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  1. C6045 Caldera Records is proud to present Zbigniew Preisner’s score for the motion picture “Man of God” from 2021, directed by Yelena Popovic. Popovic’s biopic chronicles the most turbulent years in the life of a man who had made it his mission to serve others and improve the conditions of those in need: Saint Nektarios. Popovic’s film shows how Nektarios helps the poor and destitute, provoking three objectors within the church turn to the bishop’s patriarch Sophronios. No longer wiling to hide their anger at Nektario’s servitude towards sinners and harlots, his enemies claim he will bankrupt the church and usurp the patriarchy. Without trial, Nektarios is convicted and exiled from Egypt in 1891. Particularly because of his deep love for Greece, its culture and people, Zbigniew Preisner was delighted to score “Man of God” – and agreed to do so without having read the script. From the beginning, it was clear to Preisner he wanted to use a choir – a Byzantine one. After some searching, he collaborated with the Choir of Chanters, “The Maestros of the Psaltic Art” (?? ?a?st??e? t?? ?a?t???? ??????), one of the most famous Byzantine Choirs. Following their collaboration of “Valley of Shadows”, Zbigniew Preisner and Lisa Gerrard worked together again. The latter recorded her sung parts – written by her – in Australia. Furthermore, Preisner felt it the right choice to use Greek instruments. It was obvious and necessary for a film about a Greek saint. The local color is provided by a qanun, a string instrument not dissimilar to the zither and often associated with Greece and its culture. “Man of God” is also notable for its mix of symphonic and electronic music, used to achieve spiritual metaphysics. “Man of God” is one of Zbigniew Preisner’s richest scores, a unique exploration of symphonic music infused with local, Greek, colour, electronics and Byzantine elements, particularly in the employment of Lisa Gerrard’s special talent, used to powerful effect. The 45th 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 John Elborg. Music Composed by Zbigniew Preisner Album Produced by Stephan Eicke Executive Producers for Caldera Records: John Elborg, Stephan Eicke 1. Man of God – The Beginning of a Story (0:45) 2. Searching for Values (1:14) 3. Conversation (1:46) 4. Evia (1:11) 5. In the Darkness (2:15) 6. Serenity (2:14) 7. Kyrie Eleison (1:42) 8. Aegina (1:15) 9. New Life (2:16) 10. Conversation of God (2:02) 11. Kyrie Eleison (Byzantine Version) (1:27) 12. Beauty of Aegina (2:01) 13. Deceptive Calm (1:43) 14. Kyrie Eleison (Prayer) (2:01) 15. Misery (1:33)* 16. Serenity (Orchestral Version) (1:54) 17. Humiliation of the Priest (0:51) 18. Loss (1:55)* 19. Final Breath (2:04) 20. Song for Saint Nectarios (0:52) 21. Man of God – End Credits (4:53) *Music Composed by Zbigniew Preisner and Lisa Gerrard For more information, and to listen to sound clips, please visit our homepage: http://caldera-records.com/portfolio/man-of-god/
  2. C6044 Caldera Records is proud to present Dwight Gustafson’s scores for the motion pictures “The Printing” and “Beyond the Night”, directed by Tim Rogers and Katherine Stenholm respectively. “Beyond the Night”, from 1983, tells the story of John and Bettie Dreisbach, passionate missionaries who first worked in Nigeria tending to leprosy patients and spreading the word of Christ in an area that was nearly exclusively Muslim. For close to ten years, the Dreisbachs served as ministers in the Sahara, before the government forced them to leave. “Beyond the Night” describes the couple’s time in the Sahara Desert. Dwight Gustafson’s themes are infused with discreet elements from African music such as the rhythmic drumming in the “Titles”, specific tone sequences particularly popular in Northern African music (“Trip to the Village”) and a heavy use of grace notes in the woodwinds (“Clinic Day”). What binds the score together is Gustafson’s strong main theme, first heard in the “Titles” and later through diverse variations heard in the course of the movie/score. In its sweeping nature, the theme has a folkloric Americana quality that echoes the works of Aaron Copland and even the spiritual compositions of Alan Hovhaness. “The Printing” tells the story of hardship experienced by Christians in the cause of their faith. This time, the story is set in the Soviet Union and celebrates Christian believes who, despite being threatened by the communist government which had made it its mission to stifle Christian belief, dared to openly worship the Lord. Not only do the heroes of this film refuse to abandon Christ, but they continue to secretly print Bibles, convinced that God will protect them from the evil schemes of the communists. Gustafson’s music here is as moody and gray as the architecture of communist-era Russia – where incidentally, the composer can also be seen in the film, playing a pastor. Unusually for him, he utilizes a synthesizer and subtle suspensions to introduce his main theme, a downbeat yet still lyrical melody in a minor key that later blossoms through variations that the composer develops during the course of the score. His delicate, sophisticated orchestration remains evident throughout. The 44th 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 Dwight Gustafson Album Produced by Stephan Eicke Executive Producers for Caldera Records: John Elborg, Stephan Eicke Beyond the Night 1. Titles – A Real Emergency (2:01) 2. Clinic Day (1:38) 3. A Government Threat (2:05) 4. Trip to the Village (1:51) 5. Witness to a Friend (1:24) 6. Sunday Preaching (0:35) 7. The Clinic is Closed (4:07) 8. The Word Continues (1:09) 9. The Word Received (0:48) 10. The Word Believed (1:15) The Printing 11. Title Music (4:39) 12. Discovered (1:37) 13. Psychiatric Ward (1:36) 14. Torture (2:02) 15. The Search (0:59) 16. Betrayal (1:33) 17. The Market (2:27) 18. Delivery (2:11) 19. The Printer (1:13) 20. Confrontation (2:26) 21. Baptism (4:28) 22. Accident (1:30) 23. To the Printing House (2:04) 24. Aleksandr’s Decision (1:39) 25. The Chase (1:39) 26. The Sledders (2:06) 27. Escape (1:32) 28. Finale (2:15) 29. Closing Credits (2:00) For more information and sound clips, please visit our homepage: www.caldera-records.com/portfolio/the-printingbeyond-the-night/
  3. C6043 Caldera Records is proud to present Zbigniew Preisner’s score for the motion picture “Forgotten We’ll Be” from 2020, directed by Fernando Trueba. Trueba’s acclaimed film is inspired by Héctor Abad Faciolince’s memoir “Oblivion: A Memoir” in which he describes with great tenderness the life and work of his father, the revered Colombian scientist and activist Hector Abad Gómez who was killed by mercenaries in 1987. Adapted by Trueba’s brother David, the film focuses on two major time periods: the 70s and mid-80s. While the latter part – shot in black and white – mainly deals with Gómez’ political agenda and achievements, the scenes set in the 70s – shot in color – paint Gómez as a devoted family man. They also describe the turmoil experienced by him and his family through the hands of his young son Hector who runs over a woman in his car and throws stones through the window of a Jewish family’s home. After their collaboration on “The Queen of Spain”, “Forgotten We’ll Be” marked a new collaboration between the revered director and renowned composer Zbigniew Preisner. “Forgotten We’ll Be” is similar to other Preisner scores released by us at Caldera Records – namely “Valley of Shadows” and “Lost and Love” in that childhood and the loss of childhood innocence play a pivotal role. “Valley of Shadows” and “Forgotten We’ll Be” are even partly told from a child’s point of view. Hence there was no question that Preisner’s score for Fernando Trueba’s most recent film should capture themes of childhood musically. Hence, the composer devised gentle and yet poignant themes for orchestra, choir and solo instruments such as the harp which features prominently in one of Zbigniew Preisner’s most haunting and touching scores. The 43rd 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 Forgotten We’ll Be 1. Return to Medellín (3:22) 2. Child’s Play (0:51) 3. Children’s Hospital (1:06) 4. Letter To The Father (4:00) 5. Letter From The Father (1:59) 6. In Cartagena (1:31) 7. The Morgue (1:18) 8. Van den Budenmayer: Farewell Part I (0:41) 9. Marta’s Disease (0:24) 10. Van den Budenmayer: Farewell Part II (1:03) 11. Torino (1:44) 12. Flashback (0:46) 13. The End of Happiness (1:49) 14. Return To The University (1:16) 15. The Crime (2:35) 16. Letter From The Father (Harp Version) (1:57) 17. The Pain (5:12) 18. Deep Sorrow (1:34) 19. Van den Budenmayer: Farewell (2:18) 20. Héctor Abad Gómez’s Funeral – End Credits (2:43) 21. Van den Budenmayer: Farewell (Coro Transcription) (2:21) For more information and sound clips, please visit: http://caldera-records.com/portfolio/forgotten-well-be/
  4. Da habe ich andere Sachen gehört. Marco Beltrami im Interview 2017 mit mir - teilweise in meinem Buch 'The Struggle Behind the Soundtrack' publiziert, Teile davon (bis jetzt) unveröffentlicht: "People that know me call me Darco instead of Marco so I guess I wouldn't fall in the jolly fellow category. The way I deal with an issue is by trying not to be mired in it, not to take it that seriously. I would say 30 percent of the job is enjoyable. That is the creative part, coming up with ideas and writing the music. But so much of it is not creative. It's dealing with budgets and contracts and problems, dealing with too many producers. It's the normal bullshit. It just saps your energy. By learning to remove myself a little bit from that and by saying, 'Whatever happens happens', I find that I am able to deal with it a lot better and have a more healthy relationship with my job. I feel bad for the young composer who are up and coming. They have to deal with these problems. I don't know how much longer I will do this anyway. I have other interests as well."
  5. C6042 Caldera Records is proud to present "Chronicle", a celebration of the creative relationship between director Werner Herzog and composer Ernst Reijseger. For 15 years, Herzog has worked with cellist and composer Ernst Reijseger. It was he who penned the music for films as colorful as “The White Diamond”, “My Son My Son What Have Ye Done”, “Cave of Forgotten Dreams” and, most recently, “Fireball.” Ernst Reijseger is an internationally celebrated cellist. His music knows no boundaries and is therefore hard to categorize. Reijseger rejects labels such as world music despite the fact that he has worked for over a decade with Senegalese singer and poet Mola Sylla and Dutch pianist Harmen Fraanje, with Indonesian and Sardinian ensembles, accompanying their traditional folk music with skillful improvisations on his instrument that at times sounds like a didgeridoo, percussion, but rarely like a cello, so inventive his playing is. It’s unlike anything you have ever heard. "Chronicle" is a Best-of compilation that features the most remarkable recordings of Reijseger and his ensemble for some of Herzog's most acclaimed films. The 42nd CD-release of Caldera Records, released in collaboration with Spring Music Productions, features a detailed booklet-text by Stephan Eicke, an interview with Werner Herzog as a bonus track, and elegant artwork by Luis Miguel Rojas. The CD was mastered by Niels Brouwer and produced by Ernst Reijseger, Stephan Eicke and John Elborg. For more information and sound clips, please visit our homepage: http://caldera-records.com/portfolio/chronicle-ernst-reijseger-and-werner-herzog-film-scores/
  6. 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.
  7. 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/
  8. 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/
  9. 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).
  10. 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.
  11. 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=
  12. 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/
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