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Music Composed by Lesley Barber (cast): Singer Francine Bell Musician #1 Milton Ward Musician #2 Mark Taylor Music Conducted by Lesley Barber Musicians: Violin Adele Armin Vera Tanrowsky Viola Bridget LaMarche-Brown Cello Richard Armin Piano Eve Egoyan Harmonica Carlos del Junco Guitar Neil Chapman Music Supervisors Janet York and Ron Proulx for S.L.Feldman & Associates Music Engineer Kevin Doyle Assistant Engineers Paul Anderson Paul Offenbacher Music Recorded at Dome Audio "The Marmalade Song" Composed by Tushka Bergen & Milena Bennett "Tuesday Night" Performed by Kristin Hersh © 1994 Yes Dear Music Composed by Kristin Hersh Courtesy of Sire Records/4AD By Arrangement with Warner Special Products "Where Do We Go From Here" Performed by Francine Bell © 1995 A Song For You/Sold For A Song/ E. Schwartz & Son/Manitou Music Canada/MCA Music Canada Composed by Ron Lewis Jacobson & Eddie Schwartz "She's Gone" Performed by Tindersticks © 1995 Rough Trade/Tindersticks Composed by Tindersticks Courtesy of Quicksilver Recording Company "Bring It On Down" Performed by Oasis © 1994 Oasis Music/Creation Songs/Sony Music Publishing Composed by Noel Gallagher Courtesy of Sony Music Licensing "Totally Fucked Up" Performed by Malhavoc © 1994 Warner/Chappell Music Canada/Icky-Poo Publishing Composed by James Cavalluzzo/John Carss/Steve Jelliman Courtesy of Icky-Poo Records Distributed by Cargo Records "Red Right Hand" Performed by Nick Cave and the Bad Seeds © 1994 Mute Song Composed by Nick Cave/Mick Harvey/Thomas Wydler Courtesy of Mute Records Ltd. "The Cuckoo" Performed by Kristin Hersh © 1994 Yes Dear Music Traditional Arranged by Kristin Hersh Courtesy of Sire Records/4AD By Arrangement with Warner Special Products Music in the film: Sourced music turns up a number of times on the soundtrack, and the singer of a slow, languid number also makes an appearance early on during a party sequence. It's Where Do We Go From Here, performed by Francine Bell, though the music's mainly down below the party dialogue. Bell could be found at the Australian Jazz Agency here, WM here. Bell also had an eponymous site here, CV at WM here. (Below: Bell in the film) Lyrics: The song, The Cuckoo, performed by Kristin Hersh, runs over the tail credits. Presumably this reflected the way that post for the film was done in Canada, with the composer of the underscore the Canadian musician Lesley Barber. Hersh was indie friendly at the time, and she has a detailed wiki listing here. The film ends this way: After April has clambered into bed with her sleeping daughter and they cuddle, April lies back and looks up to the camera. The camera does a slow move in on her face, and then into ECU on her eyes. Eventually she closes them and the image fades to black. This is a reverse on the way that the film opened, when April lies passively in bed, as if suffering sex with her husband, when he's really indulging in exercise on the floor. Tail credits begin to roll. At that point a piano instrumental gives way to The Cuckoo. Lyrics as heard in the film: Oh, the cuckoo she's a pretty bird She wobbles when she flies She don't ever hire a cuckoo 'Till the fourth day of July Jack of diamonds (echoed by chorus) Jack of diamonds (echoed by chorus) I know you .. (chorus echo) ..of old … (chorus repeats) You rob my … (chorus repeat) …poor pockets (chorus repeats) … of silver and gold (chorus repeats) Oh the cuckoo … she's a pretty bird (chorus keeps repeating in a similar style, and for following lines also) I wish that she was mine She don't ever drink water She only drinks wine Uh huh … Uh huh … Uh huh … Uh huh … Uh huh … Uh huh … Uh huh ... Gonna build me ... a log cabin (chorus returns to repeat line in two parts, as before) On a mountain so high So I can see Willy When he goes on by Oh the cuckoo she's a pretty bird She wobbles when she flies She don't ever hire a cuckoo 'Till the fourth day of July Uh huh … Uh huh … Uh huh … Uh huh … Uh huh … Uh huh … Uh huh ... The song ends with a little guitar flourish, dying away with still about thirty seconds of end titles to run. The piano instrumental returns, and continues until the copyright credit. Composer Lesley Barber: Barber had an eponymous website here which contained these career details: A member of the Academy of Motion Picture Arts and Sciences Class of 2016, film composer Lesley Barber writes music marked by intelligence and emotional depth. She has scored a string of award-winning and highly acclaimed projects, most notably Kenneth Lonergan’s Oscar-nominated film, Manchester by the Sea. A multi-instrumentalist, conductor and pianist, Lesley’s interest in modern electronic programming, loops, and effects adds dimension to her work, creating hybrid atmospheric scores with lush orchestration with an innate ability to bring the essential to light and avoid the cliché. Lesley’s recent films include American Woman, produced by Killer Films and directed by Semi Chellas; Stephanie Laing's Irreplaceable You, Nappily Ever After directed by Haifaa al-Mansour', and Late Night, directed by Nisha Ganatra and starring Emma Thompson and Mindy Kaling. She’s currently working with Kaling again on the forthcoming Four Weddings and a Funeral. Her distinguished list of credits includes Lonergan’s Oscar-winning You Can Count On Me; Jerry Rothwell’s award-winning documentary How To Change The World; Patricia Rozema’s Mansfield Park; Mira Nair’s Golden Globe winning Hysterical Blindness; Mary Harron’s Moth Diaries; the children’s classic Little Bear with Maurice Sendak; Yo-Yo Ma: Six Gestures; and Boaz Yakin's Boarding School. Lesley is a proud and active member of the Alliance for Women Film Composers, which has taken a leading role in the much-publicized diversity conversation now occurring in Hollywood. She has a passion for good food, great cities and interesting company. Barber also had a relatively detailed wiki listing here. (Below: Lesley Barber) .
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