Label: Universal Records ‎– UNIR 21031-1, Street Records Corporation ‎– UNIR 21031-1 Format: Vinyl, 12`, Promo Country: US Genre: Hip Hop TracklistHide Credits A1 Cadillac On 22`s (Club Version) 4:25 A2 Cadillac On 22`s (Instrumental) 4:25 B1 Might Getcha (Radio Edit) Featuring – Lil` Jon 5:02 B2 Might Getcha (Club Version) Featuring – Lil` Jon 5:02 B3 Might Getcha (Instrumental) 5:02 David Banner Real Name: Lavell William Crump Profile: Rapper and producer born in 1973 in Jackson, Mississippi, U.S.A. A member of the rap group Crooked Lettaz. U CELOFANU

NAPOMENA: Prodaje se disk sa slike prodavca! Nov disk u celofanu - Nekorišten. Digipak izdanje. JAZZ FROM CATALONIA 2012 1. David Pastor & Pere Foved - El del Llasn 4.35 2. Bernat Font Trio - Ulls ametlla 4.25 3. Phil Woods & Barcelona Jazz Orchestra - Rompin` at the Reno 3.35 4. Susana Sheiman & Ignasi Terraza Trio - P.S. I love you 4.18 5. Marcel-li Bayer - LT 5.00 6. Gonzalo del Val Trio - Espiritu F.H 3.37 7. Joan Diaz - Diana 3.28 8. Elisabet Raspall - Mirall d`estiu/Summer Mirror 4.17 9. Jo Krause Quartet - Tones for Jones Bones 5.30 10. David Mengual - El perro dejo de andar como una rata 5.05 11. Jaume Llombart Sextet - Bajada 5.20 12. Piccola Orchestra Gagarin - Corsicanskaya 5.02 13. Sin Anestesia - Metadoloris Ultra 4.21 14. Josep Tutusaus Champagne Sparkle - No va internet 4.43 15. Marc Ayza - Untitled 3.10 Izvođač: Various Zemlja izdanja: Spain

OMOT 5 Троструки дигипак са провидним лежиштима за слике. CD+DVD 5 NOVI Pink Floyd - The Endless River album cover More images Label: Parlophone (2) – 4607147917107, Warner Bros. Records (2) – 34580, Parlophone (2) – 4607147917107, Warner Bros. Records (2) – 34580 Format: CD, Album, Unofficial Release, Stereo, Digipak DVD, DVD-Video, Multichannel, Unofficial Release Country: Russia Released: 2014 Genre: Rock Style: Prog Rock Side 1 1 Things Left Unsaid E-Bow, Guitar – David Gilmour Keyboards – Bob Ezrin Organ [Hammond], Synthesizer, Keyboards – Richard Wright Written-By – David Gilmour, Richard Wright 4:26 2 It`s What We Do Bass Guitar, Guitar – David Gilmour Drums – Nick Mason Keyboards, Synthesizer, Strings – Richard Wright Written-By – David Gilmour, Richard Wright 6:17 3 Ebb And Flow E-Bow – David Gilmour Electric Piano – Richard Wright Written-By – David Gilmour, Richard Wright 1:55 Side 2 4 Sum Drums – Nick Mason Guitar, Bass Guitar, Synthesizer [Vcs3] – David Gilmour Keyboards – Damon Iddins Organ [Farfisa], Piano – Richard Wright Written-By – David Gilmour, Nick Mason, Richard Wright 4:48 5 Skins Bass Guitar – Andy Jackson Drums, Rototoms, Gong – Nick Mason Effects – Youth Guitar – David Gilmour Keyboards – Richard Wright Written-By – David Gilmour, Nick Mason, Richard Wright 2:37 6 Unsung Guitar, Piano, Synthesizer [Vcs3] – David Gilmour Organ [Farfisa], Piano – Richard Wright Written-By – Richard Wright 1:07 7 Anisina Drums – Nick Mason Piano, Keyboards, Guitar, Bass Guitar, Backing Vocals – David Gilmour Tenor Saxophone, Clarinet – Gilad Atzmon Written-By – David Gilmour 3:16 Side 3 8 The Lost Art Of Conversation Percussion, Guitar – David Gilmour Piano, Synthesizer – Richard Wright Written-By – Richard Wright 1:42 9 On Noodle Street Bass Guitar – Guy Pratt Drums – Nick Mason Electric Piano [Fender Rhodes] – Richard Wright Guitar – David Gilmour Synthesizer – Jon Carin Written-By – David Gilmour, Richard Wright 1:42 10 Night Light E-Bow, Guitar – David Gilmour Synthesizer – Richard Wright Written-By – David Gilmour, Richard Wright 1:42 11 Allons-y (1) Bass Guitar – Bob Ezrin Drums – Nick Mason Guitar – David Gilmour Organ [Hammond] – Richard Wright Synthesizer, Percussion – Jon Carin Written-By – David Gilmour 1:57 12 Autumn `68 Gong – Nick Mason Guitar – David Gilmour Keyboards – Damon Iddins Organ [Pipe Organ] – Richard Wright Written-By – Richard Wright 1:35 13 Allons-y (2) Bass Guitar – Bob Ezrin Drums – Nick Mason Guitar – David Gilmour Organ [Hammond] – Richard Wright Synthesizer, Percussion – Jon Carin Written-By – David Gilmour 1:32 14 Talkin` Hawkin` Backing Vocals – Durga McBroom Bass Guitar – Guy Pratt Drums – Nick Mason Guitar, Backing Vocals – David Gilmour Piano, Organ [Farfisa], Synthesizer – Richard Wright Voice – Stephen Hawking Written-By – David Gilmour, Richard Wright 3:29 Side 4 15 Calling Effects – Andy Jackson Keyboards – Anthony Moore Keyboards, Guitar – David Gilmour Percussion – Nick Mason Written-By – Anthony Moore, David Gilmour 3:37 16 Eyes To Pearls Bass Guitar – Andy Jackson Drums, Gong – Nick Mason Guitar, Keyboards, Effects – David Gilmour Organ [Farfisa, Hammond], Keyboards – Richard Wright Written-By – David Gilmour 1:51 17 Surfacing Backing Vocals – Durga McBroom Drums – Nick Mason Guitar, Bass Guitar, Backing Vocals – David Gilmour Synthesizer, Keyboards – Richard Wright Written-By – David Gilmour 2:46 18 Louder Than Words Backing Vocals – Durga McBroom, Louise Marshall*, Sarah Brown Bass Guitar – Bob Ezrin Drums, Percussion – Nick Mason Electric Piano [Fender Rhodes], Piano, Synthesizer – Richard Wright Lyrics By – Polly Samson Strings – Escala Vocals, Guitar, Organ [Hammond], Effects – David Gilmour Written-By – David Gilmour 6:36 Unlisted Bonus Tracks 19 TBS9 2:28 20 TBS14 4:11 21 Nervana 5:31 Album In 5.1 Surround And Stereo DVD-1 The Endless River 52:55 Audio-Visual 2 Anisina Written-By – David Gilmour 2:49 3 Untitled Written-By – Richard Wright 1:20 4 Evrika (A) Written-By – Richard Wright 5:56 5 Nervana Written-By – David Gilmour 5:30 6 Allons-y Written-By – David Gilmour 5:58 7 Evrika (B) Written-By – Richard Wright 5:31 Audio Bonus Tracks 8 Tbs9 Written-By – David Gilmour, Richard Wright 2:28 9 Tbs14 Written-By – David Gilmour, Richard Wright 4:11 10 Nervana Written-By – David Gilmour 5:31 Record Company – Star Mark – 34580 Phonographic Copyright ℗ – Pink Floyd (1987) Ltd. Copyright © – Pink Floyd (1987) Ltd. Mastered At – The Mastering Lab Pressed By – Record Industry Recorded At – Britannia Row Studios Recorded At – Medina Studio Recorded At – Olympic Studios Mastered At – Tube Mastering Cover – Ahmed Emad Eldin Creative Director – Aubrey Powell, Hipgnosis (2) Design – Martin Klimas Design, Art Direction – Stylorouge Engineer [Additional], Sound Designer, Synthesizer, Keyboards – Eddie Bander, Michael Rendall, Youth Engineer, Mixed By – Andy Jackson, Damon Iddins Illustration – StormStudios Management – Paul Loasby, Tony Smith (13) Mastered By – Andy Jackson Photography By – Andy Earl, Harry Borden, Jill Furmanovsky, Rupert Truman, Simon Fowler (2) Producer – Andy Jackson, David Gilmour, Phil Manzanera, Youth Producer [1993 Sessions] – Bob Ezrin, David Gilmour Tri-fold digipak with transparent picture trays. Barcode (Text): 4 607147 917107 >

Label: Suzy ‎– WB 56867, Warner Bros. Records ‎– WBN 56 867 Format: Vinyl, LP, Album, Stereo Country: Yugoslavia Style: New Wave, Art Rock Tracklist A1 Born Under Punches (The Heat Goes On) 5:46 A2 Crosseyed And Painless 4:45 A3 The Great Curve 6:26 B1 Once In A Lifetime 4:19 B2 Houses In Motion 4:30 B2 Seen And Not Seen 3:20 B3 Listening Wind 4:42 B4 The Overload 6:00 Companies, etc. Licensed From – Sire Records Company Phonographic Copyright (p) – Sire Records Company Copyright (c) – Sire Records Company Pressed By – Jugoton – ULP 1295 Published By – Index Music (2) Published By – Bleu Disque Music Co., Inc. Published By – E.G. Music Ltd. Recorded At – Compass Point Studios Recorded At – Sigma Sound Studios, New York Mixed At – Sigma Sound Studios, New York Mixed At – Eldorado Recording Studios Mastered At – Sterling Sound Credits Arranged By, Written-By – Talking Heads, Talking Heads Bass – David Byrne, Jerry Harrison, Tina Weymouth Design – M&Co. New York* Drums – Chris Frantz Edited By – R. Antonić* Engineer [Additional] – Jack Nuber, John Potoker, Rhett Davis*, Stephen Stanley* Engineer [Assisted] – Kendall Stubbs* Engineer [Live Sound] – Frank Gallagher (4) Engineer [Mixed] – John Potoker Engineer, Engineer [Mixed] – Dave Jerden Guitar – Adrian Belew, David Byrne, Jerry Harrison Horns – Jon Hassell Keyboards – Brian Eno, Chris Frantz, David Byrne, Jerry Harrison, Tina Weymouth Lacquer Cut By – SB* Management – Gary Kurfirst Mastered By – Greg Calbi Percussion – Brian Eno, Chris Frantz, David Byrne, Jerry Harrison, Jose Rossy, Robert Palmer, Tina Weymouth Producer, Arranged By [Vocals], Written-By – Brian Eno Production Manager – B. Novak* Trumpet – Jon Hassell Voice – Brian Eno, David Byrne, Nona Hendryx Written-By – Jerry Harrison (tracks: B2, B5) Written-By, Arranged By [Vocals] – David Byrne Notes Inner sleeve contains credits,artwork, and extra lyrics sheet. Vinil 5- (vizuelna ocena).ZVUK ODLIČAN Iner SA TEKTOVIMA 5-,4+,INER broj 2 5- Omot 4+

Omot kao na slikama, ploča 5-/4+ Bon Jovi ‎– Bon Jovi Label:PGP RTB ‎– 2222388, Mercury ‎– 814 982-1 Format:Vinyl, LP, Album Country:Yugoslavia Released:1984 Genre:Rock Style:Hard Rock, Pop Rock, Glam Tracklist A1 Runaway Backing Vocals – David Grahmme*, J.B.*, Mick Seeley Bass – Huey McDonald* Drums – Frankie La Rocka* Guitar [Guitars] – Tim Pierce Keyboards – Roy Bittan Lead Vocals – J.B.* Written-By – G. Karak*, J. Bon Jovi* 3:54 A2 Roulette Written-By – J. Bon Jovi*, R. Sambora* 4:41 A3 She Don`t Know Me Written-By – M. Avsec* 4:04 A4 Shot Through The Heart Written-By – J. Ponti*, J. Bon Jovi* 4:24 A5 Love Lies Written-By – D. Rashbaum*, J. Bon Jovi* 4:03 B1 Breakout Written-By – D. Rashbaum*, J. Bon Jovi* 5:22 B2 Burning For Love Written-By – J. Bon Jovi*, R. Sambora* 3:52 B3 Come Back Written-By – J. Bon Jovi*, R. Sambora* 3:57 B4 Get Ready Written-By – J. Bon Jovi*, R. Sambora* 4:08 Credits Art Direction – Bill Levy, Spencer Drate Backing Vocals – Alec John Such, David Rashbaum, Jon Bon Jovi, Richie Sambora Bass – Alec John Such Design [Album Design] – Judith Salavetz, Spencer Drate Design [Inner Sleeve Logo Design] – Anthony Michael Bongiovi* Drums – Tico Torres (`The Hit Man`)* Engineer – Jeff Hendrickson, Larry Alexander, Scott Litt Engineer [Assistant] – Barry Bongiovi, Bruce Lampcov, Dave Greenberg, Gary Rindfuss*, Jon Babich* Executive-Producer – Arthur Mann Keyboards – David Rashbaum Lead Guitar – Richie Sambora Lead Vocals, Guitar – Jon Bon Jovi Management – Doc McGhee Mastered By – Bob Ludwig Other [Coat] – Ariel Other [Legs & Looks] – Ellen Parker Other [Make Up] – Sonia DeMelo Other [Slyling] – Melissa Chatain Performer [Additional Musicians] – Aldo Nova, Chuck Bürgi, Doug Katsoras*, Huey McDonald* Photography By [Concept Photography & Tinting] – Geoffrey Thomas (2) Producer – Lance Quinn, Tony Bongiovi Barcode and Other Identifiers Matrix / Runout (side A runout area): 2222388 A 17984 Matrix / Runout (side A runout area): 2222388 B 17984 Rights Society: SOKOJ

The Fugitive [Begunac] Originalno izdanje, hrvatski prevod. DVD: Pal Region 2 Ocuvanost DVD: 5-/4+++ (dve sitne izuzetno tanke linijice, ne utice na rad) Omot: 5 Genres: Action | Crime | Drama | Mystery | Thriller Director: Andrew Davis Writers: Jeb Stuart, David Twohy, Roy Huggins Stars: Harrison Ford, Tommy Lee Jones, Sela Ward, Julianne Moore, Joe Pantoliano, Andreas Katsulas Sve tehnicke podatke o izdanju mozete videti na slici, ukoliko ima dodatnih pitanja, rado cu odgovoriti. Stanje mozete videti na slikama.

vinil: 5 omot: 4+ Rita Coolidge – Greatest Hits Label: PGP RTB – 2221217, A&M Records – 4836 Format: Vinyl, LP, Compilation Country: Yugoslavia Released: 1982 Genre: Jazz, Rock, Funk / Soul, Pop Style: Soul, Easy Listening, Ballad Tracklist Hide Credits A1 Born Under A Bad Sign Written-By – Booker T. Jones, William East* 4:10 A2 We`re All Alone Written-By – Boz Staggs* 3:38 A3 Fool That I Am Written-By – Brute Roberts*, Carole Bayer Sager 3:07 A4 (Your Love Has Lifted Me) Higher And Higher Written-By – B. Davis*, P. Smith*, G. Jackson*, R. Miner* 3:55 A5 Nice Feelin` Written-By – Marc Benno 5:26 A6 The Way You Do The Things You Do Producer – Booker T. Jones Written-By – R. Rogers*, W. Robinson* 3:35 B1 I`d Rather Leave While I`m In Love Written-By – Carole Bayer Sager, Peter Allen 3:28 B2 Words Written-By – B. Gibb-R. Gibb-M. Gibb* 3:25 B3 Only You Know And I Know Written-By – Dave Mason 3:36 B4 I Don`t Want To Talk About It Written-By – D. Whitten* 3:36 B5 Fever Written-By – Eddie Cooley, Johnny Davenport* 3:28 B6 Am I Blue Written-By – Grant Clarke, Harry Akst 4:37 Companies, etc. Licensed From – A&M Records, Inc. Phonographic Copyright ℗ – A&M Records, Inc. Recorded At – A&M Studios Recorded At – Wally Heider Recording Studio, Los Angeles Recorded At – Sunset Sound Recorded At – Studio 55, Los Angeles Recorded At – Island Studios Mastered At – A&M Mastering Studios Mastered At – The Mastering Lab Printed By – GIP `Beograd` Credits Arranged By [Horn Arrangements] – Booker T. Jones, Jim Horn Arranged By [String Arrangements] – Booker T. Jones, Mike Utley*, Nick DeCaro Bass – Carl Radle, Chris Ethridge, Chuck Domanico, Dennis Belfield, Leland Sklar, Tommy McClure Congas – Bobbye Hall Porter Drums – Colin Bailey, Jim Keltner, Mike Baird, Sammy Creason Engineer – Bruce Botnick, David Anderle, Glyn Johns, Kent Nebergall, Marty Lewis, Peggy McCreary, Richie Moore*, Ron Hitchcock, Warren Dewey Guitar – Charlie Freeman, Clarence White (2), Dean Parks, Fred Tackett, Jerry McGee, Marc Benno, Ry Cooder Harmonica – Don Brooks Keyboards – Barbara Carroll, Booker T. Jones, Mike Utley*, Spooner Oldham Mastered By – Bernie Grundman, Doug Sax, Mike Reese Pedal Steel Guitar – Al Perkins, Jr.* Producer – Booker T. Jones (tracks: B1), David Anderle Producer [Production Assistant] – Ellen Vogt Vocals [Singers] – Booker T. Jones, Clydie King, Daniel Timms*, Kim Carnes, Sherlie Matthews, Venetta Fields Notes

Season`s Greetings CD2 (The Millenium Collection) Originalno izdanje sa bukletom. Knjizica ima 4 strane. Made in Canada Ovaj cd je deo kompleta od 3 cd-a, prodaje se zasebno bez preostala dva diska. Ocuvanost CD: 5 Omot/knjizica: 5- Spisak pesama: 01 Judy Garland - Have Yourself A Merry Little Christmas 2:44 02 Mel Torme - The Christmas Song 2:46 03 Bruce Cockburn - I Saw Three Ships 4:18 04 Gladys Knight & The Pips - When You Love Someone (It`s Christmas Everyday) 4:37 05 Tom Jones & David Foster - Mary`s Boy Child 4:26 06 Steve Earle - Nothing But A Child 4:24 07 Chuck Leavell - Hey Santa 4:14 08 Roomful Of Blues - I Told Santa Claus 4:16 09 Chuck Berry - Run Run Rudolph 2:45 10 Jackson 5 - Santa Claus Is Coming To Town 2:23 11 Johnny Gill- Give Love On Christmas Day 4:31 12 Bobby Helms - Jingle Bell Rock 2:09 Stanje mozete videti na slikama. Zanrovi: pop, jazz, rock, easy listening, funk, soul, rhythm & blues

Batman/Catwoman: The Wedding Album - The Deluxe Edition It's the marriage of Batman and Catwoman! The wedding of the century is commemorated here in Batman/Catwoman: The Wedding Album, a special collector's item hardcover in designed packaging! The day has finally arrived: the nuptials of Bruce Wayne and Selina Kyle. But their road to wedded bliss won't be easy. With visitors from this time and beyond, the Bat and the Cat will have to undergo even more trials and tribulations before they walk down the aisle. The historic wedding of Batman and Catwoman is commemorated in this must-have collector's item, featuring never-before-seen photos from the wedding album, behind-the-scenes design sketches and variant covers. Written by the critically acclaimed Tom King, this hardcover celebrates one of the biggest milestones in DC history and features art by superstar artists Mikel Janin, David Finch, Joelle Jones, Mitch Gerads, Lee Bermejo, Rafael Albuquerque, Neal Adams, Andy Kubert, Becky Cloonan, Ty Templeton, Jose Luis Garcia-Lopez, and more! Collects Batman #44 and 50.

LP PLOCA 5 MINT OMOT 5- MEMORY 296995-245 MADE IN GERMANY Folk,World & Country, Country-Rock A1.JOHNNY CASH & JUNE CARTER - IF I WERE A CARPENTER A2.DAVID HOUSTON & BARBARA MANDRELL - ALMOST PERSUADED A3.JOHNNY DUNCAN & JUNE STEARNS - JACKSON AIN`T A VERY BIG TOWN A4.DARELL McCALL & WILLIE NELSON - LILY DALE A5.ARLENE HARDEN & FRANK JONES - SOMETHIN` STUPID A6.JODY MILLER & JOHNNY PAYCHECK - LET`S ALL GO DOWN TO THE RIVER B1.GEORGE JONES & TAMMY WYNETTE - SOUTHERN CALIFORNIA B2.CARL & PEARL BUTLER - LOST B3.JOHNNY DUNCAN & JUNE STEARNS - BLUE EYES CRYING IN THE RAIN B4.DAVID HOUSTON & TAMMY WYNETTE - IT`S ALL OVER B5.LYNN ANDERSON & GLENN SUTTON - A PERFECT MATCH B6.JOHNNY CASH & JUNE CARTER - LONG-LEGGED GUITAR PICKIN`MAN

Autor: David Buser, John Kauffman, Juan T. Llibre, Brian Francis, David Sussman, Chris Ullman, Jon Duckett Izdavac: CET - Beograd, 2001. Mek povez, 1198 str. nepodvlačena Pored detaljnog upoznavanja sa ASP tehnologijom, ova knjiga se bavi i novim razvojnim pravcima i integrisanjem ASP-a u najnovije verzije postojecih savremenih tehnologija kao sto su ADO, COM+ i XML. Cilj ove knjige je da korisnike osposobi da prave izazovne i prakticne Web aplikacije, sa inteligentnim, dinamickim stranicama. ASP je buducnost mreze, a ova knjiga kao idealan prvi korak za sve koji traze praktican i konkretan uvod u ASP i programiranje za Web, obuhvata: VBScript kao integralni dio obuke za ucenje ASP-a. Dinamicnije stranice uz pomoc HTML-a. Postavljanje ASP-a, koji se softver koristi i kako se administriraju stranice. Objektno orijentisano programiranje i koriscenje ASP objekata. Potpuno razradjen primjer aplikacije na kome je pokazana sva moc ASP-a; i jos mnogo toga... Kratak sadrzaj: Uvod 1 Pocetak rada sa ASP-om 2 Skriptovanje na strani servera i skriptovanje na strani klijenta 3 Osnovne ASP tehnike 4 Promenljive 5 ASP kontrolne strukture 6 Objekti, svojstva, metodi i dogadaji 7 Objekti Request i Response 8 Aplikacije, sesije i kolacici 9 Obrada gresaka 10 Skripting objekti 11 Active Server Pages komponente 12 ASP i pristup spremistu podataka 13 Koriscenje skupova zapisa 14 Napredne tehnike obrade podataka 15 Pisanje aplikacije 16 Formiranje skript komponenti za ASP 17 Uvod u transakcije i COM+ 18 Uvod u XML Dodatak A: ASP 3.0 objektni model Dodatak B: Objekti Scripting biblioteke izvrsnih rutina Dodatak C: Objektni model ADO 2.5 Dodatak D: Referentni prirucnik za VB Script Dodatak E: Saveti Johna Kauffmana za instalaciju Personal Web Servera na Win 9x plaformama Dodatak F: Formulari i ASP Dodatak G: Kodovi gresaka Dodatak H: Kodovi boja I specijalnih znakova u HTML-u POGLEDAJTE I OSTALE KNJIGE KOJE PRODAJEM KLIKNITE NA LINK http://www.kupindo.com/pretraga.php?Pretraga=&CeleReci=1&Prodavac=madena&Grupa=1&sSort=cena&sSmer=DESC 12

INXS KICK US PROMO LP OMOT-5-/PLOCA-5- Art Direction, Design – Bob Withers, Ken Smith (10), Nick Egan Bass – Garry Gary Beers Cover [Cover Concept] – Michael Hutchence, Nick Egan Drums, Percussion – Jon Farriss Engineer – David Nicholas Engineer [Assistant] – Paula Jones, Richard Moakes Guitar – Andrew Farriss, Kirk Pengilly, Tim Farriss Keyboards – Andrew Farriss Mixed By – Bob Clearmountain Photography By – Grant Matthews (2) Producer – Chris Thomas Saxophone – Kirk Pengilly Vocals – Kirk Pengilly, Michael Hutchence Written-By – Andrew Farriss (tracks: A2 to A5, B1 to B6), Michael Hutchence (tracks: A1 to A4, B1 to B6) A1 Guns In The Sky 2:20 A2 New Sensation 3:39 A3 Devil Inside 5:11 A4 Need You Tonight 3:04 A5 Mediate 2:32 A6 The Loved One Written-By – Gerry Humphreys, Ian Clyne*, Rob Lovett* 3:25 B1 Wild Life 3:07 B2 Never Tear Us Apart 3:02 B3 Mystify 3:15 B4 Kick 3:13 B5 Calling All Nations 3:00 B6 Tiny Daggers 3:29

OMOT 5 CD 5 MINT David Bowie - The Buddha Of Suburbia album cover More images Label: EMI – 50999 5 00463 2 4, EMI – 500 4632 Format: CD, Album, Reissue Country: Europe Released: 2007 Genre: Electronic, Rock Style: Art Rock, Pop Rock 1 Buddha Of Suburbia 4:28 2 Sex And The Church 6:25 3 South Horizon Piano – Mike Garson Recorded By [Mike Garson Piano] – Mike Ruggieri 5:26 4 The Mysteries 7:12 5 Bleed Like A Craze, Dad Drums, Bass, Guitar – 3D Echo 5:22 6 Strangers When We Meet 4:58 7 Dead Against It 5:48 8 Untitled No. 1 5:01 9 Ian Fish, U.K. Heir 6:27 10 Buddha Of Suburbia Guitar – Lenny Kravitz 4:19 Phonographic Copyright ℗ – Jones/Tintoretto Entertainment Co., LLC Copyright © – Jones/Tintoretto Entertainment Co., LLC Copyright © – EMI Records Ltd. Licensed To – EMI Records Ltd. Published By – Tintoretto Music Published By – RZO Music Ltd. Marketed By – EMI Distributed By – EMI Pressed By – www.mediamotion.com Recorded At – Mountain Studios Recorded At – O`Henry Sound Studios Mixed At – Mountain Studios Concept By [Re-issue Cover Colour Concept] – Mark Adams (11) Coordinator [Project Co-ordinated By For EMI] – Jo Brooks, Nigel Reeve Coordinator [Project Co-ordinated By For RZO Music] – Henry Wrenn-Meleck Design – Reiner Design*, Roger Gorman Engineer [Assistant] – Dominik Taqua* Engineer [Engineering], Programmed By – Dave Richards* Keyboards, Trumpet, Bass, Guitar, Percussion – Erdal Kizilcay Lyrics By, Music By, Liner Notes – David Bowie Photography By – John Jefford Photography By [Cover] – Frank Ockenfels 3* Producer, Mixed By – David Bowie, Dave Richards* Vocals, Keyboards, Synthesizer, Guitar, Alto Saxophone, Baritone Saxophone, Percussion [Keyboard Percussion] – David Bowie CD reissue of the 1993 album. Produced and mixed at Mountain Studio, Montreux, Switzerland. Mike Garson piano recorded at O`Henry Sound, Burbank, California. Lenny Kravitz appears courtesy of virgin Records. All songs published by Tintoretto Music (BMI) administered by RZO Music, Inc. (North America), Tintoretto Music/RZO Music Ltd. (Rest of World) ℗ 1993 The copyright in this sound recording is owned by Jones/Tintoretto Entertainment Company LLC under exclusive license to EMI Records Ltd. © 2007 Jones/Tintoretto Entertainment Company LLC under exclusive license to EMI Records Ltd. This label copy information is the subject of copyright protection. All rights reserved. © 2003 EMI Records Ltd. Printed in the EU. Jewel case with 12-page booklet. Barcode (Text): 5 099950 046324

Veliki format, presavijen Melody Maker was a British weekly music magazine, one of the world`s earliest music weeklies, and—according to its publisher IPC Media—the earliest.[2] It was founded in 1926, largely as a magazine for dance band musicians,[3] by Leicester-born composer, publisher Lawrence Wright; the first editor was Edgar Jackson.[4][5] In 2000 it was merged into `long-standing rival`[2] (and IPC Media sister publication) New Musical Express. By the early 1970s, Melody Maker was considered `the musos` journal` and associated with progressive rock. However, Melody Maker also reported on teenybopper pop sensations like the Osmonds, the Jackson 5, and David Cassidy. The music weekly also gave early and sympathetic coverage to glam rock. Richard Williams wrote the first pieces about Roxy Music, while Roy Hollingworth wrote the first article celebrating New York Dolls in proto-punk terms while serving as the Melody Maker`s New York correspondent. In January 1972, Michael `Mick` Watts, a prominent writer for the paper,[13] wrote a profile of David Bowie that almost singlehandedly ignited the singer`s dormant career.[14] During the interview Bowie claimed, `I`m gay, and always have been, even when I was David Jones.`[15] `OH YOU PRETTY THING` ran the headline, and swiftly became part of pop mythology. Bowie later attributed his success to this interview, stating that, `Yeah, it was Melody Maker that made me. It was that piece by Mick Watts.`[16] During his tenure at the paper, Watts also toured with and interviewed artists including Syd Barrett, Waylon Jennings, Pink Floyd, Bob Dylan and Bruce Springsteen. Caroline Coon was headhunted by Melody Maker editor Ray Coleman in the mid-1970s and promptly made it her mission to get women musicians taken seriously. Between 1974 and 1976, she interviewed Maggie Bell, Joan Armatrading, Lynsey de Paul, and Twiggy. She then went on to make it her mission to promote punk rock.[17] In 1978, Richard Williams returned – after a stint working at Island Records – to the paper as the new editor and attempted to take Melody Maker in a new direction, influenced by what Paul Morley and Ian Penman were doing at NME. He recruited Jon Savage (formerly of Sounds), Chris Bohn and Mary Harron to provide intellectual coverage of post-punk bands like Gang of Four, Pere Ubu and Joy Division and of new wave in general. Vivien Goldman, previously at NME and Sounds, gave the paper much improved coverage of reggae and soul music, restoring the superior coverage of those genres that the paper had in the early 1970s. Despite this promise of a new direction for the paper, internal tension developed, principally between Williams and Coleman, by this time editor-in-chief, who wanted the paper to stick to the more `conservative rock` music it had continued to support during the punk era. Coleman had been insistent that the paper should `look like The Daily Telegraph` (renowned for its old-fashioned design), but Williams wanted the paper to look more contemporary. He commissioned an updated design, but this was rejected by Coleman.

Veliki format, presavijen Melody Maker was a British weekly music magazine, one of the world`s earliest music weeklies, and—according to its publisher IPC Media—the earliest.[2] It was founded in 1926, largely as a magazine for dance band musicians,[3] by Leicester-born composer, publisher Lawrence Wright; the first editor was Edgar Jackson.[4][5] In 2000 it was merged into `long-standing rival`[2] (and IPC Media sister publication) New Musical Express. By the early 1970s, Melody Maker was considered `the musos` journal` and associated with progressive rock. However, Melody Maker also reported on teenybopper pop sensations like the Osmonds, the Jackson 5, and David Cassidy. The music weekly also gave early and sympathetic coverage to glam rock. Richard Williams wrote the first pieces about Roxy Music, while Roy Hollingworth wrote the first article celebrating New York Dolls in proto-punk terms while serving as the Melody Maker`s New York correspondent. In January 1972, Michael `Mick` Watts, a prominent writer for the paper,[13] wrote a profile of David Bowie that almost singlehandedly ignited the singer`s dormant career.[14] During the interview Bowie claimed, `I`m gay, and always have been, even when I was David Jones.`[15] `OH YOU PRETTY THING` ran the headline, and swiftly became part of pop mythology. Bowie later attributed his success to this interview, stating that, `Yeah, it was Melody Maker that made me. It was that piece by Mick Watts.`[16] During his tenure at the paper, Watts also toured with and interviewed artists including Syd Barrett, Waylon Jennings, Pink Floyd, Bob Dylan and Bruce Springsteen. Caroline Coon was headhunted by Melody Maker editor Ray Coleman in the mid-1970s and promptly made it her mission to get women musicians taken seriously. Between 1974 and 1976, she interviewed Maggie Bell, Joan Armatrading, Lynsey de Paul, and Twiggy. She then went on to make it her mission to promote punk rock.[17] In 1978, Richard Williams returned – after a stint working at Island Records – to the paper as the new editor and attempted to take Melody Maker in a new direction, influenced by what Paul Morley and Ian Penman were doing at NME. He recruited Jon Savage (formerly of Sounds), Chris Bohn and Mary Harron to provide intellectual coverage of post-punk bands like Gang of Four, Pere Ubu and Joy Division and of new wave in general. Vivien Goldman, previously at NME and Sounds, gave the paper much improved coverage of reggae and soul music, restoring the superior coverage of those genres that the paper had in the early 1970s. Despite this promise of a new direction for the paper, internal tension developed, principally between Williams and Coleman, by this time editor-in-chief, who wanted the paper to stick to the more `conservative rock` music it had continued to support during the punk era. Coleman had been insistent that the paper should `look like The Daily Telegraph` (renowned for its old-fashioned design), but Williams wanted the paper to look more contemporary. He commissioned an updated design, but this was rejected by Coleman.

Veliki format, presavijen Melody Maker was a British weekly music magazine, one of the world`s earliest music weeklies, and—according to its publisher IPC Media—the earliest.[2] It was founded in 1926, largely as a magazine for dance band musicians,[3] by Leicester-born composer, publisher Lawrence Wright; the first editor was Edgar Jackson.[4][5] In 2000 it was merged into `long-standing rival`[2] (and IPC Media sister publication) New Musical Express. By the early 1970s, Melody Maker was considered `the musos` journal` and associated with progressive rock. However, Melody Maker also reported on teenybopper pop sensations like the Osmonds, the Jackson 5, and David Cassidy. The music weekly also gave early and sympathetic coverage to glam rock. Richard Williams wrote the first pieces about Roxy Music, while Roy Hollingworth wrote the first article celebrating New York Dolls in proto-punk terms while serving as the Melody Maker`s New York correspondent. In January 1972, Michael `Mick` Watts, a prominent writer for the paper,[13] wrote a profile of David Bowie that almost singlehandedly ignited the singer`s dormant career.[14] During the interview Bowie claimed, `I`m gay, and always have been, even when I was David Jones.`[15] `OH YOU PRETTY THING` ran the headline, and swiftly became part of pop mythology. Bowie later attributed his success to this interview, stating that, `Yeah, it was Melody Maker that made me. It was that piece by Mick Watts.`[16] During his tenure at the paper, Watts also toured with and interviewed artists including Syd Barrett, Waylon Jennings, Pink Floyd, Bob Dylan and Bruce Springsteen. Caroline Coon was headhunted by Melody Maker editor Ray Coleman in the mid-1970s and promptly made it her mission to get women musicians taken seriously. Between 1974 and 1976, she interviewed Maggie Bell, Joan Armatrading, Lynsey de Paul, and Twiggy. She then went on to make it her mission to promote punk rock.[17] In 1978, Richard Williams returned – after a stint working at Island Records – to the paper as the new editor and attempted to take Melody Maker in a new direction, influenced by what Paul Morley and Ian Penman were doing at NME. He recruited Jon Savage (formerly of Sounds), Chris Bohn and Mary Harron to provide intellectual coverage of post-punk bands like Gang of Four, Pere Ubu and Joy Division and of new wave in general. Vivien Goldman, previously at NME and Sounds, gave the paper much improved coverage of reggae and soul music, restoring the superior coverage of those genres that the paper had in the early 1970s. Despite this promise of a new direction for the paper, internal tension developed, principally between Williams and Coleman, by this time editor-in-chief, who wanted the paper to stick to the more `conservative rock` music it had continued to support during the punk era. Coleman had been insistent that the paper should `look like The Daily Telegraph` (renowned for its old-fashioned design), but Williams wanted the paper to look more contemporary. He commissioned an updated design, but this was rejected by Coleman.

Veliki format, presavijen Melody Maker was a British weekly music magazine, one of the world`s earliest music weeklies, and—according to its publisher IPC Media—the earliest.[2] It was founded in 1926, largely as a magazine for dance band musicians,[3] by Leicester-born composer, publisher Lawrence Wright; the first editor was Edgar Jackson.[4][5] In 2000 it was merged into `long-standing rival`[2] (and IPC Media sister publication) New Musical Express. By the early 1970s, Melody Maker was considered `the musos` journal` and associated with progressive rock. However, Melody Maker also reported on teenybopper pop sensations like the Osmonds, the Jackson 5, and David Cassidy. The music weekly also gave early and sympathetic coverage to glam rock. Richard Williams wrote the first pieces about Roxy Music, while Roy Hollingworth wrote the first article celebrating New York Dolls in proto-punk terms while serving as the Melody Maker`s New York correspondent. In January 1972, Michael `Mick` Watts, a prominent writer for the paper,[13] wrote a profile of David Bowie that almost singlehandedly ignited the singer`s dormant career.[14] During the interview Bowie claimed, `I`m gay, and always have been, even when I was David Jones.`[15] `OH YOU PRETTY THING` ran the headline, and swiftly became part of pop mythology. Bowie later attributed his success to this interview, stating that, `Yeah, it was Melody Maker that made me. It was that piece by Mick Watts.`[16] During his tenure at the paper, Watts also toured with and interviewed artists including Syd Barrett, Waylon Jennings, Pink Floyd, Bob Dylan and Bruce Springsteen. Caroline Coon was headhunted by Melody Maker editor Ray Coleman in the mid-1970s and promptly made it her mission to get women musicians taken seriously. Between 1974 and 1976, she interviewed Maggie Bell, Joan Armatrading, Lynsey de Paul, and Twiggy. She then went on to make it her mission to promote punk rock.[17] In 1978, Richard Williams returned – after a stint working at Island Records – to the paper as the new editor and attempted to take Melody Maker in a new direction, influenced by what Paul Morley and Ian Penman were doing at NME. He recruited Jon Savage (formerly of Sounds), Chris Bohn and Mary Harron to provide intellectual coverage of post-punk bands like Gang of Four, Pere Ubu and Joy Division and of new wave in general. Vivien Goldman, previously at NME and Sounds, gave the paper much improved coverage of reggae and soul music, restoring the superior coverage of those genres that the paper had in the early 1970s. Despite this promise of a new direction for the paper, internal tension developed, principally between Williams and Coleman, by this time editor-in-chief, who wanted the paper to stick to the more `conservative rock` music it had continued to support during the punk era. Coleman had been insistent that the paper should `look like The Daily Telegraph` (renowned for its old-fashioned design), but Williams wanted the paper to look more contemporary. He commissioned an updated design, but this was rejected by Coleman.

Veliki format, presavijen Melody Maker was a British weekly music magazine, one of the world`s earliest music weeklies, and—according to its publisher IPC Media—the earliest.[2] It was founded in 1926, largely as a magazine for dance band musicians,[3] by Leicester-born composer, publisher Lawrence Wright; the first editor was Edgar Jackson.[4][5] In 2000 it was merged into `long-standing rival`[2] (and IPC Media sister publication) New Musical Express. By the early 1970s, Melody Maker was considered `the musos` journal` and associated with progressive rock. However, Melody Maker also reported on teenybopper pop sensations like the Osmonds, the Jackson 5, and David Cassidy. The music weekly also gave early and sympathetic coverage to glam rock. Richard Williams wrote the first pieces about Roxy Music, while Roy Hollingworth wrote the first article celebrating New York Dolls in proto-punk terms while serving as the Melody Maker`s New York correspondent. In January 1972, Michael `Mick` Watts, a prominent writer for the paper,[13] wrote a profile of David Bowie that almost singlehandedly ignited the singer`s dormant career.[14] During the interview Bowie claimed, `I`m gay, and always have been, even when I was David Jones.`[15] `OH YOU PRETTY THING` ran the headline, and swiftly became part of pop mythology. Bowie later attributed his success to this interview, stating that, `Yeah, it was Melody Maker that made me. It was that piece by Mick Watts.`[16] During his tenure at the paper, Watts also toured with and interviewed artists including Syd Barrett, Waylon Jennings, Pink Floyd, Bob Dylan and Bruce Springsteen. Caroline Coon was headhunted by Melody Maker editor Ray Coleman in the mid-1970s and promptly made it her mission to get women musicians taken seriously. Between 1974 and 1976, she interviewed Maggie Bell, Joan Armatrading, Lynsey de Paul, and Twiggy. She then went on to make it her mission to promote punk rock.[17] In 1978, Richard Williams returned – after a stint working at Island Records – to the paper as the new editor and attempted to take Melody Maker in a new direction, influenced by what Paul Morley and Ian Penman were doing at NME. He recruited Jon Savage (formerly of Sounds), Chris Bohn and Mary Harron to provide intellectual coverage of post-punk bands like Gang of Four, Pere Ubu and Joy Division and of new wave in general. Vivien Goldman, previously at NME and Sounds, gave the paper much improved coverage of reggae and soul music, restoring the superior coverage of those genres that the paper had in the early 1970s. Despite this promise of a new direction for the paper, internal tension developed, principally between Williams and Coleman, by this time editor-in-chief, who wanted the paper to stick to the more `conservative rock` music it had continued to support during the punk era. Coleman had been insistent that the paper should `look like The Daily Telegraph` (renowned for its old-fashioned design), but Williams wanted the paper to look more contemporary. He commissioned an updated design, but this was rejected by Coleman.

Veliki format, presavijen Melody Maker was a British weekly music magazine, one of the world`s earliest music weeklies, and—according to its publisher IPC Media—the earliest.[2] It was founded in 1926, largely as a magazine for dance band musicians,[3] by Leicester-born composer, publisher Lawrence Wright; the first editor was Edgar Jackson.[4][5] In 2000 it was merged into `long-standing rival`[2] (and IPC Media sister publication) New Musical Express. By the early 1970s, Melody Maker was considered `the musos` journal` and associated with progressive rock. However, Melody Maker also reported on teenybopper pop sensations like the Osmonds, the Jackson 5, and David Cassidy. The music weekly also gave early and sympathetic coverage to glam rock. Richard Williams wrote the first pieces about Roxy Music, while Roy Hollingworth wrote the first article celebrating New York Dolls in proto-punk terms while serving as the Melody Maker`s New York correspondent. In January 1972, Michael `Mick` Watts, a prominent writer for the paper,[13] wrote a profile of David Bowie that almost singlehandedly ignited the singer`s dormant career.[14] During the interview Bowie claimed, `I`m gay, and always have been, even when I was David Jones.`[15] `OH YOU PRETTY THING` ran the headline, and swiftly became part of pop mythology. Bowie later attributed his success to this interview, stating that, `Yeah, it was Melody Maker that made me. It was that piece by Mick Watts.`[16] During his tenure at the paper, Watts also toured with and interviewed artists including Syd Barrett, Waylon Jennings, Pink Floyd, Bob Dylan and Bruce Springsteen. Caroline Coon was headhunted by Melody Maker editor Ray Coleman in the mid-1970s and promptly made it her mission to get women musicians taken seriously. Between 1974 and 1976, she interviewed Maggie Bell, Joan Armatrading, Lynsey de Paul, and Twiggy. She then went on to make it her mission to promote punk rock.[17] In 1978, Richard Williams returned – after a stint working at Island Records – to the paper as the new editor and attempted to take Melody Maker in a new direction, influenced by what Paul Morley and Ian Penman were doing at NME. He recruited Jon Savage (formerly of Sounds), Chris Bohn and Mary Harron to provide intellectual coverage of post-punk bands like Gang of Four, Pere Ubu and Joy Division and of new wave in general. Vivien Goldman, previously at NME and Sounds, gave the paper much improved coverage of reggae and soul music, restoring the superior coverage of those genres that the paper had in the early 1970s. Despite this promise of a new direction for the paper, internal tension developed, principally between Williams and Coleman, by this time editor-in-chief, who wanted the paper to stick to the more `conservative rock` music it had continued to support during the punk era. Coleman had been insistent that the paper should `look like The Daily Telegraph` (renowned for its old-fashioned design), but Williams wanted the paper to look more contemporary. He commissioned an updated design, but this was rejected by Coleman.

Veliki format, presavijen, kompletan Melody Maker was a British weekly music magazine, one of the world`s earliest music weeklies, and—according to its publisher IPC Media—the earliest.[2] It was founded in 1926, largely as a magazine for dance band musicians,[3] by Leicester-born composer, publisher Lawrence Wright; the first editor was Edgar Jackson.[4][5] In 2000 it was merged into `long-standing rival`[2] (and IPC Media sister publication) New Musical Express. By the early 1970s, Melody Maker was considered `the musos` journal` and associated with progressive rock. However, Melody Maker also reported on teenybopper pop sensations like the Osmonds, the Jackson 5, and David Cassidy. The music weekly also gave early and sympathetic coverage to glam rock. Richard Williams wrote the first pieces about Roxy Music, while Roy Hollingworth wrote the first article celebrating New York Dolls in proto-punk terms while serving as the Melody Maker`s New York correspondent. In January 1972, Michael `Mick` Watts, a prominent writer for the paper,[13] wrote a profile of David Bowie that almost singlehandedly ignited the singer`s dormant career.[14] During the interview Bowie claimed, `I`m gay, and always have been, even when I was David Jones.`[15] `OH YOU PRETTY THING` ran the headline, and swiftly became part of pop mythology. Bowie later attributed his success to this interview, stating that, `Yeah, it was Melody Maker that made me. It was that piece by Mick Watts.`[16] During his tenure at the paper, Watts also toured with and interviewed artists including Syd Barrett, Waylon Jennings, Pink Floyd, Bob Dylan and Bruce Springsteen. Caroline Coon was headhunted by Melody Maker editor Ray Coleman in the mid-1970s and promptly made it her mission to get women musicians taken seriously. Between 1974 and 1976, she interviewed Maggie Bell, Joan Armatrading, Lynsey de Paul, and Twiggy. She then went on to make it her mission to promote punk rock.[17] In 1978, Richard Williams returned – after a stint working at Island Records – to the paper as the new editor and attempted to take Melody Maker in a new direction, influenced by what Paul Morley and Ian Penman were doing at NME. He recruited Jon Savage (formerly of Sounds), Chris Bohn and Mary Harron to provide intellectual coverage of post-punk bands like Gang of Four, Pere Ubu and Joy Division and of new wave in general. Vivien Goldman, previously at NME and Sounds, gave the paper much improved coverage of reggae and soul music, restoring the superior coverage of those genres that the paper had in the early 1970s. Despite this promise of a new direction for the paper, internal tension developed, principally between Williams and Coleman, by this time editor-in-chief, who wanted the paper to stick to the more `conservative rock` music it had continued to support during the punk era. Coleman had been insistent that the paper should `look like The Daily Telegraph` (renowned for its old-fashioned design), but Williams wanted the paper to look more contemporary. He commissioned an updated design, but this was rejected by Coleman.

Veliki format, presavijen Melody Maker was a British weekly music magazine, one of the world`s earliest music weeklies, and—according to its publisher IPC Media—the earliest.[2] It was founded in 1926, largely as a magazine for dance band musicians,[3] by Leicester-born composer, publisher Lawrence Wright; the first editor was Edgar Jackson.[4][5] In 2000 it was merged into `long-standing rival`[2] (and IPC Media sister publication) New Musical Express. By the early 1970s, Melody Maker was considered `the musos` journal` and associated with progressive rock. However, Melody Maker also reported on teenybopper pop sensations like the Osmonds, the Jackson 5, and David Cassidy. The music weekly also gave early and sympathetic coverage to glam rock. Richard Williams wrote the first pieces about Roxy Music, while Roy Hollingworth wrote the first article celebrating New York Dolls in proto-punk terms while serving as the Melody Maker`s New York correspondent. In January 1972, Michael `Mick` Watts, a prominent writer for the paper,[13] wrote a profile of David Bowie that almost singlehandedly ignited the singer`s dormant career.[14] During the interview Bowie claimed, `I`m gay, and always have been, even when I was David Jones.`[15] `OH YOU PRETTY THING` ran the headline, and swiftly became part of pop mythology. Bowie later attributed his success to this interview, stating that, `Yeah, it was Melody Maker that made me. It was that piece by Mick Watts.`[16] During his tenure at the paper, Watts also toured with and interviewed artists including Syd Barrett, Waylon Jennings, Pink Floyd, Bob Dylan and Bruce Springsteen. Caroline Coon was headhunted by Melody Maker editor Ray Coleman in the mid-1970s and promptly made it her mission to get women musicians taken seriously. Between 1974 and 1976, she interviewed Maggie Bell, Joan Armatrading, Lynsey de Paul, and Twiggy. She then went on to make it her mission to promote punk rock.[17] In 1978, Richard Williams returned – after a stint working at Island Records – to the paper as the new editor and attempted to take Melody Maker in a new direction, influenced by what Paul Morley and Ian Penman were doing at NME. He recruited Jon Savage (formerly of Sounds), Chris Bohn and Mary Harron to provide intellectual coverage of post-punk bands like Gang of Four, Pere Ubu and Joy Division and of new wave in general. Vivien Goldman, previously at NME and Sounds, gave the paper much improved coverage of reggae and soul music, restoring the superior coverage of those genres that the paper had in the early 1970s. Despite this promise of a new direction for the paper, internal tension developed, principally between Williams and Coleman, by this time editor-in-chief, who wanted the paper to stick to the more `conservative rock` music it had continued to support during the punk era. Coleman had been insistent that the paper should `look like The Daily Telegraph` (renowned for its old-fashioned design), but Williams wanted the paper to look more contemporary. He commissioned an updated design, but this was rejected by Coleman.

Rickie Lee Jones - The Magazine Rock / Jazz Rock Suzy / 1985 / Made in Yugoslavia Treći studijski album pevačice na kojem svira ekipa poznatih rock i jazz muzičara. Procena stanja ploče/omota: 5-/4 (ploča ponegde malo pucketa, ali nigde ne preskače; u gornjem desnim uglu omota je ostao mali oguljen deo, verovatno ostao posle skidanja etikete sa cenom; na nekim mestima omota je vidljiv kružni oblik ploče - pogledati fotografije). Rickie Lee Jones - vocals, piano, synthesizer (GS-1 digital synthesizer) Steve Lukather (Toto) - guitar Nathan East (Fourplay, Eric Clapton, Phil Collins...) - bass Steve Gadd (Steely Dan, Weather Report, Kate Bush...) - drums Lenny Castro (Adele, Joe Bonamassa, Simply Red...) - percussion Jeff Porcaro (Toto, Bruce Springsteen, Madonna...) - drums James Newton Howard - synthesizer Greg Phillinganes - Fender Rhodes Michael Boddicker - additional programming, additional synthesizer Neil Larsen - DX-7 synthesizer, organ, Wurlitzer electric piano Nick DeCaro - accordion Dean Parks - guitar Buzz Feiten - guitar Jeff Pevar - guitar, 12-string guitar, mandolin Sal Bernardi - acoustic guitar, vocals David Hungate - bass Victor Feldman - percussion Strings for `Prelude to Gravity` arranged by James Newton Howard and Marty Paich and conducted by Paich A1 Prelude To Gravity 2:49 A2 Gravity 4:43 A3 Juke Box Fury 4:11 A4 It Must Be Love 4:54 A5 Magazine 4:42 B1 The Real End 4:58 B2 Deep Space 3:12 B3 Runaround 4:59 Rorschachs: B4 Theme For The Pope (Marrants D`eau Douce) 3:15 B5a The Unsigned Painting 2:18 B5b The Weird Beast 2:39

Stanje kao na fotografijama 35cm x 50cm Dvoboj na suncu (nadimak Žudnja u prašini) američki je psihološki zapadnjački film iz 1946. godine u režiji kralja Vidara, u produkciji i scenariju Davida O. Selznicka, koji govori o djevojci Mestize (polunative Amerikanke) koja odlazi živjeti sa svojim bijelim rođacima, uplevši se u predrasude i zabranjenu ljubav. U filmu Technicolor glume Jennifer Jones, Joseph Cotten, Gregory Peck, Lillian Gish i Lionel Barrymore. Directed by King Vidor Written by Oliver H.P. Garrett (adaptation) David O. Selznick (screenplay) Ben Hecht (uncredited) Based on Duel in the Sun by Niven Busch Produced by David O. Selznick Starring Jennifer Jones Joseph Cotten Gregory Peck Narrated by Orson Welles Cinematography Lee Garmes Ray Rennahan Harold Rosson Edited by John D. Faure Charles L. Freeman Hal Kern William H. Ziegler Music by Dimitri Tiomkin Production company Vanguard Films Distributed by Selznick Releasing Organization Release date December 30, 1946 [1] Running time 145 minutes Country United States Language English Budget $6.48 million[2] Box office $20.4 million Jennifer Jones as Pearl Chavez Joseph Cotten as Jesse McCanles Gregory Peck as Lewton `Lewt` McCanles Lionel Barrymore as Senator Jackson McCanles Herbert Marshall as Scott Chavez Lillian Gish as Laura Belle McCanles Walter Huston as Jubal Crabbe, The Sinkiller Charles Bickford as Sam Pierce Harry Carey as Lem Smoot Charles Dingle as Sheriff Hardy Sidney Blackmer as The `Lover` of Mrs. Chavez Butterfly McQueen as Vashti Otto Kruger as Mr. Langford Joan Tetzel as Helen Langford Tilly Losch as Mrs. Chavez Scott McKay as Sid Hank Bell as Ranch Hand (uncredited) Bob McKenzie as Bartender Zeke (uncredited) Originalan filmski plakat

Jon Lord And Various ‎– Celebrating Jon Lord The Rock Legend Label: Ear Music (2) ‎– 0209755ERE Format: 2 × CD, Album Country: Germany Released: 2014 Genre: Rock Style: Symphonic Rock, Hard Rock, Classic Rock, Blues Rock Tracklist: 1-1 –Paul Weller Things Get Better Written-By – Eddie Floyd, Steve Cropper, Wayne Jackson 1-2 –Paul Weller, Micky Moody I Take What I Want Written-By – David Porter, Isaac Hayes, Mabon `Teenie` Hodges 1-3 –Phil Campbell*, Ian Paice, Bernie Marsden Silas And Jerome Written-By – Ian Paice, Jon Lord, Tony Ashton 1-4 –Phil Campbell (3), Ian Paice, Bernie Marsden I`m Gonna Stop Drinking Written-By – Ian Paice, Jon Lord, Tony Ashton 1-5 –Steve Balsamo, Sandi Thom, Micky Moody Soldier Of Fortune Written-By – David Coverdale, Ritchie Blackmore 1-6 –Glenn Hughes, Bruce Dickinson, Ian Paice, Don Airey, Micky Moody You Keep On Moving Written-By – David Coverdale, Glenn Hughes 1-7 –Glenn Hughes, Bruce Dickinson, Ian Paice, Don Airey, Rick Wakeman Burn Written-By – David Coverdale, Glenn Hughes, Ian Paice, Jon Lord, Ritchie Blackmore 1-8 –Glenn Hughes This Time Around Written-By – Glenn Hughes, Jon Lord 2-1 –Deep Purple Uncommon Man Written-By – Bob Ezrin, Don Airey, Ian Gillan, Ian Paice, Steve Morse 2-2 –Deep Purple Above And Beyond Written-By – Bob Ezrin, Don Airey, Ian Gillan, Ian Paice, Roger Glover, Steve Morse 2-3 –Deep Purple With Stephen Bentley-Klein* Lazy Written-By – Ian Gillan, Ian Paice, Ritchie Blackmore, Roger Glover 2-4 –Deep Purple When A Blind Man Cries Written-By – Ian Gillan, Ian Paice, Ritchie Blackmore, Roger Glover 2-5 –Deep Purple Perfect Strangers Written-By – Ian Gillan, Ritchie Blackmore, Roger Glover 2-6 –Deep Purple Black Night Written-By – Ian Gillan, Ian Paice, Ritchie Blackmore, Roger Glover 2-7 –Deep Purple With Bruce Dickinson, Rick Wakeman, Phil Campbell (3), Bernie Marsden, Micky Moody Hush Written-By – Joe South NOVO U CELOFANU

- NOMINOVAN ZA OSKARA KAO NAJBOLJI STRANI FILM 1999 - DRAMA,ROMANSA - REZIJA:PAUL MORRISON - ULOGE:IOAN GRUFFUDD,NIA ROBERTS,SUE JONES DAVIES,WILLIAM THOMAS,DAVID HOROVITCH - TRAJANJE:104 min. - ZVUK:5.1 SURROUND - SINOPSIS:AMERICKA FILMSKA AKADEMIJA PROGLASILA JE OVAJ FILM ZA JEDAN OD NAJBOLJIH NEAMERICKIH FILMOVA U 1999.GODINI I NOMINOVALA GA MEDJU PET KANDIDATA ZA NAGRADU OSKAR ZA NAJBOLJI STRANI FILM 1999. SA ZALEDJEM U RASNIM TENZIJAMA I INDUSTRIJSKOM ZAMAHU U VELSKIM DOLINAMA 1911.GODINE,FILM PRATI POTRESNE I STRASNE DOGADJAJE VEZANE ZA ZABRANJENU LJUBAV VELSKE DEVOJKE I JEVREJSKOG MOMKA.PAR KOJI PRIPADA SLICNIM ALI I TOLIKO RAZLICITIM SVETOVIMA,BEZNADEZNO JE ZALJUBLJEN.SANSE NISU NA NJIHOVOJ STRANI JER ZGRANUTA OKOLINA U KOJOJ ZIVE,UCINICE SVE DA UNISTI NJIHOVU KRHKU SRECU.