Sistem 1.0 Snaga (RMS) 10W Materijal Plastika Ostalo FM radio, USB, Bluetooth, MicroSD i Aux (Line-In) priključak Zvuk visokog kvaliteta MP3 reprodukcija Glasovni podsetnik Memorija usled nestanka energije Funkcija uštede energije Kapacitet baterije: li-ion 2200 mAh Reklamacioni period Zagarantovana sva prava kupaca po osnovu zakona o zaštiti potrošača

NOVO, U CELOFANU ORIGINAL STRANO IZDANJE Tracklist 1 –Luke Jones & His Orchestra Rompin` The Boogie 2 –Ira Amos I Was Too Blind To See 3 –Gory Carter Seven Days 4 –Austin McCoy Happy Pay Day Pt 1 5 –Three Bits Of Rhythm The Man That Comes To My House 6 –Johnny Alston Orchestra Everything Will Be Alright 7 –Red Mack With Luke Jones & His Orchestra Worried Life Blues 8 –P.K. Johnson Sunset Romp 9 –Jimmy Witherspoon Motel 10 –Duke Henderson Trouble In Mind 11 –Jim Wynn & His Orchestra Cold Blooded Boogie 12 –Felix Gross & His Orchestra Mary You Are Mine Pts 1 & 2 13 –Ramp Davis Baby Sue Aka Mary Sue 14 –Hadda Brooks & Her Trio* Why Did You Say We`re Through 15 –Red Mack With Luke Jones & His Orchestra Mean Ole Frisco 16 –Effie Smith Be On Your Merry Way 17 –Felix Gross & His Orchestra Forever On My Mind 18 –The Herb Fisher Trio Wine, Wine, Wine 19 –Duke Henderson In The Evening When The Sun Goes Down 20 –Gory Carter Four O`Clock In The Morning 21 –Bebopper Lulu & Her Orchestra Mellow Scat 22 –Ira Amos Blue And Disgusted 23 –Teddy Bunn With The Hootie McShann Trio In The Oven 24 –The Herb Fisher Trio Don`t Want Nobody Else 25 –Luke Jones & His Orchestra Jump Me Some Boogie The “Mellow Cats’n’Kittens” series has been a pleasure for me to work on during the past few years. I’d always admired my late friend and colleague Ray Topping’s work on the Modern catalogue and I’ve tried to maintain and build on what he started. While I don’t pretend to have Ray’s dedicated appreciation of discographical minutiae, I’d like to think that, with this and a host of other projects, I’ve also done my bit to keep alive the wonderful productions of the Modern Music Company’s founder, Jules Bihari. For the fifth volume in the series, we’ve taken the opportunity to complete the digitisation of the Modern discographies of several artists who have appeared on previous volumes, such as the Three Bits Of Rhythm and Felix Gross. We’re also premiering tracks by mainstays of the Modern catalogue that were previously thought lost (Jimmy Witherspoon’s first solo Modern track, ‘Motel’) or were undiscovered until relatively recently (our Hadda Brooks track, located on the back of a Smokey Hogg acetate). There are quality cuts by past contributors such as Sylvester “Big Duke” Henderson, the equally “Big” Jim Wynn, Herb Fisher and Johnny Alston’s Orchestra – all fine purveyors of the kind of music that lit up Central Avenue in the decade immediately following the end of WWII. Our other points of call include Houston, Texas, where we take in selections from Gory (sic) Carter’s lone Modern session, before heading south west to New Orleans for a cut by the George Alexander band that was originally disguised as the work of Ramp Davis. Back on the west coast we feature the great boogie pianist Pete “P.K.” Johnson rollin’ ’em just as he did for so long with Big Joe Turner, and jazz guitar/vocal group legend Teddy Bunn jamming with a hot trio led by Kansas City piano king Jay McShann. For those who, like me, couldn’t experience the era personally, or the venues from which music like this poured seven nights a week, it’s the next best thing to being there. As ever, deeper research has allowed us to include a copious amount of previously unissued recordings to add further spice to what is already a potent mix – 9 in total. Although this is the fifth instalment of “Mellow Cat’n’Kittens”, the contents are as strong as on any previous volume – and there’s still plenty of quality vintage Modern repertoire slated for reissue in the next few years. Jump you some boogie? We certainly can, man!

Boz Scaggs ‎– Here`s The Low Down Label: Sony Music Special Products ‎– A 28637 Format: CD, Compilation Country: US Released: 1998 Genre: Pop Style: Tracklist 1 Lowdown Written-By – David Paich 4:26 2 Take It For Granted Written By – J. Carroll, M. MillerWritten-By – B. Scaggs* 4:19 3 What`s Number One? Written By – J. Carroll, M. MillerWritten-By – B. Scaggs* 3:58 4 1993 Written-By – B. Scaggs*, M. Omartian* 4:01 5 Then she walked away Written-By – B. Scaggs*, M. Omartian* 4:04 6 Crimes of passion Written By – D. Huff, J. Carroll 4:01 7 We`re Waiting Written-By – Boz Scaggs 6:17 8 Slow Dancer 3:10 9 Lido shuffle Written-By – David Paich 3:38 10 Pain Of Love 3:08 Nov, nekorišćen. Fabrički celofaniran.

Kaiser Chiefs ‎– Everyday I Love You Less And Less Label: B-Unique Records ‎– BUN094CDX, B-Unique Records ‎– 9871416 Format: CD, Enhanced, CD2 Country: UK Released: 16 May 2005 Genre: Rock Style: Pop Rock, Indie Rock Očuvanost CD: 5- Omot: 5-

NOV CELOFAN

B.B. King - Live At The Apollo. Izdanje iz 1991, MCA Records,EU. CD 5- Buklet 5

B.B.King-Portrait Original (2002) Made in Germany Joan Records stanje diska skoro potpuno nov.Omot prednji 2 strane malo povijen.Kartonski omot malo neravan nista strasno. !!!DISK RETKOST I KOLEKCIONARSKI PRIMERAK!!!

Disk je nov neotpakovan ,ocena 5.Made in EU.

B.B.King-The Best Of CD Bug izdanje stanje diska povrsinske linijice bez uticaja na zvuk,Dosta redak disk nemate ga nigde u ponudi osim ovde.

NEOTPAKOVANI CD Label: Cosmic Sounds ‎– CS-09 CD Format: CD, Album Country: UK Released: 15 Oct 2000 Genre: Electronic Style: Jazzdance, Downtempo, Leftfield Contemplation (CD, Album) for sale More Images Tracklist Position Title/Credits Duration 1 Jive Samba Arranged By – Coxless Pair Written-By – N. Adderley* 6:29 2 Your Ambivalence Arranged By – C Pair* Written-By – B. Ware* Written-By [Additional theme] – D. Petrovic* 6:52 3 Pretty (Tokyo) Eyes Arranged By – Coxless Pair Written-By – H. Silver* 9:05 4 Contemplation Bass, Guest – Milorad `Miki` Ristic* Written-By – B. Mladenovic*, D. Petrovic* 9:19 5 Oro Written-By – B. Mladenovic*, D. Petrovic* 4:56 6 Zakiv Written-By – B. Mladenovic*, D. Petrovic* 6:29 7 Tango + (Sex/Works) Arranged By – Coxless Pair Written-By – D. Byron* 10:59 8 Baion Baby Arranged By – Coxless Pair Written-By – S. Stitt* Written-By [Additional Theme] – D. Petrovic* 9:42

Vrsta Aktivni Izlazna snaga 4w

Sistem 1.0 Snaga (RMS) 10W Materijal Plastika Ostalo FM radio, USB, Bluetooth, MicroSD i Aux (Line-In) priključak Zvuk visokog kvaliteta MP3 reprodukcija Glasovni podsetnik Memorija usled nestanka energije Funkcija uštede energije Kapacitet baterije: li-ion 2200 mAh Reklamacioni period Zagarantovana sva prava kupaca po osnovu zakona o zaštiti potrošača

OMOT 5- CD 5- Label: Success – 2097CD Format: CD, Compilation Country: Europe Released: Genre: Rock, Pop Style: Pop Rock Tracklist Hide Credits 1 All I Have To Do Is Dream Written-By – Bryant* 2:19 2 When Will I Be Loved Written-By – Phil Everly 1:55 3 (`Til) I Kissed You Written-By – Everly* 2:20 4 Bye Bye Love Written-By – B. & F. Bryant* 2:19 5 Wake Up Little Susie Written-By – B. & F. Bryant* 2:00 6 Be-Bop-A-Lula Written-By – Vincent*, Davis* 2:16 7 Devoted To You Written-By – B. Bryant* 2:21 8 I`m Here To Get My Baby Out Of Jail Written-By – Karl-Harty* 3:34 9 Let It Be Me Written-By – Bécaud*, Curtis*, Delanoe* 2:38 10 Problems Written-By – B. & F. Bryant* 1:54 11 Bird Dog Written-By – B. Bryant* 2:12 12 Roving Gambler Arranged By – Travis* Written-By – Trad.* 3:38 13 Long Time Gone Written-By – Harford*, Ritter* 2:22 14 Like Strangers Written-By – B. Bryant* 1:59 15 This Little Girl Of Mine Written-By – R. Charles* 2:15 16 Oh So Many Years Written-By – D. Everly*, P. Everly* 2:33 Companies, etc. Pressed By – Lor Disc Mastered At – Digipress Notes Glass Master by Digipress, Pressed by Lor Disc which is indicated by Matrix/Runout `LORDISC DIGIP` This CD was pressed between 1986-1991 as those were the only years Lor Disc was active. On back cover and disc: `Made in E.E.C.` = European Economic Community Barcode and Other Identifiers Other (SPARS code): AAD Matrix / Runout: LORDISC DIGIP CD 2097 Rights Society: SUISA

Label: ZaM ‎– CD 268, ZaM Plus ‎– CD 043 Format: CD, Album Style: Folk TracklistHide Credits 1 Lutalica Lyrics By – M. Bjekić* Music By – B. Bekić* 2 Sever - Jug Written-By – P. Stokanović* 3 Dođi Poljubi Me Written-By – D. Brajović* 4 Zlatna Cipela Lyrics By – M. Tucaković* Music By – Unknown Artist 5 Oko Garavo Written-By – P. Stokanović* 6 Da Sam Živa Lyrics By – M. Tucaković* Music By – B. Bekić* 7 U Nesreći Sreća Written-By – P. Stokanović* 8 Srećnica Lyrics By – M. Tucaković* Music By – D. Vasić* 9 Bara Bara, Miko Lyrics By – M. Ž. Ilić* Music By – B. Bekić* Vocals [Guest] – Đani 10 Instrumental Music By – D. Tašković* U CELOFANU

CD je vrlo dobro ocuvan,ocena 4+.Booklet ima 12 strana,ocena 5.Made in the EU.

Made in USA. Stanje diska: 4+++ , potpuno zanemarljivi kratki plitki tragovi korišćenja, na unutrašnjem prstenu diska logo Stanje omota: 5- , knjižica koja se rasklapa na 6 strana sa tekstom o izdanju i fotografijama. Stanje kutije - korišćena.

CD digipack je nov neotpakovan,ocena 5.Made in the UK.

NOVO, U CELOFANU ORIGINAL STRANO IZDANJE The fifth release in our extensive CD reissue series of B.B. King`s classic LPs for the Crown label between 1957 and 1963 shows the blues guitar maestro in a small combo setting. With seven previously unissued bonus tracks. by Alan Empson (Reviews Editor, Juke Blues) It would be difficult to come up with a more apt title for a B.B. King album. Throughout his extensive career, the blues have always been close to his heart. This, the penultimate of his twelve albums on Crown Records, was issued in early 1963, (and later reissued as A Heart Full Of Blues`), although the tracks were probably recorded in late 1961 as part of the stockpiling process before B.B. went to ABC. The term `stockpiling` suggests a perfunctory churning-out of material, and the similarity in tone and tempo of the songs here might at first glance uphold that suggestion. But listen closer. B.B. was incapable of a mechanical performance-.-each song is invested with a sincerity in the vocals, that ranges from quiet authority to the heights of emotional intensity. For the most part, these are songs that invoke sadness, but without pity-.-there is always an air of defiance in the face of despair. The unmistakable guitar figures never become tiresome, as B.B. demonstrates his effective less-is-more approach, tasteful and emotive-.-an object lesson to wannabe guitarists. The small combo setting gives B.B. plenty of room to manoeuvre, and the subtle approach is enhanced by Maxwell Davis` gentle keyboard playing and Plas Johnson`s complementary tenor saxophone. An interesting feature for the long-time B.B. King enthusiast is the fact that most of the material here is unfamiliar. Even a song such as Downhearted, better known as How Blue Can You Get, has, despite Johnson`s weaving sax, a straight-forward simplicity that contrasts with B.B.`s later, more dramatic, versions. Strange Things may strike a chord, as it has been covered and reworked as Love Me Or Leave Me, by amongst others, James Cotton. As with the other releases in this series, bonus tracks are added-.-in this case, there are seven previously unissued sides, along with an extended version of the Kent 45 My Sometime Baby. All these tracks are taken from a similar time period as the Crown album, and the overall small combo feel is retained throughout. After the relentless slow-shuffle, deep blues of the first ten tracks, it is good to encounter the uptempo drive of Your Good Lovin` Man, or the sheer joie de vivre of My Baby`s An Angel and My Baby`s Dynamite (no relation to Tampa Red`s She`s Dynamite, cut by B.B. in 1951). The fact that these sides have not been issued previously does not mean that they are in any way inferior - just an indication of how much material the Bihari brothers had accumulated. Loving You In Vain, for instance, is as good as anything that did see the light of day. This series is filling out nicely, and is all part of Ace`s master plan to honour the greatest and most influential blues man of all time. A man with genius in his fingertips, and a heart full of blues.`

B.B.King - Let The Good Times Roll. Izdanje iz 1999,MCA Records,EU. CD 5- Buklet 5

OMOT 5 CD 5 Label: BGO Records (3) – BGOCD578 Format: CD, Compilation, Unofficial Release Country: Russia Released: 2003 Genre: Rock, Blues Style: Electric Blues, Blues Rock Hallelujah 1 Same All Over Written-By – B. Hite*, F. Parra*, H. Vestine*, L. Taylor* 2 Change My Ways Written-By – A. Wilson* 3 Canned Heat Written-By – B. Hite* 4 Sic Em Pigs Written-By – B. Hite*, B. White* 5 I`m Her Man Written-By – A. Leigh 6 Time Was Written-By – A. Wilson*, B. Hite*, F. Parra*, H. Vestine*, L. Taylor* 7 Do Not Enter Written-By – A. Wilson* 8 Big Fat (The Fat Man) Written-By – D. Bartholomew*, F. Domino* 9 Huautla Written-By – V. Wolf 10 Get Off My Back Written-By – A. Wilson* 11 Down In The Gutter But Free Written-By – B. Hite*, F. Parra*, H. Vestine*, L. Taylor* Cook Book 12 Bullfrog Blues Written-By – A. Wilson*, B. Hite*, F. Cook*, H. Vestine*, L. Taylor* 13 Rollin And Tumblin Written-By – M. Morganfield* 14 Going Up The Country Written-By – A. Wilson* 15 Amphetamine Annie Written-By – Canned Heat 16 Time Was Written-By – Canned Heat 17 Boogie Music Written-By – L. T. Tatman III 18 On The Road Again Written-By – A. Wilson*, F. Jones* 19 Same All Over Written-By – Canned Heat 20 Sic Em Pigs Written-By – B. Hite*, B. White* 21 Fried Hockey Boogie Written-By – L. Taylor* Phonographic Copyright ℗ – Liberty Records, Inc. Copyright © – BGO Records Backing Vocals [Guest] [Uncredited] – Elliot Ingber (tracks: 1, 11), Javier Batiz (tracks: 1), Skip Diamond (tracks: 1, 11) Bass [Uncredited] – Henry Vestine (tracks: 11), Larry Taylor (tracks: 1 to 10) Bongos, Congas [Guest] [Uncredited] – Mike Pacheco (tracks: 5) Drums [Uncredited] – Fito de la Parra (tracks: 1 to 11) Engineer [Uncredited] – Richard Joseph Moore (tracks: 1 to 11) Guitar [Uncredited] – Larry Taylor (tracks: 11) Harmonica [Uncredited] – Bob Hite (tracks: 8) Lead Guitar [Uncredited] – Henry Vestine (tracks: 1 to 10) Liner Notes [Reissue] – John Tobler (tracks: 1 to 11) Organ, Piano [Guest] [Uncredited] – Mark Naftalin (tracks: 5, 11) Piano [Guest] [Uncredited] – Ernest Lane (tracks: 1) Producer [Uncredited] – Canned Heat (tracks: 1 to 11), Skip Taylor (tracks: 1 to 11) Slide Guitar, Vocals, Harmonica [Uncredited] – Al Wilson (2) (tracks: 1 to 11) Vocals [Uncredited] – Bob Hite (tracks: 1 to 11) Whistling [Uncredited] – Al Wilson (2) (tracks: 2) Tracks 1 to 11 recorded at I. D. Sound Recorders, Hollywood, California, January, February, March, April, and May, 1969. Tracks 1 to 11 originally released as LP ` Hallelujah ` in 1969. Tracks 12 to 21 originally released as LP ` The Canned Heat Cook Book (The Best Of Canned Heat ) ` in 1969. CD reissue of 2 1969 albums, in jewel case, with 12 page inlay. _________________ Replica of Hallelujah / Cook Book Barcode: 5017261205780

NOVO, U CELOFANU ORIGINAL STRANO IZDANJE Looking at the well-upholstered figure who’s Eric Clapton’s back seat passenger on the “Riding With The King” album cover, it’s hard to imagine that here was a performer who once was lean, never really mean, but always hungry. B.B. King had begged for food in Mississippi when he was a teenager – and had never forgotten the woman who’d given him biscuits and buttermilk. “I made a promise to myself that I keep even today. Guys can be on the street begging; when you meet somebody begging, if they mention food I’m gonna get them something.” Later on he was hungry for success – and like the biscuits and buttermilk, it came along. But even he couldn’t have foreseen the career path that has taken him from sharecropping to superstardom. No other living bluesman is as well-known, as revered, or has had as much influence as King. In a professional career now in its seventh decade, he has, to slightly amend the late Pete Welding, “seen the blues style he developed in the late 40s and early 50s become the universally dominating sound of modern blues and he, as its architect and incontestably its single finest representative, become one of the most important figures in blues history.” And the tracks here are the ones which made him into that figure. Several of them would stay with King forever, played nightly at the thousands of gigs that he has performed over the years, and many of them also turned up on the hugely-successful “Riding With The King” album. It all had to begin somewhere. For King it was Bear Creek in Berclair, Mississippi, where he was born on 16 September 1925, the son of sharecroppers Albert and Nora Ella King. Life was never easy. His mother died when he was nine and he went to live with his grandmother. He picked up on music at an early age. The great bluesman Bukka White was a relative and he found King a factory job in Memphis. After hours, King played with harmonica player Walter Horton but, disillusioned by the musical talent he saw around him, he returned to Mississippi. In 1949, he was back in Memphis and this time for good. Within 24 hours he’d secured a regular gig at a West Memphis grill and a radio show advertising Peptikon health tonic. Riley B King had become the Beale Street Blues Boy. Very soon he’d become Blues Boy King and then B.B. King. Memphis was in those days a wide-open musical town or, as King puts it, “a college of learning” – and he was about to graduate from it. Helping him do that were three brothers, Jules, Saul and Joe Bihari, of Hungarian Jewish parentage, who ran the Modern record label in Los Angeles. King had already cut his first record for the Nashville-based Bullet company, but it was the Biharis who would put their faith in King. They would sign him after hearing one of his demos and he would stay with them until January 1962, during which time he would cut the tracks you hear here - a selection from possibly the greatest single body of work by any modern bluesman. The beginnings may have been a little hesitant, but it doesn’t show in the music. The opening track, B.B. Boogie, from 1950, has King in full-powered vocal mode even though the T-Bone Walker-influenced guitar is almost certainly played by Calvin Newborn. This and several of the earliest tracks King recorded would have been cut in Sam Phillip’s studio in Union Avenue, Memphis, where a few years later a fellow Memphis performer by the name of Elvis Presley would try his luck. The King we hear on She’s Dynamite, from 1951, also cut at Phillips’ studio, is more assured, with King riding over a crunching beat that owes more than a little to the recent Ike Turner/Jackie Brenston smash ‘Rocket 88’. The vocals, with their Roy Brown-like inflexions, come in like a power-hammer. This is King enjoying himself. Almost a hit, it certainly lit up the local jukeboxes. King has always been open to musical influences – from his mother’s first cousin Bukka White to balladeer Frankie Laine, but he’s always had a direct line to older and more traditional blues styles. Shake It Up And Go, from 1952 was based on the blues standard ‘Bottle It Up And Go’ (which you can actually hear King sing a few times). Listen out too for the great guitar solo. King revisited the track on the “Blues On The Bayou” album in 1998. That elusive first hit came with 3 O’Clock Blues. A cover of a Lowell Fulson record, it showed King’s ability to get inside a song with mature, impassioned vocals and compelling guitar work. Hard to think this was the work of a 26-year-old. It went straight to the top of the Billboard R&B charts and stayed there for three months. It must also be the only chart-topper ever to have been recorded at the Memphis YMCA, where the Biharis were forced to record after falling out with Sam Phillips. Another R&B chart-topper, Please Love Me, was King’s take on a fellow Mississippi guitarist who was also making quite a name for himself, Elmore James. King doesn’t play slide so the ‘Dust My Broom’-like opening riff comes from him playing vibrato. He doesn’t sing when he plays either, so that’s why it’s either full-on in your face vocals or guitar work. It’s hard to say which of King’s songs has been covered the most, but Woke Up This Morning from 1953 can probably lay claim to the title. Perhaps it’s the slightly tricky rhumba rhythm or the superb interplay between King’s wailing vocals, the choppy guitar work and the chunky brass work supplied by Bill Harvey and his band. For a sad topic, “my baby, she’s gone” it’s the most optimistic piece of music I’ve ever heard. Obviously he wasn’t too fussed by his woman’s departure. He sounds equally serene on You Upset Me Baby, a solid King boogie from 1954 where’s he’s backed by the doyen of West Coast music arrangers, Maxwell Davis. Cut in Culver City, it took King back up the R&B charts when he was touring constantly. “It was very significant, very fulfilling. I got a chance to travel to see the United States being a young man and find out what the road was about,” King says, which is a nice way of looking back on that gruelling timetable of gig after gig. It could have been a case of Every Day I Have The Blues, another standard which King has made his own. Lowell Fulson and more famously Joe Williams and the Count Basie band had covered the Memphis Slim song, but King was able to stamp his authority on it and take it into the charts again. King’s in great form and there’s another superb Maxwell Davis arrangement. Anyone who doubts King’s vocal abilities should just sit in a darkened room and listen to When My Heart Beats Like A Hammer. About one minute and seven seconds in, he comes up with a “Weeeeell” that sets the record alight. It’s based on a 1941 song, ‘Million Years Blues’ by the original Sonny Boy Williamson. Ten Long Years has long been a King staple. The writer Peter Guralnick has defined the “B.B. King school of blues” as “single-string, treble-laden guitar work characteristically exploding in shimmering clusters of notes, embellishing, extending, but rarely supporting the vocal with the kind of full-bodied chords that derive from an older, failing style”. Hear it here. Cut on the road, Sweet Little Angel suffers from a slight rough-and-ready recording quality, but that’s more than made up for by the sheer brilliance of King’s guitar work, which comes out of the speakers and bites you. Based on an earlier 1949 hit, ‘Sweet Black Angel’ by Robert Nighthawk, it’s another song which King has indelibly made his own. In contrast, Don’t Look Now, But I’ve Got The Blues, from 1958, is a wry, not-too-demanding number written by Lee Hazlewood, who would later pen ‘These Boots Are Made For Walking’ for Nancy Sinatra. By the time this was cut, King’s popularity was being eaten into by the rise of rock’n’roll, and although he still had his traditional fan base he was yet to make any inroads into the white market. But that would come in time. Mind you, the thunderous drum roll that introduces Early In The Morning, along with heavy backbeat and honking sax solo, has a taste of the rock’n’roll that King eschewed. The song also bears a strong affinity to Elvis Presley’s take of Arthur “Big Boy” Crudup’s ‘My Baby Left Me’. Two Kings for the price of one, if you like. Days Of Old, a 1958 B-side, finds B.B. in exuberant, almost playful vocal mood with a big band backing. Perhaps it’s the line “Met a girl on the avenue, she was shy and I was blue” which tickled King’s fancy. Although I doubt, considering King’s life on the road, whether that was ever the case. Crudup, who popped up in the discussion of ‘Early In The Morning’, cut the original version of Mean Old Frisco in 1942. King gives it an intriguing, chugging train-like rhythm in an attempt to catch the ear of a younger generation of jukebox-listening record-buyers in 1959. Catfish Blues (aka Fishin’ After Me) from a year later is best known from the version by Muddy Waters, which he called ‘Rolling Stone’, but King was also paying homage to the original version of the song by Robert Petway. Either way it’s an excellent uptempo version of the song helped along by the admirable rolling piano work of long-time Lowell Fulson and T-Bone Walker collaborator Lloyd Glenn. Another King favourite, Sweet Sixteen, was cut in October 1959 and has formed part of his stage show ever since. It’s a perfect marriage of heartfelt vocals and striking guitar work. “The blues is almost sacred,” King says. “Like gospel music. Because it’s a part of our culture and a part of us.” Listen to the gospel-fuelled end of this two-part epic and you can see what he means. King thinks I’ll Survive is one his best tracks and that may surprise some, for this is almost supper club blues with vocals that recall Arthur Prysock or Billy Eckstine. But as Pete Welding pointed out, King’s success has in a large part been his ability to synthesise many brands of black music – blues, swing, jump and jazz – into his personal style. This is King the balladeer, and great one at that. Downhearted, which is better known by the title How Blue Can You Get?, is probably the finest blues ever to have been written by somebody who came from Hampstead, North London (see Juke Blues #62 for the full story). The Leonard Feather song had first been cut by Johnny Moore’s Three Blazers in 1949. King cut it at the end of his tenure with Modern Records, but recorded it again for his new label, ABC, and included it in his ground-breaking “Live At The Regal” album in 1964, since when it has become another regular item in his live shows. By the time Bad Case Of Love was recorded in 1961, King was looking for success outside the blues field. ‘Love’, a perky uptempo rocker, didn’t provide it, but King liked the tune enough to record it again on his “Blues On The Bayou” album. That success he was looking for would come in 1964 with the more traditional Rock Me Baby, his biggest hit – peaking at #34 in the US pop charts – before the career-changing ‘The Thrill Is Gone’. Any blues band worth their salt will have covered this tune and the wonderfully tight arrangement. No King concert is complete without it.

Sistem 2.0 Snaga 5W Frekvencija 200Hz - 20kHz Ostalo Reklamacioni period Zagarantovana sva prava kupaca po osnovu zakona o zaštiti potrošača

Johannes Brahms - The Concertos Originalno izdanje na tri diska, dupla debela kutija. Made in Netherlands Novo, neotpakovano, u celofanu! Spisak pesama: Piano Concerto No. 1 In D Minor Op. 15 01 Maestoso 23:09 02 Adagio 14:30 03 Rondo, Allegro Non Troppo 12:17 16 Waltzes Op. 39 04 No. 1 In B Major 0:55 05 No. 2 In E Major 1:29 06 No. 3 In G Sharp Minor 0:58 07 No. 4 In E Minor 1:16 08 No. 5 In E Major 1:21 09 No. 6 In C Sharp Major 1:02 10 No. 7 In C Sharp Minor 2:12 11 No. 8 In B Flat Major 1:35 12 No. 9 In D Minor 1:24 13 No. 10 In G Major 0:35 14 No. 11 In B Minor 1:46 15 No. 12 In E Major 1:35 16 No. 13 In B Major 0:42 17 No. 14 In G Sharp Minor 1:21 18 No. 15 In A Flat Major 1:35 19 No. 16 In C Sharp Minor 1:21 CD2 Piano Concerto No. 2 In B Flat Major Op. 83 01 Allegro Non Troppo 18:25 02 Allegro Appassionato 9:05 03 Andante 12:07 04 Allegretto Grazioso 9:09 4 Klavierstücke Op. 119 05 Intermezzo In B Minor: Adagio 4:19 06 Intermezzo In E Minor: Andantino Un Poco Agitato 4:46 07 Intermezzo In C Major: Grazioso E Giocoso 1:40 08 Rhapsody In E Flat Major: Allegro Risoluto 5:05 CD3 Violin Concerto In D Major Op. 77 01 Allegro Ma Non Troppo 23:00 02 Adagio 9:38 03 Allegro Giocoso 8:51 Concerto For Violin Cello & Orchestra In A Minor Op. 102 04 Allegro 17:11 05 Andante 8:18 06 Vivace Non Troppo 8:46 Stanje mozete videti na slikama. Zanrovi: classical pvs2r10

Gilbert Bécaud – Bécaud Label: Pathé – 7483202 Format: CD Country: France Released: 1987 Genre: Pop Style: Očuvanost CD: 4+ Omot: 4+ Napomena: Nalepnica sa brojem na prednjem omotu

Made in the EU. Booklet na 12 strana. Disk u odličnom stanju. Label: Warner – 2564685044 Format: CD, Album, Enhanced Country: France Released: Nov 16, 2009 Genre: Rock, Blues, Pop, Folk, World, & Country Style: Indie Pop, Alternative Rock, Pop Rock, Chanson