DOCSLIB.ORG

Head on Music Credits

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Head on Music Credits original music Ollie Olsen The haBiBis Lead & Harmony Vocals & Recorder Racheal Cogan Lead Vocal Pascal Latras Cretan Lute, Bouzouki & Guitar Irine Vela Guitar Mulaim Vela Lead & Harmony Vocals, Bouzouki & Hand Drum Achilles Yiangoulli Greek Music Supervisor & Consultant Irine Vela Music Licence Supervisor Christine Woodruff Music Engineers Paul Efthimiou Ross Cockle Assistant Engineer Adam Rhodes Midi-Assistant Bryan St. James MUSIC Opium Shuffle written by Richard Maguire/Steve Hellier, Deconstruction Songs Ltd administered throughout the world by BMG Music Publishing Ltd performed by Death In Vegas, courtesy of Concrete under licence from BMG Australia Limited Leave You Far Behind written by Howard Saunders/Simon Shackleton used with kind permission of MCA Music Australia Pty Ltd., performed by Lunatic Calm, courtesy of Universal Music UK Pty Ltd under licence from Universal Music Special Markets Ajare (Brothers in Rhythm Club Mix) written by Joseph Wisternoff/Nick Warren/Titat Siddiqui used with kind permission of MCA Music Australia Pty Ltd performed by Way Out West, courtesy of deConstruction under licence from BMG Australia Limited Know Your Product written by Chris Bailey/Ed Kuepper, Mushroom Music Pty Ltd performed by The Saints, courtesy of EMI Music Australia Pty Ltd Las Vegas written by Maurice Ar/giro/Glenn Bennie/Vincent Giarrusso PolyGram Music Publishing Australia Pty Ltd., performed by Underground Lovers courtesy of Polydor Records, under licence from PolyGram Pty Limited Everything I Wanted written by D. Minogue/M. Taylor/S. Torch Mushroom Music Pty Ltd/Festival Music Pty Ltd/Rive Droite Music performed by Dannii, courtesy of WEA Records UK under licence from Warner Music Australia Pty Ltd Theme From Shaft written by Isaac Hayes, East Memphis Music/Irving Music administered by Rondor Music Australia Pty Ltd, performed by Isaac Hayes (p ) 1971 Fantasy Int (USA), under licence from Festival Records Pty Ltd If I'm In Luck I Might Get Picked Up written by Betty Davis Higher Music Publishing Inc. and Betty Marby Music administered by Famous Music Inc. performed by Betty Davis, courtesy of UFO Music Ltd You're Not The Only One Who Feels This Way written by A. Balmont/S. Hensworth/D. Johnstone, Sony/ATV Music Publishing performed by Ammonia, courtesy of murmur by arrangement with Sony Music Entertainment Australia Freak (re-mix for us rejects) written by Daniel Johns, Sony/ATV Music Publishing performed by silverchair, courtesy of murmur by arrangement with Sony Music Entertainment Australia Loaded written by B. Gillespie/R. Young/A. Innes EMI Music Publishing/Complete Music/PolyGram Music Publishing Australia Pty Ltd performed by Primal Scream, courtesy of Creation Records by arrangement with Sony Music Entertainment Tiny Little Engines written by Ollie Olsen/Andrew Till/Geoffrey Hales Psy-Music/PolyGram Music Publishing, performed by The Visitors courtesy of Psy-Harmonics Pty Ltd You Sexy Thing written by Erroll Brown, Rak Music Ltd administered by EMI Music Publishing performed by Hot Chocolate, courtesy of EMI Music Australia Pty Ltd Living In A Child's Dream written by Michael Bower, MCA Music Australia Pty Ltd., performed by Masters Apprentices, courtesy of EMI Music Australia Pty Ltd Gonna See My Baby Tonight written by Kevin Borich, Mushroom Music Pty Ltd performed by La De Das, courtesy of EMI Music Australia Pty Ltd Fige Ke Ase Me (Go Away and Leave Me), written by Panagiotis Gavalas/Konstandinos Virvos/Anastasios Koulouris performed by Orchestra Stefanakis and the haBiBis Jim Kavvadas (lead singer), Evangelos Kirkopoulos (Keyboards) George Kirkopoulos (Drums), Steven Kirkopoulos (Clarinet) Vasilios Gheorgopoulos (Bouzouki), Irine Vela (Bass) Mulaim Vela (Guitar), Zois Tsikas (Drums) Chtes To Vradi Stou Karipi (Last Night At Karipi's), written by Georgios Katsaros, performed by Katsaros Tsifteteli Orientale (Oriental Belly Dance), written by Dimitrios-Takis Lavidas performed by Takis Lavidas, courtesy of Music Box International Mi Mou Thimonis Matia Mou (Don't Be Angry With Me My Love), written by Stavros Kougioumtzis performed by George Dalaras, courtesy of Minos. EMI S.A. Mia Kalimera (One Good Morning) written by Demetre Christodoulou/Dora Sitzani Loizou/Emmanuel Loizou performed by Maria Mercedes Tha Spaso Koupes (I'll Break Cups), traditional arranged by the haBiBis performed by the haBiBis, with Zois Tsikas (Toubeleki) Milo Mou Kokkinno (My Red Apple), traditional arr Racheal Cogan/Irine Vela performed by the haBiBis, with Geroge Kirkopoulos (Clarinet) Thrash 9 traditional arranged by the haBiBis, performed by the haBiBis Dimitroula Mou (My Dimitroula), written by Panayiotis Toundas, performed by the haBiBis with George Kiriakidis (Toubeleki), George Kirkopoulos (Clarinet) Sinefiasmeni Kiriaki (Cloudy Sunday), written by Vasilis Tsitsanis, performed by Elena Mandalis To Koritsi Apopse Theli (Tonight the Girls Want to Dance) written by Hristos Kolokotronis/Ioannis Tatasopoulos performed by the haBiBis, with George Kiriakidis (Toubeleki) George Kirkopoulos (Clarinet) Garcilama (Dance in 9) traditonal arranged Irine Vela, performed by the haBiBis featuring Christos Balzidis (Oud) Zois Tsikas (Toubeleki) Genithika Gia Na Pono (I Was Born To Be Hurt) written by Vasilis Tsitsanis/Konstantin Virvos performed by the haBiBis, with George Kiriakidis (Accordian) (sic) O Thromos (The Road), written by Kostoula Mitropoulou/Dora Sitzani Loizou/Emmanuel Loizou performed by Manos Loizos Bouzouki Solo performed by Irine Vela Soundtrack available on murmur music murmur logo Through Sony Music Entertainment Music in the film: A club mix of Primal Scream’s Loaded runs over the tail credits, but there’s little point in transcribing the full lyrics, because only a few lines can be heard. These are variants on the following, with the last few lines turning up at the end, with a heavy processed echo: Just what is it that you want to do? Well, we wanna be free, we wanna be free to do what we wanna do And we wanna get loaded and we wanna have a good time For the rest, there is plenty of Greek dance and music performed in the film, especially by The haBiBis. A few indicative stills (see this site’s galleries for more): CD release: A CD of the soundtrack was released, but curiously it contains very little of the Melbourne Greek musical culture that otherwise runs rampant through the film. Only one track by The haBiBis made it onto the disc, together with composer Ollie Olsen’s Greek- inflected themes: CD Murmur MATTCD 071 1998 Soundtrack co-ordination: John O'Donnell, Jonathan Williamson Clearances: Angela Blackhall Greek Music Advisor: Irine Vela Design: Louisa Chisari Mastering: Wayne Baptist 01: HEAD ON OPENING THEME (Ollie Olsen), (Control), by arrangement Head On Productions Pty. Limited 02: LEAVE U FAR BEHIND (Saunders/Shackleton), (MCA Music), vocals: Lunatic Calm, licensed from Universal Music (UK) Ltd. 03: OPIUM SHUFFLE (Richard Fearless/Steve Hellier), (Control), vocals: Death In Vegas, licensed from BMG Australia Limited, sound recording made by 1997 deConstruction. 04: KNOW YOUR PRODUCT (C. Bailey/E. Kuepper), (Mushroom Music), vocals: The Saints, licensed from EMI Music Australia, sound recording made by 1978 EMI Music Australia 05: FREAK (REMIX FOR US REJECTS)(Johns), Sony/ATV Music Publishing Australia), vocals: Silverchair, courtesy of Murmur/Sony Music Entertainment (Australia) Limited, sound recording made by 1997 Sony Music Productions 06: YOU SEXY THING (Errol Brown), (EMI Music Publishing Australia Pty. Limited), vocals: Hot Chocolate, licensed from EMI Music Australia, sound recording 1975 made by EMI Records Ltd. 07: THRASH 9 (Trad. Arr: by the haBiBis), (Control), vocals: haBiBis, licensed from the haBiBis 08: LAS VEGAS (Argiro/Bennie/Giarrusso), (PolyGram Music Publishing Australia), performed by Underground Lovers, licensed from PolyGram Pty. Limited, sound recording made by 1994 Polydor Records Australia 09: EVERYTHING I WANTED (D. Minogue/M. Taylors/S. Torch), (Control), vocals: Dannii, licensed from Warner Music Australia Pty. Limited, sound recording made by 1997 Warner Music UK Limited. 10: YOU'RE NOT THE ONLY ONE WHO FEELS THIS WAY (Balmont/Hensworth/ Johnstone), (Sony/ATV Music Publishing Australia), vocals: Ammonia, courtesy of Murmur/Sony Music Entertainment (Australia) Ltd, sound recording made by 1997 Sony Music Productions 11: TINY LITTLE ENGINES (Andrew Till/Ollie Olsen/Geoffrey Hales), (Control), performed by The Visitors, licensed from Psy-Harmonics, sound recording made by Psy- Harmonics 12: LIVING IN A CHILD'S DREAM (Words and Music by Michael Bower), (Apollo Music), vocals: The Masters Apprentices, licensed from EMI Music Australia, sound recording made by 1967 James Keays Pty. Ltd. 13: THA SPASO KUPES (I'LL BREAK CUPS) (Trad. Arr: by the haBiBis), (Control), vocals: haBiBis, licensed from the haBiBis 14: THEME FROM "SHAFT" (I. Hayes), (Rondor Music Australia P/L), licensed from Festival Records Pty. Limited, sound recording made by 1971 Fantasy Records Inc. 15: END THEME (Ollie Olsen), (Control), performed by Ollie Olsen, by arrangement Head On Productions Pty. Limited 16: LOADED (Gillespie/Innes/Young), (EMI Music Publishing Australia Pty. Limited), vocals: Primal Scream, licensed from Creation Records/Sony Music Entertainment (Australia) Pty. Limited, sound recording made by 1991 Creation Records Composer Ollie Olsen: Olsen is too well known to feature at length here. He has a relatively detailed wiki here, and he appears in the DVD/Blu-ray release for Richard Lowenstein’s cult film Dogs in Space, providing a commentary on various aspects of the movie, including the score, as well as appearing in the ‘making of’ on those releases. In the usual way, the ABC managed to lose the link to its documentary series Long Way To The Top, which provided this useful summary of Olsen’s career: • Ian 'Ollie' Olsen has produced innovative music for the past twenty-five years. He is a key-figure in the post-punk electronic movement. • In the mid '70s he studied electronic music under Felix Werder - a German composer who had studied under Karlheinz Stockhausen. • The late '70's saw him forming one of the first electronic bands, Whirlywirld. They released a number of recordings on Missing Link Records.
Load more

Recommended publications
  • Art. Music. Games. Life. 16 09
    ART. MUSIC. GAMES. LIFE. 16 09 03 Editor’s Letter 27 04 Disposed Media Gaming 06 Wishlist 07 BigLime 08 Freeware 09 Sonic Retrospective 10 Alexander Brandon 12 Deus Ex: Invisible War 20 14 Game Reviews Music 16 Kylie Showgirl Tour 18 Kylie Retrospective 20 Varsity Drag 22 Good/Bad: Radio 1 23 Doormat 25 Music Reviews Film & TV 32 27 Dexter 29 Film Reviews Comics 31 Death Of Captain Marvel 32 Blankets 34 Comic Reviews Gallery 36 Andrew Campbell 37 Matthew Plater 38 Laura Copeland 39 Next Issue… Publisher/Production Editor Tim Cheesman Editor Dan Thornton Deputy Editor Ian Moreno-Melgar Art Editor Andrew Campbell Sub Editor/Designer Rachel Wild Contributors Keith Andrew/Dan Gassis/Adam Parker/James Hamilton/Paul Blakeley/Andrew Revell Illustrators James Downing/Laura Copeland Cover Art Matthew Plater [© Disposable Media 2007. // All images and characters are retained by original company holding.] dm6/editor’s letter as some bloke once mumbled. “The times, they are You may have spotted a new name at the bottom of this a-changing” column, as I’ve stepped into the hefty shoes and legacy of former Editor Andrew Revell. But luckily, fans of ‘Rev’ will be happy to know he’s still contributing his prosaic genius, and now he actually gets time to sleep in between issues. If my undeserved promotion wasn’t enough, we’re also happy to announce a new bi-monthly schedule for DM. Natural disasters and Acts of God not withstanding. And if that isn’t enough to rock you to the very foundations of your soul, we’re also putting the finishing touches to a newDisposable Media website.
    [Show full text]
  • The Loved Ones (2009)
    Screen Sound n3, 2012 ALL MASHED UP? Songs, Music and Allusionism in The Loved Ones (2009) Philip Hayward Abstract This article considers Australian director Sean Byrne’s 2009 horror/comedy feature film The Loved Ones with particular regard to its uses of allusionism within a popular genre context.1 Within this focus, the article explores the various musical components of the soundtrack (including critical use of specific songs), the creative template determined by the director and the creative input and decision making of various members of the production team. In this manner, the article profiles the film’s audio-visual text, the perceptions and motivations of the production team and considers how these relate to the film’s reception and box-office performance. Keywords The Loved Ones, allusionism, film songs, soundtrack, Australian film Allusionism — An Introduction Back in 1982 the film theorist Noel Carroll considered and, it is not unfair to say, fretted over, the prevalence of allusionism in a range of popular films. Carroll’s critical persona and aesthetic approach drew on two strands: the auteur school of film criticism that attempted to identify distinguished creative authors working within the (supposedly largely undistinguished) mainstream film industry; and a parallel interest in and commitment to the modernism of the western cinematic avant-garde. His anxiety over allusionism in popular cinema arose from a position that considered that, while classic auteur cinema and (successful) modernist works could be identified to have allusionism skillfully woven into the fabric of their texts (and, more broadly, into their author’s aesthetic visions), a range of popular cultural texts seemed increasingly inclined to simply display their allusionism without any deep or thematically significant intent.
    [Show full text]
  • We Re Living on Dog Food
    WE’RE LIVING ON DOG FOOD von Richard Max Lowenstein Australien 2009 HDCAM 94 Min. OF Drehbuch: Richard Max Lowenstein, Kamera: Andrew de Groot, Schnitt: Richard Max Lowenstein, Produktion: Ghost Pictures, Produzenten: Richard Max Lowenstein, Andrew de Groot, Lynn- Maree Milburn, mit: Michael Hutchence, Rowland S. Howard, Ollie Olsen, Alannah Hill, Sam Sejavka, Kontakt: Media Luna New Films Richard Max Lowenstein, geboren 1951 im australischen Mel- bourne, studierte an der dortigen Swinburne Film und Televisi- on School Regie. 1979 machte er seinen Abschluss. Er ist Dreh- buchautor und Regisseur von vier Spielfilmen und zwei Doku- mentarfilmen. Er führte außerdem bei diversen preisgekrönten Musikvideos Regie, unter anderem für „INXS“ und „U2“, sowie Post-Punk in Melbourne Ende der 1970er-Jahre: Nick Cave, An eclectic and honest examination of Melbourne’s post-punk bei Konzert- und Fernsehfilmen. Lowenstein ist zudem als Pro- „The Birthday Party“, „Rowland S. Howard“, „Primitive Calcu- music scene of the late 1970s that spawned the likes of Nick duzent von Fernsehserien für den Sender „SBS Independent“ lators“, „The Ears“ und „Whirlywirld“ waren die Bands dieser Cave, the "Birthday Party", "Rowland S. Howard", the "Primiti- tätig. Zeit. Die damals angesagten Underground-Künstler erzählen ve Calculators", "Whirlywirld" and the unique little-band scene von ihrer Musik, der Mode, von den sie inspirierenden Einflüs- amongst many others. Participants proffer their recollections Filmografie sen, den legendären Clubs wie das „Seaview“ und später
    [Show full text]
  • Bankks Butterley Mealee Werder
    BANKS BUTTERLEY MEALE WERDER Like so many string quartets, the maestoso’, but the music is hard and changes texture in a more flexible manner. pieces recorded here engage with the concrete. These blocks of sound vary The moments when the quartet comes relationship of the ensemble’s four in length – the rhythmic notation is together in rhythmically regular music are players. Some of the works continue flexible – and the performers decide the striking and climactic. the tradition of cohesive playing, and length of each block in the moment of The second seating configuration, ‘far others question that aspect of the genre’s performance. The effect is that both the away’, begins with, is sustained by, and history. start and end of notes are highly charged. ends with clouds of harmonics. If the first In live performances of Meale’s String In some cases Meale further heightens section retains some hint of progression Quartet No. 1 his direct challenge to this idea, and the fourth chord, marked in its procession of variations, this section the performers is plain to see, for the dolce, ends with a left-hand pizzicato as is totally still. Through the harmonics piece is in two sections: in the first the the bow leaves the string. The abruptness Meale traces lines of pitches that lead us performers sit in the usual configuration, of the gesture is not at all what one might across the stage, but nowhere else. These and for the second section the performers think of as dolce, but this is a piece that three sequences are labelled ‘Tropes’.
    [Show full text]
  • Jerzy Kozlowski Michael Kieran Harvey New Song Cycles
    ASTRA 2010 6 pm, Saturday 19 June, 6 pm, Sunday 20 June ELEVENTH HOUR THEATRE Fitzroy, Melbourne Jerzy Kozlowski bass Michael Kieran Harvey piano new song cycles: Michael Bertram at 75, Lawrence Whiffin at 80 Michael Bertram UNDERGROUND SONGS (2008) first performance Everyone Sang (Siegfried Sassoon) Trail all your pikes ( Anne Finch) He wishes for the Cloths of Heaven ( W.B.Yeats) I saw a peacock with a fiery tail (Anon. 17thC) Lawrence Whiffin PIANO SONATA NO.1 (1961/2006) I. Allegro molto II. Andante – Theme and Variations I N T E R V A L Lawrence Whiffin TIME STEALS SOFTER (2009) poems by George Genovese first performance Time Steals Softer (I) Walking Patriots Two Lives A Poet's Office Medi-Whinge 2004 Time Steals Softer (II) UNDERGROUND SONGS / TIME STEALS SOFTER … Sets of songs provoke a special relation between music and poetry – the choice and the order of poems has a formative influence on the trajectory and characters of the music that enters into their space. In the two new song cycles of this concert another influence is at work as well: the voice of the singer himself. Jerzy Kozlowski’s singing has become a well-known part of Astra programs over a long time and a wide terrain, from mediaeval music and Monteverdi to Reger (Eichendorrf), Busoni (Faust), Elisabeth Lutyens (Auden) and Helen Gifford (Shakespeare). Specifically, his two previous Astra solo recitals performing the late song-cycles of Shostakovich (Michelangelo and Dostoyevsky) made a remarkable impression for the possibilities of the medium of bass voice and piano, and stimulated both Michael Bertram and Lawrence Whiffin to compose new sets of songs particularly for him.
    [Show full text]
  • The Melbourne Punk Scene in Australia's Independent Music History
    ANZCA09 Communication, Creativity and Global Citizenship. Brisbane, July 2009 The Melbourne Punk Scene in Australia’s Independent Music History Morgan Langdon La Trobe University [email protected] Morgan Langdon completed her Honours in Media Studies at La Trobe University. This paper is an excerpt from her thesis on the history of independent music culture in Melbourne. She plans to begin her PhD in 2010. Abstract The existence of independent music communities and culture within Australia’s major cities today is largely attributed to the introduction of punk in the late 1970s. Among the inner city youth, a tiny subculture emerged around this sprawling, haphazard style of music that was quickly dismissed by the major players in the Australian music industry as bereft of commercial possibilities. Left to its own devices, punk was forced to rely solely on the strength of the independent music network to release some of the most original music of the era and lay the foundations for a celebrated musical culture. This paper examines the factors that contributed to and influenced the early Australian punk scenes, focusing in particular on Melbourne between 1975 and 1981. It shows that the emergence and characteristics of independent music communities within individual cities can be attributed to the existence of certain factors and institutions, both external and internal to the city. Keywords Australian music history, subculture, punk, independent music. Introduction In 1986, the Australian Broadcasting Tribunal published the results of an inquiry into the importance of the broadcasting quota for local music content. Throughout this inquiry, investigations are made into the existence of a distinctly Australian “sound”.
    [Show full text]
  • The Australian Symphony of the 1950S: a Preliminary Survey
    The Australian Symphony of the 1950s: A Preliminary survey Introduction The period of the 1950s was arguably Australia’s ‘Symphonic decade’. In 1951 alone, 36 Australian symphonies were entries in the Commonwealth Jubilee Symphony Competition. This music is largely unknown today. Except for six of the Alfred Hill symphonies, arguably the least representative of Australian composition during the 1950s and a short Sinfonietta- like piece by Peggy Glanville-Hicks, the Sinfonia da Pacifica, no Australian symphony of the period is in any current recording catalogue, or published in score. No major study or thesis to date has explored the Australian symphony output of the 1950s. Is the neglect of this large repertory justified? Writing in 1972, James Murdoch made the following assessment of some of the major Australian composers of the 1950s. Generally speaking, the works of the older composers have been underestimated. Hughes, Hanson, Le Gallienne and Sutherland, were composing works at least equal to those of the minor English composers who established sizeable reputations in their own country.i This positive evaluation highlights the present state of neglect towards Australian music of the period. Whereas recent recordings and scores of many second-ranking British and American composers from the period 1930-1960 exist, almost none of the larger works of Australians Robert Hughes, Raymond Hanson, Dorian Le Gallienne and their contemporaries are heard today. This essay has three aims: firstly, to show how extensive symphonic composition was in Australia during the 1950s, secondly to highlight the achievement of the main figures in this movement and thirdly, to advocate the restoration and revival of this repertory.
    [Show full text]
  • Dogs in Space Tail Credits
    Title: For Christine Introducing MICHAEL HUTCHENCE as Sam SASKIA POST as Anna DEANNA BOND as The Girl NIQUE NEEDLES as Tim TONY HELOU as Luchio CHRIS HAYWOOD as Chainsaw Man Also with Anthony Peter Walsh Clare Laura Swanson Grant Adam Briscomb Leanne Sharon Jessop Nick Edward Clayton-Jones Mark Martii Coles Charles Chuck Meo Jenny Caroline Lee Barbara Fiona Latham Erica Stephanie Johnson Barry Gary Foley Lisa Glenys Osborne Anna's Girlfriends Allanah Hill Robyn McLellan Skinhead Troy Davies Leanne's Brothers John Murphy Troy Davies Owen Roberson Stacey Helen Phillips Chainsaw Woman Kelly Hoare Chainsaw Baby Robyn Lowenstein The Dealer Robert Ratti Sam's Mother Barbara Jungwirth Hardcore Hippie Beamish Elliot Policemen Noel Pennington Ted Fahrner Grant's Girls Michelle Bennett Lian Lunson Crazy George George Maleckas Pierre Hugo Race Terry Towelling Man Joe Camilleri Sales People Liz Meyers Tim McLaughlan Mount Waverley Mum Lillian Wilson Champion Girls Emma Di Clario Sybil Gibb TV Interviewer Helen Gianevsky Anna's Mum Jean Osborne Countdown Announcer Gavin Wood 3RRR D. J. Bohdan and Martha Butler, Kate Doherty, Harriet Freeman, Kelly Gallagher, Angela Howard, Tim Millikan, Marie Hoy, John Murphy, Sarah Newsome, Ollie Olsen, Miriam Smith, Miles Standish and Noah Taylor THE BANDS 'Dogs in Space' 'Whirlywirld' Edward Clayton-Jones Arnie Hanna Michael Hutchence David Hoy Chuck Meo John Murphy Nique Needles Ollie Olsen Glenys Osborne 'Too Fat To Fit Through the Door' 'Thrush and the C...S' Marcus Bergner Denise Grant Marie Hoy Marie Hoy John
    [Show full text]
  • Dogs in Space Music Credits
    THE BANDS 'Dogs in Space' 'Whirlywirld' Edward Clayton-Jones Arnie Hanna Michael Hutchence David Hoy Chuck Meo Johnn Murphy Nique Needles Ollie Olsen Glenys Osborne 'Too Fat To Fit Through the Door' 'Thrush and the C...S' Marcus Bergner Denise Grant Marie Hoy Marie Hoy John Murphy Danila Stirpe James Rogers Jules Taylor Ollie Olsen 'Primitive Calculators' 'Marie Hoy & Friends' Terry Dooley Marie Hoy Denise Grant Loki Stuart Grant Tim Millikan David Light John Murphy Ollie Olsen Musical Director Ollie Olsen Strange Noises John Murphy Music Research Bruce Milne Music Recorded at Richmond Recorders by Tony Cohen Music mixed at A.A.V. by Ross Cockle "Rooms for the Memory" Remixed by Nick Launay 'Shivers Video Clip' directed by Paul Goldman and Evan English 3RRR I.D. Written & Produced by Martin Armiger Sung by Jane Clifton THE MUSIC 'Dog Food' Performed by Iggy Pop, James Osterman Music (BMI), Administered by Bug Music Group, (P) 1980, Arista Records Inc., Courtesy of Arista Records 'Frankie Teardrop' Courtesy of Stamphyl Revega 'Dogs in Space' Written by Sam Sejavka and Mike Lewis 'Win/Lose' Written by Ollie Olsen, Performed by Whirlywirld, Courtesy of Missing Link Records 'True Love' Performed by The Marching Girls, Courtesy of Missing Link Records 'Sky Saw' Written by Brian Eno, Courtesy of E.G. Records Ltd. and E.G. Music Ltd. 'Skullbrains' Written by Marcus Bergner and Marie Hoy 'Shivers' Written by Roland S. Howard, Performed by Boys Next Door Courtesy of Mushroom Records 'Diseases' Composed by Thrush and The C...s 'Pumping Ugly Muscle' Composed by The Primitive Calculators 'Window to the World' Written by Ollie Olsen, Performed by Whirlywirld 'Happy Birthday' and 'Mr.
    [Show full text]
  • Risk Music Credits
    composer Don Miller-Robinson Music Supervision Christine Woodruff Music Recorded at Big Bang Theory Trackdown Digital Engineered by Don Miller-Robinson & Damian Candusso Hammond, Fender Rhodes Stu Hunter Drums Hamish Stuart Bass Sam Dixon Analogue Synthesizers Alexander Nettelbeck Percussion Huey Benjamin Guitars, various instruments Don Miller-Robinson "Friday On My Mind" written by Harry Vanda/George Young. © 1966 J. Albert & Son Pty Ltd performed by The Easybeats, courtesy of Albert Productions "The Sound" written by Ash Hansen (control), performed by Rumanastone ℗ 2000 Mushroom Records Australia Pty Ltd, licensed from Festival Music Group "Whatever Makes You Happy" written by Ben Nash, Ivy League Music/Mushroom Music Publishing performed by 78 Saab, courtesy of Ivy League Records "Undecided" written by Michael Bower & Richard Morrison, Universal Music Publishing Pty Ltd performed by The Masters Apprentices, courtesy of Jim Keays "Hej" written by Harada/Skinner/Battah/Blackshaw published by Chatterbox Records Pty Ltd, performed by Skulker, ℗ 2000 Chatterbox Records Pty Ltd, Licensed from Chatterbox/Phantom Records "20th Century Boy" written by Marc Bolan, courtesy of Wizard (Bahamas) Limited licensed from Festival Music Pty Ltd, performed by Skulker ℗ 2000 Chatterbox Records Pty Ltd, Licensed from Chatterbox/Phantom Records "Naughty" written by Blackshaw/Skinner/Battah/Harada published by Chatterbox Records Pty Ltd, performed by Skulker, ℗ 2000 Chatterbox Records Pty Ltd, Licensed from Chatterbox/Phantom Records "Another Up" written
    [Show full text]
  • May 2017.Pub
    Volume 31 Issue 5 City Park Radio FM 103.7 Launceston May 2017 Entries for the 2017 CBAA Commu- Meetings nity Radio Awards are now open! These awards promote and recognise excellence in community broadcasting, acknowledging the accomplishments of stations and their programs, initiatives or Management Committee practices that increase their capability and improve the services offered to that Saturday 20th May 9.30am station's community. If you love some of our programs and think they are good enough to be a CPR finalist in these national awards, consider entering now. The deadline for entries end soon To find out more about the 2017 Awards categories, criteria and how to SPONSORS enter, download the guide. http://www.cbaa.org.au/sites/default/files/ • media/2017 -CBAA -Awards -Criteria.pdf 2 Fix It All entries are via the CBAA online entry platform • Barratts Music https://cbaa.awardsplatform.com/ and remember, entries close on at 9am • Carbil Computers AEST on 8 May . If you enter one of our programs, please also let one of the programming • Community Care Tas committee know as well. • Launceston Travel and Translator Mast & Hut Cruise Centre As you can see, the mast • M&A Flood Rural Supplies has been erected, the anten- • Neil Pitt Menswear na and microwave dish in- stalled and the compound • Northern Midlands RSLA has been fenced… and of • Olde Tudor Hotel/Bistro course the power has been connected. • Olde Tudor Pharmacy Ian Campbell has advised • Outside Flowers the installation of transmitter and STL receive equipment • Rob Soward has been completed. Test • Rosemary Armitage transmissions are not too far away.
    [Show full text]
  • Total Tracks Number: 2218 Total Tracks Length: 151:00:00 Total Tracks Size: 16.0 GB
    Total tracks number: 2218 Total tracks length: 151:00:00 Total tracks size: 16.0 GB # Artist Title Length 01 2 Brothers On The 4Th Floor Can't Help Myself 05:39 02 2 Brothers On The 4th Floor Dreams (Will Come Alive) 04:19 03 2 Brothers on the 4th Floor I'm Thinking of You 03:24 04 2 Brothers On The 4Th Floor Never Alone 04:10 05 2 Brothers On The 4th Floor There's A Key 03:54 06 2 Eivissa Oh La La 04:41 07 2 In a Room Wiggle It 03:59 08 2 Unlimited Get Ready For This 03:40 09 2 Unlimited Jump For Joy 03:39 10 2 Unlimited No Limit 03:28 11 2 Unlimited No One 03:24 12 2 Unlimited Twilight Zone 05:36 13 2 Unlimited Workaholic 03:33 14 2pac Thug Mansion 03:32 15 2pac Wonder If Heaven Got A Ghetto 04:34 16 2pac Daz Kurupt Baby Dont Cry Remix 05:20 17 Three Doors Down Be Like That 04:25 18 3 Doors Down Here Without You 03:53 19 3 Doors Down Kryptonite 03:52 20 3lw No More (Baby I'm Gonna Do Rig 04:17 21 3lw Playa Gonna Play 03:06 22 3rd Eye Blind How Is It Gonna Be 04:10 23 3T Anything 04:15 24 4 Non Blondes What's Up 04:55 25 4 Non Blonds What's Up? 04:09 26 38 Special Caught Up In You 04:25 27 38 Special Hold On Loosely 04:40 28 38 Special Second Chance 04:12 29 50 Cent In Da Club 03:42 30 50 cent Window Shopper 03:09 31 98 Degrees Give Me One More Night (Una No 03:23 32 98 Degrees I Do (Cherish You) 03:43 33 98 Degrees Invisible Man 04:38 34 98 Degrees My Everything 04:28 35 98 Degrees The Hardest Thing 04:27 36 112 Anywhere 04:03 37 112 Cupid 04:07 38 112 Dance With Me 03:41 39 112 Love You Like I Did 04:16 40 702 Where My Girls At 02:44
    [Show full text]