Elegant Lead Crystal Wine Glasses / Goblet 220g Per Glass - Set of Six

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As the consummate host, you should never turn away an uninvited house guest. But in the event of a guest who makes it their mission to sample your finest vino, we would like to issue you with some standard equipment: the Don’t Break the Bottle puzzle. Place your most treasured wine in the puzzle and lock it up, paying strict attention to the instructions it comes with. The wine will then be imprisoned in a seemingly impenetrable fortress. Only you will know how to unlock the puzzle and release the bottle. Should your drinks cupboard be probed, your finest wine will remain safe and sound, whilst your thirsty visitor fumes over how to untangle the mess of balls and blocks. If all goes according to plan, they will give up after approximately ten minutes and return home.
Customer Review: BEST EVER INVENTION
This was bought as a Fathers Day Present and was the best ever. Dad managed to solve it in less than 5 mins but his friends gave up !! Read the instructions and make it up in stages, then stand back and watch everyone lose their patience!!
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List Price: ?12.99
Amazon Price: ?8.44
Used Price: ?0.89
Customer Review: Lovely little book!!
Really good book, fantastic for the real smoothie enthusiast, bit over the top for me, but has given me lts of ideas for more child friendly smoothies. Really is a fantastic book just a bit fancy if all you want is basic smoothie recipes for everday use. BARGAIN
Customer Review: Fantastic Book… a real investment!
A great book!! Just the right size and jam packed full of not just recipes but also great advice on the produce needed and equiptment etc. I’m also going to directly disagree with the previous reviewer and say that I cannot believe that from the very first recipe I attempted it tasted as great (if not better!?) than the shop bought innocent faves!! Plus living in the country has not hindered me one bit in finding the ingredients, a mixture of supporting a local fruit ‘n’ veg traders shop and anything unavailable from there (i.e. out of season) can be found in all large-ish supermarkets all year round. So so sooooo pleased with the book I want to pass it around to my friends, but at the same time don’t want to be without it, so will be buying them for birthdays and christmas!!
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Used Price: ?20.74
Customer Review: Sunny Chainsaw Smile
I recently came across ‘Ecstasy and Wine’ in a Soho record shop and went for the plunge. It had been one of those ‘must buy’ items at the back of my mind for years. At the time of this early compilation’s release in February ‘89 MBV were none too pleased, branding it a cash-in by their former label Lazy Records as they enjoyed their new-found high profile with Creation. 1988’s ‘You Made Me Realise’ EP is generally written as the explosive tour-de-force that transformed the group from candypop lightweight janglers to sonic distortionists riding a wave of alt-American inspired decibel-driven intensity. But listening to these ealy recordings, just before ‘the breakthrough’, the question is , when exactly WERE My Bloody Valentine lightweight? Certainly not here. The Lazy single ‘Strawberry Wine’ and mini-album ‘Ecstasy’ (both ‘87) that form this compilation contain all the sweetheart melodies of the later stuff - Bilinda’s ghostly vocals whispering from some blissed-out dimension over an attacking dirge of sound - except here the overall sonic influence is more Mary Chain than Sonic Youth; massed effects and droning open tunings still waiting at the wings. Admittedly, some of the songs may chime along in an early Love/Byrdsian jangle - not leaping out and grabbing you in a distorted throttle - yet isn’t that rough/smooth changeability the case with all MBV records? There’s a particular distinction in the rhythm section, an undeniable power, that separates MBV from the whole disposable-jangle/second-rate Primitives thing of that particular era. Even in their softer moments it was discernible they were made of meatier stuff. Like the Velvet Underground, there’s an awareness of darkness, menace, a messed-up sensibility beneath the mock softness. At least four songs here wouldn’t go amiss on ‘Isn’t Anything’. First track ‘Strawberry Wine’ kicks off with all the hallmarks of classic MBV minus the background layer of fuzz that familiarized the later sound. But on the second song ‘Never Say Goodbye’, there it is, a furious wash of killer distortion that dresses the boy/girl vocals in gleaming black pearls, Bilinda ghosting in with loved-out promises to Kevin’s moody, stoned propositioning (”Take me by the hand/Let me show you games we can play”). ‘Can I Touch You’ rings like a homage to The Beatles’ ‘Rain’, shimmering in a hazy-eyed, mid-sixties sensibility. ‘The Things I Miss’ is a bass stomp that thuds along with menace and swagger, and Pyschocandy vocals (”The touch of your kiss/Leaves me in a mess”), pure nihilism meets lust. ‘Clair’ swirls in a familiar catatonic rage, juxtaposing what MBV are best at: sweetheart girl vocals in the shadow of lurking paranioia and danger, at times kicking in for the kill, or crashing like a train wreck. And final track ‘(Please) Lose Yourself in Me’ merges nervous energy with tranquillized melancholy in the kind of treble fizz and choir vocals emulated by shoegazers such as Lush and Slowdive. This record may not cascade in the strange open tunings and varied sonic dissonance of ‘Isn’t Anything’ and beyond, yet it sounds like a natural precursor rather that an early embarrassment, highlighting a band before they hit (too) dizzy heights. I recently saw Kevin Shields backing a Patti Smith poetry reading at the South Bank, watching for two hours as he endlessly riffed his trademark ‘Loveless’ glide sound (the man next to me slept throughout). It seems sad that ‘Loveless’ was the zenith but also the fall - the mark on the map where it all ended. The ‘Xtrmntr’ and ‘Lost in Translation’ tracks were fair enough but NOT enough. Shields was at his best with the chemistry of his four-piece set-up (although I’m willing to be proved wrong - apparently he has “delivered hundreds of hours of guitar based material to Island”. But that was in ‘99). Any chance of a reunion perhaps? ‘Ecstasy and Wine’ shows a band before the complications of high expectation and over-exposure set in to work their damage. There’s a purity to the music - not apparent in the perhaps over-worked ‘Loveless’ - that rides high above so much of the British indie of its day. In a way, the record sounds like a companion piece to ‘Isn’t Anything’, like its less demon-ridden sister, before the sonic trip to outer space and the resultant crash and burn.
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‘DECANTER’ MAGAZINE WINE DECK
WINE EXPERT BRIAN ST. PIERRE PROVIDES AN INFORMATIVE GUIDE TO WINE, FROM KEY TERMS AND GRAPE VARIETIES TO WINE STORAGE AND SERVING. THE DECK OF FIFTY CARDS USES EASY TO UNDERSTAND LANGUAGE AND HELPFUL COLOUR PHOTOGRAPHS IN AN INNOVATIVE FORMAT

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Wine Bottle Cabinet

Le Creuset WA-118 wine cooler
Le Creuset Club Wine Cooler Capacity 2.2L Double Wall Construction keeps drinks cooler for longer and reduces condensation. Extra Height (234mm) to house th ebottle for maximum cooling efficiency Easy-Grip dimpled design for easy carrying.
Used Price: ?50.95

Pine- pointy-toe pump in patent leather with tab and tassel detail
Pine- pointy-toe pump in patent leather with tab and tassel detail. The Ongaro label covers key styles in fashion, with colour and quality supremely important, both in shoes and matching accessories. Other brands in our collection are all chosen for their flair and wearability, from morning casual to evening glamour, and our strong links to Italy ensure that ‘ahead-of-fashion laid-back chic’ that is so characteristic of Italian design.

Ecstasy and Wine
Used Price: ?20.74
Customer Review: Sunny Chainsaw Smile
I recently came across ‘Ecstasy and Wine’ in a Soho record shop and went for the plunge. It had been one of those ‘must buy’ items at the back of my mind for years. At the time of this early compilation’s release in February ‘89 MBV were none too pleased, branding it a cash-in by their former label Lazy Records as they enjoyed their new-found high profile with Creation. 1988’s ‘You Made Me Realise’ EP is generally written as the explosive tour-de-force that transformed the group from candypop lightweight janglers to sonic distortionists riding a wave of alt-American inspired decibel-driven intensity. But listening to these ealy recordings, just before ‘the breakthrough’, the question is , when exactly WERE My Bloody Valentine lightweight? Certainly not here. The Lazy single ‘Strawberry Wine’ and mini-album ‘Ecstasy’ (both ‘87) that form this compilation contain all the sweetheart melodies of the later stuff - Bilinda’s ghostly vocals whispering from some blissed-out dimension over an attacking dirge of sound - except here the overall sonic influence is more Mary Chain than Sonic Youth; massed effects and droning open tunings still waiting at the wings. Admittedly, some of the songs may chime along in an early Love/Byrdsian jangle - not leaping out and grabbing you in a distorted throttle - yet isn’t that rough/smooth changeability the case with all MBV records? There’s a particular distinction in the rhythm section, an undeniable power, that separates MBV from the whole disposable-jangle/second-rate Primitives thing of that particular era. Even in their softer moments it was discernible they were made of meatier stuff. Like the Velvet Underground, there’s an awareness of darkness, menace, a messed-up sensibility beneath the mock softness. At least four songs here wouldn’t go amiss on ‘Isn’t Anything’. First track ‘Strawberry Wine’ kicks off with all the hallmarks of classic MBV minus the background layer of fuzz that familiarized the later sound. But on the second song ‘Never Say Goodbye’, there it is, a furious wash of killer distortion that dresses the boy/girl vocals in gleaming black pearls, Bilinda ghosting in with loved-out promises to Kevin’s moody, stoned propositioning (”Take me by the hand/Let me show you games we can play”). ‘Can I Touch You’ rings like a homage to The Beatles’ ‘Rain’, shimmering in a hazy-eyed, mid-sixties sensibility. ‘The Things I Miss’ is a bass stomp that thuds along with menace and swagger, and Pyschocandy vocals (”The touch of your kiss/Leaves me in a mess”), pure nihilism meets lust. ‘Clair’ swirls in a familiar catatonic rage, juxtaposing what MBV are best at: sweetheart girl vocals in the shadow of lurking paranioia and danger, at times kicking in for the kill, or crashing like a train wreck. And final track ‘(Please) Lose Yourself in Me’ merges nervous energy with tranquillized melancholy in the kind of treble fizz and choir vocals emulated by shoegazers such as Lush and Slowdive. This record may not cascade in the strange open tunings and varied sonic dissonance of ‘Isn’t Anything’ and beyond, yet it sounds like a natural precursor rather that an early embarrassment, highlighting a band before they hit (too) dizzy heights. I recently saw Kevin Shields backing a Patti Smith poetry reading at the South Bank, watching for two hours as he endlessly riffed his trademark ‘Loveless’ glide sound (the man next to me slept throughout). It seems sad that ‘Loveless’ was the zenith but also the fall - the mark on the map where it all ended. The ‘Xtrmntr’ and ‘Lost in Translation’ tracks were fair enough but NOT enough. Shields was at his best with the chemistry of his four-piece set-up (although I’m willing to be proved wrong - apparently he has “delivered hundreds of hours of guitar based material to Island”. But that was in ‘99). Any chance of a reunion perhaps? ‘Ecstasy and Wine’ shows a band before the complications of high expectation and over-exposure set in to work their damage. There’s a purity to the music - not apparent in the perhaps over-worked ‘Loveless’ - that rides high above so much of the British indie of its day. In a way, the record sounds like a companion piece to ‘Isn’t Anything’, like its less demon-ridden sister, before the sonic trip to outer space and the resultant crash and burn.