64 products were found matching your search for Jimmie Vaughan Strange Pleasure in 4 shops:

RARE!!! Jimmie Vaughan Tablature book, in great condition.

Guitar tab book forJimmie Vaughan titled - Strange Pleasure. Book is in very good condition. See picture for the songs included.Please email me wi...

After meticulous design and craftsmanship, the Artist Series Jimmie Vaughan Tex-Mex Stratocaster Electric Guitar emerges as a stylish and reliable instrument for both professional and aspiring musicians. Endorsed by the renowned musician Jimmie Vaughan himself, this high-quality electric guitar is more than just an instrument; it's a piece of music history.The guitar's body is crafted from durable alder wood, known for its balanced and broad spectrum of tones. The neck, tinted for a vintage aesthetic, is made from maple, a material favored by many musicians for its bright and resonant sound. The neck is specially shaped to provide a comfortable grip, enhancing playability for extended periods.The guitar is equipped with medium jumbo frets, a popular choice for their ease of play and versatility in various music genres. The single-coil Tex-Mex pickups in the neck and middle positions deliver a rich, warm tone, while the extra hot Tex-Mex bridge pickup adds a bit of sizzle to your sound, perfect for those who crave a bit more edge in their performance.The Artist Series Jimmie Vaughan Tex-Mex Stratocaster Electric Guitar is not just about sound; it's also about style. The Olympic White finish and single-ply white pickguard are eye-catching, making you stand out on stage or in the studio. The vintage-style hardware adds a touch of nostalgia, appealing to those who appreciate the classic aesthetics.Innovative in design and high in quality, the Artist Series Jimmie Vaughan Tex-Mex Stratocaster Electric Guitar is more than just a musical instrument; it's a testament to Jimmie Vaughan's legacy and a tool for creating your own.

One of the great names in Texas blues, Jimmie Vaughan has always wielded a Stratocaster with masterful voice and feel. His signature model, the Ji...

From Fender: "One of the great names in Texas blues, Jimmie Vaughan has always wielded a Stratocaster with masterful voice and feel. His signature...

Welcome to TC Gakki! All photos are of the item for sale. Please note they are for sale in our store and may sell out. Thank you for looking! Feel ...

Hoagland Custom, located in sunny Fernandina Beach, Florida, has specialized in custom guitar wiring and pickup making for over 25 years and we lov...

(Guitar Recorded Versions). 12 songs from this legenary guitarist and founding member of The Fabulous Thunderbirds. Includes: Boom-Bapa-Boom * Can't Say No * Good Texan * Just like Putty * Like a King * Six Strings Down * Tuff Enuff * Wrap It Up * and more.

Jimmie Vaughan guitar Blues folk art 24 x 36 Large Blues canvas art print24 x 36 Large Canvas print stretched over a wooden frame, UV coate...

Jimmie Vaughan authentic Concert poster12 inches by 18 inches. Digitally printed on speckletone cardstock, hand signed by the artist, Grego Anderso...

Vaughan Oliver is one of the most consistently innovative and significant graphic designers to have emerged in the last 15 years, a highly influential member of the small group [with Neville Brody, Malcolm Garrett and Peter Saville] that changed the face of British graphics in the 1980s. Oliver's remarkable and unmatched oeuvre as regular designer for London record label 4AD won him an international following among fellow designers and also, unusually, among music fans, who savor his emotive graphic imagery as an essential part of the 4AD experience. Divided into thematic sections, the book is designed by Vaughan Oliver himself and combines a cool, carefully edited exposition of his intensely visual work with a seductive, and always surprising, demonstration of his approach. Rick Poynor is the founding editor of Eye, the international review of graphic design, and contributing editor of I.D and Blueprint. His previous books include the best-selling Typography Now: The Next wave [1991] and The Graphic Edge [1993]. He lectures regularly in Europe and the US, and is a visiting professor at the Royal College of Art. The first definitive monograph of graphic designer Vaughan Oliver Will appeal to professional designers, students of design and photography, and all those interested in contemporary music graphics From its front cover to its final page, the book is a highly collectible Vaughan Oliver design in its own right

Vaughan Oliver is one of the most consistently innovative and significant graphic designers to have emerged in the last 15 years, a highly influential member of the small group [with Neville Brody, Malcolm Garrett and Peter Saville] that changed the face of British graphics in the 1980s. Oliver's remarkable and unmatched oeuvre as regular designer for London record label 4AD won him an international following among fellow designers and also, unusually, among music fans, who savor his emotive graphic imagery as an essential part of the 4AD experience. Divided into thematic sections, the book is designed by Vaughan Oliver himself and combines a cool, carefully edited exposition of his intensely visual work with a seductive, and always surprising, demonstration of his approach. Rick Poynor is the founding editor of Eye, the international review of graphic design, and contributing editor of I.D and Blueprint. His previous books include the best-selling Typography Now: The Next wave [1991] and The Graphic Edge [1993]. He lectures regularly in Europe and the US, and is a visiting professor at the Royal College of Art. The first definitive monograph of graphic designer Vaughan Oliver Will appeal to professional designers, students of design and photography, and all those interested in contemporary music graphics From its front cover to its final page, the book is a highly collectible Vaughan Oliver design in its own right

Vinyl LP pressing. 2013 sophomore album. Part of a new breed of Dream Pop groups swarming out of the capital, Still Corners' debut album Creatures of An Hour was packed with subtle idiosyncrasies. Sparking a series of international shows, the band have taken their time over a follow up. Continuing to challenge themselves, the band are able to move forward without losing sight of the flavors which made their debut so seductive. "I'll never be satisfied with any of it, I need to keep trying new th

The fact of pleasure is obvious to us, but its relation to reason is less understood. We are beings who laugh and run, sing and dance, but we too seldom reflect on why we do these things. Above all, we are beings who think and who want to know whether our lives make sense. In this thought-provoking study of the relationship between our reason and our experience of pleasure, popular professor and author Fr. James Schall shows how reason, religion and pleasure are not in conflict with one another. Religion has to do with how man relates to God. Catholicism is not so much a religion as a revelation. It records and recalls how God relates to man.The popular mood of our time is that neither religion nor revelation has much to do with real life. Yet when we look at things as having meaning and order, they fit together in surprising ways. This coherence should bring us joy, and teach us how reason, religion and pleasure can work together for our benefit. Schall shows us in this book why we have many reasons to think that our lives make sense, that our pleasures can be reasonable, and our reason itself is a pleasure.

Traces the life of one of America's greatest guitarists, from his early years in the Texas music scene, his rivalry with his brother Jimmie, and his battles with drugs and alcohol, to his tragic death in 1990

An instant New York Times bestseller!The first definitive biography of guitar legend Stevie Ray Vaughan, with an epilogue by Jimmie Vaughan, and foreword and afterword by Double Trouble’s Chris Layton and Tommy Shannon.Just a few years after he almost died from a severe addiction to cocaine and alcohol, a clean and sober Stevie Ray Vaughan was riding high. His last album was his most critically lauded and commercially successful. He had fulfilled a lifelong dream by collaborating with his first and greatest musical hero, his brother Jimmie. His tumultuous marriage was over and he was in a new and healthy romantic relationship. Vaughan seemed poised for a new, limitless chapter of his life and career.Instead, it all came to a shocking and sudden end on August 27, 1990, when he was killed in a helicopter crash following a dynamic performance with Eric Clapton. Just 35 years old, he left behind a powerful musical legacy and an endless stream of What Ifs. In the ensuing 29 years, Vaughan’s legend and acclaim have only grown and he is now an undisputed international musical icon. Despite the cinematic scope of Vaughan’s life and death, there has never been a truly proper accounting of his story. Until now.Texas Flood provides the unadulterated truth about Stevie Ray Vaughan from those who knew him best: his brother Jimmie, his Double Trouble bandmates Tommy Shannon, Chris Layton and Reese Wynans, and many other close friends, family members, girlfriends, fellow musicians, managers and crew members.

Bisou Records asked Eugene Chadbourne to do an album for children and he proposed an album about horror movies and monsters. Some references are obvious, like "The Thing", "Blacky Lagoony", etc., and some are about strange characters, like "Vampire Tiger Girl", and some are covers (Sam And The Shams, Shockabilly). It's probably the best recorded album of Eugene Chadbourne. Eugene met Steve Beresford and Alex Ward in London at Eastcote Studios, where Adele, Duran Duran, Aswad, Tindersticks, and D

An investigation into the strange and troublesome relationship to pleasure that defines the human being, drawing on the disparate perspectives of Deleuze and Lacan.Is pleasure a rotten idea, mired in negativity and lack, which should be abandoned in favor of a new concept of desire? Or is desire itself fundamentally a matter of lack, absence, and loss? This is one of the crucial issues dividing the work of Gilles Deleuze and Jacques Lacan, two of the most formidable figures of postwar French thought. Though the encounter with psychoanalysis deeply marked Deleuze's work, we are yet to have a critical account of the very different postures he adopted toward psychoanalysis, and especially Lacanian theory, throughout his career. In The Trouble with Pleasure, Aaron Schuster tackles this tangled relationship head on. The result is neither a Lacanian reading of Deleuze nor a Deleuzian reading of Lacan but rather a systematic and comparative analysis that identifies concerns common to both thinkers and their ultimately incompatible ways of addressing them. Schuster focuses on drive and desire―the strange, convoluted relationship of human beings to the forces that move them from within―“the trouble with pleasure."Along the way, Schuster offers his own engaging and surprising conceptual analyses and inventive examples. In the “Critique of Pure Complaint” he provides a philosophy of complaining, ranging from Freud's theory of neurosis to Spinoza's intellectual complaint of God and the Deleuzian great complaint. Schuster goes on to elaborate, among other things, a theory of love as “mutually compatible symptoms”; an original philosophical history of pleasure, including a hypothetical Heideggerian treatise and a Platonic theory of true pleasure; and an exploration of the 1920s “literature of the death drive,” including Thomas Mann, Italo Svevo, and Blaise Cendrars.

An investigation into the strange and troublesome relationship to pleasure that defines the human being, drawing on the disparate perspectives of Deleuze and Lacan.Is pleasure a rotten idea, mired in negativity and lack, which should be abandoned in favor of a new concept of desire? Or is desire itself fundamentally a matter of lack, absence, and loss? This is one of the crucial issues dividing the work of Gilles Deleuze and Jacques Lacan, two of the most formidable figures of postwar French thought. Though the encounter with psychoanalysis deeply marked Deleuze's work, we are yet to have a critical account of the very different postures he adopted toward psychoanalysis, and especially Lacanian theory, throughout his career. In The Trouble with Pleasure, Aaron Schuster tackles this tangled relationship head on. The result is neither a Lacanian reading of Deleuze nor a Deleuzian reading of Lacan but rather a systematic and comparative analysis that identifies concerns common to both thinkers and their ultimately incompatible ways of addressing them. Schuster focuses on drive and desire―the strange, convoluted relationship of human beings to the forces that move them from within―“the trouble with pleasure."Along the way, Schuster offers his own engaging and surprising conceptual analyses and inventive examples. In the “Critique of Pure Complaint” he provides a philosophy of complaining, ranging from Freud's theory of neurosis to Spinoza's intellectual complaint of God and the Deleuzian great complaint. Schuster goes on to elaborate, among other things, a theory of love as “mutually compatible symptoms”; an original philosophical history of pleasure, including a hypothetical Heideggerian treatise and a Platonic theory of true pleasure; and an exploration of the 1920s “literature of the death drive,” including Thomas Mann, Italo Svevo, and Blaise Cendrars.

An investigation into the strange and troublesome relationship to pleasure that defines the human being, drawing on the disparate perspectives of Deleuze and Lacan.Is pleasure a rotten idea, mired in negativity and lack, which should be abandoned in favor of a new concept of desire? Or is desire itself fundamentally a matter of lack, absence, and loss? This is one of the crucial issues dividing the work of Gilles Deleuze and Jacques Lacan, two of the most formidable figures of postwar French thought. Though the encounter with psychoanalysis deeply marked Deleuze's work, we are yet to have a critical account of the very different postures he adopted toward psychoanalysis, and especially Lacanian theory, throughout his career. In The Trouble with Pleasure, Aaron Schuster tackles this tangled relationship head on. The result is neither a Lacanian reading of Deleuze nor a Deleuzian reading of Lacan but rather a systematic and comparative analysis that identifies concerns common to both thinkers and their ultimately incompatible ways of addressing them. Schuster focuses on drive and desire―the strange, convoluted relationship of human beings to the forces that move them from within―“the trouble with pleasure."Along the way, Schuster offers his own engaging and surprising conceptual analyses and inventive examples. In the “Critique of Pure Complaint” he provides a philosophy of complaining, ranging from Freud's theory of neurosis to Spinoza's intellectual complaint of God and the Deleuzian great complaint. Schuster goes on to elaborate, among other things, a theory of love as “mutually compatible symptoms”; an original philosophical history of pleasure, including a hypothetical Heideggerian treatise and a Platonic theory of true pleasure; and an exploration of the 1920s “literature of the death drive,” including Thomas Mann, Italo Svevo, and Blaise Cendrars.