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Sample People Music Credits original rafael score may (cast) Nightclub Band Brown Hornet Music Editor Rafael May Music Consultant Christine Woodruff Original Music Score composed, arranged and produced by Rafael May Vocals in score performed by Inga Liljestrom Trumpet Solos performed by Phil Slater Music mixed by Rafael May and Trent Williamson Additional re-mixing of "Horror Movie" by Rafael May "Howzat" Indian version arranged and produced by Rafael May Vocals performed by Gandhi MacIntyre TAKE A LONG LINE (J. Brewster/R. Brewster/D. Neeson) © 1978 J. Albert & Son Pty Ltd All rights reserved Performed by Grinspoon Grinspoon appears courtesy of Universal Music Australia Pty Ltd THE REAL THING Written by John Young © Chappell Morris Ltd Used by kind permission of Warner/Chappell Music Ltd All rights reserved Performed by Kylie Minogue Produced by Josh Abrahams HORROR MOVIE Written by G. Macainsh (DooDah/Mushroom Music) Performed by Sonic Animation Sonic Animation appears courtesy of Global Recordings Under licence from Festival Records Pty Limited Skyhooks original recording sample courtesy of Mushroom Records Pty Ltd I LIKE IT BOTH WAYS Written by Christopher Burnham/ Joseph Burnham/Randall Murphy/Gary Twinn Published by Warner/Chappell Music Australia Pty Ltd All rights reserved Performed by Not From There Courtesy of Infectious Records/ Mushroom Records International BV DON’T CHANGE (Beers/Farriss/Hutchence/ Farriss/Pengilly/Farriss) Published by Universal Music Publishing Pty Ltd Performed by Magic Number Executive Producer Andrew Farriss Produced, recorded and mixed by Paul Mac and Andy Rantzen at the Fibromajestic Under licence from Festival Records Pty Ltd WHO LISTENS TO THE RADIO Written by Stephen Cummings/ Andrew Pendlebury Published by Warner/Chappell Pty Ltd and Mushroom Music All rights reserved Performed by The Whitlams The Whitlams appear courtesy of Black Yak Phantom and Warner Music Australia Pty Ltd ALONE WITH YOU Written by J. Oxley (Mushroom Music) Performed by The Superjesus The Superjesus appear courtesy of Warner Music Australia Pty Ltd SWEET SWEET LOVE Written by Russell Morris Published by Russell Morris Productions Performed by Russell Morris Produced by Josh Abrahams Under licence from Festival Records Pty Limited SWEET SWEET LOVE (Paul Mac Remix) Written by Russell Morris Published by Russell Morris Productions Performed by Russell Morris Produced by Josh Abrahams Remixed by Paul Mac at the Fibromajestic Under licence from Festival Records Pty Limited BOY FROM THE STARS J. Keays © 1975 EMI Music Publishing Australia Pty Limited Licensed by EMI Music Publishing Australia Pty Limited Performed by The Mavis's Courtesy of Mushroom Records International BV HOWZAT Written by Garth Porter/Tony Mitchell © Razzle Music Used by permission of Rondor Music Australia Performed by Custard and licensed by BMG Australia Ltd/rooArt ONE STEP AHEAD Written by N. Finn (Mushroom Music) Performed by Kiley Gaffney Kiley Gaffney appears courtesy of Warner Music Australia Ltd GAY SEX GURU Written by Jimmy Streets and Paul Mac (control) Performed by Jimmy Streets Produced, recorded and mixed by Paul Mac at the Fibromajestic Under licence from Festival Records Pty Limited DISCONE Written and performed by Pnau Pnau appears courtesy of Cybersonic Productions NIGHT FOR A PLAY Lyrics written and performed by Matthew Wilkinson Music by Rafael May JOEY’S TIME Lyrics written and performed by Matthew Wilkinson Music by Rafael May AJA AJA Written by Rafael May and Mintu Kumar Vocals performed by Mintu Kumar and Nisha Bhasin SKY GO BROWN Written by Brown Hornet Performed by Brown Hornet Soundtrack Available on Best Boy Best Boy - logo through Festival - logo Music in the film: There is a band in the nightclub, Brown Hornet, and elsewhere, as in the cemetery, Sem plays his trumpet, while Lushpuppy also spins the platters that matter, though obviously her tracks would have been dubbed in: CD Release: A CD of the soundtrack was released: CD Best Boy/Festival D32146 2000 The Sample People soundtrack was extremely ambitious and could only have happened with the support of the following: Thanks to Christine Woodruff, Adrian at Mushroom Music; Rusty, Sally and Rachel at Warner/Chappell, Bob at Rondor Music, Denise at Universal, Belinda and Melissa at EMI; Brett Oaten, J. Albert and Son, Liz Dayney- Morrissey, David Edwards and Andrew Farriss Second bunch of thanks to all the bands, A&R managers, band managers and thanks to the often forgotten always over-worked business affairs managers. Thirdly, a huge thanks, to the REP team - Mark, Roxanne, David, Amanda and Howard - our film distributors who dared to put the film out. And most of all, thanks to Best Boy and the Festival Mushroom Group team: Gary Seeger, who believed in the album from the first time I pitched it to him and who has been behind it ever since; Roger Grierson, Leah Warwick, Libby Blakey, Dona Fitzhenry, Simon Kain and Eleanor McKay. Sample People soundtrack mastered by the Master himself, William "Witty" Bowden @ the Festival Studios 2000. 01: Space Theme - Rafael May (1’41”) 02: Horror Movie - sonicanimation (3’11”) 03: Take A Long Line - Grinspoon (3’09”) 04: Don’t Change - 4 Star (4’19”) 05: Night for a Play - Rafael May/Matthew Wilkinson (2’49”) 06: One Step Ahead - Kiley Gaffney (3’12”) 07: Gangsta Beats - Rafael May (2’45”) 08: Sweet Sweet Love - Russell Morris (4’16”) 09: Boy from the Stars - The Mavis’s (4’27”) 10: I Like It Both Ways - Not From There (3’47”) 11. Alone With You - The Superjesus (2’57”) 12. Aja Aja - Rafael May/Mintu Kumar/Nisha Bhasin (2’14”) 13. Discone - Pnau (4’36”) 14: Who Listens to the Radio - The Whitlams (3’20”) 15: Howzat - Custard (3’51”) 16: Space Shiva - Rafael May/Inga Liljestrom (1’50”) 17: Gay Sex Guru - Jimmy Street (2’55”) 18: The Real Thing - Kylie Minogue (3’18”) Reviews: The soundtrack was written up by Andrew Mast in The Age on 28th April 2000: The soundtrack was reviewed in The Age on 5th May 2000: Brad Green also looked at the soundtrack for Urban Cinefile, available here, saved to WM here: "'They needed music verging from the exotic, the erotic, to nightclub neurotic with an undertone of love,' says Sample Peoples original score composer, Rafael May, about the brief from the movies producer and director. A stratospheric objective? Well they were certainly aiming high, considering May forgot to mention that they also required a cosmic dose of 70s space-adelia to help evoke an ambience of retro firmament fashion meets gritty, grounded urbanity. With a mix of "Spacey Techno, Old School Hip Hop, Indian Bollywood Pop [and] Hard Beats" Mays own words again he just about delivers on all fronts. In particular, the minimalist hyper-bright piano of Space Theme delivers a catchy, memorable motif thats a little low gravity but fits the mood like a skin- tight Lurex spacesuit. But Mays score is only a modest portion of a soundtrack that is built around Aussie pop classics of the 70s re-worked by an assortment of contemporary local popsters. Like a box of Whitmans Samplers, these are a mixed bag. Best of the bunch are The Whitlams rollicking swing rendition of Who Listens to the Radio, and the Josh Abrahams-produced version of Russell Morriss Sweet, Sweet Love with Russ himself in fine voice as ever reprising the vocal. Another Morris classic, The Real Thing, also gets the Abrahams treatment, with Russ graciously giving up the mic on this one to multiple Kylie Minogues. The multi-tracking might provide the oomph, but the petite popstress delivers an effervescent performance that suggests shes come a long way towards earning a Real Thing epithet herself. Less successful are a soggy Custard performance of Howzat, on which theyre caught out by their limited vocal harmonies; a lamely metronomic arrangement of INXSs Dont Change; and a vibrant recording of Alone With You by The Superjesus that might have been great, but fails because its clearly been mixed by the guitarists mother. Still, the concept is appealing and the overall entertainment value high. I cant fault the choice of songs, and while novelty over quality seems to have influenced the choice of artists, it could have been a lot worse thank goodness Bardot werent around." Lyrics: Len says an affectionate goodbye to Phil, with a hug, and then gives Lush Puppy a lingering, deep kiss. The camera moves off them, up into the sky, and the whiteness gives way to a hot sun bright over power lines and the tops of buildings in the CBD. Fade to black, and then there’s a re-versioning of The Real Thing, sung by Kylie Minogue, which runs over the tail credits. Lyrics as heard in the film (not all the original lyrics make it into the movie version): Come and see the real thing Come and see the real thing Come and see Come and see the real thing Come and see the real thing Come and see There's a meaning there But the meaning there doesn't really mean a thing Come and see the real thing Come and see the real thing Come and see I am the real ... thing Oo-mow-ma-mow-mow, Oo-mow-ma-mow-mow Oo-mow-ma-mow-mow, Oo-mow-ma-mow-mow Oo-mow-ma-mow-mow-ma-mow-ma-mow-ma-mow-ma-ma-mow I am not real I am not reaalll … Oh oh oh oh oooh ... Trying hard to understand but really not, you're seeing me Trying hard to understand but really not, you're seeing me There's a meaning there But the meaning there doesn't really mean a thing Come and see the real thing Come and see the real thing Come and see I am the real …(chorus: “real!) …thing … (chorus: “thing!”) Oo-mow-ma-mow-mow, Oo-mow-ma-mow-mow Oo-mow-ma-mow-mow, Oo-mow-ma-mow-mow Oo-mow-ma-mow-mow-ma-mow-ma-mow-ma-mow-ma-ma-mow..
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