Music Composed and Performed by Separate Tables and David Bridie and John Phillips

"Call Me" Composed by Lisa Schouw Arranged and Performed by Separate Tables

"What About Love" Composed by Brett McNoughton Arranged and Performed by Separate Tables

"Senorita" Composed by Brett McNoughton and Robin Gist Arranged and Performed by Separate Tables

"I Did" Composed, Arranged and Performed by Not Drowning Waving with Robbie Douglas Turner

"Changes" Composed and Arranged by Lisa Schouw Performed by Separate Tables

"Alfred Toothbrush" Composed by David Bridie Arranged and Performed by David Bridie and John Phillips Lyrics:

The song that runs over the tail credits is Call Me, composed by Lisa Schouw and performed by Separate Tables (with Schouw doing lead vocals).

At the very end of the film, when Kate returns to the house, Sal says he's missed her.

"Why'd you do it?" she growls back at him, "where is she?"

Kate opens the door to her singer friend Jane's room and finds it empty. She returns to her own room, and standing next to a vase of poppies, says "she's gone."

Sal is apparently too thick to realise it, asking "what do you mean, she's gone?"

Kate: "Her room … everything's gone."

Kate sweeps the vase of flowers off the table to the floor.

Cut to Kate with her hand on the window pane, looking out, as Sal comes up alongside her.

Kate (after a long pause): "You've killed something … that was precious and tender in me. There's no charity in my heart anymore… I'm scared …"

The image cuts to black, credits roll and the song begins:

Mmmmmmhhh... Call me ... (echo 'call me') Call me ... And see love Coming right Call me … (saxophone echoes the line) Neon signs and gay confusion Call me … (sax echoes the line) Evening shows you even less High-dressed women in the net Call me … (sax echoes the line) Call me … (sax echoes the line) Call me … (sax echoes the line, etc) Something's coming I can feel it Call me ... Things are changin' very swiftly Callin' me ... Evening shows you even less High-dressed women in the net Call me ... Call me ...

(Extended instrumental, with saxophone lead)

Something's coming I can feel it Call me Things are changin' very swiftly Callin' me Evening shows you even less High-dressed women in the net Call me ... Call me ... Mmmm ... Mmmmeee ... Call on me ... Callin' me … Meeeehee ….eehhh … Mmmm eeehh Mmmmh …

(the last few murmurs run over black)

Oooohh Meeeheah Composers - Separate Tables:

Lisa Schouw, who starred in the film as Jane, was one of the key driving forces behind the band Separate Tables, and as can be seen in the credits above, contributed several songs to the soundtrack.

The band turned into Girl Overboard, and one of their songs ran over the tail credits of Murray Fahey's Get Away Get Away.

Sadly cancer took Schouw young with a 6th October 2020 vale at the Music Network here:

Lisa Schouw, the acclaimed singer and behind the ARIA- nominated 90s band Girl Overboard, has passed away after a battle with cancer. The band was best known for hits ‘I Can’t Believe’, ‘The Love We Make’ and ‘Permanent Friend’ for which they scored ARIA nominations for breakthrough artist, best single and best video. Schouw and the band journeyed to the US and UK to further their careers. In a Facebook tribute, former bassist John Favaro remembered her as “a talented and unique performer who always demanded the best from herself and her bandmates.” Born in South Africa, Schouw’s family moved to Auckland when she was three. Her first passion was classical ballet, but her rising career in New Zealand stopped after an ankle injury. She switched to journalism before moving to Australia in 1983. “I guess I was searching for something to fill the gap inside me caused by not being able to dance anymore,” she was once quoted as saying. “I had always loved singing but had thought my voice was no good. It was only when I moved to Australia that I really started to pursue a career in music seriously.” Early in her career, Glenn Wheatley offered Schouw recording and publishing deal. In 1987 she formed Separate Tables, initially with guitarist Robin Gist, keyboard player Brett McNaughton and a drum machine. They signed to RCA/BMG and joined on his massive Jack’s Back tour. While recording their 1990 debut album Paint A Picture with producer Ross Fraser, they changed their name to the more ethereal Girl Overboard. The album went Top 20 and was certified gold. Schouw appeared in the Australian film Hungry Heart and contributed to the soundtrack Girl Overboard’s follow up album GO (1991), produced by Charles Fisher, received critical acclaim for songs as ‘Jackie’ and ‘Chain of Fools’ but failed to chart and the band split up two years later. Schouw’s career then encompassed many disciplines. They included an acclaimed acoustic jazz trio, and a series of sell-out theatre shows she devised and produced in Sydney. She returned to her original love in a number of commissioned dance works including The Independent Dance Collection at Performance Space.

The band's early history can be found at the Girl Overboard wiki listing here. Separate Tables only published a few singles and EPs, details at Discogs here.

For shots of Schouw and the bands seen in the film, see this site's photo galleries.

(Below: Lisa Schouw and the band as seen on one of its releases)

Co-composers David Bridie and John Phillips:

Bridie and Phillips were founding members of the band Not Drowning, Waving, and there is an interview with Bridie here, which includes this introduction to this aspect of Bridie’s career:

By 1991, Bridie and co. had nailed the score for Jocelyn Moorhouse’s award-winning drama Proof starring Hugo Weaving, Geneviève Picot and Russell Crowe. The following year Bridie and Phillips scored David Caesar’s Greenkeeping. Then came What I Have Written, as well as the Judy Davis and Billy Connolly comedy The Man Who Sued God and… well the list goes on. All the while, the clips they were having made for their album tracks were being produced by filmmakers rather than those known for music videos, and all of them “were approached more as short films than band promotion film clips,” says Bridie.

Bridie had this to say about composing for the screen: “They are both very different process wise and it would depend on which day of the week I was asked as to what preference I would give. I like the team aspects of working on film. There is often a hundred people employed on a feature or in a series and everyone is working towards making it the best it can be. This special relationship only works obviously if everybody buys in, but when it does, it’s a great feeling. The primary relationship for the composer is with the director, the editor and the creative producers and fortunately they have mostly been positive ones in the projects I have worked on, though, like all composers, I’ve got stories. Creatively you are clearly in the director’s house and it’s at its worst when it feels like jingle writing with some Reality-TV-loving exec paying the bills. But at its best there are those projects with a heart or an edge that you believe in and a creative director and artistic DOP allowing for creative hours in the studio creating. I see myself as a songwriter/recording and performing artist before I see myself as a screen composer. It makes me feel in control of my destiny. But I need score work constantly to fund the Wantok Musik Foundation, which I have a big responsibility towards and [which] I don’t draw a wage from.

There’s also an interview with Phillips and Brodie which is now to be found on the Wayback Machine here.

Not Drowning, Waving have a reasonably detailed wiki here, which provides references to other content on the internet, and a link to Bridie’s wiki here.

(Below: John Phillips and David Brodie, and below that Phillips and Brodie in single stills)

(Below: while this film was a side project for Brodie and Phillips, here’s Not Drowning, Waving, with its core players, and below that, with other contributors).