original music composed & produced by Peter Dasent music editor Julie Pearce music supervision Chris Gough, from Mana Music recorded and mixed at Electric Avenue, Sydney vocals Lily Prior, Shanley Del, Kate Swadling piano Peter Dasent drums Toby hall bass Lloyd Swanton guitar Tim Rollinson tenor sax Tim Hopkins vocal arrangement Tony Backhouse

"Shoop Shoop Song" (It's in his kiss) (Clark) Hudson Bay/Alley Music/Trio Music performed by Shanley Del arranged by Peter Dasent

"I See Red" (Tim Finn) Mushroom Music performed by Split Enz courtesy of Mushroom Records

"Out of Mind, Out of Sight" (James Freud) Mushroom Music performed by The Models courtesy of Mushroom Records

"12 LB Toothbrush" (Fettes/Kreemers/McKenna/ McKinnon/Mason) Mushroom Music performed by Madderlake courtesy of Mushroom Records

"Easy" (Mark Seymour/Hunters & Collectors) Human Frailty/Mushroom Music performed by Hunters & Collectors courtesy of White/Mushroom Records

"Before Too Long" (Paul Kelly) Mushroom Music performed by Paul Kelly courtesy of Mushroom Records

"Funkytown" (Greenberg) Right Song/ Greenberg Music performed by Pseudo Echo courtesy of EMI Records

"Slice of Heaven" (Dave Dobbyn) Mushroom Music performed by Dave Dobbyn courtesy of Sony Music

"Alone With You" (Jeremy Oxley) Mushroom Music performed by The Sunnyboys courtesy of Mushroom Records

"Ordinary Angels" (Austin/Hart) Mushroom Music performed by Frente courtesy of White/Mushroom

"Cruise Control" (Matthews/Lawry/Nevison/Fell/Sweeny/McDonald) Flying Nun/Mushroom Music performed by Headless Chickens courtesy of Flying Nun/Mushroom Records

"Treaty" (M. Yunupingu/G. Yunupingu/M. Munungurr/ S. Kellaway/P. Kelly/M. Witiyana/C. Williams) Yothu Yindi/Mushroom Music performed by Yothu Yindi courtesy of Mushroom Records

"Love the Life" (Gardiner/Condron/Berman) Mushroom Music performed by Bass Culture courtesy of MXL Music/Mushroom

"Nutbush City Limits" (Tina Turner) EMI Music performed by Tina Turner courtesy of EMI Records

"I Wanna be a Hippie" (Newman/Wells) Warner Chappell Music performed by Techno Head courtesy of Mokum Records

Lyrics:

While composer Peter Dasent is credited with the original score, well over the film's first third is linked together by the Shoop Shoop song.

This turns into something of a marathon usage.

The Shoop Shoop song had its own wiki here.

The version used at the start of the film was a cover, arranged by the film's New Zealand born composer and performer Peter Dasent, and performed by Shanley Del.

As noted below, Dasent has a wiki here, with a link to his website. New Zealand born singer Shanley Del has a wiki here.

The film begins with a recap, starting with footage from the original film, Smokes & Lollies, accompanied by a piano track.

Doop wah style vocals begin and run over black and white stills of the original filming, and introductory titles, before shifting on to later times, with the director featured prominently. Wedding music, Here Comes the Bride, accompanies Kerry's wedding, and then there's talk of Gillian Armstrong coming back in seven years time.

The image freezes on the wedding footage of Kerry being doused in confetti, with a fade to black and a title "now seven years later … this is the final film" (it wasn't).

As the camera returns on the road, heading up in to the Adelaide hills to find Josie, the song kicks in.

Lyrics as heard in the film, with the timings below relating to the film's domestic DVD release: c. 2'27":

(Lead): Does he love me, I wanna know How can I tell if he loves me so? (Chorus): (Is it in his eyes?) (Lead): Oh, no, you'll be deceived …

(The song fades down so Armstrong can say the women have a unique record of their lives. Josie and Kerry say they don't look at the old films; Diana says she likes looking at them. The camera returns to the two lane black top, with the animated main title popping on to the screen, as the song returns to foreground). c. 2'50":

(Chorus): Oh yeah Or is it in his face (Lead): Oh no, that's just his charm

(Main title in full over passing countryside, followed by footage from Smokes & Lollies)

(Chorus): In his warm embrace (Lead): Oh no, that's just his arms If you wanna know … (chorus with shoop shoops) If he loves you so It's in his kiss (Chorus): (That's where it is) It's in his kiss … (Song fades down under motor bike and street sounds, with more Smokes & Lollies footage, with Josie in Adelaide's Hindley street. We hear Josie speaking. The piano returns as we see an older Josie and a title identifying her as 14. Then we a title tells us we're looking at Josie aged 26. Another title takes us back to Josie in the kitchen, aged 14. Then we're back having a meal with her dad, with voice over, via footage from Smokes & Lollies. When Josie's dad reprimands her for chewing on those damn lollies - been down to the shop again? - we're suddenly driving past the salt fields to the north of Adelaide, as the song returns) c. 5'41":

(Chorus): How 'bout the way he acts? (Lead): Oh no that's not the way You're not listenin' to all I say If you want to know …

(Chorus shoop shoops return, as we seen a road sign pointing to Port Wakefield, with a turn off to Salisbury)

If he loves you so …

(On Fury, on a motorbike in Smokes & Lollies, a character who will return in the last film in the series with significant implications for Diana)

It's in his kiss … (Chorus): ...that's where it is (Lead): It's in his kiss, that's where it is …

(The song fades back down, under Diana's answers and footage in Smokes & Lollies. A title establishes Diana is now 14, then a title comes over Diana at 18, with the piano music returning. Next comes Diana at 26, hoping her daughters are never going to be the Diana she was at fourteen. She was a misfit back then, which is a cue to see Diana at the table, eating a meal with the family, and calling her brother a little dobber. There's more dialogue from Diana's father and mother, before we're suddenly on Port Road, passing an Instant Windscreens store, as the song returns). c. 7'37":

(Lead): Woooohooh Hug him, squeeze him tight Find out what you wanna know … (The camera glides past Michaels garage on Port Road, and then we're back with Kerry dancing in Smokes & Lollies).

If it's love, if it really is …

(The song fades down under Kerry's dialogue as we see her at the Thebarton drop-in centre featured in Smokes & Lollies. A title establishes that she's 13. Another title under a shot of her at age 18, followed by Kerry at age 26, again with the piano music running under her dialogue, as we see her nanna and mum preparing a meal for Kerry and her brother, and then her mother talking to camera about the young ones, as seen in Smokes & Lollies.

Then we see Josie with kitten, talking, as a title establishes she's 14. We see Josie working, before turning to Diane at age 14 and Diana at 18, again talking with piano under her dialogue. We then turn to Kerry at age 14 as the piano fades out, and we see Kerry cycling up to a corner deli and talking of her ambitions, while blowing a bubble gum.

The piano music returns as a title establishes we're seeing Kerry at 18, and we see her at work. Then we're back with Josie at Christmas time cuddling a baby. A title establishes she's 18 as she talks of work, and having her first child Rebecca. We then cut to Diana with her partner Keith, before turning to Josie talking of her unhappy pregnancy, picking names out of a phone booth to send flowers to herself at hospital to cheer herself up. That's followed by shots of Diana and Keith getting married, and the fight they had on their wedding night.

Then it's back to Josie talking of life with a baby and meeting Ken and getting married to him, with shots of the wedding and her unhappy reception, quite depressing really, with only eight coming back for it. Then it's back to Kerry at 14 talking of getting married at 18, followed by Kerry at 18, playing eightball.

While she's dancing, we hear a snatch of the old Split Enz classic "I See Red".

Then we're with Diana saying that she and Keith are very lovey dovey and playing chess - no music. That's followed by Josie giving her daughters a bath as she explains the marriage to Ken lasted twelve months and she's glad she's still young enough to find someone else. While ironing, she explains Rebecca is asthmatic, then says going for a drive, even if it's just to the shopping centre relieves boredom.

We then cut to Kerry and a friend turning up to Keith's workplace to collect his pay. Diana and Keith go to look at baby's things, before recalling Keith's appearance in court for assault, earning himself a suspended jail sentence and good behaviour bond. We see the pair in hospital with new baby Amy.

The piano, with dooh wah chorus, returns over a birthday cake for seven year old Amy at a birthday party, followed by Diana at 26 thinking she looks a lot better now thanks to a couple of jaw operations to make her teeth fit properly. Keith introduces to camera Amy 7, Tamara 5 nearly and Kylie nearly 6. Keith organises a game of musical chairs.

Then it's back to her kids drawing the curtains and waking up Josie when they get back from school. A title establishes we're listening to Josie putting on make up and calling herself a moody person. In her kitchen, Josie introduces Wendy, seven years later, Rebecca and Wayne, her fiancee, hopefully her husband next year.

Then we're on the beach outside the West Beach surf lifesaving club, with Kerry aged 26 introducing to camera her husband to be Neil, and as they swim in the flat bay water, describing how they met. We see a younger Kerry applying lipstick, as the piano music with doo wah chorus returns. It fades out as we see Kerry is still at home, saving money, and then at work. We see Keith and Kylie, as Diana talks in voice over explaining Keith has been at home a lot more than other husbands, a great help. She talks of the worst time in her life, when Kylie was born prematurely and was just over the length of a ballpoint pen. Keith also relives the trauma, as Diana talks of hoping to buy a house.

We cut to Josie working in a factory, with a sign establishing that she's at work on the 15th December 1987. Josie says she's committed to work for the next five years to keep the house going.

Next comes a double decker party bus in Adelaide's CBD as the driver explains Kerry is out on her last fling, as we hear snatches from a couple of songs, then see some dancing in the disco and the male stripper doing his thing to Pseudo Echo's Funkytown.

Then we see Kerry's girlfriends explaining they were going to throw slop over her, but she passed out.

Cut to Diana to work as a waitress, saying it's added an exciting element to her life. (She's not as particular anymore with the house work).

This really extended montage from the first three films in the series ends with Kerry's wedding and with shots of the camera gliding up to and settling on the three protagonists and their families.

After this lengthy establisher, at 36'11" into the film, the song which has helped link together the montage returns over Kerry getting married). c. 36'11":

(Lead): Wooohoooh Hug him ... squeeze him tight Find out what you wanna know …

(Back with the travelling shots on the two lane blacktop as we travel up into the hills to meet Josie and her new situation in a pub)

If it's love, if it really is It's there in his kiss … (with chorus)

(Chorus): How 'bout the way he acts? (Lead): Oh no that's not the way You're not listenin' to all I say If you want to know...

(Chorus returns with 'shoop shoop' as we see a rural general store)

If he loves you so It's in his kiss (Chorus): ... that's where it is (Lead): It's in his kiss .. Chorus: That's where it is …

(The music begins to fade down as the camera pans around to pick up the Tungkillo Hotel, with signs for Coopers and saying it's a Johnston hotel)

(Lead): It's in his kiss .. Chorus: That's where it is … (Lead): Whoaoohwooh …

(The music fades out as bunch of flowers carrying director Gillian Armstrong arrives at the front door and we see a sign "Hotel Licencees Michael D Reid and Josephine K Young Mine Host".

Armstrong heads inside and calls out "excuse me" to Josie, behind the bar, holding a tray with sandwiches on it. She pretends to be surprised by Armstrong's arrival. At this point the piano music returns and the film begins to focus on the latest stage in the lives of the series' three key protagonists) …

Composer Peter Dasent:

Dasent has a short wiki here, and an official eponymous website at time of writing here.

The site had this short bio and photo:

I play piano, compose music, write songs and generally involve myself in interesting music projects.

While I try not to confine myself to any particular musical genre, I will admit to being hugely influenced by The Beatles, Erik Satie, Nino Rota, Thelonious Monk and Frank Zappa.

I've composed music for film (early Peter Jackson -"Heavenly Creatures", "Brain Dead" aka "Deadalive" and "Meet The Feebles"), TV (mainly children's and documentaries) and written and produced platinum selling children's albums (Justine Clarke's "I Like To Sing" and more - link now via WM).

I've also released many albums of my own music including "Songs For Solo Piano" recorded at Abbey Road, and records by my longtime chamber-jazz ensemble The Umbrellas, Blessed Relief (with Tony Backhouse) and The Bend (with Fane Flaws and Tony Backhouse). All are available on CD or for download here. Dasent did much work for the ABC's long running Playschool: Peter Dasent in "Umbrella" days, with appropriate tie:

(Below: an early example of Dasent's work with The Umbrellas)