Billys Holiday Music Credits

(cast) Kate Hammond Kris McQuade Billy Apples Max Cullen Rob McSpedden Richard Roxburgh Backing Singer #1 Lori Vallins Backing Singer #2 Sally Patience "Liberace" Phillip Scott Mr. Band Leader Masanori Fuminashi

All Music Recorded and Mixed by Peter Cobbin Orchestrations Larry Muhoberac Orchestral Contractor Phillip Hartl Voice Coach for Max Cullen Bob Tasman Smith Music Recording Assistant Peter Thomas Music Business Affairs Jim Taig Music Licence Clearances Roy Ferin Recording Facilities Studio 301 EMI Sydney Music Tuition/Advisors Rod Mayhew Ray Alldrige Roy Ferin Jonathon Zwartz Ashley Turner Alan Davey Solo Saxophone Craig Walters

The Billy Apples Quintet featured the playing of Trumpet James Morrison Trombone James Morrison Piano Larry Muhoberac Bass Jonathon Zwartz Adam Armstrong Drums Gordon Rytmeister John Morrison

"I Can't Get Started" Vocal by Max Cullen and Tina Bursill Duke/Gershwin Arranged by Larry Muhoberac Produced by Peter Cobbin © Warner Chappell Music

"It Must Have Been Easy For You" Vocal by Max Cullen Stewart/Ashdown/Vallins/Beazley Arranged by Larry Muhoberac Produced by Peter Cobbin © BMG Music Pty Limited, Warner Chappell Music, & Peermusic

"Why Was I Born" Vocal by Max Cullen and Billie Holiday Kern/Hammerstein Arranged by Larry Muhoberac Produced by Peter Cobbin © T. B. Harms Co. PolyGram Int. Publ. Inc. (ASCAP)

"What a Night, What a Moon, What a Boy" Vocal by Max Cullen Razaf/Loeb/Wooding/Denniker Arranged by Larry Muhoberac Produced by Peter Cobbin © Words & Music Inc. & J. Albert & Son Pty Ltd

"I Want The Whole Fairytale" Vocal by Max Cullen, Kris McQuade, Drew Forsythe, Genevieve Lemon, Richard Roxburgh Julie Haseler Stewart/Ashdown/Vallins/Beazley Arranged by Larry Muhoberac Produced by Peter Cobbin © BMG Music Pty Limited, Warner Chappell Music, & Peermusic "Too Much To Love Last Time" Vocal by Max Cullen Stewart/Ashdown Arranged by Larry Muhoberac Produced by Peter Cobbin © BMG Music Pty Limited

"Mr Exhilaration" Vocal by Max Cullen Morrison/Whitburn Arranged by Larry Muhoberac Produced by Peter Cobbin © Warner Chappell Music, Lurline Eleven

"Ragtime Romeo Ball" Vocal by Richard Roxburgh Stewart/Vallins Arranged by Larry Muhoberac Produced by Peter Cobbin © BMG Music Pty Limited, Warner Chappell Music

"Is You Or Is You Ain't Ma Baby" Vocal by Max Cullen B. Austin/L. Jordan Arranged by Larry Muhoberac Produced by Peter Cobbin © Leeds Music Corp & MCA Music Australia Pty Ltd

"I'll Do Beautiful Things To Your Heart" Vocals by Max Cullen and Chorus Stewart/Ashdown/Beazley Arranged by Larry Muhoberac Produced by Peter Cobbin © BMG Music Pty Limited, & Peermusic

Soundtrack Album by Roadshow Music Produced by Peter Cobbin

James Morrison plays Yamaha Instruments exclusively and appears courtesy of Warner Music Australia Music in the ﬁlm:

As a musical, it’s impossible to include indicative stills of the music that appears in the ﬁlm. Instead see this site’s photo galleries for shots of assorted performers, bands and dancers in action.

CD:

A CD of the soundtrack was released:

CD Roadshow Music 14874-2 1995

All arrangements and orchestrations by Larry Muhoberac, except * James Morrison ** Peter Cobbin Produced by Peter Cobbin All songs recorded and mixed by Peter Cobbin Assistant engineer & additional engineering: Peter Thomas Recorded & mixed at Studio 301 EMI Sydney Mastered by Oscar Gaona at 301 Mastering Orchestra contractor: Phillip Hartl Music business affairs: Jim Taig Sonics solutions & additional edits: Peter Raines The Billy Apples quintet featured the playing of: Trumpet - James Morrison Trombone - James Morrison Piano - Larry Muhoberac Bass - Jonathon Zwartz, Adam Armstrong Drums - Gordon Rytmeister, John Morrison The Producers would like to thank the following musicians for their contributions: Rod McCormack, Andra Muhoberac, Sall Dobbs, Steve Watson, Cheryl Webb, Louise Johnson, David Armstrong, Ian Date, Fiona McBain, Kenny Powell, Craig Walters, Alex Hewetson

1. I Can’t Get Started (Ira Gershwin/Vernon Duke) © Warner Chappell Music 2. After You’ve Gone (Creamer/Layton), vocals: Max Cullen, arranged by Larry Muhoberac, © 1918 Francis Day & Hunter Ltd & J. Albert & Son Pty. Ltd. 3. Am I Blue (Clarke/Akst), vocals: Max Cullen, arranged by Larry Muhoberac © 1929 M. Witmark & Son & J. Albert & Son Pty. Ltd. 4. Catharsis ** (Cobbin), arranged by Peter Cobbin, © Peter Cobbin 5. Journey ** (Cobbin), arranged by Peter Cobbin, © Peter Cobbin 6. Why Was I Born (Kern/Hammerstein), vocals: Max Cullen and Billie Holiday, arranged by Larry Muhoberac © T. B. Harms Co. Polygram Int. Publ. Inc. 7. What A Night, What A Moon, What A Boy (Razaf/Loeb/Wooding/Denniker), vocals: Max Cullen, arranged by Larry Muhoberac © Words & Music Int. & J. Albert & Son Pty. Ltd. 8. I Want The Whole Fairytale (Stewart/Ashdown/Vallins/Beazley), vocals: Max Cullen, Kris McQuade, Drew Forsthe, Genevieve Lemon, Richard Roxburgh, Julie Haseler, arranged by Larry Muhoberac © BMG Music Pty. Limited, Warner Chappell Music & Peermusic 9. Too Much To Love Last Time (Stewart/Ashdown), vocals: Max Cullen, arranged by Larry Muhoberac © BMG Music Pty. Limited 10. Mr. Exhilaration * (Morrison/Whitburn), vocals: Max Cullen, arranged and performed by James Morrison © Warner Chappell Music, Lurline Eleven 11. Ragtime Romeo Ball (Stewart/Vallins), vocals: Richard Roxburgh, arranged by Larry Muhoberac © BMG Music Pty. Limited, Warner Chappell Music 12. Is You Or Is Or Is You Ain’t My Baby (B. Austin/L. Jordan), vocals: Max Cullen, arranged by Larry Muhoberac © Leeds Music Corp. & MCA Music Australia Pty. Ltd. 13. It Must Have Been Easy For You (Vallins/Stewart/Beazley/Ashdown), vocals: Max Cullen, Tina Bursill and chorus, arranged by Larry Muhoberac. © BMG Music Pty. Ltd. Warner Chappell Music & Peermusic 14. I Can't Get Started, vocal by Max Cullen and Tina Bursill (Duke/Gershwin), arranged by Larry Muhoberac, produced by Peter Cobbin © Warner Chappell Music 15. I’ll Do Beautiful Things To Your Heart (Stewart/Ashdown/Beazley), vocals: Max Cullen and Chorus, arranged by Larry Muhoberac © BMG Music Pty. Limited & Peermusic 16. I’ll Do Beautiful Things To Your Heart (Instrumental)

Single:

According to some databases, Roadshow also released in 1995 an EP for promotional purposes with four tracks on it, but this is now extremely rare:

Am I Blue, vocals: Max Cullen, arranged by Larry Muhoberac, produced by Peter Cobbin, © 1929 M. Witmark & Son, & J. Albert & Son Pty. Ltd. Mr. Exhilaration (Morrison/Whitburn), vocals: Max Cullen, arranged and performed by James Morrison, produced by Peter Cobbin, © Warner Chappell Music, Lurline Eleven Too Much To Love Last Time (Stewart/Ashdown), vocals: Max Cullen, arranged by Larry Muhoberac, produced by Peter Cobbin, © BMG Music Pty. Limited I’ll Do Beautiful Things To Your Heart (Stewart/Ashdown/Beazley) vocals: Max Cullen and chorus, arranged by Larry Muhoberac, produced by Peter Cobbin. © BMG Music Pty. Limited & Peermusic

James Morrison:

Trumpet player Morrison is too well known to list here, though it it should be noted that he made a signiﬁcant contribution to the sound track with his stylings. At time of writing, Morrison had an eponymous website here, and had a detailed wiki listing here. The constantly active Morrison can be found in many other locations on the internet.

(Below: James Morrison)

Arranger Larry Muhoberac:

Muhoberac was a credentialed Elvis Presley musician. He is listed at Elvis Australia’s ofﬁcial Presley Fan Club here, with this note on how he came to be in Australia (there’s also an obituary here):

...Larry Muhoberac is a respected composer, producer, keyboardist, arranger and musician and has conducted for top acts such as Seals & Crofts. As well as working for Elvis Presley he has worked and recorded with Tina Turner, Neil Diamond, Ray Charles, Tanya Tucker, Barbara Streisand, The Carpenters to name but a few. Larry packed up in 1986 and moved to Australia where he continues to produce, compose and arrange. The connections between Elvis Presley and Australia are few. He never visited us. He never expressed any particular interest in the land 'down under' He was essentially a Memphis boy who, apart from his brief stint in the army in Germany, liked to stay in the Deep South and to spend his time in Graceland. If you think about it, the only connection Elvis really had with Australia was back in 1959 when the legendary rock promoter, Lee Gordon, announced to the press that Elvis and Colonel Tom Parker had agreed to a six day tour of Australia. Elvis immediately denied it and the tour never took place. It therefore comes as a pleasant surprise to learn that Larry Muhoberac, the man who played keyboards for Elvis for ten years, is an Aussie citizen and currently lives in a delightful home overlooking a valley full of gum trees on Sydney's northern beaches. Larry's story is one of those tales of a series of glorious accidents which led to a long period working for the most famous rock star the world has ever known. As a young man Larry moved from New Orleans to Memphis to ﬁnd his musical fortune. It was while he was living in Memphis that he was asked in 1960, to play with Elvis' band and from that moment right through to the famous Las Vegas live performances in 1969, Larry was a regular.

Muhoberac shared an AFI Award with Peter Cobbin for the score to the ﬁlm, and he has a wiki listing here (he died in December 2016).

(Below: Larry Muhoberac) Producer, recorder and mixer Peter Cobbin:

Peter Cobbin was an Australian composer, who subsequently mainly worked as a recording engineer at Abbey Road studios on assorted projects.

Cobbin did scores for Australian feature ﬁlms such as the psychological thriller In the Winter Dark, which was recorded at Abbey Road, using the London Symphony Orchestra, with director James Bogle heading across to work with Cobbin on the recording.

The stories below give a ﬂavour of Cobbin’s career (googling will produce a number of other insights into Cobbin’s work).

Music Week interview/proﬁle:

In a story by Christopher Barrett for Music Week, 5th March 2010, Barrett gave some details about Cobbin, as well as one of the key points of the story, which was to offer guidance to anyone wanting to pursue a career as a music engineer. The full story was reprinted here.

These are Cobbin’s career details as featured in the story:

With a love of detail and passion for experimenting, Peter Cobbin is a world renowned recording engineer known for his work on an array of impressive projects ranging from The Beatles’ Anthology to The King’s Speech and Harry Potter film series. Here the Abbey Road veteran imparts his 11-point plan for recording success While recent weeks have seen The King’s Speech enjoy a wealth of BAFTA and Oscar acclaim, Tom Hooper’s film about King George VI overcoming a stutter has also been the target of criticism over its debatable historical accuracy. But with an attention to detail and love of breaking down barriers with both state- of-the-art technology and vintage equipment, Peter Cobbin added a remarkable historical element to the recording and mixing of Alexandre Desplat’s score for the film. As Abbey Road’s senior engineer for the past 16 years Cobbin has worked on numerous projects, taking in everything from mixing The Beatles Anthology series to producing scores and soundtracks to The Lord of The Rings and Harry Potter movies. By Cobbin’s standards, Desplat’s score for The King’s Speech was a small project, but nonetheless he could not resist seeking out, repairing and using the very microphones that were manufactured by EMI for the Royal Family, including George VI himself. Some 12 years ago Cobbin discovered the microphones in a dusty corner of EMI’s Heathrow archive. “It was a bit of a process getting them out and over to Abbey Road,” he admits. “Initially I just thought, ‘Wouldn’t it be great, even if the microphones are just eye candy, to have them in the studio to inspire the director when he comes in.’ But I went one step further and our marvellous mic technician here got three working. “Tom [Hooper] couldn’t believe what he was hearing, they were in some way connecting the old world of the 1930s; we were blending in the old mics, and the sound is woven into the score.” Over the years Cobbin has worked with some of the world’s most successful bands, producers and composers while embracing new technology alongside old. His work has seen him pioneer 5.1 surround sound recording and mixing techniques on projects ranging from U2’s Live from Slane Castle and Lennon: Legend while also taking the time to handle the design and implementation of Abbey Road’s successful audio plug-in reproductions, including the vintage TG12413 limiter, the RS127 EQ box and the RS124 valve compressor. Cobbin grew up in a musical family in Australia and he still remembers the day when, aged only six, he saw a studio technician on TV and immediately realised he wanted to be involved in recording music. By the age of 15 he was using his home as a makeshift recording studio. “I had my school friends collect egg cartons so I could make a four-track recording in my bedroom – these were my first clients and my parent’s house was my first studio. The experiences helped me understand the basic principles of recording music. If I wanted ambience we went into the kitchen, the lounge for piano and the bathroom for vocals,” smiles Cobbin. Currently working on the score for Harry Potter and the Deathly Hallows Part 2, Cobbin has come a long way since those early days and while continuing to balance his love of both classical and contemporary music his passion for detail and experimenting clearly remains undiminished. “It’s important to push the boundaries and push the comfort zone. There is a danger that in doing the job and performing the task you can stop smelling the roses of opportunity, but by looking over the edge you might find something that will contribute something new and vital to a project,” says Cobbin. With decades of recording experience taking on clients from Donavan to Duffy, Danny Elfman to David Gray, Cobbin is perfectly placed to conduct the latest in our series of music industry masterclasses…

Follow the link above for the details of the master class …

Waves interview:

Cobbin was also interviewed for Waves. The full interview is here, the opening part of the interview also focussed on his career:

Waves: How did you get into engineering? Cobbin: I’ve always wanted to record for as long as I can remember. I grew up playing and learning music, but always a little shy on the performance side. However, I was fascinated with recorded sound. As a teenager, I was in bands and orchestras and I bought myself a 4-track recorder and would record friends in my bedroom at home. When I left school, I got a traineeship with EMI studios in Sydney and studied electronics, while continuing to play music. So I got my foot in the door and started working in record production and have continued to do the same over the last 30 years. Waves: What does it take to “make it” in audio engineering? Cobbin: The overriding thing is a sense of determination. It requires knocking on doors and getting any experience that you can in any recording studio. That's what I was doing even when I was studying. It's about collecting all the experiences whether it's using a tape machine or a microphone, or in my day, transferring from a record player onto a tape machine. I think it's these sorts of experiences that, when you go for a job interview or you're up for something, an opportunity to do a job—having previous experience in almost anything that you can build on is a good thing. Waves: What's your relationship with Abbey Road? Cobbin: My career is neatly divided in half, so to speak. After my traineeship, I became a freelance recording engineer and producer in Australia. For the last 16 years, I've been here at Abbey Road. There was a manager who knew of me and asked whether I would consider moving over to London with my family to take up a position here. After giving it considerable thought, that's exactly what we did, and I'm still here 16 years later. Waves: What have been some of the highlights of your career? Cobbin: Often it can be the small experiences like working with unnamed musicians that is rewarding—they're playing something that sounds great, feels great and there's time to experiment in ways without expectations, deadlines or the pressure that comes with a large project. It's that sense of enjoying the music and working with it that is a recurring highlight. In my position as senior recording engineer at Abbey Road, I've had some unique experiences. We were quick to adapt to surround technology and the first 5.1 mix that I ever did was the Beatles Sgt. Pepper's, I did the Yellow Submarine project when this film was restored, which was followed by mixing the Beatles Anthology. In addition, I re-mixed many of John Lennon's songs including Imagine, so on and off over a period of ten years, I was enjoying the spoils of an amazing legacy. For a recording engineer, Abbey Road is like Mecca, but having access to the Beatles master tapes, being able to learn so much from listening to those four track tapes has been incredible. Waves: Aside from your technical expertise, what else do you think has been key to your success? Cobbin: My job is about building up ongoing relationships. Mixing the entire Lord of the Ringstrilogy, working with Howard Shore, the composer, as well as Peter Jackson, the director, that went on and off again over a period of four years was fabulous. I mixed a series of concerts for U2 over a number of years—it's one thing to do the work, but it adds another dimension working with the artists over time. So whether it's a director of a film, a band coming in to listen to a concert, or recording a musician—it's not just the music, but the relationship of working with people, that is so important to a successful outcome. Waves: What are you working on these days? Cobbin: I’m producing the score for the latest Harry Potter film. It's the remaining film of the last book and the end of what has become the world's most successful film franchise. Alexander Desplat is the composer and the orchestra is the London Symphony Orchestra. The production team loves being at Abbey road and I couldn't do something of this scale without the collaboration and expertise of all my colleagues.

(Below: composer Peter Cobbin, and below that Cobbin with Kirsty Whalley in the the penthouse mixing suite at Abbey Road, and below that Cobbin working on American Gangster)