Original Music John Clifford White

Additional Music & Original Song Gavin Friday & Maurice Seezer

John Clifford White original score recorded and mixed by Scott Hemming at Metropolis Audio, Australia

Real World Records and Peter Gabriel remixed by Steven Bray at Real World Studios, England

“Until I’m In You” Composed by Gavin Friday and Maurice Seezer Published by Friday/Seezer Music © 1995 Performed by Annel M Drecker and the Big No No Produced by Tim Simenon, Gavin Friday and Maurice Seezer Recorded by Q and mixed by Tim Simenon at RAK Studios, London

“Sygyt Khoomei Kargyraa” Traditional arranged by Boris Salchak Published by WOMAD Music Ltd/EMI Virgin Music Ltd Performed by Shu-de, ℗ 1994 Real World Records Ltd

“Spirit in the Sky” Composed by Norman Greenbaum Published by Essex Music Australia Pty Ltd Performed by Norman Greenbaum, Courtesy of Transtone Productions Instrumental version Performed by The Muttonbirds

“Very Very Hungry” Composed by Brian Eno/David Byrne Published by EQ Music/BMG Music/Warner Chappell Music Australia Performed by David Byrne and Brian Eno, Courtesy of Virgin Records

“Angel Tech” Composed by Richard Norris, Dave Ball, Alex Gifford and Sheila Chandra Published by M62/BMG Music Publishing Co/WOMAD Music Ltd EMI Virgin Music Ltd/Moonsung Music, Performed by The Grid ℗ 1994 Real World Records Ltd.

“My Special Angel” Composed by Jimmy Duncan Published by Vale Music Corp/J Albert & Son, Performed by The Vogues Courtesy of Warner Bros Record Inc By arrangement with Warner Special Products “Sea of Vapours” & “ Tracery” Composed by Michael Brook Published by Opal Music (except North America by Opala Music Inc/BMI) Performed by Nusrat Fateh Ali Khan,℗ 1990 Real World Records Ltd

“We Do What We’re Told milgram’s 37” Composed by Peter Gabriel Published by Real World Music Ltd/EMI Virgin Music Ltd Performed by Peter Gabriel, ℗ 1986 Peter Gabriel Ltd

“On Your Shore” Composed by Enya, Published by EMI Music Publishing Australia Ltd Performed by Enya, Courtesy of Warner Music UK Ltd

“Astral” Composed by Dave Clayton, Performed by Dave Clayton and Renaud Pion

CD:

A CD of the film’s soundtrack was released in several editions.

CD Icon 19951 1995

Original Music John Clifford White, Gavin Friday, Maurice Seezer Music Supervisor and album producer Chris Gough Gavin Friday, Maurice Seezer, Tim Simenon appear courtesy of Island Records Ltd. Anneli M. Drecker appears courtesy of Bel Canto & Lava Records Renaud Pion plays Selmer Pipes

1. Sygyt Khoomei Kargyraa (Trad. Arr: Boris Salchak), performed by Shu-de, published by WOMAD Music Ltd / Virgin Music Ltd., courtesy of Real World Records Ltd. 2. Spirit In The Sky (Norman Greenbaum) Vocals: Norman Greenbaum, published by Essex Music Australia Pty. Ltd., courtesy of Transtone Productions 3. Angel Tech (Richard Norris, Dave Ball, Alex Gifford, Sheila Chandra), performed by The Grid, published by M62 / BMG Music Publishing Co/WOMAD Music Ltd/EMI Virgin Music Ltd/Moonsung Music, courtesy of Real World Records Ltd. 4. Incantations (John Clifford White) Vocals: Fouard Harraka, performed by John Clifford White, published by Screensong/Mana Music Vocals - Fouard Harraka; bass guitar - Chris Pettifer; ondes martenot - Robert Clarke; timpani - Christine Turpin; trumpet - Greg Maundrell; drums - Angus Burchall; electric violin - Nigel MacLean; orchestrations - John Hawker, produced by John Clifford White and Scott Heming 5. My Special Angel (Jimmy Duncan) Vocals: The Vogues, published by Yale Music Corp/J. Albert & Son, courtesy of Warner Bros. Record Inc. by arrangement with Warner Special Products 6. Sea Of Vapours (Michael Brook) Vocals: Nusrat Fateh Ali Khan, published by Opal Music (except in North America by Opala Music Inc/BMG), courtesy of Real World Records Ltd., J. Albert & Son Pty. Ltd. 7. Blue & Green (Can Never Be Seen) (Gavin Friday, Maurice Seezer) Vocals: The Big No No, Anneli M. Drecker, published by Mana Music Publishing; vocals, backing vocals - Anneli M. Drecker; bass clarinet, bagless pipes - Renaud Pion; keyboards - Dave Clayton; drum programming - Tim Simenon, piano, accordion, keyboards, drum programming; bass - Maurice Seezer; violins - Colm McCaughey; programming - Don Hozz; backing vocals - Gavin Friday; produced by Tim Simenon, Gavin Friday, Maurice Seezer, mixed by Tim Simenon, engineered by ‘Q’ and Maurice Seezer, recorded at ‘The Morgue’, Dublin, RAK Studios, London 8. The Freak Out (John Clifford White) Vocals: Fouard Harraka, published by Screensong/Mana Music, vocals - Fouard Harraka, bass guitar - Chris Pettifer; ondes martenot - Robert Clarke; timpani - Christine Turpin; trumpet - Greg Maundrell; drums - Angus Burchall; orchestrations - John Hawker; produced by John Clifford White and Scott Hemming 9. We Do What We’re Told (Peter Gabriel) Vocals : Peter Gabriel, published by Real World Music Ltd/EMI Virgin Music Ltd., courtesy of Peter Gabriel Ltd. 10. Tracery (Michael Brook) Vocals: Nusrat Fateh Ali Khan, published by Opal Music (except in North America by Opala Music Inc/BMG), courtesy of Real World Records Inc. 11. Escape (John Clifford White) Vocals: Fouard Harraka, published by Screensong/ Mana Music; vocals - Fouard Harraka; bass Guitar - Chris Pettifer; ondes martenot - Robert Clarke; timpani - Christine Turpin; trumpet - Greg Maundrell; drums - Angus Burchal; electric violin - Nigel MacLean; orchestrations - John Hawker; produced by John Clifford White and Scott Hemming 12. Until I’m In You (Gavin Friday, Maurice Seezer) Vocals : Anneli M. Drecker, published by Mana Music Publishing; vocals, backing vocals - Anneli M. Drecker; bass clarinet, bagless pipes - Renaud Pion; keyboards - Dave Clayton; drum programming - Tim Simenon; piano, accordion, keyboards, drum programming, bass - Maurice Seezer; violins - Colm McCaughey; programming - Don Hozz; backing vocals - Gavin Friday; produced by Tim Simenon, Gavin Friday, Maurice Seezer; mixed by Tim Simenon; engineered by ‘Q’ and Maurice Seezer; recorded at ‘The Morgue’, Dublin, RAK Studios, London. 13. Astral (Dave Clayton), performed by Dave Clayton, Renaud Pion

Lyrics:

Head credits:

The head credits are accompanied by Norman Greenbaum’s classic song Spirit in the Sky. Lyrics as heard in the film:

When I die and they lay me to rest Gonna go to the place that's the best When I lay me down to die Goin' up to the spirit in the sky Goin' up to the spirit in the sky (chorus “spirit in the sky’) That's where I'm gonna go when I die (‘when I die’) When I die and they lay me to rest I’m gonna go to the place that's the best (short instrumental interlude) Prepare yourself you know it's a must Gotta have a friend in Jesus So you know that when you die He's gonna recommend you To the spirit in the sky (‘spirit in the sky’) Gonna recommend you To the spirit in the skies That's where you're gonna go when you die (‘when you die’) When you die and they lay you to rest You're gonna go to the place that's the best

(Short instrumental interlude as David Argue fools about in the ten pin bowling lane)

Never been a sinner I never sinned (with chorus) I got a friend in Jesus So you know that when I die He's gonna set me up with The spirit in the sky (with chorus) Oh set me up with the spirit in the sky That's where I'm gonna go when I die (‘when I die’) When I die and they lay me to rest I'm gonna go to the place that's the best Go to the place that's the best …

(Instrumental, which fades down as Jacqueline McKenzie’s Kate sits smoking in a drug treatment clinic, and then John Lynch’s Harry is telling Colin Friels’ Morris in the kitchen that she’s beautiful, fiery and mysterious, he worships her ... even if he hasn’t met her yet)

Tail credits:

As Harry’s walking up to the top of the West Gate Bridge, Until I’m In You begins playing on the soundtrack.

Harry stands on the bridge railing, fantasising that Jacqueline McKenzie is standing next to him and they make bird noises and flap their arms, as if flying.

Until I’m In You plays on the soundtrack, though the lyrics are sometimes obscured by the bird noises:

Bright and shiny lonely star Take my prayers Under your wing Blow a kiss, a magic spell Gently roll the clouds away Ah hahh Mmmm mmm With Godspeed, an angel sings Your very soul is mine to keep Gravity's imaginary With your white big fluffy feathered wings Ah hahh Mmmmm … mmmmm …mmmm

(With the Yarra river below, McKenzie asks Harry, “shall we do it?” and they begin the bird routine)

Hold me closer And closer, closer still Until I'm in you Until I’m lost in you Secret world Heaven sent Is calling you and me Where blue and green can never be seen Without a colour in between (Harry is still poised on bridge edge flapping and cawing away with Kate as the image cuts to black and end titles begin)

Yeeaah ooooh …( and similar sounds as the music builds, then cuts back to)

Hold me closer And closer, closer still Until I'm in you Until I'm lost in you … Oh, hold me closer Never, never true Until I’m in you I’m in you, I’m in you Oooh aahaah Yeah yeah yeah Oooh haah yeah Secret world Heaven sent Is calling you And me Where blue and green can be seen Without a colour in between (The song turns instrumental with a wailing didge-like sound, and synth noises and this carries on until it fades down with the last title)

Composer:

John Clifford White had worked at Crawfords as a music editor, putting library music to cop show images, and then worked with director Geoffrey Wright on Lover Boy, before going on to craft perhaps one of the best scores for an Australian film with his brooding, pulsating work for Wright’s first full-length feature, Romper Stomper (incidentally bringing fame and controversy to Russell Crowe in his best early role, as a neo-Nazi skinhead thug).

White then moved on to the music for the 1993 The Heartbreak Kid and in 1994, the low budget show Talk, before doing Police Rescue, and also in 1994, Wright’s Metal Skin, followed by Angel Baby in 1995.

White was involved in a set of questions put by Cinema Papers in the May 1988 issue (the other composers were Peter Best, Bruce Rowland, Bruce Smeaton and Paul Schutze).

This would have been about the time that White had worked on the score for Lover Boy, and though he doesn’t directly discuss the film, his answers provide some background to his early career and work.

The first question was in fact about musical background, and why he decided to compose for film:

I used to do radio productions with a friend in high school who had a tape recorder. I used to choose the music for it, and progressed to making a standard 8 movie. My teacher suggested I have a shot at Swinburne Film School. Back then they had about 600 applications and only took in 15. They liked the film I did at school and I was accepted. I was always interested in film editing and music, but I didn’t know which I liked better. At film school, the lecturer said, “Hands up everyone who wants to be a director.” Everybody puts their hands up - everyone’s going to be a director. He notices this hand down at the back. “Why isn’t your hand up, John?” “Oh, I want to work in sound.” Of course everyone laughs. “What do you want to work in sound for?” “Well, if everyone else is going to be a director, there’s got to be somebody to put the sound track on.” I started scoring short films, and did a TV feature called Taxi. I was 19 at the time and got $40 for it! I also got a song into the Australian Song Awards. After Swinburne I did music editing for Cop Shop, some of The Sullivans, Prisoner and Carson’s Law.

The next question asked about involvement with director or producer:

Depends on the actual person. Some of them will spend a lot of time with you and say, “This is what I want, and if you’ve got a couple of hours, can we go through the records now?” And some of them come in and say, “Well, there’s the show! It’s not very good but I know you’ll help it, and then walk out! And then you look at it and say, “No wonder they didn’t stay around!”

The next question concerned the working budget:

It depends on the project. There is a budget and it is worked out, but the accountants usually don’t tell you how much it is. They only let you know if you’ve gone overboard. Film and television library disks of stock music cost about $40 for 30 seconds, so it sort of stacks up. For music editing, I charge by the hour, but for scoring I give them a quote. However, it does depend on the subject matter. I mean, if someone wants the London Symphony Orchestra, they’re going to have to pay for it! If you quote $6000, you’ve got to stress to them that they’re not going to get an orchestra for that!

The next question concerned major disadvantages encountered as a film composer:

Oh yeh - money. I was told as a teenager, “If you want to make money, become a real estate agent!” If you’re a John Williams you’re going to make a lot of money, and it even took him 30 years to get where he is. He started out doing the theme to Lost in Space! The biggest problem, however, is getting the film late in the whole stage and having very little time to do the music.

The final question concerned the role music played in the success or failure of a movie, and whether the composer received sufficient recognition for his or her contribution:

The role music plays is huge - absolutely huge. There are some great films that don’t need music such as The Hill, where you get the impression there’s music but there isn’t. Throughout the movie in the background is the sound-track of soldiers marching around yelling ‘Hup! Hep’ etc which is a kind of music. Another film that hasn’t got music but you think it has is Hitchcock’s The Birds, and in a sense there is a score because the soundtrack is electronic squeaks. Herrmann got into something that they had to put a stop to after a while because he was experimenting with specific sub-sonic tones. There were some that would make people cry, some that would make people laugh, some that would make people downright suicidal. It was a bit like subliminal advertising, and eventually it was stopped because it was considered too dangerous and unpredictable. Some people are very ignorant about the importance of music to film, but some are brilliant, like Stanley Kubrick. He might spend four to five years doing his projects, and he spends as much time with the music as he does with the picture. For years the film scorer was regarded as the guy who comes to paint the house when it’s finished. However, I do believe that scorers are getting more recognition nowadays. I was really complimented one day when someone said they didn’t hear the music in my show. They said, “Why didn’t you put any music on?”, and I said, “It is there!” That’s the best thing that a scorer can be told. If they notice it and they’re supposed to - like the theme - then great. But if they’re not, and they say, “Gee, I really liked that music over the tender love scene”, then I’d say, “Sorry, I’ve done wrong.” It’s supposed to be a part of the picture. Bernard Herrmann was asked what he thought music’s role was, and he said, “It should be an invisible shroud that comes out of the screen and links the people on the seats to what’s on the screen.” I think it gets back to getting into the soul of the thing, not just following the action. You pretend the thing has a soul, and you get into the mood and the atmosphere - the psyche if you like.

Clifford White at one point turned his hand to comedy writing. His co-author on the book, William K. Halliwell, can briefly be seen in Romper Stomper playing a derelict wino in a shopping mall.

More details of this 1983 Sun book at Trove here:

(Below: John Clifford White) (Below: John Clifford White in later times at a Crawfords’ Homicide reunion party, 2014, in the second still with Steve Lambeth, and in the bottom still with actor Gerard Kennedy)