Colgan Bryan

TAYLOR JAMES THE BEST-Guitar Recorded Version TABLATURE CHITARRA SPARTITI Carolina In My Mind

 

TAYLOR JAMES, THE BEST. Guitar Recorded Version TABLATURE

LIBRO DI MUSICA COUNTRY ROCK. 

SPARTITI PER VOCE E CHITARRA CON: 

ACCORDI, PENTAGRAMMA, TABLATURE. 

 

The Best of James Taylor
Series: Guitar Recorded Version TAB
Artist: James Taylor

11 of his best, including: Carolina on My Mind • Don't Let Me Be Lonely Tonight • Fire and Rain • Long Ago and Far Away • Steamroller • You Can Close Your Eyes • and more.

Inventory #HL 00694824
ISBN: 9780793514205
UPC: 073999948240
Width: 9.0"
Length: 12.0"
64 pages

Carolina In My Mind
Country Road
Don't Let Me Be Lonely Tonight
Fire And Rain
Long Ago And Far Away
One Man Parade
Steamroller (Steamroller Blues)
Sweet Baby James
You Can Close Your Eyes

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PINK FLOYD WISH YOU WERE HERE GUITAR TABLATURE EDITION Shine On You Crazy Diamond-Have A Cigar

PINK FLOYD, WISH YOU WERE HERE. GUITAR TABLATURE EDITION
MUSIC SHEET BOOK.

LIBRO DI MUSICA ROCK .

SPARTITI PER VOCE E CHITARRA CON:

TESTI DELLE CANZONI, ACCORDI, PENTAGRAMMA E TABLATURE. 

 

Pink Floyd - Wish You Were Here
Series: Music Sales America
Publisher: Music Sales America
Format: Softcover - TAB
Artist: Pink Floyd

Matching folio to the 1975 follow-up to Dark Side of the Moon that was dedicated to Syd Barrett. Includes: Wish You Were Here - Shine on You Crazy Diamond - Welcome to the Machine - Have a Cigar.

ISBN: 9780825612879
UPC: 752187800118
Publisher Code: AM80011
Width: 9.0"
Length: 12.0"
128 pages

Released 12 September 1975
Recorded January - July 1975, Abbey Road Studios, London

TITLE - COMPOSERS - LEAD VOICE
Wish You Were Here - Music: Waters, Gilmour - Gilmour
Shine On You Crazy Diamond (part 1) - Music: Wright, Waters, Gilmour - Waters
Shine On You Crazy Diamond (part 2) - Music: Gilmour, Waters, Wright - Waters
Shine On You Crazy Diamond (part 3) - Music: Waters, Gilmour, Wright - Waters
Shine On You Crazy Diamond (part 4) - Music: Gilmour, Wright, Waters - Waters
Shine On You Crazy Diamond (part 5) - Music: Waters, Gilmour, Wright - Waters
Shine On You Crazy Diamond (part 6) - Music: Wright, Waters, Gilmour - Waters
Shine On You Crazy Diamond (part 7) - Music: Waters, Gilmour, Wright - Waters
Shine On You Crazy Diamond (part 8) - Music: Gilmour, Wright, Waters - Waters
Shine On You Crazy Diamond (part 9) - Music: Wright - Waters
Have A Cigar - Words and Music: Waters - Harper
Welcome To The Machine - Words and Music: Waters - Gilmour

Words: Roger Waters

... that I want to be involved with really. I don't like it. I don't like all that
Superstar hysteria. I don't like the idea of selling that kind of dream 'cos I know
its unreal 'cos I'm there. I'm at the top ... I am the dream and it ain't worth
dreaming about. Not in the way they think it is anyway. It's all that "I want to
be a rock 'n roll singer" number which rock 'n roll sells on. It sells partly on the
music but it sells a hell of a lot on the fact that it pushes that dream.
A lot of people have made remarks to me over the album's sadness.
I'm glad about that ... I think the world is a very, very sad fucking place ... I
find myself at the moment, backing away from it all ... I'm very sad about Syd,
I wasn't for years. For years Isuppose he was a threat because of all that
bollocks written about him and us. Of course he was very important and the
band would never have fucking started without him because he was writing all
the material. It couldn't have happened without him but on the other hand it
couldn't have gone on with him. He mayor may not be important in Rock 'n
Roll anthology terms but he's certainly not nearly as important as people say in
terms of Pink Floyd. So I think I was threatened by him. But when he came to
the 'Wish you were Here' sessions - ironic in itself - to see this great, fat, bald,
mad person, the first day he came I was in fucking tears ... 'Shine On's' not
really about Syd - he's just a symbol for all the extremes of absence some
people have to indulge in because it's the only way they can cope with how
fucking sad it is - modern life, to withdraw completely. And I found that
terribly sad ... I think finally that that maybe one of the reasons why we get
slagged off so much now. I think it's got a lot to do with the fact that the people
who write for the papers don't want to know about it because they're making a
living from Rock 'n Roll.
And they don't want to know the real Barrett/Pink Floyd story.
Oh, they definitely don't want to know the real Barrett story ... there are no
facts involved in the Barrett story so you can make up any story you like - and
they do. There's a vague basis in fact ie Syd was in the band and he did write the
material on the first album, 80% of it, but that's all. It is only that one album,
and that's what people don't realise. That first album, and one track on the
second. That's all; nothing else.
Some of the reviews have been particularly scathing about 'Shine On' ... calling
it an insult to Syd.
Have they? I didn't see that, but I can imagine because its so easy for them. Its
one of the very best king of rock 'n roll stories:- we are very successful and
because we're very successful we're very vulnerable to attack and Syd is the
weapon that is used to attack us. It makes it all a bit spicy - and that's what sells
the papers that the people write for. But its also very easy because none of its
fact - it's all hearsay and none of them know anything, and they all just make it
up. Somebody makes it up once and the others believe it. All that stuff about
Syd starting the space-rock thing is just so much fucking nonsense. He was
completely into Hilaire Belloc, and all his stuff was kind of whimsical - all fairly
heavy rooted in English literature. I think Syd had one song that had anything
to do with space - Astronomy Domine - that's all. That's the sum total of all

Syd's writing about space and yet there's this whole fucking mystique about
how he was the father of it all. It's just a load of old bollocks - it all happened
afterwards. There's an instrumental track which we came up with together on
the first album - 'Interstellar Overdrive' - thats just the title, you see, it's
actually an abstract piece with an interstellar attachment in terms of its
name. They don't give a shit anyway .
. . . I'm very pleased that people are copping the album's sadness, that gives me a
doleful feeling of pleasure ~ that some of the people out there who are listening
to it are getting it. Not like the cunts who are writing in the papers> "gosh, well,
we waited so long for this", and then start talking about the fucking guitar solo
in wierd terms, and who obviously haven't understood what it's about. That
guitar phrase of Dave's, the one that inspired the whole piece, is a very sad
phrase. I think these are very mournful days. Things aren't getting better,
they're getting worse and the seventies is a very baleful decade. God knows
what the eightie~ will be like. The album was very difficult; it was a bloody
difficult thing to do, and it didn't quite come off, but it nearly happened ...
difficult because of the first six weeks of the sessions ie. 'Shine On', not the
sax solo which was put on afterwards, but the basic track was terribly
fucking hard to do because we were all out of it and you can hear it. I
could always hear it, kind of mechanical and heavy. That's why I'm so glad
people are copping the sadness of it - that in spite of ourselves we did manage
to get something down, we did manage to get something of what was going on in
those sessions down on the vinyl. Once we accepted that we were going to go off
on a tangent during the sessions it did become exciting, for me anyway, because
then it was a desperate fucking battle trying to make it good. Actually we
expended too much energy before that point in order to be able to quite do it.
By the time we were finishing it, after the second American Tour, I hadn't got
an ounce of creative energy left in me anywhere, and those last couple of weeks
were a real fucking struggle.
The nightmare was simply all of you arriving at doing it, and not really knowing why?
Yes, absolutely. Which is why it's good. It's symbolic of what was going on.
Most people's experience is arriving at a point at which others are arriving from
somewhere else and not knowing what they're doing or why. And all we were
doing making 'Wish you were Here' was being like everybody else ~ full of
doubts and uncertainties. You know, we don't know whats happening either. ..
You were just fulfilling a contract?
Not really. because we don't have to make albums. Fulfilling a contract with
ourselves if you like, because although legally we don't have to do anything, we
do have to do something otherwise we'd all shoot ourselves.

 

Contents:
Wish You Were Here
Shine On You Crazy Diamond (part 1)
Shine On You Crazy Diamond (part 2)
Shine On You Crazy Diamond (part 3)
Shine On You Crazy Diamond (part 4)
Shine On You Crazy Diamond (part 5)
Shine On You Crazy Diamond (part 6)
Shine On You Crazy Diamond (part 7)
Shine On You Crazy Diamond (part 8)
Shine On You Crazy Diamond (part 9)
Have A Cigar
Welcome To The Machine 

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PETTY TOM & THE HEARTBREAKERS ECHO AUTHENTIC GUITAR TABLATURE LIBRO SPARTITI

PETTY TOM & THE HEARTBREAKERS, ECHO. TABLATURE

LIBRO DI MUSICA ROCK.
SPARTITI PER CHITARRA E VOCE.
TESTI DELLE CANZONI, ACCORDI, PENTAGRAMMA E TABLATURE. 

AUTHENTIC GUITAR TAB EDITION

TRANSCRIBED BY: JOHN ALLEN, COLGAN BRYAN

 Titles are:
* About to Give Out
* Accused of Love
* Billy the Kid
* Counting on You
* Echo
* Free Girl Now
* I Don't Wanna Fight
* Lonesome Sundown
* No More
* One More Day, One More Night
* Rhino Skin
* Room at the Top
* Swingin'
* This One's for Me
* Won't Last Long. 

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MEAT LOAF selections from BAT OUT OF HELL & BAT OUT OF HELL II TABLATURE LIBRO SPARTITI

MEAT LOAF, selections from BAT OUT OF HELL & BAT OUT OF HELL II. TABLATURE

 

LIBRO DI MUSICA ROCK.
SPARTITI PER CHITARRA E VOCE.
TESTI DELLE CANZONI, ACCORDI, PENTAGRAMMA E TABLATURE. 

TRANSCRIBED BY: COLGAN BRYAN, DOUG BRACEY

10 songs from both albums, including:

BAT OUT OF HELL
"Bat Out of Hell"
"You Took the Words Right out of My Mouth (Hot Summer Night)"
"All Revved Up with No Place to Go"
"Two out of Three Ain't Bad"
"Paradise by the Dashboard Light" (duet with Ellen Foley)


BAT OUT OF HELL II
"I'd Do Anything thing for Love (But I Won't Do That)" (Duet with Lorraine Crosby)
"Life Is a Lemon and I Want My Money Back"
"Out of the Frying Pan And into the Fire"
"Everything Louder than Everything Else"
"Good Girls Go to Heaven (Bad Girls Go Everywhere)"  

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LOS LOBOS THE BEST OF GUITAR RECORDED VERSIONS TABLATURE SPARTITI LIBRO LA BAMBA

LOS LOBOS, THE BEST OF GUITAR RECORDED VERSIONS

LIBRO DI MUSICA ROCK.
SPARTITI PER CHITARRA E VOCE.
TESTI DELLE CANZONI, ACCORDI, PENTAGRAMMA E TABLATURE

Los Lobos' Los Angeles is two cities; It's the Ellis Island where immigrants come to find
freedom and prosperity. and its the city where America comes bringing its talents and
hopes in search of media exposure. Within this teeming caldron of talent and ethnic
diversity. the hip and the mundane. old and new. and hype and struggle. immigrants and
artists alike break up into small semi-cloistered pockets of urban life seasoned with the
flavor of small-town neighborhoods.
Los Lobos' songwriters David Hidalgo and Louie Perez and musicians Cesar Rosa and
Conrad Lorano grew up in East L.A.. an integral part of metropolitan Los Angeles with the
separateness typical of other areas of L.A.'s urban sprawl. The cultural security of
Hispanic lifestyle surrounded them with physical boundaries and isolated them from
outside influences and the Anglo world beyond. But the barrio, or neighborhood. could
not keep out the radiowaves of the 1960'sand 1970'sthat spread rock 'n' roll throughout
Southern California. Hidalgo and Perez grew up listening to the norteno music of their
parents. a type of folk music from the Northern border sates of Mexico. and the rock 'n'
roll broadcast from Los Angeles' Top 40 stations.

As a team. listening to the music your parents enjoy is usually high on the adolescent
anathema list. However. Los Lobos discovered a kind of inborn attraction for the
traditional Mexican music they had been exposed to as children. And as they matured.
Los Lobos succumbed to this magnetic attraction and the ancestral rhythm of the songs
of their parents.
This attraction to the traditional folk genre did not occur in a vacuum. It was nurtured
during a period of Hispanic renaissance-a time when Cesar Chavez was organizing the
migrant agricultural laborers. It was also a period of political unrest for Hispanics in Los
Angeles. There were marches and celebrations-protests against the Catholic church
and the way its parishioners were treated. And there was what some call an
"assassination" of a popular Hispanic journalist who was instrumental in getting stories
out of the sequestered area of East L.A. and into the media's eye. The attraction to
tradition happened in a period of pride in the heritage that enabled Hispanic people to
endure.
Los Lobos learned and practiced the songs and music of traditional Mexican folk music
for about eight years and gained traditional Mexican folk music for about eight years
and gained fluency in the ~uSiCof many regions such as Jalisco, La
 Huasteca. Michoacan and Veracruz. But it was the norteno style that
offered the most influence and the style that is revealed most in their
music. The two distinct song styles that norteno offered to Los Lobos
are corrido-a narrative ballad style accompanied by a harp. guitar or
ensemble-and ranchera-often slow love songs or as Perez has been
quoted as saying. "Ranchera is the blues."

Individually. David Hidalgo. Cesar Rosas. Louie Perez and Conrad Lozano
each developed their own styles by emulating their own long lists of favorite
players. Their collective influences include Mick Abrahams. Duane Allman,
the Beatles. Blue Cheer. James Brown, BuffalO Springfield. Canned Heat.
Eric Clapton. Bruce Conti, Cream, Ronnie Earl. Duane Eddy. Peter Green,
Jimi Hendrix. B.B. King. King Crimson. Led Zeppelin. Scotty Moore. Buck Owens,
Dave Paladin. Les Paul. Louis Prima, Hubert Sumlin. Richard Thompson.
Merle Travis.Ritchie Valens-an Angeleno hero of their youth-Jimmy Vaughan.
the Ventures. T-Bone Walker. Little Walter. Clarence White. Hank Williams, Johnny Winter.
Yes. Neil Young and many more.

Along with the more traditional instruments of the contemporary rock style. L.osL.obos
incorporates a number of instruments of Mexican origin. They reverberate the echoes of
Hispanic heritage and cast shadowy musical glimpses of periods of struggle and earlier
untamed vaquero (cowboy) days on the llano (range) characteristic of L.osL.obos·sound.
These instruments include: the bajo sexto. a guitar-like instrument with doubled steel strings;
the guitarron. a six-stringed bass guitar-like instrument: the hidalgarron. an eight-stringed
modified flat-top steel-string guitar created for David Hidalgo: the huapanguera. a smallnecked
guitar-like instrument with a large body and doubled strings: the jarana. a five-stringed
small guitar-like instrument: the requinto. a four-stringed small-bodies guitar; and the vihuela.
a small five-stringed guitar common to mariachi music.
Los L.obos·genesis was as a rock band. playing other peoples' songs while intermingling
norteno music in with their rock sets. They played for weddings. dances and whatever other
gigs they could find. They developed enough acclaim to become the subject of a 1975publictelevision
documentary and were "held up as Chicano role models." The band was eventually
"reduced to playing what Rosas calls the 'Red Onion circuit. ..· franchised and Americanized
Mexican food restaurants that cater to clientele looking for Mexican authenticity without
having to leave the suburbs.
A chance meeting with the Blasters outside Of the Roxy. a West Hollywood club. opened new
doors for L.osL.obos. After hearing a L.osL.obosdemo tape. the Blasters helped them connect
with Slash Records. Blasters' saxophonist Steve Berlin enjoyed L.osL.obos·music so much
that he joined the band as a full-time member. The appeal to Berlin was the band's versatility:
Los Lobos incorporates not only the influence of traditional Mexican folk style "but also soul.
gospel. country. blues. Cajun. zydeco and New Wave:' as one reviewer phrased it. The
Blasters' meeting and the connection with Slash culminated in an acoustic album Just Another
Band From East L..A.. now nearly unattainable. Their EP .....And A Time To Dance" earned L.os
L.obosa 1984Grammy for the best Mexican-American performance as well as selling 90.000
copies.
Los L.obosfollowed with the L.PHow Will The Wolf Survive? in 1984which transformed them into
a nationally-known group and sold 325.000 copies. This "year of critical praise culminated in
L.osL.obos·being named both the Best NewBand and Band Of the Year in 1984Rolling Stone
Critics Poll:' according to Rolling Stone magazine.
Critical acclaim also earned them admiration and work from artists such as Paul Simon-L.os
L.obos played background on a cut on Graceland. Ry Cooder for his Alamo Bay soundtrack.
Elvis Costello. who covered "A Matter Of Time" for his acoustic tour of Europe. Waylon
Jennings. who covered "Will The Wolf Survive" and the Fabulous Thunderbirds who sang
backup vocals on "Tuff Enuff.'· L.osL.obosalso recorded the music and made a brief
appearance as a brothel band for the film L.aBamba. the film biography Of the late Ritchie
Valens. and that. unfortunately. has distorted and obscured the band's image to the audience
previously unexposed to the Los Lobos sound.
Perez. who spoke of their music's appeal. was once quoted as saying. "All the people we write
about are resilient. They bounce back from what seems like the worst thing that ever
happened to them.· Los Lobos·style is a music evolved from experience-not only musical
but Oftheir own lives. L.iketheir songs' characters. L.osL.obos is resilient and adaptive. They
are of a people who have SUffered.endured and rebounded. Their music reflects an ability to
adapt and endure that has enabled them to continue a creative process born outside of the
media spotlight.
Joe Velazquez

 

NOTES FROM TRANSCRIBER

Any true fan of Los Lobos has probably felt privy to a well kept secret. Of course
the entire world remembers the band that played "La Bamba" for the soundtrack of
the motion picture of the same name, but in spite of such notoriety many people
would still fail a "listening test" if they were asked to identify who played the R&B
influenced "I Can't Understand" or the country picking on "One Time, One Night."
They have achieved critical acclaim, and admiration (not to mention work) from
artists such as Paul Simon (for background on a cut on "Graceland"), Ry Cooder
(for his "Alamo Bay" soundtrack), Elvis Costello (who covered "A Matter Of Time" for
his acoustic tour of Europe), Waylon Jennings (who covered "Will The Wolf Survive"
for his album of the same name) and the Fabulous Thunderbirds (for backup vocals
to "Tuff Enuff'. Ironically, the public's view of Los Lobos' "true colors" has been
eclipsed by the success of "La Bamba."
Of course a loyal fan would know that it is just as easy for this "Tex-Mexretro
garage band nostalgia act" (in the words of one interviewer) to crank it up with

"Shakin' Shakin' Shakes" and "Don't Worry Baby" as it is for them to playa slow
ballad like "The Tears Of God" or a Mexican traditional waltz like "Prenda Del Alma"
(complete with Mexican traditional instruments). In fact, one of the first lessons that
a Los Lobos fan must learn is how not to be surprised at what these guys can do
with just about any instrument that ends up in their hands.

The bottom line is that Los Lobos is not "JustAnother Band from East L.A." (the title
from their debut 1983EP on Slash records) that just happened to make it overnight.
They have paid their dues in fUll and in advance. Not only have they stayed
together for seventeen years, but they have played every kind of "gig" situation
that you could ever imagine from juke joints to Carnegie Hall.
Anyone who decides to study Los Lobos style will discover that they've tapped
into a gold mine of experience, skill, versatility and inspiration. Even though you
won't find any music conservatory graduates among them, they have all made
listening an art form in itself. True to the integrity of their root-oriented style, they
follow one primary conviction; it's the feel that counts!

Like the Wolf (their namesake) their prime motivations have been hunger and survival.
They have always had a healthy appetite to learn anything from a new lick to a new
instrument from anyone, any time, anywhere. That helped them survive as a working
band for many years, since they always had to be ready to adapt and change
quickly. These traits have become important ingredients to their rich "melting pot"
style that has transcended any attempt to type-cast them.
One of their strongest attributes has been their ability to write music that allows the
listener to vicariously experience the peaks and valleys of life's experiences and
emotions. This is especially evident in songs like "The Neighborhood: "The Hardest
Time," '" Can't Understand," "Tears Of God," "One Time, One Night" and "A Hatter Of
Time." One way that they have nurtured this intangible and rare gift is by keeping their
feet firmly planted on the ground and avoiding the entrapments of stardom. They do
not use their talent and skills as an excuse to separate themselves from the "little
people", but instead they use their music as a way of embracing the real world. They
have managed to combine their fascination with cultures and traditions Ofthe past with
their love of family and friends Ofthe present. and they have filled a rich reservoir of
Inspiration to draw from for many years to come. Colgan Bryan

Transcribed by COLGAN BRYAN

THE BEST OF LOS LOBOS

INTRODUCTION
NOTES FROM THE TRANSCRIBER

DON'T WORRY BABY from HOW WILL THE WOLF SURVIVE ? - CESAR ROSAS, LUIS PEREZ, T-BONE BURNETT - 1984

ESTOY SENTADO AQUI' from LA PISTOLA Y EL CORAZON – CESAR ROSAS - 1988

LA PISTOLA Y EL CORAZON from LA PISTOLA Y EL CORAZON – LUIS PEREZ, DAVID HIDALGO - 1988

HARDEST TIME. THE from BY THE LIGHT OF THE MOON – LUIS PEREZ, DAVID HIDALGO - 1987

I CAN'T UNDERSTAND from THE NEIGHBORHOOD – CESAR ROSAS, WILLIE DIXON 1990

LA BAMBA from LA BAMBA ORIGINAL MOTION PICTURE SOUNDTRACK – TRADITIONAL, ARRANGED BY: LIUS PEREZ, DAVID HIDALGO, CESAR ROSAS, STEVE BERLIN, CONRAD LOZANO - 1987

MATTER OF TIME, A from HOW WILL THE WOLF SURVIVE ? - LUIS PEREZ, DAVID HIDALGO - 1984

ONE TIME, ONE NIGHT from BY THE LIGHT CF THE MOON – LUIS PEREZ, DAVID HIDALGO - 1987

RIVER OF FOOLS from BY THE LIGHT OF THE MOON – LUIS PEREZ, DAVID HIDALGO - 1987

SHAKIN' SHAKIN' SHAKES from BY THE LIGHT OF THE MOON – CESAR ROSAS, T-BONE BURNETT - 1987

TEARS OF GOD from BY THE LIGHT OF THE MOON – LUIS PEREZ, DAVID HIDALGO - 1987

WILL THE WOLF SURVIVE ? from HOW WILL THE WOLF SURVIVE? - LUIS PEREZ, DAVID HIDALGO - 1984

NOTATION LEGEND

Cover photo by DAVID BLANK
 

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IRON MAIDEN THE ORIGINAL GUITAR STYLES TABLATURE LIBRO SPARTITI CHITARRA DAVE MURRAY-ADRIAN

IRON MAIDEN, THE ORIGINAL GUITAR STYLES. TABLATURE

LIBRO DI MUSICA, SPARTITI PER CHITARRA. ACCORDI, PENTAGRAMMA E TABLATURE. 

TRASCRIZIONE DEGLI ASSOLI DI DAVE MURRAY E ADRIAN SMITH. 

Guide to Tablature.

Preface.
Introduction.
Trooper.
2 Minutes To Midnight.
Wasted Years.
Run To The Hills.
Flight Of Icarus.
Ides Of March.
Killers.
Hallowed Be Thy Name.
Powerslave.
Caught Somewhere In Time.
Aces High.
Die With Your Boots On.

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AEROSMITH BIG ONE Guitar Recorded Version TABLATURE CHITARRA LIBRO SPARTITI HAL LEONARD

AEROSMITH, BIG ONE. SHEET MUSIC BOOK WITH GUITAR TABLATURE. 

LIBRO DI MUSICA ROCK. 

SPARTITI PER VOCE E CHITARRA, CON :

ACCORDI, PENTAGRAMMA, TABLATURE. 

 

Aerosmith - Big Ones

Series: Guitar Recorded Version TAB
Artist: Aerosmith
Inventory #HL 00690002
ISBN: 9780793539604
UPC: 073999701029
Width: 9.0"
Length: 12.0"
160 pages

Inventory #HL 00690002

ISBN: 9780793539604
UPC: 073999701029
Width: 9.0"
Length: 12.0"
160 pages

15 selections from their greatest hits album:

-Amazing (It's Amazing) 

-Angel

-Blind Man

-Crazy

-Cryin'

-Deuces Are Wild

-Dude (Looks Like A Lady)

-Eat The Rich

-Janie's Got A Gun

-Livin' On The Edge

-Love In An Elevator

-Rag Doll

-The Other Side

-Walk On Water

-What It Takes.

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