Dec 13, 2018

RhoDeo 1849 Roots

Hello, .

Today's artists is a Cuban musician, composer and bandleader. He played the tres, as well as the tumbadora, and he specialized in son, rumba and other Afro-Cuban music styles. In the 1940s and 1950s he established the conjunto format and contributed to the development the son montuno, the basic template of modern-day salsa. He claimed to be the true creator of the mambo and was an important as well as a prolific composer who wrote nearly two hundred songs.......N'Joy

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 Arsenio Rodríguez, one of the most important figures in the history of Cuban music, was a prolific composer (he penned close to 200 songs), tresero, percussionist, and bandleader whose innovations changed the face of Latin dance music and paved the way for what would eventually become known as salsa. He is considered the father of the conjunto, an instrumental format that was revolutionary for its time because it introduced the conga drum, which had previously been considered taboo because of its African origin. His compositions, many of which became standards of the Cuban and New York salsa repertoires, frequently emphasized Afro-Cuban, particularly Congolese, elements in their subject matter.

A descendent of Congolese slaves, Rodríguez was born on August 31, 1911, in Guira de Macurije in Cuba's western province, Mantanzas. At age seven Rodríguez was blinded by a horse's kick; he would later become know as "El Ciego Maravilloso" (The Marvelous Blind One). As a child, he began playing a variety of instruments, including Afro-Cuban drums and percussion, bass, and tres, a Cuban six-string guitar that would become his primary instrument. Some important early influences on tres included Nene Malfugas, Isaac Oviedo, and Eliseo Silviera. He began composing in his teens and in the early '30s formed El Sexteto Boston. In 1937 he joined trumpeter José Interain's Septeto Bellamar. 1937 also saw the first recordings of Rodríguez's compositions; Miguelito Valdés sang "Bruca Manigua," "Ven Acá Tomas," and "Fuñfuñando" with Orquesta Casino de la Playa.

During this period, the standard format for playing son was the septeto, consisting of trumpet, guitar, tres, bongos, bass, maracas, and claves, with two or more bandmembers singing. The general trend in the 1930s had been for the son to stray somewhat from its African roots, adopting a more subdued sound. This would all change around 1940 when Rodríguez added conga drum, piano, and a second (and later third) trumpet to the typical son ensemble, giving birth to the conjunto. The conjunto format revolutionized the son with the added drive provided by the conga's deep tone and the trumpet section's power. Around this time, Rodríguez introduced the son montuno, a son with a montuno section featuring improvised vocals (soneos) by the lead singer (sonero) over a repeated chorus; trumpet, tres, and piano solos also occurred frequently. Rodríguez is also credited, along with bandleaders Antonio Arcaño and Pérez Prado, with developing the mambo rhythm during this period. Another key innovation was the band's adaptation of the guaguancó to the dance band/conjunto format. The guaguancó is an Afro-Cuban style traditionally performed by voices and percussion; Rodríguez mixed some of its melodic and formal elements with those of the son. These further "Afro-Cubanizations" of the son are among Rodríguez's most important and lasting contributions. The conjunto format, son montuno, and mambo are three essential elements of what would later be called salsa.

The 1940s were a classic period in Rodríguez's career and the history of the son. Many of his most famous compositions were recorded, including "A Belen Le Toca Ahora," "La Yuca de Catalina," "Juventud Amaliana," and perhaps his most famous work, the bolero "La Vida es un Sueño," which was written after an unsuccessful attempt to restore his sight in 1947. Among his bandmembers during the '40s were several key figures in the development of the son, namely vocalists Miguelito Cuní, Marcelino Guerra, and René Scull, trumpeters Felix Chappotin and Chocolate Armenteros, and pianist Lilí Martínez. This period is represented on several reissue CDs: Montuneando con Arsenio Rodríguez y Su Conjunto (Tumbao), Legendary Sessions: Chano Pozo and Arsenio Rodríguez (Tumbao), Dundunbanza (Tumbao), A Todos los Barrios (RCA), and Oye Como Dice (Cubanacan).

In 1953, Rodríguez moved to New York, leaving his conjunto in Cuba under the leadership of trumpeter Chappotin, who would become a legend in his own right. Compositions such as "La Gente del Bronx" and "Como se Goza en el Barrio" (both available on the Tumbao CD named after the latter) continued to reflect his gift for writing about his everyday surroundings. His popularity in New York, while strong, would never match what it had been in Cuba. The mid-'50s saw the release of a strong album, Sabroso y Caliente (reissued on CD on Antilla), which added flute and timbales to the conjunto setup. "El Ciego Maravilloso" would continue to experiment with different instrumentations for the rest of his career, at times adding one or more saxophones to his band.

Primitivo
In the late '50s, Rodríguez recorded Primitivo and appeared, under the leadership of conguero Sabu Martinez, on the Blue Note release Palo Congo, which featured his brothers and conjunto sidemen Quique and Caesar Rodríguez. This album includes chants from Palo Congo, an Afro-Cuban religion of Congolese origin. In the early '60s, Rodríguez recorded Quindembo/AfroMagic (Epic), an innovative experimental album on which he wrote and sang on all the tracks. Rodríguez called this style, which blends jazz influences with son and more earthy Afro-Cuban religious elements, "Quindembo," a Congolese word meaning a mixture of many things. Around this time he also recorded two very strong albums in the conjunto style, Arsenio Rodríguez y Su Conjunto, Vol. 1 and Vol. 2. In his final years he continued to experiment, developing a style he called "swing son." The last album Rodríguez recorded was Arsenio Dice, a 1968 Tico release. On December 30, 1970, "El Ciego Maravilloso" died of pneumonia in Los Angeles. As a composer, performer, and musical experimenter, Rodríguez was one of the undoubted giants of Cuban music. In the United States, he was a decisive influence in the '60s and '70s tipico movement, and his experimentation pointed to way to some of the developments made by the more adventurous architects of salsa, such as Willie Colón. His legacy is recognized on several tribute albums, including Larry Harlow's Tribute to Arsenio Rodríguez and Tico's all-star Recordando a Arsenio.

Arsenio Rodríguez's recorded material can be divided into two eras. The first era comprises all songs recorded in Havana between 1940 and 1956, which were released as 78 rpm (and also 45 rpm) singles by Victor/RCA Victor. All these tracks except one ("Me quedé sin ti", 23-7000 B) were re-released as a 6-CD boxset in 2008 by the Spanish record label Tumbao Cuban Classics, which had also issued several compilations of this material in the 1990s. The second era comprises all recordings made by Rodríguez in New York between 1950 and 1970, the year of his death.

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This new six-disc boxed set by the Cuban bandleader and guitarist Arsenio Rodríguez, is a G.T.O.: a Great Thing, Objectively. First, it gets the stuff out there, collecting in one place nearly every scrap of music Rodríguez made for RCA Victor between 1940 to 1956, before he left Cuba for good (for New York and Los Angeles). His music has not previously been so well documented, in a large-canvas, year-by-year sense, and RCA has been a poor custodian of it.

The appearance of Arsenio Rodríguez's ensemble in 1940 created a style that, because of its instrumental set-up and Arsenio's conception of harmony and rhythm, would change forever the path of popular Afro-Cuban music. Arsenio's deep knowledge of African culture and folklore, and the addition of a second trumpet, a piano and a tumbadora to the classic septet, converged in a new style of son, which became known as the son montuno. Later, Arsenio would adapt the traditional guaguancó to his son montuno, creating a new style of guaguancós, uniquely and characteristically his, that the dancers in the most humble quarters of La Habana soon made their own. This 6-CD collection (3 double digipacks) gathers, for the first time ever, all his recordings for RCA Victor (1940-1956). It also includes two booklets with photos, history, discography and anecdotes. The first one, written by the musicologist David Garcia, is a fine review of the life and works of "El Mago del Tres." The second one was written by Jordi Pujol, producer of this project. It includes a comprehensive discography of Arsenio's ensemble, and recounts some interesting anecdotes about the musicians and singers that were part of the group until 1956. We hope this project will help immortalize and spread the musical works of Arsenio Rodríguez, "El Alma de Cuba." -- "Featuring: Miguelito Cuní, "Lilí" Martínez, Felix Chappotín, "Chocolate" Alfonso, René Scull, Rubén González, "Papa Kila."



  Arsenio Rodríguez & Su Conjunto - El Alma De Cuba 5 ( flac  343mb)

501 Anabacoa (2:50)
502 Cárdenas (3:11)
503 Ten Valor (3:05)
504 Con Un Amor Se Borra Otro Amor (3:21)
505 Juventud De Cayo Hueso (3:01)
506 Todo Termino (3:20)
507 Ta Benito (2:49)
508 Aquí Como Allá (2:59)
509 Te Mantengo Y No Me Quieres (3:10)
510 Cree Lo Que Tu Quieras (2:59)
511 El Que No Tiene No Vale (2:35)
512 Quizás Con Los Años (2:54)
513 Me Dijo Que Si Y Le Dije Que No (3:13)
514 Falso Desprecio (2:54)
515 Caminante Y Labora (2:56)
516 Jamás Te Perdonare (3:02)
517 Tu Faz Morena (3:09)
518 Jumba (2:33)
519 Murumba (3:11)
520 Negrita (2:37)
521 Amores De Verano (3:09)
522 Te Contare (2:54)
523 Amor En Cenizas (3:18)
524 Mira Cuidadito (3:10)
525 A Graciela (2:56)
526 Mira Que Soy Chambelon (3:17)

 Arsenio Rodríguez & Su Conjunto - El Alma De Cuba 5 (ogg    147mb)

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Arsenio Rodríguez & Su Conjunto - El Alma De Cuba 6    (flac  327mb)

601 Pobre Mi Cuba (3:06)
602 Guaraní (2:41)
603 Ya Se Fue (2:52)
604 Amor A Mi Patria (2:42)
605 Burundanga (3:08)
606 Injusta Duda (3:07)
607 Mi Conuco (3:12)
608 Pogolotti (3:06)
609 Mambo Anacua (2:46)
610 Mi Primer Cariño (2:28)
611 Acerca El Oído (2:38)
612 Mambo En La Cueva (2:18)
613 Me Estoy Comiendo Un Cable (2:52)
614 Cuba Cha Cha Cha (3:13)
615 Sobre El Arco Iris (2:55)
616 Confórmate (2:52)
617 Lo Sabia (2:44)
618 Que Negra Pa' Acelera (2:32)
619 Titi, Tu Kundungo Quiere Papa (2:45)
620 Ayaca De Maíz (2:47)
621 Graciela, Tu Lo Sabes (2:39)
622 Triste Lucha (2:33)
623 Dame Tu Yoyo Ma' Belén (2:31)
624 Contigo No Soy Feliz (2:49)
625 Casera Mire Que Caña (2:54)
626 Adiós Roncona (3:00)
627 Con Flores Del Matadero (2:59)

Arsenio Rodríguez & Su Conjunto - El Alma De Cuba 6   (ogg  140mb)

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Arsenio's innovative techniques, arrangements and compositions have had far reaching consequences because not only was the rise of salsa in the late '60s and '70s fueled in part by his Afro-Cuban son conjunto aesthetic, but one could argue that his pioneering influence can still be felt today.



Arsenio Rodríguez & Su Conjunto - Como Se Goza En El Barrio (flac  197mb)

01 Esclavo Triste 2:41
02 La Gente Del Bronx 2:49
03 Jaguey 2:30
04 Meta Y Guguanco 3:06
05 Mulence 2:43
06 Pa Que Gocen 2:53
07 Esas No 2:49
08 Como Se Goza En El Barrio 3:10
09 Y Soy Chambelon 3:04
10 Arpegio Por Arsenio 2:42
11 Oiga Mi Guguanco 3:09
12 Se Va La Comparsa 2:47
13 Swing Y Son 2:53
14 Maye Santa 3:12
15 Oye Mi Cantar 2:51
16 Ahora Carpetillo 3:04

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This is a great compilation of Arsenio Rodriguez early Cuban recordings and some from his New York City days. These are rare musical jewels like "Yo Ta Enamora", "Oye Como Dice", "El Palo Tiene Curujey", "Apurruñenme Mujeres", "Kila, Quique y Chocolate", "Pueblo Nuevo Se Paso", "Ta Benito,Eh", "Pobre Mi Cuba" and a great trilogy,"Los Guapos en Yateras/La Yuca de Catalina,aka "Como Traigo La Yuca"/"El Reloj de Pastora". ALso included are 1946 recordings featuring sonero Rene Alvarez. On many tracks the chorus features Marcelino Guerra and Miguelito Cuni and also vocals by Rene Scull and Joseito Nunez.



 Arsenio Rodríguez & Su Conjunto - El Rey Del Son Montuno ( flac  171mb)

01 Yo Ta Namora 3:23
02 Corazon De Hielo 3:40
03 Oye Como Dice 3:10
04 El Palo Tiene Curujey 3:10
05 Flor De Canela 3:18
06 Dame Un Cachito Pa'Huele' 2:52
07 El Reloj De Pastora 3:03
08 Cantana Montero 3:25
09 Juventud Amaliana 3:20
10 Me Siento Muy Solo 3:08
11 Tocoloro 3:05
12 Appurrunenme Mujer 2:44
13 La Vida Es Un Sueno 3:34
14 A Belen Le Toca Ahora 3:11
15 No Me Llores Mas 3:22
16 Pueblo Nuevo Se Paso 3:19
17 Kila, Quique Y Chocolate 2:50
18 Vuelvo A La Vida 3:00
19 Ta Benito Eh 2:55
20 Pobre Mi Cuba 3:10
21 La Gente Del Bronx 2:53
22 Los Guapos En Yatera > La Yuca De Catalina > El Reloj De Pastora 5:58

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Recorded in New York City in 1963, this is a different sounding Arsenio Rodriguez with an ensemble featuring a saxophone, possibly a first time for Arsenio, since all his previous ensembles or "conjuntos" consisted of three or four trumpets and no saxophones. In spite of the criticism of "traditionalists" and other Arsenio fans, this album surprisingly proved to be a best seller for its producers as well as for Arsenio. "Canto Abakua", "Bruca Manigua", "Los Teenagers Bailan Changui", "Quindembo Hot" and others in this repertoire sound "jazzy" in this fusion rhythm and unique compilation.

After having been in the US for many years, and seemingly aware chances of returning to his native Cuba were slight. The album has been occasionally hailed as an obscure experimental breakthrough by Cubanists. Thankfully, it's been recently rereleased, and it's an oddity. Arsenio with Cuban studio musicians who are unnamed on the album info, playing all AR compositions that shift between Afro-Cuban and the jazz influences he had been subjected to while playing in New York and LA. There's little of the infectious Cuban poppiness that was his trademark, or the son sound he'd helped pioneer. And while there are loads of percussive workouts, they're sometimes pensive, sometimes experimental, thereby digging a wide gap between here and his prolific composer, tres-player, big-band leader Cuban period a decade earlier. And there's lots of Arsenio singshouting his Cuban/West African dialect over the sax section. Speaking of saxes, they're another rare entry in Arsenio's music.

In ways, the album is a logical continuation in Arsenio's long and restless career, and a welcome respite between his Cuban period and his New York/South Bronx period as the father of salsa.



Arsenio Rodríguez - Quindembo Afro Magic (flac  200mb)

01 Canto Abacoa 2:21
02 Bruca Manigua 2:28
03 Baila Simbale 2:09
04 Hun Hun 2:13
05 Oracion Lucumi 2:22
06 Compay Cimarron 2:43
07 Los Teenagers Bailan Changui 2:21
08 Albanciosa 3:10
09 Torongombe Ya Cayo 2:48
10 Yimbila 2:16
11 Mona 2:53
12 Quindembo Hot 2:10

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Dec 12, 2018

RhoDeo 1849 Aetix

Hello,


Today's artists are a French cold wave group, formed in Denain, near Lille, France in 1980 by brothers Philippe and Hervé Lomprez. They are mainly active during the 1980s and 1990s.....N'Joy

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Centered around brothers Philippe and Hervé Lomprez, Trisomie 21 (often abbreviated to T21) are a French cold wave group who have endured since the early '80s, spanning styles such as brooding, experimental post-punk as well as a more danceable synth pop sound. The band formed in 1981, taking their name from trisomy 21, the medical term for the extra chromosome that causes Down syndrome. The two Lomprez brothers were initially joined by keyboard player Jean-Michel Matuszak (who also served as their manager) and bassist Pascal Tison, and their music was influenced by dark post-punk acts like Joy Division and the Cure as well as the experimentation of the Residents and Yello. Belgian label Stechak released T21's debut mini-album, Le Repos des Enfants Heureux, in 1983. Bassist Laurent Dagnicourt replaced Tison for the group's 1984 full-length Passions Divisées. Emphasizing the band's rhythm section while keeping their keyboard-heavy experimentation intact, the album included the haunting "La Fête Triste," which would emerge as one of their signature tunes.


Following two successful concerts in Belgium, T21 signed to Brussels-based industrial/goth label Play It Again Sam, greatly increasing their visibility. The 1985 EP Wait & Dance was issued by PIAS' short-lived Scarface imprint, followed by the 1986 full-length Chapter IV: Le Je-Ne-Sais-Quoi et le Presque Rien, which contained the group's biggest hit, "The Last Song." A re-recorded, remixed version of the album appeared in 1987, as did the full-length Million Lights, which appeared on PIAS proper following the Scarface sublabel's closure. The album was created solely by the Lomprez brothers, without a bass player, and was significantly more electronic than their past material. Arriving in 1988, Works marked the debut of guitarist Bruno Objoie, who also contributed to the more atmospheric Plays the Pictures (1989) and live album Raw Material (1990).


The 1992 full-length Distant Voices, which featured Tuxedomoon violinist Blaine Reininger and backing vocalist Lena Kane, found the group experimenting with jazz, pop, and cinematic textures, resulting in some of their strangest yet most accessible work. However, disputes with their label would delay their next album by several years. Following the release of three compilation CDs, 1987's ambient-influenced Gohohako would be T21's final album for PIAS.

The group went on hiatus for a while, but returned in 2003, when they were asked to remix the song "Le Grand Secret" by French pop/rock band Indochine. The comeback album Happy Mystery Child was released by Le Maquis in 2004, followed by a series of remix albums featuring producers from throughout the techno, electro, and EBM scenes. In 2007, the Belgian label Alfa Matrix released T21's live album Rendez-Vous en France, some copies of which included a CD of early rarities and demos. The group's final release on Le Maquis, 2009's Black Label, was one of their heavier, more driving releases.

The group embarked on what they assumed would be their final tour, playing one last gig in Brussels. However, the Lomprez brothers secretly returned to the studio in 2017, with early member Tison contributing to some of the sessions. The full-length Elegance Never Dies was released by the group's own Chromo Music Production by the end of the year, and the group toured throughout Europe in support of the album. Additionally, the American label Dark Entries released Chapter I-IV, a vinyl box set containing expanded editions of T21's first four records, which were also reissued individually. The group also released a three-CD box set of early material titled Originally in 2018.


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The T21's Works recorded at theit studio from April to August 1988. Mixed by T21 and Bruno Donini at Chromomanagement studio. The album heads in more of a commercial-sounding direction. Heavier drums guitar solos and more traditional rock arrangements make for a completely different mood this time around. I don't have too many complaints about this album. The percussion, at times, can sound a bit dated, and a couple of the instrumentals border on tii easy, but there are definitely some T21 classics on here. Tracks such as "The Golden Age", "Betrayed", and "The Missing Piece" helped me embrace the 'harder' sound of this CD, and the live version of "Joh'Burg" was a nice addition, though I'd rather T21 release the whole Official Bootleg recording on its own CD! Oh yeah, "War Outside" is an excellent instrumental. A must-buy for T21 fans, and a good chance to take for the casual listener.



Trisomie 21 - Works (flac  319mb)

01 The Golden Age 3:06
02 A Dirge For Love 4:26
03 Betrayed 3:49
04 The Missing Piece 4:43
05 Messenger 4:23
06 Harbours And Stations 4:28
07 Speak By The Cards 4:18
08 The Story So Far 1:21
09 The War Outside 3:37
10 West Wind 4:14
11 Another Move (Remix) 3:54
12 The War Outside (Instrumental) 3:41
13 Joh'Burg "Live" 5:59

Trisomie 21 - Works  (ogg   118mb)

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Goth experimental ambient excellence.... Contains more beautiful melodies and better musical ideas in one record than many groups ever generate in their entire careers. And still miles ahead of their time, as usual. Great for a soul searching walk or drive, or make out session, take your pick :)



 Trisomie 21 - Plays The Pictures (flac  306mb)

01 Paradise 2:36
02 My Year Is A Day 1:47
03 One Last Play 3:31
04 Right To Reply (1) 2:36
05 Moonlight (1) 3:02
06 At This Time Of Writing (2) 1:32
07 Jack In The Box 1:23
08 Bamboo (1) 4:48
09 W.S.W. (West-South-West) 2:39
10 Brewter's Millions 1:34
11 At This Time Of Writing (3) 1:27
12 Dolphin Bay 3:14
13 Into The Light Heart 2:08
14 Right To Reply (2) 2:35
15 The Secret Beyond The Door 2:04
16 Easy Touch 2:14
17 Remember Me 3:02
18 Bamboo (2) 1:30
19 Friday Report 1:43
20 Ceremony 1:40
21 Cinema Hall 1:45
22 Take The Shock Away 5:31
23 Weird New York 1:42

 Trisomie 21 - Plays The Pictures  (ogg   127mb)

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'Trisomy 21 recorded live April / May 1989', that's nothing else, no pictures or room information or any other ... 'Raw material' ... Cold wave aesthetics obliging, clinical purification of the container to focus on the  content, excellent sound content, let's say it all clean.  Apart from a certain sense of space, sound depth and the screams of the audience, one might think these recorded studio headlines;  each instrument stands out clearly in both the synthetic and electrical parts.  The guitar is besides the winner of this passage on stage;  she who is not always the striking element of the compositions of the balance group of her strength the electronic arsenal.  The song of Philippe Lomprez, half sad and half fragile, limited in the range, not always exact, paradoxically takes all its meaning, proving how much what seems a weakness to ears too professional can be changed into power as soon as the  emotion is at stake. The interpretation is impeccable, liberated from a certain beginner fragility that characterized the first recordings without questioning the beauty blurry, indecisive, which has always been the charm of Trisomie 21. The selection is a treat,  see it: 'It drowns', 'The sad day', 'The last song' or 'Some twenty one miles from the coasts' and the sound quality gives the listener the privilege of a form of intimacy with  the musicians as if he were not in the audience but on stage among them.  'Raw material' is justified by this look not new but oblique or complementary to the repertoire of the combo.  A last slow song whose recitation (samplée?) Feminine Anne Clark evokes, some applause, it's over.  Without ceremony.

If you are sick of all the bland pop and alternative music out there give this band a listen. It is unfair to categorize them - their music is completely different yet easy to listen to and it still sounds good after repeated listening. Get this album and listen to it at least a few times...one by one each song will begin to stand out as a superb musical nugget.



Trisomie 21 - Raw Material (flac  297mb)

01 Harbours And Stations 4:43
02 The Last Song 4:10
03 Waiting For 3:35
04 Sharing Sensation 4:25
05 Some Twenty One Miles From The Coast 5:15
06 La Fête Triste 4:27
07 Il Se Noie 5:10
08 A Dirge For Love 4:02
09 Another Move 4:00
10 West Wind 4:04

Trisomie 21 - Raw Material   (ogg  110mb)

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Dec 11, 2018

RhoDeo 1849 Supernatural 9

Hello, in accordance with these autumnal days when the light is fading, the supernatural manifest and us humans start to shiverrrr


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Nigel Kneale was a Manx television playwright who had first come to prominence in the 1950s thanks to his three Quatermass serials and his controversial adaptation of George Orwell's Nineteen Eighty-Four, all of which were produced by the BBC. Going freelance in the nineteen-sixties, Kneale had produced scripts for Associated Television and for Hammer Films. In the late nineteen-sixties and early nineteen-seventies, Kneale had been coaxed back to the BBC, writing such plays as The Year of the Sex Olympics, Wine of India and, for the anthology series Out of the Unknown, The Chopper.

In the middle of 1972, Christopher Morahan, who was Head of Drama at BBC2 and who had directed Kneale's 1963 play The Road and the 1965 remake of Kneale's adaptation of Nineteen Eighty-Four, approached Kneale asking him to write a play to be broadcast over the Christmas period. Accepting the commission, Kneale quickly decided that, in keeping with Christmas tradition, he would write a ghost story, but with a difference – ancient spirits would come into collision with modern science.. ...... N Joy

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The Stone Tape was written by Nigel Kneale, best known as the writer of Quatermass. Its juxtaposition of science and superstition is a frequent theme in Kneale's work; in particular, his 1952 radio play You Must Listen, about a haunted telephone line, is a notable antecedent of The Stone Tape.

In 1979, a team of scientists moves into a new laboratory in a Victorian mansion. When Jill Greely hears a strange disembodied scream, the team decides to analyse the phenomenon, which appears to be a psychic impression trapped in the wall. The scientists begin to realise that their work has disturbed something hidden beneath the stone, something ancient and malevolent.

The original 1972 TV movie is now a cult favourite. Written by the creator of the Quatermass series Nigel Kneale, it is known for its cutting edge sound effects from the BBC Radiophonic Workshop.

This remake has been conceived by Peter Strickland in collaboration with writer Matthew Graham (Life On Mars). It features new music from James Cargill (of the band Broadcast) and sound design from Andrew Liles (Current 93, Nurse With Wound). A stellar cast includes Romola Garai (The Hour, Atonement), Julian Rhind-Tutt (Green Wing), and Julian Barratt (The Mighty Boosh), with a special cameo by the star of the original version, Jane Asher.

A tale of the supernatural by Nigel Kneale.

Cast:
Jill Greely.............Romola Garai
Dr Leo Cripps......Julian Rhind-Tutt
Marvy Wade........Dean Andrews
Terry Briscoe.......Julian Barratt
Cleft....................Tom Bennett
Jill's mother.........Jane Asher
The scream.........Eugenia Caruso

Music and electronics: James Cargill
Vocal effects: Andrew Liles
Analogue effects: Steve Haywood and Raoul Brand
Sound mix: Eloise Whitmore

Written by Matthew Graham and Peter Strickland
Based on the original TV play by Nigel Kneale
Director: Peter Strickland
Producer: Russell Finch
Executive Producer: Polly Thomas


Nigel Kneale - The Stone Tape ( 56;30 min mp3  38mb)

In 1979, a team of scientists moves into a new laboratory in a Victorian mansion. When Jill Greely hears a strange disembodied scream, the team decides to analyse the phenomenon, which appears to be a psychic impression trapped in the wall. The scientists begin to realise that their work has disturbed something hidden beneath the stone, something ancient and malevolent.

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previously

Robert Westall - The Stones of Muncaster Cathedral ( 87min mp3  60mb)
Robert Westall - The Wheatstone Pond ( 60min mp3  39mb)
Victor Pemberton - Dark. ( 86min mp3  60mb)
Scott Cherry - The Book of Shadows ( 78min mp3  60mb)
Koji Suzuki - The Ring ( 78min mp3  60mb)
Wilkie Collins - The Haunted Hotel ( 60min mp3  38mb)
JCW Brook - Jonas ( 60min mp3  60mb)
Stephen Sheridan - The House at Worlds End   ( 44min mp3  30mb)

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