Music Supervisor Chris Gough Mana Music Mushroom Licensing Ann-Marie Meadows Music Mixer Robin Grey Alan Eaton Studios

Original Music Recorded at Hot House - Craig Harnath Original Music Mix Ross Cockle FX & Music Editor Craig Carter

Original Music Composed by Martin Lubran David Bowers

"Jackson" (Wheeler/Rodgers) EMI Music Publishing Australia, Performed by Catherine Wearne and Andrew Travis, Produced by Jim Bowman, Recorded at Electric Avenue

"Don't It Get You Down" (Kennedy/Palmer/Jones) Mushroom Music, Performed by Dead Star, Courtesy of Mushroom Records

"Goldfinger" (Wheeler) PolyGram Publishing, Performed by Ash, Courtesy of Infectious/Mushroom Records

"Fun For Me" (Brydon/Murphy) Chrysalis Music/Mushroom Music, Performed by Moloko Courtesy of Echo/Liberation

"Puppy Love" (Anka) Chrysalis Music/Mushroom Music Performed by Banana Oil, Courtesy of Mushroom Records

"Cruise Control" (Matthews/Lawry/Nevison/Fell/Sweeny/ McDonald) Flying Nun Music/Mushroom Music Performed by Headless Chickens Courtesy of Flying Music/Mushroom Records "Help Yourself" (Donida/Mogol/Fishman) Mushroom Music Performed by Tom Jones, Courtesy of PolyGram

"No Reason" (Salmon/Perkins) PolyGram Publishing, Performed by Beasts of Bourbon, Courtesy of Red Eye/Polydor Records

"Lemonsuck" (Handley) Mushroom Music, Performed by Pollyanna, Courtesy of Bark/Mushroom Records

"So Long Marianne" (Cohen) Chrysalis Music/Mushroom Music Performed by The Stone Cold Boners & Hugo Weaving

"Rock and Roll" (Reed) Oakfield Avenue/EMI Music Ltd Performed by The Stone Cold Boners & Hugo Weaving

"The Ship Song" (Cave) PolyGram Publishing/Mute Song Performed by The Stone Cold Boners & Hugo Weaving

"Radar Love" (Kooyman/Hay) Sony Music Publishing Australia, Performed by The Stone Cold Boners & Matthew Dyktynski

"At First Sight" (Mariani) Mushroom Music Performed by the Stems, Courtesy of Mushroom Records

"Girl from Mars" (Wheeler) PolyGram Publishing, Performed by Ash, Courtesy of Infectious/Mushroom Records "My Family" (Bomba/Wraight/Tabone) Mushroom Music Performed by Banana Oil, Courtesy of Mushroom Records

"Heart of Glass" (Harry/Stein) Chrysalis Music/Mushroom Music, Performed by Blondie, Courtesy of EMI Records, under licence from EMI - Capitol Music Special Markets and EMI Music Australia Pty Ltd

"From My Eyes" (Willoughby) Mushroom Music, Performed by No Fixed Address, Courtesy of Mushroom Records

"Rock This Town" (Setzer) Windswept Pacific/Mushroom Music Courtesy of EMI Records, under licence from EMI-Capitol Music Special Markets and EMI Music Australia Pty Ltd

"One of Us Cannot Be Wrong" (Cohen) Chrysalis Music/Mushroom Music Performed by Hugo Weaving

"That's The Way I Like It" (Casey/Finch) Windswept Pacific/Mushroom Music, Courtesy of Pioneer Entertainment U.S.A.

"Union City Blue" (Harry/Harrison) Chrysalis Music/Mushroom Music, Performed by The Stone Cold Boners & Miranda Otto

"Wreckage" (Wilson) Mushroom Music, Performed by Chris Wilson, Courtesy of Mushroom Records

"Venus" (Van Leeuwen) Dayglow Music/Mushroom Music, Performed by Shocking Blue, Courtesy of Red Bullet Productions BV "Throwing Fire at the Sun" (Nova) Big Live Music/Mushroom Music Performed by Heather Nova, Courtesy of Big Life Records/Liberation

"She's a Lady" (Anka) Chrysalis Music/Mushroom Music Performed by Tom Jones, Courtesy of Chrysalis Records/EMI Music Australia Pty Ltd

"Djapana" (Yunupingu) Yothu Yindi Music/Mushroom Music, Performed by Yothu Yindi, Courtesy of Mushroom Records

"Turtle's Head" (Coghill/Collins/Haug/Middleton/Fanning) PolyGram Publishing, Performed by Powderfinger, Courtesy of Polydor Records

"Let Love In" (Cave) PolyGram Publishing/Mute Song Performed by Nick Cave & The Bad Seeds, Courtesy of Mute Records/Liberation

"Bird On A Wire" (Cohen), Chrysalis Music/Mushroom Music Performed by Leonard Cohen, Courtesy of Sony Music Entertainment Canada Inc.

Composers:

The bulk of the music was sourced from disc, but Martin Lubran and David Bowers received co-composer credits for the underscore:

Martin Lubran:

Lubran was profiled by Khali Hegarty in The Age on 3rd September 2004 under the header “Cracking the big time” (the original is online here):

Martin Lubran, the trio's guitarist, looks at the dictaphone sitting on the table and asks: "It doesn't actually capture your thoughts, does it?" Coming from Crackpot, this question isn't entirely unusual. On the liner notes of their debut album, Shelf Hypnosis, the band promise to help listeners "put (their) fingers on someone's temples and control their mind" and "abseil past the ladder of success". Imagine a self-help venture between Deepak Chopra and Monty Python and it starts to make sense. The music is no different. It's a merging of styles equally influenced by Burt Bacharach and DJ Premier. "People who haven't heard us before are generally looking for a foothold," says Lubran. "That's just a symptom of modern music." It's early on a Saturday night. Lubran and fellow band member DJ Ransom (Phil Ivanov) are getting a bite to eat in Windsor. Crackpot's vocalist, Jade Dadrenz, is absent. Shelf Hypnosis has been available in Europe for more than two months on Tim "Love" Lee's cult label, Tummy Touch. Extraordinarily, the first pressing sold out within a couple of weeks. The buzz around Crackpot has been created not so much by hype or overreaching marketing campaigns but by damn good music. "We specifically chose Tummy Touch as an educated guess," explains Ivanov. "It was to do with how we felt about Tim personally, and the music, his artists and the label. Every artist on his label we liked." The band's first single, released in 2000, was championed by British DJs such as Gilles Peterson and Groove Armada's Tom Findlay. Similarly, in Australia, Crackpot found fans through Triple J and public radio. But it wasn't simply a matter of being the newest kids on the block with an overseas record deal. Despite Shelf Hypnosis being their debut album, Crackpot's members have been creative powerhouses for years. Ivanov is one of Melbourne's most respected DJs and producers, with accolades ranging from DMC titles to decade-long club residencies and starting Australia's first independent hip-hop label in 1992. Lubran's musical CV is equally illustrious. As a young guitarist he was recruited into Hunters and Collectors in his teens. He's been a session player on too many locally produced albums to list. Dadrenz's background is equally varied and includes everything from playing in art-rock bands in Perth to the occasional vocal for a television campaign. Dadrenz and Lubran were already writing songs together when they teamed up with Ivanov on another artist's project. "After a delightful experience in the studio, we realised we were more suited to working with each other than with this other person," recounts Lubran. "Nothing ever came of it, but throughout we realised we were complementing each other." With such varied backgrounds, it's no wonder Crackpot have turned critics' heads. Their combination of beats, vocals, solid musicianship and songwriting is as infectious as it is innovative. Just as Howard Arkley merged aerosol art with Australian landscapes, Crackpot have taken hip-hop beats and moulded them into a unique brand of Australian soul. According to Lubran, however, there's been no attempt on the band's part to make anything left-field or quirky. "You hear a lot of mission statements from artists, now so more than ever," he says. "It's mostly to do with secondary industry producers who are taking existing elements and recombining them. It makes great copy. There's not enough letting it come naturally going on in music anywhere - and that's maybe our most courageous stand." But, according to Ivanov, it's also been an obstacle to overcome. "Not modifying ourselves to make ourselves identifiable with an existing scene, especially one that's being marketed with some vigour, that's actually our biggest handicap," he says. "We just do what we do and that's how it comes out - but that's actually the tallest hurdle." And the band know about hurdles. Shelf Hypnosis may be their debut, but they've been together for more than seven years. Thieves hit their studio in 1997, taking most of their equipment, tapes and a good portion of Ransom's record collection. Then, two years ago, Tummy Touch had to deal with a court case brought by an artist whose sample appeared on a track released by the label; this pushed the Crackpot album's release back by at least two years. Since the band's year-long Sunday night residency at Revolver in 1999, the wait for the album has been agonising - for the artists as well as local music fans. "There is a big sense of relief - the release is a relief," says Ivanov. "You know what it was like? It was like when you've had some sort of injury and you don't want to have to put up with the aftermath of the injury, but there's no avoiding it. There were times when it was testing, but there was never any thought of giving up." "The process of making music is always good," says Lubran, "no matter what circumstances you do it under. The process is satisfying, even if it turns out to be a piece of shit." Surprisingly, the band are calm about their trials; they feel neither bitter nor hard done by. They don't even feel their luck has been exceptionally bad. "It's always bad luck getting robbed," Lubran says. "There are artists who go through very little and actually sound very angry." Shelf Hypnosis is out this week on Tummy Touch/Inertia Lubran is the lead guitarist in the cover band featured in the film. See below for photos of Lubran as he appears in the film. David Bowers:

David Bowers turned to art and was profiled in the Moonee Valley Leader on 7th December 2014 under the header Flemington pop artist Dave Bowers holding retrospective exhibition at Marios cafe in Fitzroy:

From icypoles and tractors to the tar snakes created by road repairs, Flemington artist Dave Bowers sees beauty in unlikely places. “I find inspiration comes from anywhere any time,” said the 50-year-old pop artist, who has also found fame as a musician and movie soundtrack composer.“I am mesmerised by what I call incidental urban micro landscapes, like the patterns of road repairs or chewing gum on the footpath. “I’m drawn to the fine line between beauty and ugliness.” With past gigs including working as a designer for clothes wear giant Mambo and appearing as a support act for Metallica, the multi-talented father-of-three will showcase his past decade on canvas at Marios in Fitzroy from December 3. Bowers said he held his first solo exhibition at Marios 10 years ago, shortly after finishing up with Mambo, where he sold out every piece. He said the idea for a 10-year retrospective sprang from wanting to mark the milestone. “It never occurred to me that maybe one day it would be my art up there.” Working mainly in acrylic, Bowers’ work includes bold images of Choc Wedge and Barney Banana icypoles as well as rural landscapes and collages made from cardboard boxes salvaged from Asian supermarkets. When not painting, Bowers appears as his alter-ego Eugene Hamilton in what he describes as “high octane cabaret” at Claypots in St Kilda every Sunday. Bowers said the alter ego of Hamilton sprang from his work with band The Stone Cold Boners, with the modern incarnation representative of him having “moved into Las Vegas cabaret”.

Bowers also had an eponymous website here with this CV: Contemporary pop artist and painter David Bowers was born in Geelong in 1964. He grew up in Melbourne’s outer west – a blend of rural land, working class suburb and industrial wasteland. He studied illustration and life drawing at Monash University in Caulfield, graduating with a diploma in Graphic Design in 1986. From this point on, Bowers slowly but steadily steered away from design as a career, experiencing the world as a builder’s labourer, cray boat deckhand and petrol station hand among other things. All these jobs influenced his style and subject matter as a fine artist. I always felt like a fake as a graphic designer because I could never put a brochure together, and basically all the work I’ve ever done has been by hand with a paintbrush or pencils. In 1992 he created art / surf label Umgawa with creative partner Nick Morris. His quirky, bold, colourful style quickly caught the eye of Mambo head, Dare Jennings, and after selling Umgawa, Bowers became a Mambo regular, thriving in the Mambo environment of wild colour and irreverence. Bowers works with acrylics, enamels and oil sticks. He also uses objects, signage, collage and cardboard boxes salvaged from Asian supermarkets, with their striking commercial symbols and bold exotic scripts. Another source of inspiration and materials is street combing – picking through the detritus left by the passing, multicultural human tides of Melbourne. Bowers art work ranges freely across media and themes, skipping playfully from rural behemoths – majestic bulls, tractors and semi-trailers – to Melbourne streetscapes in close-up, to pop icons and the unexpected poetry of spam. Bowers refuses to be defined by a single style: his gleaning of materials, words and colours from his immediate world leads him down many stylistic paths. When the resulting works meet on his studio walls, they talk to each other in surprising ways. He was a finalist in the 2010 Moran portraiture prize for his collaborative portrait with Nick Morris of elusive Victorian artist Doug Bartlett, and has featured in art exhibitions in Europe, Asia and the USA. Aesthetically I find inspiration comes from anywhere any time. I am mesmerized by what I call incidental urban micro landscapes, like the patterns of road repairs, or chewing gum on the footpath; symbols, numbers and letters on power poles; the accidental tracks and patterns we leave as a species. I find the process of decay quite beautiful—rust, peeling paint etc. I’m drawn to the fine line between beauty and ugliness: the unintentional poetry of everyday life. His award-winning pop art paintings have been showcased around the world and featured in well-known publications including King Brown Magazine (issue one), Desktop magazine (issue 223) and We Are The Image Makers online magazine (www.watim.com/issue12/). He collaborates regularly with long-time friend and colleague, Torquay-based pop artist Nick Morris, under the joint pseudonym Doug Bartlett: I get a huge kick out of sharing canvases because of the chaotic momentum. Working alone you can sometimes labour over a detail for hours, but with a shared canvas, someone else (Doug) will just boldly paint right over it and I’ll think what a bloody relief.

(Below: David Bowers) Live Music in the Film:

Live music elements are scattered through the film.

The first sequence features Miranda Otto’s Mimi performing as a backing singer in a country and western band: Hugo Weaving’s Morris gets a chance to do a couple of numbers in a Leonard Cohen/Nick Cave style: After Morris gets too drunk and drops out, the band keeps gigging, with co-composer Martin Lubran as the lead guitarist in Morris’s band and Matthew Dyktynski, also seen in Love and Other Catastrophes, as the new singer Rusty: Noah Taylor’s Dean also gets to do a little strumming on Morris’s guitar: Miranda Otto’s Mimi takes part in a karaoke competition in a pub, and wins the contest: Lyrics:

In the way that both Emma-Kate Croghan and Efthymiou/Kazantzidis did for Love and Other Catastrophes, and Strange Planet, the soundtrack mainly consists of source music, though True Love and Chaos doesn’t seem to have been released as a CD tie-in.

As a result, songs run over head and tail credits.

Songs heard during the head credits:

The first song heard, Jackson, sung by Catherine Wearne and Andrew Travis, begins half way through. (Lyrics not heard in the film):

We got married in a fever, hotter than a pepper sprout, We've been talkin' 'bout Jackson, ever since the fire went out. I'm goin' to Jackson, I'm gonna mess around, Yeah, I'm goin' to Jackson, Look out Jackson town. Well, go on down to Jackson; go ahead and wreck your health. Go play your hand you big-talkin' man, make a big fool of yourself, Yeah, go to Jackson; go comb your hair! Honey, I'm gonna snowball Jackson. See if I care. When I breeze into that city, people gonna stoop and bow. (Hah!) All them women gonna make me, teach 'em what they don't know how, I'm goin' to Jackson, you turn-a loose-a my coat. 'Cause I'm goin' to Jackson. "Goodbye, " that's all she wrote. But they'll laugh at you in Jackson, and I'll be…

Lyrics as heard in the film:

(female voice)... dancin' on a Pony Keg. They'll lead you 'round town like a scalded hound, With your tail tucked between your legs, Yeah, yeah, yeah go to Jackson, you big-talkin' man. And I'll be waitin' there in Jackson, behind my Jaypan Fan …

(male voice joins female voice):

We got married in a fever, hotter than a pepper Sprout, We've been talkin' 'bout Jackson, ever since the fire went. I'm goin' to Jackson, and that's a natural fact. We're goin' to Jackson, ain't never comin' back.

(We see in close-up Mimi as backing singer sort of mouthing the words)

We got married in a fever, hotter than a pepper sprout We've been talkin' 'bout Jackson, ever since the fire went... Goin’ to Jackson, and that’s a natural fact We’re goin’ to Jackson and never comin’ back...

(The song begins to fade down and finishes naturally as we see the audience applaud and the band up on stage begins to wrap)

A new source music song kicks in as Mimi gets down off the stage to go over and kiss Hanif. It’s Dead Star’s Don’t It Get You Down. The song is largely mixed down under dialogue, but for what it’s worth these are the first few verses of the lyrics:

Well, don’t it get you down Wondering how It ever got to be this way Don’t you know oh oh oh oh It was the first time

And now you’re underground Wasting away Watching your back again And you’ve got to know oh oh oh It’s not the right time

The right time

Do do do do do Do do do do do

The song could be seen in full at YouTube here.

The song finishes in the film before it’s completed.

Remaining head credits then run over Ash’s Goldfinger, but none of the lyrics for this song can be head above the dialogue, as Hanif and Dean finalise their plans to rip-off a stash of drugs from Dean’s brother Jerry.

Tail credits:

While sepia coloured images from the movie run under the final roller, a Nick Cave song plays, perhaps in honour of Hugo Weaving’s funny evocation of Nick Cave doing Leonard Cohen earlier in the show.

Lyrics as heard in the film:

Despair and Deception, Love’s ugly little twins Came a-knocking on my door, I let ‘em in Darling, you’re the punishment for all my former sins I let love in I let love in The door it opened just a crack, but Love was shrewd and bold My life flashed before my eyes, it was a horror to behold A life-sentence sweeping confetti from the floor of a concrete hole I let love in I let love in I let love in I let love in Well I’ve been bound and gagged and I’ve been terrorised And I’ve been castrated and I’ve been lobotomised But never has my tormentor come in such a cunning disguise I let love in I let love in I let love in I let love in O Lord, tell me what I done (the song begins to fade) Please don’t leave me here on my own... Where are my friends? My friends are gone...

(The song fades out on the last credit, omitting the last few lines of the original song) …

Lines not heard in the film:

...So if you’re sitting all alone and hear a-knocking at your door And the air of promises, well buddy, you’ve been warned Far worse to be Love’s lover than the lover that Love has scorned I let love in ...