Sep 20, 2017

RhoDeo 1738 Aetix


Today's artists were a South London-based post-punk band that welded the impassioned urgency of early Killing Joke to the graceful but pained atmospheric flourishes of the Chameleons. Marcus Bell, Mark Long, and Ralph Hall formed the band in 1979  ........N'Joy

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The Opposition is a London group of cold wave. They are Ralph Hall, Marcus Bell, Mark Long, later years with Sterling Campbell, Lol Ford, Terence Devine King and Jean-Daniel Glorioso. Founded in 1979, The Opposition released its first single Very Little Glory on the independent label Double Vision Records. The single has a very good press; will follow the release of the first album Breaking the Silence in 1981 and a tour in England and France.

They then record Intimacy still on Double Vision Records. With a very positive welcome from the press, the band has gone from an indie label to a major, Charisma Records, on which promises first, in 1984, with a tour of a few dates in the United States in the first part of Thomas Dolby and a major tour in Europe. It was then the release, in 1985, of the album Empire Days with their sound engineer Kenny Jones joined for the occasion by John Porter.

Meanwhile, Charisma Records is bought by Phonogram, which in turn will be devoured by Virgin. Without changing their contract, the group finds themselves with their third record company. It is time to begin a change.
In 1987, the group paused. Bell and Long take advantage of it to work on more commercial songs [What?] Under the name of So. Ralph Hall is replaced on this project by Sterling Campbell on drums. Their album Horseshoe in the Glove with the single "Are you sure" has met with some success in the United States. They have a very good media coverage, many passages on rock radio and a nomination for the MTV Video of the Week, Are you sure ranks 41st in the Billboard Hot 100.

After this American experience and two years of touring, Marcus Bell and Mark Long resumed Opposition and released, in 1990, a very intimate album Blue Alice Blue, recorded again, with Kenny Jones. In 1990, under the new label Mrs Jones Records they released War Begins at Home (1994) and EP One (1995). Sterling Campbell then left the group to play with David Bowie; he is replaced by Jean-Daniel Glorioso on Blinder (2004) In 2005 they released the Lost album this basically debut album was held back by their first major Arista who forbade them to even do anything with it, ah yes the recordindustry. They compiled Arc - The Charisma Years and Hive compiling EP´s, B-Sides and Remixes, EP2 (2010). In 2011 a digital only album was released Love & Betrayal it has been the last sigh of the band, 3 years later December 2014 Marcus Bell died.

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It's hard to classify Opposition's sound, although the production values on all their records is top notch. It is very rhythm heavy, with a lot of pounding drums and chunky basslines, with the guitar and occasional keyboards swirling around in the background to fill out the arrangements. It's mostly the vocals that lend the music an incredible intensity that I really haven't heard from anyone else. Ever. It's a truly unique style that comparisons could never really do justice to. That said, if you're a fan of The Comsat Angels, Joy Division, Chameleons or even early Shreikback, I think you might really like these guys, too. You just need to give yourself a few listens to get into it and I'm confident it will reward you amply. I really can't recommend this band highly enough, they are unique and simply brilliant. That success eluded them is a great travesty because I'm sure if I'd discovered them in the 80s I'd still love them today.

  Opposition - Promises   (flac  243mb)

01 Fall Into Line 3:40
02 Small Talk 3:18
03 I Already Know 5:06
04 Innocent 3:36
05 Alternatives 5:10
06 Searching For A Home 3:49
07 Factory Gate 3:14
08 Don't Forget To ... 4:43
09 I Dream In Colour 4:08
10 Stranded 3:18

Opposition - Promises     (ogg    97mb  )

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The Opposition have a reputation for being one of the major undiscovered dark-wave bands, but you wouldn't be able to tell from this album, which basically contains atmospheric pop-rock like "Five Minutes" and "First Suspect", and radio-friendly passionate statements such as "Abusing Words" and "Fool For You", that if anything sound like mid-80's Alphaville or Comsat Angels. There's nothing particularly bad about this record. It's all very professionally made, but a bit artificial and pompous (typical of it's era you could say). The highlight is "The World's First Vitaphone Announcement", an elegant soundscape rich in ambiance and texture, a track that rivals The Blue Nile at their most ambitious. Empire Days was made to be utterly likable and Opposition is surely in control here.

Opposition - Empire Days (flac 297mb)

01 Five Minutes 5:14
02 Abusing Words 3:21
03 Fool For You 3:42
04 First Suspect 4:06
05 Susan Gets By On Love 2:33
06 If That Wasn't Love 3:41
07 Someone To Talk To 3:25
08 Mr Cleanum 3:34
09 War Zone 3:48
10 Who's Been Telling You Lies? 5:19
11 The World's First Vitaphone Announcement 3:49
12 Empire Days 4:53

Opposition - Empire Days   (ogg  114mb)

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After South London's Mark Long and Marcus Bell made their fourth post-punk record with Ralph Hall as the Opposition, they took some time off from what was a busy recording schedule and reappeared as the duo So in 1988. So's material differed from the Opposition's with a much slicker production slant and a big sound that pointed toward the chart pop of the time with a foot in the pair's past; consider the Blue Nile, Simple Minds, as periodic points of reference sound-wise. In the end it was a betrayal to the all old Opposition's fans, this record it's so poppy. 'Are You Sure' was even a hit in America, 'Burning the Bush', 'Capitol Hill' are very good pop-rock tracks with nice melodies & strong rhythm. 'Dreaming' & 'Would You Die For Me' are excellent ballads. 'Villains' is a quite interesting experiment with loops & moods. & my favorite 'Tips on Crime' reminds me Wang Chung & their soundtrack to 'To Live & Die in LA', it's sounds like a background to the movie. There's no weak track, if you like this kind of pop-rock music, even if they are closer here to Deacon Blue than to The Chameleons.

 SO - Horseshoe in the Glove   (flac 359mb)

01 Are You Sure 4:44
02 Dreaming 5:29
03 Burning Bush 4:29
04 Horseshoe In The Glove 4:58
05 Capitol Hill 4:45
06 Tips On Crime 7:01
07 Villains 4:10
08 Would You Die For Me 4:29
09 Are You Sure (12" Mix) 6:58
10 First Of May 5:30
11 Dreaming (Cocktail Mix) 5:15

SO - Horseshoe in the Glove   (ogg  134mb)

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Alice Blue is a pale blue to grayish blue that is redder and stronger than forget-me-not.

Blue Alice Blue features a combination of acoustic and electronic sounds; singing can be a bit strained and emotive; the tones range from warm and comforting to cool, rain-soaked, and urban; the word Blue...This album does have its own very special appeal. Take "Digging for Water" - features a synthesized drum beat and somewhat mechanical rhythm that's accentuated by more organic elements, like chiming guitar and fluid synthesizer flourishes. That sounds like kind of a simple formula but, like the other tracks, it makes for a quite moving combination. Another special track - "Do You Know How That Feels" might be the best entry point with its very catchy chorus. This album is a bit of an anomaly in the wider discography of The Opposition, which started out as more of a post-punk band with very impassioned singing. You wouldn't really know it to hear this album, and it's unfortunate that this period didn't last longer (although their other albums are worth checking out and might appeal to fans of dark, guitar-driven synthpop).

 Opposition - Blue Alice Blue  (flac  206mb)
01 The Man Who Almost Shaves 4:56
02 Calling Home 4:03
03 Do You Know How That Feels ? 4:08
04 Crawl To Me 3:27
05 War Cries 3:03
06 Deep Down Blue 5:28
07 Her First Migraine 4:36
08 Digging For Water 3:54
09 Blue To Grey 2:27

Opposition - Blue Alice Blue   (ogg  81mb )

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Sep 19, 2017

RhoDeo 1738 Roots


Today's artist is an Argentine singer-songwriter, musician and producer. Within his vast career he formed some of the bands long considered as the most popular in Argentina's rock history: Sui Generis in the 1970s and Serú Girán in the 1980s, plus cult status groups like progressive-rock act La Máquina de Hacer Pájaros. Since the 80's García has worked mostly as a solo musician. His main instruments is the piano, together with guitar and keyboards. García is widely considered by critics as one of the most influential rock artists in the Spanish rock scene, and  as "The Father of Argentinian Rock" ....N'Joy

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Charly García is one of the most talented and influential figures of Argentine and Latin rock. He composed many generational songs and was obsessed with expanding the boundaries of pop music, along with musician's role itself.

At the age of four he started taking piano lessons. He was deeply into classical music. All that changed when he discovered the Beatles and the Byrds. While he attended secondary school, he met Nito Mestre, with whom he formed Sui Generis in the early '70s. They only released three studio albums, but it was enough to establish García as a key figure in the nascent rock scene. Sui Generis disbanded in 1975, and a year later Garcia played in PorSuiGieco with other folk-rock figures. It wasn't really a proper band, and they released just one album. La Máquina de Hacer Pájaros was Garcia's next group, clearly influenced by symphonic rock.

Between 1978 and 1982, Charly García was part of Serú Girán, one of the key bands in the Argentinian rock movement. They recorded five albums while the country was under a sordid dictatorship. The band provided a subtle offering of resistance. García's solo career began in 1982. He was asked by film director Raúl de la Torre to compose the soundtrack to the film Pubis Angelical. Simultaneously, Garcia recorded Yendo de la Cama al Living. Some highly intimate songs can be heard here, like "Inconsciente Colectivo" and "Yo No Quiero Volverme Tan Loco." At the end of that year, the album was released to excellent reviews, proving that García was on the right track.

In 1983, Garcia produced Los Twist's debut album, La Dicha en Movimiento, and recorded his own follow-up solo work, Clics Modernos, at the Electric Ladyland studios in New York. Clics Modernos had a pop/rock-oriented structure, and was simpler than previous works. The album sold extremely well but generated some controversy among critics for the sudden change in style. On this album, however, he began his longtime collaboration with producer Joe Blaney. At the end of that year, he was caught up in his most well-known scandal: he pulled down his trousers in front of a hostile audience. This was the beginning of a string of controversies and helped make him a major public figure, beyond just the music scene.

An essential trilogy was completed with Piano Bar, launched at the end of 1984. It was recorded by one of his best touring bands, formed, among others, by GIT members and Fito Paéz on keyboards. Both the public and critics liked the album, which contained hymns like "Demoliendo Hoteles" and "Raros Peinados Nuevos." In 1985, he tried to collaborate with another local rock hero, Luis Alberto Spinetta. The project didn't go far, with only the song "Rezo por Vos" recorded. That year he took part in the Rock & Pop Festival, along with some international figures like Nina Hagen, INXS, and John Mayall. With Pedro Aznar (also a former member of Seru Girán), he recorded Tango in 1986, a six-song maxi-single that incorporated technological elements.

Parte de la Religión, released in 1987, was recorded almost entirely by García himself. An exception was "Rap de las Hormigas," on which the Brazilian group Os Paralams do Succeso took part. The record was clearly a masterpiece and showed Prince's influence. Songs like "No Voy en Tren," "Buscando un Símbolo de Paz," and "En la Ruta del Tentempié" became Top Ten hits. In October of 1988, an Amnesty International Tour ended in Bueños Aires. More than 80,000 people attended the concert. Peter Gabriel, Sting, Bruce Springsteen, Tracy Chapman, and Youssou N'Dour where there, and León Gieco and Charly García represented Argentina.

After composing the soundtrack for the film Lo Que Vendrá in 1988 (in which he also played a nurse), García worked on a solo album, Cómo Conseguir Chicas, largely comprised of old, previously unrecorded material. Filosofía Barata y Zapatos de Goma, released in 1990, was a good collection and included the Spanish version of the Byrds' classic "I'll Feel a Whole Lot Better." Another scandal was just around the corner, however: Garcia was accused of a patriotic symbols offense because the LP included a version of the Argentine national anthem.

In 1991, he reunited with Pedro Aznar and recorded Tango 4. The idea was to record an album with Soda Stereo's singer and composer Gustavo Cerati. Although they worked on a couple of songs, they never finished the LP. No reasons were made public. In the middle of that year, rumors indicated that García had overdosed, a fact that would later be confirmed when he entered a drug rehabilitation program.

In 1992, García reunited with Serú Girán to record a collection of brand-new songs, Serú '92, and perform a series of concerts in Cordoba, Rosario, and Buenos Aires. A live double album was also released but didn't go anywhere, and García returned to his solo career. In July of 1994, he released the rock opera La Hija de la Lágrima. It included many instrumental passages and guest musicians. The public's response was great, especially when the album was presented live.

From 1995 until 2001, García moved forward toward a more abstract and vanguard field embodied in an alter ego: Say No More. Although his shows were always sold out, his records didn't sell well and were poorly received by the critics. Estaba en Llamas Cuando Me Acosté, released in 1995, was an album largely comprised of covers. The same year, he recorded and released MTV Unplugged -- a short-lived comeback to a more classic structure. In 1996, he released the chaotic Say No More, and the next year he reworked some of his songs with the Latin folk singer Mercedes Sosa on the album Alta Fidelidad. García seemed to be out of control and completely confused. Some old-time followers gave up on him but curiously, at the peak of his own chaos, he gained a new teenage public.

All of that seemed to change in the summer of 1999 when he performed a free concert attended and acclaimed by more than 150,000 people. The show was captured on that year's Demasiado Ego release, which was his best-selling album from the Say No More era. The same year he again courted controversy by playing a show for Argentinian president Carlos Menem. The performance was recorded as Charly & Charly, a limited-edition disc that never went public; just a few copies were printed.

In March of 2000, he was again on the covers of newspapers for non-musical reasons. This time he'd jumped from a hotel's ninth floor into a swimming pool in Mendoza. That year, he reunited Sui Generis. They launched a new album, Sinfonía Para Adolescentes. They also performed a comeback show which was registered and released as a double CD, intensely modified and reworked in the studio. With the release of Influencia in 2002, he returned to a more classic song-oriented sound, where all mixing and sound experiments where set aside. This certainly marked a farewell to the Say No More phase.

The following year, before entering the studio, longtime guitarist Maria Gabriela Epumer passed away after a heart attack. The loss was profound for Garcia; he soldiered on to complete Rock and Roll, Yo, a recording as notable for its covers -- "Pretty Ballerina" and Stevie Wonder's "Love's in Need of Love" -- as for its originals, but his heart wasn't in it. Epumer's death left a great void that the audience could feel during Garcia's live shows. Not sure he would -- or could -- continue, he didn't release another record for six years, and only performed publicly twice during that period. He wasn't idle, however. In 2006, a demo began to circulate on the internet entitled Kill Gil. As a result of the music's leak, EMI refused to release it, but that was probably as much for its raw, uncommercial presentation as it was for the leak. In 2011, a much slicker finished product was submitted and issued along with a live DVD. The following year, Garcia edited and produced the live 60x60 box to commemorate his own 60th birthday, along with the book Parallel Lines: Artificio Imposible. In 2017, Garcia released Random, marking his return to Sony. The record achieved gold status in Argentina and scored a Top Three single with "La Máquina de Ser Feliz."

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Astonishingly eighties, in the sense that it is full of old-fashioned and cheesy cheap keyboard arrangements of those who sold in the eighties. I find it hard to believe that this production was at one point considered to be in the making. Now, of course, Charly is a great musician and often writes good songs. "Dinosaurs" is an evocative piano ballad that has no pretense sample. It's just pop done well. "Video tape eyes" is almost the same, were it not for the antiseptic background synthesizer and the fact that there is some pretense hidden there. The jewel of the album, however, is the opening "We're Still Sticking (Deadly Sin)" aka one of Bowie's best songs when collaborating with Eno. Charly sings like the madman we all know and the minimalist synth riff crawls into the groove like chewing gum to the shoe. Something is always happening in that song. The very best track is the epic finale "Ojos de Video Tape". When it comes down to it, the man just knows how to make a really pretty song. He sings that one beautifully. And the melody is perfect. The perfect ending to a wild ride of an album that's only slightly longer than 30-minutes.

Charly García - Clics Modernos   (flac  259mb)

01 Nos Siguen Pegando Abajo (Pecado Mortal) 3:25
02 No Soy Un Extraño 3:17
03 Dos Cero Uno (Transas) 2:01
04 Nuevos Trapos 4:07
05 Bancate Ese Defecto 4:56
06 No Me Dejan Salir 4:24
07 Los Dinosaurios 3:27
08 Plateado Sobre Plateado (Huellas En El Mar) 5:00
09 Ojos De Videotape 3:42

Charly García - Clics Modernos   (ogg  79mb)

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Charly García recorded this album under the influence of the new wave trend, preached by bands like Joy Division or Talking Heads, but maintaining the format of the pop / rock songs that he had used throughout his career, with which it reached a sound that was looked more like Todd Rundgren's albums, though now, more efficiently.
   The percussion beat, which could be predicted from going from the bed to the living room, is the key along with his ever-present keyboard dexterity. On this musical basis, he adds once again, letters in which there are continuous political references that boast in favor of a more individual, alternative thinking. A thought for the conception of a different model of man, from the observation of the ideals of Hippism (Rare new hairstyles), the socialists, totalitarian repression (Near the revolution) and manifests itself against the prohibitions of freedom of expression (I will not call my love) and for tolerance ("I did not choose this world, but I learned to love"). Sometimes, through allusions and metaphors like love, woman, madness. Others, being quite more direct.
   If this selection becomes the most outstanding of his solo career is because they are in greater number those songs of his that, as a characteristic feature, contain that particular search of the melody of the cult pop - think in David Bowie, Ray Davies and in the John Lennon himself. Notable songs like the classic Raros Peinados Nuevos (Rare New Hairstyles) or the beautiful Piano Bar, the well-weighted Near the Revolution and the masterful No Te Animás A Despegar (Do not you dare to take off)and Total Interference. Good melodies are practically present throughout the album. In this sense, is a high point.

Charly Garcia - Piano Bar   (flac  206mb)

01 Demoliendo Hoteles 2:16
02 Promesas Sobre El Bidet 2:46
03 Raros Peinados Nuevos 3:55
04 Piano Bar 5:12
05 No Te Animás A Despegar 3:55
06 No Se Va A Llamar Mi Amor 2:10
07 Tuve Tu Amor 3:58
08 Rap Del Exilio 2:42
09 Cerca De La Revolución 4:41
10 Total Interferencia 5:12
11 Canción Para Mi Muerte 4:04

Charly Garcia - Piano Bar (ogg  80mb)

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This album, recorded by Charly before he "lost it" (like a Syd Barrett of sorts), is packed with gems. It's one of those precious moments in Rock en Español. One very long moment that doesn' die out all through the album. From "Necesito tu Amor", into "Buscando un Simbolo de Paz" and the title track, including tracks where he accompanies himself by Brazilian rock grands, Paralamas, and almost alternating between upbeat and more quiet songs all through to the warm "La Ruta del Tentempie", the album can only grow on you. You will find yourself (Spanish-speaking or not) humming the tunes, some of rock's best tunes just about anywhere, wondering where has this awesome artist been all your life. Definitely the most Pop album by Charly, an excellent record that almost every Argentinean has heard.

Charly Garcia - Parte de la Religion   (flac  254mb)

01 Necesito Tu Amor 3:36
02 Buscando Un Simbolo De Paz 4:45
03 Parte De La Religion 3:08
04 Rap De Las Hormigas 3:16
05 Adela En El Carrusel 5:20
06 No Voy En Tren 3:06
07 Rezo Por Vos 4:30
08 El Karma De Vivir Al Sur 3:36
09 Ella Adivino 3:54
10 La Ruta Del Tentempie 4:21

Charly Garcia - Parte de la Religion   (ogg  97mb )

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Clearly an essential work within the repertoire of Charly Garcia and perhaps one of his best works next to the monumental Piano Bar,  great production, drums sounds excellent, the bass is alive and the voice is very well mixed.. Full of innate hits, it does not have a bad song, however, it is worth noting the answer to No Toquen, the charlyesque You Will not See Me on the Subway and especially the sublime trilogy She is Dancer, Anhedonia and Suicida (ten minutes of energetic music but deep, fast and indispensable especially in those moments when we are about to surrender if we fight, stop if we run or pull the trigger and unplug our brains, as Sabina says, when the mirror of life spits the truth to our face). In How to Get Girls, Charly talks to the bass, sings with the piano and creates a solid, complete, desperate, deep but above all classic disc: "we are statues of salt we want to return ... sho sha do not look back ... sha I do not have much more ...

Charly Garcia - Como Conseguir Chicas (How to Get Girls) (flac  237mb)

01 No Toquen 3:23
02 Zocacola 2:38
03 Fanky 4:39
04 No Me Veras En El Subte 4:59
05 Ella Es Bailarina 2:52
06 Anhedonia 4:03
07 Suicida 3:07
08 Fantasy 2:55
09 A Punto De Caer 2:57
10 Shisyastawuman 4:24

Charly Garcia - Como Conseguir Chicas (ogg  90mb)

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Sep 18, 2017

RhoDeo 1738 Mars 02

Hello, that was a depressing start at the F1 race today, Raikonnen had superstart overtaking Verstappen but then had nowhere to go and neither had Verstappen as Vettel, fearing Max immediately blocked him turning left this left Verstappen sandwiched between 2 Ferrari's what followeded was a big crash and Hamilton who had a great start too, only needed to evade Vettel's car to take the lead and never look back to win the race, Ricciardo who had a bad start just needed to follow Hamilton to pick up another podium finish, the amount of luck this guy has had this season is almost frightening. I decided to watch Chelsea-Arsenal but that didn't lift my spirits either. In all a depressing sportsday for me.

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 13 Punishment Without Crime (avi  317mb)

George Hill is stunned when he is sentenced to death--for murdering a robot facsimile of his adulterous young wife.

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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 02 (mp3  22mb)

02 The Martian Chronicles 25:09

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Ray Bradbury - The Martian Chronicles 01 (mp3  22mb)

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