Caldera Records

To celebrate our most recent release, David Shire's unused score for KRAMER VS. KRAMER, we have published a new episode of our series Behind the Scenes. Here we discuss how our relationship with David began and the tragic circumstances of our first meeting over a decade ago in New York. We hope you enjoy this personal anecdote: https://www.instagram.com/reel/DW82keUiD9z/?igsh=d3ZwY3Q3YzEwNGl3

Caldera Records proudly presents David Shire’s unused score for the 1970s classic “Kramer vs. Kramer.” The late 1970s were hectic for David Shire professionally and stressful in his personal life. He and his wife, Talia Shire, separated, and it was while going through divorce proceedings that he was asked by producer Stanley Jaffe to write the original music for “Kramer vs. Kramer,” a film that deals in excruciating detail with the pain and horror of a relationship coming to an end and a son getting lost in the ensuing divorce battle. Yet the composer was apprehensive, as he says: “I told the producer that I thought the picture was great and obviously moved me. But I thought that a score would actually harm the film by pushing the drama over the top. I told him I would try anyway.” Shire developed a score for strings, woodwinds, and brass. He carefully spotted the film: there would be long stretches without music. Silence was meant to convey the characters’ isolation. Still, during test screenings, audiences and the producer found that the music pushed the film over the edge. Jaffe removed piece after piece. David Shire’s instinct had been correct. His score was not used. One year before his experience on “Kramer vs. Kramer,” Shire had been nominated for a Primetime Emmy for his musical contribution to the celebrated television film “The Defection of Simas Kudirka.” It is one of his proudest achievements, and for good reason: he developed an outstanding theme for the titular young man that elaborately captures his charm (sometimes bordering on naivety), and which Shire weaves in and out of the score. There are shades of that melody even in the more tense, dissonant suspense pieces that underscore the threat posed by the KGB. Five years later, in 1982, Shire was hired to provide the score for “The World According to Garp,” an adaptation of John Irving’s bestselling quasi-Bildungsroman. It was one of the first prominent big screen roles for Robin Williams and his first dramatic role, one that required him to show his full emotional range. It is difficult for any composer to find just the right tonal balance for a film that veers between satire, romance, tragedy and broad comedy, with dream sequences interspersed throughout. David Shire managed to find the balance, though: his music being a complex, intricate composition that plays with the conventions of both diegetic and non-diegetic soundtracks throughout. We are grateful to Warner Bros. for allowing us to release over 20 minutes of the latter score. The 70th CD-release of Caldera Records features a detailed booklet text by Stephan Eicke and elegant artwork by Luis Miguel Rojas. The CD was mastered by Richard Moore and produced by Stephan Eicke and David Shire. C6070 Music Composed and Conducted by David Shire Album Produced by Stephan Eicke, David Shire Executive Producers for Caldera Records: John Elborg, Stephan Eicke Album Art Direction and Design by Luis Miguel Rojas Kramer vs. Kramer 1. Main Title (Version II) (1:27) 2. Alternate Main Title (1:29) 3. Do-nut Breakfast (1:37) 4. Ted Clears Apartment (0:57) 5. Ted & Billy / Finding Joanna’s Picture / Finding Joanna’s Picture (2:36) 6. Run to Hospital / End of Juice Spill Scene / Phone Ringing / Mommy in Window (1:39) 7. Job Montage (0:47) 8. Billy Runs to Joanna / At Ted’s Door / Ted Angry (2:32) 9. End Title (1:39) 10. Alternate End Title (1:42) The Defection of Simas Kudirka 11. Main Title (0:53) 12. Flashback & Soccer Game (1:37) 13. “Is This True?” (1:25) 14. “First Approach” (2:11) 15. Radio Room (0:54) 16. “Jump to Freedom” (1:57) 17. “You Must Go Back” (1:12) 18. “No!” (1:47) 19. In the Cell (3:22) 20. “On Your Soccer Team” (0:40) 21. “Simas, Come Home” (2:23) 22. Reunion (1:08) 23. Finale and End Credits (2:23) The World According to Garp 24. Main Title (2:16) 25. Roof Sequence / “And Then He Died” (2:59) 26. Chase Chaser (1:25) 27. Story Montage (3:08) 28. Swordfight (1:40) 29. Western Source (1:17) 30. Baby Presentation (1:16) 31. Assassination / Car Scene (2:14) 32. “I’m Flying” / End Credits (3:10) Bonus: 33. Piano Demo for Garp (2:59) For more information and sound clips, please visit: https://www.caldera-records.com/kramer-vs-kramer

In diesem Fall nicht. Die vertraglichen Bedingungen lassen es nicht zu. 400 Exemplare sind so schnell weggegangen wie die Tickets für das letzte Taylor-Swift-Konzert.

Caldera Records proudly presents John Cameron’s score for the TV movie “Witness for the Prosecution.” What makes a good Agatha Christie story? Above all, a clever twist that feels natural, even necessary, to the plot, and one of her cleverest denouements appears in one of her most popular works, “Witness for the Prosecution.” An elderly solicitor, Sir Wilfred (here played by Ralph Richardson), is visited by a young client, Leonard Vole (Beau Bridges), who is accused of having killed a middle-aged woman by the name of French. It is revealed that Mrs. French had left her estate to Leonard, giving him, who is nearly destitute, ample reason to do away with her. But he insists on his innocence. He even claims to have a fireproof alibi: his wife, Christine Vole (played by Diana Rigg) was with him when the murder was supposed to have occurred. Sir Wilfred is eager to throw himself into work. For him, it is an open-and-shut case. He calls on Christine, only to find that she hates her husband and does not doubt that he is indeed responsible for the poor woman’s death. Christine says she wasn’t with Leonard at the time of the murder and intends to appear in court as a witness for the prosecution. She has a few more surprises up her sleeve, though… Agatha Christie’s works were at one of the peaks of their popularity when the TV movie was produced in 1982. Hallmark Television was eager to get a piece of the pie. How eager? After only a brief pre-production period the television film was shot in merely three weeks because Hallmark was desperate to premiere the film before Christmas 1982. Everything was done in a frenzy, including composing, orchestrating, and recording the score. John Cameron remembers the frantic schedule without having been bothered by it — as a film composer he was used to tight deadlines. John Cameron decided to fuse ‘A Wandering Minstrel’ from “The Mikado” with his original composition, so in the film Gilbert and Sullivan’s music segues into ‘The Body in the Study’, before the melody then sneaks its way into subsequent cues. Cameron also developed several variations on the tune to make it sound more mysterious. Still, there is more the soundtrack has to offer. For Sir Wilfred, Cameron developed a strong theme that is both pompous and cheeky – ‘Elgarian’, as the composer describes it, invoking the master behind the “Enigma Variations.” Rather than make fun of the character, with its pastoral aspect the music underscores his gentle nature. By using the cimbalom for Christine Vole’s character, Cameron nudged the audience to think that Christine is ‘a little dangerous’, that she is playing a duplicitous game, only to then surprise the viewer at the end. Caldera Records are pleased to make available John Cameron’s score for “Witness for the Prosecution” and thus complete the duo of his Agatha Christie adaptations. Unfortunately, the music only survived in mono on DAT cassettes. We have done our best to clean up the recording. The 69th CD-release of Caldera Records features a detailed booklet text by Stephan Eicke and elegant artwork by Luis Miguel Rojas. The CD was mastered by Richard Moore and produced by Stephan Eicke. C6069 Music Composed and Conducted by John Cameron CD Produced by Stephan Eicke Executive Producers for Caldera Records: John Elborg, Stephan Eicke Album Art Direction and Design by Luis Miguel Rojas Visit our homepage and listen to the sound clips! https://www.caldera-records.com/witness-for-prosecution 1. London 1954/On a Wet and Moonless Night (1:20) 2. A Wandering Minstrel/The Body in the Study (1:38) 3. The Old Fox Leaves Hospital (2:28) 4. Enter Christine/An Anonymous Call (1:52) 5. Too Hopeless?/Joy-Deprived (0:51) 6. The Temptation of a Mystery/The Great Escaper (1:47) 7. A Test for Christine (0:44) 8. Heart to Heart (1:30) 9. Prison/What is the Truth Anymore? (1:15) 10. A Mean, Ill-Tempered Old Man/The Prosecution is Satisfied (1:26) 11. The Great Halls of Justice (0:30) 12. Rubbish/Unbelievable, Yet True (0:41) 13. A Face in the Dark (3:31) 14. A Confession of Sorts (0:42) 15. Ready for a Holiday/Neat and Tidy (0:58) 16. Banana Skin (0:35) 17. Suspicions/A Cursed Inheritance/He Said, She Said (3:18) 18. Christine’s Revenge (3:39) 19. Brandy/The Nurse from Hell (0:32) 20. End Titles (1:00) Bonus: 21. Pub Source (0:35) 22. Conversation with John Cameron (7:42)

Das ist richtig, leider war Julee gestorben, bevor ich mit ihr sprechen konnte. Wer noch unentschlossen ist, ob mein Buch ein passendes Weihnachtsgeschenk ist, kann sich dieses Video anschauen. Vielleicht hilft es bei der Entscheidung. Vor ein paar Wochen hat mich Komponist Gary Yershon ("Mr. Turner") über A DREAM COME TRUE im Garden Cinema in London nach einer Vorführung von "Blue Velvet" interviewt:

Caldera Records proudly presents Zbigniew Preisner’s score for Soren Kragh-Jacobson’s “The Island on Bird Street.” A young boy named Alex lives with his father and a friend of the family, whom Alex with great affection calls Uncle, in a Polish ghetto at the height of the Second World War. The young boy is an immediate witness to the cruelty of the Nazi officers who use every opportunity to humiliate both his father and his so-called uncle. Though he may not be able to articulate it, Alex knows that his childhood has ended, cut short by fascists who made it their mission to eradicate people like him and his family. How do you grow up in an environment of threats, danger, and humiliation? Quickly. “The Island on Bird Street,” released in 1997, tells the story of Alex’ survival. Following the arrest of his father and his uncle, he has to fend for himself in the rubble that is his playground of death. Zbigniew Preisner received a Silver Bear at the Berlinale for his music in the film. It is indeed one of his grandest achievements. The director and his composer were careful to avoid the usual cliches in films about the horrors of the Holocaust. Thus, “The Island on Bird Street” doesn’t feature any instruments or orchestral colours that could be deemed ethnic. Instead, it is a both aggressive and tender meditation for large orchestra with solo instruments that get their chance to shine. The piano – and the harp, which also features prominently in the music – proved a particularly fitting choice since their fragility captured Alex’s situation and his fear, the fragility of his existence within the tragedy of the Second World War. Moreover, the pieces for piano and harp can be viewed as a depiction of the nobility of Alex’s spirit. Throughout the horror of the war, the young boy doesn’t lose his humanity. He remains firmly himself, adept at escaping danger and resolute in his stance to oppose the enemy and pray for the return of his father. The danger is expressed in aggressive, suspenseful, and propulsive pieces for full orchestra and a male voice. The staccato strings and relentless percussion add to the tension on the screen and make clear the harrowing circumstances of Alex’s existence in the rubble of Warsaw. That way, “The Island on Bird Street” is a score of two halves: one fittingly captures the brutality of the regime; one expresses the fragility of Alex’s situation. For the album, Zbigniew Preisner assembled shorter cues into more extended suites that reveal new facets of his composition. Their context is now different. It is as if a whole new work has emerged. The 68th CD-release of Caldera Records features a detailed booklet text by Stephan Eicke and elegant artwork by Luis Miguel Rojas. The CD was mastered by Zbigniew Preisner and produced by Stephan Eicke and Zbigniew Preisner. C6068 Music Composed and Produced by Zbigniew PreisnerCD Produced by Stephan EickeExecutive Producers for Caldera Records: John Elborg, Stephan EickeAlbum Art Direction and Design by Luis Miguel Rojas Part I Separation from the Family (6:33) Part II Empty Street (6:55) Part III Escaping the Ultimate Solution (8:30) Part IV Dream (1:53) Part V The Final Stage of the Fight for Life (13:15) Part VI The Island on Bird Street (4:23) For more information and sound clips, please visit our homepage: https://www.caldera-records.com/island-on-bird-street

Wir haben hier auch einen neuen Teil unserer Serie BEHIND THE SCENES. Genießt den Gossip! https://www.instagram.com/reel/DQRQepsiApG/

Caldera Records proudly presents Ernst Reijseger’s scores for Werner Herzog’s “Family Romance, LLC,” “Fireball,” and “Nomad.” In “Family Romance, LLC”, shot within just two weeks without professional actors and without a permit in Japan, Herzog tells the story of Ishii, a man who is contacted by a single mother. She wants him to pretend to be the father to her daughter Mahiro. Ishii consents. But before long, Ishii develops a real connection to the young girl and must question the morality of his actions. “Family Romance, LLC” is like a summation of Ernst Reijseger and Werner Herzog’s work: it was recorded by the composer’s beloved ensemble featuring pianist Harmen Fraanje and vocalist Mola Sylla with Reijseger on the cello. It includes one of Herzog’s favorite pieces of music, Notturno by Franz Schubert, with Reijseger improvising an extra voice. A Gaga Muen Bwebwe had been written originally for the director’s documentary “Cave of Forgotten Dreams,” before it was recorded live in a concert in Krakow and subsequently used by Herzog in his new feature. The piece opens the film. For Herzog’s subsequent film, “Nomad: In the Footsteps of Bruce Chatwin,” Reijseger exclusively wrote new pieces. The heart of Reijseger’s work is undeniably Ombra, a piece inspired by his previous recording Shadow (featured in “Cave of Forgotten Dreams”). Reijseger took the same chords and the same rhythm but arranged it for a large ensemble: piano, four cellos, two violins, two recorders, and two voices (Mola Sylla and Monica Akihari). “Fireball,” a documentary about meteors and comets, was a project Reijseger was particularly passionate about and started developing, writing and even recording the music before the film was finished. All three scores are perfect examples for Reijseger and Herzog’s fruitful, inspired collaboration. While we previously released “Chronicle” as a compilation of Reijseger’s work, we are delighted to now present excerpts from three specific, recent films that underline the composer’s depth and versatility for three projects vastly different to each other. The 67th CD-release of Caldera Records features a detailed booklet text by Stephan Eicke and elegant artwork by Luis Miguel Rojas. The CD was mastered by Niels Brrouwer and produced by Stephan Eicke and Ernst Reijseger. C6067 All Music Composed by Ernst Reijseger
* arranged by Ernst Reijseger CD produced by Ernst Reijseger and Stephan Eicke
 Executive Producers: Stephan Eicke and John Elborg
 Album Art Direction and Design by Luis Miguel Rojas Family Romance, LLC
 1. A Gaga Muen Bwebwe (3:39)
 2. Biruta (8:17)
 3. Limonaia (1:55)
 4. Notturno (Franz Schubert) (3:32)* Nomad 
5. Ombra (5:12) 
6. Bruce (5:56)
 7. Coda for Mola (4:46) 
8. Landscape A (4:36) 
9. Landscape C (1:07)
 10. Landscape D (2:17)
 11. Landscape E (6:29) Fireball
 12. Ave Maria (5:38)*
 13. Night Watch (7:21) 
14. Portal to the Netherworld (2:54) 
15. Stabat Mater (5:08)*
 16. Tunguska (5:50) For more information, please visit: https://www.caldera-records.com/family-romance

Das Buch erscheint diesen Donnerstag und wird auch von jeder Buchhandlung in Deutschland bestellbar sein (eventuell sogar vorrätig). Zur Feier des Tages teile ich hier einen exklusiven Auszug aus dem Vorwort: “[David] has that artist mind,” says John Wentworth. “His roots are in painting and abstraction and association. He can make associations that you can put on a piece of paper and that make sense. But it’s intuitive. You simply have to trust it.”1 Having made his point, he leans back in his chair. Wentworth worked with David Lynch on several projects, starting with Blue Velvet as the filmmaker’s assistant. He was sound effects recordist for Wild at Heart, associate producer and post-production supervisor on Twin Peaks, and co-producer on Twin Peaks: Fire Walk with Me and on Mulholland Drive. Our interview has led us, inadvertently, to Lynch’s werdegang, his progression and development as an artist, his mindset and philosophy. Ever since Eraserhead premiered, scholars and fans have tried to make sense of his work, to decode it. Reading academic papers and internet forums, my impression has always been that disparate factions have established themselves—individuals or groups that claim to be the holders of the only valid interpretation of Lynch’s works. For their analysis it is, of course, irrelevant that Lynch operated from the subconscious and was often not able to explain the meaning behind his images. It is essential to point out this fact when ascribing a “definitive” meaning to his films, shows, songs, and paintings. The subconscious is an essential part of David Lynch the artist. He was fishing in the dark, experimenting until the final cut was locked. In the process, everything could change, long after shooting had wrapped. New possibilities opened up that Lynch reacted to intuitively. Nothing is definitive, nothing is set in stone. Wentworth nods. “It’s very sad to engage with people who want to approach this kind of work with that kind of mindset. You are right, it’s about intuition and association. That’s a whole other conversation and it’s very particular to David’s era and the connection between art, the twentieth-century modernism, film, media,” Wentworth explains. After a brief pause, he continues: “He is right in this bridge that is just so interesting. It’s about using the tools of abstraction combined with a whole series of technical innovations that make it possible for him to maximize his talents with the tools he is using. It’s just phenomenal to watch it.”2 There are various ways to investigate Lynch’s creative approach. One is by examining music and its use in his films. This subject was the starting point of the conversation between John Wentworth and myself. Although David Lynch and Angelo Badalamenti’s collaboration lasted close to forty years and brought us popular themes such as “Falling” from Twin Peaks, no book had been written about their work and their approach to it. It’s especially curious since Lynch became an active, performing musician himself, and is one of the most-discussed American filmmakers of the twentieth and twenty-first centuries. I felt eager to explore the works of Angelo Badalamenti and David Lynch, who in interviews often called themselves brothers. https://www.amazon.de/-/en/Dream-Come-True-Collaboration-Badalamenti/dp/B0DQG82DKM/

Korrekt. Es ist ja nun auch nicht so, dass die Film- und Fernsehstudios Verbündete wären.

Es sind fast ausschließlich Bootlegs.

Caldera Records proudly presents Zbigniew Preisner's score for Hector Babenco’s “Foolish Heart.” The director, in 1998, put his personal experiences in a cloak of magical realism. The plot device for his film is daring: Juan is a young man who is drawn into the circle of Jacobo and Ana. Jacobo is a photographer who claims he can photograph people and capture their souls. When Juan agrees to participate in his unusual experiment, he is astonished at what he sees: while everybody’s souls are clearly discernible, Ana’s is a blur. Who is this mysterious, seductive woman? Juan embarks on a dangerous journey to find out. For “Foolish Heart,” Zbigniew Preisner wrote a deeply emotional, sensitive composition for small orchestra and solo instruments such as piano and recorder. The former introduces the main theme, a brief phrase that is repeated throughout the score in various iterations and that is both wistful, melancholic, and mysterious. Rather than develop motifs for each character and thus follow a leitmotif method, the composer found a musical voice for Juan’s inner life as the young man is struggling with an impossible relationship and finding his true nature as an inspired artist. There is an ominous tension running throughout the pensive compositions even as individual instruments, such as the saxophone, get their chance to stand out and shine. Although the soundtrack forms a delectable, harmonious and consistent entity, Preisner reassembled the different short cues to form a new work that stands on its own, outside the images. The 66th CD-release of Caldera Records features a detailed booklet text by Stephan Eicke and elegant artwork by Luis Miguel Rojas. The CD was mastered by Leszek Kaminski and produced by Stephan Eicke and Zbigniew Preisner. C6066 Music Composed and Produced by Zbigniew Preisner CD Produced by Stephan Eicke Executive Producers for Caldera Records: John Elborg, Stephan Eicke Album Art Direction and Design by Luis Miguel Rojas Part I Beginning of the Story (2:06) Part II Ana and Juan (4:14) Part III Fascination (6:27) Part IV Love (3:16) Part V Drug Rush (5:31) Part VI Juan and Father (4:03) Part VII Ana in Psychiatric Hospital (5:56) Part VIII Twenty Years Later (5:32) Part IX Foolish Heart (4:29) For more information and sound clips, visit our website: https://www.caldera-records.com/foolish-heart

Caldera Records proudly presents Roy Budd’s score for the action thriller “Zeppelin”. The 1960s and 70s saw a flood of films depicting the horrors of the world wars as entertaining action fare, of which “Zeppelin” is one. Michael York plays a young lieutenant in the British Army who is sent on a secret mission to Germany. The Germans are building the LZ 36, a Zeppelin that can fly up to 12,000 feet and thus higher than any British aircraft. For the lieutenant it becomes a dangerous mission, one that threatens his life and the existence of his country. The strongest element of the film is its score by Roy Budd, who provided a rousing and memorable soundtrack that stands as one of his most refined and accomplished works. It is an especially worthy achievement since Budd was still in his early 20s when he wrote it. While Roy Budd was able to flex his muscles writing dense action music, he also infuses the score with his trademark jazzy style, most notable in the quieter scenes featuring Geoffrey and Erika, as well as in the moments between Geoffrey and Stephanie, the woman with whom he is having an affair, who turns out to be a spy. The love theme that Budd uses for this romantic triangle is one of his most beautiful. The release of Budd’s “Zeppelin” score almost didn’t see the light of day. For a long time, the recording tapes were considered lost. Budd’s widow Sylvia had one stereo tape of selected cues in her personal archive, but for decades the vast majority of the score was nowhere to be found. Then in early 2024, Roy’s cousin presented us with an acetate copy of several cues from the recordings. We have done our best to clean up the transfer. Unfortunately, several pieces are still missing and are unlikely ever to be found. Considering the circumstances, we are still glad to finally present a selection of his cues from his score for “Zeppelin,” and thus pay tribute to his talent and versatility. As a bonus, we included several instrumental demos Roy recorded in the late 1960s and early 1970s that were previously unreleased. The 65th CD-release of Caldera Records features a detailed booklet text by Stephan Eicke and elegant artwork by Luis Miguel Rojas. The CD was mastered by Richard Moore and produced by Stephan Eicke. C6065 Music Composed and Conducted by Roy Budd Album Produced by Stephan Eicke Executive Producers for Caldera Records: John Elborg, Stephan Eicke Album Art Direction and Design by Luis Miguel Rojas Mono 1. Main Titles (2:19) 2. Showdown (4:36) 3. Approaching Balcoven/In Germany (1:57) 4. Trouble in the Sky (5:37) 5. LZ 36 (2:57) Stereo 6. Erika Visits (1:13) 7. To the Boat (1:01) 8. Docking (1:19) 9. Reaching 12,000 Feet (1:44) 10. Descend! (2:15) 11. A Night with a Spy (3:09) 12. Erika Visits (alt.) (1:17) 13. Garden Party (0:43) Bonus: 14. A Day Alone With You (3:04) 15. Roy’s Tune (2:52) 16. Someday Summertime Will Come (2:25) 17. Untitled Demo (2:35) 18. Give Me One More Chance (Demo) (4:09) For more information and sound clips, please visit: https://www.caldera-records.com/zeppelin

Caldera Records proudly presents a selection of David Shire’s works from the 1970s. This album gives a small overview of the work composer David Shire created in the 1970s, his busiest and most fruitful period. Thanks to Warner Bros., we are able to bring to you - for the first time ever in any format - Shire’s music for the western “Skin Game,” a western starring James Garner and Louis Gossett Jr. The former plays con man Quincy, while the latter portrays his black friend Jason. Quincy differs from most cowboys since he firmly believes that black people are equal to whites and should be treated as such. Together, they make it their mission to trick hypocrites and white supremacists by pretending to go into business with them. At one point Quincy sells Jason as a slave, only to then help Jason escape. Additionally, we present cues from Shire’s work for “Summertree” (starring Michael Douglas), “Tell Me Where It Hurts,” and “Something for Joey,” which features one of the composer’s own favourite melodies. This recording is an opportunity to reflect on the variety of styles and colors Shire evoked on these soundtracks. Each one is entirely different. While “Tell Me Where It Hurts” has some jaunty, uplifting moments, “Summertree” is a somber score for a small ensemble. Its main theme had to be simple, as Shire recalls, for Michael Douglas needed to play it in the film as a piece of diegetic music – and the actor was not a proficient guitar player. With its jazzy elements “Something for Joey” is the most eclectic of the quartet. “Skin Game” is an entirely different beast, an energetic western score for a large orchestra that pays tribute to the works of Ennio Morricone and Quincy Jones without devolving into a series of cliches. We are grateful to Warner Bros. for allowing us to release 20 minutes of the latter score. The 64th CD-release of Caldera Records features a detailed booklet text by Stephan Eicke and elegant artwork by Luis Miguel Rojas. The CD was mastered by Richard Moore and produced by Stephan Eicke. C6064 Music Composed and Conducted by David Shire Album Produced by Stephan Eicke, David Shire Executive Producers for Caldera Records: John Elborg, Stephan Eicke Album Art Direction and Design by Luis Miguel Rojas Skin Game 1. Main Title (3:59) 2. Freedom Ride (2:42) 3. Town Source (2:13) 4. Wait for the Wagon (4:02) 5. John Brown Chase (2:10) 6. Skin Game (2:27) 7. Travel Theme (2:59) Summertree 8. Main Title (Having the Time of Our Lives) (2:38) 9. Vanetta’s Theme (1:07) 10. Window Scene (1:35) 11. Park Scene (3:51) 12. Bus Memory (1:04) 13. Jerry Drives Home (3:23) 14. Garage Scene (2:39) Tell Me Where It Hurts 15. Main Title/Conny’s Theme (3:24) 16. Job Hunting Montage (2:38) 17. Lament (1:11) 18. “Somebody...” (0:51) 19. Finale and End Credits (1:42) Something for Joey 20. Main Title (2:10) 21. Penn State Montage (1:33) 22. Recovery Montage (3:46) 23. Joey to School (1:22) 24. Baseball Practice (1:01) 25. Pre-Finale Montage (1:03) 26. End Credits (1:04) 27. Christmas Source (2:20) 28. 4 Tds (1:49) For more information and sound clips, please visit our homepage: https://www.caldera-records.com/selected-works

Caldera Records proudly presents John Cameron’s score for the Agatha Christie adaptation “The Mirror Crack’d.” In the 1970s the British film industry saw two of its biggest successes with its adaptations of “Murder on the Orient Express” and “Death on the Nile.” Thus, producers were eager to bring more of Agatha Christie’s works on the screen. To replicate their previous two hits, John Brabourne and Richard Goodwin optioned “The Mirror Crack’d From Side to Side.” Angela Lansbury played Miss Marple. At her side: Rock Hudson, Elizabeth Taylor, Tony Curtis, Kim Novak, Edward Fox, and Geraldine Chaplin. A large part of the script for “The Mirror Crack’d” is devoted to jibes and insults exchanged between movie stars, their producer, and director. It is 1953 and everybody is on edge as they arrive in the sleepy English village of St. Mary Mead, home of Miss Marple, to make a new film. The director hates the producer, who is intimate with the film’s star, who hates her co-star, who is married to the director. Said co-star, Marina, knows she is past her prime, but is looking forward to cutting her teeth on a historical epic. Unfortunately, from the beginning nothing goes according to plan. And soon there is a body. By 1980, John Cameron had long since cut his teeth in film. Among his biggest successes to that date were Ken Loach’s “Kes" (1969), and “A Touch for Class" (1973), which had garnered him an Oscar nomination. “The Mirror Crack’d” allowed him to showcase his versatility as a composer. His score consists of three elements: a theme for the film’s main character, Marina; tense suspense music, and a jolly village tune that pays homage to the film’s setting in 1953’s England. Although the film takes place in that period, Cameron was wary of nostalgia. Rather than situating his score stylistically in the past, he sought to bridge the gap between the 1950s and 1980s. The use of the saxophone was a logical choice since it had been employed in the middle of the century and since then found increasing popularity in rock and soul music. John Cameron crafted a colorful and memorable score to what has become a crime classic. We are pleased to make it available for the first time on an album and are grateful to StudioCanal for working with us on the project. The 63rd CD-release of Caldera Records features a detailed booklet text by Stephan Eicke and elegant artwork by Luis Miguel Rojas. The CD was mastered by Richard Moore and produced by Stephan Eicke. C6063 Music Composed and Conducted by John Cameron Album Produced by Stephan Eicke Executive Producers for Caldera Records: John Elborg, Stephan Eicke Album Art Direction and Design by Luis Miguel Rojas The Mirror Crack’d 1. Front Titles (2:38) 2. Murder (3:58) 3. Ella, Don’t Spoil it (0:34) 4. Memories... Murder (2:04) 5. The Gloved Hand (0:54) 6. Barbiturates (0:43) 7. Switched Drinks (0:58) 8. The Intended Victim (1:43) 9. Close-up on Ella (0:16) 10. Inspector Craddock Drives (0:28) 11. The Inspector Calls (0:36) 12. Anonymous Letters (2:09) 13. The Coffee, It’s Poisoned! (1:31) 14. Ella Poisoned (0:51) 15. Why Should Anyone Want to Hurt Me? (0:41) 16. Marina’s Farewell Night Cap (2:42) 17. Of Course, the Vicar! (0:48) 18. Rubella (0:44) 19. She’s Given the Performance of Her Life (1:56) 20. End Titles (2:31) 21. Theme for Marina (3:07) 22. Ella, Don’t Spoil it (alternate version) (0:34) 23. The Coffee, It’s Poisoned! (alternate version) (1:30) Bonus: 24. Conversation between John Cameron and Stephan Eicke (7:05) For more information and sound clips, please visit our homepage: https://www.caldera-records.com/mirror-crackd