Everything was lost

CD CD Code EAN: 3383003620176 Titre: EVERYTHING WAS... 18 SONGS COMPILATION THE LOST ALBUM & 8 OF THE BEST OF THE REST

Cd Peter KATER - HOW The WEST WAS LOST 1993 WITH CARLOS NAKAI. État: "Très bon état" Service de livraison: Lettre Suivie

Vinyle 33 Tours Vinyles Code EAN: 0190295500924 Crawler: Spyfind Rubrique principale Vinyle: 33 Tours Titre: Everything Not Saved Will Be Lost Part 1 Genre musical: Rock Ressum: 1

CD Album CD Code EAN: 4547366396638 Rubrique principale CD: CD Album Genre musical: Rock Titre: EVERYTHING NOT SAVED WILL BE LOST Part 1 [IMPORT JAPONAIS]

CD Album CD Code EAN: 0190295500917 Genre musical: Blues Rubrique principale CD: CD Album Crawler: Spyfind Titre: Everything Not Saved Will Be Lost Part 1

Petite rayure mais ne gênant pas la lecture.Bonne journée à vous CD Album CD Distributeur: Pias Auteur: Eluveitie Editeur: Nuclear Blast Rubrique principale CD: CD Album Date: 2010-02-18 00 Artistes Similaires: Children of Boredom Genre musical: Métal Support / Quantité fournie: 1 Product scoring: E

Petite rayure mais ne gênant pas la lecture.Bonne journée à vous CD Album CD Distributeur: Pias Auteur: Eluveitie Editeur: Nuclear Blast Product scoring: A Rubrique principale CD: CD Album Date: 2010-02-18 00 Artistes Similaires: Children of Boredom Genre musical: Métal Support / Quantité fournie: 1

ATTENTION: PAS DE CHEQUE, PAS DE VIREMENT; PAYEMENT PAYPAL UNIQUEMENT  PAYPAL ONLY BANGLES EVERYTHING Track listing 1. In Your Room 2. Complicated Girl 3. Bell Jar 4. Something to Believe In 5. Eternal Flame 6. Be with You 7. Glitter Years 8. I'll Set You Free 9. Watching the Sky 10. Some Dreams Come True 11. Make a Play for Her Now 12. Waiting for You 13. Crash and Burn Album notes The Bangles: Susanna Hoffs, Vicki Peterson (vocals, guitar); Michael Steele (vocals, bass); Debbi Peterson (vocals, drums). Additional personnel: Vinnie Vincent (guitar); David Lindley. When the Bangles' third and final album was released in 1988, a backlash had already begun against the popular Los Angeles power poppers. All four of the Bangles' previous Top 40 hits, excellent though they were, had been written by outside songwriters, and the fact that all four bandmembers were strong songwriters themselves was overlooked by cynics who charged that Susanna Hoffs' pouty beauty was the main reason for the band's commercial success. Unfortunately, corporate marketing decisions to showcase Hoffs by selecting the album's two weakest songs, the faceless "In Your Room" and the soppy "Eternal Flame," as singles, paired with a too-slick production job, doomed the album among the cognoscenti and the band quickly broke up. However, heard with fresh ears, EVERYTHING is a cohesive, mature album with many terrific songs, especially Vicky Peterson's "Glitter Years" and Michael Steele's magnificent "Complicated Girl." An underappreciated album crying out for artistic re-evaluation. COLUMBIA / 1988 / Printed in AUSTRIABoitier Cristal // Crystal Box Tous mes CD sont en état impeccable, très peu utilisés Frais de Port, Shipping cost: Pour la France: 3,50€ (+1€ par CD Supplémentaire) For Europe, Switzerland and Norvay: 5,50€ (+2€ each additional CD) Rest of the world: 7,85€ (+3€ each additional CD) MERCI de CONSULTER MES AUTRES VENTES... PAYPAL ONLY ATTENTION: PAS DE CHEQUE; PAYEMENT PAYPAL EXCLUSIVEMENT

Vinyle Soul, Funk, Blues en très bon état sorti en 2013. Geater Davis ‎– Lost Soul Format: Vinyle, 2xLP, Compilation Label: Luv N' Haight ‎– LHLP 069 Année: 2013 Pays: US Style: Soul, Funk, Blues Condition disque: VG+ (Excellent, vinyle n°2 COMME NEUF) Condition pochette: VG+ (Excellent hormis une marque sur une tranche, voir photo n°3) Envoi rapide et soigné via Mondial relay ou Colissimo. Tracklist A1 My Love Is So Strong For You A2 For Your Precious Love A3 I Love You B1 I Can Hold My Own B2 Cry, Cry, Cry B3 Don't Marry A Fool B4 St. James Infirmary C1 Wrapped Up In You C2 Sweet Woman's Love C3 I Know (My Baby Loves Me) C4 I'll Play The Blues For You C5 I'll Play The Blues For You [2nd Version] D1 Cold Love [Long Version] D2 Breath Taking Girl D3 I'll Get By D4 Best Of Luck To You Notes Geater Davis was a singer from Texas who had the chops to be one of the great men of the soul era, but bad luck and bad timing kept him from enjoying the success he deserved. Davis would have been a perfect fit at Stax or Atlantic in the mid- to late '60s, but his recording career didn't get rolling until the early '70s, when his brand of gruff but passionate blues-based R&B was losing ground in favor of funkier sounds. And while producer Allen Orange consistently drew fine performances from Davis in the studio and gave him powerful and sympathetic backing, Orange's record labels (House of Orange and Seventy-Seven Records) didn't have much muscle in the marketplace. Davis recorded for other labels over the course of his career, including Ace and Luna, but they didn't fare much better with him than Orange's imprints, and Davis was little more than a cult figure when he died in 1984 at the age of 38. The Lost Soul Man collects 25 tracks Davis recorded during his tenure with Orange, and while the presence of repeated alternate takes and unreleased tracks that didn't get the studio polish they need dull the impact of this set just a bit, it's still a potent testament to his talents. At his best, Davis' singing suggests the cool passion of Bobby "Blue" Bland blended with the gritty fire of Wilson Pickett, and he's good enough to merit both comparisons; the slow slink of "I'm Gonna Change," the lover's regret of "I've Got to Pay the Price," the potent groove of "Ain't Worrying About Jody," and the primal shouter "Hot Buttered Love" are all stellar performances and leave no doubt this man could and should have had some hits under more favorable circumstances. While Charly's Sad Shades of Blue offers a broader portrait of Geater Davis' career, The Lost Soul Man does restore some of the man's best moments in the studio to circulation, and fans of great Southern soul will want to give this a thorough listen. ~ Mark Deming

Interprète    :      Carmel Album         :   The drum is everything Type            : 33T     LP    Année         : 1984 Référence   : 810 236-1 Label           : London records Distribution: Barclay Pressage    : France Qualité Pochette     : NM Qualité Disque        : Ex Genre Musical Funk / Soul Tracklist A1 More, More, More Backing Vocals – Shirley Laidley Horns – Sounds 18 6:26 A2 Stormy Weather 3:43 A3 The Drum Is Everything 2:00 A4 I Thought I Was Going Mad Backing Vocals – Shirley Laidley 1:46 A5 The Prayer Drums – Isaac "Kofi" Osapanin *, Johnny Folarin 6:43 B1 Rockin' On Suicide Horns – Sounds 18 2:00 B2 Rue St. Denis (Version) Drums – Isaac "Kofi" Osapanin *, Johnny Folarin Toasting – Crazy Joe 4:21 B3 Willow Weep For Me 2:45 B4 Tracks Of My Tears 3:57 B5 Bad Day Backing Vocals – Rush Winters Engineer – John Etchells Mixed By – Dennis Weinreich Organ – Steve Nieve 3:40 ---------------------------------------------------------------------------------------------------- Envoi sous pochette bulle  Virement banquaire préféré à Paypal si possible Compléments d'information sur simple demande Regarder mes autres ventes Réduction du port pour envois groupés   Trouvez ci-dessous la codification "Etat des pochettes et disques" Code  Traduction Etat Pochette  S Neuf (emballé) Le disque est encore sous son emballage d'origine. M Comme neuf La pochette est comme neuve, elle n'est juste plus sous son emballage d'origine. NM Comme neuf- La pochette est presque parfaite, pouvant comporter de très minimes signes d’usure. Par contre le dessin artistique ou la photo de la pochette doit être aussi impeccable que possible. EX Excellent La pochette peut avoir quelques très discrètes rayures et/ou des petits plis. VG+ Très bon + La pochette présente des signes de manipulations évidents: extrémité légèrement cornée, étiquette du prix, plis. Mais aucun défaut majeur. Il se peut aussi qu'elle soit en parfaite état mais présente un poinson ou une extrémité biseautée. VG- Très bon - La pochette est usée avec des plis, des marques, des décollements, une usure des bords, des décolorations, un début de marque circulaire du disque sur la pochette. G Pauvre L'état de la pochette est proche de celui de VG- avec en plus des écritures, un papier gondolé à cause de l'humidité, des déchirures sur les bords... B Mauvais L'état de la pochette est proche de celui de VG- avec en plus des écritures, un papier gondolé à cause de l'humidité, des déchirures sur les bords... NA Non applicable La pochette est manquante ou ce code n'est pas applicable à ce type d'articles (Pochette neutre blanche ou noire, livres, merchandising,...). Code  Traduction Etat Disque S Neuf (emballé) Le disque est encore sous son emballage d'origine. M Comme neuf Le disque est absolument parfait, comme neuf. Il n'est juste plus sous son emballage d'origine. NM Comme neuf- Le disque est presque parfait. Un frottement peut être constaté sur le disque, mais doit être vraiment moindre. Il ne doit y avoir aucun effet sur la qualité sonore du disque. Si c’est le cas, même minime, il ne pourra plus être considéré comme NM ou M- EX Excellent Le disque montre des signes d'avoir été joué (sensibles marques lumineuses), mais la perte de qualité sonore est pratiquement inaudible. VG+ Très bon + C'est l'état le plus courant des disques de deuxième main. Les disques ont quelques rayures qui n'affectent pas la qualité sonore. Certains crépitements peuvent être audibles sur des platines très sensibles. VG- Très bon - Les signes de l'âge sont présents. Le disque a des rayures et marques qui affectent la qualité sonore avec des craquements et sautements. G Pauvre La qualité du son est détériorée par les nombreuses lectures, il y a un souffle et il peut y avoir des sautements et craquements. On ne distingue pratiquement plus les sillons du disque. B Mauvais La qualité du son est détériorée par les nombreuses lectures, il y a un souffle et il peut y avoir des sautements et craquements. On ne distingue pratiquement plus les sillons du disque. NA Non applicable Le disque est manquant ou ce code n'est pas applicable à ce type d'articles (livres, merchandising,...).       Créé par L'outil de mise en vente gratuit. Mettez vos objets en vente rapidement et en toute simplicité, et gérez vos annonces en cours.

Depeche Mode - Rare 7” Promo Vinyl Everything Counts Live 1989. État: "Très bon état" You are viewing the Depeche Mode 7” Promo Vinyl Single for “Everything Counts Live” This was an official Spanish 1989 Promo Release with catalog no. Bong16 Notes: Has “Disco Promoc. Proh su venta” printed on labels Please see photos for track listings & Condition Item is sent tracked & recorded Please see my other items for more Depeche Mode items including Promos & Rare items If you have purchased multiple items from me then please wait until i combine postage before payment. Note: I have been a serious DM Collector & fan since 1982 so you are assured that all items sold from my collection have been well stored & very well looked after. I also send items secure & protected as I would expect a fellow fan/ collector to receive.

THIS IS AN EXTREMELY HARD TO FIND ITEM FROM MY PERSONNAL COLLECTION REALASED IN 1994. DON'T MISS THE OPPORTUNITY TO GRAB IT. WONDERFUL ALBUM, IF YOU LIKE  TOMMY FLANAGAN , YOU WILL ENJOY THIS CD ! FOR CONNOISSEURS OR ELLA FITZGERALD FANS AND COLLECTOR'S ONLY   Tommy Flanagan's tribute to Ella Fitzgerald Have a look on my others JAZZ / WESTCOAST / AOR / SOUL / FUNK / R&B items on.  Many collector’s items from my personal collection are available. Frais de ports pour la France / Dom Tom: 3.25 euros en suivi    PAIEMENT PAR CHEQUE OU VIREMENT BANCAIRE / POSTAL OU PAYPAL       ENVOI SOIGNE DES CDS DANS DES ENVELOPPES A BULLES    Please read carefully my conditions before bidding. All NEW and USED cds are carefully shipped abroad in bubbled-envelop + rigid package to protect them. INTERNATIONAL AIRMAIL SHIPPING & HANDLING COSTS: Ø EUROPE (European Union only): 3.75 euros - STANDARD PRIORITY AIRMAIL DELIVERED IN 2-3 DAYS Ø USA / CANADA / JAPAN & REST OF THE WORLD: 3.75 euros - STANDARD PRIORITY AIRMAIL DELIVERED IN 4-8 DAYS  All orders for Brazil / Mexico & South America / Russia & non European Union countries / Greece / China / Africa... are shipped for 7.50 euros with no tracking. Registered packages & Insurance are not included unless requested and paid for (13 euros for worlwide). I will not be held responsible for damaged or lost items shipped without insurance. Please tell me if you want registered and tracking mail in order I can send you a correct Paypal invoice. Please e-mail me if you have any question and don’t place any order if you don’t agree with my conditions. PAYMENT: 1- PAYPAL / postal transfer for international buyers. 2- Bank / postal transfer for Union European buyers only. Payment must be received within 7 days of auction ends. The item will be relisted after this period. I recommend you to check regularly my others auctions. Feel free to contact me if you have any questions about the item. Thanks and good bidding!

Emerson's Essays on Manners, Self-Reliance, Compensation, Nature, Friendship (Classic Reprint) Ralph Waldo Emerson Auteur: Ralph Waldo Emerson Editeur: Forgotten Books Broché: 194 pages paperback Publication: 15/07/2012 Dimensions: 22,86 x 15,24 x 2,29 Langue: Anglais Publier en: Anglais Languages d'origine: Anglais Help ? May 25, 180 A prU 27,1882) We have few more intimate biographical records than Emersoi s; fewer still tiiat cause so littie disappointment in the reading. In the wealth of material at hand in his Journal and letters as well as in the personal reminiscences of a great band of friends and admirers we are brought face to face with a personality that can but win by the cumulative power of character Even those who met Emerson with prejudices to be overcome were conquered by his presence. In an instant all my dislike vanished said Crabbe Bobinson, in reporting the first glimpse caught of him across a crowded room. One and another bear evidence to the same personal power with a concurrence that would be tiresome, were it not for the strong individual conviction in each case. Two other brothers, Edward and Charles, both younger, shared this power; William, the oldest, was likewise gifted with unusudl intellect. The family lived in Boston, where the father, William Emerson, was a brilliant Congregational minister, prominent in religious, social, and literary circles till his death in 1811. (Typographical errors above are due to OCR software and don't occur in the book.) About the Publisher Forgotten Books is a publisher of historical writings, such as: Philosophy, Classics, Science, Religion, History, Folklore and Mythology. Forgotten Books' Classic Reprint Series utilizes the latest technology to regenerate facsimiles of historically important writings. Careful attention has been made to accurately preserve the original format of each page whilst digitally enhancing the aged text. Read books online for free at Great Collection but Not the Best This collection has five Ralph Waldo Emerson essays: "Self-Reliance," "Manners," "Compensation," "Nature," and "Friendship." They were published a few years apart but have little intrinsic connection; the combination seems random. However, "Self" is an essential masterpiece, and the others are high quality. Anyone wanting a sampler could do worse, but the essays are widely available in far more comprehensive compilations, and this is hard to justify unless one sees it for a good price. "Self" is Emerson's most famous essay and is rivaled only by "Concord Hymn" as his most famous work. It is also his masterpiece; one often hears - sometimes disparagingly - that Emerson tried to fit his whole philosophy into each essay, and this comes remarkably close. There is far more depth and subtlety here than the length suggests; one would be very hard-pressed to find another work so densely packed. The words are few, but the implications are enough for a lifetime. "Self" is a seminal masterwork; a founding Transcendentalist text and American Romantic cornerstone, it is central to American thought, culture, and literature. Anyone even remotely interested in any Americana aspect must be intimately familiar with it; aside from the Declaration of Independence and Constitution themselves, perhaps no other document is so vital to the American spirit. Reading "Self" is perhaps more necessary than ever - not only because it is eternally relevant but also because it is often misrepresented. The term "self-reliance" is now almost entirely political, almost synonymous with libertarianism, and the essay is frequently touted along such lines. However, these things are hardly more than implied here, and though the definition of "liberal" has greatly changed, it is important to remember that Emerson was one of his era's leading liberals. His prime meaning in any case is self-reliance intellectually and in everyday life. He urges us to trust ourselves, to recognize human divinity and avoid imitation. It is a simple message but all-important - and far easier said than done. Emerson explores all its ramifications - philosophical, practical, social, political, economic, etc. - and outlines all its benefits. The case is beyond convincing, but he can do no more than show us; the rest is up to us. This profoundly individualist message is another reason that reading "Self" is so necessary. Emerson now unfortunately has a reputation for being somewhat impenetrable and/or hopelessly impractical; this is a true shame, because he wrote for the masses. Unlike nearly all philosophers, he does not rely on jargon or polysyllables; he truly wanted to be understood, and all it takes is will. We must open our minds to him, and once we have, they will never be closed again. Though greatly revered with many and diverse followers, Emerson's intention was not to be loved but to inspire; he wanted all to find individual genius. His work is thus the truest and best kind of self-help manual, and "Self" is its apotheosis. It has inspired millions in the more than century and a half of its existence, including me. I have read thousands and thousands of works, but this is one of the handful that truly changed my life. Emerson's greatness always shines through, but reading him at the right time can make an astonishing difference. He was more popular in life with the young than the old, and I can easily see why. I was lucky to read him at just the right time, and "Self" spoke to me more powerfully than almost anything else ever has. Without hyperbole, I can say that I would not be doing what I am today and would have abandoned my goals and visions without reading "Self" and Thoreau's "Life without Principle" - a somewhat similar essay highly influenced by Emerson - when I did. I was wracked with self-doubt and getting nothing but indifference, bafflement, or hostility from others; these works gave just the kick I needed, and I will never look back. "Self" has the potential to be life-changing as almost nothing else does, and I highly recommend it to all; you can hardly be unaffected and may never be the same. However, I especially recommend it to the young; its importance to them - and Emerson's generally - simply cannot be overemphasized. Emerson is a signature American stylist, and "Self" is near his height. His writing is always memorable and often highly lyrical - about as close to poetry as prose can be. However, his essays were almost always painstakingly composed from lectures and journals, and the effect was sometimes choppy. An Emerson-loving professor of mine once joked that no one can find the topic sentence in an Emerson paragraph, and his transitions also frequently leave much to be desired. However, "Self" is near-seamless, a true masterpiece of style that flows smoothly and often waxes beautiful. This is all the more remarkable in that it was assembled even more than usual from disparate sources; entries that ended up here came as far as eight years apart, but the whole is admirably harmonious. "Self" is a preeminent example of how Emerson delights in paradox. Anyone who reads him closely sees that he is as complex as he is simple. Thus, despite - or perhaps even because of - apparent straight-forwardness, few texts are more ripe for deconstruction. "Self" fans after all love a text that tells us not to love texts, are inspired by a man who tells us not to be inspired by men, and are convinced by a text and man both of which tell us not to be convinced by either. But this is only the beginning. "Self" works because it tells us exactly what we want to hear and, in striking contrast to innumerable self-help books, does so in an intellectually and even aesthetically respectable way. This is fine for me and (hopefully) you but could of course be taken to heart by Hitler as easily as Gandhi. The thoroughly optimistic, mild-mannered, and physically frail Emerson may not have foreseen his revolutionary text being put to nefarious use and probably would have been unable to believe in even the possibility. However, the danger, if we choose to call it so, is very real. "Self" could easily have had the same effect that Nietzsche had on Nazis, and that it has not been taken up by anarchists, radical terrorists, and the like is perhaps mere luck. One at least wonders how it avoided preceding The Catcher in the Rye as the work synonymous with unsavory people. That said, it is likely unfair to Emerson to say he did not anticipate this; he after all takes his views to the logical conclusion. He surely saw it, and it may have given pause, but he persevered because he was faithful to his intuition just as he urges us to be to ours. He truly believed in self-reliance and was ready to stand by it no matter what befell - nay, thought it his only choice. His optimism must have told him that the doctrine would not be abused, and he has been right - so far. Only time will tell if this continues to hold, but "Self" remains essential for all. Though far less great and universal, "Manners" is one of Emerson's more historically interesting essays. It is essential to recall that his era perhaps emphasized manners more than any other in history; they had an importance of which we cannot even conceive. All had to deal with them regardless of personal views, but virtually all seemed to agree - or at least convinced others that they did. Thus, though it may initially seem somewhat surprising in light of Emerson's trademark liberalism and originality that he (begrudgingly) accepts some conventions, the small extent to which he did so is truly remarkable. The essay goes a little into various manners' pros and cons, but the core points are elsewhere. The first is that manners are relative; Emerson begins with some striking anthropological examples of this all-important fact and otherwise drives it home. An extension of his core self-reliance doctrine, the second is that the great make their own manners - and make others respect them. "Manners" is one of Emerson's least transcendental works - in any sense -, but comparing and contrasting its message to today's society and competing views can be instructive, and it is a valuable timepiece. "Friendship" is also very good - one of Emerson's most affecting and thought-provoking works. His view of the ubiquitous subject is unsurprisingly original and engaging. He believes that friendship can exist only with real equality and sees it as a sort of springboard to something higher. His demands are great, and the work is eye-opening in the sense that almost no one has a friend by his definition. Like his best work, "Friendship" can easily make us question beliefs and preconceptions - and perhaps even make us better friends. "Compensation" is one of Emerson's most representative essays. The staunch optimism so essential to his thought was perhaps never shown so clearly or thoroughly elsewhere. Emerson begins by saying he had wanted to write about compensation since he was a boy, and it shows in his enthusiasm. He works himself up almost to a rhapsody, giving example after example in clear, beautiful prose that remarkably never becomes dull and is often near-lyrical. The essay details Emerson's belief that everything balances out, even if we cannot see it, and that good and evil have their own earthly rewards despite appearances. He may not convince cynics, but his argument is certainly compelling, and his critiques of conventional Christianity and other traditions are very intriguing. "Nature" has many of Emerson's key concepts: nature's all-encompassing beauty and force, our place in regard to it, art's role, and of course deduction of God from nature. Some speculations are more philosophical, historical, or critical, but all lead to these basic points, which are Transcendentalism's cornerstones. Emerson's characteristically optimistic thought is here in full, as is his signature poetic prose. These essays are essential for anyone interested in Emerson, whether read here or elsewhere. Three Stars Not much explanation. Hard to read. Print is not very clear. D'autre ouvrages de Ralph Waldo Emerson Mot Clef: Nonfiction Education Education Theory

Je recalcule les frais de port pour l'achat de plusieurs objets!! envoi groupé moins chèr see also the other cd's of this collection in my shop voir aussi les autres cds de cette collection dans ma boutique ------------------------------------------------------------------- CD: "Dexter Gordon" Jazz-Masters - 100 ans de jazz   e.f.s.a. collection 1996   e.a. cute lullabye of birdland i should care seven come eleven blues for gates   Dexter Gordon (February 27, 1923 – April 25, 1990) was an American jazz tenor saxophonist. He was among the earliest tenor players to adapt the bebop musical language of people such as Charlie Parker, Dizzy Gillespie, and Bud Powell to the instrument. His studio and live performance career spanned over 40 years. Gordon's height was 6 feet 6 inches (198 cm), so he was also known as "Long Tall Dexter" and "Sophisticated Giant". He played a Conn 10M Lady Face until 1964. He lost the instrument in a Paris hotel. He then switched over to a Selmer Mark VI. His saxophone was fitted with an Otto Link metal mouthpiece, which can be seen in various photos. Dexter Gordon was named a member and officer of the French Order of Arts and Letters in 1986 by the Ministry of Culture in France. His performance in Round Midnight (Warner Bros, 1986) was nominated for an Academy Award for Best Leading Role and he won a Grammy for Best Soundtrack. Dexter Gordon died on April 25, 1990, in Philadelphia, Pennsylvania.................... --------- Dexter Gordon (né à Los Angeles le 27 février 1923, mort à Philadelphie le 25 avril 1990) est un saxophoniste ténor de jazz américain.Dexter Keith Gordon, né le 27 février 1923 à Los Angeles, est le fils du docteur Frank Gordon, diplômé de l'université de Howard à Washington D.C. et qui fut aussi l'un des premiers grands médecins afro-américains dans la « Cité des Anges ». Sa mère, Gwendolyn Baker, est la fille d'Edward Baker, capitaine afro-américain dans la troupe des « Buffalo Soldiers », qui fut récompensée de la médaille d'honneur après la guerre hispano-américaine (1898). Son entrée dans le monde de la musique commence à l'âge de 13 ans, où il étudie la clarinette, avant d'opter pour le saxophone alto à 15 ans et, enfin, le ténor à 17 ans. Il est au début suivi par deux professeurs, Lloyd Reese et Sam Browne, et étudie la musique dans l'école Jefferson. Lors de la dernière année de son cursus scolaire, Marshall Royal lui propose de rejoindre le groupe de Lionel Hampton. Gordon accepte et en 1940, il quitte Los Angeles, pour partir avec la troupe de Hampton. Avec celle-ci, il voyage dans le Sud et poursuit son apprentissage auprès de Joe Newman et Illinois Jacquet. Le groupe d'Hampton décroche un contrat de plusieurs mois au « Grand Terrace » de Chicago, en janvier 1941. Quelques enregistrements radio seront réalisés durant ces mois suivants, et deviendront les premiers enregistrements de Dexter...............   mandarin records ltd ireland 1996   CONDITION: VOIR PHOTO   bon état! (carton/box traces d'usage)      N'oubliez pas d'aller voir mes autres objets !! Pour économiser sur les frais de port, pensez à grouper vos commandes. Envoi RAPIDE et SOIGNÉ !! Frais de port = montants arrondis, inclus expedition, emballage bien protégé, transport, etc. Mes livres ou objets sont généralement proposés avec l’envoi le plus économique, comme 'lettre' (ou international par 'livres-brochures'). Dans ce cas les livres/objets voyagent aux risques et périls de l’acheteur. Si vous souhaitez une livraison garantie avec suivi, merci de me contacter, avant paiement, pour opter pour le Colissimo ou le recommandé. Mes objets sont emballés très soigné, protection efficace,(voir mes evaluations) et mon adresse figure systématiquement au dos ét dans le paquet, puor le renvoi, en cas non distribuable. Dans le cas d’une livraison économique: je ne pourrai pas être tenue responsables de détério

AC/DC HIGH VOLTAGE '75 AUSSIE ALB. PRODUCTIONS 009 ONLY SIDE 2 BLU ROO !?!. État : "Bon état" to read absolutely before bidding !!!: this album was released on february 17 1975 in australia so he is 46 years old! it is not a first hand, it has two qualities of exceptions which is worth to be interested in it especially for collectors of vinyls of ac / dc like me and I am asser stalled in this field,  and also unfortunately some three bad points or even four if you count the cover; I will explain to you to start on the state of the vinyl and the cover: the cover on the front and back is appreciable see the photos,  but on each side: in the sleeve an opening of 6 to 7 cm is on the three junction sides so to stay in the real no adding tape,  but is delivered with a pvc protection that keeps everything stable, vinyl level, listen to headphones: the first track side 1;  "baby please don't go" between 13 seconds and 20 seconds from the start shows two minimal jerks barely susceptible and which does not prevent the smooth unwinding of the vinyl, on side 2 "soul tripper" a minimal jerk in the second minute and to conclude another jolt during "show business" halfway through  the track and of course not susceptible: and does not prevent  the smooth running of the vinyl, otherwise all the rest of  the album is masterful, a fucking his ! I would like to point out,  listen to a technics sl 3300 and Tracking force of 1.75 grams (important!) Now we will get into the subject, this vinyl has the particularity of having the roo logo only on side 2 and for explanation:  First pressing with Blue center labels & kangaroo. Track A1 is credited to Broonzy on back sleeve and center labels. Later copies had the side one label changed to correct an error in the writing credit for "Baby Please Don't Go". It was incorrectly credited to Broonzy, but was actually written by Joe Williams - The matrix number is the same, and the label still carries the Blue Roo,  that is used by Alberts, to signify an original Alberts issue. Track A1 is still credited to Broonzy on the back of the sleeve,  but Joe Williams is now credited on the side one label. (these are a lot less common than Broonzy -  at a rate of around Three Broonzy to one Joe Williams, which is also a good indicator that this is not a different issue). AND HAS NOTICEABLE SURFACE MARKS SO GRADED IN GOOD + CONDITION. NOTE WE GRADE ALL OUR RECORDS AS PER RECORD COLLECTOR RARE RECORD PRICE GUIDE ! Notes Blue center labels & kangaroo logo on side B. This is a later label variant which has had the track A1 writing credit corrected from Broonzy to Joe Williams. A1 is still credited on the back sleeve to Broonzy. The matrix numbers are the same showing the same masters were used for pressing this release. Code-barres et autres identifiants - Matrix / Runout (Runout A, stamped): YAPAX1177 - Matrix / Runout (Runout B, stamped): YAPAX1178