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Back of Beyond Music Credits Music Composed by Mark Moffatt Wayne Goodwin "Hard Love" Performed by Vika & Linda, Mushroom Records Pty Ltd Written by Paul Kelly © Mushroom Music Pty Ltd "Sweet Inspiration" Performed by The Black Sorrows Courtesy Sony Music Licensing J Camilleri/L Polec © Rondor Music (Aust) Pty Ltd, © Warner/Chappell Music Australia Pty Ltd Used by permission "Drift Away" Performed by Dobie Gray Courtesy MCA Records Mentor Williams © Almo Music USA Used by permission Rondor Music (Aust) Pty Ltd "Do You Know What I Mean" Performed by Lee Michaels The Original Sound Recording of "Do You Know What I Mean" Licensed from Lee Michaels © Le Brea Music/almo Music USA Used by permission Rondor Music (Aust) Pty Ltd "I Don't Want to be with Nobody But You" Performed by Dorothy Moore Courtesy of Malaco Records Eddie Floyd © East Memphis Music/Irving Music USA Used by permission Rondor Music (Aust) Pty Ltd "Thorn in My Saddle" Performed by Richard Clapton Courtesy of Festival Records Richard Clapton © Gypsy Music Used by permission Rondor Music (Aust) Pty Ltd "Dreams" Performed by The Cranberries Island Music Inc through PolyGram Pty Limited Australia Written by Dolores O'Riordan/Noel Hogan © Island Music Ltd Music Supervisor John Hopkins Music Licensing Screensong Pty Ltd Music in the film: A jukebox in the service station kicks in to action every so often when the generator is made to work, and provides the source for the songs heard in the film: Lyrics: The Cranberries’ song Dreams runs over the tail credits. The twist ending involves Tom and Charlie at water’s edge by a billabong. Charlie sees the ghosts of Gilbert and Tom’s sister Susan, and she slumps to the sand. She recalls a previous line about diving into the water, and one of the trees holding her down, until she drowned. Tom sits beside her and reassures her - she doesn’t need to, “have your life first”. “But you didn’t, did you?”, she says to him. “No,” he says, shaking his head. Charlie: “But it wasn’t your fault either, what happened.” Tom: “I know that now.” He sees his ghostly sister: “I’ll always be with you Charlie, you have your whole life ahead of you… hey, we’ll dance again one day.” As she cries, he touches her arm and then leans in for a tender, if ghostly, kiss. “I love you,” he says, as she sobs a little and a tear runs down her cheek. Then she calls out “Tom”, but he’s gone, and she’s alone on the billabong’s sandy bank. The music begins over the yellow Unicorn sign, and the service station’s jukebox. Charlie comes in front of the jukebox, with Polaroid camera and a flower. She replaces the dead flower in the bottle, and smiles as she looks at it, then she begins to dance alone in the restaurant area as the lyrics begin: Oh, my life Is changing every day In every possible way And oh, my dreams It's never quite as it seems Never quite as it seems (close up on the Polaroid camera, an Impulse, with Charlie still dancing in the background) I know I've felt like this before But now I'm feeling it even more (As Charlie dances, the camera tracks past the dead flower) Because it came from you (The camera arrives at a Polaroid of Tom smiling, surprisingly solid for a ghost, and Charlie waving. The image fades to black and end credits begin) Then I open up and see … The person falling here is me A different way to be... Aaaah …la laah, ladieaahh … la laaah …laaaooh I want more Impossible to ignore Impossible to ignore They'll come true Impossible not to do Impossible not to do Now I tell you openly You have my heart, so don't hurt me You're what I couldn't find Totally amazing mind So understanding and so kind You're everything to me Oh, my life Is changing every day In every possible way And oh, my dreams It's never quite as it seems 'Cause you're a dream to me Dream to me … (instrumental) Aah, aah, lah da la da dah laaah Laa laa laaa laa laaah dyah …etc (The song fades out on repeats of the “lah” lines, echoed by another voice). Co-composer Mark Moffatt: Moffatt had an eponymous website here, which contained this short bio: Not only is Mark Moffatt one of the most experienced and respected producers to emerge from Australia, he is also an accomplished musician (guitar, pedal steel), engineer, and writer. In 1980, he took a position as director of artist development/house producer with Rupert Murdoch’s Festival Records, at that time Australia’s largest independent record label with 25% of the market. That year saw Mark’s first nomination as “Best Producer” and the beginning of steady chart success through the eighties and nineties. During his career in Australia he featured in reader and industry polls, including the Rolling Stone “Best Producer” and ARIA “Producer of the Year” categories . He has more productions in the APRA Top 30 songs of all time than any other single producer and has produced an astonishing 15 ARIA Hall of Fame inductees. As a writer he has had two #1 Australian country singles, two top ten pop singles, two top ten UK & European singles, and has composed scores for seven major motion pictures and TV series. Mark relocated to Nashville in 1996, at the invitation of Ten Ten Music president Barry Coburn. As director of A&R at Ten Ten until 2001, he worked extensively in the development of superstar Keith Urban. Production credits include : Keith Urban /the Ranch, the Saints, Yothu Yindi, the Divinyls, Neil & Tim Finn, Ross Wilson, Slim Dusty, Tony Joe White, Stacey Earle, O’Shea, Jasmine Rae, Deana Carter, Leslie Mills (with John Shanks & the Dust Brothers), Gloriana, Adam Gregory, Jason Aldean remixes. Mark is a leader in the emerging Independent sector of the Nashville Industry, achieving the highest number of independent Music Row chart entries in 2005 and 2007 saw his first Grammy nomination. (Below: Mark Moffatt) Co-composer Wayne Goodwin: Campaign Brief had this short obituary for Goodwin, published here 18th December 2008 (WM here): The ad industry will be saddened to hear that Wayne Goodwin, violinist/ composer and multi-instrumentalist (piano,guitar, mandolin, viola, saxophone and drums) passed away peacefully last night. Wayne was a well lovedstalwart of the Australian music scene – and has many friends in the ad industry. He was diagnosed with Non-Hodgkins lymphoma in June of last year. Born of an Australian mother, Wayne first came to Australia on tourf rom Hollywood, California with Emmylou Harris twenty-three years ago and returned the following year to stay, performing with the newly reformed band Crossfire and to break into the film industry as a composer. His credits as a violinist list the who’s who of music including Midnight Oil, INXS, Jenny Morris, Sting, Bob Dylan, Linda Ronstadt, Tony Bennett, ELO, Renee Geyer, Ross Wilson, The AustralianOpera and Ballet Orchestra, The Bolshoi Ballet, Gene Pitney, Dolly Parton, Dragon, Emmylou Harris, Jimmy Little, Michelle Shocked, Anne Kirkpatrick, Bread, Crosby, Stills and Nash (Wayne was awarded a platinum album for his violin solo on their hit single Wasted in the Way) and more… (Below: Wayne Goodwin) Around the time of the film, the Metro section of the Sydney Morning Herald did a profile of Goodwin, published 1st September 1995: .
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