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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)

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