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  Dogs with Old Man Faces

  Dogs with Old Man Faces - Portraits of Crotchety Canines: ab 4.49 €

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  • Price: 4.49 EUR excl. shipping
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  I Ain't Gonna Drink No More:not Much

  (LP + Download) Historische Aufnahmen des 1898 geborenen Bluesmusikers.(LP + Download) Historische Aufnahmen des 1898 geborenen Bluesmusikers. Born on June 19, 1898, in Halley, Arkansas, Dewey Corley was part of the same Beale Street jug band scene that spawned Will Shade, Gus Cannon, Furry Lewis, and others. A jack-of-alltrades when it came to jug band sounds, Corley played washtub bass, jug, and kazoo, on which he was considered an expert. He spent time in Will Shade s Memphis Jug Band, as well as Jack Kelly s South Memphis Jug Band, before founding his own Beale Street Jug Band , who were a fixture in Memphis through the 1960s. In his later years he became a talent scout for the blues revival label Adelphi, scouting out figures like Hacksaw Harney and Willie Morris. Corley passed away in his adopted city of Memphis on April 15, 1974.George Mitchell: Dewey was a crotchety old fucker, very irritable. We brought Johnny up from Como to play with Dewey, and in the middle of the song, Johnny Woods let loose a whoop of enthusiasm, and at the end of the song, Dewey yelled at him: You just frustratin things. But he liked to be recorded, and we got him on three different occasions with three different accompanists: the harp player Johnny Woods, the guitarist Earl Bell, and Walter Miller, who was a buddy of Abe McNeil s up in Memphis. TRACKS: 1. Fishing In The Dark 2. I'm Going Home 3. Good Potatoes And Green Tomatoes 4. Just A Dream I Got On My Mind 5. Highway 61 6. Tri-State Blues 7. Back To The Country 8. Harp Instrumental 9. Beale Street 10. Memphis Is A Wonderful City 11. Kansas City 12. Down to Arkansas 13. Church Bell Tolling

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  • Price: 32.29 EUR excl. shipping
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  Rancho Deluxe

  Restless oddball cowpokes Jack (Jeff Bridges) and Cecil (Sam Waterston) turned to cattle rustling just to get by, and they'd become a thorn in the side of Montana rancher Brown (Clifton James). It looks like the thievery will continue when the best Brown can do is send a crotchety stock detective (Slim Pickens) after them... but the last round-up might be coming. Frank Perry's contemporary sagebrush comedy co-stars Elizabeth Ashley, Harry Dean Stanton, script by Thomas McGuane. 93 min. Widescreen, Soundtrack: English, Subtitles: English (SDH), audio commentary, featurettes, extra TV version scenes, theatrical trailer.

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  • Price: 38.50 EUR excl. shipping
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  Night's Last Tomorrow

  Review by Mick Mercer: 'The Night's Last Tomorrow' As satisfying as last year's darkly compelling 'A Southern Tale' this album relaxes in some comfort. Sinnis has achieved a type of decisive bleakness here which means he can do it almost softly, as the Gothic and Country influences melt lazily or hazily together. Where 'A Southern Tale' seemed a closeted collection, as though recorded indoors secretively, trying to keep something out and thoughts locked in, this album seems bathed in cool light, as though recorded outdoors. Never maudlin, while definitely moving on from glass-half-empty to gargling-poison-dismissively, it takes dark moods and lightens the load while you listen. 'The Night's Last Tomorrow' is a wonderfully drippy thing, the delicate balance seemingly suspended from the steel guitar, as quality lyrics also hover, Sinnis' vocals quivering somewhat but sticking to the point in a masterful display. It lulls you completely, because in another style it could be deeply depressing but here it's a curiously blissful opener. In the troubled '15 Miles To Hell's Gate' he's like a swashbuckling son of Johnny Cash, swaying and crooning dramatically, then we move towards an almost laconic 'Your Past May Come Back To Haunt Me' which unrolls a soothing red carpet beneath twisted, suspicious lyrics all demurely wrapped in a smartly delineated arrangement that harnesses past styles and modern attitudes, allowing menace to mellow. 'Fallible Friend' could just as easily go with some mariachi, or frisky acoustic, but it's a plain and simple song instead, moving at a steady grim pace, like a crotchety Clint Eastwood whittling his own wooden leg. Time slows, it's that stately. 'Follow the Line' is easier on the ear, lilting musically while the vocals threaten to tip over the edge, which is almost out of character in this setting. An unexpected and dignified cover of 'Nine While Nine' also works very well with a refined delivery. We slide down a creepy chute during 'The Fever' with some queasy imagery, then skate warily over a playful lake of doubt in 'Skeletons' with it's cunning use of organ. 'Scars' is odd, like an old Simon & Garfunkel melody squashed flat, a fridge over befuddled slaughter, and the traditional 'St. James Infirmary' is very strange as well, as befits a song so old the original creator isn't positively known. This is a melodramatic piece of doom, where the words clash with the properly agonised mood. The protagonist's love is dead, in the mortuary (I assume) and he's proudly proclaiming, 'she'll never find another man like me.' Well, how gallant, unless I'm missing something? We touch down again on a softly sentimental 'Out of Reach', and perk up during the fabulous 'Quiet Change' which has a rising commercial tug about it, and then during a brilliant 'Gloomy Sunday' you get to see what Sinnis can do when cooped up with an unlikely task, like Roy Orbison walking down subterranean corridors, alone in the dark. Rewriting a well known song he tinkers with certain lines and while he changes the end for what must have been a personal need, at one point he actually improves a line completely and there's not many people can do that, which may explain why on his website lyrics are referred to defiantly as poetry. 'In Harmony' will confuse as the churchy feel professes a quiet relief that death is approaching, as a friend, in catchy surroundings, then it all dies slowly away for good with the suitably sensitive 'When the Light Blinds and You Follow' A remarkably assured album this, and in many ways it must be quite funny for him, considering his punky past. I bet half his relatives are thinking, 'he was bound to come to his senses eventually.' Mature, melodic and at times as restful as it is haunting, this is really quite superb and as he's releasing an album ever year you wonder when he'll peak, because this is still just the ascent.

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  • Price: 26.63 EUR excl. shipping
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  The Affairs of Cappy Ricks

  A wealthy but crotchety seaman is so disenchanted with his family that he arranges to have them stranded on a desert island.

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  • Price: 16.34 EUR excl. shipping
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  Whatever Works

  Directed by Woody Allen, Whatever Works explores the relationship between a crotchety misanthrope, Boris (Larry David) and a nanve, impressionable young runaway from the south, Melody (Evan Rachel Wood). When Melody's uptight parents arrive in New York to rescue her, they are quickly drawn into wildly unexpected romantic entanglements. Everyone discovers that finding love is just a combination of lucky chance and appreciating the value of "whatever works".

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  • Price: 25.10 EUR excl. shipping
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  Jackass Presents Bad Grandpa

  Johnny Knoxville reprises his JACKASS role as 86-year-old Irving Zisman in the story of a crotchety old man unexpectedly saddled with the care of his 8-year-old grandson Billy (Jackson Nicoll). The two generations of troublemakers soon develop a bond, as they hustle their way across the heartland of America on an outrageous road trip with a whole lot of hijinks and pranks on unsuspecting, real-life people - all of whom had no idea they were starring in a hidden camera comedy.

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  • Price: 16.34 EUR excl. shipping

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