Music by miles goodman

Music Supervisor Christine Woodruff

Music score recorded at the Australian Film Televison & Radio School Recording Engineer Gerry Nixon Concert Master Phillip Hartl Solo Guitar Tommy Emmanuel

'Be-Bop-A-Lula' Written by Vincent/Davis (Lowery Music Co Inc. /Unichappell Music Inc.) performed by Gene Vincent and his Blue Caps courtesy Capitol Records /EMI Records Australia Pty Ltd

'Twenty Flight Rock' Written by Fairchild/Cochran (American Music Inc/Hill & Range Songs Inc./J. Albert & Son) performed by Eddie Cochran courtesy Capitol Records /EMI Records Australia Pty Ltd

'Three Steps to Heaven' Written by B & E Cochran (Unart Music Corporation) performed by Eddie Cochran courtesy Capitol Records /EMI Records Australia Pty Ltd

'One Night' Written by Bartholomew/King (Travis Music Inc./ Unart Catalogue Inc./J. Albert & Son) performed by Fats Domino courtesy Capitol Records /EMI Records Australia Pty Ltd

'Break Up' Written by Charlie Rich (Knox Music Inc./Unichappell Music Inc.) performed by Jerry Lee Lewis courtesy Sun Entertainment Corporation/EMI Records Australia Pty Ltd

'Only You' Written by Buck Ram/Ande Rand (Hollis Music Inc/ Screen Gems - EMI Music Inc.) performed by The Platters courtesy Dominion Records Inc.

'Tennessee Waltz' Written by King/Stewart (MCA Music Chris Gilbey) performed by Patti Page courtesy Polygram Records Inc.

'Great Balls of Fire' Written by Otis Blackwell /Jack Hammer (Chappell & Co/Unichappell Music Inc.)

'Lucille' Written by Penniman/Collins (ATV Music/EMI Music Publishing /MCA Music Inc. for MCA Australia) performed by Little Richard courtesy Speciality Records, Inc.

'Slippin' and Slidin' Written by Penniman/Bocage /Collins/Smith (ATV Music EMI Music Publishing /Bess Music) performed by Little Richard courtesy Speciality Records, Inc. 'Since I Met You Baby' Written by Joe Hunter (Progressive Music Publishing Co. Inc. /Southern Music Publishing Co. Australasia) performed by Ivory Joe Hunter courtesy Atlantic Recording Corp. by arrangement with Warner Special Products

'Chantez Chantez' Written by Gamse/Fields (Cromwell Music of Australia) performed by Dinah Shore courtesy of BMG Arista Ariola

'My Babe' Written by Willie Dixon (Hoochie Coochie Music /Bug Music/Jewel Music-Aus.) performed by Little Walter courtesy MCA Records

'She's My Baby' Written by Turnbull/Moffatt/Finch (Tree Publishing/Nominee Publishing /EMI Music Publishing) performed by Johnny O'Keefe courtesy Festival Records Pty Ltd

'Roll With Me Henry' Written by James/Ballard/Otis (Powerforce Music/Hear No Evil Music/ Fort Knox Music) performed by Etta James courtesy Duck Soup Music Group /Espy Music Group

'Tears on my Pillow' Written by Bradford/Lewis (Gladys Music Inc./MCA Gilbey) performed by Kylie Minogue produced by Stock Aitken Waterman courtesy Mushroom Records/PWL Records

'Please Send Me Someone To Love' Written by Percy Mayfield (ATV Music/EMI Music Publishing) performed by Johnny Diesel & the Injectors produced and mixed by Terry Manning courtesy Chrysalis Records

Soundtrack Album available in Australia on Mushroom Records

Composer Miles Goodman:

Goodman was an American composer who died of a heart attack at a young age, and did only this one Australian feature film. His career, life and untimely death are recorded in his wiki listing here. Thanks to the AFTRS documentary done for Roadshow which looks at the composing and recording of the music and included in the DVD release (the music was recorded at the AFTRS), there is a little more information than usual about the film’s music.

The documentary begins with director Chris Thompson saying the film moved two innocents in a provincial environment to the satanic mills of the city and so he was looking for a score which had a “basic lyricism”.

Because it’s a love story, this was the main requirement.

(Below: composer and director in the studio) The film then follows composer Miles Goodman through his work for the film. Editor John Scott turns up, as does recording engineer Gerry Nixon, who helps set up a recording session. Australian composer Sharon Calcraft, who acted as composer’s assistant, is also interviewed. Goodman emphasises his initial response to watching the movie as his inspiration on how to approach the score, while director Thompson reveals some concern about an electric guitar featuring as the solo instrument with the string orchestra. He waited with some trepidation to hear the mix. (Local guitarist Tommy Emmanuel did the guitar work, but is not seen in the documentary).

Goodman displays to camera his conducting chop stick - which he got from the Jumbo Floating Restaurant Aberdeen in Hong Kong, claiming it’s the right weight compared to other batons. He prefers the weight down at the tip. Then a relatively large band assembles in the studio, and concert master Phillip Hartl is interviewed about the session musicians, and the need for them to have more attack in their playing than, say, for symphonic work.

(Below, photos illustrating the size of the band and a sneaky shot of a muso slacking off).

Goodman discusses his relationship with, and the importance of, the recording engineer, and then invites the unseen interviewer to ask the director why he was chosen to write the score.

Thompson admits that he was constrained by the requirement of the financiers that some elements be American, and while there weren’t many, one of them was a composer.

“Why I don’t know ...(shrugging his shoulders)… I don’t mind ‘cause I like Miles very much and he’s very good, but er that was simply a decision taken when the film’s money was put together.” Goodman then speculates on the reasons, you wrote X score and the music in X picture is like the music wanted for my picture, “or they like you” and feel comfortable and confident that they can communicate with you and that you can deliver. “Rarely is the decision based on what it should be based on …which is how a composer has addressed each film individually.”

Director and composer then discuss the music for specific scenes (the “kabuki shot” Goodman calls one element), and then it’s into a recording session with Goodman conducting, and then to engineer Nixon and editor Scott discussing setting/marking up the musical cues so that the Umatic tape could roll in lock with the 24 track recorder and the conductor can see visually the end cue. Without click tracks, Scott notes, the conductor is virtually conducting ‘free form’ to image. Goodman says he enjoys the flexibility and a chance to respond to the picture and a chance to respond to the “palpable quality of the orchestra”. It also gives him a chance to be flexible with the director and his input.

After Goodman reiterating his concern that he has to trust they’re getting what he wants in the recording, it’s on to Goodman conducting a session in which the music over the opening title sequence is put down. Nixon worries about throwing the music into the lion’s den and hoping it doesn’t get clawed, and Goodman says he goes to the dub (film mixing session) to fight his battles then, knowing that not all the cues he’s written will necessarily end up in the finished film - but he would rather over-write and weed it out. “My motto is, if I get 80 per cent, of what I’ve recorded in the movie, I’m a happy guy.”

The film then finishes with the title sequence and music in finished form.

Lyrics for music running over end credits:

‘Lucille’ begins playing over the newly formed nuclear family of hero, heroine and freshly adopted daughter dancing together. The end credits begin to roll as Little Richard does one of his famous shrieks, and then the saxophone kicks in. The remaining lyrics for ‘Lucille’ that play over the end roller are:

...I woke up this morning Lucille was not in sight I asked my friends about her But all their lips were tight Lucille, please come back to where you belong I’ll be good to you, baby, please don’t leave me alone Lucillle, baby, satisfy my heart Lucillle, baby, satisfy my heart I’ll live with you baby And give you such a wonderful start.

When the song finishes, it’s replaced by Kylie Minogue singing a slow, romantic Bradford/Lewis composition produced by Stock Aitken Waterman, “Tears on my Pillow”.

Depending on the chart used, this song reached #20 in Australia (ARIA) and also charted in other countries, scoring a Silver in the UK for sales of 200,000. The song has its own wiki, and the Minogue version is part of that listing here. Lyrics as they appear in the film:

You don’t remember me, but I remember you ’Twas not so long ago, you broke my heart in two. Tears on my pillow Pain in my heart caused by you oooh ooh If we could start anew, I wouldn’t hesitate I’d gladly take you back and tempt the hand of fate Tears on my pillow Pain in my heart caused by you oooh ooh Love is not a gadget, love is not a toy When you find the one you love she’ll fill your heart with joy If we could start anew, I wouldn’t hesitate I’d gladly take you back and tempt the hand of fate Tears on my pillow Pain in my heart caused by you oooh ooh Tears on my pillow Pain in my heart caused by youuu … (song fades out) Soundtrack Releases:

Because of Minogue’s involvement, a large variety of editions of the film’s music were put out, but these did not feature Goodman’s underscore, with the exception of the main theme, which is stated most fully at the start of the film.

The compilations mainly emphasised the pop music component, and usually included Minogue’s final track over the end titles.

In the main LP/CD release, Little Richard’s version of Lucille was replaced with a version by Australian singer Swanee, presumably as the result of a rights issue. This version was also released by Mushroom as a 45, but did little business.

The following list is not comprehensive, but rather indicative.

LP Mushroom TVL93312 CD TVD 93312 1990

Original Music by Allan Zavod Album produced by Allan Zavod Production co-ordinator: Marc Gonsalves-Gunn Engineer: Robin Grey Soundtrack mixed at Allan Eaton Sound, Melbourne Big Band segments recorded at Albert Studios, Sydney, Australia Engineer: David Hemming Orchestral score recorded at Allan Eaton, Melbourne, Australia

SIDE 1:

Please Send Me Someone To Love (P. Mayfield) Vocals: Johnny Diesel and The Injectors. (SBK Songs) Produced and engineered by Terry Manning, courtesy of Chrysalis Records, Inc. Slippin’ And Slidin’ (Penniman/Bocage/Collins/Smith) Vocals: Little Richard (SBK Songs/Harry Fox, courtesy of Specialty Records, Inc. Twenty Flight Rock (Fairchild/Cochran) Vocals: Eddie Cochran (J. Albert & Son), courtesy of EMI, a division of Capitol Records, Inc. Break Up (Rich) Vocals: Jerry Lee Lewis (Warner Bros), courtesy of Sun Records, Inc. Be-Bop-A-Lula (Vincent/Davis) Vocals: Gene Vincent & His Blue Caps (Chappell)

SIDE 2:

Lucille (Penniman/Collins) Vocals: Swanee (MCA) One Night (Bartholomew/King) Vocals: Fats Domino (J. Albert & Son), produced by Mark Moffatt Only You (Ram/Rand) Vocals: The Platters (Chappell), courtesy of Dominion Entertainment, Inc. Tears On My Pillow (Bradford/Lewis) Vocals: Kylie Minogue (Gilbey), produced by Stock Aitken Waterman Theme From The Delinquents, “The Delinquents” Orchestra, (Control) Conductor: Miles Goodman Concert Master: Phillip Hartl Engineer: Gerry Nixon Solo Guitar: Tommy Emmanuel Courtesy of The Delinquents Pty. Ltd. This release appeared in a number of territories - see below for examples of the CD etc.

There were also a number of spin-offs. Minogue’s song, which had appeared on her second studio album, Enjoy Yourself, was also released in November 1989 in Australia as a 45 and CD single, and in other territories.

Mushroom also got Johnny Diesel into the act: (Chrysalis release)

45 Mushroom K 110. 1989 (Limited edition, picture sleeve) Produced and Engineered by Terry Manning “Please Send Me Someone To Love” (Percy Mayfield)(SBK Songs), vocals: Johnny Diesel & The Injectors

And Swanee was also a Mushroom release:

45 Mushroom K1067 1990 (Picture sleeve) “Lucille” (Penniman/Collins) (MCA) Vocals: Swanee, produced by Mark Moffatt

(Below: Australian CD, German LP version, CD version, cassette versions, artwork etc)