Doing Time for Patsy Cline Music Credits
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Original Songs and Music Peter Best Keyboards Michael Bartolomei Keyboards And Sequencing Peter Best Drums Kere Buchanan Harmonica Horrie Dargie Harmonica Greg Foster Bass Leon Gaer Violin And Mandolin Wayne Goodwin Mandolin And Violin Marcus Holden Guitars David Moyse Keyboards Larry Muhoeberac Guitars Peter Northcote Steel Guitar Michael Rose Singers Louise Anton Tony Barry Blazey Best Laurence Coy Matt Day Dannielle Gaha Christine Moy Miranda Otto Kiri Paramore Darren Paul Music recording & mixing Tiger Studios Sydney Australia Music Recording & Mixing Engineer David Hemming Music Supervisor Christine Woodruff Original Music & Songs Composed, Arranged & Produced by Peter Best Life's Railway To Heaven traditional arranged by W. S. Stevenson, Accuff-Rose Music Inc administered by MCA Music Australia Pty Ltd, performed by Patsy Cline courtesy of Sony/ATV Music Publishing LLC d/b/a Masters international Crazy written by Willie Nelson, performed by Miranda Otto Tree Music (Pamper Music)/Acuff-Rose Music Inc administered by MCA Music Australia Pty Ltd If I Could Only Stay Asleep written by Ethel Bassey/Wayland Chandler, Acuff-Rose Music Inc administered by MCA Music Australia Pty Ltd, performed by Patsy Cline courtesy of Sony/ATV Music Publishing LLC d/b/a Masters international Boulder to Birmingham written by Emmylou Harris/William Danoff, Tickson Music Co/Cherry Lane Music Co administered by Essex Music of Australia Pty Limited performed by Emmylou Harris, courtesy of Warner Bros Records Inc by arrangement with Warner Special Products Sweet Old World written by Lucinda Williams Warner Chappell Music Inc/Mushroom Music Pty Ltd performed by Emmylou Harris, courtesy of Elektra Entertainment Group by arrangement with Warner Special Products and The Grapevine Label Ltd Girls' Night Out written by Gina Jeffreys/Garth Porter/Rod McCormack Warner Bros Music Australia Pty Ltd/MMA Music performed by Gina Jeffreys, courtesy of ABC Music Every Little Thing written by Carlene Carter/Al Anderson, Sony/ATV Cross Keys Music/ Al Andersongs administered by Warner Chappell Music Australia Pty Ltd performed by Lillie Duxbury, with backing courtesy DRP Promotions Midnight Special traditional arranged by Peter Best (control), performed by Matt Day Dead Red Roses words and music by Peter Best (control) performed by Miranda Otto, Matt Day and Christine Moy My Mother's Silver Hair words and music by Peter Best (control) performed by Tony Barry, Kiri Paramore and Laurence Coy Steppin' On Love words and music by Peter Best (control) performed by Tony Barry, Kiri Paramore and Laurence Coy Lyrics: Opening: The head credits roll out as Peter Best’s The Road to Nashville plays. After the main title, Matt Day’s character Ralph delivers some voice over: Ralph (v/o): “Dear mum and dad, sorry for not writin’ sooner, we’ve finally made it, you should just see this place! All the stars that must have walked down these footpaths and waited at these bus stops when they were just nobodies …every time I sit on an audition stool I can feel the imprint of Johnny Cash’s backside still on it …” Ralph sits down in Tyrone’s recording studio, guitar in hand: “Could I, er, play one of my songs?” Tryone: “No boy, give yourself half a chance and sing something we all know.” Ralph then launches into his version of Midnight Special, but is cut short by Connie, who tells him they have all his particulars and it’s probably best if he doesn’t call them. Ralph only gets through his first two verses - see below for these and the rest of his version of the song. Ending: Ralph exits, prison, guitar in hand (the last shot is a jump cut of him disappearing into a field of Close Encounters style light flooding the prison door), as Patsy Cline’s Life’s Railway to Heaven plays. Ralph delivers some voice over as he exits: Ralph (v/o): “The thing is, Johnny Cash had a monster hit with a song called Folsom Prison Blues …so everyone reckons he’s been in prison half his life. The truth is, Johnny Cash was only ever in prison for a few days in his entire career… one night in Starkville Mississippi, and one night in Lafayette Georgia, both times for public drunkenness …He kicked in the wall of his cell and broke his big toe - a lot of people don’t know that. No offence to him, but if you think about it, I’ve been in prison longer than Johnny Cash …” As Ralph exits the prison door, the last few lines of Cline’s song - about the blissful shore “where the angels wait to join us, in that great forever more” - play out, with the chorus’s final “ever more” hanging over black. End credits then start to roll, and Ralph’s version of Midnight Special kicks in over the tail credits. Lyrics for Ralph’s version as heard at the end of the film: When you wake up in the mornin', hear the ding dong ring, You go marchin’ to the table - it’s the same darn thing, Spoon and fork up on the table, with not a thing in my pan, If you make a crack about it, you’re in trouble with the man. Let the Midnight Special shine a light on me, I got thirty long years in the penitentiary, Let the Midnight Special shine a light on me, Let that Midnight Special shine its ever-lovin’ light on me… (Short guitar interlude) If you ever go to Austin, man you’d better walk right; Neither stagger nor a stumble, and don’t you pick a fight. ‘Cause the sheriff will arrest you, and he’ll take you on down. If the jury says ‘guilty!’, you’re penitentiary bound … Let the Midnight Special shine a light on me, I got thirty long years in the penitentiary, Let the Midnight Special shine a light on me, Let that Midnight Special shine its ever-lovin’ light on me… Shine its ever-lovin’ light on me… Shine its ever-lovin’ light on me… Shine its ever-lovin’ light on me… Shine its ever-lovin’ light on me… CD: A CD of the soundtrack was released: CD Wild Sound/MDS OST 005 1997 Original Music & Songs composed, arranged & produced by Peter Best 1. The Road to Nashville Peter Best 2. Sweet Old World Vocals: Emmylou Harris 3. Life’s Railway to Heaven Vocals: Patsy Cline 4. Midnight Special Vocals: Matt Day 5. Roses For Patsy Peter Best 6. Crazy Vocals: Miranda Otto 7. She’s Not For Us Peter Best 8. Gaol Train Peter Best 9. Girls’ Night Out Vocals: Gina Jeffreys 10. Steppin’ On Love Vocals: Ken, Alfie and Dwayne 11. Mexicali Punch-up Peter Best 12. My Mother’s Silver Chair Vocals: Ken, Alfie and Dwayne 13. The Grand Ol’ Opry Peter Best 14. If Only I Could Stay Asleep Vocals: Patsy Cline 15. Boyd’s Jazz Peter Best 16. Boulder to Birmingham Vocals: Emmylou Haris 17. Every Little Thing Vocals: Carlene Carter 18. Crash Peter Best 19. Goodbye Patsy Peter Best 20. Dead Red Roses Vocals: Miranda Otto, Matt Day and Christine Moy Composer Peter Best: Cinema Papers’ interview: Peter Best was interviewed in the May 1988 issue of Cinema Papers. He talked generally about how he started in the industry, and then more specifically about his work on Crocodile Dundee, a game changer for him: “… I have no musical background - I didn’t even do music at school - but I was always interested in it. I wrote songs while I was still at school that were really dreadful, and were derivative of all the heroes of the day like Duane Eddy. When I left home and came to Sydney I didn’t play music much at all, and then I was out drinking with some of my university mates, and something was on the jukebox that I made disparaging remarks about. Somebody said, “Well if you’re so bloody smart why don’t you do better?” There was a lot of joking conversation around the table about how the Sun-Herald was running a songwriting competition, so I went home and knocked off a few songs - and won! Thought, “Well, if it’s that easy I might as well keep doing it!” I came out of a background of jingles. Up until a couple of years ago, I guess I averaged more than 200 a year. It’s more lucrative than movies. Commercials are an intellectual exercise and a puzzle to solve. You give them your best shot but you don’t get emotionally involved the way you do with movies. Something like Bliss: everybody who worked on it felt as though they’d been run over backwards by a steamroller when they came out of it because everyone was so dedicated and interested. It was exhausting emotionally. That doesn’t mean you don’t make the same kind of effort on a commercial as you do on a movie. It’s just the emotional dimension that tends to be lacking, or it’s less intense. I’d done a lot of work for Phillip Adams, and he and Brian Robertson (sic, Robinson) had made a short film called Jack and Jill which, for its time, was very interesting. Phillip asked me if I’d do some music for that, and I did. He then was producing The Adventures Of Barry McKenzie and suggested me to Bruce Beresford and Barry Humphries. I’d been at university with Bruce, but that wasn’t regarded by him as any kind of qualification for me to be in a position to wreck his masterpiece.