THOR JERSEY S11 CORE ZEBRA SM 2910-2009

1. I'm So Happy 2. On the Edge 3. Call Me 4. Jump on It 5. Back in Love Again 6. Tenderness 7. Nothin' But a Thang 8. Where 9. I'm So Happy [12" Mix] Walter Beasley's self-titled 1987 debut for Polydor Records offered this new talent on the smooth jazz block as a triple threat: Beasley showed himself not only to be a talented saxophonist, but a fine songwriter and vocalist as well. Though he was deeply influenced by the late Grover Washington, Jr., Beasley took that inspiration far and wide. One need go no further than the album's opening cut, "I'm So Happy." Beasley's soulful vocals and alto saxophone are right up in front of a female backing chorus, a stylist drum loop, crisp synths, and a catchy guitar hook worthy of Eric Gale or Cornell Dupree (though it's played by Freddie Fox). Add to this some Chic-like handclaps and dreamy keyboards, and nursery rhyme refrains with saxophone swirling in the bridge, and you have a bona fide crossover hit. It's a hell of an introduction for Beasley as a modern soul vocalist and songwriter, and he wrote or co-wrote all but two of the album's nine cuts. Preston Glass and Kenny G wrote the following cut, "On the Edge," but Beasley's technical gift on the soprano sax is what's on display here. Kenny G may have written it, but his own chops don't hold a candle to the killer soul, in the pocket rhythmic sensibility, and overall arrangement with the loops and spiraling funky keyboards in this version. Other standouts on the set include the romantic gospel/soul ballad that is "Call Me," the funky "Back in Love Again," and the tough swagger and strut of "Nothin' But a Thang," that was a club favorite and a subsequent single. While it's true that Lionel Job's production sounds dated in the 21st century, most everything that came out of the smooth jazz genre from that period does: the packed compression on the keyboards and drum programming are a dead giveaway to the era, as are the stacked vocals..

Thor Youth Quadrant Boot With class leading features like our pre-curved shin plate, and action-pivot buckle bases, no other boot comes close. This year we have improved the boot even further by adding aluminum buckles and refining the sole curvature for improved performance. Add this to our long list of features and you ve got the best mid-level boot in the industry. Features Elastic gaiter keeps out dirt and debrisPre-curved injection molded shinSplit grain leather heat shield provides protection and comfortAdjustable positive-lock aluminum buckles feature an action-pivot baseInjection molded medial abrasion plate with integrated shift protectorUnidirectional out sole with steel shank insertGenuine split grain leather constructionCloseouts are limited to stock on hand

THOR GLOVE S11 FLUX HYPNO SM 3330-2009

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Thor Quadrant 2 Mens Motocross Boots 2009 White 12

Thor Quadrant 2 Mens Motocross Boots 2009 Black 12

1. I'm So Happy 2. On the Edge 3. Call Me 4. Jump on It 5. Back in Love Again 6. Tenderness 7. Nothin' But a Thang 8. Where 9. I'm So Happy [12" Mix] Walter Beasley's self-titled 1987 debut for Polydor Records offered this new talent on the smooth jazz block as a triple threat: Beasley showed himself not only to be a talented saxophonist, but a fine songwriter and vocalist as well. Though he was deeply influenced by the late Grover Washington, Jr., Beasley took that inspiration far and wide. One need go no further than the album's opening cut, "I'm So Happy." Beasley's soulful vocals and alto saxophone are right up in front of a female backing chorus, a stylist drum loop, crisp synths, and a catchy guitar hook worthy of Eric Gale or Cornell Dupree (though it's played by Freddie Fox). Add to this some Chic-like handclaps and dreamy keyboards, and nursery rhyme refrains with saxophone swirling in the bridge, and you have a bona fide crossover hit. It's a hell of an introduction for Beasley as a modern soul vocalist and songwriter, and he wrote or co-wrote all but two of the album's nine cuts. Preston Glass and Kenny G wrote the following cut, "On the Edge," but Beasley's technical gift on the soprano sax is what's on display here. Kenny G may have written it, but his own chops don't hold a candle to the killer soul, in the pocket rhythmic sensibility, and overall arrangement with the loops and spiraling funky keyboards in this version. Other standouts on the set include the romantic gospel/soul ballad that is "Call Me," the funky "Back in Love Again," and the tough swagger and strut of "Nothin' But a Thang," that was a club favorite and a subsequent single. While it's true that Lionel Job's production sounds dated in the 21st century, most everything that came out of the smooth jazz genre from that period does: the packed compression on the keyboards and drum programming are a dead giveaway to the era, as are the stacked vocals..

100% cotton short-sleeve T-Shirt. Features screen-printed chest graphic.

Thor Quadrant 2 Mens Motocross Boots 2009 Red 12