Oct 18, 2017

RhoDeo 1742 Aetix

Hello, Fra Lippo Lippi is an 1855 dramatic monologue written by the Victorian poet Robert Browning which first appeared in his collection Men and Women. Throughout this poem, Browning depicts a 15th-century real-life painter, Filippo Lippi. The poem asks the question whether art should be true to life or an idealized image of life. The poem is written in blank verse, non-rhyming iambic pentameter.

Well this painter Filippo Lippi, has somehow escaped being made a film about, but a book has been written about him. He sure had a extraordinairy life, becoming an orphan early in life, picked up by the church becoming a priest age 16, leaving that save space age 28 ending up a slave 10 years later after being caught by pirates, but by then displaying his skill in art, picked upon witnessing artists painting at his previous monestry, he maneged have himself bought free, extending a career as a painter. Once Cosimo de' Medici had to lock him up in order to compel him to work, and even then the painter escaped by a rope made of his sheets. His escapades threw him into financial difficulties from which he did not hesitate to extricate himself by forgery. His life included many similar tales of lawsuits, complaints, broken promises and scandal. Somehow still close to church at age 48 he worked as a chaplain at a nonnery, 4 years later working on another madonna he fell in love with the 21 year old model Lucrezia Buti (a novice), he took her to his home impregnated her, much to the dismay of the nuns, he had another child with her and age 63 he was poisoned for refusing to marry Lucrezia after getting special dispensation by the Pope Paul II (likely by the 'dishonoured' Buti family).

I wonder how many 15th century orphans made this much out of their lives ?

Today's artists  are a band from Norway. They had several hits in the 1980s, such as "Shouldn't Have to Be Like That", "Everytime I See You" and "Light and Shade", and recorded a new album as late as 2002. The band name is derived from Robert Browning's poem about the Renaissance painter Filippo Lippi..........N'Joy

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Fra Lippo Lippi was founded in Nesodden, Norway in 1978 by bassist Rune Kristoffersen, drummer Morten Sjøberg and keyboardist Bjørn Sorknes. Two years prior, the group was rehearsing under the name Genetic Control. They released a 4-track instrumental EP that year.

In 1981, Sorknes left as the band was writing songs for their debut album. The band, which then consisted of the duo of Kristoffersen and Sjøberg, recorded and released In Silence under Uniton Records. In 1982, Per Øystein Sørensen came on board as the band's lead vocalist for their second album Small Mercies.

Just as the band were preparing a follow-up album, Sjøberg and keyboardist Øyvind Kvalnes departed at the prospect of giving up their day jobs for the uncertain careers as professional musicians, leaving Kristoffersen and Sørensen as the only two members. Songs was released that year to positive reviews, and 5,000 copies were sold in Norway without the aid of singles or promotion.

Months after Songs was released, the band was signed to Virgin Records. Songs was re-recorded and remixed for the international market in 1986. This version of the album also included a new song titled "Everytime I See You". In 1987, the band recorded and released their follow-up album Light and Shade in Los Angeles, CA, with the producing aid of Walter Becker. Shortly after the album's release, they were dropped by Virgin Records.

The band's popularity in the Philippines prompted them to tour the country in 1988. In Manila, their shows sold out six times over two weekends. The band continued to record and release further albums independently, starting with 1989's The Colour Album. A live album titled Crash of Light was released in the Philippines in 1990. In 1995, the band released their first compilation album The Best of Fra Lippo Lippi '85–'95. Selected tracks originally from Songs, Light and Shade and The Colour Album were re-recorded. Two years later, another compilation was released in the Philippines. The Virgin Years - Greatest Hits featured tracks directly licensed from Virgin Records.

In 2002, Kristoffersen retired from the band to focus on his record label Rune Grammofon, and the band released In a Brilliant White which contains mostly Sorensen's works and was initially produced and released only in the Philippines. The first single "Later" became a hit in the Philippines even before the album was released, hence EMI Philippines (now PolyEast Records) decided to produce a full-length album with it. It also features a collaboration single "Wish We Were Two" featuring Per Sorensen and Kyla. This album was also released in Norway eventually, following releases over other countries in Asia.

On September 2009, Sørensen released Våge, his first solo album and his first-ever work in Norwegian. An English version titled Master of Imperfection was released in 2012

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Most of Fra Lippo Lippi's catalog is own by Virgin, but leader Rune Kristoffersen still holds the rights to the group's first two LPs, In Silence (1981) and Small Mercies (1983). Both are integrally reissued here as part of a CD filled to the rim, the first release on Rune Arkiv, a sub-label of Kristoffersen's own, Rune Grammofon. The rift between these two albums and Fra Lippo Lippi's later more mainstream outings has been stressed elsewhere. As is, this collection (which also includes two B-side tracks from 1982, "In a Little Room" and "An Idea") offers a nice epochal slab of Gothic-pop.

Yet another facet of the dark-punk sound was exhibited by Norway's Fra Lippo Lippi. The usual characteristics are there: bass-prominence, cold atmospheres and tribal drums. But Fra Lippo Lippi's sound runs deeper than that. Their songs seem as if they come out of a catacomb, out of some alternate Middle-Ages dimension.
"In Silence" is built around a delicate melody carried by the bass and drums, while the guitar diffracts through mirror melodies of it's own, chanting vocals appear here and there in the background - as if to express the menace that plagues the medieval land, while the singer's ghostly baritone enhances the cursed surroundings.

"Recession" goes even deeper, 4 minutes of bass-heavy morbid monotony, slow besetting ritualistic drums and faint vocals, for an elegiac melody to finally appear through doom-laden synthesizers (as if a spectral presence is taking over), only for the song to end as it began with it's minimalistic cold-wave patterns. "The Inside Veil" goes for a very effective slow/ fast dynamic and contrasting feel between the anaemic and the epic; "I Know" goes for a symphonic coda, and in "Quiet" a humble synth line underlines the singer's feeble cry.

Without a doubt, the album reaches it's apex with "Lost", that starts as a cosmic black hole, then tribal drums kick in and the dark priest chants his ritual, the medium vortex appears courtesy of the choral vox, sub-symphonic keyboards and ecstatic guitar, only for the ceremony to end without a logical conclusion, just everything fading quietly in the brooding horizon. If Joy Division never had existed this would have been a groundbreaking album.

Fra Lippo Lippi - In Silence + Small Mercies   (flac  394mb)

Fra Lippo Lippi - In Silence
01 Out Of The Ruins 3:17
02 A Moment Like This 3:34
03 In Silence 4:37
04 Recession 6:18
05 The Inside Veil 4:24
06 I Know 4:27
07 Quiet 3:34
08 Lost 7:30

Fra Lippo Lippi created the blueprint for the band they'd eventually become on Small Mercies. On this album, the Norwegian group's roots in gothic rock have yet to be severed, especially with the funereal percussion, grim basslines, and sinister vocals on "Barrier." Nevertheless, the melodic, atmospheric keyboards that linger throughout the record would later shape Fra Lippo Lippi's trademark piano-based new wave pop. In fact, the second track on the album, "A Small Mercy," is the genesis of one of Fra Lippo Lippi's future hits, "Everytime I See You." The songs on Small Mercies are moody and depressing, but they're appropriate for rainy days. Like Joy Division, Fra Lippo Lippi were able to crawl into life's bleakest recesses and exit with music that emitted an ominous beauty. On "The Treasure," mournful piano, sullen bass, and hypnotic drums illustrate the story of a crumbling relationship; it is stunningly gorgeous. The wintry "Some Things Never Change" and the picturesque instrumental "French Painter Dead" contribute to the record's somber elegance. If Ian Curtis of Joy Division hadn't hung himself, he would've recorded an album like Small Mercies. Mellow and relentlessly sad, it sounds oppressive in the light of day, but it glows in the dark.

Fra Lippo Lippi - Small Mercies

01 Some Things Never Change 4:55
02 A Small Mercy 3:53
03 Barrier 3:33
04 Sense Of Doubt 5:37
05 The Treasure 5:03
06 Slow Sway 4:11
07 Now And Forever 4:45
08 French Painter Dead 3:51
09 In a Little Room 2:58
10 An Idea 2:42

Fra Lippo Lippi - In Silence + Small Mercies   (ogg    166mb  )

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Fra Lippo Lippi shed their skin on Songs. On Songs, Fra Lippo Lippi leave their gothic past behind, uncovering the pop heart beneath their morose perspective on life. The pulsating new wave beat and sunny chorus of "Come Summer" are exhilarating; "Come Summer" is the opening track on Songs, and it quickly establishes Fra Lippo Lippi's newfound appetite for upbeat melodies. Sad tunes still abound, but vocalist Per Oystein Sorensen expands the emotional scope of the lyrics. Instead of simply sounding depressed, Sorensen evolves into a soulful storyteller; his empathic voice vividly captures the joy and sorrow of the songs' lyrics. The listener can easily feel sympathy for the man pining for his late lover in "Shouldn't Have to Be Like That" and the woman who drowns herself in "Leaving." Musically, Fra Lippo Lippi proceed in the direction hinted at on their previous album, Small Mercies. Piano and synthesizer started becoming essential to Fra Lippo Lippi's style on Small Mercies, and they're promoted to a larger role on Songs. "Shouldn't Have to Be Like That" is elevated with uplifting synthesized hooks. On "The Distance Between Us," crestfallen piano buttresses the agony in Sorensen's voice; the moving keyboards on "Coming Home" sculpt the lyrics' profound resignation. On Songs, Fra Lippo Lippi have basically found themselves, and it's a discovery that is engaging and moving from beginning to end.

Fra Lippo Lippi - Songs (flac 242mb)

01 Come Summer 3:44
02 Shouldn't Have To Be Like That 3:54
03 Even Tall Trees Bend 3:55
04 Just Like Me 4:47
05 Leaving 3:50
06 Regrets 3:48
07 Everytime I See You 4:27
08 Crash Of Light 4:14
09 The Distance Between Us 4:10
10 Coming Home 3:44

Fra Lippo Lippi - Songs   (ogg  87mb)

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"Let's celebrate a brand new day," proclaims vocalist Per Oystein Sorensen on "Crazy Wisdom," and that statement easily sums up Fra Lippo Lippi's surprisingly smooth evolution from gothic rock to reflective, jazzy pop on Light and Shade. Fra Lippo Lippi already began shedding their black clothes on Songs, but Light and Shade has the breezy air and sunny disposition of a walk in the park. Released during a decade wherein yuppies stressed the importance of work and money over love and leisure, Light and Shade mainly focuses on life's simple pleasures. It is an uplifting, stylish LP that swings like a pendulum between joy and sorrow. The fetching "Angel" soars with a sad yet hummable chorus; it features some of Fra Lippo Lippi's most charming piano work. "Some People" recalls the Beatles with its singalong melodies. Much of Light and Shade resembles the late ‘80s efforts of China Crisis, especially its relaxed, mellow grooves and touches of jazz. The lyrics unfold like short stories. In the moving "Beauty and Madness," Sorensen sings about a homeless man and wonders if anybody will ever see his inner worth. Sorensen manages to avoid being either saccharine or preachy because of the sincerity and soulfulness in his voice. On Light and Shade, Fra Lippo Lippi part the curtains and let the sunshine beam through the window.

Fra Lippo Lippi - Light And Shade   (flac 266mb)

 01 Angel 5:11
 02 Freedom 5:18
 03 Don't Take Away That Light 4:36
 04 Beauty and Madness 4:18
 05 Home 4:43
 06 Light and Shade 4:49
 07 Some People 4:26
 08 Crazy Wisdom 4:35
 09 Stardust Motel 4:49
 10 Indifference 5:40

Fra Lippo Lippi - Light And Shade   (ogg  110mb)

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February and March see the recording of their fifth album "The Colour Album" at the famous Rainbow Studio in Oslo. The producer this time is another Swede, Johan Ekelund. A different approach was consciously taken by the duo in the production of this album.. resulting to mixed reviews especially here in the Philippines. It was definitely, different - with a rougher edge.. But still the songs are catchy but back to their melancholic tendencies.."The Colour Album" is cracking and there are some incredibly catchy tracks on there such as "Mother's Little Soldier", which was a single in Europe, "You Bring Me Joy" and "Count On Me". There are some nice downtempo tracks too such as "Childhood Days", which is still pretty haunting to listen to even after all these years.

Fra Lippo Lippi - The Colour Album   (flac 238mb)

01 A Little Rain Must Fall 04:06
02 Mothers Little Soldier 03:38
03 Under the Same Sun 03:52
04 You Bring Me Joy 03:43
05 Love Is a Lonely Harbour 05:10
06 Count on Me 04:09
07 ABC 04:08
08 Childhood Days 06:01
09 Into the Blue 04:17

Fra Lippo Lippi - The Colour Album   (ogg  94mb)

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Oct 17, 2017

RhoDeo 1742 Roots


Today an Argentine composer, pianist, arranger, currently the leading exponent of nuevo tango, thanks to the skills and reputation he gathered while working extensively as Ástor Piazzolla's regular pianist from 1978 until the maestro's retirement for health reasons in 1989. During their collaboration, they performed with Milva, Placido Domingo, Gary Burton among others. His playing style, both sharply percussive and metallically lyrical, is instantly recognizable and bears some similarities to that of Vladimir Horowitz as well as some of the wistfulness of Bill Evans. As a composer he has taken Piazzolla's contrapuntal approach to tango music and added more jazz influence, notably with the regular use of a drumkit, lighter harmonies similar to those used in Bossa Nova, and extended passages of improvisation.     ....N'Joy

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Pianist Pablo Ziegler is known as one of Astor Piazzolla's foremost protégés. He began performing classical music in concert as a teen and became inspired by Dixieland jazz soon thereafter; he combined the two styles in his Pablo Ziegler Trio, which performed classical pieces with jazz arrangements.

After his years with the trio, Ziegler was invited to play with Astor Piazzolla's New Tango Quintet in 1978, and performed and recorded with the group for over a decade. He also performed with international artists like Milva, an Italian singer with whom he collaborated on an homage to Maria Callas at the Arena de Verona, as well as American vibes player Gary Burton.

Ziegler played with Piazzolla throughout the '80s, appearing on albums like New Tango and Astor Piazzolla: The Central Park Concert. After Piazzolla's death in 1992, Ziegler formed the Quintet for New Tango, performing internationally and releasing albums like 1999's self-titled work. He has also collaborated on albums with Emanuel Ax and the Orpheus Chamber Orchestra, both of which showcase Piazzolla's music. From 2000 on, Ziegler spent a great deal of time as a soloist with orchestras all over Europe, Asia, and South America -- especially in Argentina. He also recorded Quintet for New Tango for BMG in 2000, before issuing Bajo Cero: Duo for Tango with guitarist Quique Sinesi and guest bandoneonist Walter Castro on Enja two years later. In 2007 he released the live Tango & All That Jazz with a new quintet that also included vibraphonist Stefon Harris in a guest role.

His orchestral appearances and tours kept him from recording again until 2013, when he signed with the Zoho label. His label debut, Amsterdam Meets New Tango, featured Ziegler as soloist with the Metropole Orkest. Two years later, another duet offering with guitarist Sinesi (with Castro again guesting) resulted in Desperate Dance for Enja's Yellowbird imprint. It was back to Zoho for 2016's Sax to Tango in collaboration with saxist Julio Botti, followed by the all-Piazzolla program Tango Nuevo in duo with American classical pianist Christopher O'Riley a year later.

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The late New Tango composer and bandleader Astor Piazzolla has cast a nearly inescapable shadow over those who have attempted to further his tango innovations. Consider the hurdles for Pablo Ziegler, Piazzolla's pianist for a decade. Remarkably, Ziegler does not shy away from Piazzolla (in fact he revisits several of the master's pieces) and still offers a personal sound. "El Empedrado" runs the gamut from Piazzolla's influence to Ziegler's lush romanticism. "Milonga en el Viento" has a surprisingly traditional feel--paced by jazz style drumming. The ambitious Radio Tango II suggests an intriguing fusion of jazz, rock, Piazzolla, classical music, and traditional tango. Ziegler has quite a challenge before him, but if Asfalto is any evidence, he has the tools, the smarts, and the imagination to inch the New Tango line forward. The most startling difference is the addition of drum set to the tango ensemble. This adds a whole new dimension of drive and excitment, although possibly a step away from the intimacy of Piazolla's ensemble style. Recommend for those who love the Piazolla sound but also enjoy more a more frantic, rhythmic sound.This is music to be appreciated on all levels, intellectual, emotional, and certainly in your groove thang!

Pablo Ziegler - Asfalto-Street Tango   (flac  355mb)

01 Asfalto 5:12
02 La Muerte del Angel 3:08
03 Milonga en el Viento 6:04
04 El Empedrado 5:27
05 La Cumparsola 5:26
06 Soledad 6:04
07 Decarisimo 2:54
08 Radio Tango II 7:20
09 Elegante Canyenguito 5:05
10 Maria Cuidad 7:55
11 Michelangelo '70 3:11
12 Dos Cadencias Sobre "Adiós Nonino" 5:48
13 Elegia Sobre "Adiós Nonino" 3:50

Pablo Ziegler - Asfalto-Street Tango (ogg  150mb)

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The tango nueva has a new champion in pianist Ziegler, who is well qualified since he was with grand master Astor Piazzolla's bands in the last years of Piazzolla's life. This music is even more challenging than Piazzolla's; it's jazz-oriented and not as swinging, less dominated by the bandoneon, with more piano and electric guitar lead. Ziegler's core band is Walter Castro (bandoneon), Enrique Sinesi (guitar), Horatio Hurtado (bass), and Horacio Lopez (drums), they play on ten of the twelve tracks, recorded in Buenos Aires, Two other cuts with a different band featuring tenor saxophonist Joe Lovano were waxed in N.Y.C.. Once again, this is not music strictly in the tango tradition, or following the path carved by Piazzolla, but an entirely new, creative sound inspired by the modern tango. The three selections that pay tribute to Piazzolla are the 6/8 modal, behemoth romp "Imagenes 676," the last piece recorded by Piazzolla and Ziegler and redone here; "Primavera Portena," with its staccato, head-nodding, and spontaneous half-time accents, and Ziegler's "Astor's Place," inspired by a walk with Piazzolla, actually a stealthy, slinky number that speaks directly to the intimacy of their friendship. The rest are Ziegler's riveting compositions: "Conexion Portena" with cinematic dramatism in its ever-shifting tempos, the similar "Ritmico y Nostalgico" jumpy and all over the place in its urgency, and a highlight -- "Alrededor del Choclo" -- an adaptation of the famous classic tango "El Choclo" or "The Corn," using a circle-the-wagons approach to hinting at the theme, but never actually playing it straight out. The purest tango form comes from the sad sax of Lovano during "Muchacha de Boedo" in agreement with the bandoneon of Hector del Curto, and Lovano's other feature, "Once Again...Milonga," is spirited, the tenor's moves and countermoves shadowed by bandoneon and Ziegler's piano. There's also a Chick Corea-inspired dancing figure as the centerpiece of "Sandunga," for Ziegler's wife, and the scatting, darting, daunting sounds of "Desde Otros Tiempos," which starts as a steady midtempo, goes lugubriously slow, then goes frantic with passion, as most romances go.

In the liner notes, the quite informative Fernando Gonzalez (Miami Herald) calls tango a music of "winks and dares, " a perfectly concise description for what you hear on this truly remarkable and beautiful disc of music. Listen to this in contrast to Guillermo Klein's "Los Guachos II" (Sunnyside) for both sides of the emerging sound of creative music born in Argentina, fueled and inspired by jazz improvisation. The results are revelatory. Highly recommended.

Pablo Ziegler - Quintet for New Tango (flac  370mb)

01 Conexión Porteña 6:30
02 Desde Otros Tiempos 5:21
03 Milonguera 7:24
04 Once Again... Milonga 4:25
05 Imágenes 676 4:10
06 Alrededor Del Choclo 4:56
07 El Vals Del Duende 3:13
08 Ritmico y Nostálgico 6:28
09 Astor's Place 6:15
10 Muchacha de Boedo 6:24
11 Sandunga 4:31
12 Primavera Porteña 5:26

Pablo Ziegler - Quintet for New Tango (ogg  153mb)

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On Bajo Cero, the internationally renowned pianist Pablo Ziegler is featured in a highly virtuosic duet setting with guitarist Quique Sinesi. The respected veteran of the vibrant Buenos Aires jazz scene and former member of Astor Piazzolla's highly regarded ensembles also invited Walter Castro to play the bandoneon and round out this great musical program of sultry tango and jazz improvisations. Among the beautiful milongas included on this program are "La Rayuela," "Milonga del Adios," and "Planufer Milonga." These are intelligent reflections of the South American dance songs that remain very popular in the southern part of the continent. To vary the song selection, Ziegler includes two of Astor Piazzolla's rarely recorded compositions: "Chin Chin," a recording dedicated to the piano, and "Fuga y Misterio," one of the most complex fugues ever composed by Piazzolla. "Bajo Cero" is but one of the four great originals penned by Ziegler. It is a standout because of its three-part structure and emotional understatements. As with previous efforts as a pianist, composer, and bandleader on his 1990s releases, Pablo Ziegler is in great form and furthers the tango nuevo movement to a new level of interest.

Pablo Ziegler - Bajo Cero     (flac  279mb)

01 La Rayuela 4:16
02 Flor De Lino 4:11
03 Chin Chin 7:47
04 La Fundicion 6:23
05 Milonga Del Adios 8:10
06 Bajo Cero 7:25
07 Yuyo Verde 4:22
08 Planufer Mionga 6:57
09 Los Mareados 7:03
10 Fuga Y Misterio 4:57

Pablo Ziegler - Bajo Cero   (ogg  134mb )

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Pablo Ziegler spent over a decade as the pianist with bandoneon player Astor Piazzolla's band and after the latter's death, he became one of the major interpreters of the modern tango. With a quartet including Hector del Curto on bandoneon, guitarist Paul Myers, bassist Pablo Aslan and adding a special guest, vibraphonist Stefon Harris on several tracks, the spirit of Piazzolla is very much alive. Two of Piazzolla's compositions are performed, "La Muerte del Angel" and "Michelangelo," both of them intense affairs. Among Ziegler's potent originals are the bittersweet ballad "Milonga en el Viento" and the haunting "Muchacha de Boedo." The presence of Harris invites comparison to Piazzolla's recording with vibraphonist Gary Burton added to his band. Intimately recorded at the Jazz Standard in New York City, the audience is clearly spellbound by the music and keep extremely quiet until offering enthusiastic applause after each number. Highly recommended.

Pablo Ziegler Quartet - Tango & All That Jazz (flac  276mb)

01 La Muerte del Angel 5:40
02 Milonga en el Viento 6:17
03 Pablo's Band Intro 1:14
04 Michelangelo '70 4:58
05 Alredor del Choclo 5:00
06 Desde Otros Tiempos 5:28
07 Once Again...Milonga 5:34
08 Muchacha de Boedo 8:28
09 La Cumparsola 6:32
10 La Rayuela 5:54

Pablo Ziegler Quartet - Tango & All That Jazz (ogg  124mb)

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Oct 16, 2017

RhoDeo 1742 Mars 06


Today's artist was an American author and screenwriter. He worked in a variety of genres, including fantasy, science fiction, horror and mystery fiction. Widely known for his dystopian novel Fahrenheit 451 (1953), and his science fiction and horror story collections The Martian Chronicles (1950), The Illustrated Man (1951), and I Sing the Body Electric (1969), our man was one of the most celebrated 20th- and 21st-century American writers. While most of his best known work is in speculative fiction, he also wrote in other genres, such as the coming-of-age novel Dandelion Wine (1957) or the fictionalized memoir Green Shadows, White Whale (1992).

Recipient of numerous awards, including a 2007 Pulitzer Citation, Bradbury also wrote and consulted on screenplays and television scripts, many of his works were adapted to comic book, television and film formats. On his death in 2012, The New York Times called Bradbury "the writer most responsible for bringing modern science fiction into the literary mainstream.... N'joy.

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The Ray Bradbury Theater is an anthology series that ran for two seasons on HBO, three episodes per season from 1985 to 1986, and four additional seasons on USA Network from 1988 to 1992. It was later shown in reruns on the Sci Fi Channel. All 65 episodes were written by Ray Bradbury and many were based on short stories or novels he had written, including "A Sound of Thunder", "Marionettes, Inc.", "Banshee", "The Playground", "Mars is Heaven", "Usher II", "The Jar", "The Long Rain", "The Veldt", "The Small Assassin", "The Pedestrian", "The Fruit at the Bottom of the Bowl", "Here There Be Tygers", "The Toynbee Convector", and "Sun and Shadow".

Many of the episodes focused on only one of Bradbury's original works. However, Bradbury occasionally included elements from his other works. "Marionettes, Inc." featured Fantoccini, a character from "I Sing the Body Electric!". "Gotcha!" included an opening sequence taken from "The Laurel and Hardy Love Affair". Characters were renamed, and elements added to the original works to expand the story to 23–28 minutes or to better suit the television medium.

Each episode would begin with a shot of Bradbury in his office, gazing over mementos of his life, which he states (in narrative) are used to spark ideas for stories. During the first season, Bradbury sometimes appeared on-screen in brief vignettes introducing the story. During the second season, Bradbury provided the opening narration with no specific embellishment concerning the episode. During the third season, a foreshortened version of the narration was used and Bradbury would add specific comments relevant to the episode presented. During the fourth and later seasons, a slightly shorter generic narration was used with no additional comments.

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The Ray Bradbury Theater 17 There Was An Old Woman (avi  319mb)

A stubborn old woman has spent her entire life defying death; after the Grim Reaper finally pays his call, her ghost tries to reclaim her body from the mortuary.

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The people of Earth are preparing for war—a war that could potentially destroy the planet. Explorers are sent to Mars to find a new place for humans to colonize. Bradbury's Mars is a place of hope, dreams, and metaphor—of crystal pillars and fossil seas—where a fine dust settles on the great empty cities of a silently destroyed civilization. It is here the invaders have come to despoil and commercialize, to grow and to learn—first a trickle, then a torrent, rushing from a world with no future toward a promise of tomorrow. The Earthman conquers Mars...and then is conquered by it, lulled by dangerous lies of comfort and familiarity, and enchanted by the lingering glamour of an ancient, mysterious native race.

Ray Bradbury's The Martian Chronicles is presented here as a full cast audio production with an original music score and thousands of sound effects by the award winning Colonial Radio Theatre on the Air. It marks their fourth collaboration with one of the most celebrated fiction writers of our time—Ray Bradbury.

Ray Bradbury - The Martian Chronicles 06 (mp3  21mb)

06 The Martian Chronicles 25:12

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Ray Bradbury - The Martian Chronicles 01 (mp3  22mb)
Ray Bradbury - The Martian Chronicles 02 (mp3  22mb)
Ray Bradbury - The Martian Chronicles 03 (mp3  20mb)
Ray Bradbury - The Martian Chronicles 04 (mp3  22mb)
Ray Bradbury - The Martian Chronicles 05 (mp3  21mb)

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