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Caldera Records is proud to present the original score for the motion picture “That Good Night” from 2017, directed by Eric Styles, featuring music by Guy Farley.
The film, based on the stage play by N.J. Crisp, tells the story of Ralph, a successful writer whose life is full of regrets. With a curious personality that’s both charming and rude, Ralph has built a number of “love him or hate him” relationships over his life – unfortunately, his family seems to fall into the latter group. Now in his seventies and terminally ill, Ralph sets out two goals before entering that good night: he wants to mend his relationship with long-abandoned son Michael and also make sure that he is not a burden to his much younger second wife, Anna. “That Good Night” marks the last screen performance of John Hurt who passed away in January of 2017. Hurt is joined by Charles Dance and Sofia Helin in a stellar cast.
The music for “That Good Night” was written by Guy Farley (“Modigliani”, “Maria di Nazaret”). Farley provided an elegant underscore, recorded with a small orchestra of strings, woodwinds, harp, piano, and world instruments such as a Cavaquino, Spanish guitars, an accordion and ethnic percussion which capture the Mediterranean flavour of the Portuguese Algarve, while the chamber orchestra works its magic on the emotional element of the story. The score, one of Farley’s best to date, is filled with memorable themes and motifs that are both uplifting and touching, paying tribute to the character’s struggles and the film’s hopeful message.
The 24th CD-release of Caldera Records features a detailed booklet-text by Gergely Hubai and elegant artwork by Luis Miguel Rojas. The CD was produced by Stephan Eicke and John Elborg.
Music Composed and Conducted by Guy Farley
Album Produced by Stephan Eicke
Executive Producers for Caldera Records: John Elborg, Stephan Eicke
That Good Night
1. That Good Night (2:22)
2. The Horizon (1:41)
3. The Villa (1:57)
4. Reynaldo (2:14)
5. Try Harder (1:28)
6. I Love Portugal (1:16)
7. The Fee (1:49)
8. An Injection (1:36)
9. Call Your Dad (2:05)
10. Terminal (2:37)
11. Birth (3:07)
12. How Soon? (0:54)
13. You’re Despicable! (1:46)
14. John, Michael and Cassie (2:46)
15. Symposium (1:05)
16. His Beloved Rolex (1:21)
17. You Can Be So Nasty (1:22)
18. Trust Me (2:32)
19. October (1:45)
20. We Call it ALS (1:07)
21. A Grandfather! (1:37)
22. Reformed Character (0:55)
23. Death and Poetry (1:28)
Bonus:
24. Audio Commentary by Guy Farley (6:45)
For more information please visit: http://caldera-records.com/portfolio/that-good-night/
For an exclusive 5 min audio clip please visit: https://soundcloud.com/alderaecords/that-good-night-guy-farley
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Excellent! I do wish they would release all their CDs onto iTunes or another digital platform (rather than a select few). Still, I'm not complaining, it's great to have new music in any form, rather than not at all!
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oh good... so Caldera is probably moving three copies here... 
There are a few things to be said here and I partly say them to drum up more interest for our label and Guy's wonderful music:
It is, of course, tempting to suggest that the number of replies on this board reflects the commercial success of an album. That, however, isn't always the case. In the past, albums that were hardly discussed here proved to be surprisingly popular with our retailers and their customers while some productions that were well-received here sold rather poorly. There is no doubt though that more interest on this or other boards could result in better sales which is something we always strive for. We haven't found the formula for success though.
Also, what we have seen in the few past few years is a constant shift away from the margins. With more and more scores getting released each month, the customer has to think carefully about what to spend his money on. Rather than taking a risk with the score for a smaller production he isn't familiar with, he rather spends the money on some extended edition of film music he cherishes already. Similarly, with the flood of releases it is difficult to focus on everything at once. As a result, the newest blockbuster scores are discussed to death while no one seemingly cares about the independent productions where no one knows what they have to offer. That has made it increasingly difficult for smaller labels to survive when only few people dare to look at the margins. I am not complaining though – I have been aware of that from the beginning of Caldera on. It was one of the reasons we decided to release only up to six scores a year instead of 50.
While we are it it: Unfortunately, we are forced to take a small break by not being able to release our new album in April as planned. We had planned to release Zeltia Montes' gorgeous score for SAD HILL but at the last moment the production company decided against us. We should have been prepared for it but we weren't.
I am grateful for the interest in our new CD because Guy is not only a great composer but also a great human being. We are perfectly suited for working with each other because we are equally demanding in wanting to achieve the highest quality. For that, we regularly wish to physically harm each other when one is not able to do something the other wants immediately. It has been a very fruitful collaboration and I love Guy very much.
Thank you for continuing to support us – you rock!
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Excellent! I do wish they would release all their CDs onto iTunes or another digital platform (rather than a select few). Still, I'm not complaining, it's great to have new music in any form, rather than not at all!
Thanks for your reply, Scott. We are hesitant to put every release up on download sites and streaming platforms. We are convinced that our customers can only appreciate our products fully when they have them in their hands - after all, how else could you marvel at the glorious design of Luis Miguel Rojas, the extensive booklet texts by Gergely Hubai and the audio commentaries? You wouldn't just stream a film from the Criterion Collection - bath in the glory of their deluxe packaging!
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Jerry Goldsmith is Jerry Goldsmith; there are reasons he can get a hundred responses.
The sound clip should also be embedded on the CD ordering page at Caldera, instead of being linked to separately on SoundCloud; not everybody viewing the page will necessarily have come to the FSM thread announcement and will find the CD by the ordering page where there is no sample.
It's nice sounding, pleasant, and not too forgettable, but it straddles a fence over bland and memorable like Beck's score to "Under the Tuscan Sun".
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Excellent! I do wish they would release all their CDs onto iTunes or another digital platform (rather than a select few). Still, I'm not complaining, it's great to have new music in any form, rather than not at all!
Thanks for your reply, Scott. We are hesitant to put every release up on download sites and streaming platforms. We are convinced that our customers can only appreciate our products fully when they have them in their hands - after all, how else could you marvel at the glorious design of Luis Miguel Rojas, the extensive booklet texts by Gergely Hubai and the audio commentaries? You wouldn't just stream a film from the Criterion Collection - bath in the glory of their deluxe packaging!
Thank you for your reply too...it's great seeing labels being so responsive! I didn't mean anything negative by my comment...just that sometimes scores go out of print, or are not readily available...and it's nice having the option to download if that happens...not just with your label...with all of them. It's always disappointing to realize I discovered a soundtrack just after a limited run sold out! Regardless, thanks again for releasing so many great scores :-)
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....You wouldn't just stream a film from the Criterion Collection....
Actually, that is just what I do. Just signed up for the Filmstruck streaming service and most of the Criterion Collection is available for me on demand.
Not to suggest that this should be Caldera's practice, just want to keep it clear that even some of us collectors love the brave new world of digital content. And at the same time, I quite understand why digital availability is just not the same thing as wanting to sell the physical product. Though I'll also note I've enjoyed the Caldera albums I've found on Spotify.
By the way, Caldera, wonderful response that you posted - a very clear explanation of the collector's market dynamics.
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Actually, that is just what I do. Just signed up for the Filmstruck streaming service and most of the Criterion Collection is available for me on demand.
Blasphemy!
You disgust me 
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