The Little Guide to David Bowie Beloved by millions of fans the world, David Bowie was the ultimate icon, the perfect pop package that united sound with vison. In his fifty-year career, and across more than 26 studio albums, Bowie sold more than 140 million records, malking him one of the most successful artists of all time. Since his passing, he has been greatly missed, and remembered, by those who loved him the most. Filled with quotations by, and about, one of the most innovative artists in history. A perfect companion for Bowie fans everywhere, this collection of bite-sized quips helps capture exactly what made Ziggy Stardust so special. From insightful quotes by fellow artists, collaborators, and friends, to words of wit and wisdom from David Robert Jones himself, you'll find more than 170 amusing and inspiring soundbites inside.

U PONUDI NOV NEKORIŠĆEN KOMPLET ` `EYES OPEN 1` ENGLESKI JEZIK ZA 5. RAZRED OSNOVNE ŠKOLE`. KOMPLET SE SASTOJI OD UDŽBENIKA I RADNE SVESKE ZA PETU GODINU UČENJA. AUTORI SU BEN GOLDSTEIN, CERI JONES, DAVID McKEEGAN, VICKI ANDERSON I EOIN HIGGINS.

Booklet 5- / CD 5 Rickie Lee Jones – Pirates Rickie Lee Jones - Pirates album cover Label: Warner Bros. Records – 3432-2, Warner Bros. Records – 256 816 Format: CD, Album, Club Edition Country: US Released: Genre: Jazz, Funk / Soul, Pop Style: Rhythm & Blues 1 We Belong Together Drums – Steve Gadd Guitar – Buzzy Feiten, Dean Parks, Steve Lukather Keyboards – Neil Larsen, Russell Ferrante Keyboards, Synthesizer – Rickie Lee Jones Synthesizer – Michael Boddicker 4:59 2 Living It Up Drums – Art Rodriguez Guitar – Buzzy Feiten, Dean Parks, Steve Lukather Keyboards – Neil Larsen, Russell Ferrante Keyboards, Synthesizer – Rickie Lee Jones Synthesizer – Michael Boddicker Vocals – Sal Bernardi 6:23 3 Skeletons Guitar – Buzzy Feiten, Dean Parks, Steve Lukather Keyboards – Clarence McDonald, Randy Kerber Synthesizer – Michael Boddicker, Rickie Lee Jones 3:37 4 Woody And Dutch On The Slow Train To Peking Drums [Boxes And Thighs] – Steve Gadd Guitar – David Kalish Keyboards – Neil Larsen, Russell Ferrante Keyboards, Synthesizer, Vocals [Background] – Rickie Lee Jones Saxophone [Alto] – David Sanborn Synthesizer – Michael Boddicker Tenor Saxophone, Baritone Saxophone – Tom Scott Trumpet, Flugelhorn – Randy Brecker Vocals [Background] – Arno Lucas, Joe Turano, Leslie Smith 5:15 5 Pirates (So Long Lonely Avenue) Drums – Steve Gadd Guitar – Buzzy Feiten, Dean Parks, Steve Lukather Harmonica – Sal Bernardi Keyboards – Neil Larsen, Russell Ferrante Keyboards, Synthesizer – Rickie Lee Jones Saxophone [Alto] – David Sanborn Synthesizer – Donald Fagen, Michael Boddicker, Rob Mounsey Tenor Saxophone, Baritone Saxophone – Tom Scott Trumpet, Flugelhorn – Randy Brecker 3:50 6 A Lucky Guy Drums – Art Rodriguez Guitar – Buzzy Feiten, Dean Parks, Steve Lukather Keyboards – Neil Larsen, Russell Ferrante Keyboards, Synthesizer – Rickie Lee Jones Synthesizer – Michael Boddicker 4:14 7 Traces Of The Western Slopes Drums – Art Rodriguez Guitar – Buzzy Feiten, Dean Parks, Steve Lukather Harmonica, Vocals – Sal Bernardi Keyboards – Neil Larsen, Russell Ferrante Keyboards, Synthesizer – Rickie Lee Jones Synthesizer – Michael Boddicker Trumpet, Flugelhorn – Jerry Hey 8:00 8 The Returns Guitar – Buzzy Feiten, Dean Parks, Steve Lukather Keyboards – Clarence McDonald, Randy Kerber Synthesizer – Michael Boddicker, Rickie Lee Jones 2:20 Arranged By [Horn And Vocal Arrangements] – Rickie Lee Jones Bass – Chuck Rainey Percussion – Lenny Castro, Victor Feldman Producer – Lenny Waronker, Russ Titelman BMG edition with the following in the place where barcode typically is placed: D 101790 Mfd. for BMG Direct Marketing, Inc. under License 6550 East 30th Street Indianapolis, Indiana 46219 The following is on the CD face under Warner Brothers copyright information on left side of the disc: Mfd. for BMG Direct Marketing Inc. under License D 101790 Following is printed on the back of the insert underneath catalog numbers on upper left hand side: D 101790

Wing Jones Debut novel about a mixed-race family hit by tragedy in 90s Atlanta from a talented young writer. For fans of David Levithan, Jandy Nelson and Rainbow Rowell: a sweeping story about love and family from an exceptional new voice in YA. With a grandmother from China and another from Ghana, fifteen-year-old Wing Jones is often caught between worlds. But when tragedy strikes, Wing discovers a talent for running she never knew she had. Wing's speed could bring her family everything it needs. It could also stop Wing getting the one thing she wants.

Unquiet Landscape: Places And Ideas In 20th-Century British Painting Christopher Neves classic book is a journey into the imagination through the English landscape. How is it that artists, by thinking in paint, have come to regard the landscape as representing states of mind? Painting, says Neve, is a process of finding out, and landscape can be its thesis. What he is writing is not precisely art history: it is about pictures, about landscape and about thought. Over the years, he was able to have discussions with many of the thirty or so artists he focuses on, the inspiration for the book having come from his talks with Ben Nicholson; and he has immersed himself in their work, their countryside, their ideas. Because he is a painter himself, and an expert on 20th-century art, Neve is well equipped for such a journey. Few writers have conveyed more vividly the mixture of motives, emotions, unconscious forces and contradictions which culminate in the creative act of painting. Each of the thirteen chapters has a theme and explores its significance for one or more of the artists. The problem of time, for instance, is considered in relation to Paul Nash, God in relation to David Jones, music to Ivon Hitchens, hysteria to Edward Burra, abstraction to Ben Nicholson, the spirit in the mass to David Bomberg. There are also chapters about painters ideas on specific types of country: about Eric Ravilious and the chalk landscape, Joan Eardley and the sea, and Cedric Morris and the garden. Prikaži više

Autori Mary Jones, Diane Fellowes Freeman, David Sang Broj stranica Povez Meki povez Pismo Latinica Godina izdanja 2020 ISBN13 Broj odluke Ministarstva 650-02-00654/2019-07, od 19.05.2020 Broj izdanja Status izdanja Format Oblik Razred 6 Predmet Biologija Jezik nastave Albanski jezik Šifra kompleta 523ALB6BIO Udžbenička jedinica Izdavač Albas doo

Autori Mary Jones, Diane Felloves- Freeman и David Sang Broj stranica Povez Meki povez Pismo Latinica Godina izdanja 2022 ISBN13 Broj odluke Ministarstva 650-02-00072/2021-07 од 16.12.2021. Broj izdanja Status izdanja Format A4 Oblik Štampani Razred 7 Predmet Biologija Jezik nastave Albanski jezik Šifra kompleta 300005ALB7BIO Udžbenička jedinica Izdavač Albas doo

Autori Mary Jones, Diane Felloves- Freeman и David Sang Broj stranica Povez Meki povez Pismo Latinica Godina izdanja 2022 ISBN13 Broj odluke Ministarstva 650-02-00069/2021-07 од 16.12.2021. Broj izdanja Status izdanja Format A4 Oblik Štampani Razred 8 Predmet Fizika Jezik nastave Albanski jezik Šifra kompleta 90023ALB8FIZ Udžbenička jedinica Izdavač Albas doo

Conjure ‎– Music For The Texts Of Ishmael Reed PANGÆA PEA 461155 2 1 Jes` Grew 4:03 2 The Wardrobe Master Of Paradise 5:41 3 Dualism (1) 2:47 4 Oakland Blues 4:26 5 Skydiving 4:14 6 Judas 2:14 7 Betty Ball`s Blues 3:41 8 Untitled II 3:35 9 Fool-Ology (The Song) 6:07 10 From The Files Of Agent 22 3:18 11 Dualism (2) 3:37 12 Rhythm In Philosophy 1:38 Engineer – David Rodriguez, Emilsam Velazquez*, Frank Rodriguez Executive Producer – Scott Marcus Liner Notes – Don Palmer Mastered By – Jack Adelman Mixed By – David Rodriguez, Jon Fausty Photography By – Ming Smith, Spencer Richards Producer – Kip Hanrahan Recorded By [Assistant] – Edwin Ayala, Horacio Malvicino Jr.* Recorded August, September and October 1983; Latin/Eurosound Studios, New York City ⓅⒸ 1984 American Clave stanje diska: 4/5 stanje omota: 5/5

Label: Deram ‎– 0602498209714 Series: Gold (8) – Format: 2 × CD, Compilation, Remastered Country: Europe Style: Vocal, Soul, Ballad TracklistHide Credits 1-1 It`s Not Unusual Written-By – Mills*, Reed* 1:59 1-2 Once Upon A Time Written-By – Mills* 2:10 1-3 With These Hands Written-By – Silver*, Davis* 2:41 1-4 What`s New Pussycat Written-By – David / Bacharach* 2:18 1-5 Thunderball Written-By – Black*, Barry* 2:51 1-6 Promise Her Anything Written-By – David / Bacharach* 2:33 1-7 To Make A Big Man Cry Written-By – Reed*, Callander* 2:45 1-8 Stop Breaking My Heart Written-By – Mills*, Harris* 2:26 1-9 Once There Was A Time Written-By – Climax (19), Callander*, Del Monaco* 2:25 1-10 Not Responsible Written-By – Mills* 2:07 1-11 This And That Written-By – Dorsey* 2:58 1-12 Green, Green Grass Of Home Written-By – Putman* 3:04 1-13 Detroit City Written-By – Dill*, Tillis* 3:31 1-14 Funny Familiar Forgotten Feelings Written-By – Newbury* 2:55 1-15 Sixteen Tons Written-By – Travis* 3:07 1-16 (It Looks Like) I`ll Never Fall In Love Again Written-By – Currie*, Donegan* 4:13 1-17 I`m Coming Home Written-By – Mason*, Reed* 3:06 1-18 I Wake Up Crying Written-By – Hal David 2:18 1-19 Delilah Written-By – Mason*, Reed* 3:22 1-20 Help Yourself Written-By – Donida*, Rapetti*, Fishman* 2:53 1-21 A Minute Of Your Time Written-By – Westlake* 2:56 1-22 Looking Out My Window Written-By – Jones* 2:19 2-1 Love Me Tonight 3:11 2-2 I Can`t Turn You Loose Written-By – Redding* 2:09 2-3 Without Love (There Is Nothing) Written-By – Small* 3:44 2-4 Let There Be Love Written-By – B.,R. & M. Gibb* 3:35 2-5 Daughter Of Darkness 3:15 2-6 I (Who Have Nothing) Written-By – Leiber & Stoller 2:56 2-7 Can`t Stop Loving You Written-By – Waddington*, Bickerton* 4:08 2-8 She`s A Lady Written-By – Anka* 2:52 2-9 Do What You Gotta Do Written-By – Webb* 2:51 2-10 Puppet Man Written-By – Greenfield*, Sedaka* 3:23 2-11 You`re My World (Il Mio Mondo) 3:24 2-12 Till 2:17 2-13 The Young New Mexican Puppeteer 4:34 2-14 The Witch Queen Of New Orleans Written-By – Vegas / Vegas* 2:34 2-15 Letter To Lucille Written-By – Macaulay* 3:03 2-16 Ain`t No Sunshine Written-By – Withers* 2:36 2-17 (If Loving You Is Wrong) I Don`t Wanna Be Right 3:26 2-18 Pledging My Love Written-By – Robey*, Washington* 2:50 2-19 I Got Your Number Written-By – Reeves*, Bristol* 3:24 2-20 Memories Don`t Leave Like People Do Written-By – Bristol* 4:17 CD-ovi 5, 5- Buklet 4+,12 stranica,VRLO DOBAR

Ploca je u odlicnom stanju. Vinil (4+) Omot (5) Made in Germany Spisak numera: Tracklist Hide Credits A1 We`re Doing Alright Acoustic Guitar – Jim Maestro*, Marti*Bass, Finger Snaps, Organ, Vocals – Dixon*Drums, Percussion, Finger Snaps – Mickey CurryElectric Guitar – Ricky ByrdVocals – Darlene Love, Nancy Jeffries (2)Written-By – Reed Nielsen 4:12 A2 Chance Of A Lifetime Acoustic Guitar – Marti*Acoustic Guitar, Vocals – Dixon*Bass – Rick FordDrums – Gary BurkeElectric Guitar – Vinnie ZummoGuitar [Solo] – Mitch EasterVocals – Treva SpontaineWritten-By – Dwight Twilley 3:18 A3 Be Myself Again Acoustic Guitar, Synthesizer – Marti*Drums – Robert CrenshawElectric Guitar – Mitch EasterElectric Guitar, Piano, Acoustic Guitar, Vocals – Dixon*Twelve-String Guitar – Marshall CrenshawWritten-By – Don Dixon, Marti Jones 3:40 A4 Just A Memory Bass, Acoustic Guitar, Organ, Vocals – Dixon*Drums – Robert CrenshawElectric Guitar – Marshall CrenshawGuitar [Vibrato Guitar] – T-Bone BurnettPiano – Paul CarrackVocals – Anne Richmond BostonWritten-By – Elvis Costello 4:11 A5 Touch Tone Percussion, Synthesizer, Piano, Voice – Dixon*Written-By – Don Dixon 3:21 A6 Foolish Lies Acoustic Guitar – Marti*Bass, Organ [Talking Organ], Piano, Vocals – Dixon*Drums – Mickey CurryElectric Guitar, Guitar [Solo] – Vinnie ZummoKeyboards, Synthesizer – Richard PutnamVocals – Anne Richmond BostonWritten-By – Richard Barone 4:08 B1 Inside These Arms Drums – Mickey CurryElectric Guitar – Mitch Easter, Vinnie ZummoVocals – Anne Richmond BostonWritten-By, Vocals, Bass, Synthesizer – Don Dixon 5:01 B2 Whenever You`re On My Mind Acoustic Guitar – Marti*Acoustic Guitar, Guitar [Vibrato] – Mitch EasterBass – Rick FordDrums – Gary BurkeElectric Guitar – Vinnie ZummoVocals – Treva SpontaineVocals, Guitar [High String], Guitar [Backbeat] – Dixon*Written-By – Bill Teeley, Marshall Crenshaw 3:11 B3 Crusher Accordion – Vinnie ZummoAcoustic Bass – Jack HerrickAcoustic Guitar [Slide] – Frank ChristianChatan, Percussion – Aiyb DiengElectric Guitar – Mitch EasterOther [Broken Stick] – Dixon*Written-By – Liam Sternberg 4:01 B4 It`s Too Late Bass, Guitar, Vocals, Piano [Tack] – Dixon*Drums – Robert CrenshawElectric Guitar [Solo], Vocals – Marshall CrenshawHandclaps – Ariel WarnerHandclaps, Acoustic Guitar – Marti*Vocals – Richard BaroneWritten-By – John David 3:38 B5 Soon I Will Be Gone Acoustic Guitar – Marti*Bass, Vocals – Dixon*Cello – Martin LovedayDrums – Terry SilverlightGuitar [Fuzz with Matamp] – Mitch EasterGuitar [Leslie] – Vinnie ZummoViola – George RobertsonViolin [1st] – Gavyn WrightViolin [2nd] – Wilfred Gibson*Vocals – Anne Richmond BostonWritten-By – Andy Fraser, Paul Rodgers 3:00 B6 Soul Love Acoustic Guitar – Marti*Bass, Piano, Vocals – Dixon*Chatan – Aiyb DiengDrums – Terry SilverlightElectric Guitar – Vinnie ZummoSaxophone – Gary BarnacleWritten-By – David Bowie

David Sanborn - Live At Montreux 1984 Originalno izdanje. DVD: NTSC Made in Europe Novo, neotpakovano, u celofanu! Sadrzaj: 1984 01 Hideaway 02 I Told U So 03 Straight To The Heart 04 Autumn Leaves [Featuring Rickie Lee Jones] 05 Guitar Solo 06 Rush Hour 07 Piano Solo 08 Smile 09 Morning Salsa Bonus Tracks 1981 10 Love Is Not Enough 11 Lotus Blossom 12 Hideaway Sve tehnicke podatke o izdanju mozete videti na slici, ukoliko ima dodatnih pitanja, rado cu odgovoriti. Stanje mozete videti na slikama. Zanrovi: jazz, rock, fusion pvs1r11

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

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.

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

Black Wings Of Cthulhu, Vol. 5 H. P. Lovecraft's brand of cosmic horror has long forced readers to an inexorable truth there are powers in the universe whose immensity dwarfs petty human conflicts. Inspired by Lovecraft and brought together by editor S. T. Joshi, the stories in Black Wings of Cthulhu 5 explore the very essence of fear. Between these covers lie many of the finest Lovecraftian authors, including Sunni K Brock, Donald R. Burleson, Mollie L. Burleson, Nicole Cushing, Jason C. Eckhardt, Sam Gafford, Wade German, Cody Goodfellow, David Hambling, Lynne Jamneck, Mark Howard Jones, Caitlín R. Kiernan, Nancy Kilpatrick, W. H. Pugmire, John Reppion, Darrell Schweitzer, Jonathan Thomas, Donald Tyson, Robert H. Waugh, and Stephen Woodworth.

Omot 4 CD 5- (takozvani Zlatni disk) Michael Jackson ‎– Thriller Label:Epic ‎– EPC 504422 2, Epic ‎– 5044222000 Format:CD, Album, Remastered, Special Edition, Carded Sleeve Country:Europe Released:2001 Genre:Electronic, Funk / Soul, Non-Music, Pop Style:Interview, Promotional, Soul, Disco Tracklist 1 Wanna Be Startin` Somethin` Arranged By [Horn Arrangement] – Jerry Hey, Michael Jackson Arranged By [Rhythm Arrangement] – Michael Jackson, Quincy Jones Arranged By [Vocal Arrangement] – Michael Jackson Backing Vocals – Becky Lopez, Bunny Hull, James Ingram, Julia Waters, Maxine Waters, Michael Jackson, Oren Waters Bass – Louis Johnson Electric Piano [Rhodes], Synthesizer – Greg Phillinganes Guitar – David Williams (4) Percussion – Paulinho Da Costa Performer [Bathroom Stomp Board] – Michael Jackson, Nelson Hayes, Steven Ray (2) Saxophone, Flute – Larry Williams Synthesizer – Bill Wolfer, Michael Boddicker Trombone – Bill Reichenbach (2) Trumpet, Flugelhorn – Gary Grant, Jerry Hey Written-By – Michael Jackson 6:03 2 Baby Be Mine Arranged By [Horn Arrnangement] – Jerry Hey Arranged By [Vocal, Rhythm And Synthesizer Arrangement] – Rod Temperton Drums – N`dugu Chancler* Guitar – David Williams (4) Keyboards, Synthesizer – Greg Phillinganes Programmed By [Synthesizer Programming] – Anthony Marinelli, Brian Banks, Steve Porcaro Saxophone, Flute – Larry Williams Synthesizer – David Paich, Michael Boddicker Trombone – Bill Reichenbach (2) Trumpet, Flugelhorn – Gary Grant, Jerry Hey Written-By – Rod Temperton 4:20 3 The Girl Is Mine Arranged By [Rhythm Arrangement] – David Paich, Quincy Jones Arranged By [Strings], Conductor [Strings] – Jerry Hey Arranged By [Synthesizer Arrangement] – David Foster Arranged By [Vocal Arrangement] – Michael Jackson, Quincy Jones Bass – Louis Johnson Concertmaster – Jerry Vinci* Drums – Jeff Porcaro Electric Piano [Rhodes] – Greg Phillinganes Guitar – Dean Parks, Steve Lukather Piano – David Paich Programmed By [Synthesizer Programming] – Steve Porcaro Synthesizer – David Foster Vocals – Paul McCartney Written-By – Michael Jackson 3:42 4 Thriller Arranged By [Horn Arrangement] – Jerry Hey Arranged By [Vocal, Rhythm And Synthesizer Arrangement] – Rod Temperton Effects – Bruce Cannon, Bruce Swedien Guitar – David Williams (4) Programmed By [Synthesizer Programming] – Anthony Marinelli Rap – Vincent Price (2) Saxophone, Flute – Larry Williams Synthesizer – Brian Banks, Greg Phillinganes, Rod Temperton Trombone – Bill Reichenbach (2) Trumpet, Flugelhorn – Gary Grant, Jerry Hey Written-By – Rod Temperton 5:57 5 Beat It Arranged By [Rhythm Arrangement] – Michael Jackson, Quincy Jones Arranged By [Vocal Arrangement] – Michael Jackson Drums – Jeff Porcaro Electric Piano [Rhodes], Synthesizer – Greg Phillinganes Guitar – Paul Jackson* Guitar [Solo] – Eddie Van Halen Guitar, Electric Bass – Steve Lukather Keyboards – Bill Wolfer Percussion [Drum Case Beater] – Michael Jackson Recorded By [Eddie Van Halen`s Solo] – Donn Landee Synthesizer [Synclavier] – Tom Bahler Synthesizer [Synergy] – Greg Smith Synthesizer, Programmed By [Synthesizer Programming] – Steve Porcaro Written-By – Michael Jackson 4:17 6 Billie Jean Arranged By [String Arrangements] – Jerry Hey Arranged By [Vocal, Rhythm And Synthesizer Arrangement] – Michael Jackson Bass – Louis Johnson Conductor [Strings] – Jeremy Lubbock Drums – N`dugu Chancler* Electric Piano [Rhodes], Synthesizer – Greg Phillinganes Guitar – David Williams (4) Synthesizer – Greg Smith Synthesizer [Emulator] – Michael Boddicker Synthesizer, Programmed By [Synthesizer Programming] – Bill Wolfer Written-By – Michael Jackson 4:53 7 Human Nature Arranged By – David Paich, Steve Lukather, Steve Porcaro Drums – Jeff Porcaro Guitar – Steve Lukather Percussion – Paulinho Da Costa Synthesizer – David Paich Synthesizer [Emulator] – Michael Boddicker Synthesizer, Programmed By [Synthesizer Programming] – Steve Porcaro Written-By – John Bettis, Steve Porcaro 4:05 8 P.Y.T. (Pretty Young Thing) Arranged By – James Ingram, Quincy Jones Backing Vocals [Additional Background Vocals] – Howard Hewitt*, James Ingram Drums – N`dugu Chancler* Electric Bass – Louis Johnson Guitar – Paul Jackson* Handclaps – Greg Phillinganes, James Ingram, Louis Johnson, Michael Jackson, Steven Ray (2) Keyboards [Portasound Keyboard] – James Ingram Synthesizer, Programmed By [Synthesizer Programming] – Greg Phillinganes Vocoder, Synthesizer [Emulator] – Michael Boddicker Voice [P.Y.T.`s] – Becky Lopez, Bunny Hull, Janet Jackson, LaToya Jackson* Written-By – James Ingram, Quincy Jones 3:58 9 The Lady In My Life Bass – Louis Johnson Drums – Jeff Porcaro Electric Piano [Rhodes] – Greg Phillinganes Guitar – Paul Jackson* Synthesizer – David Paich, Steve Porcaro Synthesizer [Emulator] – Michael Boddicker Written-By, Arranged By – Rod Temperton 4:58 Special Edition Bonus Material 10 Quincy Jones Interview Part I 2:18 11 Someone In The Dark Lyrics By – Alan Bergman, Marilyn Bergman* Music By – Rod Temperton 4:48 12 Quincy Jones Interview Part II 2:04 13 Billie Jean (Home Demo From 1981) Written-By – Michael Jackson 2:20 14 Quincy Jones Interview Part III 3:10 15 Rod Temperton Interview Part I 4:02 16 Quincy Jones Interview Part IV 1:32 17 Voice Over Session From `Thriller` Voice [Spoken By] – Michael Jackson, Vincent Price (2) 2:52 18 Rod Temperton Interview Part II 1:56 19 Quincy Jones Interview Part V 2:01 20 Carousel Written-By – D. Freeman*, M. Sembello* 1:49 21 Quincy Jones Interview Part VI 1:17 Companies, etc. Phonographic Copyright (p) – MJJ Productions Inc. Copyright (c) – MJJ Productions Inc. Distributed By – Sony Music Made By – Sony Music – S5044222000-0101 Published By – Mijac Music Published By – Warner-Tamerlane Publishing Corp. Published By – Rodsongs Published By – Almo Music Corp. Published By – Sony/ATV Tunes LLC Published By – Sony ATV Publishing Published By – Wb Music Corp. Published By – John Bettis Music Published By – Eiseman Music Co., Inc. Published By – Hen-Al Music Published By – Kings Road Music Published By – Yellow Brick Road Music Published By – Threesome Music Published By – Gravity Coat Music Published By – Haymaker Music Produced For – Quincy Jones Productions Recorded At – Ocean Way Recording Recorded At – Westlake Audio Remastered At – Bernie Grundman Mastering Glass Mastered At – Sony DADC Credits Art Direction – Lane/Donald Art Direction [Special Edition] – David Coleman (5), Nancy Donald Co-producer – Michael Jackson (tracks: 1, 5, 6) Compiled By [Special Edition Material] – Bruce Swedien, Bruce Swedien Design [Slipcase Adaptation Design] – Andy Engel Design [Special Edition] – David Coleman (5), Monster X (3) Edited By [Special Edition] – Rob Herrera, Stuart Brawley Engineer [Assistant, Additional Sound Sources, Original Album] – Mark Ettel Engineer [Assistant, Original Album] – Steve Bates Engineer [Technical, Original Album] – Matt Forger Executive-Producer [Special Edition] – Bruce Swedien, Michael Jackson Interviewee – Quincy Jones (tracks: 10, 12, 14, 16, 21), Rod Temperton (tracks: 15, 18) Mastered By [Originally Mastered By], Remastered By – Bernie Grundman Other [Styling] – Valadé / Design Pool Photography By – Dick Zimmerman (3) Photography By [Special Edition] – Dick Zimmerman (3), Lester Cohen, Ralph Nelson, Jr.*, Sam Emerson, Stephen Vaughan (2) Producer [Original Album] – Quincy Jones Recorded By [Additional Sound Sources, Original Album] – Humberto Gatica, Matt Forger Recorded By [Original Album], Mixed By [Original Album] – Bruce Swedien Typography [Lettering] – Mac James Notes Sticker text (front): `SPECIAL EDITION` NEWSTATE OF THE ART REMASTERED VERSION OF THE BIGGEST SELLING ALBUM OF ALL TIME WINNER OF 8 GRAMMY® AWARDS GOLD COLORED CD PLUS 30 MINUTES OF RARE BONUS FEATURES INCLUDING: `SOMEWHERE IN THE DARK` (available for the first time on a Michael Jackson solo album) Michael`s original demo version of `BILLIE JEAN` `CAROUSEL` an out-take from the `Thriller` recording sessions Michael Jackson and Vincent Price voice-over session segment Vincent Price reading the never-before heard 2nd verse of the `Thriller` rap All New Interview with Legendary Producer Quincy Jones Deluxe Special package with New Booklet and Photos 5044222004 Similar to a later edition of Thriller without carded sleeve, this edition has a gold disc issued with Special Edition sticker and with gold print on a carded sleeve. Original album Produced for Quincy Jones Productions. Recorded and mixed using the Acusonic Recording Process. Additional sound sources recorded at Ocean Way Recording Studios, Los Angeles, CA. Recorded at Westlake Audio, Los Angeles, CA. Album recording began with the first sessions at Westlake Studios in Los Angeles with Michael Jackson and Paul McCartney recording `The Girl Is Mine` at 12:00 noon on Wednesday April 14, 1982 and concluded witht the last day of mixing the album on Monday November 8, 1982. Originally mastered on Thursday, November 11, 1982. The original album was released Tuesday, November 30, 1982 by Epic Records (38112). The Quincy Jones interview: Part I: About `Someone In The Dark`. Part II: About production, and several tracks on the album. Part III: About the album and music videos. Part IV: About how they got Vincent Price to appear on `Thriller`. Part V: About `Carousel` Part VI: Final thoughts on the album. The Rod Temperton interview: Part I: About how they got Vincent Price to appear on `Thriller`. Part II: About `Carousel`. The voice over session from `Thriller` also includes Vincent Price reading a previously unreleased second verse. © 1982, 2001 MJJ Productions Inc./ ℗ 1982, 2001 MJJ Productions Inc./ Made in Austria (Printed on Disc) Tracks 1, 3, 5, 6: © 1982 Mijac Music (BMI) All rights on behalf of Mijac Music administered by Warner-Tamerlane Publishing Corp. (BMI). Tracks 2, 4, 9: © 1982 Rodsongs (ASCAP). All rights for Rodsongs controlled and administered by Almo Music Corp. (ASCAP). Track 7: © 1982 Sony/ATV Tunes LLC (ASCAP) / WB Music Corp. (ASCAP), John Bettis Music (ASCAP). All rights on behalf of Sony/ATV Tunes LLC administered by Sony/ATV Publishing. All rights on behalf of WB Music Corp. and John Bettis Music administered by WB Music Corp. (ASCAP). Track 8: © 1982 Eiseman Music Co. Inc. (BMI), Hen-Al Music (BMI), Kings Road Music (BMI)/Yellowbrick Road Music (ASCAP). All rights on behalf of Yellowbrick Road Music administered by WB Music Corp. (ASCAP). Track 11: Published by WB Music Corp. on behalf of Threesome Music (ASCAP)/Rodsongs (ASCAP) controlled and administered by Almo Music Corp. Track 13: Published by Warner-Tamerlane Publishing Corp. on behalf of Mijac Music (BMI). Track 20: Published by WB Music Corp. on behalf obo itself and Gravity Coat Music (ASCAP)/Warner-Tamerlane Publishing Corp. obo itself and Haymaker Music (BMI). Barcode and Other Identifiers Barcode (Printed): 5 099750 442227 Matrix / Runout (Variant 1): Sony Music S5044222000-0101 13 C4 * Mastering SID Code (Variant 1 and 5): IFPI L553 Mould SID Code (Variant 1): IFPI 941B Matrix / Runout (Variant 2,3,4): Sony Music S5044222000-0101 21 D5 * Mastering SID Code (Variant 2,3,4): IFPI L551 Mould SID Code (Variant 2 and 5): IFPI 944A Mould SID Code (Variant 3): IFPI 947A Mould SID Code (Variant 4): IFPI 949C Matrix / Runout (Variant 5): Sony Music S5044222000-0101 13 A8 * Rights Society: SACD SACEM SDRM SGDL BIEM Label Code: LC 00199 Other (Sticker # (front)): 5044222004

Stanje> Ploca 5, *mint, Omot 5 ----------------------------- Various ‎– Back To The Beach Label: Suzy ‎– CBS 460118 1, CBS ‎– CBS 460118 1 Format: Vinyl, LP, Album, Compilation Country: Yugoslavia Released: 1988 Genre: Stage & Screen Style: Soundtrack, Musical Tracklist A1 –Eddie Money Catch A Ride Producer – David Kahne Written-By – D. Kahne* 3:04 A2 –Stevie Ray Vaughan And Dick Dale Pipeline Producer – David Kahne, Gary Usher Written-By – B. Spickard*, B. Carman* 2:58 A3 –Aimee Mann Sign Of Love Producer – John Boylan Producer [Associate Producer] – Mark Goldenberg Written-By – J. Condos*, M. Goldenberg* 3:50 A4 –Private Domain Absolute Perfection Producer – Jack Butler, Paul Shaffer Recorded By [Additional] – David Kahne Written-By – J. Butler*, P. Shaffer* 3:32 A5 –Pee Wee Herman Surfin` Bird Producer – Gary Usher Recorded By [Additional] – David Kahne Written-By – A. Frazier*, C. White*, J. Harris*, T. Wilson, Jr.* 2:36 B1 –Marti Jones Sun, Sun, Sun, Sun, Sun Producer – David Kahne Written-By – D. Kahne* 3:26 B2 –Annette Funicello And Fishbone Jamaica Ska Producer – David Kahne Written-By – B. Lee* 3:35 B3 –Herbie Hancock Special Appearances By Dweezil Zappa And Terry Bozzio Wipe Out Producer – David Kahne, Herbie Hancock, Tony Meilandt Written-By – B. Berryhill*, J. Fuller*, P. Connolly*, R. Wilson* 4:00 B4 –Frankie Avalon California Sun Producer – Gary Usher Written-By – H. Glover*, M. Levy* 2:31 B5 –Dave Edmunds Wooly Bully Producer – Dave Edmunds Written-By – D. Samudio* 2:21