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Stereophonics' fifth album will inevitably provide more material for the band's critics, if only for the fact its title has clearly been rather lazily inspired from the back of a rental video case. The music within, however, is anything but laid-back: the employment of Argentinean drummer Javier Weyler, who replaces founding member Stuart Cable, sees the band venturing further along the hard-rock path that spawned previous denim-and-leather-clad tracks like "Moviestar". The first three tracks find frontman Kelly Jones is in downbeat mood, his vocals drawled and insouciant, and his lyrics distinctly sour--take the raging "Doorman", where he rails against some faceless bouncer with surprising and rather paranoid ferocity: "You like nothing more than to break my face/ You like to throw me out on the street!". Things sweeten towards the album's middle, providing two of the album's stand-out tracks: the chiming, electronic-tinged "Dakota" is a light, buoyant anthem that deserves to be a hit, while "Rewind" is a reflective moment that pricks memories of mid-period U2. But on the whole, Language. Sex. Violence. Other? isn't an album out to win new fans - it's an album that caters to the Stereophonics' rock faithful, and it's them who'll really dig it. --Louis Pattison

Japanese edition scheduled to include bonus tracks. It might be their fifth album, but Stereophonics view Language. Sex. Violence. Other? with the same excitement as a debut record. It's a little under two years since You Gotta Go There To Come Back, Stereophonics' third consecutive Number One album - and the band have been busy touring America, supporting David Bowie and writing and recording. There's a new member-Javier Weyler, who replaces Stuart Cable on drums and, a new, super-affirmative attitude. `This band is so positive right now,' says Kelly. `We've made the most exciting record we possibly could.' Indeed they have. Language. Sex. Violence. Other? is a magnificent album. Eleven tracks. All killer, no filler. The band agreed they wanted to make something that was very different from their last album. Something that captured the listener straight away, but something that also had a lot of depth. The song titles would all be one word. It would have the energy of their first album, 1997's Word Gets Around, but it would use production tricks Stereophonics had learned along their way to becoming one of Britain's most successful rock bands. It would be a very modern record. V2. 2005.

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The Silver American Eagle is a 1-ounce bullion coin with a face value of One Dollar - the coin contains one ounce of fine silver - it is the world's only silver bullion coin whose weight, content and purity are guaranteed by the U. S. Government. The United States Mint started making the Silver American Eagle in 1986 and continues to produce them today. The obverse has Adolph A. Weinman's "Liberty Walking" design which was used on half dollar coins from 1916-1947. The reverse design is a rendition of a heraldic eagle by John Mercanti. Since 2001, regular-strike silver eagles have been produced at West Point without mintmarks. The "Stock Images" used in this Description are an indicator of the quality of the item you will receive. The actual item you will receive is guaranteed to be as described and depicted.

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Photography Research and Editing by Jo Jackson and Mary J. Hebert. Foreword by Mark A. Emmert, Chancellor. Preface by Laura F. Lindsay and J. Michael Desmond, for the University Commission on the History of LSU. Nestled on a picturesque spot near the banks of the Mississippi River, Louisiana State University is a photographer's dream. From the red pantile roofs and honey-colored stucco of its Italian Renaissance architecture to the "stately oaks and broad magnolias" hailed in the alma mater, the distinct beauty of the campus is unrivaled. Few, however, realize that the history of the state's flagship university is as colorful as the azaleas that adorn its landscape every spring. Through an entertaining marriage of photographs and text, Under Stately Oaks showcases over 140 years of LSU's past and follows the evolution of the tiny Seminary of Learning of the State of Louisiana, founded near Pineville in 1853, into a university of well over thirty thousand students for the twenty-first century. Thomas A. Ruffin sets the images in historical context and offers fascinating information that will enlighten even the most ardent LSU fan. From the first LSU students in 1860 to the 75th anniversary celebrations of the current Baton Rouge campus in 2001, Under Stately Oaks captures the spirit of the university as never before.