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The fantastic full-length group of The Harlem Gospel Travelers — a quartet trained on the male group gospel modes of older acts like the Soul Stirrers or Violinaires — but one who really shine strongly with a voice of their own, thanks to a set of all original material, and some nice CD Gospel CD. Who better to spend Halloween with than Lux and Ivy of The Cramps — a pair who almost act like it's the last day of October all year long! Lux and Ivy are well-known as collectors of strange and offbeat 45s from the late 50s and early 60s — and that period also coincides with a great CD Halloween CD.
A fantastic collection of lesser-known gems from the 70s scene in Nigeria — music that's a great counterpart to better-remembered Afro Funk and soul from international giants like Fela Kuti and King Sunny Ade!
This set digs deep, and is a nicelly expanded version of a set that Soul Jazz A tremendous live performance from Marvin Gaye — recorded at the Kennedy Center in , and based around his classic album What's Going On — yet handled in a completely different way! The set's not just a straight reading of the record — as the song order is different, and the CD Soul CD.
Jacky Giordano Philopsis. An album with an ancient-looking painting on the front, but a style that's pure 70s — served up here in a keyboard-heavy style from sound library giant Jacky Giordano! Jacky's given us plenty of funky records over the years, and this rare gem is definitely up with those 70s classics — Jukka Eskola Soul Trio Steamy. An excellent group, and one with a really great concept — a fresh take on a format that was big in the 60s soul jazz scene, but spun out in a very unique way — both in terms of instrumentation, and in terms of the groove!
Trumpeter Jukka Eskola heads the trio, which also features CD Jazz CD. The telephone calls culminated in death threats towards Argento, who channelled the experience into the writing of Tenebrae.
The director also wanted to explore the senselessness of killings he had seen and heard about while staying in Los Angeles in , and his feeling at the time that true horror came from those who wanted "to kill for nothing". Shot on location in Rome and at Elios Studios, Tenebrae utilized mostly modern-looking locations and sets to help Argento realize his intent that the film reflects a near-future with a diminished population; the director filmed none of the historical landmarks that usually featured in films set in Rome.
Employing director of photography Luciano Tovoli , Argento also intended that the film simulate the stark, realistic lighting featured in television police shows at the time; production designer Giuseppe Bassa created supporting environments that were cold and austere, with sharp angles and modernistic spaces.
Several former members of Italian rock band Goblin provided Tenebrae ' s music, a synth-heavy score inspired by rock and disco music. Tenebrae was a modest success in Italy; it reached theatres with little controversy after Argento made cuts to one of the most violent scenes.
However, in the United Kingdom, it was added to the infamous list of " video nasties " and banned from sale until The film's theatrical distribution in the United States was delayed until when it was released in a heavily censored version under the title Unsane.
In its cut form, Tenebrae received a mostly negative critical reception, but the original, fully restored version later became widely available for reappraisal. The film critic and author Maitland McDonagh has said that it is "in many respects Peter Neal, an American writer of violent horror novels, visits Italy to promote his latest work, Tenebrae.
He is joined in Rome by his assistant Anne, and his literary agent Bullmer. Hours before Neal's arrival, young shoplifter Elsa is killed with a razor by an unseen assailant. Neal receives an anonymous letter, deemed by Giermani a prelude to an impending killing spree. The film is punctuated hereafter by visions tormenting an unseen man. Implied to be flashbacks, they showcase a young woman flirting with several male youths in a beach. One of them slaps her and is then chased and held down by the others while she kicks and orally rapes him with red high-heeled shoes.
Later, unequivocally POV shot flashbacks show him stabbing her to death in revenge. More killings and letters ensue in the present, confirming Giermani's prediction. Lesbian journalist and Neal acquaintance Tilde is murdered at her home, along with her lover Marion. Maria, the daughter of Neal's landlord, is axed to death after stumbling into the killer's lair.
TV book reviewer Christiano Berti shows an intense fixation on Neal's work, as well as bigoted prudishness much like that of the killer's letters. Following this hunch, and the fact that Maria's body was found in Berti's district , Neal and his assistant Gianni spy on Berti, who is burning pictures and files identifying him as the killer. Gianni sees Berti telling someone "I killed them all! He finds Neal knocked unconscious on the lawn and they flee the scene.
Neal has sex with Anne that night, a first in their six-year acquaintance. Giermani calls Neal to the Berti crime scene after finding dossiers proving Berti's obsession with him but is unaware of the burnt evidence.
He thus believes the killer is still at large and is comforted by Neal's intention to leave Rome. Jane receives a gift of red shoes like those prevalent in the seaside flashbacks. Bullmer is stabbed to death in a public square while waiting for Jane, who witnesses the aftermath and flees. Neal's plane leaves for Paris that evening.
Meanwhile, Gianni is haunted by the significance of what he saw in Berti's house. He returns there and realizes that Berti's self-incriminating last words imply two murderers.
Before Gianni can share this detail with anyone, he is garrotted to death in his car. A distraught Jane calls Anne to her place and waits in her kitchen holding a pistol. An axe shatters the window and hacks off her forearm. Blood sprays over the walls and Jane falls to the floor, where several blows finish her off.
Inspector Altieri enters and is also killed, at which point Neal is revealed to be the murderer. Giermani and Anne arrive soon afterwards. Held at gunpoint by Giermani, Neal tacitly confesses to killing Berti and everyone after him, then slits his throat.
Giermani reports the incident from the car radio and comforts Anne. A final explanation takes form. The teenage murder flashbacks were Neal's. Berti's sadistic murder spree had unlocked a repressed memory in Neal, namely his murder of the girl who had humiliated him as a youth in Rhode Island. The memory inflamed Neal's previously suppressed bloodlust, driving him insane.
It also fueled his plan to eliminate Jane and Bullmer, whose affair he knew of, by maintaining a semblance that the original killer had murdered Berti and was still active. Whether Berti destroyed his murder files at Neal's secret behest, or spontaneously, is left to speculation.
Giermani returns inside and is murdered by Neal, who had faked his own death. Neal waits for Anne to return; when she opens the door, she accidentally knocks over a metal sculpture that impales and kills Neal. The horror-stricken Anne stands in the rain and screams repeatedly. According to the film historian and critic Bill Warren , Tenebrae is a typical example of the giallo film genre: "visually extremely stylish, with imaginative, sometimes stunning cinematography", it presents "mysterious, gruesome murders, often in picturesque locations; at the end, the identity of the murderer is disclosed in a scene destined to terrify and surprise.
By the time Argento made Tenebrae , he had become the acknowledged master of the genre, to the point where he felt confident enough to be openly self-referential to his own past, referencing the "reckless driving humor" from The Cat o' Nine Tails and the hero from The Bird with the Crystal Plumage. Warren and Alan Jones cite a scene where a character is killed in a public square as evoking the work of Alfred Hitchcock ;   Rostock agrees that the editing of the sequence is in a Hitchcockian vein, while the lighting is more influenced by Michelangelo Antonioni.
She refers to the strong narrative in the film as an example of "the most paranoid excesses of film noir. Kim Newman and Alan Jones suggest that the mysteries of Arthur Conan Doyle , Rex Stout , and Agatha Christie were all obvious influences on Tenebrae , and there are many references to these authors throughout the film.
Another reference is the dog attack: as something of a non sequitur , the scene is thought by Newman to be a likely nod to Conan Doyle's The Hound of the Baskervilles — Critics have identified various major themes in Tenebrae.
In interviews conducted during the film's production, the usually somewhat reticent Argento offered his candid views on the thematic content of the film.
Traditional cause and effect are seemingly forgotten or actively ignored". In almost all his scenes his appearance is followed or accompanied by a shot of water. According to Argento expert Thomas Rostock, Tenebrae is filled with rhyming imagery that relates to the film's exploration of "the dual nature of [the] two active murderers" using doubles, inversions, reflections and "re-reflections".
Every major character has at least one double, and the theme extends to objects, locations, actions, and events — major and minor.
The first half belongs to the murders of Berti; the second to those of Neal. The two are set up as mirrors of one another. Berti's killings with a razor are clinical, with "lingering sexualized aggressiveness", whereas Neal's with an axe are crimes of passion committed for personal reasons or out of necessity; they are swift and to the point. Kevin Lyon observes, "The plot revolves around the audacious and quite unexpected transference of guilt from the maniacal killer about whom we learn very little, itself unusual for Argento to the eminently likeable hero, surely the film's boldest stroke.
She suggests that "Neal and Berti When the bloody Neal is confronted by Giermani immediately after having killed numerous people, Neal screams at him, "It was like a book The moment in which the first half of the movie transitions into the second is punctuated by the rising score and camera pan to an ostensibly meaningless point of reflected light on an ornament. According to Rostock, the meaning behind this movement is clear: it marks the spot when Berti's spree ends and Neal's rampage begins.
Neal, previously passive, begins to control what happens in his own story, which is more personal with "weight and meaning". According to Rostock, this structure allows Argento equal scope to play with the narrative while commenting upon it, all without having to deviate from the advancement of the plot.
According to Gracey, many have compared Argento with the character of Peter Neal, speculating that he serves as an alter-ego for the director. With Tenebrae in particular, he felt he was making a joke or playing a game with his critics, creating a front or mystique about himself. With Tenebrae ' s reveal that the author is the killer, Newman argues that Argento is saying, "What if I were? As in many of Argento's films, which tend to eroticize the murder of beautiful women,  gender, sexuality, and power are major issues foregrounded by the film.
Berti murders the comparatively normal Maria only because she inadvertently discovers his twisted compulsion. Neal's own motivations for becoming a killer are revealed in "Freudian flashbacks". As summarized by McDonagh, these flashbacks "expose how the misogyny evident in his books actually stems from being sexually humiliated by a beautiful woman in his youth.
McDonagh noted that two sexually charged flashbacks are key to understanding Tenebrae. These distinct but strongly related memory fragments are introduced repeatedly throughout the film, usually immediately following a murder sequence.
Although the flashbacks are never fully explained, the first one reveals a beautiful young woman's sexual humiliation though oral rape of a teenage boy, presumed to be Peter Neal. The young woman is mostly topless during this first sequence, and she humiliates the young man by jamming the heel of one of her shiny red shoes into his mouth while he is held down by a group of gleeful boys on a pale-white beach. The second flashback shows the vicious revenge-murder of the woman some time later.