Moondance Productions

SFFaudio News

Dark Horse comics has been releasing affordable phone book sized collections of the old Savage Sword Of Conan stories for a few years now. I’ve got a couple of them. That got me flipping through my old back issues, and in so doing noticing just how much content isn’t in the reprints. What is mostly missing is the bonus material: the pinups, maps, photo-essays, letters columns and of course all the ads. But just today I noticed that SSOC #22 has something I’d never seen in it, at least not with SFFaudio eyes, before. Check out this review, by Fred Blosser, of this vintage 1976 LP entitled Conan: The Bloodstained God/The Curse of the Monolith:

Voice Of The Bloodstained God by Fred Blosser

Here’s an excerpt:

The Renaissance Man of fantasy fiction.

So one might describe L. Sprague de Camp.

Novelist, essayist, world traveller, engineer, poet, collegiate fencer, popularizer of science and history. You name it, and de Camp has probably done it. To Conan fans, de Camp perhaps is most familiar as the writer who continued and expanded the saga of the mighty Cimmerian after the death of Robert E. Howard. Whatever one thinks of this work – and opinions differ – it still is difficult to deny the importance of de Camp in the genre. Recently, in association with II Vermont-based studio called Moondance Productions. Inc” de Camp took microphone in hand to essay a new role – that of oral storyteller.

The result? A new record album titled. simply. Robert E. Howard’s Conan. Featuring L. Sprague de Camp. In his liner notes, Moondance producer Alan B. Goldstein calls the LP “an historic event … the first recorded Conan story by a living author of the Conan literature.” Actually, the record contains dramatic readings of not one, but two stories. But Goldstein may well be correct about the “historic” part. At least where Conanophiles are concerned.

Side one of the LP features “The Bloodstained God,” a riproaring talc in which Conan tangles with human and demonic foes while searching for a long- lost idol of gemencrusted gold. “The Curse of the Monolith,” on side two, brings the Cimmerian up against a Hyborian Age version of the Blob while on another treasure hunt. Both yams were co-authored by deCamp- “Monolith” in collaboration with Lin Carter, “God” as a rewrite of a non-fantasy Howard swashbuckler collected in The Swords of Shahrazar (FAX, 1976) as “The Curse of the Crimson God.”

How does de Camp fare on vinyl? Very well. I think. He gives the stories a careful, unhurried reading that most listeners should find appealing. His interpretation of the various voices is also fine. I liked the surly growl that he gives Conan , and the singsong inflections for the Oriental characters.

The sound effects and music blend in nicely with the narration, indicating that a lot of technical work went into the album. “The Bloodstained God” in particular provides a field day for the special effects crew. Swords c lash, hoofbeats clop on Slone, men yell in horror as they are pitched into bottomless chasms. There’s even the creaking of a living statue climbing down from its pedestal in search of prey! These effects provide a keen sense of realism without interfering a bit with de Camp’s storytelling.

In short, if you liked Moondance’s first Conan LP (a dramatization of “The Frost Giant’s Daughter” and “The Tower of the Elephant.” reviewed in SSOC #11), you’ll find more of the same here. With of course, the added novelty of de Camp’s performance.

The LP was a limited edition printing (1500 copies made) and contained two abridged short stories with music/quasi-sound effects. I’ve never reviewed it, not being a huge fan of dramatized readings, but it is certainly interesting.

Conan: The Bloodstained God/The Curse of the Monolith
By Robert E. Howard, L. Sprague de Camp and Lin Carter; Read by L. Sprague de Camp
1 33 1/3 RPM LP – [ABRIDGED]
Publisher: Moondance Productions
Published: 1976

On the other hand I do heartily recommend the two Conan audio dramas produced by Moondance that were, apparently, reviewed in SSOC #11 (I’ll try to find my copy of that issue).

Robert E. Howard’s Conan – The Tower Of The Elephant & The Frost Giant’s Daughter
Adapted by Roy Thomas & Alan B. Goldstein; Performed by a FULL CAST
33 1/3 RPM LP – Approx. 46 Minutes [AUDIO DRAMATIZATION]
Publisher: Moondance Productions
Published: 1975
|READ OUR REVIEW|

Posted by Jesse Willis

Alan B. Goldstein had a dream, to bring the Robert E. Howard 1930s pulp magazine hero, Conan The Cimmerian, to audio. In 1974 he contacted Glenn Lord, agent for Howard’s literary estate and proposed a radio series based on Conan. Permission was granted and a pilot was adapted from one of Howard’s shortest Conan tales – “The Frost Giant’s Daughter”. After the pilot was completed, Goldstein brought it to Marvel Comics editor Roy Thomas. Thomas loved it and expressed an interest in contributing to the project. So together, with Alan B. Goldstein working as producer and Roy Thomas scripting, they decided that a second Conan audio adventure should be made.

Actors Owen McGee and Paul Falzone were again hired to reprise their roles as “The Narrator” and “Conan” respectively. And thus was born the second audio dramatization “The Tower Of The Elephant”. Unfortunately their vision of a Conan radio series was dashed. By the late 1970s, radio dramas were virtually dead. Only these two stories were ever adapted for the aborted Conan radio series. But Goldstein would go on to produce at least one more Conan record – but that, my Hyborian friends, is another story.

Side One – “The Tower Of The Elephant” – 27 Minutes 29 Seconds
Conan is in Zamoria’s City Of Thieves, Arenjun, where in a local tavern he overhears a boastful kidnapper. Before dispatching the cur Conan discovers the whereabouts of The Tower of the Elephant and of the fabled jewel rumored to be secured within it. Soon after Conan is at that bejeweled tower, determined to rob it of it’s jewel – but he has much to contend with – he must surpass another thief, ravenous lions and a giant spider. And what he finds in the tower’s interior is like nothing else in this age undreamed of. Howard’s prose is frothy, wondrous and direct. The performances here are letter perfect and the power of the original short story is successfully translated.

Side Two – “The Frost Giant’s Daughter” – 17 Minutes 41 Seconds
This, the shorter of the two dramatizations, again takes its stylistic cues from Howard’s pulp roots; nearly every word of this adaptation is taken directly from the original text itself. “The Frost Giant’s Daughter” is set in the high mountains that border Vanaheim and Aesgard where Conan has just fought a fierce battle, lying exhausted and near death on the battlefield, a near-naked woman suddenly visits him. Her voluptuous body re-ignites his will to live but when she mocks him, he chases her for seeming endless leagues across the snow-covered mountains. Conan finds it strange that she does not seem to feel the cold that chills his bones, dressed as she is shouldn’t she be frostbitten? Of course it is all a trap, this “woman” is no mortal, she’s lead Conan to her two massively dangerous looking “brothers”. The performances and narration paint a vivid mental film full of both preternatural storytelling and mythological virtue. Structured more as an incident than a plotted adventure the layered mythology of Howard’s invented Hyborian world casts a spell upon the listener. We feel Conan’s weariness and we follow along hotly in his footsteps as he’s tempted by that fleet-footed Valkyrie. It all has a dream like quality and it’s juicily full of pulpy goodness. I truly wish Alan B. Goldstein had got his dream and these two audio adventures had become the first two episodes in the Conan radio series.

Posted by Jesse Willis

Tag: Moondance Productions

SSOC #022 featured Voice Of The Bloodstained God by Fred Blosser

Review of The Tower Of The Elephant and The Frost Giant’s Daughter