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"'It was the seventh day of the storm. We didn't know were we were. Everyone on the ship believed that death was very near.' The Robinson family do not die at sea; they find their way to a small island. But what can they do now? Where will they live? What will they eat? Luckily, the father and mother have useful skills and they teach their four young sons. But how long will they be there, on the island?". Pearson Education.. Año 2000. 1ª edición

The room was on the fourth floor, and the door was locked - with the key on the inside. The windows were closed and fastened - on the inside. The chimney was too narrow for a cat to get through. So how did the murderer escape? And whose were the two angry voices heard by the neighbours as they ran up the stairs? Nobody in Paris could find any answers to this mystery. Except Auguste Dupin, who could see further and think more clearly than other people. The answers to the mystery were all there, but only a clever man could see them.. OUP Oxford. UK. Año 2007.

THE MOODY BLUES: THE PRESENT [UK 1985] LP THE MOODY BLUES: THE PRESENT [UK 1985] LP The Moody Blues   "The Present"  LP (Threshold)  1985  made in UK cat. num.  810 119-1 #rock  #progressive rock   A1 Blue World 5:16 A2 Meet Me Halfway 4:09 A3 Sitting At The Wheel 5:35 A4 Going Nowhere 5:27 B1 Hole In The World 1:55 B2 Under My Feet 4:48 B3 It's Cold Outside Your Heart 4:23 B4 Running Water 3:20 B5 I Am 1:41 B6 Sorry 4:56   ELO  fans who found in  Long Distance Voyager  a new  Discovery  can be excused for thinking there's no  Time  like  The Present. Just as  ELO 's follow-up to the sweeping  Discovery  seemed tame by comparison, so  The Present  failed to match the grandiose arrangements of  the Moodies ' previous record. It's still a solid effort, bolstered by strong songwriting and pleasant melodies, but as good as the opening "Blue World" is, its downbeat message is no substitute for the clarion call of "The Voice."  The Present  seems to make a conscious effort to scale back the arena-size sound of their previous album, returning to the warmly rendered ballads of old.  Patrick Moraz, whose keyboards were a revelation on  Long Distance Voyager, plays a diminished role here, as  Justin Hayward 's guitar takes more of the lead, suggesting a poor man's  Phil Manzanera  or  David Gilmour. While it charted well and provided hit singles in "Blue World" and "Sitting at the Wheel" (again, it's  John Lodge  who provides the most invigorating track),  The Present  is a gift that listeners will need to warm up to over time. Only after several sittings do  Hayward 's lush ballads like "Meet Me Halfway" and "Running Water" sink in. Following the format of their last effort, the closing tracks are given to  Ray Thomas, who once more proves a compelling presence (he's also the only good thing about "Going Nowhere"). "I Am" and "Sorry" amount to little more than love songs, but  Thomas ' sense for dramatic arrangements manages to elevate the musical discussion. Given the now infrequent release of new albums by  the Moody Blues, more could have been expected from  The Present, but less could have been achieved (as the disappointing  Keys of the Kingdom  demonstrated). If it's merely average by  Moodies  standards, at least  The Present  didn't bode ill for the future.  

DENIECE WILLIAMS: I'VE GOT THE NEXT DANCE [ESP 1979] 7” DENIECE WILLIAMS: I'VE GOT THE NEXT DANCE [ESP 1979] 7” Deniece Williams  "I've Got The Next Dance"  single 7" (CBS)  1979  made in Spain cat. num.  CBS 7399 #disco  #soul  #funk   a. I've got the next dance b. when love comes calling   One of the most distinctive vocalists who arrived during the soul era,  Deniece Williams  is known for soaring, four-octave soprano voice, late-'70s and early-'80s R&B classics such as "Free" and "Silly," and the 1984 number one pop hit "Let's Hear It for the Boy." Born  June Deniece Chandler  in Gary, Indiana, she grew up singing in a Pentecostal church, which forbid the congregation to listen to anything but gospel music. Outside of wanting a 1959 Thunderbird, she had no serious ambitions but was deeply interested in music. Her favorite singers were  Carmen McRae  (for her diction) and  Nancy Wilson, who, for  Williams, exemplified class and elegance. However, her she also looked up to her parents, both of whom sang. From 1968 through 1970,  Williams  recorded a handful of singles for the Chicago-based Lock and Toddlin' Town labels as  Deniece  (or Denise)  Chandler. None of them charted, but "I'm Walking Away" and "Mama, I Wish I Stayed Home" became Northern soul cult classics.  In need of employment and with college on the back burner, the fledgling singer was introduced to personal hero  Stevie Wonder  by John Harris, her cousin from Detroit, who happened to be on tour as a valet for  Wonder  (and was also his childhood friend). Her cousin arranged for  Williams  to meet  Wonder  backstage at a concert. Six months later,  Williams  was flown into Detroit by  Wonder  for an audition. Among the 26 who auditioned,  Williams, who sang "Teach Me Tonight," was one of three hired by  Wonder. The three became known as  Wonderlove. Her touring with  Wonder lasted for several years, a period in which she recorded background vocals for  Talking Book,  Fulfillingness' First Finale, and  Songs in the Key of Life,  Wonder -produced  Syreeta  and  Minnie Riperton  sessions, and other releases by the likes of  Esther Phillips  and  Roberta Flack.

Cactus (3) ‎– 'Ot 'N' Sweaty -LP- Cactus (3) ‎– 'Ot 'N' Sweaty -LP-   More images Cactus (3)  – 'Ot 'N' Sweaty Label: Atlantic  – ATC 50013,  ATCO Records  – 50 013 B,  ATCO Records  – 50 013 Format: Vinyl, LP, Album, Reissue, Stereo,  Gatefold Country: Europe Released: Genre: Rock Style: Hard Rock,  Rock & Roll Tracklist A1   Swim 4:40 A2   Bad Mother Boogie 4:55 A3   Our Lil Rock-N-Roll Thing 6:25 B1   Bad Stuff 3:08 B2   Bringing Me Down 5:27 B3   Bedroom Mazurka 4:33 B4   Telling You 5:10 B5   Underneath The Arches 0:30   Companies, etc. Phonographic Copyright ℗  –  Atlantic Recording Corporation Copyright ©  –  Atlantic Recording Corporation Record Company  –  Atco Record Company  –  Warner Communications Recorded At  –  Mar Y Sol Festival Recorded By  –  Wally Heider Recording Recorded At  –  Mediasound Recorded At  –  Electric Lady Studios Recorded At  –  Atlantic Studios Recorded At  –  Advantage Sound Remixed At  –  Electric Lady Studios Lacquer Cut at  –  Tonstudio Pfanz Made By  –  WEA Musik GmbH Distributed By  –  WEA Filipacchi Music Credits Arranged By  –  Cactus (3) Art Direction, Design  –  Richard Mantel Artwork [Cover Art]  –  David Willardson Bass, Backing Vocals [Background Vocals]  –  Tim Bogert Drums, Percussion, Backing Vocals [Background Vocals]  –  Carmine Appice Engineer [Assistant Engineers At Electric Lady Studios]  –  Bernie Kirsh,  Buzz Richmond,  Dick Shapiro Engineer [Recording Engineer At Advantage Sound]  –  Jim Vickers Engineer [Recording Engineer At Atlantic Recording Studios]  –  Joel Kerr Engineer [Recording Engineer At Electric Lady Studios]  –  Dave Palmer (2)  (tracks: B2 & B3) Engineer [Recording Engineer At Media Sound]  –  Michael DeLugg  (tracks: B1, B4 & B5) Engineer [Recording Engineers At The Mar Y Sol Festival]  –  Jimmy Douglass  (tracks: A1 to A3),  Ray Thompson  (tracks: A1 to A3),  Tom Scott (7)  (tracks: A1 to A3) Guitar  –  Werner Fritzschings Lacquer Cut By  –  PF * Lead Vocals  –  Peter French Organ, Piano, Electric Piano  –  Duane Hitchings Photography By [Back Cover Photos]  –  David Gahr Photography By [Inside Liner Photos]  –  David Gahr,  Jeffrey Mayer,  Wendy Lombardi * Producer  –  Geoffrey Haslam Recorded By  –  Wally Heider  (tracks: A1 to A3) Remix [Re-mixed At Electric Lady Studios]  –  Geoffrey Haslam Notes Glossy gatefold with white polylined inner sleeve. Similar to  Cactus (3) - 'Ot 'N' Sweaty  but right society is GEMA/BIEM. 1st cat. no. ATC 50013 on labels 2nd cat. no. 50 013 B on spine 3rd cat. no. 50 013 on sleeve Title variation on front cover: ON STAGE IN PUERTO RICO AND IN THE STUDIO 'OT 'N' SWEATY Side One was recorded live at the Mar Y Sol Festival in Puerto Rico on April 3, 1972. Recorded by Wally Heider Remote Unit Tracks B1, B4 and B5 were recorded at Media Sound, New York, N.Y. Tracks B2 and B3 were recorded at Electric Lady Studios, New York, N.Y. Additional recording at Atlantic Recording Studios, New York, N.Y. and at Advantage Sound, New York, N.Y. Re-mixed at Electric Lady Studios, New York, N.Y. Derived from Matrix / Runout code: On A-side lacquer processing was made at Tonstudio Pfanz [PF]. On sleeve: ATCO RECORDS 1841 BROADWAY, NEW YORK, NEW YORK 10023 DIVISION OF ATLANTIC RECORDING CORPORATION ℗ © 1972 Atlantic Recording Corporation Made in Germany by WEA Musik GmbH (//') A Warner Communications Company Barcode and Other Identifiers Matrix / Runout (Label A): (50013-A) Matrix / Runout (Label B): (50013-B) Matrix / Runout (Runout A, etched): WEA - 50013-A D PF 8 Λ4 "D" Matrix / Runout (Runout B, etched): ST-C -722578-B 5000Λ3-BXHTIGP GL PR Other (US cat. no.): (SD 7011) Rights Society (Labels, boxed): GEMA/ BIEM Rights Society (Sleeve inside, publishing): ASCAP Price Code (France, boxed): WE|3⑥1 Other (Cover back bottom right, debossed): //' logo

LITTLE RIVER BAND: TIME EXPOSURE [DEU 1981] LP LITTLE RIVER BAND: TIME EXPOSURE [DEU 1981] LP Little River Band   "Time Exposure"  LP (Capitol - Emi)  1981  made in Germany cat. num.  10C 064-400 042 #rock     The Night Owls   Man On Your Mind   Take It Easy On Me   Ballerina   Love Will Survive   Full Circle   Just Say That You Love Me   Suicide Boulevard   Orbit Zero   Don't Let The Needle Win   Guiding Light   When  Little River Band  formed in 1975, Australia immediately took notice. The key bandmembers were already well known to Australians. Lead singer  Glenn Shorrock  had made his name in mid-'60s group  the Twilights, a  Beatles -sounding pop group that scored a national number one record with its version of  the Velvelettes ' "Needle in a Haystack." When the group broke up in 1969,  Shorrock  became lead singer of  Axiom, whose "A Little Ray of Sunshine" is still an Australian classic rock staple.  LRB 's  Beeb Birtles  had been the bass player for a popular  Twilights -era pop group called  Zoot  (Rick Springfield was a later member). When that group broke up, in search of musical credibility,  Birtles  auditioned as the bass player, but was instantly elevated to a front-line position alongside  Graham Goble. Even  LRB 's manager was well-known.  Glenn Wheatley  had been the bassist with another of Australia's bands, and possibly its most legendary,  the Masters Apprentices. Given all that background, when  Shorrock  and  Birtles  revealed they were forming a group with  Goble, managed by  Wheatley, it was major event in Australian music.

The Leander pearls were stolen nineteen years ago. The thief was caught, but the pearls were never found, and there is still a.... OUP Oxford.. Año 2008.

Horror fiction. The supernatural community in Bon Temps, Louisiana is reeling from two hard blows: the natural disaster of Hurricane Katrina and the manmade horror of the explosion at the vampire summit in the up north city of Rhodes. Sookie Stackhouse is safe but dazed and she's yearning for things to get back to normal. But that's just not happening. Too many vampires, some friends, some not, were killed or injured and her were-tiger boyfriend Quinn is among the missing. It's clear that things are changing, whether the weres and vamps like it or not. And Sookie, Friend to the Pack, blood-bon

When the children dug a hole in the gravel-pit, they were very surprised at what they found. 'It' was a Psammead, a sand-fairy, thousands of years old. It was a strange little thing - fat and furry, and with eyes on long stalks. It was often very cross and unfriendly, but it could give wishes - one wish a day. 'How wonderful!' the children said. But wishes are difficult things. They can get you into trouble.... OUP Oxford.. Año 2007. 1ª edición

ELVIS PRESLEY - love letters from elvis 71 - USA EDT RCA + RARO ENCARTE, impecable ELVIS PRESLEY - love letters from elvis 71 - USA EDT RCA + RARO ENCARTE, impecable Love Letters      increible estado para esta OFICIAL EDIC ORG USA, 1ª LABEL naranja. LSP 4530. TODO EN ESTADO IMPECABLE,..!!!..COLLECTORS LA CARPETA AUN MANTIENE EL PRECINTO, NUESTRA MEJOR COPIA DE TODOS LOS TIEMPOS !! Love Letters from Elvis es el decimocuarto álbum de estudio del cantante y músico estadounidense Elvis Presley, lanzado en 1971 El álbum estaba compuesto por sobras de las sesiones de grabación maratón de junio de 1970 de Elvis en Nashville LOVE LETTERS FROM ELVIS se beneficia de una sólida colección de canciones que representan la mayoría de las ramas musicales de la carrera posterior de Elvis: grandes baladas dramáticas, el boogie de Memphis al estilo de Charlie Rich y el rock ocasional, todo enmarcado por la gran y excelente banda de Presley y muchas voces de fondo. Los fanáticos que más disfrutan de las primeras grabaciones de King pueden encontrar LOVE LETTERS y sus otros lanzamientos de los 70 demasiado exagerados, pero aquellos que estén dispuestos a aceptar la proclividad de Presley por la extravagancia musical encontrarán mucho para disfrutar aquí.   When I'm Over You      If I Were You      Got My Mojo Working      Heart Of Rome      Only Believe      This Is Our Dance      Cindy Cindy      I'll Never Know      It Ain't No Big Thing      Life     Elvis Presley - lead vocals, acoustic rhythm guitar     James Burton - lead guitar     Chip Young - rhythm guitar     Charlie Hodge – harmony vocals on “Heart of Rome” and “This Is Our Dance”, acoustic rhythm guitar     Norbert Putnam - bass     David Briggs - piano     Jerry Carrigan - drums     Charlie McCoy – harmonica, vibraphone, organ     The Imperials Quartet – backing vocals     The Jordanaires – backing vocals on "When I'm Over You"     The Nashville Edition – backing vocals on "It Ain't No Big Thing (But It's Growing)"                                          

The Yawpers 'Boy in a well' LP vinilo de color Bloodshot records ¡NUEVO! The Yawpers 'Boy in a well' LP vinilo de color Bloodshot records ¡NUEVO! The Yawpers craft tunes that are engrossed in creative context. Some might recall edges of the mid-1900s Delta blues, but only if those lived-in riffs were played by the MC5, broadcast through booming stadium speakers and drenched with pounds of fuzzy distortion and full-throttled punk rock energy. They conduct parallel frequencies with the ferocious and raw proletarian roots of Uncle Tupelo, the burning-hot thrashings and cavernous sonic space of Hot Snakes, and mix in derisive scrutiny that brings to mind Ween or the Minutemen (and might we add that Cook is the spitting image of D. Boon)

Vinilo LP disco Bert Kaempfert & His Orchestra – Kaempfert '76 -1973- spain Vinilo LP disco Bert Kaempfert & His Orchestra – Kaempfert '76 -1973- spain dentro del precio esta incluido el envio certificado y asegurado dentro de la peninsula con la agencia correos express los envios a canarias, baleares, ceuta o melilla llevaran un sobrecoste de cinco euros al modificar el servicio de envio a estos lugares Lista de Títulos A1   Can't Give You Anything (But My Love) Written-By – Weiss *, Hugo And Luigi * 3:05 A2   My Eyes Adored You Written-By – Crewe *, Nolan * 3:39 A3   September Night Written-By – Kaempfert *, Rehbein * 3:09 A4   Fly Robin Fly Written-By – Prager *, Levay * 4:45 A5   The Way We Were Trombone [Solo] – Jiggs Whigham Written-By – Bergman *, Hamlisch * 2:53 A6   Saying Goodbye Again Written-By – Kaempfert *, Rehbein * 2:50 B1   Rhinestone Cowboy Written-By – Weiss * 3:20 B2   Feelings Written-By – Albert * 3:42 B3   Hold Back Tomorrow Written-By – Kaempfert *, Rehbein * 3:10 B4   Tu T'en Vas Written-By – Barriere * 3:45 B5   Little Doll Written-By – Kaempfert *, Rehbein * 2:52 B6   What A Difference A Day Makes Written-By – Grever *, Adams * 4:20

RIVER CITY PEOPLE - THIS IS THE WORLD - VINILO ORIGINAL 1991 PRIMEA EDICION EMI RIVER CITY PEOPLE - THIS IS THE WORLD - VINILO ORIGINAL 1991 PRIMEA EDICION EMI River City People fue un grupo de folk-rock de vida y éxito efímeros. Con sus dos estupendos albumes, sonaron bastante en las emisoras del Reino Unido y otros países (España, entre ellos), y llegaron a actuar en varias ciudades europeas. Pero lo que condenó a la banda de Liverpool fue, probablemente, que llegaron tarde a la fiesta. La segunda mitad de los 80 fue un momento dulce para el pop-rock inglés e irlandés, que consolidó a grupos como U2, Simple Minds, Dire Straits o Simply Red. Pero los RCP se subieron al carro en 1989, cuando el movimiento languidecía, y a pocos meses de la explosión, al otro lado del Atlántico, del fenómeno grunge. La banda aguantó como pudo el desinterés por el folk-rock, y aunque llegó a lanzar en 1991 un segundo gran LP, acabó deshaciéndose pocos meses después. El primer disco es una maravilla y este   THIS IS THE WORLD esta muy bien. Tracklist: 01. River City People - Standing In The Need Of Love [3:30] 02. River City People - Special Way [3:14] 03. River City People - Act Like A Child [3:46] 04. River City People - Hurt You [3:57] 05. River City People - Driver [3:24] 06. River City People - Move A Mountain [4:41] 07. River City People - Mile High Cafe [4:31] 08. River City People - True Stories From The Revolution [3:42] 09. River City People - The Sea [3:40] 10. River City People - High Tide [3:28] 11. River City People - This Is The World [4:57] River City People were a folk rock quartet formed in Liverpool, England in 1986, by vocalist Siobhan Maher, guitarist Tim Speed, his drummer brother Paul Speed, and bassist Dave Snell. Siobhan, Tim and Dave had both been with Liverpool Band "Peep Show" until summer 1987 - at one point both bands co-existed. The group appeared on Channel 4's The Chart Show and soon afterward signed with EMI, releasing their debut single "(What's Wrong With) Dreaming?" in mid 1989. Their album Say Something Good followed a few months later, recorded in Los Angeles and produced by legendary producer Don Gehman. In the summer of 1990, the band scored their biggest hit with a cover of The Mamas & the Papas' "California Dreamin'". This was a double A-side with "Carry the Blame". " This is the World " followed in late 1991, but the group disbanded shortly after. Maher then teamed with ex-Bangle Debbi Peterson in the duo Kindred Spirit, releasing a self-titled 1995 album on Capitol Records. She released a solo album in 2002 called Immigrant Flower.

THOMPSON TWINS: QUICK STEP & SIDE KICK [ESP 1983] LP THOMPSON TWINS: QUICK STEP & SIDE KICK [ESP 1983] LP Thompson Twins   "Quick Step & Side Kick"  LP (Arista)  1983  made in Spain cat. num.  I-204 924 #synth pop  #new wave   Love On Your Side 4:25 Lies 3:15 If You Were Here 2:55 Judy Do 3:48 Tears 5:00 Watching 3:57 We Are Detective 3:05 Kamikaze 3:57 Love Lies Bleeding 2:50 All Fall Out 5:25   The record was the first the group recorded as a trio and, not coincidentally, it finds them discovering their signature dance-inflected synth-pop sound. The singles "Love on Your Side" and "In the Name of Love" are the high points, but it's surprising how many of the remaining songs are enjoyable, cleverly crafted and catchy synth-pop gems. Classic.

JACKIE WILSON: REET PETITE - 20 GREATEST HITS [NLD 1987] LP/COMP JACKIE WILSON: REET PETITE - 20 GREATEST HITS [NLD 1987] LP/COMP Jackie Wilson   "Reet Petite 20 Greatest Hits"  LP (Masters)  1987  made in Holland cat. num.  MA 18287 #soul   A1 Reet Petite   A2 Chain Gang   A3 This Guy's In Love With You   A4 Shake, Shake, Shake   A5 Just Be Sincere   A6 I Don't Want To Lose You   A7 It's All Part Of Love   A8 Lonely Teardrops   A9 Tears Will Tell It All   A10 Alone At Last   B1 Danny Boy   B2 We Have Love   B3 Satisfy My Soul   B4 My Heart Is Calling   B5 Only You, Only Me   B6 Soul Galore   B7 Say You Will   B8 Don't Burn No Bridges   B9 Working On My Woman's Heart   B10 Because Of You   Although one really had to see  Jackie Wilson  live to truly appreciate his considerable talents as a singer and entertainer, his legacy today rests with his recordings from the late 1950s and early '60s with Brunswick Records, the key tracks of which are collected here.  Wilson  in concert was sort of a cross between  Sam Cooke  and  James Brown, putting on a riveting and strenuous show, but in the studio that very energetic and physical connection he could make with an audience didn't come so much into play, and his records are sort of  Jackie Wilson  light as a consequence. That doesn't mean they aren't good, though, and tracks here like "Reet Petite" (written by a young  Berry Gordy  -- many of  Wilson 's songs during the Brunswick years were written or co-written by  Gordy), "Lonely Teardrops," the impressive and moving "Shake Shake Shake," "I Don't Want To Lose You" and "Satisfy My Soul" are all classics and show  Wilson 's considerable stylistic versatility.