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  1. Caldera Records is proud to present the original film recording of Roy Budd’s score for the film “Soldier Blue.” Ralph Nelson’s violent western starring Peter Strauss, Candice Bergen and Donald Pleasance, is both an indictment against the US army that was responsible for the Sand Creek Massacre as well as an allegory to the My Lai Massacre. How the former child-prodigy Roy Budd, the then 22-year old from Croydon, secured the gig for “Soldier Blue” is by now widely known, not least because the composer himself would share the anecdote with great wit in interviews: Upon hearing that the director was looking for a composer to score his upcoming western, Budd supplied him with a tape of his work as a showreel. Unbeknownst to director Ralph Nelson and others involved in hiring the composer, none of the music featured on said showreel was actually composed by Budd. Instead, he had taped compositions by Jerry Goldsmith, Elmer Bernstein, Lalo Schifrin and Henry Mancini. Unsurprisingly considering the selection, Nelson was convinced Budd was the right choice to score “Soldier Blue.” Budd delivered a memorable, energetic and varied score that can bear comparison with Goldsmith’s, Bernstein’s, Schifrin’s and Mancini’s efforts from the time. It is an astonishing work, especially considering it was composed by a 22-year-old. Its mix of differing musical elements and styles is particularly noteworthy, in that Budd pays homage to the classic Americana of Jerry Goldsmith and Elmer Bernstein while employing jazz and pop music sensibilities with a strong sense of rhythm. In that sense, “Soldier Blue” is not dissimilar to Quincy Jones’ groundbreaking “MacKenna’s Gold” and Piero Piccioni’s “Minnesota Clay,” which fused symphonic music with jazz as well as pop elements, and thus introduced a new approach to the western genre. It is not surprising that several compositions for “Soldier Blue” were re-recorded in pop arrangements and released on PYE Records, with which label Roy Budd was under contract at the time. We are delighted to finally make Roy Budd’s original film recording for “Soldier Blue” available. The recording was long considered lost before we unearthed the mono copies from Budd’s estate, in a storage container in North Yorkshire. Unfortunately, a few pieces were missing (such as ‘Fields of Green and Skies of Blue’), while only a short selection was available on a separate stereo tape. We have included those pieces as a bonus. The 53rd 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 John Elborg. For more information and sound clips, please visit our homepage: https://www.caldera-records.com/soldier-blue Soldier Blue 1. Start of Journey (1:32) 2. Indians Attack Wagon (8:17) 3. Valley of the 600 (1:01) 4. There’s the Road to the Fort (2:24) 5. Hey Miss Lee (0:26) 6. Kiowa Fight Pt. 1 (0:50) 7. Kiowa Fight Pt. 2 (1:31) 8. Kiowa Fight Pt. 3 (3:41) 9. Honus Sets Light to Wagon (4:58) 10. From Honus Falling Off Horse (3:02) 11. Cresta Tends Wound (1:30) 12. Honus Rides Into Army Camp (0:29) 13. Cannons Open Fire (1:18) 14. Running Fox Sweeps Down (2:56) 15. Spotted Wolf Rides Out (2:12) 16. Massacre (2:03) Stereo Selection 17. Cresta Enters Army Camp (0:58) 18. Cresta Rides Into Indian Camp (1:21) 19. My True Love (Sourwood Mountain) (1:03) Bonus 20. Soldier Blue – Piano Demo (3:34) 21. Interview with Roy Budd (13:45)
  2. C6049 Caldera Records is proud to present Roy Budd’s score for the motion picture “Welcome to Blood City”, directed by Peter Sasdy and starring Jack Palance, Keir Dullea and Samantha Eggar. The characters of the latter two wake up on a beach one day as part of a group of strangers. None of them can remember who they are or recognise where they are. Things don’t become clearer to them as they run into two men who swiftly rape the woman and shoot one of the strangers. They are eventually rescued by sheriff Friendlander and escorted to a town that looks as if it had been built for a Hollywood western. But is Friendlander really their friend, and what reality do they now inhabit? Slowly, a grisly truth dawns on the new arrivals. “Welcome to Blood City” is an unusual genre-mix that plays with elements of western, romance, thriller and science-fiction decades before “The Matrix” would premiere. However, the film was not a commercial or critical success, and Roy Budd’s score remains the best thing about it. It is also the most unusual work in his oeuvre as already becomes clear during the opening credits with its abstract effects, a lone flute solo, and the use of the echoplex. Budd’s score is more experimental and austere than any of his other compositions. Although “Welcome to Blood City” features jazz inflections and aggressive orchestral moments, it is neither a grand symphonic score nor a driving jazz composition for which the former child prodigy from Croydon, England, had become famous. In his score, Budd doesn’t rely on themes and melodies but on motifs and moods instead. The lonesome, haunting flute solo at the beginning skilfully captures the deserted landscape and troubling alienation of the unwitting pawns while the echoplex (used famously in “Patton” by Jerry Goldsmith whom Budd admired and befriended) provides a sense of mystery and hints at the science fiction element of the story. We are pleased to finally make Roy Budd’s score for “Welcome to Blood City” available for the first time, thanks to the efforts of his wife Sylvia Budd. The score was long thought to be lost before we discovered it – among other tapes – in a small storage container outside a village in North Yorkshire, England, where it had been kept for a decade. As a bonus, we include the few pieces Budd wrote and recorded for the short-lived though well-reviewed British TV series “The Sandbaggers”, a political thriller about undercover operations. The 49th 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 John Elborg. Music Composed and Conducted by Roy Budd Album Produced by Stephan Eicke Executive Producers for Caldera Records: John Elborg, Stephan Eicke Listen to the sound clips by clicking on the links below Welcome to Blood City 1. Main Titles (2:08) 2. Realisation (2:42) 3. Ride into Town (2:04) 4. Enter Friendlander (1:57) 5. Run For Your Life (0:52) 6. Fair Fight (1:53) 7. Blood City (unused) (2:53) 8. Later (0:13) 9. The Hunted (1:55) 10. Shootout (2:07) 11. Lewis and Katherine (unused) (1:29) 12. The Day Breaks (0:59) 13. Katherine and Lewis’ Argument (0:38) 14. Over My Dead Body (0:56) 15. Pinned Down (3:27) 16. Get Out (0:51) 17. Friendlander and Flint Have a Disagreement (1:23) 18. Friendlander is Upset (2:44) 19. Realisation (alternate) (2:42) 20. End Credits (2:22) Bonus: The Sandbaggers 21. Main Title (0:54) 22. Bumper #1* (0:08) 23. Theme alt. #1* (0:55) 24. Theme alt. #2* (0:41) 25. Bumper #2* (0:10) 26. Bumper #3* (0:09) 27. End Titles (0:53) * unused For more information and sound clips, please visit: http://caldera-records.com/portfolio/welcome-to-blood-city/gallery/soundtracks/
  3. C6048 Caldera Records is proud to present “The Roy Budd Playathon”, a previously unpublished selection of a legendary jazz marathon featuring Roy Budd, drummer Chris Karan and bass player Pete Morgan. In 1989, the trio played a 24 hour Playathon in Knightsbridge, London. The tapes were recently recovered from Budd’s estate and showcase the composer and pianist at the height of his talent as a supremely gifted entertainer with an incomparable knack for breathing new life into standards that were especially close to his heart. In the late 80s, Budd decided to set up an Anti-Drug Abuse Foundation (ADA) after he had seen close friends of his get addicted to crack and other substances. In order to collect funds, he and his colleagues Pete Morgan and Chris Karan staged a 24 hour jazz marathon in London. While playing feverishly, they took calls from friends and supporters such as Henry Mancini, Dudley Moore, Jeremy Irons and George Fenton. Roy Budd was at the time in the throes of depression. On top of his psychological problems came physical ones: throughout the Playathon, Budd was under constant, strict observation of a French doctor who had to give him multiple back injections due to severe pain. Over the course of the 24 hours, Budd also complained of nose bleed several times. His pain is never evident in his music: the performance of his trio is one of unbridled joy. In close collaboration with Sylvia Budd, we decided to release a selection of the concert on disc. Choosing the numbers was challenging: Budd, Morgan and Karan had repeated only a few standards. Since they didn’t want to repeat themselves, it left us with roughly 280 untitled pieces that we could choose from. We decided to put a varied selection on this CD: film music (the Legrand suite), French chansons (“Sous le ciel de Paris”), Brazilian songs (“Aguas de marco” by Jobim of which Budd was a great admirer and personal friend), standards (“Tea for Two”), and two conversations between Budd and celebrities Henry Mancini and Jeremy Irons to fully capture the mood and diversity of the Playathon. The 48th 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 John Elborg. Music Performed by Roy Budd, Chris Karan and Pete Morgan Album Produced by Stephan Eicke Executive Producers for Caldera Records: John Elborg, Stephan Eicke The Roy Budd Playathon 1. Anoiteceu/Berimbau (10:44) 2. Michel Legrand Suite (18:45) I Will Wait For You/Watch What Happens/You Must Believe in Spring/Parapluies/Lola 3. Conversation with Henry Mancini (5:16) Moon River/The Pink Panther 4. Sous le ciel de Paris/Sous les ponts de Paris/I Love Paris (12:47) 5. Ja-da/Tea for Two (7:48) 6. Conversation with Jeremy Irons (3:18) 7. I’m Looking Over A Four-Leaf Clover (5:13) 8. Upa Neguinho/Aguas de marco/Opao/Corcovado (13:54) For more information and sound clips, please visit: http://caldera-records.com/portfolio/the-roy-budd-playathon/
  4. 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/
  5. Caldera Records is proud to present the original score for the motion picture “Wild Geese II” from 1985, directed by Peter Hunt. The film is loosely connected to “The Wild Geese” from 1978, starring Richard Burton, Richard Harris and Hardy Kruger. Unfortunately, Burton passed away shortly before the filming of the sequel began and some sections of the screenplay had to be re-written. The story revolves around top level Nazi Rudolph Hess (Laurence Olivier) who has important intel on prominent political figures. Ruthless TV executives Michael and Kathy Lukas (John Terry and Barbara Carrera) want to get him out of his Spandau prison to appear on live television. Faulkner declines their offer to lead such a mission, but recommends Lebanese American soldier turned mercenary Haddad (Scott Glenn) as a substitute who agrees to take on the mission that soon turns into a nightmare for everyone involved. The music was composed by Roy Budd (“Get Carter”) who had already written the music for “The Wild Geese”. Budd had to create new musical material for the sequel and delivered a more contemporary direction for underscoring the mission. Besides the funky action music which is the obvious main draw of the score, there are plenty of other great moments in the score, such as a catchy main title march and the soulful ballad “Say You’ll Be Mine”, sung by Peter Hoffmann and dedicated to Budd’s wife Sylvia Budd who served as co-producer of this album. This release of “Wild Geese II” fills an important hole in Roy Budd’s discography. A soundtrack was originally released on LP by CBS Records, but it had no legitimate CD release since then. The score was carefully restored and mastered from the original tapes. Recorded with the London Symphony Orchestra, the music sounds as fresh as if it was recorded today and stands as one of Budd’s very best works. The 22nd CD-release of Caldera Records features a detailed booklet-text by Gergely Hubai and an elegant artwork by Luis Miguel Rojas, excerpts from the handwritten score, a detailed biography of the composer, as well as an exclusive audio commentary by the composer’s wife, Sylvia Budd. The CD was produced by Stephan Eicke, John Elborg, and Sylvia Budd. Music Composed, Orchestrated and Conducted by Roy Budd Recorded with the London Symphony Orchestra Album Produced by Stephan Eicke Executive Producers for Caldera Records: John Elborg, Stephan Eicke, Sylvia Budd Wild Geese II 1. Main Title (4:35) 2. Cat and Mouse in Berlin (3:35) 3. Solitary Confinement (3:46) 4. Moving Around Spandau (3:16) 5. The Wall (1:50) 6. The Romance Begins (2:36) 7. Plot and Deceit (2:22) 8. Attempt to Free Hess (8:31) 9. Escape (1:37) 10. End Titles (2:46) 11. Say You’ll Be Mine (4:45) Performed by Peter Hoffmann Bonus: 12. Audio Commentary by Sylvia Budd (5:14) Listen to a 4 min clip here:
  6. Hallo zusammen, die neue Cinema Musica wird in Kürze veröffentlicht und enthält wie gewohnt viele spannende und interessante Artikel: http://www.cinemamusica.de/1807/cinema-musica-3-2014-37 Aus dem Inhalt: Dario Marianelli – Mit den Boxtrolls im Märchenland Eine neue Größe in der Filmmusikwelt – Interview mit Trent Reznor Get the Wunderkind – Ein Porträt über Roy Budd Lisa Gerrard über Erfolge und Herausforderungen Die Symbiose von Sound-Design und Musik – Ein Werkstattgespräch aktuelle Rezensionen, Termine und vieles, vieles mehr
  7. Hallo, ich biete folgende Soundtracks zum Verkauf an (alles Vinyl - keine CD's!): Roy Budd "Get Carter" LP (re) 20,00 "The Name Of The Game Is... Blackjack" LP (re - very rare Blaxploitation soundtrack) 59,00 "Blue Velvet" 7" 16,00 Adriano Celentano "Cinema" LP 15,00 Jimi Hendrix "Rainbow Bridge" LP 10,00 James Bernard a.o. "Music From The Hammer Films" LP 15,00 Isaac Hayes "Tough Guys" LP 10,00 Gene Page "Blacula" LP 16,00 Leon Ware "Deep Throat" 7" 14,00 Solomon Burke "Cool Breeze" LP 36,00 Lalo Schifrin "Dirty Harry kommt zurück" LP 25,00 Irmin Schmidt (Can) "Filmmusik" LP 13,00 Zustände sind immer gut bis sehr gut (also vg+, vg++ oder nm). Wenn jemand an einem oder mehreren Platten interessiert ist, mag er sich melden. :] Über die EUR Preise (insbesondere bei Mehrabnahme) kann man ein Stück weit noch reden. Versandkosten kommen natürlich noch obendrauf. Zahlung per Banküberweisung oder paypal.
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