Caldera Records

A Message from Caldera's co-founder and producer Stephan Eicke: On September 4, Bloomsbury will publish my third book, “A Dream Come True: The Collaboration of David Lynch and Angelo Badalamenti.” I wish I could announce this news under happier circumstances. Alas, David Lynch passed away on January 15. Fittingly, I had a dream the night before he died: my friends Gary, Matthew and I were attending an Oscar ceremony with David. We were early, and the auditorium was nearly empty. I took the opportunity to excuse myself. When I returned from the bathroom, David’s seat was empty. Gary, who had been sitting next to him, looked at me and held out his hand. “David left, but he asked me to give this to you.” Gary handed me a handcrafted bracelet, a skull made out of bones attached to a row of beads. I searched the room. David was gone. I closed my hands around his gift and woke up. David Lynch has been an important person in my life. While I never liked any of his films when I first watched them as a teenager, I eventually noticed how they touched something deep within me. I returned to them and found more aspects to appreciate. I may not have understood the meaning of his symbols, but I felt curiously drawn to them. I was sucked in by their darkness. The world is a scary place. As a young adult, I felt that finally an artist had accurately put on celluloid my anxieties and nightmares. At the same time I became aware that this was the reason why I had been put off by them initially. I met David in 2011 for an interview. He was gracious, elegant and kind. Inspired by him, I took up Transcendental Meditation in 2019. There are various ways to investigate Lynch’s creative approach. One is by examining music and its use in his films. Although David Lynch and Angelo Badalamenti’s collaboration lasted close to 40 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 has become an active, performing musician himself, and is one of the most-discussed American filmmakers of the 20th and 21stcentury. I felt eager to explore the works of Angelo Badalamenti and David Lynch, who in interviews have often called themselves brothers. A Dream Come True is a portrayal of Lynch the filmmaker through an analysis of his use of sound, of music in particular. The book will show how the scores by Angelo Badalamenti came to be, how they were recorded, inserted into the individual films, and mixed. Via analyses and exclusive interviews, I will examine how music and sound design not only set the required mood and enhance emotion, but also how they serve as aspects of storytelling that often gives valuable clues to the unlocking of a drama’s possible mysteries. This is Bloomsbury’s official blurb: A Dream Come True is an extensive investigation of the working relationship between two revered artists, David Lynch and Angelo Badalamenti, as an insightful collage that bridges the gap between academic analysis and investigative journalism. The working-relationship between director David Lynch and composer Angelo Badalamenti is one of the most fruitful and celebrated in cinema history. Yet despite their success and fame, this is the first book written about their decades-long collaboration. It offers new, valuable insights to fans of both Lynch's and Badalamenti's work. The book analyses David Lynch the filmmaker through the lens of Angelo Badalamenti's music via extensive creative biographies of both, in-depth investigations into how the individual music pieces and scores came to be, how they were altered and changed during the editing process, and what clues both music and sound design can give to unlock the mysteries of individual works. It includes several of their collaborations, including Blue Velvet, Twin Peaks, Lost Highway, The Straight Story, and Mulholland Drive, among others. The result is an insightful collage of exclusive interviews with many of Lynch's and Badalamenti's colleagues and friends, transcribed music examples, direct quotes, previously unpublished photographs, dialogue taken from the films, and a careful examination of secondary-sometimes contradictory-sources. More than 15 industry professionals, including Oscar-winning sound designer Randy Thom, music editor Lori Eschler, music editor and composer John Neff, musician Barry Adamson, PA John Wentworth and film director Mark Pellington share their experiences and insights in exclusive interviews. For each film, an analysis of both music and sound design reveals how the use of these twin elements helps establish and amplify moods and emotions, and how they serve as keys to interpret the individual films and TV shows. https://www.bloomsbury.com/uk/dream-come-true-9798765129074/

Caldera-Produzent Stephan Eicke und 'Hard Truths'-Komponist Gary Yershon haben in diesem kleinen Essay über die gemeinsame Arbeit an dem Album reflektiert und einen Einblick hinter die Kulissen gewährt. Vielleicht findet der eine oder andere es interessant: https://www.stephaneicke.com/news/hard-truths-gary-yershon

Caldera Records proudly presents Gary Yershon music for Mike Leigh’s films “Hard Truths,” “Peterloo,” and his stage plays “Grief” and “Two Thousand Years.” It is rare for an album to feature music written for screen, stage, and concert hall. However, this album connects compositions written for director Mike Leigh, thus bridging different kinds of performance spaces and media. “Hard Truths” deals with Pansy as she struggles to cope with anxiety and depression. “Peterloo” honors the people around Manchester who in 1819 demanded representation and a vote. “Grief” sees a widow in 1950s London struggle with the increasingly hostile behavior of her teenage daughter. “Two Thousand Years” examines the consequences of a secular Jewish family’s grown-up son deciding to become orthodox, and his sister bringing home an Israeli boyfriend. Yershon’s music for “Hard Truths” focuses on two violas d’amore, concert violas, a flute and an alto flute. The viola d’amore is an instrument rarely used in film scores, but in this case it proved the right choice. When one listens carefully, one can notice that the memorable theme for the violas d’amore is never consistent. For example, the last three notes of the theme change throughout, which provides Yershon’s score with an unpredictability and fragility that seems to mirror Pansy’s character. In the course of his work on “Peterloo,” Yershon came up with the sound of high bassoon and alto flute in unison. As a result, he had a very limited pitch range in which he could write. This permitted the non-diegetic score to reflect with the film’s folksong-oriented diegetic music. One prominent use of diegetic music is “In Praise of the Weavers,” sung by Dorothy Atkinson as a poor woman hoping for better times. Fittingly, as the protesters of Manchester set out to fight for their rights in the local market square, the melody is played again, this time by the orchestra as a piece of non-diegetic music. For “Two Thousand Years,” the National Theatre afforded Yershon the budget for just two instruments. In order to pay tribute to the Jewish element of the story, the composer developed several Klezmer-like pieces. With a slightly larger budget for “Grief,” Yershon was able to choose three instruments – viola, double-bass and vibraphone – to capture the somber atmosphere of the play. His concert piece “Ready for Anything” is dedicated to Mike Leigh. The 61st 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 Gary Yershon. C6061 Music Composed by Gary Yershon Album Produced Produced by Stephan Eicke, Gary Yershon Executive Producers for Caldera Records: John Elborg, Stephan Eicke Album Art Direction and Design by Luis Miguel Rojas Hard Truths 1. Opening Credits (1:12) 2. To Work (0:49) 3. At Work – Streets (0:56) 4. Visitors (2:11) 5. Please (1:36) 6. Eros (1:53) 7. End Credits (5:14) Peterloo 8. In Praise of The Weavers (2:05) 9. Heading Home – Onwards – The Road to Manchester (1:55) 10. From the Mill (0:50) 11. The Market (0:45) 12. Mail Coach (0:40) 13. Across the Moors (1:42) 14. Middleton (1:04) 15. To the Fields (1:07) 16. Aftermath (7:04) Grief 17. Monday Morning, October (0:29) 18. Saturday Afternoon, November (0:35) 19. November, Evening (0:43) 20. Weekday Afternoon, December (0:50) 21. A Few Days Before Christmas (0:47) 22. Christmas Day (0:41) 23. September Mayhem (1:38) Two Thousand Years 24. Overture (0:48) 25. Restrained (0:45) 26. They’re Home (1:26) 27. Say Something (0:40) 28. Scene Change Act Two (1:02) 29. Dave Arrives (0:45) 30. Ready For Anything (8:56) For more information and sound clips, please visit our homepage: https://www.caldera-records.com/hard-truths

2015 Primetime Emmy Winner Outstanding Documentary or Nonfiction Series Outstanding Picture Editing for Nonfiction Programming Caldera Records proudly presents the music for Andrew Jarecki’s acclaimed series “The Jinx.” Jarecki's HBO hit gave us a unique insight into the world of the Rich and Famous. It is a bizarre, warped, and twisted world in which the wealthy heir of a real estate tycoon disguises himself as a mute woman and mingles with the ‘down and out’ in Texas, one of whom he commences to dismember and dispose of after he has become a nuisance. This is Robert Durst’s story, the billionaire whose first wife, Kathleen McCormack, suddenly vanished; who dismembered pensioner Morris Black, and subsequently killed his best friend, Susan Berman, after she threatened to spill the beans on McCormack’s disappearance. Jarecki had been familiar with Durst’s story before he embarked on the project that would eventually become “The Jinx.” In 2010, he directed the feature film “All Good Things,” a fictionalized account of the tumultuous marriage between Durst and McCormack. (The soundtrack was released by Caldera Records in 2014.) The show’s mood was unique, and the score needed to be unique. Jarecki hired composer West Dylan Thordson for the first season. His music for “The Jinx” is a darkly hypnotic score, suspense writing at its best. Skillfully, Thordson plays with key motifs and themes which he weaves in and out to combine them with new material and present them in a different instrumentation. While he aptly captures the darkness in Robert Durst, there is also a moving gentleness in those cues dedicated to his missing wife. His pensive and melancholic cue “Kathie” stands out as a moving tribute to the young student who was full of hope and adored by everybody. The music for the recent second season of “The Jinx” was composed by Mondo Boys: Mike Schanzlin and Mike Griffin. They knew that what made the first season so impressive was its tonal ambiguity: the audience oftentimes never sure whether what they saw was hilarious or repulsive. Nailing the tone for Robert Durst and his unwitting accomplices was a balancing act. Jarecki and his team allowed them to experiment with themes, moods, and instrumentation. The show proved a rewarding playground for the musicians, a dream come true after they had been fervent fans of the show’s first season. The same is true for us at Caldera Records: We were fans of “The Jinx” long before we were asked if we were interested in releasing the album for the instrumental score. Considering we had released Rob Simonsen’s “All Good Things” score, we had come full circle. The 60th 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. C6060 Music Composed by West Dylan Thordson and Mondo Boys Album Produced Produced by Stephan Eicke Executive Producers for Caldera Records: John Elborg, Stephan Eicke Album Art Direction and Design by Luis Miguel Rojas Listen to the sound clips by clicking on the links below Season 1 Music by West Dylan Thordson 1. Sacred Knowledge (2:26)* 2. Kathie’s Afraid of Bob (3:43) 3. Evidence (1:09) 4. Contact (Indian Point) (3:08) 5. Surveillance (2:56)§ 6. Premiere (1:22) 7. Madrid (0:41) 8. End Credits (Attorneys) (2:29) 9. Suicide (2:40)§ 10. Kathie (3:12) 11. The Beverley Hills Letter (1:31) 12. Inconsistencies (4:09) 13. Kidnapped (2:03)* 14. Shaved Heads (1:18)§ 15. May 22, 1978 (2:15) 16. Independence (2:03)* 17. Hardware Store (0:49)§ 18. Sareb and Bobby (1:33) 19. D for Durst (0:53) 20. Guns (2:12) Season 2 Music by MONDO BOYS 21. Meet Lewin (3:19) 22. Loyal Chavin (1:41) 23. Tragic Dream (1:21) feat. Molly Lewis 24. Scrapbooking (1:43) 25. Lewin is Listening (2:19) 26. Checklist (1:36) 27. Debbie Meets Bob (0:56) 28. Muddy Boots (4:01) 29. Putting Bob in LA (1:54) 30. I Wanna Testify (2:50) Clyde Lawrence * Music by John Kusiak § unused https://www.caldera-records.com/jinx

Unser Facebook-Account wurde unmittelbar nach der Ankündigung übrigens suspendiert. Anscheinend lässt uns die Beschreibung der Musik wie Verschwörungstheoretiker wirken. Wir arbeiten dran! (Und sind keine Verschwörungstheoretiker.)

Caldera Records proudly presents Zbigniew Preisner's score for Gianluca Minucci's “Europa Centrale.” It is the early months of the Second World War. An exiled communist couple is on a train to Ljubljana. Driven by their fragile ideals, they are on a mission that might kill them. Their fellow travelers might not be their allies. One false step and their fate is sealed. The atmosphere is dense with fear. Outside, the war is raging. Does humanism have a chance of survival? Will they be able to make it? Zbigniew Preisner decided to use a choir, a string quintet and electronic instruments for a quasi-opera that provides the atmosphere for individual scenes and also captures the mood of the film as a whole to draw out its meaning for the time we live in. While the choir is mostly wordless, the composer in specific instances gave them a few carefully chosen phrases such as “pianto” (“cry”) and “pianto antico” (“ancient cry”) as well as “silenzio” (“silence”). The haunting finale uses words by Dante Alighieri’s “Divine Comedy.” While the circumstances of the heroes in the period film are not in itself a laughing matter, the landscapes in which they and we move is marked by a grim absurdity, as Preisner elaborates: “The best musical form to convey this is opera, though stripped down, because both wartime and our present time were, and are, marked by austerity. That’s why a string quintet plays in place of a full orchestra, with modern electronic elements supporting it. The only element that retains its grandeur is the choir, which sings just a few words—because in the beginning, there was the word.” Zbigniew Preisner’s “Europa Centrale” is one of his most inspired works, a delicate, intricate and poignant comment on the fragility of our existence as individuals and societies. The 59th 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. C6059 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 1. Overture: Preghiera per Europa (2:08) 2. Pianto Antico (0:30) 3. Sogno Perduto (0:55) 4. Nel Silenzio Della Notte (1:55) 5. Le Dolenti Note (3:49) 6. Le Verità Sfuggenti (3:44) 7. Consolazione (2:55) 8. La Dolce Rimembranza (2:17) 9. Pianto per Europa (5:04) 10. Compianto (1:42) 11. Invocazione (3:46) 12. Silenzio, Silenzio (3:40) 13. Sospensione (1:25) 14. Ascolta, Europa (4:31) 15. Lamento per Europa (3:45) Producer’s Note: There is a slight distortion in the first track “Overture: Preghiera per Europa.” This is an artistic choice and not a producing or manufacturing error. For more information and sound clips, please visit our homepage: https://www.caldera-records.com/europa-centrale

Caldera Records proudly presents Diego Baldenweg with Nora Baldenweg & Lionel Baldenweg’s score for “In the Land of Saints & Sinners.” Director Robert Lorenz created a noir western that plays with genre elements: Following a bombing in Belfast four members of the Provisional Irish Republican Army (IRA) go into hiding in the Irish coastal town of Glencolmcille—the law knows no mercy for killer terrorists. The group, including Doireann’s brother, Curtis (Desmond Eastwood), briefly find refuge, but unbeknownst to them, Finbar Murphy (Liam Neeson), an assassin who works for a local gangster, lives in the vicinity. After being introduced to director Robert Lorenz long before “In the Land of Saints and Sinners” entered production, the Swiss/Australian siblings Diego, Nora and Lionel Baldenweg had a lengthy conversation about life and movies. Lorenz liked the siblings and was impressed by their previous work. Then when the film was nearing production, he invited them to sketch out some music based on the script. The composers focused on the characters, on developing solid themes and motifs. The ‘In The Land of Saints’ leitmotif for Liam Neeson’s character is one of them, and it appears in colorful variations in several tracks. While it reflects the deep melancholy expressed by Neeson’s face, it also perfectly captures Murphy’s determination, strong will, and great desire for freedom. Making the music for “In the Land of Saints and Sinners” was a unique family project. Even more so, because the sibling’s father, Pfuri came on board. He plays all of the harmonica parts, giving a one of a kind signature to the soundtrack with his many playing techniques. The western elements in the score—the aggressively threatening ‘Intruders’ plays almost like an homage to Ennio Morricone’s ‘Man with the Harmonica’—are infused with Celtic elements, subtle as they often are. The orchestra—consisting, among other things, of 56 strings, eleven woodwinds, and ten brass instruments—was recorded at Galaxy Studios in Belgium and conducted by the acclaimed conductor Dirk Brossé. The 58th CD-release of Caldera Records features a detailed booklet text by Stephan Eicke and elegant artwork by Luis Miguel Rojas. The album was mastered by Patricia Sullivan and produced by Diego Baldenweg with Nora Baldenweg & Lionel Baldenweg. The CD was produced by Stephan Eicke and John Elborg. C6058 Music Composed by Diego Baldenweg with Nora Baldenweg & Lionel Baldenweg CD Produced by Stephan Eicke Executive Producers for Caldera Records: John Elborg, Stephan Eicke Album Art Direction and Design by Luis Miguel Rojas Listen to the sound clips by clicking on the links below 1. Fleeing West (3:20) 2. Ocean’s Tale (1:49) 3. Lone Ranger (1:43) 4. In the Land of Saints (1:59) 5. Road to Bantry (1:55) 6. The Forgotten County (1:48) 7. Irish Western Ballad (1:53) 8. The Cross-Etched Bullet (1:28) 9. Someone’s Dying Tears (1:24) 10. Intruders (1:35) 11. Backstabber (2:17) 12. Finbar’s Theme (2:11) 13. Dreaming Of California (1:52) 14. Death Stare (1:56) 15. In the Land of Sinners (2:44) 16. Over the Ocean (2:47) 17. On a Mission (2:54) 18. Something Unforgivable (2:15) 19. Lullaby of Gleann Cholm Cille (2:28) 20. Doireann’s Gun (1:41) 21. Four Foot Deep (1:48) 22. Ever Since Margaret Died (2:01) 23. Runaway (1:35) 24. A Lifetime of Poor Choices (0:48) 25. The Grand Showdown (2:38) 26. This Land (4:32) Please check our homepage for sound clips and further information: https://www.caldera-records.com/land-of-saints-sinners

Caldera Records proudly presents Zbigniew Preisner’s score for Fernando Trueba’s movie “Haunted Heart.” Trueba’s Highsmith- and Hitchcock-inspired suspense thriller tells the story of Alex (Aida Folch), a young woman who moves to an island in Greece to work at a restaurant. There, she meets the mysterious Max (Matt Dillon), her superior. While everybody warns her against him, Alex can not resist his charisma and quickly falls in love. When the restaurant closes in winter, and the couple is among the only ones who stay on the island, Alex discovers haunting secrets about her partner that threaten to destroy their relationship - and Alex. “Haunted Heart” reunites Trueba and his composer Zbigniew Preisner, who made a name for himself internationally with Kieslowski’s “Dekalog” and the “Three Colours Trilogy.” For his new film, Preisner developed a sultry and suspenseful score that captures the thrill of a blossoming relationship and the danger that Alex finds herself in. As Preisner elaborates: “I wrote the music from the perspective of mystery that is present all the time in Max and Alex’s relationship. Alex, a young, open woman full of emotions, is entangled in those secrets. I wanted to describe the mystery that entwines their relationship musically.” For that purpose, the composer used an orchestra, solo woodwinds, and electronic instruments. One of the highlights of the score is his new arrangement of Leonard Cohen’s “Alexandra Leaving,” here recorded by guitarist Javier Mas and singer Sofia Cordoba. The 57th 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 Kamiński and produced by Stephan Eicke and Zbigniew Preisner. C6057 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 1. Blue Waves (2:09) 2. First Dinner at Anna’s Restaurant (1:35) 3. Good Morning, Alex (0:44) 4. Flowers for Max (0:46) 5. Second Dinner (1:36) 6. Secrets of Max (1:38) 7. Romantic Evening (1:02) 8. Alex and Max’ First Night Together (0:58) 9. Beautiful Morning (0:58) 10. Mysterious Photo (0:44) 11. Jealous Max (1:49) 12. Chico and the Mysterious Recordings (1:50) 13. Mysterious Dream of Max (1:19) 14. Message from Chico (1:18) 15. Chico’s Death (1:13) 16. Horror Call (3:14) 17. In a Drugged Sleep (1:10) 18. Alex in a Panic (1:58) 19. Escape of Alex (0:53) 20. Searching for Revenge (2:16) 21. Max Reveals Secrets (0:51) 22. Tragic Breakfast/Max’ Death (0:38) 23. Alexandra Leaving (5:01) For more information and sound clips, please visit our homepage: https://www.caldera-records.com/haunted-heart

Wird sofort erledigt.

Das kommt immer ganz auf das jeweilige Studio an. Grundsätzlich ja. An Universal sind wir seit längerem dran. Sehr zäh.

Caldera Records is proud to present David Shire’s score for the TV movie “Small Vices.” Robert B. Parker’s novels, which featured the Boston detective Spenser, not only achieved long-lasting success in the US but also sparked a resurgence in the hardboiled detective genre. “Small Vices” was the first of three adaptations for television from the late 1990s and early 2000s. David Shire’s score is an elaborate gem for he was able to showcase his jazz expertise again. The score’s recurring theme for the titular character accurately conveys Spenser’s world-weariness and toughness while also paying tribute to his grace and refined tastes. The use of a jazz combo in the music for “Small Vices” is reminiscent of the classic genre conventions of the 1970s. However, the composer does not rely on nostalgia. His music occupies a unique space between two worlds. It evokes the music of days gone by while incorporating modern and vibrant orchestral music. The aggressive ostinatos employed in the orchestration are similar to those found in bigger-budgeted thrillers of that era. Shire masterfully blends the old and new, creating a cohesive and seamless sound. This is most noticeable in cues that subtly incorporate synthesizers and a drum kit, which were commonly used in television at that time. Unfortunately, David Shire’s score for “Thin Air,” the follow-up to “Small Vices,” is missing. Therefore, we were unable to add it to the album. As a replacement, we opted to combine “Small Vices” with pieces that share the same essence. Thus, we created an homage to his jazz-oriented scores from the 1990s, which includes “Jake’s Women,” “Broadway Bound” and “Texan.” The 56th 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. C6056 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 Small Vices 1. Main Title (2:28) 2. Spenser and Susan I (1:52) 3. Spenser and Susan II (1:58) 4. Park Chase (1:42) 5. Fireside Pizza (1:27) 6. Spenser’s Funeral (2:27) 7. Travel Montage (1:13) 8. Rehab (1:04) 9. Strictures at an Exhibition (2:54) 10. Reunion (2:47) 11. Innocent (1:19) 12. End Title (1:51) Jake’s Women 13. Meeting Maggie (2:02) 14. Jake and Julie (1:45) 15. Jake and Maggie (1:52) 16. Theme (1:04) Broadway Bound 17. Main Title (2:53) 18. Night Montage (2:25) 19. Radio Source (3:13)* 20. Comedy Show Theme (0:37) 21. Finale (1:42) 22. End Credits (0:59) *arranged by Steve Bramson Texan 23. Bar Source (2:36) 24. Homage (4:47) 25. Drive (1:36) 26. Reveal and Finale (4:12) For sound clips and more information, please visit: https://www.caldera-records.com/small-vices

Caldera Records is proud to present Loek Dikker’s score for the film “Diva Dolorosa.” Peter Delpeut’s work is a mesmerising found footage collage he assembled in the late 1990s after a flame of passion had been ignited within him: The filmmaker had watched “Rapsodia Satanica,” an expressive and exuberant melodrama with a staggering performance by Lydia Borelli as the leading lady, who had thrown herself into the role of the doomed femme fatale – the “diva.” Previously unaware of the subgenre of the “Diva Film,” Delpeut started to seek out similar works. He quickly found they were like operas. Everything was heightened, and the actresses seemed to dance on every individual frame. Delpeut created “Diva Dolorosa,” for which he assembled individual scenes from “Diva Films.” He put together a new work, a story in the tradition of the Italian classics, for which he needed the appropriate music. Delpeut entrusted experienced composer Loek Dikker with this Herculean task. The film required a wall-to-wall score, as expressive and lush as an opera. It became his magnum opus, a tribute to the great operas of the late 19th century with subtle jazz influences as they were invoked by, among others, Maurice Ravel and Darius Milhaud in the 1920s. Keen film music enthusiasts might even discover some hints of Nino Rota in the vaudeville music. Dikker’s score has it all – instrumental arias, jazz, vaudeville, and even some polyphony. It is the work the composer is proudest of, and indeed, it stands as a towering achievement in his impressive oeuvre. The 55th 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. C6055 Music Composed by Loek Dikker Album Produced by Stephan Eicke, Loek Dikker Executive Producers for Caldera Records: John Elborg, Stephan Eicke Album Art Direction and Design by Luis Miguel Rojas 1. Prologue (4:48) 2. Love has a Bitter Taste (5:50) 3. The Flame (2:24) 4. Carnival (1:37) 5. Diabolical Delight (5:02) 6. Kiss My Feet (4:58) 7. Betrayal (6:09) 8. Storms of the Soul (5:01) 9. Revenge (6:48) 10. Grief (4:04) 11. Bitter Happiness (4:54) 12. The Isle of the Dead (2:24) 13. The Secret and the Garden of Sorrows (6:39) 14. Our Lady of Pain and Death’s Rhapsody (7:33) 15. Farewell (2:29) For soundclips and more information, please visit our homepage: https://www.caldera-records.com/diva-dolorosa

Caldera Records is proud to present David Shire’s score for the TV pilot “Three for the Road.” “Three for the Road” (1975) was an ambitious idea, a road trip as a family show, mostly shot on location throughout the US. While the show allowed for levity throughout, at its heart it dealt with loss and the desire to (re-)connect. Pete (Alex Rocco) is the kind of father every kid wants to have. He is kind and cool. He lets his two boys ride a motorcycle, while always providing emotional support when needed. And needed it often is, as his two kids, John (Vincent Van Paten) and Endy (Leif Garrett), have recently lost their mother. Now the three live in a recreational vehicle in which they drive through the United States while Pete takes on commissions as a photographer. While Bruce Broughton provided the music for the individual episodes, David Shire was contracted to score the pilot. His score is built around his main theme, a memorable, uplifting piece that makes its appearance throughout the pilot, and with its use of guitar featuring subtle folk elements. It’s a varied score also incorporating lounge jazz pieces, and for the more intimate moments, elaborate string writing. In addition, we also include music from “The Greatest Thing That Almost Happened” and “Daddy, I Don’t Like It Like This,” two TV movies that also deal with trauma. For the former, Shire provided a rousing, energetic sports score with gentler, tender moments to illustrate the illness of the main character. Shire’s score for the latter film is built around a lullaby-like main theme, often performed on a solo instrument such as a clarinet or piano. This music perfectly captures both the main protagonist Peter’s child-like wonder and also the longing of his parents. The theme is used, for example, both as Peter escapes into the woods and as his father lays on his bed, indulging in his memories of happier times when everything seemed possible. The boy’s escapes enable Shire to infuse his compositions with drive and verve that make “Daddy, I Don’t Like It Like This” an eclectic listening experience. The 54th 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. C6054 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 For more information and sound clips, please visit our homepage: https://www.caldera-records.com/three-for-the-road Three for the Road 1. Main Title (Pilot) (1:41) 2. Restaurant Source (2:14) 3. Endy & Amy (1:27) 4. Motorcycle Ride (2:19) 5. Kitchen Scene (2:14) 6. Looking for Amy (1:31) 7. Here Comes Trouble (0:56) 8. God’s Country (3:33) 9. Finale and End Title (1:43) 10. Turnaround (0:48) 11. Main Title (Series) (1:08) The Greatest Thing That Almost Happened 12. Main Title (1:42) 13. Morris, Father & Sandra (1:14) 14. Basketball (3:17) 15. “Julie, Come Here” (2:46) 16. “I Love You” (1:16) 17. Finale and End Credits (1:58) 18. Jingle Bells (2:29) Daddy, I Don’t Like It Like This 19. Main Title (1:53) 20. Wedding Flashback (2:51) 21. Second Forest Scene (2:12) 22. Pete’s Death (2:53) 23. Double Flashback (2:22) 24. Pete Looks for Helen (0:57) 25. Central Park Flashback (3:31) 26. Finale and End Credits (2:44)

Jein: Wenn sie sich schlecht verkauft, werden wir nicht nachpressen

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)