SKU: 88339287926

EBC 79-85 Buick Riviera (Fwd) 3.8 Turbo Yellowstuff Rear Brake Pads

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Description

EBC 79-85 Buick Riviera (Fwd) 3.8 Turbo Yellowstuff Rear Brake PadsEBC Yellowstuff is an aramid fibre based brake compound with high brake effect form cold and is possibly one of the first ever compounds that can be used for STREET AND TRACK DRIVING. These pads do not require warm up but do get even stronger under the heat of hard driving. These are not a low dust pad and if your desire is for a low dust premium street use pad, you should consider EBC Redstuff. When considering full race use, Yellowstuff has been a

EBC Yellowstuff is an aramid fibre based brake compound with high brake effect form cold and is possibly one of the first ever compounds that can be used for STREET AND TRACK DRIVING. These pads do not require warm up but do get even stronger under the heat of hard driving. These are not a low dust pad and if your desire is for a low dust premium street use pad, you should consider EBC Redstuff.When considering full race use, Yellowstuff has been a strong favourite, having been used for two years in the Swedish Camaro Cup and at numerous other race events where a stock caliper system is fitted.It is also the choice of 90-percent of the Mazda MX5 Miata competitors in the UK race series and has an unblemished record as rotor friendly track pad for vehicles up to 2000 lbs weight or 200 BHP.In the USA the SCCA and NASA drivershave been testing Yellowstuff with feedback and good reports POURING in from a 543 test driver major market proving event with these groups. Read that figure again 543 test drivers.There is no guesswork here.

Installation Instructions

This Part Fits:

Year Make Model Submodel
1980-1981 Buick Century Base
1978-1979 Buick Century Custom
1980-1981 Buick Century Estate
1978-1981 Buick Century Limited
1978-1979 Buick Century Special
1978-1981 Buick Century Sport
1978-1987 Buick Regal Base
1982-1983 Buick Regal Estate Wagon
1987 Buick Regal GNX
1984-1987 Buick Regal Grand National
1978-1987 Buick Regal Limited
1982 Buick Regal Limited Turbo
1978-1982 Buick Regal Sport
1983-1986 Buick Regal T-Type
1979-1985 Buick Riviera Base
1982 Buick Riviera Limited Edition
1983-1985 Buick Riviera Luxury
1979-1980 Buick Riviera S
1981-1985 Buick Riviera T-Type
1983 Buick Riviera XX Anniversary Edition
1979-1985 Cadillac Eldorado Base
1979-1985 Cadillac Eldorado Biarritz
1981 Cadillac Eldorado Brougham d'Elegance
1979-1985 Cadillac Eldorado Cabriolet
1982-1985 Cadillac Eldorado Touring
1980-1985 Cadillac Seville Base
1980-1985 Cadillac Seville Elegante
1995-1997 Chevrolet Blazer Base
1996-1997 Chevrolet Blazer LS
1995-1997 Chevrolet Blazer LT
1988 Chevrolet Camaro Base
1982-1986 Chevrolet Camaro Berlinetta
1985-1990 Chevrolet Camaro Iroc-Z
1987 Chevrolet Camaro LT
1989-1992 Chevrolet Camaro RS
1992 Chevrolet Camaro RS Heritage Edition
1982-1987 Chevrolet Camaro Sport
1982-1987,1991-1992 Chevrolet Camaro Z28
1992 Chevrolet Camaro Z28 Heritage Edition
1982 Chevrolet Camaro Z28 Indianapolis 500 Pace Car
1978-1987 Chevrolet El Camino Base
1978,1981-1986 Chevrolet El Camino Conquista
1979-1981 Chevrolet El Camino Royal Knight
1978-1987 Chevrolet El Camino SS
1979,1981-1988 Chevrolet Monte Carlo Base
1983 Chevrolet Monte Carlo CL
1978-1981 Chevrolet Monte Carlo Landau
1986-1988 Chevrolet Monte Carlo LS
1978,1980 Chevrolet Monte Carlo Sport
1983-1988 Chevrolet Monte Carlo SS
1991 Chevrolet S10 Baja
1982-2003 Chevrolet S10 Base
1982-1990 Chevrolet S10 Durango
1992-1993 Chevrolet S10 EL
1994-2003 Chevrolet S10 LS
1982-1989 Chevrolet S10 Sport
1994-1998 Chevrolet S10 SS
1982-1992 Chevrolet S10 Tahoe
1999-2003 Chevrolet S10 Xtreme
1994-1997 Chevrolet S10 ZR2
1988-1994 Chevrolet S10 Blazer Base
1994 Chevrolet S10 Blazer LT
1988-1990,1992 Chevrolet S10 Blazer Sport
1988,1990-1994 Chevrolet S10 Blazer Tahoe
1991-1994 Chevrolet S10 Blazer Tahoe LT
1981-1986 GMC Caballero Amarillo
1979-1987 GMC Caballero Base
1981 GMC Caballero Conquista
1979-1987 GMC Caballero Diablo
1979-1980 GMC Caballero Laredo
1981 GMC Caballero Royal Knight
1992-1996 GMC Jimmy Base
1995-1997 GMC Jimmy SL
1992-1997 GMC Jimmy SLE
1993-1997 GMC Jimmy SLS
1992-1997 GMC Jimmy SLT
1982-1990 GMC S15 Base
1987 GMC S15 EL
1983,1986-1988 GMC S15 Gypsy
1982-1990 GMC S15 High Sierra
1982-1990 GMC S15 Sierra Classic
1982 GMC S15 Sierra Grande
1983-1991 GMC S15 Jimmy Base
1983-1990 GMC S15 Jimmy Gypsy
1985 GMC S15 Jimmy High Sierra
1983-1990 GMC S15 Jimmy Sierra Classic
1991 GMC S15 Jimmy SLE
1991 GMC S15 Jimmy SLS
1991 GMC S15 Jimmy SLT
1988-1989 GMC S15 Jimmy Timberline
1991-1993 GMC Sonoma Base
1992 GMC Sonoma GT
1994-2003 GMC Sonoma SL
1991-2001 GMC Sonoma SLE
1993-2003 GMC Sonoma SLS
1991 GMC Syclone Base
1996-1999 Isuzu Hombre S
1996-1999 Isuzu Hombre XS
1991-1994,1996 Oldsmobile Bravada Base
1980 Oldsmobile Cutlass Base
1980-1981 Oldsmobile Cutlass Brougham
1980-1981 Oldsmobile Cutlass LS
1982-1983 Oldsmobile Cutlass Cruiser Base
1987 Oldsmobile Cutlass Cruiser LS
1978,1985-1986 Oldsmobile Cutlass Salon 442
1978-1980,1985-1987 Oldsmobile Cutlass Salon Base
1978-1980 Oldsmobile Cutlass Salon Brougham
1979-1985 Oldsmobile Toronado Brougham
1985 Oldsmobile Toronado Caliente
1980-1981 Oldsmobile Toronado XSC
1979 Oldsmobile Toronado XSR
1982-1986 Pontiac Bonneville Base
1982-1986 Pontiac Bonneville Brougham
1984-1986 Pontiac Bonneville LE
1979-1992 Pontiac Firebird Base
1979-1981 Pontiac Firebird Esprit
1979-1981,1989-1992 Pontiac Firebird Formula
1982-1986 Pontiac Firebird S/E
1979-1992 Pontiac Firebird Trans Am
1989-1992 Pontiac Firebird Trans Am GTA
1989 Pontiac Firebird Trans Am GTA SE
1978-1980 Pontiac Grand Am Base
1980-1981 Pontiac Grand LeMans Base
1978,1980-1981 Pontiac Grand LeMans Safari
1978-1987 Pontiac Grand Prix Base
1981-1987 Pontiac Grand Prix Brougham
1984-1987 Pontiac Grand Prix LE
1978-1983 Pontiac Grand Prix LJ
1978-1980 Pontiac Grand Prix SJ
1979-1981 Pontiac LeMans Base
1978-1981 Pontiac LeMans Safari
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SKU: 88339287926

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4.2 ★★★★★
Based on 27 reviews
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Product Reviews
L
Verified Purchase
Lana
Houston, US
★★★★★ 5
Good
Good
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Reviewed in the United States on January 22, 2026
D
Verified Purchase
dra
Fort Morgan, US
★★★★★ 5
Fractured pop art masterpiece
Walker (Lee Marvin) and Mal Reese (John Vernon) stage a robbery, stealing a bag of cash from some crooks conducting a delivery by helicopter in deserted Alcatraz. Reese double crosses Walker and leaves him for dead, taking off with the cash and Walker's wife. Walker survives, escapes from the island, and comes after Reese, and all the rest of his criminal organisation, with the mantra, "I want my $93,000." On this third or fourth viewing, I was struck less by what an exemplary action film this is (Marvin, the hardest man in the history of the movies, was at least as mean and relentless in The Killers), and more by how deeply artiness is infused into its structure and design. The recurrent flashing back and forward in time, especially at the start between the planning - not in the traditional meticulous heist film set up, just a series of fractured, barely linked brief meetings and conversations - and the robbery, but also Walker's thoughts returning to his betrayal, feed the predominant critical interpretation that Walker was fatally wounded on Alcatraz, and the whole film is his trying to process this and his fantasy of revenge. Boorman addresses this directly in the commentary, to the extent that he refuses to commit and says it's intended to be ambiguous. I'm now firmly in the dying-flashback camp, because of Walker's almost magical powers. (On reflection, it's like the question of whether Deckard is a replicant - you can enjoy debating it and looking for clues, but in the end the answer is yes.) He appears in new scenes and locations with no evidence of having travelled, and generally in a spiffy new outfit (more of this later) despite carrying nothing but his revolver, and, particularly in the central sequence, he evades being apprehended either by coincidence (the lift he's in opens and closes while the baddies waiting for the same lift are distracted by a commotion) or by the sheer application of cool (waiting immobile but scarcely invisible in an underground car park while his pursuer is gunned down by police). He also has an advisor/mentor, played by Keenan Wynn, who pops up in scenes like a cartoon character (he looks like a sort of dome shaped, bristle headed man in a suit who might appear in Ren and Stimpy) and gives Walker his next mission, while the two of them assiduously avoid eye contact as if one or both aren't really there. From Walker's re-emergence in the first of a series of natty suits, Point Blank is constructed as a series of set pieces. The first is the oddest, continuing the flashbacks and playing with chronology. Walker is seen striding intently down a corridor, and we hear the sound of his footsteps over a series of scenes of his meeting his wife, and the two of them sharing innocent good times with Reese. He confronts his wife, fires six shots into her bed before realising Reese isn't there. A scene later, she's dead after an apparent overdose. A scene after that, the body is gone, the apartment is bare, and Walker has boarded himself inside. Did Walker even see his wife? Had she died already? A messenger arrives from whom Walker extracts a name, and he's off chasing the next link. Walker meets care dealer Big John, whose yard has enormous signs in a jazzy '50s font. He asks for a test drive, buckles his seatbelt, and smashes the car between pillars (c.f. The Driver) until John spills the next name. The most self-consciously art-directed scene follows, in which Walker visits a nightclub which features both a bikini-clad go-go dancer and a trio playing something between jazz and James Brown. Tipped off by a flirtatious waitress that he's being followed, he ducks behind the stage, and fights two baddies while giant faces are projected on a huge screen behind him. In a moment that suggests Tarantino watched this while writing Inglourious Basterds, Walker pulls down a rack of celluloid canisters to trap one pursuer, and then returns things to some kind of action movie orthodoxy by subduing the other one with a haymaker to the groin. In the centrepiece, Walker meets his sister-in-law Chris (Angie Dickinson). Grief and his mission of revenge don't mean he misses the chance to share her bed, and emerge, manhood serenely unthreatened, in her borrowed yellow shortie robe. The colour scheme gets turned up to 11 at this stage, with Walker in a mustard shirt-sports jacket combo (his outfits get truly creative whenever he's bedded Angie - later, he sports a shirt somewhere between salmon and ruby grapefruit - which I guess is the wardrobe equivalent of Joseph Gordon Levitt's post-coital dance routine in (500) Days of Summer), Angie in a rockin' yellow shift dress and matching '60s mid-length coat (let down soon after by wearing something striped like a bee), and Reese in a light tan, crushed velour t-shirt that might be the least flattering male garment in cinema until Borat's mankini. Walker even finds a sightseeing telescope painted lemon yellow, which he casually dislocates from its moorings to scope out Reese's penthouse lair. Once Reese is dealt with, the movie shifts into an early example of crime-as-big-business. Reese's boss is Carter, whose sleek Mad Men-style office and threads are matched by his resemblance to that series' Ted. According to IMDb, Lloyd Bochner, who plays Carter, was doing voice-over work from age eleven, and between him, Vernon's baritone (you know how it sounds - like Dean Wormer: "Fat, drunk and stupid is no way to go through life, son."), and Marvin's basso profundo, there's a meeting of male voices unmatched until, say, Brideshead Revisited. Around this point the architecture of LA attracts more and more focus, both modernist glass towers and the concrete culvert of the LA River, where a sniper lurks who might have inspired the climactic shooter in Get Carter. The commentary is conducted as a dialogue between Boorman and Soderbergh, who, if you've seen this, early Nic Roeg (Performance and Don't Look Now), and were already acquainted with the colour yellow, seems less original than he otherwise might. He has the decency to open by talking about how many times he's stolen from Point Blank. He's not the only one though. Point Blank deconstructs and toys with the action film as knowingly as anything in the 45+ years since, up to and including Archer and the entire oeuvre of Shane Black. Just when it's in danger of becoming too clever to be satisfying as a genre piece, it gets your attention with a pistol whipping, a punch to the groin, or the rarely-shown actual end result of the villain-takes-a-long-fall thing. And of course there's Marvin, who, whether dressed like a dandy, wearing a robe, or looking baffled when the next corporate criminal explains that they just don't have $93,000 to hand over, can't be beat. Seriously, you're not obliged to love it, but you have to see it at least once.
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Reviewed in the United States on May 3, 2014
J
Verified Purchase
J. H. Haley
Grantham, US
★★★★★ 4
Lee Marvin's best
Finally it's in dvd. Been looking for it for years. Point Blank is Lee Marvin's best movie, the best character for him, and has his best tag line. I'll leave that for you to find. (It has to with seat belts.) The movie is aptly named. The plot is steam-roller direct, but the director uses some arty time-lapse devices that either distract by conflicting with the directness of the character and the plot, or enhance by providing depth and interest, I can't decide. But they do jarr a little and seem dated. I suppose I do like the uniqueness they add. It's a really good Lee Marvin movie, and Angie Dickinson to boot. Who remembers her answer when Johnny Carson asked her whether she dressed to please herself or others? Memorable.
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Reviewed in the United States on September 25, 2007
M
Verified Purchase
mojo_navigator
Charlottesville, US
★★★★★ 5
Excellent Blu-Ray Transfer - Big Improvement to the DVD
I've been a big fan of this movie for many years, long before the advent of DVD let alone Blu-Ray. I used to go and see it at the repertory cinema often - the first time, I was stunned by the quasi-hallucinatory cinematography of it. A totally unique film that's never been replicated before or since (although The Limey was a good attempt) Frankly the story is incidental and not worth summarising or even paying much attention to. The cinematic style of it is what makes it so riveting both then and now - an excellent psychedelic time-capsule of late `60s LA punctuated by stunning performances from the likes of Marvin, Dickinson and others. The DVD was a huge let-down when released. Despite the accolades that it had at the time, it had a "watery" non-filmic quality which made it dull and tiresome to watch even once. Without capturing the garish color and mind-bending trippiness of the film, you were reduced to following the plot which, like I said, is the least interesting aspect of it. The Blu-Ray is MILES superior to the DVD. The integrity of every component in this movie that I've discussed above is perfectly captured; the emotional power of it is all there in bucketloads. The colors are strong and vivid and in true Blu-ray style you notice subtleties that you hadn't noticed before (e.g. the green chairs in the corporate offices, Angie Dickinson's expression after the "what's my last name" exchange). The overall quality is very filmic (no DNR etc) and good grain where appropriate. It looks like a strong 35 mm print that has been run a few times but has plenty of life left. So no Criterion day-it-was-released look but more than satisfactory. Ideally, I would like Criterion to get hold of this as I think they would clearly be able to make an improvement but this is a minor quibble. For fans of `60s cinema and experimental film-making, this Blu-Ray edition will thoroughly satisfy. I no longer feel the need to see this in a movie house anymore unless there's a full restoration of the original 35mm print (which does happen from time to time)
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Reviewed in the United States on September 26, 2014
K
Verified Purchase
KEITH
New York, US
★★★★★ 5
Displeasure And Distance
The movie 'Point Blank' is like staring at a visual of Alcatraz prison from the opposite shore. Meaning accumulates over landmarks when we are suspicious about the details. On such a sound the channel of moving water has a stationary dock. A metal walkway connector bridge glows in unnatural radiances; the sun seems set on it, at dusk. These sea shore implements, at Alcatraz or at another bay denote civility and schedules of operation. When money and it's acquisition exist in our brains as enticements the places become spectrums with loose enthusiasms and burnished red-glows. Walker(Lee Marvin) the anti-hero of the movie 'Point Blank' is a tall, laconic, dark-suited figure. Walker's parted white hair gets swept up in the wind, unstraightened, but his bushy eyebrows are solid supports of displeasure and distance. 'Point Blank' directed by John Boorman is a 1967 classic crime film and is the story of a solo struggle-Walker's-to reconnect and recover the money that was stolen from him by his ex-partner Mal Reese(John Vernon). Walker importunes abandoned places, like an Alcatraz prison cell with questions: "How did it happen?" He is ruminating over incidents that are seen in flashback entries, but these brief remonstrance are also plot points on a scheme of surreal adventuring. Lynne(Sharon Acker), Walker's wife, has reproachments about herself, her 'past', but the enviable story is told. Lynne's monotonous sentiments recall a walk on the pier in the rain, with herself and Walker in mild drunkeness. Lynne's voice is synthesized to a soft, dreamy intercession; another vision from Walker's life, also an evocative impression of a stoic wanderer's accentuated provocateur encounters. In his film direction Boorman takes the novel "The Hunter" written by Donald Westlake and gives weight to a story about the cavorting of a slick, popular, caper anti-hero named Parker (From "The Hunter" , also other serial books written by Hunter under pseudonyms like Richard Stark). This story is recreated by Boorman for Parker of the novel and his hyperbolic lurid situations. 'Point Blank' invests visuals with sensual revelations of mystery. The breaths of relaxed reflection give toxicity to moods and the imagination has righteous experience of titillation. The viewer is invited to understand the whisperings of breezes brushing against one another at random convexes-these are soft exposing indescrepancies. At a reunion, another recounting of Walker being hailed over by Mal Reese is one twist. At another rally, in a room in San Francisco, that is similar, Walker warns his target bluntly: "If you don't, I'll kill you." There is an abrupt appearance, also in a semi-populated venue, of assistance made towards Walker. This inviting frenemy says: "If you're looking for Carter, I may be able to help you." This is Yost played by Keenan Wyn. The themes of thrifty fantasy contrive to bounce off Walker. In sunlit rooms and concrete runs ambush attacks set by Walker realize glib confrontations. One such scene involves Brewster(Carroll O'Connor) in an amorous exchange with Walker that suggests that the veritable energies of excitement between Walker and Brewster were procured and transcribed for 'Point Blank' from other products of fictitious dealings. 'Point Blank' co-stars Angie Dickinson as Chris and Lloyd Bochner as Frederick Carter.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on July 17, 2025

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