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.