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  1. Juhu, ich lad' euch auf ein Eis ein. Die Auflage kommt immer auf das jeweilige Projekt an. Ich weiß gar nicht, wie viel John hier hat pressen lassen. 400, glaube ich.
  2. Caldera Records is proud to present Gerald Fried’s music for Stanley Kubrick’s films “Fear and Desire” and “Day of the Fight”. Gerald Fried and Stanley Kubrick became friends as teenagers. The musician enabled the latter to join a baseball team while the future director served as the conduit for Fried to join intellectual circles. They would first collaborate professionally in 1951, when Kubrick needed music for his short film, “Day of the Fight.” A year previously, the photographer had portrayed boxer Walter Cartier for Look magazine, and henceforth decided to make him the subject of a moving picture. “Day of the Fight” follows Cartier during the hours preceding a seminal fight, with the tightly focused 12-minute documentary including trivia from the boxer’s life, as narrated by Douglas Edwards. Then in 1952 Kubrick started to develop his first feature film, a drama he saw as a poetic allegory about a man lost in a hostile world. “Fear and Desire” – describing the two dominant human passions – is not to be taken literally, as it depicts the struggle of four soldiers who find themselves behind enemy lines. As opposed to opening the film with a boisterous main title fanfare (as he had done in “Day of the Fight”), he used only a solo bassoon to introduce the theme, reminiscent of Stravinsky’s famous opening of “Le Sacre du Printemps.” Kubrick loved this approach and showered his friend with compliments during the recording. Fried set out to write a profound, meaningful, touching, despairing and yet triumphant score – which he duly achieved and with which he paid tribute to the film’s qualities. Incidentally, and although he had ended their working-relationship in 1957, Kubrick was very much inspired by a film Fried worked on in 1964: “To the Moon and Beyond” was produced for the World Fair in 1964/65 in New York. The short film, narrated by “Twilight Zone” creator Rod Serling, depicted a voyage “to the moon and beyond,” showing the earth continually shrinking while the camera zooms further and further out. Because of its Kubrick connection, we included the score for “To the Moon and Beyond” here. The 41st CD-release of Caldera Records – a world premiere – 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 John Elborg. Music Composed and Conducted by Gerald Fried Album Produced by Stephan Eicke Executive Producers for Caldera Records: John Elborg, Stephan Eicke Fear and Desire 1. Opening Credits (1:37) 2. Heading for the River (1:36) 3. All Clear (0:15) 4. Approaching the Cabin (1:12) 5. Madness (3:04) 6. “Girls Always Love Stories” (1:04) 7. Sidney and the Girl (2:48) 8. The House Down the River (0:13) 9. Mac’s Departure (3:43) 10. Waiting to Kill (5:04) 11. Drifting Through the Night (0:51) 12. End Credits (0:50) Day of the Fight 13. March of the Gloved Gladiators (2:48) 14. Examination and Preparation (3:53) 15. Waiting for the Big Fight (2:52) 16. Victory (0:39) 17.-27. To the Moon and Beyond (9:13) Listen to a 5 min clip here: For more information please visit: http://caldera-records.com/portfolio/fear-and-desire/
  3. C6040 Caldera Records is proud to present Ennio Morricone’s music for Roberto Faenza’s film “Sostiene Pereira”. When Antonio Tabucchi’s novel “Sostiene Pereira – Pereira Maintains” in the English language – was published in 1994, it became an immediate literary sensation. The novel’s leading character is the titular Pereira, a newspaper editor who is responsible for compiling the paper’s cultural pages. However, Pereira is not interested in publishing his political views. If all of Portugal was out on the streets demonstrating against the government, Pereira would quietly sit at home and read a good book. He is not a supporter but an enabler. His political reluctance is challenged when he meets a young man named Rossi. Pereira’s life soon changes radically. Screenwriter and director Roberto Faenza was a perfect choice to turn the novel into a feature film. The Italian film maker had for decades depicted revolts against tyrannical governments. Here, he cast Marcello Mastroianni as the overweight editor who suffers from a heart problem. Popular French actor Daniel Auteil played Pereira’s doctor, Nicoletta Braschi (“Life is Beautiful”) and Marthe Keller (“Marathon Man”) were splendidly cast in minor roles. The director had tasked Ennio Morricone with writing music for his feature debut “Escalation” in 1967, and they had worked together ever since. By 1995, their collaboration spanned seven films, eight including “Sostiene Pereira.” The latter is one of Morricone’s most ingenious works for a Faenza film. It is intricate and subversive, subtle and stimulating. For the first time, the composer worked with Portugese singer Dulce Pontes when they recorded the song “A brisa do coração” which makes its appearance several times in the film and is presented here both in its original form and in a shorter, edited version. His score subtly features Fado, a Portugese style of music in which a woman as the singer is accompanied by one or two guitars. Morricone’s score consists of several themes and motifs the composer cleverly weaves together. “Sostiene Pereira” starts with a rhythmic pattern for wood blocks, one that recurs throughout the score and serves as its backbone before several instrumental groups consecutively join in with various motifs. The score is intricately developed in that Morricone uses all these various separate elements in other cues but in different arrangements and constellations. Ennio Morricone’s rich and vibrant score was released on CD in 1995. In collaboration with Sony Music Germany, we are proud to re-release it with detailed liner notes by Stephan Eicke, featuring Christopher Slaski’s precise transcription of the film’s main theme for study purposes. The 40th CD-release of Caldera Records also features elegant artwork by Luis Miguel Rojas. The CD was produced by Stephan Eicke and John Elborg. Music Composed and Conducted by Ennio Morricone Album Produced by Stephan Eicke Executive Producers for Caldera Records: John Elborg, Stephan Eicke 1. A brisa do coração (La Brezza Del Cuore) (6:51)* 2. Il Simbolo (6:31) 3. Vendetta (1:18) 4. Chitarre (4:52) 5. Sostiene Pereira (3:35) 6. Valori Ritrovati (3:55) 7. Assassinato (2:49) 8. Manifestazioni (1:57) 9. Sostiene Pereira (Edit Version) (3:25) 10. Rotativa (4:12) 11. A brisa do coração (Edit Version) (6:27)* *sung by Dulce Pontes For more information and sound clips please visit: www.caldera-records.com/portfolio/sostiene-pereira/
  4. Bruce Kimmels Unterstellungen waren so vorhersehbar wie das Amen in der Kirche. Kimmel hatte mir nämlich kurz nach Veröffentlichung von Fried's THE BABY eine recht unhöfliche Mail geschrieben, dass man den Fried-Veröffentlichungskalender doch miteinander abstimmen sollte. Meine Antwort war, dass das aufgrund der Lizenznahme ja nicht notwendig sei. Darauf kam dann auch nichts mehr. Kimmel wollte ganz offensichtlich mehrere Frieds ohne Lizenznahmen veröffentlichen. Was Stefan sagt, ist sehr richtig. Kimmel veröffentlicht seit einigen Jahren mehr und mehr Bootlegs, weil ihm die Türen der Studios versperrt sind. Einigen schuldet er Geld, bei anderen hat er es sich mit seinem Benehmen verscherzt. Der leider viel zu früh verstorbene Nick Redman war in den letzten Jahren Kimmels einziger Fürsprecher. Selbst davor hatte Kimmel schon Bootlegs auf den Markt geworfen. Beispielsweise waren weder THE BRIDE WORE BLACK/TWISTED NERVE noch Herrmann's CHRISTMAS CAROL lizenziert laut des Herrmann Estate. Für erstere CD gabs dann (laut des Herrmann Estate) auch ein Schreiben vom Anwalt. Sowohl die Copyright-Angaben auf dem Backcover als auch die Auswahl des Bildmaterials geben schon immer gute Hinweise, ob es sich bei einer Kritzerland- oder Dragon's Domain-Veröffentlichung um ein Bootleg handelt (Bsp BRIDE WORE BLACK/TWISTED NERVE, FRIED SAMPLER, etc). Thaxton und Kimmel verwenden mit Absicht eigenes Artwork ohne film stills (beim Fried Sampler scheint ein (1) "film still" im Booklet-Inneren versteckt zu sein, wenn ich das richtig erkenne. Der Rest sind stock images.) Bzgl David Schecter: Ich habe mich in den letzten Tagen mit ihm unterhalten. Ihm wird nicht nur beim Skiles gedankt, sondern auch beim Fried Sampler: "I sometimes get thanked in CDs that I had nothing to do with, and seldom get thanked in CDs when I do help out a little (LOL!). So all I know is that I have no information about the releases you mentioned, as I had nothing whatsoever to do with them. I was asked by the label in question if I had any photos of Gerry, and I sent them some that Gerry had given me years ago. So if my name's mentioned in that Fried CD, which I don't have, that would be why. I know nothing about that score." Aus dem Soundtrackgeschäft hat David sich herausgezogen, unter anderem aufgrund der Schwemme an Bootlegs (und wegen illegaler Downloads).
  5. Der Gerald Fried Sampler ist ein unlizensiertes Bootleg - wie die meisten Veröffentlichungen aus der Dragon's Domain Composer Collection-Reihe. Hier meine Anmerkungen dazu aus dem FSM Board: How does Ford A. Thaxton co-ordinate with Stephan Eicke on which Gerald Fried titles will get released ... and on whose labels? Usually that is not necessary since the right owners will tell us immediately if a score has already been licensed and is "in the works" from another label. It is, however, a pity when a label decides to put out an unlicensed score. "Survive" - which we were working on - is, of course, not owned by "Gerald Fried Productions" as the back cover claims - a company which doesn't even exist as the company registers of the different states show - but by Paramount which assigned Gerald to write a new score for the film, with publishing owned by Warner Chappell: https://www.ascap.com/repertory#ace/search/title/survive/writer/gerald%20fried Just a few days ago I had gotten in touch with the responsible licensing manager who indubitably will be surprised by this release. Unfortunately, this happened before multiple times before, e.g. with the release of Howard Blake's AMITYVILLE 3-D. Again, this is not owned by the (non-existent) Howard Blake Productions. Howard Blake's company is called Howard Blake Entertainments Limited as per the UK company register: https://find-and-update.company-information.service.gov.uk/company/08829393 But the rights to AMITYVILLE are with de Laurentiis - hence the absence of stills from the movie. (That's the reason Howard Blake had released the score previously as a promo only as is mentioned on the back cover of that CD along with Flash Gordon.) (Amusing side note: When I had lunches with Howard a few years ago, we mulled over some potential releases but the rights were always an issue. When I mentioned such-and-such was owned by such-and-such, Howard would just shrug and say, 'Who cares? Just put it out.') It's sad that these unlicensed releases kill properly licensed, official releases. So, no "Survive" from us, then.
  6. Da wir umziehen und so wenig Zeugs wie möglich transportieren möchten, haben wir uns entschlossen, noch einige unserer Caldera CDs zu deutlich reduzierten Preisen anzubieten. Eingeschlossen sind unter anderem CDs von Joe Kraemer, Gabriel Yared, Zbigniew Preisner und Gerald Fried. Ran an den Speck - von den jeweiligen Titeln sind nur eine sehr begrenzte Anzahl Exemplare verfügbar - selten mehr als 4 pro Titel. In unserem eBay Shop wird man glücklich: https://www.ebay.co.uk/sch/soundtrackfreak89/m.html?_nkw=&_armrs=1&_ipg=&_from=
  7. C6039 Caldera Records is proud to present Andrew Dickson’s music for Mike Leigh’s films “Vera Drake” and “All or Nothing”. “All or Nothing” tells the story of a family whose members spend their days working at essential and yet low-paid jobs. Penny, played by Lesley Manville, is the main breadwinner as a cashier in a supermarket. Her partner Phil, played by Timothy Spall, drives a cab around town after years of unemployment due to his crippling depression. Living in a council flat with their two children Rachel (Alison Garland) and Rory (a young James Corden), Penny and Phil have resigned themselves to their life on the treadmill. With his music, written for violin, viola, double bass, flute, bass flute and two guitars, Dickson chose to enhance the somewhat desolate nature of some of the characters. Although “All or Nothing” was well-received critically, it is Mike Leigh’s most underappreciated film as it stands in the shadow of the director’s next work, “Vera Drake”. Vera Drake (Imelda Staunton) is a cleaner in post-war Britain, while her husband Stan (Phil Davis) works in a garage. Although they don’t have much money, they are optimistic. Having survived – and won – the Second World War, things were looking up for the United Kingdom. The worst seemed to be behind it. However, Vera keeps a secret from their family that eventually threatens to destroy their bond. At the Venice Film Festival, “Vera Drake” won the prize for Best Film before it was nominated for eleven BAFTAs, one Golden Globe and three Oscars. While it is hailed as one of Leigh’s major works, it is also the crowning opus of Andrew Dickson’s film career. By then, he and the director had already worked together for more than 20 years. For the first time in their films, Dickson and Leigh decided to use a choir. For the folk-like main theme of the film, Dickson used the germ of a sinister song about a fairground he had written previously and which had been performed by a 15-year old P.J. Harvey, a Mercury Prize-winning singer with whom Dickson performed in his local band in Bridport. Also included on this CD are selection from Andrew Dickson’s scores for “Someone Else’s America’ and “Oublie-Moi”. The 39th CD-release of Caldera Records – a world premiere – 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 John Elborg. Music Composed by Andrew Dickson Album Produced by Stephan Eicke Executive Producers for Caldera Records: John Elborg, Stephan Eicke All or Nothing 1. Opening (4:31) 2. Alone Again (1:00) 3. Emergency (1:42) 4. Phil is on His Way (0:23) 5. The Long Day’s Journey Into Night (2:56) 6. End Credits (3:52) Vera Drake 7. Opening (1:54) 8. On a Cold Morning (0:43) 9. Cleaning (0:53) 10. It Will Come Away (0:59) 11. Ethel and Reg (0:47) 12. Tea is Brewing (0:31) 13. Happy Family (0:38) 14. A New Day at Work (0:41) 15. The Walls Are Closing in (0:33) 16. Vera is Being Taken Away (0:43) 17. A Night in the Cell (0:48) 18. Sentencing (0:52) 19. End Credits (3:07) 20.-27. Someone Else’s America (14:37) 28.-31. Oublie-Moi (7:47) Bonus: 32. Audio Commentary by Andrew Dickson (8:05) Listen to a 5 min clip here: https://soundcloud.com/alderaecords/vera-drake-andrew-dickson For more information, please visit: http://caldera-records.com/portfolio/vera-drake/
  8. Sehr richtig, die Differenzierung zwischen europäischer Musik und US-amerikanischer (beziehungsweise US-amerikanischer Musik und jener aus allen anderen Ländern) muss natürlich gemacht werden. Die USA waren schon immer sehr selbstbezogen ;) Music Box macht die Erfahrung aktuell wieder wie von dir beschrieben, wir machen sie zum Beispiel mit Zbigniew Preisner. Threads bei FSM über ihn und seine Musik werden kaum geklickt und nicht kommentiert (sieht man aktuell an dem BBC-Interview, das er kürzlich gegeben hat und das ein Mensch bei FSM gepostet hat), allerdings wird Preisner in Polen fast wie ein Nationalheld verehrt. Unsere vier Preisner-CDs sind unsere Bestseller, um die sich das Publikum in Europa reißt. In den USA: Totenstille. Da wird dann eben die 569. Neuauflage von 'Robin Hood' bejubelt, als gäbe es kein Morgen mehr.
  9. Tatsächlich sagt das FSM Board aber auch nichts aus und ist für Labels grundsätzlich so überflüssig geworden wie ein Sandkasten in der Sahara. Das war früher noch anders, aber mittlerweile tummeln sich da ohnehin nur noch immer dieselben Nasen. Wir dachten zu unserem Beginn noch, das FSM sei unabdingbar für Marketing und Publicity. Das hat sich aber sehr schnell als Trugschluss herausgestellt. Es sagt nichts aus. Wir hatten Titel, um die sich beim FSM Board niemand geschert hat und die vielleicht einen Kommentar als Reaktion hervorgerufen haben. Diese Titel haben sich wie geschnitten Brot verkauft. Dann hatten wir Titel, über die sich die Nutzer tagelang rege ausgetauscht haben, die aber wie Blei bei uns im Regal liegen. Ich habe immer den Eindruck, dass die Nutzer dort sich für den Mittelpunkt der Welt halten, in Wahrheit aber für die Labels nichts (mehr) bewegen und von uns tatsächlich ignoriert werden könn(t)en.
  10. Caldera Records is proud to present Zbigniew Preisner's score for the motion picture "Angelica" from 2015, directed by Mitchell Lichtenstein. “Angelica” also tells a story of female empowerment. It is based on Arthur Phillips’ book of the same name, published in 2007, and adapted for the screen by Lichtenstein. Set in the Victorian age in England, Phillips and Lichtenstein describe the trials and tribulations of Constance (played by Jena Malone), a young woman who falls in love with a successful scientist. Their romance blossoms and leads to marriage. Eventually, a child is born, a girl they name Angelica. The birth is grueling, and Constance nearly loses her life. For her, everything changes in an instant: she is told in no uncertain terms by her doctor that she is to refrain from engaging in vaginal sex (and therefore become a “hortus conclusus”) – otherwise she will risk her health and quite possibly leave her daughter motherless. From this moment Constance goes into a downward-spiral. Zbigniew Preisner’s music pays tribute to the elegant romanticism of the 19th century, while at the same time weaving more experimental elements into it. The composer decided against creating specific leitmotifs for the individual characters. Instead, his music follows the story as it progresses. Hence, Preisner developed variations on the themes as demanded by the story. For example, there is no theme for Constance per se. Preisner follows her journey with various motifs and themes, divided into what the composer calls the “courtly” and the “modern.” The 38th CD-release of Caldera Records – a world premiere – 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 John Elborg. Music Composed by Zbigniew Preisner Album Produced by Stephan Eicke Executive Producers for Caldera Records: John Elborg, Stephan Eicke 1. Main Titles (2:32) 2. Time Transitions (0:32) 3. Spirit Photo (0:46) 4. Microscope (0:54) 5. Home From Honeymoon (1:43) 6. Photo Montage (2:09) 7. Breakfast (1:42) 8. Hairbrush and Bedtime (1:30) 9. Monkey (0:53) 10. To Lab (1:48) 11. Exit Lab (1:49) 12. Ghost Cue I (0:41) 13. Constance Finds Goop (1:32) 14. Ghost Cue II (1:06) 15. Angelica Saw a Man (0:39) 16. Nora Goes to Anne’s (1:02) 17. Consoles Constance at the Wardrobe (1:00) 18. Night Passes Peacefully (0:31) 19. Constance in Bed (1:19) 20. Ghost Cue III (1:05) 21. Piano Lesson (1:08) 22. The Snake (1:20) 23. Escape to Anne (1:03) 24. Constance Wakes Up at Anne’s (0:39) 25. Dr. Miles Arrives (1:44) 26. Dr. Miles Part II (1:55) 27. Dr. Miles Leaves (2:20) 28. Constance Stabs Joseph (1:26) 29. Flashback (0:59) 30. The End Part I (1:14) 31. The End Part II (3:40) 32. End Credits Part I (0:56) 33. End Credits Part II (3:42) Listen to a 5 min clip here: For more information, please visit: http://caldera-records.com/portfolio/angelica/
  11. Caldera Records is proud to present the original score for the motion picture “Man at the Top” from 1973, directed by Mike Vardy, featuring music by Roy Budd. Writer John Braine established Joe Lampton as a ruthless force to be reckoned with when he published his novel “Room at the Top” in 1957. The film rights were snatched up immediately, and only two years later, Jack Clayton’s adaptation premiered in theaters. Following another outing in the cinema and a television series, Anglo-EMI, in collaboration with Hammer Films, decided to let Joe Lampton (now played by Kenneth Haigh) loose on the big screen once more. In 1973, “Man at the Top” premiered. Here, Joe Lampton is appointed Managing Director of ChemExport, a company overseen by Lord Ackerman, played by Harry Andrews. All is not well: six months later, it emerges that Lampton’s predecessor committed suicide. Slowly it becomes clear to Lampton that he might have been appointed to take the blame for a massive marketing blunder that could crush not only him but the whole company. Kenneth Haigh was delighted when he heard that Roy Budd had been contracted to write the music for “Man at the Top” since the actor had admired Budd’s music for a long time, especially “Get Carter”. His score for “Man at the Top” is quite similar to his most beloved composition in that it is equally sparse. The composer devised a simple motif for the titular character which is introduced on a cimbalom and which recurs throughout the whole score. Apart from the Hungarian instrument, Budd employs strings, flute, piano, harp and percussion to create a tense atmosphere fitting for the film. His leitmotif is particularly clever since, in its coldness and restraint, it doesn’t try to make Joe Lampton likeable, and yet manages to underscore the more tender moments in the film with a slight tension that the images lack. Moreover, “Man at the Top” gave Budd the opportunity to provide two memorable jazz pieces as source cues for dinner parties. The 37th CD-release of Caldera Records features a detailed booklet-text by Stephan Eicke and elegant artwork by Luis Miguel Rojas. The CD was produced by Stephan Eicke and John Elborg. Music Composed and Conducted by Roy Budd Album Produced by Stephan Eicke Executive Producers for Caldera Records: John Elborg, Stephan Eicke Man at the Top 1. Opening (1:21) 2. Main Titles (1:18) 3. End Credits (1:45) 4. The Journey Continues (0:54) 5. Man at the Top (2:26) 6. Night is Falling (2:44) 7. Bedtime (3:58) 8. In the Woods (2:48) 9. Peeping Robin (0:28) 10. Change of Plan (1:12) 11. Bossa Nova (3:26) 12. In the Office (0:22) 13. Joe is Being Followed (1:06) 14. Swept Up in Memories (1:31) 15. In the Woods (alt.) (1:37) 16. Mingle With Me (5:55) Bonus: 17. Demo Jingle (2:20) 18. You Can Never Trust a Friend (2:49) 19. Pipe Tobacco (0:32) Listen to a 5 min clip here: https://soundcloud.com/alderaecords/man-at-the-top-roy-budd For more information please visit: http://caldera-records.com/portfolio/man-at-the-top/
  12. Caldera Records is proud to present the original score for the motion picture “One Potato, Two Potato” from 1964, directed by Larry Peerce, featuring music by Gerald Fried. Peerce’s film, one of the first to discuss an interracial relationship openly in cinema, tells the story of a young single-mother named Julie (played by Barbara Barrie) who cares for her daughter all by herself after her husband abandoned her. Struggling with everyday life, she strikes up a friendship with Frank (Bernie Hamilton) who seems supportive and kind, giving Julie a respite from the nastiness she’s had to endure. It doesn’t take long for the two of them to fall in love. Although Julie and Frank are aware of the problems they are likely going to face as an interracial couple in the 60s, they decide to marry. Society, however, does not wish to grant them their happiness. Surprising for an independent film without any major studio backing, “One Potato, Two Potato” scored an Oscar nomination for its screenplay. As beloved as his music for both “Star Trek” and “The Man from U.N.C.L.E.” is, composer Gerald Fried considers “One Potato, Two Potato” one of his best works. It is a score which is dear to his heart, not least because the film tackles a subject that the composer felt strongly about. The memorable main theme makes several appearances throughout the album, at times playful and jaunty, at other times tense and introspective. As a contrast, Fried developed a sorrowful and yet warm lament as accompaniment for both Julie and Frank who try to overcome the various prejudices and other hurdles society presents them with. While there are several other motifs and themes in the score, the nursery rhyme serves as the backbone of the whole composition. The 36th CD-release of Caldera Records features a detailed booklet-text by Stephan Eicke and elegant artwork by Luis Miguel Rojas. The CD was produced by Stephan Eicke and John Elborg. Music Composed and Conducted by Gerald Fried Album Produced by Stephan Eicke Executive Producers for Caldera Records: John Elborg, Stephan Eicke One Potato Two Potato 1. One Potato, Two Potato (2:52) 2. Spotlight/How Many Times (2:05) 3. Love’s Old Sweet Song/How Many Times (2:17) 4. Hopscotch (1:53) 5. One Potato, Two Potato/How Many Times (2:16) 6. Outcasts (1:19) 7. We’re the Same (1:25) 8. The Marriage (1:00) 9. Cold Reception (1:11) 10. Not for Fools/One Potato, Two Potato (1:46) 11. Shooting Games (1:56) 12. Show-Down Hoe-Down (1:01) 13. Turmoil (1:41) 14. Help (1:08) 15. Attempted Rape (1:45) 16. Frustration (1:44) 17. Honor and Protect (1:15) 18. How Many Times/Alone With a Memory (2:43) 19. The Judge (3:01) 20. The Decision/Sorrow (3:22) 21. Departure (1:35) 22. One Potato, Two Potato (2:11) 23. One Potato, Two Potato (Vocal) (2:14) (Performed by Alan Arkin with The Frieds, Daniel, Debbie, Jonathon & Josh) Bonus: 24. Audio Commentary by Gerald Fried (6:53) Listen to a 5 min clip here: https://soundcloud.com/alderaecords/one-potato-two-potato-gerald-fried For more information please visit: http://caldera-records.com/portfolio/one-potato-two-potato/
  13. Caldera Records is proud to present the original scores for the motion pictures “Flame in the Wind” and “Sheffey” from 1971 and 1977 respectively. Both films were produced by Unusual Film, a division of Bob Jones University in Greenville, South Carolina. “Flame in the Wind” is set during the time of the Spanish Inquisition and follows a young man named Carlos who is faced with a conflict throughout the course of the motion picture: should he, horrified by the Inquisition, follow the Bible, or adhere to religious tradition? “Sheffey” was an even bigger undertaking, a lavish and expensive production: Born in 1820, Robert Sheffey was a Methodist evangelist who spent his lifetime taking care of those in need, traveling through Virginia and Tennessee and preaching the word of God. The music for both films was composed by Dwight Gustafson. Born in 1930, Gustafson was named acting dean of the School of Fine Arts at BJU at 24. He served as administrator, taught, composed, conducted and preached until his retirement in 1997. The music for “Flame in the Wind” is based around three themes which recur throughout the score, which was issued on an LP by Unusual Films in 1971. Gustafson wrote a leitmotif for the film’s hero Carlos which is supposed to reveal the pathos and heroism of the young man as he tries to find his way. The second theme, a rather eerie, instrumental melody for the Inquisition expresses the repression and terror for which the inquisitors are responsible, while a triumphant chorale seeks to honor the true believers who have lost their lives due to their faith in Jesus Christ during the Spanish Inquisition. “Sheffey” follows a different musical conception, although Gustafon’s style is unmistakable. Since the film, through the life of Robert Sheffey, tells the story of folk religion, Gustafson decided to employ various folk tunes as seemed appropriate to backbone for his score. Both “Flame in the Wind” and “Sheffey” were composed, orchestrated and conducted by Dwight Gustafson and recorded with the Bob Jones University Symphony Orchestra, composed of students and faculty. LPs of both scores were made available by Unusual Films/BJU to coincide with the film releases. The 35th Caldera CD 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 John Elborg. Music Composed by Dwight Gustafson Album Produced by Stephan Eicke Executive Producers for Caldera Records: John Elborg, Stephan Eicke Flame in the Wind 1. Title Music (4:25) 2. The Journey of the Inquisitors (1:59) 3. The Birth of Carlos (2:38) 4. The Monks Escape (2:57) 5. The Dungeon (2:15) 6. The Capture of Carlos (2:38) 7. Processional for the Auto-Da-Fe (3:44) 8. The Tribunal Hall (1:59) 9. The Torture (3:43) 10. The Penitent Returns to Christ (2:47) 11. The Burning of the Martyrs (3:07) Sheffey 12. Title Music (2:03) 13. Disturbance at Revival (1:26) 14. Salvation Hymn (1:35) 15. Young Sheffey in Hills (2:15) 16. Sheffey and Children (0:54) 17. Sheepskin (3:26) 18. Wabash (3:24) 19. Journey in Snow (1:45) 20. Engagement (1:16) 21. The Campground Returns (2:27) 22. Farewell to Gideon (3:54) 23. Tragedy in the Wilderness (2:18) 24. The Campground Burns (3:47) 25. Death of Elizah (2:05) 26. End of the Journey (3:42) Listen to a 5 min clip here: https://soundcloud.com/alderaecords/flame-in-the-wind-dwight-gustafson For more information please visit: http://caldera-records.com/portfolio/flame-in-the-windsheffey/gallery/soundtracks/
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