Things that were lost

CD Album CD Code EAN: 3700398722696 Genre musical: Pop rock Rubrique principale CD: CD Album Crawler: Spyfind Nouveauté: Nouveauté Titre: Things that were lost in the fire Disponibilité: Disponible

POUR LES FANS D'ELVIS PRESLEY JE VOUS PROPOSE CE CD IMPORT : ALL THINGS ARE POSSIBLE ELVIS EN CONCERT A LAS VEGAS (NEVADA) LE 27 JANVIER 1971 LORS DE 4e SAISON A VEGAS UN EXCELLENT SHOW EN SON PARFAIT ! INDISPENSABLE Also Sprach Zarathustra (*) That's All Right (*) You Don't Have To Say You Love Me Love Me Tender There Goes My Everything Sweet Caroline You've Lost That Lovin' Feelin' Polk Salad Annie Only Believe How Great Thou Art Introductions Johnny B. Goode The Wonder Of You Something Make The World Go Away Love Me One Night Blue Suede Shoes Hound Dog Mystery Train/Tiger Man (*) Love Me Tender (*) Can't Help Falling In Love (*)  LUXOR- NO CDR- TRÈS BON ÉTAT A NE PAS MANQUER ! FRAIS DE PORT: GRATUITS POUR LA FRANCE METROPOLITAINE DECOUVREZ MA BOUTIQUE DREAMS OF AMERICA !!!!

Expédition soignée sous enveloppe à bulles. / International shipment in padded envelop. Live. Double CD. Copyright 2007 Masterplan.  (EAN 4 250079 731251) Disc 1: Live at the Ocean Center, Daytona Beach, 25 mars 1987 (Excellent sound quality / Son excellent) 1. Say What! 2. Lookin' Out The Window 3. Look At Little Sister 4. Ain't Gone 'n' Give Up Love 5. Superstition 6. Willie The Wimp 7. Cold Shot 8. Couldn't Stand The Weather 9. Life Without You 10. Love Struck Baby 12. Rude Mood Disc 2 (bonus) : Live at the CBS Convention, Honolulu, 19 mars 1984 (Bad sound, you've been warned / Attention: le son est mauvais) 1. Cold Shot 2. The Things (That) I Used To Do 3. You Were Wrong 4. Lonely Tearddrops  5. Stang's Swang 6. Wham 7. Last Call (Hawaiian Eye) 8. Don't Fall For Me Baby 9. Jeff's Boogie feat. Jimmie Vaughan on tracks 1-2-3-4-7-8 feat. Angela Strehli on tracks 3-4-8 feat. Jeff Beck on tracks 6-7-8-9

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

PLEASE WAIT THE INVOICE BEFORE SENDING PAYMENT !!!!!!!!  INFORMATIONS: ITALIAN press GRADING COVER/RECORD:  SEALED SHIPPING COST:  to France:  8€ for 1 record; 1€ per additionnal item to Europe:   14€ for 1 record; 1€ per additionnal item  to Rest of the world: 24€ for 1 record; 2€ per addtionnal item ALL shipping are REGISTRED with TRACKING NUMBER.   RECORD AND COVER GRADING: MINT (M) These are absolutely perfect in every way. Often rumored but rarely seen, Mint should never be used as a grade unless more than one person agrees that the record or sleeve truly is in this condition. There is no set percentage of the Near Mint value these can bring; it is best negotiated between buyer and seller. NEAR MINT (NM OR M-) A good description of a NM record is “it looks like it just came from a retail store and it was opened for the first time.” In other words, it’s nearly perfect. Many dealers won’t use a grade higher than this, implying (perhaps correctly) that no record or sleeve is ever truly perfect. NM records are shiny, with no visible defects. Writing, stickers or other markings cannot appear on the label, nor can any “spindle marks” from someone trying to blindly put the record on the turntable. Major factory defects also must be absent; a record and label obviously pressed off center is not Near Mint. If played, it will do so with no surface noise. (NM records don’t have to be “never played”; a record used on an excellent turntable can remain NM after many plays if the disc is properly cared for.) NM covers are free of creases, ring wear and seam splits of any kind. VERY GOOD PLUS (VG+) or EXCELLENT (E) A good description of a VG+ record is “except for a couple minor things, this would be Near Mint.” Most collectors, especially those who want to play their records, will be happy with a VG+ record, especially if it toward the high end of the grade (sometimes called VG++ or E+). VG+ records may show some slight signs of wear, including light scuffs or very light scratches that do not affect the listening experience. Slight warps that do not affect the sound are OK. Minor signs of handling are OK, too, such as telltale marks around the center hole, but repeated playing has not misshapen the hole. There may be some very light ring wear or discoloration, but it should be barely noticeable. VG+ covers should have only minor wear. A VG+ cover might have some very minor seam wear or a split (less than one inch long) at the bottom, the most vulnerable location. Also, a VG+ cover may have some defacing, such as a cut-out marking. Covers with cut-out markings can never be considered Near Mint. Very Good (VG) Many of the imperfections found on a VG+ record are more obvious on a VG record. That said, VG records — which usually sell for no more than 25 percent of a NM record — are among the biggest bargains in record collecting, because most of the “big money” goes for more perfect copies. For many listeners, a VG record or sleeve will be worth the money. VG records have more obvious flaws than their counterparts in better shape. They lack most of the original gloss found on factory-fresh records. Groove wear is evident on sight, as are light scratches deep enough to feel with a fingernail. When played, a VG record has surface noise, and some scratches may be audible, especially in soft passages and during a song’s intro and ending. But the noise will not overpower the music otherwise. Minor writing, tape or a sticker can detract from the label. Many collectors who have jukeboxes will use VG records in them and not think twice. They remain a fine listening experience, just not the same as if it were in better shape. VG covers will have many signs of human handling. Ring wear in the middle or along the edges of the cover where the edge of a record would resid

33 Tours LP   BLACK SHEEP NON-FICTION  MERCURY 314 522 685-1  2 LP USA Year: 1994 Hip Hop Cover: NM Record: NM See photos. My grading criteria are based on the Goldmine® Grading Guide: MINT (M)* These are absolutely perfect in every way. Often rumored but rarely seen, Mint should never be used as a grade unless more than one person agrees that the record or sleeve truly is in this condition. *Note: I almost never use MINT grade, I think it should only be used for perfect new sealed records or perfect "still in shrink" records. I could occasionally add an additional conservative grade of [NM+] to this guide to describe perfect records, even if not new sealed or not "still in shrink". NEAR MINT (NM OR M-)** A good description of a NM record is “it looks like it just came from a retail store and it was opened for the first time.” In other words, it’s nearly perfect. Many dealers won’t use a grade higher than this, implying (perhaps correctly) that no record or sleeve is ever truly perfect. NM records are shiny, with no visible defects. Writing, stickers or other markings cannot appear on the label, nor can any “spindle marks” from someone trying to blindly put the record on the turntable. Major factory defects also must be absent; a record and label obviously pressed off center is not Near Mint. If played, it will do so with no surface noise. (NM records don’t have to be “never played”; a record used on an excellent turntable can remain NM after many plays if the disc is properly cared for.) NM covers are free of creases, ring wear and seam splits of any kind. **Note: Sometimes I can add an additional conservative grade of [NM-] or [VG++] to this guide to describe records just under [NM] or "almost [NM] perfect with a few minor flaws". VERY GOOD PLUS (VG+) A good description of a VG+ record is “except for a couple minor things, this would be Near Mint.” Most collectors, especially those who want to play their records, will be happy with a VG+ record, especially if it toward the high end of the grade (sometimes called VG++). VG+ records may show some slight signs of wear, including light scuffs or very light scratches that do not affect the listening experience. Slight warps that do not affect the sound are OK. Minor signs of handling are OK, too, such as telltale marks around the center hole, but repeated playing has not misshapen the hole. There may be some very light ring wear or discoloration, but it should be barely noticeable. VG+ covers should have only minor wear. A VG+ cover might have some very minor seam wear or a split (less than one inch long) at the bottom, the most vulnerable location. Also, a VG+ cover may have some defacing, such as a cut-out marking. Covers with cut-out markings can never be considered Near Mint. Very Good (VG) Many of the imperfections found on a VG+ record are more obvious on a VG record. For many listeners, a VG record or sleeve will be worth the money. VG records have more obvious flaws than their counterparts in better shape. They lack most of the original gloss found on factory-fresh records. Groove wear is evident on sight, as are light scratches deep enough to feel with a fingernail. When played, a VG record has surface noise, and some scratches may be audible, especially in soft passages and during a song’s intro and ending. But the noise will not overpower the music otherwise. Minor writing, tape or a sticker can detract from the label. Many collectors who have jukeboxes will use VG records in them and not think twice. They remain a fine listening experience, just not the same as if it were in better shape. VG covers will have many signs of human handling. Ring wear in the middle or along the edges of the cove

33 Tours LP   DON CHERRY & The Jazz Composer's Orchestra RELATIVITY SUITE JCOA Records VIRGIN JLP 2001 Dischi Ricordi ITALY Year: 1974 Jazz Free Jazz Cover: VG++ Record: NM Back cover a bit dirty and with ring wear. See photos. My grading criteria are based on the Goldmine® Grading Guide: MINT (M)* These are absolutely perfect in every way. Often rumored but rarely seen, Mint should never be used as a grade unless more than one person agrees that the record or sleeve truly is in this condition. *Note: I almost never use MINT grade, I think it should only be used for perfect new sealed records or perfect "still in shrink" records. I could occasionally add an additional conservative grade of [NM+] to this guide to describe perfect records, even if not new sealed or not "still in shrink". NEAR MINT (NM OR M-)** A good description of a NM record is “it looks like it just came from a retail store and it was opened for the first time.” In other words, it’s nearly perfect. Many dealers won’t use a grade higher than this, implying (perhaps correctly) that no record or sleeve is ever truly perfect. NM records are shiny, with no visible defects. Writing, stickers or other markings cannot appear on the label, nor can any “spindle marks” from someone trying to blindly put the record on the turntable. Major factory defects also must be absent; a record and label obviously pressed off center is not Near Mint. If played, it will do so with no surface noise. (NM records don’t have to be “never played”; a record used on an excellent turntable can remain NM after many plays if the disc is properly cared for.) NM covers are free of creases, ring wear and seam splits of any kind. **Note: Sometimes I can add an additional conservative grade of [NM-] or [VG++] to this guide to describe records just under [NM] or "almost [NM] perfect with a few minor flaws". VERY GOOD PLUS (VG+) A good description of a VG+ record is “except for a couple minor things, this would be Near Mint.” Most collectors, especially those who want to play their records, will be happy with a VG+ record, especially if it toward the high end of the grade (sometimes called VG++). VG+ records may show some slight signs of wear, including light scuffs or very light scratches that do not affect the listening experience. Slight warps that do not affect the sound are OK. Minor signs of handling are OK, too, such as telltale marks around the center hole, but repeated playing has not misshapen the hole. There may be some very light ring wear or discoloration, but it should be barely noticeable. VG+ covers should have only minor wear. A VG+ cover might have some very minor seam wear or a split (less than one inch long) at the bottom, the most vulnerable location. Also, a VG+ cover may have some defacing, such as a cut-out marking. Covers with cut-out markings can never be considered Near Mint. Very Good (VG) Many of the imperfections found on a VG+ record are more obvious on a VG record. For many listeners, a VG record or sleeve will be worth the money. VG records have more obvious flaws than their counterparts in better shape. They lack most of the original gloss found on factory-fresh records. Groove wear is evident on sight, as are light scratches deep enough to feel with a fingernail. When played, a VG record has surface noise, and some scratches may be audible, especially in soft passages and during a song’s intro and ending. But the noise will not overpower the music otherwise. Minor writing, tape or a sticker can detract from the label. Many collectors who have jukeboxes will use VG records in them and not think twice. They remain a fine listening experience, just not the same as if it were in better shape. VG cov

Fred Astaire – Golden Greats. Particularité:  Boitier et CD en très bon état. Titres du CD: Cd1 1 Cheek To Cheek2 Let's Face The Music And Dance3 Let's Call The Whole Thing Off4 Never Gonna Dance5 A Fine Romance6 They All Laughed7 The Way You Look Tonight8 A Foggy Day9 Nice Work If You Can Get It10 Let Yourself Go11 I'M Putting All My Eggs In One Basket12 Top Hat, White Tie And Tails13 Isn'T This A Lovely Day14 Change Partners15 They Can'T Take That Away From Me16 I Can't Be Bothered Now17 Things Are Looking Up18 Pick Yourself Up19 Slap That Bass20 (I've Got) Beginner'S Luck21 Bojangles Of Harlem22 No Strings23 The Piccolino24 We Saw The Sea25 Shall We Dance? Cd2 1 Night And Day2 After You, Who?3 I'm Building Up To An Awfull Let-Down4 I'd Rather Lead A Band5 I Used To Be Color Blind6 The Yam7 The Yam Step8 High Hat9 My One And Only10 The Half Of It Dearie Blues11 The Babbit And The Bromite12 Hang On To Me13 I Love Louisa14 Fascinatin' Rhythm15 Funny Face16 I'D Rather Charleston17 White Heat...Dancing In The Dark (Orchestra Only)18 Hoops19 Sweet Music (To Worry The Wolf Away)20 Louisiana21 Not My Girl22 Maybe It'S Because (I Love You Too Much)23 The Gold Digger's Song24 I'Ve Got You On My Mind25 Crazy Feet Cd3 1 Puttin' On The Ritz2 Dearly Beloved3 Who Cares?4 You'Re Easy To Dance With5 You Were Never Lovelier6 Flying Down To Rio7 Music Makes Me8 I'll Capture You're Heart9 Dream Dancing10 This Heart Of Mine11 Since I Kissed My Baby Goodbye12 I'M Old Fashioned13 A Couple Of Song And Dance Men14 Love Of My Life15 On The Beam16 So Near And Yet So Far17 The 'Shorty George'18 I Can'T Tell A Lie19 Me And The Ghost Upstairs20 Just Like Taking Candy From A Baby21 Poor Mister Chisholm22 (I Ain't Hep To That Step, But I'll) Dig It23 The Wedding Cake Walk24 Wedding In The Spring 25 If Swing Goes, I Go Too (Box-CD- 04)

COINS ABIMES  Blackdrop Island Klara Källström Poem by  Viktor Johansson B-B-B-Books   Hardcover 160 pages 241×304 mm 2011 ISBN: Not available   ‘In Klara Källströms’ Blackdrop Island, she plays with the idiom “to dig where you stand”. What happens if you do that? You come to the other side of the planet.’ – Sinziana Ravini, Microfictions, 2009 The photographs were taken during a stay in Tokyo in 2008 and a revisit in 2010. Documenting things at night, when darkness creates black backdrops and only allows us see a bit of the scenery, is something that occupies Klaras’ interest. It becomes “partially a fictional documentation”, she says. Viktor Johansson has written a poetic suite accompanying the images and the result is shown in the book as two parallel worlds, encapsulated in double-folded sheets. Klara Källström, born April 15, 1984, is a Swedish photographer and artist living in Stockholm.  

Unforgettable - The Great Standards 1-1 –Kenny Rogers Unforgettable 3:21 1-2 –Vic Damone Begin The Beguine 4:43 1-3 –Tony Bennett Isn't It Romantic? 3:24 1-4 –Mel Tormé I Can't Give You Anything But Love 2:03 1-5 –Lena Horne You Go To My Head 2:59 1-6 –Engelbert Humperdinck A Lovely Way To Spend An Evening 3:33 1-7 –Judy Collins Bewitched 3:39 1-8 –Kenny Rogers My Funny Valentine 4:07 1-9 –Vic Damone Blue Moon 3:32 1-10 –Engelbert Humperdinck Stardust 2:33 1-11 –Ed Ames & Margaret Whiting Tea For Two 3:38 The Greatest Love Songs 1-12 –Vic Damone It's Impossible 4:30 1-13 –Petula Clark The First Time Ever I Saw Your Face 4:02 1-14 –Kenny Rogers Love is A Many Splendoured Thing 2:40 1-15 –Vince Hill Touch Me In The Morning 3:50 1-16 –Sacha Distel Darling, je Vous Aime Beaucoup 2:44 1-17 –Ken Barrie Mona Lisa 4:20 1-18 –Kenny Rogers She Believes In Me 4:19 1-19 –Peters & Lee Always On My Mind 3:26 1-20 –Judy Collins Till There Was You 2:52 1-21 –Vic Damone Our Love Is Here To Stay 4:01 Legendary Singers Of The Century 2-1 –Frank Sinatra & Harry James And His Orchestra If I Didn't Care (Live Opname) 3:28 2-2 –Doris Day & Les Brown And His Orchestra Sentimental Journey 2:50 2-3 –Frankie Laine That's My Desire 2:31 2-4 –Peggy Lee What Is This Thing Called Love 2:15 2-5 –Patti Page Let Me Call You Sweetheart 1:56 2-6 –Bing Crosby Talk To The Animals 3:09 2-7 –Carmen McRae All The Things You Are 4:02 2-8 –June Christy & Les Brown And His Orchestra It Don't Mean A Thing 2:07 2-9 –Bob Eberly & Jimmy Dorsey And His Orchestra Fools Rush In 3:18 2-10 –Helen Forrest I Only Have Eyes For You 2:08 2-11 –Rosemary Clooney I get A Kick Out Of You 2:45 Great Singers - Great Songs 2-12 –Engelbert Humperdinck I'm Getting Sentimental Over You 4:15 2-13 –Tony Bennett This Can't Be Love 1:42 2-14 –Sacha Distel Can't Take My Eyes Off You 3:14 2-15 –Barbara Dickson There Goes That Song Again 3:52 2-16 –Vic Damone Night And Day 3:44 2-17 –Petula Clark I Dreamed A Dream 3:35 2-18 –Vince Hill Roses Of Picardy 2:46 2-19 –Kenny Rogers Lady 3:54 2-20 –Shirley Bassey Still 5:49 Great Songwriters Of The Century 3-1 –Kenny Rogers Always 2:47 3-2 –Judy Collins Enbraceable You 3:08 3-3 –Tony Bennett The Lady Is A Tramp 2:29 3-4 –Helen Forrest Come Rain Or Come Shine 2:19 3-5 –Kenny Rogers When I Fall In Love 3:25 3-6 –Bryan Johnson (2) September Song 2:55 3-7 –Harry Secombe Gigi 3:39 3-8 –Ivor Emmanuel Ol' Man River 3:28 3-9 –Engelbert Humperdinck My Foolish Heart 2:52 3-10 –Helen Forrest I'll Never Smile Again 2:59 3-11 –Sandie Shaw Ev'ry Time We Say Goodbye 2:59 A Tribute To Today's Great Songwriters 3-12 –Mike Sammes Singers Trains And Boats And Planes 3:31 3-13 –Roger Miller Me And Bobby McGee 3:18 3-14 –Sacha Distel You Are The Sunshine Of My Life 3:06 3-15 –Judy Collins Blowin' In The Wind 4:21 3-16 –Betty Buckley With One Look (Live Opname) 3-17 –Madeline Bell A Natural Woman 3:33 3-18 –Vince Hill You Don't Bring Me Flowers 3:05 3-19 –Stephanie Lawrence Candle In The Wind 4:16 3-20 –Judy Collins Let It Be 4:17      4-1 –Vic Damone What Now My Love 3:19 4-2 –Demis Roussos No More Boleros 4:14 4-3 –Sacha Distel Monsieur Cannibale 3:24 4-4 –José Carreras Amapola 3:57 4-5 –Simone Langlois Pigalle 2:55 4-6 –Acker Bilk Stranger On The Shore 2:52 4-7 –Carlo Bergonzi Torna A Surriento (Come Back To Sorrento) 4:35 4-8 –Marie-Paule Belle Milord 4:39 4-9 –André Brasseur Early Bird 2:56 4-10 –Vince Hill You've Lost That Loving Feeling 4:19 Somewhere, My Love - Movie Classics 4-11 –Kenny Rogers Somewhere, My Love 2:44 4-12 –Sylvia Cheyenne & Gilles Olivier Un Homme Et Une Femme 2:42 4-13 –Henry Mancini And His Orchestra Love Story 2:50 4-14 –Kenny Rogers I Will Always Love You 2:59 4-15 –Shirley Bassey Wind Benauth My Wings 4:20 4-16 –Henry Mancini And His Orchestra The Entertainer 3:31 4-17 –Helmut Zacharias Schindler's List 3:53 4-18 –Vince Hill Bright Eyes 3:33 4-19 –Berdien Stenberg When You Wish Upon A Star 2:50 4-20 –Kenny Rogers Un

You who are looking for the ultimate piece in your collection of this huge band of music, here it is, you have just found. Condition: EX+ cover and  NM disc Extremely rare. Gatefold sleeve. Only 200 copies in the world edited in 1985.  The sound is breathtaking, i've never heard basses so deep and others instruments so clear on all  recording media otherwise available (Strange Fruit 1991, remasters on The Best Of 2006 etc.) and this is due to the reading speed 45 rpm. Absoluty an hypnotic performance (Paul MORLEY, NME).  Tracklist: Side A: Exercise one / Insight / She's lost control / Transmission  Side B: Love will tear us apart / Twenty four hours / Colony / The sound of music  Source: the two Peel Sessions january & september 1979 (studios BBC & Maida Vale) I bought it in LONDON in 1986 at a specialized record shop (unofficial release). A magnficient highly collectible objet for a real fan! The artwork was inspired by Peter SAVILLE, initially planned for STILL album. Really much rarer than the french 7" SORDIDE SENTIMENTAL " Licht und Blindheit" SS 33002. You'll never find this item elsewhere on sale (auctions websites, Discogs, CD&LP etc.). The graphic comes from the painting of Caspar David FREIDRICH "Monastery cimetery in the snow", the painter become popular with the "Traveler contemplating a sea of clouds". EXTRAS: incredible sound effects at the begenning and the end of each disc as follows: Side A begins with thunder and rain sound effects, then a scratching sound (as the needle is roughly sliding across the grooves), and then some mad laughter followed by a "welcome!". After the tracks it closes with another stylus scratching noise and an annoyed voice exclaiming something along the lines of "Hey, what are you trying to do, man? You ruined my record, I just bought it!" Side B features, dialogue taken from (or later used in) an Apollonia Six (Prince offshoot) album spoken word track called Ooo She She Wa Wa at the beginning and the end. Side B starts with the following dialogue: "God bless Susan and Brenda and my rabbit, Smokey Oh, and God, please bless all the people on Neptune Amen Apollonia? Who said that? It's Brenda from Neptune {laughter} Get up girl, its too early to be in bed Oh Brenda, what is it? Get up I'm tired Come here, I want you to hear something What? Come on, come on Oh Brenda, where are we going? Shhh, listen What do you mean I'm too young? Maybe you're too old Hey, I happen to like my teddy bear Well, for one thing, he's bigger than you {hangs up phone} Hey, who's there? It's the men from Neptune:::laughter::: Oh you... you guys OK, Apples, put on some clothes Susan, take some off We're going out to play (Yeah!) This dialogue is followed by Love will tear us apart, 24 hours, Colony and The Sound of music At the end of side B the dialogue continues: Hello sweetheart, it's Brenda Hello sweetheart, it's Brenda Hold on honey Come on you guys, put it in the bank, I'm trying to talk Well, we're so sorry Come on Susan, I'll tuck you in OK I'm sorry darling, where were we? What? No, not really Nah, it's just something she says Whenever she goes to see this Spanish guy she knows in the valley Never mind that Let's talk about you and I This is followed by a deep processed voice stating something like "No you punk, I'm not ruining your new record. This is brought to you by The Snowman" ALL QUESTIONS ARE WELCOME, OTHERS PICTURES AVAIBLE ON REQUEST. DELIVERY FOLLOWED TO MY CHARGE WITH INSURANCE IN CASE OF LOSS. THANKS VERY MUCH FOR YOUR VISIT, AND HAPPY BIDDING IN TOTAL CONFIDENCE !

A classic work of World War II history that brings to vivid, dramatic life one of the bloodiest battles ever fought - and the beginning of the end for the Third Reich. On August 5, 1942, giant pillars of dust rose over the Russian steppe, marking the advance of the 6th Army, an elite German combat unit dispatched by Hitler to capture the industrial city of Stalingrad and press on to the oil fields of Azerbaijan. The Germans were supremely confident; in three years, they had not suffered a single defeat. The Luftwaffe had already bombed the city into ruins. German soldiers hoped to complete their mission and be home in time for Christmas. The siege of Stalingrad lasted five months, one week, and three days. Nearly two million men and women died, and the 6th Army was completely destroyed. Considered by many historians to be the turning point of World War II in Europe, the Soviet Army's victory foreshadowed Hitler's downfall and the rise of a communist superpower. Best-selling author William Craig spent five years researching this epic clash of military titans, traveling to three continents in order to review documents and interview hundreds of survivors. Enemy at the Gates is the enthralling result: the definitive account of one of the most important battles in world history. The book was the inspiration for the 2001 film of the same name, starring Joseph Fiennes and Jude Law. Stalingrad, one of the bloodiest battles in the history of warfare, cost the lives of nearly two million men and women. It was perhaps the single most important engagement of World War II and signaled the beginning of the end of the Third Reich of Adolf Hitler. Based on 100s of interviews with survivors of the battle, this text presents the story of the bloody battle. A Shocking, Epic Tale It is hard to put into words this tremendous epic of a book. Beginning with the German 6th Army's confident march towards Hitler's "prize", Stalingrad, the book carefully and descriptively moves through stages the battle from both German and Russian accounts, drawing in the reader from one heart-stopping moment to the next. William Craig does a masterful job of describing the deteriorating situation in the city, the countless lives lost, and the tragedy that occurs during the capitulation and capture of the German 6th Army and its Italian and Romanian allies. All armies involved in the battle suffered immeasurably for what they believed in, and the human cost and brutality described during the battle and its aftermath is breath-taking. Craig also did an unbelievable job of gathering first-hand accounts from the survivors to put the reader directly on the front lines. To learn the whole truth about this tragedy of WWII history I highly recommend this book.

COUNT BASIE The Complete Count Basie Vol. 11 To 20 1941-1951 Box 10 Vinyles: Tracklist - XI-A1 Feedin' The Bean - XI-A2 Fiesta In Blue - XI-A3 Fiesta In Blue - XI-A4 Fiesta In Blue - XI-A5 Fiesta In Blue - XI-A6 Fiesta In Blue - XI-A7 Tom Thumb - XI-A8 Take Me Back Baby - XI-B1 King Joe (Part1) - XI-B2 King Joe (Part2) - XI-B3 King Joe (Part1) - XI-B4 King Joe (Part2) - XI-B5 Moon Nocturne - XI-B6 Something New - XI-B7 Something New - XII-A1 I Struck A Match In The Dark - XII-A2 Platterbrains - XII-A3 Platterbrains - XII-A4 Platterbrains - XII-A5 All Of Me - XII-A6 All Of Me - XII-A7 All Of Me - XII-B1 Feather Merchant - XII-B2 Feather Merchant - XII-B3 Feather Merchant - XII-B4 Down For Double - XII-B5 Down For Double - XII-B6 More Than You Know - XII-B7 More Than You Know - XII-B8 Harvard Blues - XII-9 Harvard Blues - XIII-A1 Coming-Out Party - XIII-A2 Coming-Out Party - XIII-A3 One O'clock Jump - XIII-A4 One O'clock Jump - XIII-A5 Blue Shadows And White Gardenians - XIII-A6 'Ay Now - XIII-A7 'Ay Now - XIII-A8 'Ay Now - XIII-B1 For The Good Of Your Country - XIII-B2 For The Good Of Your Country - XIII-B3 Basie Blues - XIII-B4 Basie Blues - XIII-B5 I'm Gonna Move To The Outskirts Of Town - XIII-B6 Time On My Hands - XIII-B7 How Long Blues - XIV-A1 Royal Garden Blues - XIV-A2 Bugle Blues - XIV-A3 Sugar Blues - XIV-A4 Farewell Blues - XIV-A5 Cafe Society Blues - XIV-A6 Way Back Blues - XIV-A7 St. Louis Blues - XIV-B1 Rusty Dusty Blues - XIV-B2 Ride On - XIV-B3 Lost In The Blackout Blues - XIV-B4 Time On My Hands - XIV-B5 It's Sand Man! - XIV-B6 Ain't It The Truth? - XIV-B7 Ain't It The Truth? - XIV-B8 Ain't It The Truth? - XV-A1 For The Good Of Your Country - XV-A2 Taps Miller - XV-A3 Jimmy's Blues - XV-A4 Jimmy's Blues - XV-A5 I Don't Know About You - XV-A6 Red Bank Boogie - XV-A7 Red Bank Boogie - XV-A8 Avenue C - XV-B1 Avenue C - XV-B2 Avenue C - XV-B3 Avenue C - XV-B4 This Heart Of Mine - XV-B5 That Old Feeling - XV-B6 That Old Feeling - XV-B7 Blue Skies - XV-B8 Jivin' Joe Jackson - XVI-A1 High Tide - XVI-A2 High Tide - XVI-A3 High Tide - XVI-A4 Queer Street - XVI-A5 Queer Street - XVI-A6 Queer Street - XVI-A7 Patience And Fortitude - XVI-B1 Patience And Fortitude - XVI-B2 Patience And Fortitude - XVI-B3 The Mad Boogie - XVI-B4 The Mad Boogie - XVI-B5 The Mad Boogie - XVI-B6 The Mad Boogie - XVI-B7 Lazy Lady Blues - XVII-A1 Lazy Lady Blues - XVII-A2 Lazy Lady Blues - XVII-A3 Rambo - XVII-A4 Rambo - XVII-A5 Rambo - XVII-A6 Rambo - XVII-A7 Stay Cool - XVII-B1 Stay Cool - XVII-B2 Stay Cool - XVII-B3 The King - XVII-B4 The King - XVII-B5 The King - XVII-B6 Hob Nail Boogie - XVII-B7 Hob Nail Boogie - XVIII-A1 Hob Nail Boogie - XVIII-A2 Danny Boy - XVIII-A3 Mutton Leg - XVIII-A4 Mutton Leg - XVIII-A5 Mutton Leg - XVIII-A6 Mutton Leg - XVIII-A7 Stay On It - XVIII-B1 Wild Bill's Boogie - XVIII-B2 Wild Bill's Boogie - XVIII-B3 Wild Bill's Boogie - XVIII-B4 Wild Bill's Boogie - XVIII-B5 Wild Bill's Boogie - XVIII-B6 Wild Bill's Boogie - XVIII-B7 Fla-Ga-La-Pa - XIX-A1 Don't Ever Let Me Be Yours - XIX-A2 Goodbye Baby - XIX-A3 Goodbye Baby - XIX-A4 Goodbye Baby - XIX-A5 Neal's Deal - XIX-A6 Neal's Deal - XIX-A7 Neal's Deal - XIX-B1 Neal's Deal - XIX-B2 Bluebeard Blues - XIX-B3 Bluebeard Blues - XIX-B4 Golden Bullet - XIX-B5 Golden Bullet - XIX-B6 Golden Bullet - XIX-B7 You're My Baby, You - XX-A1 You're My Baby, You - XX-A2 Song Of The Islands - XX-A3 These Foolish Things - XX-A4 I'm Confessin' - XX-A5 One O'clock Jump - XX-A6 I Ain't Got Nobody - XX-A7 Little White Lies - XX-B1 Little White Lies - XX-B2 I'll Remember April - XX-B3 Tootsie - XX-B4 Howzit - XX-B5 Nails - XX-B6 Little Pony - XX-B7 Beaver Junction

During all this year and... more, I’ll put on.fr and.com, little by little, petit à petit, more than 1000 classics records. It is one of many that I am in process of clearing, from my own personal collection in order to make some much needed space. I always underestimate my appreciations (hard grading) and anyway listen to each of my records.   2016:  rare oldies, U.K. & France, LPs & Boxes... Consultez mes autres objets ! xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx As these LPs were stored in former owner's attic for decades, a good cleaning will definitely increase the sound quality. Ces disques étant restés pendant plus de 50 ans dans un grenier, un bon nettoyage devrait améliorer leur qualité d'écoute. xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx " CORTOT. THIBAUD. CASALS. Trios N° 1 de Haydn & Schubert . Vol. 1 "  . Enregistré en 1926 . . LP . VSM / GRAVURES ILLUSTRES . FRANCE . 195?. MONO. N° COLH 12  . DOWEL SPINE . DISQUE:  EX - . Minimes traces de surface, pas de pop. Quelques micro-craquements au début des faces (poussières ?). 2  labels impeccables. Looks played 4/5 times ? POCHETTE:  EX. Très propre. Une micro-trace d'usage au verso. Pas de livret.  Les Musiciens:  CORTOT, THIBAUD & CASALS .      xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx " CORTOT. THIBAUD. CASALS.  Beethoven. Trio Archiduc. Vol. 2 "  . Enregistré en 1928 . . LP . VSM / GRAVURES ILLUSTRES . FRANCE . 195?. MONO. N° COLH 29  . DOWEL SPINE . DISQUE:  EX - . Insignifiantes et superficielles traces de surface, pas de pop. Pas de craquement. 2  labels impeccables. Looks played 4/5 times ? POCHETTE:  EX -. 2/3 micro-traces d'usage au verso. Une petite trace d'humidité au recto/haut/droit. Livret au verso de la pochette.  Les Musiciens:  CORTOT, THIBAUD & CASALS .                             ²                                                      xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx " CORTOT. THIBAUD  . Beethoven. Sonate N° 9 Kreutzer (face 1) CASALS. CORTOT.  Beethoven.  Variations sur un thème de la Flûte Enchantée (face 2) "  . Enregistrés en 1927 & 1929 . . LP . VSM / GRAVURES ILLUSTRES . FRANCE . 195?. MONO. N° COLH 92  . DOWEL SPINE . DISQUE:  EX - . Insignifiantes traces de surface, pas de pop. Pas de craquement. 2  labels impeccables. Looks played 4/5 times ? POCHETTE:  EX -. 1 trace d'humidité au verso. Micro-chocs sur les 2 coins gauche. Livret au verso de la pochette.  Les Musiciens:  CORTOT, THIBAUD & CASALS .   xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx EXPEDITION / SHIPPING :    FRANCE... Envoi en Colissimo. 9.40 EUROS. ECO/Envoi avec suivi possible par Mondial Relais: 5.90 EU. Union Européenne  + Suisse...  ECO/WAY... 8,00 EUROS Asia, Canada,USA, Reste du Monde ... ECO/WAY... 9.50 EUROS. Changes of moneys are daily differents, please consult the money converter... http://pages..fr/services/buyandsell/currencyconverter.html Tarif spécial pour achats groupés. Special price for multiple items shipping.      XOXOXOXOXOXOXOXOXOXOXOOXOXOXOXOXOXOXOXOXOXOXOXOXOXOX   For sending, I do the best I can do with special disc parcel French /Raja or German/Protected.LP.Versandkarton surrounded with plastic-bubbles sleeves, eventually reinforced. Record out of the cover.              I'M NOT RESPONSIBLE ABOUT POST OFFICE'S JOB !  AFTER SENDING, I DENY ALL RESPONSIBILITIES REGARDING LOST OR BREAKED PARCELS ! Any problem: Email.by. Thanks.   Pour les expéditions, je réalise les colis  comme j’aimerais les recevoir, avec le même soin.  Disque en dehors de la pochette afin de ne pas « marquer », entouré de plastique/bulles, dans un emballage spécial LPs (Raja ou Protected), éventuellement renforcé. Dans tous les cas, vous conviendrez que je ne peux être tenu pour responsable d’éventuels problèmes postaux, mais contactez-moi TOUJOURS (sur) afin de tenter de trouver un accord éventuel. Merci.