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Spotswood Music Credits

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Spotswood Music Credits Music composed by Ricky Fataar (cast) "Cicadas" Billy Baxter & The Hollowmen Music Arranged & Produced by Chong Lim Music Recorded & Mixed by Don Miller-Robinson Music Co-Ordinator Chris Gough "Catch the Wind” (D Leitch) Performed by Donovan Courtesy of Castle Communications Published by Southern Music Publishing Company "Deep in the Heart of Texas" (Herschey/Swandler) Performed by the Geoff Love Banjos Courtesy of EMI Records Published by Southern Music Publishing Company "Hey Baby" (B Channel/M Cobb) Performed by the La De Das Courtesy of Zodiac Records Published by J Albert & Son "The Loved One" (Lovett/Clyne/Humphreys) Performed by The Loved Ones Courtesy of Mushroom Records Published by Mushroom Music "Sick and Tired" (Kenner/Bartholomew) Performed by Billy Thorpe Courtesy of Albert Productions Published by J Albert & Son "Who Wants to be a Millionaire" (Cole Porter) Performed by Bruno Lawrence Published by Warner Chappell Music CD Release: A CD was released of the soundtrack for the film. This is now very rare, suggesting not many copies were sold in the day. CD Picture This Records PTR1 1992 Original Music Composed by Ricky Fataar (Capuccino Music) Produced and arranged by Chong Lim Recorded and mixed by Don Miller-Robinson at the Chinese Laundry Studios, Sydney Soundtrack co-ordination: Chris Gough, Mana Music Catch The Wind (Leitch) Vocals: Donovan (Peer Southern Music), courtesy of Castle Communications The Loved One (Lovett/Clyne/Humphries) Vocals: The Loved Ones (Mushroom), courtesy of Polygram Records Hey Baby (Channel/Cobb) Vocals: La De Das (Alberts), courtesy of Zodiac Records Sick And Tired (Bartholomew/Kenner) Vocals: Billy Thorpe (Alberts), courtesy of Albert Productions Spotswood Durmack’s Factory Midnight Sad Theme Slot-Car Race Pentimento + Drivin’ And Jivin’ Seduction Spotswood Orchestral Canteen Strut In The Rain Bicycle Race Spotswood Reprise Lyrics: Head credits: A truly terrible rendition of the traditional House of the Rising Sun runs over the head credits, performed by Billy Baxter and the Hollowmen. Baxter was a credentialed performer, but here he and his band are pretending to be the lousy ‘Cicadas’. As yellow head credits begin over black, there’s the sound of guitars tuning, and breath in mike, then: Voice 1: (breathing into mike) ...One … Voice 2: What? Voice 1: One … (tapping on mike) one two … one two … (Out of tune music and voice begins): There is a house in New Orleans They call the Rising Sun And it’s been the ruin of many a poor boy And God I know I’m one … My mother was a tailor … yeah … She sewed my old blue jeans My father was … (At this point the song fades under a voice over): Fletcher (v/o) (Daniel Wyllie): “You know, ugly guys never end up with anyone any good. You’ll be lucky if you don’t end up alone for the rest of your life …” Carey (v/o) (Ben Mendlesohn): “I don’t think I’m ugly …” Fletcher (v/o): “Why don’t you ask Angela from the sticking room out? She likes ugly guys…” (The camera pans down the outside of a hall. Inside the band is playing. Unseen at first, Fletcher and Carey are standing at the hall door) … her old boyfriend looked like a horse.” Carey (v/o): “Not all women like attractive guys.” Fletcher (coming into shot): “I’ll tell you what women like … jokes. They like a witty guy …well there’s no point in you trying to be yourself …you’re not a witty guy … (Carey walks away from the door) … that’s your trouble …that’s why women go for me …I’m witty…” (he gives a cheesy chortle as he walks out of shot after Carey) … ” The camera pulls focus and the band on the distant stage come into focus and the music returns to foreground … The singer thrashes at his guitar and holds a long final indecipherable word, and then with a ‘yeah’ lets the mike go and it wobbles in front of the drummer. The band wraps up and girls begin emerging from the hall, with Fletcher unsuccessfully trying to pick them up, then being told to rack off or nick off … (Below: The Cicadas in the opening scene). The Cicadas also get to hang around in the background when Mr Ball arrives to deliver his speech, but very little music is heard: There is one other moment of live music in the film, a little background performance at a business function: Tail Credits: Just before the end credits begin, as Carey and Wendy sit on a Spotswood factory rooftop amongst the flapping pigeons and look at the West Gate bridge, Donovan’s 1965 hit Catch the Wind cranks into gear. It runs until expiry, and then a musical theme with guitar takes over until the credit roll ends. In the chilly hours and minutes Of uncertainty I want to be In the warm hold of your loving mind. To feel you all around me And to take your hand Along the sand, Ah, but I may as well try and catch the wind. When sundown pales the sky I want to hide a while Behind your smile, And everywhere I'd look, your eyes I'd find. For me to love you now Would be the sweetest thing, T’would make me sing, Ah, but I may as well try and catch the wind. Diddy di dee dee diddy diddy, Diddy diddy diddy dee dee dee. When rain has hung the leaves with tears I want you near to kill my fears, To help me to leave all my blues behind. For standin' in your heart Is where I want to be And long to be, Ah, but I may as well try and catch the wind... Ah, but I may as well try and catch the wind. Composer: Ricky Fataar is a South African born multi-instrumentalist - his main specialities drums and guitar - who is perhaps best remembered as a member of the spoof band The Rutles. Fataar has a relatively detailed wiki here. Because of his many high powered musical connections, including The Beach Boys, there are many references to Fataar online. When Fataar was touring on drums with Bonnie Raitt, her site provided this short bio here: Born in Durban, South Africa 05/09/52 I started playing drums at age nine with my older brothers. We formed a band called "The Flames," made several recordings, toured all over Southern Africa and became quite popular. In 1968, we moved to London; then L.A. in 1970, after signing to the Beach Boys' "Brother" label for whom we made 2 albums. After we disbanded, I joined the Beach Boys, touring extensively and recording Holland and a 2-disc live album. I worked in London and L.A. with many artists. During that time, Eric Idle asked me to appear on the TV show "The Rutles, All You Need is Cash". I played Stig O'Hara (the quiet one). I met Bonnie in 1979, after working with Ian McLagan and co-producing Australian singer Renee Geyer. It was then she asked me to play on her Green Light album as part of The Bump Band. I then emigrated to Australia where I played on and co-produced albums for Tim Finn, Crowded House, Jenny Morris, Wendy Matthews, Renee and others. I produced music for the films The Coca-Cola Kid, High Tide and Barry Humpries' Les Patterson Saves the World. I also composed the score for an Australian film Spotswood. Touring in 2009 with Bonnie Raitt and John Scofield Recent activities: Played drums on John Scofield's Piety Street Played drums on The Radio City Rockettes Christmas Album Played drums on Michelle Schmitt's Home and Another Winter Produced Joy Askew's The Pirate of Eel Pie Produced Kermit Lynch's Man's Temptation and Born In Bakersfield (Below: Ricky Fataar) .
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