Highly detailed and articulated 3-3/4 inch scale action figures based on the heroes and villains of the Marvel Comics universe. The Marvel Universe series of figures debuted in 2009.

Hotel For Dogs is a funny, heartwarming and inspiring animal adventure that shows how far love and imagination can take you. When 16-year old, Andi (Roberts), and her younger brother Bruce (Austin) find themselves in a foster home with a strict “no pets” policy, they must use their quick wit to find a new home for their dog, Friday. When they stumble into an abandoned hotel, they realize they can transform it into the perfect place for Friday- as well as all the strays in the city. What began as a crusade to save one dog becomes a high stakes adventure as everyone around them starts to wonder- who let the dogs in?

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..