Wray invented the power chord, the major modus operandi of modern rock guitarists. Listen to any of the tracks he recorded between that landmark instrumental in 1958 through his Swan recordings in the early '60s and you'll hear the blueprints for heavy metal, thrash, you name it. & lt;br & gt; & lt;br & gt; Everything that was handed down to today's current crop of headbangers from the likes of Led Zeppelin and the Who can be traced back to the guy from Dunn, NC, who started out in 1955 recording for Starday as a member of Lucky Wray & amp; the Palomino Ranch Hands. by 1958, the music had changed, and so had Wray's life. With a lung missing from a bout with tuberculosis during his stint in the Korean War, Link was advised by his doctor to let brother Vernon do all the vocalizing. So Link started stretching out more and more on the guitar, coming up with one instrumental after another. & lt;br & gt; & lt;br & gt; Armed with a 1953 Gibson Les Paul, a dinky Premier amp, an Elvis sneer, and a black leather jacket, Link started playing the local record hops around the D.C. area with disc jockey Milt Grant, who became his de facto manager. One night during a typical set, says Link, & quot;They wanted me to play a stroll. I didn't know any, so I made one up. I made up & quot;'Rumble.' & quot; & lt;br & gt; & lt;br & gt; & lt;b & gt; & quot;When Link Wray released the thrilling, ominous 'Rumble' in 1958, it became one of the only instrumentals ever to be banned from radio play for fear that it might incite gang violence. By stabbing his amplifier's speaker cone with a pencil, Wray created the distorted, overdriven sound that would reverberate through metal, punk and grunge. Wray, who proudly claimed Shawnee Indian ancestry and lost a lung to tuberculosis, was the archetypal leather-clad badass, and his song titles alone 'Slinky,' 'The Black Widow' convey the force and menace of his playing... When Wray died in 2005, Bob Dylan and Bruce Springsteen both performed 'Rumble' onstage in tribute. 'If it hadn't been for Link Wray and 'Rumble,'' said Pete Townshend, 'I would have never picked up a guitar. & quot; & lt;/b & gt; - Rolling Stone & lt;br & gt; & lt;br & gt; & lt;b & gt; & quot;Drawn from the one LP and the dozen or so singles Link Wray recorded for Swan Records between 1963 and 1966, Early Recordings, first released in this configuration by Chiswick Records in 1978, remains the best single-disc introduction to this powerful guitar player...It burns like a runaway gas fire, from the ragged, surging 'Batman Theme' that opens things clear through to the remake of his signature 'Rumble' that closes up the sequence. This is powerful, spooky, and haunting stuff... These cuts were recorded after Wray's stint with Epic Records, which kept trying to sweeten his sound with horns and strings, and you can feel the sense of desperation, freedom, and joyous release in every second here. & quot; & lt;/b & gt;- Steve Leggett, allmusic.com & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;/b & gt; & lt;br & gt; Vinyl LP & lt;br & gt; 45/100 Rolling Stone Greatest Guitarists & lt;br & gt; Mostly Instrumental & lt;br & gt; Drawn from Recordings between 1963 & amp; 1966 for Swan Records & lt;br & gt; Mono & lt;br & gt; & lt;br & gt; Musicians: & lt;br & gt; Link Wray, all guitars & lt;br & gt; Doug Wray, drums & lt;br & gt; Shorty Horton, bass & lt;br & gt; Vernon Wray, Joey Welz, keyboards & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; Side One: & lt;/b & gt; & lt;br & gt; 1. Batman Theme & lt;br & gt; 2. Ace Of Spades & lt;br & gt; 3. Cross Ties & lt;br & gt; 4. Jack The Ripper & lt;br & gt; 5. Hidden Charms & lt;br & gt; 6. I'm Branded & lt;br & gt; 7. The Shadow Knows & lt;br & gt; & lt;b & gt;Side Two: & lt;/b & gt; & lt;br & gt; 1. Fat Back & lt;br & gt; 2. Run Chicken Run & lt;br & gt; 3. Black Widow & lt;br & gt; 4. Scatter & lt;br & gt; 5. Turnpike U.S.A. & lt;br & gt; 6. Mr. Guitar & lt;br & gt; 7. Rumble
Dean Carter Call of the Wild! 180g LP (Orange Vinyl)
& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;180g Orange Vinyl LP! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; Dean Carter is the ultimate rock n roll anomaly. Just check out the picture on the front cover: a wild-eyed madman throwing a Presley-like stance, guitar by his side, with a sweptback do, and zebra-striped jacket to die for. The ultimate in rockin cool. Must be late 1950s, right? Uh-uh. How does 1968 grab ya? & lt;br & gt; & lt;br & gt; Known by his real name, Arlie Neaville, in the earlier part of his career, Carters base for most of the 1950s and 1960s was the midwestern town of Champaign, Illinois. His first significant combo was the Rock N Roll Devils, where he ran into fellow rock enthusiast Arlie Miller. In the early 1960s, Neaville recorded for Ping, Fraternity and Limelight, but none of these releases hint at the wild rock persona he presented on stage. & lt;br & gt; & lt;br & gt; Miller and Neaville the latter by now officially Dean Carter teamed up on a permanent basis in 1963, forming the Lucky Ones. The pair invested in their own home studio, dubbed Midnite Sound. Demonstrating a natural aptitude for recording and with a particular sound in his head, Miller became the engineer, and the band began to hold regular sessions from 1964 onwards. & lt;br & gt; & lt;br & gt; There was a glut of sessions in late 1966 and early 1967 that produced a batch of pumped-up, crazed material, a handful of which escaped on Millers Milky Way label. Run Rabbit Run was a bizarrely constructed yet insanely catchy dance tune, while Rebel Woman parlayed a dark, brooding brand of garage rock. The flip to Rebel Woman is possibly one of the finest examples of pure rock intensity ever committed to wax. When Miller suggested a cover of Jailhouse Rock, it was with the concept that it should sound like a riot really was going on. Elsewhere, the violent sound was only slightly toned down for stomping cuts such as Black Boots and Sizzlin Hot.' & lt;br & gt; & lt;br & gt; In late 1967, Carter ended up in Washington State, falling in with Gene Vincents guitar slinging sidekick Jerry Merritt. Two singles were the result, released on Merritts Tell International label in 1968. With its barnstorming beat, Mary Sue is a glorious noise and the obvious sequel to Jailhouse Rock. Left in the can was a bona fide classic in Call Of The Wild. Carter returned to the midwest and recording with Miller, experimenting with more overtly country/folk influences, although he continued to rock out with dynamite tracks such as Dont Try To Change Me and Dobro Pickin Man. & lt;br & gt; & lt;br & gt; Arlie Neaville today preaches, sings gospel music and apparently has little time for his rock n roll past. But his alter-ego lives on, captured expertly by his friend Arlie Miller in the wild, unbridled sounds on those rare Milky Way singles and now this compilation. & lt;br & gt; & lt;br & gt; & lt;b & gt; & quot;... the sounds are quite worthwhile and deserving of release, both for their pretty high quality and from a historical standpoint, as there were few, if any, other musicians following Carter's odd path in the late '60s. & quot; & lt;/b & gt; -Richie Unterberger, allmusic.com & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;/b & gt; & lt;br & gt; 180g Vinyl & lt;br & gt; Orange Vinyl & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; Side One: & lt;/b & gt; & lt;br & gt; 1. Jailhouse Rock & lt;br & gt; 2. I Got A Girl & lt;br & gt; 3. Sizzlin' Hot & lt;br & gt; 4. Love's A-Workin' & lt;br & gt; 5. Don't Try To Change Me & lt;br & gt; 6. Call Of The Wild & lt;br & gt; 7. Would You Believe & lt;br & gt; & lt;b & gt;Side Two: & lt;/b & gt; & lt;br & gt; 1. Mary Sue & lt;br & gt; 2. Rebel Woman & lt;br & gt; 3. Run Rabbit Run & lt;br & gt; 4. You Tear Me Up & lt;br & gt; 5. Black Boots & lt;br & gt; 6. Dobro Pickin' Man & lt;br & gt; 7. Wandering Soul
B.B. King Live At The Regal LP (Vinyl)
& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;Rolling Stone 500 Greatest Albums of All Time - Rated 141/500! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; & lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;One of the Greatest Blues Albums Ever Recorded! & lt;br & gt; Rare Live Album in 1964 at the Regal Theater in Chicago! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; It was a cold, raw day in traditionally windy Chicago on November 21st, 1964, but hundreds of people found a quick way to warm up! They were the lucky ones who crowed into the Regal Theatre where an old favourite - B.B. King - generated his own brand of heat, via his guitar, his band, and his great blues songs. & lt;br & gt; & lt;br & gt; & lt;b & gt; & quot;By the mid-sixties, King's career appeared to be winding down, as black audiences began to turn their backs on the blues. But the British blues revival which saw the Rolling Stones making a pilgrimage to Chicago's Chess Studios introduced the blues to young, white American rock fans. Live at the Regal, recorded in Chicago in 1964, paved the way for King's appearances on the rock-concert circuit and FM radio. It remains his definitive live set. His guitar sound was precise and powerful, driving emotional versions of some of his most influential songs, including & quot;Everyday (I Have the Blues) & quot; and & quot;How Blue Can You Get? & quot; & lt;/b & gt; - www.rollingstone.com & lt;br & gt; & lt;br & gt; Playing a week's engagement at the Regal, B.B. fronted his band, singing and playing his guitar in the way that has made him one of the world's great blues singers, and this is a rare recorded & quot;live & quot; performance. There probably isn't a live recording anywhere that contains more spontaneous spectator enthusiasm. B.B. and his band perform the type of material that just natually creates a dedicated audience. & lt;br & gt; & lt;br & gt; At this performance, he included some of his fans' old favourites - & quot;Please Love Me & quot;, & quot;My Own Fault & quot; and & quot;How Blue Can You Get & quot; - and their cheering reaction indicates the spot B.B. holds in their affection. & lt;br & gt; & lt;br & gt; Presented at the Regal by disc jockeys Pervis Spann and E. Rodney Jones from Chicago's Radio Station, B.B. was in top form at this performance, and he's probably never sounded better on record. His sensitive feeling for the blues and his keen sense of rhythm create pure excitement. & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;/b & gt; & lt;br & gt; 130 Gram Vinyl LP & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; Side One: & lt;br & gt; & lt;/b & gt; Introduced by Disc Jockey: Pervis Spann & lt;br & gt; 1. Every Day (I Have The Blues) & lt;br & gt; 2. Sweet Little Angel & lt;br & gt; 3. It's My Own Fault & lt;br & gt; 4. How Blue Can You Get & lt;br & gt; 5. Please Love Me & lt;br & gt; & lt;b & gt;Side Two: & lt;/b & gt; & lt;br & gt; Introduced by Disc Jockey: E. Rodney Jones & lt;br & gt; 1. You Upset Me Baby & lt;br & gt; 2. Worry, Worry & lt;br & gt; 3. Woke Up This Morning & lt;br & gt; 4. You Done Lost Your Good Thing Now & lt;br & gt; 5. Help The Poor
John Lee Hooker That's My Story: John Lee Hooker Sings The Blues LP (Vinyl)
& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;With Sam Jones & amp; Louis Hayes! Featuring & quot;I Need Some Money & quot;, & quot;One Of These Days & quot; & amp; More! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; Born near Clarksdale, Mississippi in 1917 to a sharecropper family, John Lee Hooker was one of the last links to the blues of the deep South. He moved to Detroit in the early 1940's. During the 1950s and '60s, Vee Jay Records released a remarkable string of more than 100 of John Lee's songs. When the young bohemian audiences of the 1960's & quot;discovered & quot; Hooker along with other blues originators, he and others made a brief return to folk blues. He was one of the most successful blues artists of the second half of the 20th century, yet his hypnotic brand of blues was in many ways a throwback to earlier times, before rules of rhyme, meter, and chord structure became standardized. & lt;br & gt; & lt;br & gt; & lt;b & gt; & quot;Recorded in 1960, this Keepnews-produced session came at a time when Hooker was signed to Vee-Jay. The last thing Keepnews wanted to do was emulate Hooker's electric-oriented, very amplified Vee-Jay output... Keepnews had an acoustic country blues vision for the bluesman, and That's My Story favors a raw, stripped-down, bare-bones approach -- no electric guitar, no distortion, no singles aimed at rock & amp; rollers. & quot; & lt;/b & gt; - Alex Henderson, allmusic.com & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;br & gt; & lt;/b & gt; Vinyl LP & lt;br & gt; & lt;br & gt; & lt;b & gt;Musicians: & lt;br & gt; & lt;/b & gt;John Lee Hooker, vocals, guitar & lt;br & gt; Sam Jones, bass & lt;br & gt; Louis Hayes, drums & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; Side A: & lt;br & gt; & lt;/b & gt;1. I Need Some Money & lt;br & gt; 2. Come On And See About Me & lt;br & gt; 3. I'm Wanderin' & lt;br & gt; 4. Democrat Man & lt;br & gt; 5. I Want To Talk About You & lt;br & gt; 6. Gonna Use My Rod & lt;br & gt; & lt;b & gt;Side B: & lt;br & gt; & lt;/b & gt;1. Wednesday Evenin' Blues & lt;br & gt; 2. No More Doggin' & lt;br & gt; 3. One Of These Days & lt;br & gt; 4. I Believe I'll Go Back Home & lt;br & gt; 5. You're Leavin' Me, Baby & lt;br & gt; 6. That's My Story
University Cello Bag 4/4
University Cello Bag 4/4
Advantus Undulated Staples
Staples offer a chisel point for precise stapling. Staples are designed for use in Ace Clipper Stapler and other clipper staplers.
