Sweetie Music Credits
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Music Martin Armiger Singing Coach Judy Sweeney (crew) Music Recorded and Mixed by Michael Stavrou Performed by Martin Armiger String Arrangements by Max Lambert and Featuring the Music of The Cafe of the Gate of Salvation Choir 'Walking in the Light' Composed by Tony Backhouse Solo Tony Backhouse 'Sweetest Sound' Composed by Tanya Sparke Solo Tanya Sparke 'On the Right Road' Composed by Tony Backhouse Solo Alice Papademetriou 'Love Will Never Let You Fall' Composer Tony Backhouse Solo Tony Backhouse 'Far Beyond Us' Lyrics adapted from the Jewish Prayerbook by Tony Backhouse Composed by Tony Backhouse Published by mmmusic, Australia Music Recorded EMI Studio 301, Sydney and at Martin Armiger's Studios, Bayswater Road, Sydney 'There's a Love That Waits For You' Performed by Dorothy Barry Score and Lyrics by Lorna Barry Copyright Lorna Barry, 1988 'Love Me With All Your Heart' (Martinoli Riqual Riqual Skylar) by Permission of Southern Music Publishing Co. Australia Pty. Ltd. 'Whispers' Written and performed by Schnell Fenster Published by EMI Music, Recording courtesy of EMI Records 'This Illusion' Written and performed by Schnell Fenster Published by EMI Music, Recording courtesy of EMI Records 'That's Impossible' Written and performed by Schnell Fenster Published by EMI Music, Recording courtesy of EMI Records 'Nude School' Performed by Painters and Dockers Written by C. O'Connnor and V. Juric Published by Mushroom Records Recording courtesy of Mushroom Records Lyrics for the spiritual-style song that runs over the film’s head credits: (Woman’s voice): Somebody told me About an endless journey And I can say uh I feel it clearly now He spoke to me Of lightness, grace and glory And I can say uh I feel it clearly now I can say He touched my soul and I know now I’ll take the walking slow Movin’ on and on (Chorus): What did you hear? Oh, the sweetest sound (The opening voice over narration then takes over, though the soft murmuring of voices continues under, then returns as the main title arrives): Chorus: Hey, hey, hey, come, come … It was so, so, so soon … Hey, hey, hey, come, come ... (then over Kay being tracked by the camera in front of orderly blocks of flats) It was so, so, so soon … Hey, hey, hey, come, come ... It was so, so, so soon … Hey, hey, hey, come, come... (Singers vocalise) Hey, hey, hey, come, come... It was so, so, so soon … (Female voice as Kay avoids the cracks in the tar footpath): There was darkness all around But I did not feel a thing Yes, I saw him smilin’ true The sword ploughs on through (Then over a shot of Kay looking at camera, down and up) Although darkness tempted me … That’s when I reached out to you … Hey hey hey ... (over a shot of apartment block windows) Doo-doo-doo, doo-doo, doo, doo, doo … (dialogue action then begins) Lyrics of the song sung by the young Sweetie before end credits commence: Love me with all your heart As I love you Love me with all your heart As I love you Don’t give me your love For a moment or an hour Love me always as you’ve loved me From the start When we are far apart Or when you’re near me Love me with all your heart As I love you Don’t give me your love For a moment or an hour Love me always as you’ve loved me From the start With every beat of your heart With every beat of your heart With every beat of your heart (That leads immediately into the song over the tail credits, with male voice and choir accompanying. The pacing of the spiritual style song is slow and the phrasing elongated): When the moon Sinks Beyond another day And the fishermen don’t light (Chorus: Breakers) Far out On the dark, wide sea When we think we are Alone Steering as you dared (Chorus: Midnight) We hear (Chorus: We hear) The sound (Chorus vocalising) Of oars (Chorus: Far …. beyond us) When we awake In the middle of the never-ending ocean The skyline crystal clear But soon, soon, soon … (Chorus: ’Tis land) In the glare Of the morning sun When we think we are alone (with chorus, Think we are alone Drifting … drifting …) In the middle of... (with chorus: … nowhere) We hear ... (Chorus: we hear) A voice ... (Chorus vocalising) Call our name (together: closer, closer … Chorus: … than our own … breath … Chorus vocalising Far Beyond Us) Far beyond us … Far beyond us (Chorus vocalising Chorus: closer …) (woman vocalising) (Chorus: … than our own … breath …) (a music box picks out a melody with soft humming and fades with end of credits) Café of the Gate of Salvation and Tony Backhouse: The Café of the Gate of Salvation a cappella gospel choir became a presence in the Australian musical scene from its foundation, and was still at work at time of writing, with its own website here: The site contained this short origin story: "Gospel choir forming - Buddhists welcome." So read the sign posted on a café wall that started the journey for Café of the Gate of Salvation, the Sydney-based gospel choir known for its joy, energy…and mighty, mighty sound. When founder Tony Backhouse first had the idea to start a non-profit inner city choir back in 1986, little did he know how far-reaching that decision would be. Aiming to bring joy to performers and audiences alike, the group would be community focused, and be inspired by the passionate, spiritual and traditional African-American religious music. The history of African-American gospel is one of hope and freedom, threaded throughout with protest and social agitation. Gospel sheds an undeniable influence on R&B, funk and soul music; the method, dynamics and power behind the songs are different, but the message is delivered each and every time. This is the essence of what Café of the Gate of Salvation aims to deliver in their performances. Now led by Musical Director Dynes Austin, the group still meets for weekly rehearsals, where original choir members from the first rehearsal back in 1986 now mix with 2nd-generation members. Café of the Gate of Salvation has released four CDs to date, one of which was nominated for an ARIA. Tony Backhouse, BA, B. Mus., who wrote a number of the songs used in the film, at time of writing had his own website here, which contained this short biography: He founded Australia’s foremost a cappella gospel choir Café of the Gate of Salvation in 1986, and directed it for 21 years. He arranged and composed the bulk of their repertoire and still writes music regularly for them. He founded a cappella choir the Honeybees and has directed and sung with reclusive male a cappella group the Heavenly Light Quartet since 1996. In demand for his inspiring teaching style, Tony has run more than 2000 vocal workshops throughout the world for the public, for festivals, schools, universities, churches, organisations and corporate training events. Tony currently lives in Napier, New Zealand, where he runs a community choir with his wife Marianne. 'Backhouse is Australasia's premier arranger and teacher of a cappella gospel. Tim Finn says he is quite simply the finest vocal arranger he knows and Sam Neill reckons he's a national treasure.' Roi Colbert, New Zealand Listener 'Tony Backhouse has been, and continues to be, a major influence on music in Sydney and beyond. The a cappella revival is almost entirely due to him.' Martin Wesley-Smith, composer, Australia (Below: Tony Backhouse) Composer Martin Armiger: Composer Martin Armiger had done one short forty minute film, Drac, in 1972, before doing Pure Shit in 1975. His next notable composition for the screen was the score for the 20 by half hour ABC TV series, Sweet and Sour, in 1984, and thereafter he composed music for TV miniseries (Cyclone Tracy, 1986, Come in Spinner 1990), documentaries (Cane Toads: An Unnatural History, 1988) and feature films (Young Einstein, 1988). The prolific Armiger has many other scores to his credit, as well as an extensive career in pop music as a record producer and also as a performer, most notably in the band The Sports. He has also composed for the stage, and in 1998 won the AFI Award for Best Music for a feature film for Thank God He Met Lizzie. He became the head of Screen Music at the AFTRS, which at one time carried his staff details (link no longer working) and which provided this short career summary: Award winning film composer Martin Armiger has been writing for the screen for more than thirty years. Early works still attracting interest include Bert Delings notorious 1975 feature about heroin users, (Pure Shit, re-released in 2009 by Beyond Films,) and Jan Chapman's series about rock musicians (Sweet and Sour, ABC 1984) which will have its soundtrack re-released this year. Other projects include Clubland, Thank God He Met Lizzie, Young Einstein, Sweetie, The Secret Life of Us, Marking Time, Come In Spinner and Police Rescue. His last film was Mark Lewis' 3D documentary feature Cane Toads: The Conquest, (to be released in 2010) and he composed the current on air music for ABC TV News. He is Head of Screen Music at AFTRS. Armiger had his own website, no longer active as of May 2016, and a detailed wiki here. Below: Martin Armiger Armiger's website provided this filmography: Date Title Type (feature film - in 2010 Red Dog production) (All News, 2010 ABC24 News Channel Interstitials and Promos) (3D feature 2010 Cane Toads: The Conquest documentary) 2010 (all main TV news -200 ABC1 TV News Themes bulletins) 5 Clubland 2007 aka Meet The Dwights (feature film) (USA title) 2006 The Surgeon (TV Series eps 4-8) (ABC TV 4hr mini- 2003 Marking Time series) Hildegarde (ABC TV 4hr mini- 2001 aka Hildegarde, a Duck series) Down Under (USA title) (telemovie and eps 2001 The Secret Life of