Eric Clapton - Slowhand. Izdanje Polydor,EU,Remastered. CD 5 Buklet 5 5-

Kojoti - Kojoti Originalno izdanje (digipak). Made in Croatia Ocuvanost CD: 5-/4+++ (nekoliko sitnih crtica izvan snimljene povrsine, ne utice na rad) Omot: 4+ (tragovi koriscenja) Spisak pesama: 01 Sto Milja Daleko Od Nje 2:43 02 Ti Imaš Ono Što Meni Treba 5:00 03 Razuzdan I Lud 4:17 04 Posljednji Metak 2:58 05 Okamenjen 3:22 06 Ponovo Sam 5:00 07 Na Kraju Svijeta 3:20 08 Zadovolji Me 2:47 09 Ljubav 2:43 10 Moćan San 4:50 11 Tear In My Bear 3:52 Stanje mozete videti na slikama. Zanrovi: garage rock, psychedelic rock pmsr1

Paganini, Roman Simovic - 24 Caprices Originalno izdanje sa bukletom. Made in UK Novo, neotpakovano, u celofanu! Dve naprsline na prednjoj strani kutije. Spisak pesama: 24 Caprices For Violin Solo CD1 01 No. 1 In E Major 2:02 02 No. 2 In B Minor 4:32 03 No. 3 In E Mino 3:57 04 No. 4 In C Minor 8:11 05 No. 5 In A Minor 2:45 06 No. 6 In G Minor 5:47 07 No. 7 In A Minor 4:45 08 No. 8 In E Flat Major 3:14 09 No. 9 In E Major (The Hunt) 3:49 10 No. 10 In G Minor 3:00 11 No. 11 In C Major 5:06 12 No. 12 In A Flat Major 3:08 CD2 01 No. 13 In B Flat Major (The Devil`s Laughter) 3:09 02 No. 14 In E Flat Major 1:29 03 No. 15 In E Minor 3:32 04 No. 16 in G Minor 1:36 05 No. 17 In E Flat Major 4:02 06 No. 18 In C Major 2:44 07 No. 19 In E Flat Major 3:57 08 No. 20 In D Major 3:57 09 No. 21 In A Major 4:09 10 No. 22 In F Major 3:14 11 No. 23 In E Flat Major 6:31 12 No. 24 In A Minor 6:12 Stanje mozete videti na slikama. Zanrovi: classical pvs1r0

OMOT 5- CD 5- Various – Манастир Хиландар - Ваведење 1999 (Литургија 1) Label: Манастир Хиландар, Света Гора Атонска – ХЛНДР4 Series: Сазвучја Хиландарског Славославља Format: CD, Album, Remastered Country: Yugoslavia Released: 2001 Genre: Non-Music, Classical Style: Religious, Promotional, Early Tracklist 1 Облачење Архијереја, `Τόυ Δεσπότηυ Χαί `Αςχιεςέα ...`, Глас Седми (Тешки) 6:29 2 `Свљише Пророцљи` Глас Седми (Тешки) 10:20 3 Почетак Божанствене Литургије, Велика Јектенија 5:22 4 Изобразитељни Псалам 102, Глас Осми (Плагални Четврти) 5:30 5 Изобразитељни Псалам 102, Глас Четврти (`Λέγετος`) 4:26 6 Блажена, Глас Четврти и Глас Први 5:27 7 Мали Вход, `Входное`, Глас Други, Тропар Храма, Глас Четврти 4:42 8 Трисвета Песма, Глас Други 6:46 9 `Δύυαμις`, Глас Пети (Плагални Први), `Господи Спаси Благочестивљим`, Глас Трећи, Многољетија Петријарсима: Васељенском Г.Г.Вартоломеју И Српском Г.Г.Павлу, Глас Други 10:26 10 Прокимен И Апостол, На Грчком И Црквенословенском 5:59 11 Алилуја, Глас Први 3:18 12 Јеванђеље, На Грчком И Црквенословенском, `Είςς Πολλά Ёτη, Δέσποτα` 4:39 Companies, etc. Manufactured By – VTCD Credits Choir – Јеромонах Антипа Из Келије Свете Ане*, Братство Данилеја Из Катунакије*, Братство Томадес Из Скита Мале Свете Ане*, Монаси Из Светоархангелског Општежитељног Манастира У Ковиљу, Србија, Епархија Бачка*, Појци Из Српског Византијског Хора Мојсије Петровић, Београд* Engineer – Зоран Јерковић* Soloist – Појац Игор Зиројевић* Barcode and Other Identifiers Matrix / Runout: VTCD HLNDR4 Matrix / Runout: IFPI L201 Rights Society: SOKOJ/BIEM Other: DDD

Made in Austria. Booklet na 12 strana. Booklet: 5 Diskovi: 4, 4+ Album + CD single Whatever Label: Helter Skelter – HES 477318 6, Helter Skelter – 477318 6 Format: CD, Album + CD, Single All Media, Limited Edition, Special Edition Country: Europe Released: 1994 Genre: Rock, Pop Style: Brit Pop, Pop Rock Definitely Maybe is the debut studio album by English rock band Oasis, released by Creation Records on 29 August 1994. Oasis booked Monnow Valley Studio near Rockfield in late 1993 to record the album and worked with producer Dave Batchelor, whom band member Noel Gallagher knew from his days working as a roadie for the Inspiral Carpets, though sessions were unsatisfactory and Batchelor was subsequently fired. In January 1994, the group set about re-recording the album at Sawmills Studio in Cornwall, where sessions were produced by Noel alongside Mark Coyle. The results were still deemed unsatisfactory; in desperation, Creation`s Marcus Russell contacted engineer and producer Owen Morris, who eventually worked on mastering the album at Johnny Marr`s studio in Manchester. Definitely Maybe is the only album by Oasis to feature drummer Tony McCarroll, who was fired from the band in 1995 during the recording of their next album, (What`s the Story) Morning Glory? (1995). Definitely Maybe was an immediate commercial and critical success in the United Kingdom, having followed on the heels of the singles `Supersonic`, `Shakermaker`, and the UK top-ten hit `Live Forever`, which was also a success on US Rock Airplay. The album went on to sell over 8 million copies worldwide and brought widespread critical acclaim. It went straight to number one in the UK Albums Chart and became the fastest-selling debut album in the UK at the time; it went on to be certified 8x platinum by the BPI for sales of over 2.4 million units. It also was successful in the United States, being certified platinum. The album helped to spur a revitalisation in British pop music in the 1990s, and was embraced by critics for its optimistic themes and rejection of the negative outlook of the grunge music of the time. The album is regarded as a seminal entry of the Britpop scene, and has appeared in many publications` lists of the greatest albums of all time. In 2006, the NME conducted a readers` poll in which Definitely Maybe was voted the greatest album of all time. In 2015, Spin included the album in their list of `The 300 Best Albums of 1985–2014`. Rolling Stone ranked the album at No. 217 on its 2020 list of the 500 Greatest Albums of All Time.

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Stephane Grappelli-Stephane Grappelli CD Compilation (1989) Made in France Jazz Collection stanje diska neslusan,prednji omot 4 Strane. !!!DISK ULTRA REDAK I KOLEKCIONARSKI PRIMERAK!!!!

Original, made in EU Novo, u celofanu Redak disk Mentor i ucitelj Luja Armstronga King Oliver And His Creole Jazz Band* – 1923 Label: Classics (11) – CLASSICS 650 Series: The Classics Chronological Series – 650 Format: CD, Compilation, Remastered Country: France Released: Jul 1992 Genre: Jazz Style: 1 King Oliver`s Creole Jazz Band– Just Gone 2:38 2 King Oliver`s Creole Jazz Band– Canal Street Blues 2:30 3 King Oliver`s Creole Jazz Band– Mandy Lee Blues 2:09 4 King Oliver`s Creole Jazz Band– I`m Going Away To Wear You Off My Mind 2:50 5 King Oliver`s Creole Jazz Band– Chimes Blues 2:48 6 King Oliver`s Creole Jazz Band– Weather Bird Rag 2:38 7 King Oliver`s Creole Jazz Band– Dipper Mouth Blues 2:27 8 King Oliver`s Creole Jazz Band– Froggie Moore 2:59 9 King Oliver`s Creole Jazz Band– Snake Rag 2:58 10 King Oliver`s Jazz Band– Snake Rag 3:15 11 King Oliver`s Jazz Band– Sweet Lovin` Man 2:41 12 King Oliver`s Jazz Band– High Society Rag 2:55 13 King Oliver`s Jazz Band– Sobbin` Blues 3:07 14 King Oliver`s Jazz Band– Where Did You Stay Last Night? 2:27 15 King Oliver`s Jazz Band– Dipper Mouth Blues 2:13 16 King Oliver`s Jazz Band– Jazzin` Babies` Blues 2:56 17 King Oliver And His Creole Jazz Band*– Alligator Hop 2:19 18 King Oliver And His Creole Jazz Band*– Zulus Ball 2:31 19 King Oliver And His Creole Jazz Band*– Working Man`s Blues 2:10 20 King Oliver And His Creole Jazz Band*– Krooked Blues 2:49 21 King Oliver`s Jazz Band– Chattanooga Stomp 2:57 22 King Oliver`s Jazz Band– London (Cafe) Blues 2:41 23 King Oliver`s Jazz Band– Camp Meeting Blues 2:54 24 King Oliver`s Jazz Band– New Orleans Stomp 2:52 Barcode: 307517065025 Joseph Nathan `King` Oliver (December 19, 1881 – April 10, 1938) was an American jazz cornet player and bandleader. He was particularly recognized for his playing style and his pioneering use of mutes in jazz. Also a notable composer, he wrote many tunes still played today, including `Dippermouth Blues`, `Sweet Like This`, `Canal Street Blues`, and `Doctor Jazz`. He was the mentor and teacher of Louis Armstrong. His influence was such that Armstrong claimed, `if it had not been for Joe Oliver, Jazz would not be what it is today.` Biography Life Joseph Nathan Oliver was born in Aben, Louisiana, near Donaldsonville in Ascension Parish, and moved to New Orleans in his youth. He first studied the trombone, then changed to cornet. From 1908 to 1917 he played cornet in New Orleans brass bands and dance bands and in the city`s red-light district, which came to be known as Storyville. A band he co-led with trombonist Kid Ory was considered one of the best and hottest in New Orleans in the late 1910s.[2] He was popular in New Orleans across economic and racial lines and was in demand for music jobs of all kinds. According to an interview at Tulane University`s Hogan Jazz Archive with Oliver`s widow Estella, a fight broke out at a dance where Oliver was playing, and the police arrested him, his band, and the fighters. After Storyville closed, he moved to Chicago in 1918 with his wife and step-daughter, Ruby Tuesday Oliver.[3] Noticeably different in his approach were faster tempos, unlike the slow drags in the African-American dance halls of New Orleans.[4] In Chicago, he found work with colleagues from New Orleans, such as clarinetist Lawrence Duhé, bassist Bill Johnson, trombonist Roy Palmer, and drummer Paul Barbarin.[5] He became leader of Duhé`s band, playing at a number of Chicago clubs. In the summer of 1921 he took a group to the West Coast, playing engagements in San Francisco and Oakland, California.[3] On the west coast, Oliver and his band engaged with the vaudeville tradition, performing in plantation outfits.[6] Oliver and his band returned to Chicago in 1922, where they started playing in the Royal Gardens cabaret (later renamed the Lincoln Gardens) as King Oliver and his Creole Jazz Band. In addition to Oliver on cornet, the personnel included his protégé Louis Armstrong on second cornet, Baby Dodds on drums, Johnny Dodds on clarinet, Lil Hardin (later Armstrong`s wife) on piano, Honoré Dutrey on trombone, and Bill Johnson on double bass.[3] Recordings made by this group in 1923 for Gennett, Okeh, Paramount, and Columbia demonstrated the New Orleans style of collective improvisation, also known as Dixieland, and brought it to a larger audience. Armstrong notably had to stand in the corner of the room, away from the horn, because of his powerful playing.[7] In addition, white musicians would visit Lincoln Gardens in order to learn from Oliver and his band.[8] A prospective tour in the midwestern states ultimately broke up the band in 1924.[9] In the mid-1920s Oliver enlarged his band to nine musicians, performing under the name King Oliver and his Dixie Syncopators, and began using more written arrangements with jazz solos. This band led by Oliver at the Plantation Café was in direct competition with Louis Armstrong`s Sunset Stompers, who performed at the Sunset Café.[10] In 1927 the band went to New York, but he disbanded it to do freelance jobs. In the later 1920s, he struggled with playing trumpet due to his gum disease, so he employed others to handle the solos, including his nephew Dave Nelson, Louis Metcalf, and Red Allen. He reunited the band in 1928, recording for Victor Talking Machine Company one year later. He continued with modest success until a downturn in the economy made it more difficult to find bookings. His periodontitis made playing the trumpet progressively difficult.[11] He quit playing music in 1937.[3] Work and influence As a player, Oliver took great interest in altering his horn`s sound. He pioneered the use of mutes, including the rubber plumber`s plunger, derby hat, bottles and cups. His favorite mute was a small metal mute made by the C.G. Conn Instrument Company, with which he played his famous solo on his composition the `Dippermouth Blues` (an early nickname for fellow cornetist Louis Armstrong). His recording `Wa Wa Wa` with the Dixie Syncopators can be credited with giving the name wah-wah to such techniques. This `freak` style of trumpet playing was also featured in his composition, `Eccentric.`[12] Oliver was also a talented composer, and wrote many tunes that are still regularly played, including `Dippermouth Blues,` `Sweet Like This,` `Canal Street Blues,` and `Doctor Jazz.` `Dippermouth Blues,` for example, was adapted by Don Redman for Fletcher Henderson`s Orchestra under the new name of `Sugar Foot Stomp.` Oliver performed mostly on cornet, but like many cornetists he switched to trumpet in the late 1920s. He credited jazz pioneer Buddy Bolden as an early influence, and in turn was a major influence on numerous younger cornet/trumpet players in New Orleans and Chicago, including Tommy Ladnier, Paul Mares, Muggsy Spanier, Johnny Wiggs, Frank Guarente and, the most famous of all, Armstrong. One of his protégés, Louis Panico (cornetist with the Isham Jones Orchestra), authored a book entitled The Novelty Cornetist, which is illustrated with photos showing some of the mute techniques he learned from Oliver. As mentor to Armstrong in New Orleans, Oliver taught young Louis and gave him his job in Kid Ory`s band when he went to Chicago. A few years later Oliver summoned him to Chicago to play with his band. Louis remembered Oliver as `Papa Joe` and considered him his idol and inspiration. In his autobiography, Satchmo: My Life in New Orleans, Armstrong wrote: `It was my ambition to play as he did. I still think that if it had not been for Joe Oliver, Jazz would not be what it is today. He was a creator in his own right.`[1] Hardships in later years, decline and death Oliver`s business acumen was often less than his musical ability. A succession of managers stole money from him, and he tried to negotiate more money for his band than the Savoy Ballroom was willing to pay – losing the job. He lost the chance of an important engagement at New York City`s famous Cotton Club when he held out for more money; young Duke Ellington took the job and subsequently catapulted to fame.[13] The Great Depression brought hardship to Oliver. He lost his life savings to a collapsed bank in Chicago, and he struggled to keep his band together through a series of hand-to-mouth gigs until the group broke up. Oliver also had health problems, such as pyorrhea, a gum disease that was partly caused by his love of sugar sandwiches and it made it very difficult for him to play[14] and he soon began delegating solos to younger players, but by 1935, he could no longer play the trumpet at all.[15] Oliver was stranded in Savannah, Georgia, where he pawned his trumpet and finest suits and briefly ran a fruit stall, then he worked as a janitor at Wimberly`s Recreation Hall (526-528 West Broad Street).[15] Oliver died in poverty `of arteriosclerosis, too broke to afford treatment`[16] in a Savannah rooming house on April 8 or 10, 1938.[17] His sister spent her rent money to have his body brought to New York, where he was buried at Woodlawn Cemetery in The Bronx. Armstrong and other loyal musician friends were in attendance.[18] Honors and awards Oliver was inducted as a charter member of the Gennett Records Walk of Fame in Richmond, Indiana in 2007. Selected compilation discography Papa Joe: King Oliver and His Dixie Syncopators 1926–1928 (Decca, 1969) Louis Armstrong and King Oliver (Milestone, 1974) The New York Sessions (Bluebird, 1989) Sugar Foot Stomp The Original Decca Recordings (GRP, 1992) Dippermouth Blues (ASV Living Era, 1996) Great Original Performances 1923–1930 (Louisiana Red Hot, 1998) Sugar Foot Stomp Vocalion & Brunswick Recordings Vol. 1 (Frog, 2000) The Best of King Oliver (Blues Forever, 2001) The Complete Set: King Oliver`s Creole Jazz Band (Retrieval, 2004) The Complete 1923 Jazz Band Recordings (Off the Record, 2006) King Joe Oliver by Walter C. Allen and Brian A. L. Rust, Jazz Monographs No. 1, February 1956, published by Walter C. Allen Beleville, N.J. (This is the second printing; Jazz Monographs No. 1. October 1955 was the first printing of this biography and discography.)

Original, made in EU Knjizica od 12 str. Odlicno ocuvano Evolve (stylized as ƎVOLVE) is the third studio album by American pop rock band Imagine Dragons, released on June 23, 2017, by Kidinakorner and Interscope Records. After the release of their previous album Smoke + Mirrors (2015) and its respective world tour, a self-imposed hiatus for 2016 and cryptic messages from the band through their social media gained anticipation for their third album; it was finally announced on May 9, 2017, along with the initiation of its pre-order. In comparison to Smoke + Mirrors and their 2012 debut Night Visions, frontman Dan Reynolds called the album an `evolution` for the band. Evolve peaked at number 2 on the US Billboard 200, and received mixed reviews from critics; some acknowledged the band`s claim of evolution, while others described it as lifeless and commercially oriented. It was promoted with the singles `Believer`, `Thunder`, `Whatever It Takes`, and `Next to Me`, as well as a world tour produced by Live Nation and supported with Grouplove and K.Flay that started in September 2017. The album was also nominated for the Grammy Award for Best Pop Vocal Album at the 60th Annual Grammy Awards Background In February 2016, after the success of their second album Smoke + Mirrors and a ten month long world tour, the members of Imagine Dragons vowed to take time off from the band. In an interview with Billboard, lead singer Dan Reynolds stated that the group would be on hiatus for the remainder of the year, explaining `We [Imagine Dragons] haven`t stopped in, like, six years, so we`ve forced ourselves to at least take a year off.`[2] Throughout 2016, the band contributed songs to the soundtracks for Me Before You, Suicide Squad and Passengers, as well as playing at several shows. The band first began preparing their third album on September 13, 2016, with a picture of guitarist Wayne Sermon in the band`s recording studio and continued releasing cryptic messages over the next four months. On January 24, 2017, the band tweeted `goodnight +`,[3] effectively ending the Smoke + Mirrors album cycle. Composition Reynolds had noted that the album, compared to Night Visions and Smoke + Mirrors, is `an evolution for Imagine Dragons`.[4] The album`s sound has been described as pop rock,[5] electronic,[6] pop[7] and EDM[8] while containing elements of R&B and hip hop.[9][10] Personnel Credits adapted from AllMusic.[39] Dan Reynolds – lead vocals, keyboards, backing vocals, acoustic guitar Wayne Sermon – electric guitar, backing vocals, acoustic guitar Ben McKee – bass guitar, keyboards, backing vocals Daniel Platzman – drums, percussion, backing vocals Serban Ghenea – mixing Manny Marroquin – mixing Tom Coyne – mastering Randy Merrill – mastering

CD i booklet su odlično očuvani. Švedski punk bend. Randy - You Can`t Keep A Good Band Down CD 1. Holy Shit 2. Little Toulouse 3. The Exorcist 4. Me And The Boys 5. Epidemic Ignorance 6. Superstar 7. Step Outside 8. Randy I Don`t Need You 9. They Fear Us 10. You Are What You Fight For 11. Powergame 12. Now And Forever 13. Working Class Radio 14. Out Of Nothing Comes Nothing

Roadrunner Europe 2004. 5- stanje CD izdanja albuma poznatog nu-metal/hardcore sastava sa malo tragova koriscenja i 12 numera: 1 A Bid Farewell 3:55 2 Take This Oath 3:46 3 When Darkness Falls 3:52 4 Rose Of Sharyn 3:36 5 Inhale 1:15 6 Breathe Life 3:18 7 The End Of Heartache 4:58 8 Declaration 3:01 9 World Ablaze 4:59 10 And Embers Rise 1:11 11 Waste Sacrifice 4:18 12 Hope Is... 4:19 Buklet na 8 stranica sadrzi tekstove pesama, dosta fotografija, podatke...

original o4

ОМОТ 5 ЦД 5 НОВ НЕСЛУШАН

Air - Pocket symphony , izdanje Virgin . Enhanced CD CD - 4+ / 5- Buklet - 5

omot i CD 5-

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The Black Crowes - Greatest hits 1990-1999, A tribute to work in progress... , izdanje American . CD - 5- Buklet - 5

Made in Western Germany. Omot na 4 strane. Omot: 5 CD: 4+ Label: Hansa – 258 039-222, Hansa – 258 039 Format: CD, Album Country: Europe Released: 1986 Genre: Electronic Style: Synth-pop, Disco In the Middle of Nowhere is the fourth studio album by German duo Modern Talking, released on 10 November 1986 by Hansa Records. The album spawned the single `Geronimo`s Cadillac`, which charted within the top five in Germany and Austria, while entering the top 10 in many others including Switzerland, Sweden and Norway. The album debuted at number one in Germany on 1 December 1986, spending a total of seven weeks within the top 10 on the chart. It was eventually certified gold by the Bundesverband Musikindustrie (BVMI), denoting shipments in excess of 250,000 units in Germany.

Tangerine Dream - Cyclone , izdanje Virgin . SBM remaster, definitive edition !!! CD - 5 Buklet - 5 / 5-

Tangerine Dream - Phaedra , izdanje Virgin . SBM remaster, definitive edition !! CD - 5- Buklet - 5

Luka Boskovic - Sa Prijateljima Originalno izdanje. Made in Yugoslavia Novo, neotpakovano, u celofanu! Spisak pesama: 01 One For Mc.Koy 02 Blues 42°C 03 You`ve Changed 04 Balkanija 05 Sleeping Car 06 There Is Small Hotel 07 Pink - Paiste (Live) 08 Billie`s Bounce 09 On The Green Dolphin Street 10 `KL` Stanje mozete videti na slikama. Zanrovi: jazz, easy listening pvs1r0

Tangerine Dream - Poland (The Warsaw concert) , izdanje Castle . CD - MINT Buklet - MINT

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NEOTPAKOVAN Svi za jednog-jedan za sve 4 Various Artists Released: Jan 1995 Label: Starcevic Production 1. Zar je ovo zivot 2. Dok Loznica mirno spava 3. Jabuka i greh 4. Nikad ne gubi glavu 5. Kad srce srcu kaze zbogom 6. Molitva 7. Kap ulja na vatru 8. Ni po grosa prebijena 9. Da ti je do mene stalo 10. Pijem i pevam 11. Ti u tudjem svetu 12. Samo jos jednom 13. Snovi 14. Negde se cuju zvona 15. Sklopi oci 16. Imam li prava 17. Kestenovo kolo

Original, made in Austria Knjizica od 4 str. Odlicno ocuvano Veoma redak disk. Little Willie Littlefield – ... Goes Rhythm`n Blues Label: CMA (2) – CM 10002 Format: CD, Album Country: Germany Released: 1992 Genre: Blues Style: 1 Bad Bad Whiskey 2:51 2 Going Down Slow 3:16 3 Walk Right In 2:07 4 Waltz Away Boogie 1:58 5 Trembling 2:29 6 Adam Come And Get Your Bone 3:16 7 Prisoner For Tonight 3:46 8 12th Street And Vine 2:24 9 When I Lost My Baby 2:45 10 My Luck Is Bound To Change 2:11 11 Toe Tapping Boogie 2:34 12 Bad Luck 2:08 13 Hold Me Baby 2:07 14 As Time Goes By 2:51 15 Blue And Lonesome 2:51 16 It Took A Long Time, Baby 2:52 Recorded At – Dezibel Tonstudio Piano, Vocals – Little Willie Littlefield Producer – Rolf Schubert Recorded Dec. 9, 1991 at Dezibel - Tonstudio, Cologne / Germany. Jewel case. Barcode: 4010470100021 Label Code: LC 5910 Willie Littlefield, Jr.,[2] billed as Little Willie Littlefield (September 16, 1931 – June 23, 2013),[3] was an American R&B and boogie-woogie pianist and singer[4] whose early recordings `formed a vital link between boogie-woogie and rock and roll`.[4] Littlefield was regarded as a teenage wonder and overnight sensation when in 1949, at the age of 18, he popularized the triplet piano style on his Modern Records debut single, `It`s Midnight`.[5] He also recorded the first version of the song `Kansas City` (originally issued as `K. C. Lovin``), in 1952. Career Early career Littlefield was born in El Campo, Texas, and grew up in Houston with his mother. By 1947, at the age of sixteen, he was already a local attraction in many of the clubs on Dowling Street in Houston and was recording for Eddie Henry, a local record shop proprietor who ran his own label, Eddie`s Records.[6] He formed his first band with the saxophonist Don Wilkerson, a friend from school.[4] Littlefield was strongly influenced by the boogie-woogie pianist Albert Ammons. A particular favourite of his was Ammons`s `Swanee River Boogie`, which he later recorded for Eddie`s Records.[6] Other major influences on Littlefield`s style were the Texas musicians Charles Brown and Amos Milburn.[3] Littlefield learned most of their `chops` and soon developed his own distinctive triplet style, which was widely copied by R&B musicians in the early 1950s, particularly Fats Domino, who incorporated it into his New Orleans rhythm and blues.[6] His first recording, `Little Willie`s Boogie`, was a hit in Texas in 1949 and brought him to the attention of Jules Bihari, of Modern Records in Los Angeles, who was searching for a performer to rival the success of Amos Milburn.[4] Bihari flew to Houston in July 1949 to investigate the city`s black entertainment venues and heard of a `teenage wonder boy pianist` who was causing a stir at the Eldorado Ballroom. Bihari went to hear Littlefield and soon arranged for an audition at a local studio. The session was captured on acetate disc, with Bihari, clearly audible in the background, calling for Littlefield to play popular R&B tunes of the day.[6] Success at Modern records Back at Modern Records, he recorded `It`s Midnight`, which became a national hit, reaching number three on the Billboard R&B chart, and its follow-up, `Farewell`, which reached number five.[7] He became a major nightclub attraction and recorded with West Coast musicians such as Maxwell Davis. Don Wilkerson, Littlefield`s schoolmate and the leading saxophone player in his band, also travelled to Los Angeles, but Milburn promptly persuaded him to lead Milburn`s new band, the Aladdin Chickenshackers.[6] Modern Records booked Littlefield for three recording sessions in October 1949, followed by more sessions over the next two months at Radio Recorders in Hollywood. During these three months alone, over 22 sides were cut – an unusual output compared to that of most other artists, who averaged only two sessions a year. Other musicians at these sessions included the saxophonists Maxwell Davis and Buddy Floyd, the guitarists Chuck Norris and Johnny Moore, and the drummers Al Wichard and Jessie Price.[6] One of his 1950 recordings, `Happy Pay Day`, written by Jack Holmes, was later rewritten by Holmes with entirely different lyrics as `The Blacksmith Blues`, which became a hit for Ella Mae Morse.[8][user-generated source] In 1951, his duet with Little Lora Wiggins, `I`ve Been Lost`, reached number 10 on the R&B chart.[7] In 1952 he moved to the Federal subsidiary of King Records. His first session for Federal produced `K. C. Loving`, written by Jerry Leiber and Mike Stoller and later re-recorded by Wilbert Harrison as `Kansas City`. By 1957 Littlefield had moved to northern California and continued to record for Don Barksdale`s Rhythm label in San Francisco, for which he produced the single `Ruby, Ruby`.[6] Littlefield`s recording and his subsequent releases were not successful, but he remained a popular performer in clubs in the San Francisco area. In the late 1970s he toured Europe successfully, settling in the Netherlands and releasing a number of albums from 1982 into the late 1990s for the Oldie Blues label from Martin van Olderen.[9] After touring for more than 50 years, Littlefield stopped in 2000. After five years of retirement in his adopted home country, the Netherlands, he decided to play again, starting in 2006, declaring, `I went fishing for five years – now I know every herring in Holland by name – it got boring. I feel great and I want to be back with my audience.`[10] In his later years Littlefield continued to perform occasionally, mainly at festivals, particularly in the UK. In 2008 he played at the 20th Burnley Blues Festival, in 2008, and at the 5th annual UK Boogie Woogie Festival at Sturminster Newton in Dorset, in July 2009. He performed at Shakedown Blues Club, at Castor Village Hall, near Castor, Peterborough, in 2006 and made a return appearance in October 2010.[11][12] He died at his home in Voorthuizen, Netherlands, in 2013, at the age of 81. He had cancer.[4] Selected discography Selected singles 1948 (late): `Little Willie`s Boogie` / `My Best Wishes`, Eddie`s 1202 (10` shellac) 1948 (late): `Medley Boogie`, Eddie`s (unreleased) 1949 (early): `What`s the Use` / `Chicago Bound`, Eddie`s 1205 (10` shellac) c. 3/49: `Littlefield Boogie` (flip side, `Sweet Ole Woman`s Blues` by Goree Carter), Freedom 1502 (10` shellac) 1949: `Boogie Woogie Playgirl` / `Swanee River` (piano solo), Eddie`s 1212 (10` shellac) 1949: `Midnight Whistle` / `It`s Midnight`, Modern 20-686 (10` shellac) 1949: `Drinkin` Hadacol` / `Farewell`, Modern 20-709 (10` shellac) c. 12/49: `Come On Baby` / `Merry Christmas`, Modern 20-716 (10` shellac) 1950: `The Moon Is Risin`` / `Frightened`, Modern 20-726 (10` shellac) 3/50: `Your Love Wasn`t So` / `Rocking Chair Mama`, Modern 20-729 (10` shellac) 1950: `Tell Me Baby` / `Why Leave Me All Alone`, Modern 20-747 (10` shellac) 1950: `Cheerful Baby` / `Happy Pay Day`, Modern 20-754 (10` shellac) 10/50: `Trouble Around Me` / `Hit the Road`, Modern 20-775 (shellac, 10`) c. 11/50: `Ain`t a Better Story Told` / `You Never Miss a Good Woman Till She`s Gone`, Modern 20-781 (10` shellac) c. 12/50: `Come On Baby` / `Merry Christmas`, Modern 20-785 (10` shellac) 1951: `Once Was Lucky` / `I`ve Been Lost`, Modern 20-801 (10` shellac) 1951: `Lump in My Throat` / `Mean, Mean Woman`, Modern 837 (10` shellac) 1951: `Life of Trouble` / `Too Late for Me`, Modern 854 (shellac, 10`) 1952: `Sticking on You Baby` / `Blood Is Redder Than Wine`, Federal 12101 (10` shellac, 7` vinyl) c. 11/52: `K. C. Loving` / `Pleading at Midnight`, Federal 12110 (10` shellac, vinyl, 7`) 3/53 : `Turn the Lamps Down Low`, duet with Little Esther [Phillips] (flip side by Little Esther), Federal 12115 (10` shellac, vinyl, 7`) 1953: `The Midnight Hour Was Shining` / `My Best Wishes and Regards`, Federal 12137 (10` shellac, 7` vinyl) 1953: `Rock a Bye Baby` / `Miss K. C.`s Fine`, Federal 12148 (10` shellac, 7` vinyl) 1/54: `Please Don`t Go-o-o-o-oh` / `Don`t Take My Heart Little Girl`, Federal 12163 (10` shellac, 7` vinyl) 1954: `Falling Tears` / `Goofy Dust Blues` Federal 12174 (10` shellac, 7` vinyl) 1955: `Jim Wilson`s Boogie` / `Sitting on the Curbstone`, Federal 12221 (10` shellac, 7` vinyl) 8/57: `Mistreated` / `Baby Shame`, Rhythm 107 (10` shellac, 7` vinyl) 12/57: `Ruby-Ruby`, with the Mondellos (vocal group) / `Easy Go` (instrumental), Rhythm 108 (7` vinyl) 1958: `Theresa`, with female vocal group / `The Day the Rains Came` (instrumental), Rhythm 124 (7` vinyl) 1958: `Ruby-Ruby`, with the Mondellos (vocal group) / `Easy Go` (instrumental), Bullseye 1005 (shellac, 10`, 7` vinyl) 1958: `I Need a Payday` / `I Want a Little Girl`, Rhythm 115 (7` vinyl) c. 4/59: `Kansas City` [`K. C. Loving`] / `The Midnight Hour Was Shining`, Federal 12351 (7` vinyl) 1959: `Goodbye Baby` / `I Wanna Love You`, Rhythm 130 (7` vinyl) 1960: `Ruby-Ruby`, with the Mondellos (vocal group) / `Easy Go` (instrumental), Argyle 1013 (7` vinyl) 1975: `Mac`s Old House` / `San Jose Express`, Blues Connoisseur 1008 (7` vinyl) 1976: `Willie`s Blues` / `I`ll Tell the World I Do`, Blues Connoisseur 1011 (7` vinyl) Albums 1980: Paris Streetlights, Paris Album PLB 2 28508 (recorded May 14, 1980); reissued on CD, 1996, EPM Blues Collection BC 157802[13][14] 1982: Houseparty, Oldie Blues OL 8003 (recorded June 1982) 1983: I`m in the Mood, Oldie Blues OL 8006 (recorded 1983) 1985: Happy Pay Day, Ace CH 150 1987: Plays the Boogie Woogie, Schubert Records SCH-100 (recorded 1987); reissued on CD, 1992, Munich CMA CM 8013 1990: Singalong with Little Willie Littlefield, Oldie Blues OLCD 7001 (recorded 1987) 1992: ... Goes Rhythm `n Blues, CMA Music CMA CM 10002 1993: The Stars of Rhythm `n Blues! CMA Music CMA CM 10007 1994: Yellow Boogie & Blues, Oldie Blues OLCD 7006 (recorded 1994) 1997: The Red One, Oldie Blues OLCD 7005 (recorded June 1997) 2006: Little Willie Littlefield Live, Schubert Records SCH-205 (recorded live in Germany, April 20, 2006) 2008: Old Time Feeling, Stormy Monday 81242[15] Selected compilation albums 1977: K. C. Loving, K.C. 101 (LP) 1980: Volume 1, Ace 10 CH 24 (10` 8-track album) 1981: Volume 2, Ace 10 CH 34 (10` 8-track album) 1984: Jump with Little Willie Littlefield, Ace CHD 114 1993: I`m in the Mood, Oldie Blues OLCD 7002 (recorded 1982, 1983) 1995: Going Back to Kay Cee, Ace CDCHD 503 1999: Kat on the Keys, Ace CDCHD 736 2005: Boogie, Blues and Bounce: The Modern Recordings Volume 2, Ace CDCHD 1056