Composer Contemporary Footage Philip Judd Music Co-ordinator Gary Hardman Music Licensing Christine Woodruff Music Video Director Mark Hartley - Music - "Tie A Yellow Ribbon Round The Old Oak Tree" Written by I. Levine/L. Russell Brown (Peermusic) "The Great Pretender" Written by Buck Ram (Peermusic) "Physical" Written by T. Shaddick/S. Kipner (Stephen Kipner Music/Terry Shaddick Music/MCA Gilby) "My Way" Written by P. Anka/J. Revaux/C. Francoise/G. Thibault (MCA Music) "Macho Man" Written by H. Belolo/V. Willis/B. Whitehead/J. Marali (Black Scorpio/AMCOS) "Since I Don't Have You" Written by Beaumont/Vogel/Verscharen/Lester/Taylor/Rock/Martin (Peermusic) "I Know What Boys Like" Written by C. Butler (Mushroom Music Pty Ltd) "Hercules Rap" Written and Performed by Des Mangan Music by Phil Rigger Original Italian film (title not mentioned in tail credits): Music Composed and Conducted by Piero Umiliani Music recorded by Firmamento, Rome (As per the credit that appears in the film within the film): The film explains the music in the film by having Bruce Spence’s character work a record player: Soundtrack: The soundtrack was never given a full-blooded commercial release, but copies did find their way into the marketplace to cater for cult enthusiasts. It was allegedly “based on the feature film”, but featured more Des Mangan and Phil Rigger than Phil Judd: CD Screentrax/Polydor 5212022 1993 Includes dialogue from the film. Produced and Arranged by: Phil Rigger Recorded at Fineline Studio, Randwick Engineered and recorded by Phil Rigger Assisted by Keith Cooper Mastered at 301 Studios, Sydney by Steve Smart Project co-ordinators: Screensong Pty. Ltd, John Hopkins Phil Rigger would like to thank AKAI Professional, Australis Music, Harbour Music, Hutchings Keyboards and Charing Cross Studios and all those who gave their support and encouragement © 1993 Screensong Pty. Limited/Peermusic Pty. Limited Hercules Rap (3’31”) Des Mangan (Screensong), Phil Rigger (Peermusic) Vocals: Rachel Dunham The Story Continues...Herc Rescues Labia (2’31”) Pink Panthenon (5’05”) Des Mangan (Screensong), Phil Rigger (Peermusic) Vocals: Tony Malouf And Continues...Hercules Secret Ambition (2’25”) Funk It Up (3’46”) Des Mangan (Screensong), Phil Rigger (Peermusic) Vocals: Helen Curic And Continues...Labia And Testiculi (4’43”) Muscles For Hire (4’23”) Des Mangan (Screensong), Phil Rigger (Peermusic) Vocals: Helen Curic. And Continues...Samson And Delilah (1’26”) Delilah’s Song (3’48”) (Des Mangan (Screensong), Phil Rigger (Peermusic) And Continues...Machismo Joins The Fight (2’05”) Embarrassing (4’10”) Des Mangan (Screensong), Phil Rigger (Peermusic) And Continues...Labia And Testiculi Elope (2’14”) Macho Man (4’10”) Morali, Belolo, Willis, Whitehead (Scorpio Music) Vocals: Tony Malouf And Continues...Herc Get The Plot (1’35”) Don’t You Just Love That Music (4’34”) (Des Mangan (Screensong), Phil Rigger (Peermusic) And Ends...Life Goes On, And On, And On (0’38”) 45/12 Featuring dialogue cuts from the movie. Unnumbered, promotional release only: SIDE 1: Hercules Rap Muscles For Hire SIDE 2: Don’t You Love That Music Don’t You Love That Music (Remix) Lyrics: Lyrics for the end Hercules rap that begins over the party scene and runs through the end credits: My name is Hercules, I’m the son of a God Thick as a brick, but a beautiful bod I am tough and I am strong I like bursting into song You didn’t know that Herc was a singer You didn’t know that Herc was a swinger This is my voice, yo, don’t be silly Who do you think I am, Milli Vanilli? I’m no legend, I am real! Son of a god, with true sex appeal Ask any girl what they think of Herc They like waking up with the jerk Now my story starts with my father Zeus A nice guy, but he thinks I’m a goose He said he was sending me on a quest And when I got to town he’d tell me the rest I had to know, I had to ask Was I worthy of this task? He couldn’t find nobody better Not even that wimp, uhh, Schwarzenegger I’m riding along, I spy a motion There’s this girl, drowning in the ocean So I dived in and swam like a fish Saved the life of this lovely dish I took her back home, where I met her mummy She’s got a nice club and talks kinda funny She had it in mind that I should marry her daughter A little reward for saving her from the water … (A chorus takes over from the rap, crooning) He’s no saccules No, no, no noohy no, no … He’s no saccules No, no, no nooh no, no Hercules: She’s in love with this other guy A funny dude called Testiculi A scrawny little runt, he is indeed Like someone wrapped a toga around a weed I had to prove that I was the best I sucked in my gut and popped out my chest I’ll fight Samson to prove I’m bold That big wuss couldn’t fight a cold But Delilah his wife said it wasn’t fair She sapped his strength by cutting his hair Samson wasn’t happy, he could not win So when we fought, I beat the **** out of him As I threw Samson to the ground I asked him what he thought of my sound He said ‘Herc, now listen to me, (deep voice) This song’s rap with a capital “C”’) (The chorus returns) He’s no saccules No, no, no noohy no, no … He’s no saccules No, no, no nooh no, no Hercules: Well the real Zeus came and he said this wasn’t right He didn’t get me here to have a huge fight I was here for one reason, one reason alone To get these two married and put her on the throne. (music goes funny) Oh sorry, that’s two reasons … So I didn’t get the girl, that ain’t so bad At least I made everybody glad I’m a bachelor again but I ain’t cryin’ If I don’t have a girl, I can always pump iron, arrrh Everybody say ‘Yooh” (Chorus responds with an elongated “waah”) Oh come on guys, this is my one big shot at stardom Come on, everybody say ‘Yoh’ Waahh Okay spurn ‘em (Chorus resumes with more “he’s no saccules” and “no, no, no’s”, etc. This keeps running under Hercules as he keeps rapping): Hercules: Yep, that’s me, the big guy You know what, I’ve always wanted to be a singer You know why? ‘Cause the singers always get the chicks. Woooh uhhh Well hello there darling …uh huh Would you care to go out with the son of a God? Yuh? Yuh? Okay, then, well I’ll tell you what I’ll get my old man’s chariot and we can go out on Friday night … And we can go … (The music and chorus cut out) Where’d you go? Oh great, story of my life … Composer Philip Judd: Composer Phil Judd is too well known to go into too much detail here. Judd has a detailed wiki here. He also has an eponymous official website here. This short CV by Chris Woodstra for Rovi contains the high points of Judd’s career: A founding member and early creative force behind New Zealand's Split Enz, Phil Judd quickly became disillusioned with the music industry and dropped out of the band in 1977. After rejoining Split Enz and leaving again, he spent a short time with two legendary New Zealand punk bands -- Suburban Reptiles and Enemy -- eventually setting up his own three-piece band, Swingers. Swingers had some minor success in their homeland (including a number one hit with the unforgettable "Counting the Beat") but fell apart by the early '80s. Judd released his first and only solo album in 1982, Private Lives (edited down to the Swinger EP in the U.S.). It was virtually ignored and Judd changed directions, focusing more on composing film music and pursuing art. In 1986, he joined with former Split Enz bandmates Nigel Griggs and Noel Crombie, along with guitarist Michael Den Elzen, to form Schnell Fenster. After two albums, the group broke up in 1992. Judd then returned to film music, including acclaimed scores for The Big Steal, Death in Brunswick, and Mr. Reliable. In 2006, Judd returned with a solo album, Mr. Phudd and His Novelty Act. Despite consistently producing some really terrific music, Judd's eccentric approach to pop music and skewed outlook have sadly been overlooked. This however ignores later unfortunate events in Judd’s life, which are covered by a story about Judd done by the Sunday Star-Times, 2nd February 2010 - but online at stuff, here: Phil Judd was indeed "a pop star once", as he boasted to a teenage girl in a drunken, damning Facebook message that blew his life apart at the end of last year. A founding songwriter, guitarist and vocalist for Split Enz, and frontman for The Swingers, the new wave band behind the 1981 Australasian chart- topper "Counting the Beat", Judd's musical talents won him critical and commercial success, and the enduring affections of a loyal fanbase during his later years as a solo artist. Things are very different now. This summer, while his former Enz collaborator Tim Finn tours the country's vineyards with Dave Dobbyn and Bic Runga, basking in the adulation that comes with being a certified cultural treasure, Judd has been holed up in his Melbourne home: isolated, publicly reviled.