Music Design & Production Laurence Maddy

Composer Cezary Skubiszewski

(cast) Pub Band – Sandercoe

Ian Sandercoe, Paul Elliot, David Carter, Craig Lancaster

Newt’s Band Bass Guitarist Dario Bortolin Drummer Mark Marriott

Guitarist at Benefit Laurence Maddy

Music Editor Laurence Maddy Assistant to Tap & Music Editor Liam Fraser Tap and Music Mixer Laurence Maddy

Music Supervisors Mana Music Chris Gough Ben Steer

Original Music Composed, Arranged and Produced by Cezary Skubiszewski

Recorded by Andy Baldwin and Robin Gray at Sing Sing & Allan Eaton Studios,

Mixed by Andy Baldwin and Laurence Maddy at Metropolis Studios, South Melbourne

Performed by Charlie Rooke and the Victorian Philharmonic Orchestra Members of the Melbourne Symphony Orchestra Orchestrations & Conductor Darryl McKenzie Additional Guitar Recording Shane O’Mara, David Dwyer Jan Skubiszewski

“Finale Part 1” Composed by: C. Skubiszewski, L. Maddy and D. Perry Publisher: Warner/Chappell Music Pty Ltd/Control

“Finale Part 2” Composed by: C. Skubiszewski Publisher: Warner/Chappell Music Australia Pty Ltd

“Finale Part 3” Composed by: C. Skubiszewski and D. Perry Publisher: Warner/Chappell Music Australia Pty Ltd/Control

“Bootchorus Stomp” Composed by: C. Skubiszewski and D. Perry Publisher: Warner/Chappell Music Australia Pty Ltd/Control

“Machine Shop Rehearsal” Composed by: L. Maddy Publisher” Warner/Chappell Music Australia Pty Ltd

“Mechanical Gardens” Composed by: L. Maddy and D. Perry Publisher: Warner/Chappell Music Australia Pty Ltd/Control

“Mechanical Gardens 2” Composed by L. Maddy, Publisher: Warner/Chappell Music Australia Pty Ltd.

“Mitchell’s Theme” Composed by: C. and J. Skubiszewski Publisher: Warner/Chappell Music Australia Pty Ltd

“Tap Flange” Composed by: D. Perry, Produced by: L. Maddy Performed by: Bootchorus, Publisher: Control

“Rumble” Written by: T. Rogers, Performed by: Publisher: Festival Music Australia Pty Ltd “Shiver” Written by: Orange/Juke, Performed by: Oblivia Publisher: J. Albert & Son Pty Ltd

“Slap that Bass” Written by: G. Gershwin, Produced by: L. Maddy Arranged & Orchestrated by: Graham Jesse, Co-ordinator: David Stratton Publisher: © 1936 George Gershwin Music (ASCAP) & Ira Gershwin Music (ASCAP) All rights O/B/O George Gershwin Music & Ira Gershwin Music Administered and Orchestrated by WB Music Corp. (ASCAP)

“” Written by: C. Kennedy, B. Palmer Produced by: & Performed by: Deadstar, Publisher: Mushroom Music

“Strange Human Beings” Written by: Quan Yeomans, Performed by: Publisher: © 1999 EMI Publishing Australia Pty Ltd Licensed by EMI Music Publishing Australia Pty Ltd

“Bloody Mary” Written by: Chris Chaney Produced by: Lindsay Gravina & , Performed by: The Living End Publisher: © 1998 The Living End Pty Ltd. All rights administered by EMI April Music Inc. Licensed by EMI Music Publishing Australia Pty Ltd

“Preacher” Written by: Ian Sandercoe Produced by: Laurence Maddy Performed by: Sandercoe/Control

“Freebound” Written by: Ian Sandercoe Produced by: Laurence Maddy Performed by: Sandercoe/Control

“My Family” Written by: N. Curuana/T. Wraight/C. Tabone Produced by: Mushroom Music Performed by: Banana Oil, Publisher: Nicky Bomba

“Tease Me” Written by: P. Kelly/B. Haymes Produced by: Paul Kelly & Mark Opitz Performed by: Paul Kelly Publisher: Mushroom Music

“Signpost” Written by: P. Jamieson, P. Davern, J. Henson Produced by: Jonathan Burnside Performed by: Publisher: Shock Music Publishing (Australia) Pty Ltd

“Newt’s Notes” Written by: L. Maddy/G. Walmsley, Performed by: Grant Walmsley Publisher: Warner/Chappell Music Australia/Universal Publishing

“Don’t It Get You Down” Written by: C. Kennedy, B. Palmer, P. Jones Produced by: Barry Palmer Performed by: Deadstar Publisher: Mushroom Music

“Better Off Dead” Written by: P. Jamieson Produced by: Jonathan Burnside Performed by: Grinspoon Publisher: Shock Music Publishing (Australia) Pty Ltd

“” Written by: , Produced by: Lindsay Gravina & The Living End Performed by: The Living End, Publisher: © 1998 The Living End Pty Ltd. All rights administered by EMI April Music Inc. Licensed by EMI Music Publishing Australia Pty Ltd

“Even When I’m Sleeping” Written by: D. Manning Produced by: Justin Stanley Performed by: Leonardo’s Bride Publisher: Mushroom Music

“Puttin’ On the Ritz” Written by: Irving Berlin Produced by: Laurence Maddy Performed by: Grant Walmsley Publisher: Irving Berlin Music Corp & J Albert & Son Pty Ltd

“Junk” Written by: T. Rogers, Performed by: You Am I Publisher: Festival Music Australia Pty Ltd

“Nothing On My Mind” Written by: P. Kelly, P. Luscombe, S. Hadley Produced by: Paul Kelly with Laurence Maddy Performed by: Paul Kelly, Publisher: Mushroom Music

Cezary Skubiszewski and Laurence Maddy’s services provided courtesy of Warner/Chappell Music Australia Pty Ltd

Soundtrack available through BMG BMG Australia Limited - logo

Lyrics:

The film ends with a montage of superimposed images showing Adam Garcia’s Sean, Sophie Lee’s Linda and baby, and Sam Worthington’s Mitchell.

Sean’s whirling in a tap sequence, before doing a backflip on front of a cheering crowd. He soaks up the applause, and then there’s a boot in close up tapping on the floor several times, before the boots walk offscreen and the image cuts to black.

As end credits begin to roll, Paul Kelly’s Something on My Mind (already heard in the film) begins to play. Lyrics as heard in the film.

Yep … (Guitar driven intro)

Here we go …

(Guitar driven intro)

Rack 'em up Jim, it's your break Set 'em up Max, it's my shout You know, I really could go a round or three You wouldn't believe the crap I've had to deal with this week And I'm shovelling most of it for free "Grace under pressure" - that's what the old man said But the old man said a lot of things in his time Well, fighting a bull's one thing, but fighting bullshit's another You know, around here the bullshit just never seems to die I just want nothing on my mind Chorus: Nothin’ on my mind! Nothing on my mind. Chorus: Nothin’ on my mind! Nothing on my mind. Chorus: Nothin’ on my mind! Nothing on my mind. Chorus: Nothin’ on my mind! Take it …

(guitar-driven instrumental)

Christ! Hell! It's warming up in here, listen to that guitar player will ya? Do you think anyone could tell him to turn down? Where'd Jim go, sorry I didn't catch your name It's impossible to hear a word above that sound I'm a little thirsty, I'm running out of money, Hey I'm a legend, not a star And I'll talk to anyone, yes I will Just as long as I can keep ripping the scab off those cold little vicious ones As they keep coming across the bar I just want nothing on my mind Chorus: Nothin’ on my mind! Nothing on my mind. Chorus: Nothin’ on my mind! Nothing on my mind. Chorus: Nothin’ on my mind! Nothing on my mind. Chorus: Nothin’ on my mind! Look …

(guitar-driven instrumental)

Huh ... There was a man on the radio today, talking about the young people Said we should listen to the young people, said they're a victim of conspiracy The young people, Jesus! What's that supposed to mean? I never did one damn good thing 'til I was over thirty I'm gonna get up in the morning, chug a little coffee Gonna get on my bike and ride away Find me a beach with a nice little break And I'm gonna catch wave after wave after wave Until there's nothing on my mind Chorus: Nothin’ on my mind! Nothing on my mind. Chorus: Nothin’ on my mind! Nothing on my mind. Chorus: Nothin’ on my mind! Nothing on my mind. Chorus: Nothin’ on my mind! Just won’t let it on my mind Chorus: Nothin’ on my mind! Nothing on my mind Chorus: Nothin’ on my mind! Nothing on my mind Chorus: Nothin’ on my mind! Nothing on my mind Chorus: Nothin’ on my mind! Well …

(Guitar-driven instrumental takes over, with a few interjections)

Right! Young people! Whoever brought me here’s gonna have to take me home! The young people! Ha! What’s that? What’s that? Do you know what I’m saying?” Huh?!

CD:

A CD of the soundtrack was released: (Below: BMG/RCA version)

(BMG Australian version)

BMG 74321784292 2000 BMG/RCA 74321-78969-2

Executive Producers: Dein Perry & Hilary Linstead Tracks 3 & 18 - original music composed, arranged and produced by Cezary Skubiszewski Charlie Rook - guitar; Steven Hadley - bass; John Watson - drums Recorded and mixed by Andy Baldwin Additional recording Laurence Maddy Track 12 produced, recorded and mixed by Andy Baldwin Track 9 original music composed, arranged and produced by Cezary Skubiszewski Charlie Rook -guitar; Victorian Philharmonic Orchestra (members of Melbourne Symphony Orchestra) Recorded by Robin Gray and Adam Rhodes Mixed by Andy Baldwin Music supervisor - Chris Gough, Mana Music Music mixer & tap editor - Lawrence Maddy Cezary Skubiszewski & Laurence Maddy - services provided courtesy of Warner/Chappell Music Australia Pty Ltd. The BMG Australian version begins with:

1. All Torn Down, vocals: The Living End (Cheney), EMI Music Publishing, 1998 Pty Ltd. Licensed Courtesy of EMI Music Australia

This track doesn’t appear on the BMG/RCA version. There are other variations, see the rear covers above - there are two fewer tracks and the order is different.

These details are for the original Australian release:

2. Rumble, vocals: You Am I (), Festival Music Australia Pty Ltd., 1998 rooArt 3. Opening Sequence, (Cezary Skubiszewski), Fox/Warner Chappell Music Australia Pty Ltd. 4. Bloody Mary, vocals: The Living End (Cheney), EMI Music Publishing, 1998 Modular Recordings Pty Ltd, licensed Courtesy of EMI Music Australia 5. Strange Human Beings, vocals: Regurgitator (Quan Yeomans/Regurgitator), EMI Music Publishing Australia Pty Ltd., 1999 Warner Music Australia Pty Ltd., licensed from Warner Music Australia Pty Limited 6.Tease Me, vocals: Paul Kelly (Kelly/B Haymes), Mushroom Music, 1998 P. Kelly, licensed from Festival 7. My Family, vocals: Banana Oil (Bomba/Wraight/Tabone), Mushroom Music, 2000 Noah's Ark, licensed from Noah's Ark 8. Sign Post, vocals: Grinspoon (P Jamieson/P Davern/J Hansen), Hello Mr Wilson (Shock Music Publishing), 1999 Grudge Records Australia, licensed from Universal Music Australia Pty Limited 9. Love Theme (Cezary Skubiszewski), Warner/Chappell Music Australia Pty Ltd. 10. Radio Loves This, vocals: (Conway/Zygier), EMI/ Polygram, Another Intercorps Production, 2000 Licensed from Shock Records Australia 11. Hit Song, vocals: Custard (Custard), Mushroom Music, 1999 rooArt 12. Giveway, vocals: Supaskuba. (SupAskuba Cezary Skubiszewski & Jan Skubiszewski), Control/Warner Chappell Music Australia Pty Ltd. 13. Better Off Dead, vocals: Grinspoon (P Jamieson), Hello Mr Wilson (Shock Music Publishing), 1999 Grudge Records Australia, licensed from Universal Music Australia Pty Limited 14. Don’t It Get You Down, vocals: Deadstar (Palmer/Kennedy/Jones) Mushroom Music, 1996 Mushroom Records Pty Ltd., licensed from Festival Mushroom Records 15. Nothing On My Mind, vocals: Paul Kelly (Kelly/P Luscombe/S Hadley), Mushroom Music, 1998 P. Kelly, licensed from Festival Mushroom Records 16. Nipple, vocals: Ice Cream Hands (Jenkins), Rubber Music/Sony Music Publishing, 1999 Rubber Records/BMG Australia Limited 17. Deeper Water, vocals: Deadstar (B Palmer/C Kennedy), Mushroom Music, 1999 Mushroom Records Int, BV., licensed from Festival Mushroom Records 18. Finale Part 2 (Cezary Skubiszewski), Warner Chappell Music Australia 19. Shiver, vocals: Oblivia (Orange/Juke). J.Albert & Son, produced & engineered by Steve James, 2000 BMG Australia Ltd., taken from the ‘The Careless Ones’ 20. Even When I’m Sleeping, vocals: Leonardo's Bridge (Dean Manning), Mushroom Music, licensed from Festival Mushroom Records 21. Junk, vocals: You Am I (Tim Rogers), Festival Music Australia, 1998 rooArt 22. Tap Force (D Perry & L Maddy), Control/Warner Chappell Music Australia Pty Ltd.

Soundtrack review:

Brad Green reviewed the soundtrack for Urban Cinefile. The review is here, saved to WM here:

Just to prove it isn’t Strictly Ballroom, it’s the girls who steal the show on this soundtrack from the newly released tap-meets-testosterone extravaganza. There’s lots of machismo in the male-fronted pub and grunge rock tracks from The Living End, You Am I, Grinspoon and co, but none have more impact than Deborah Conway’s Radio Loves This, or Leonardo’s Bride’s Even When I’m Sleeping. Radio Loves This has been out for a while, and I’m not sure it’s quite lived up to its name, but it deserves to. Turning up the heat from her often sedately folksy outings, Conway emotes over a driving back beat and gritty guitar riffs, to find an appealing niche between the blues of and the bite of . Neither Matthews nor Imbruglia make a contribution here, but Conway does have a symbolic sister in Leonardo’s Bride’s front-fem, Abby Dobson. Dobson’s voice fluctuates between dreamy breathiness and soaring abandon on a world- class slice of melodic pop. Radio genuinely has had an on-going love affair with Even When I’m Sleeping; and so have I. Like these two representatives of fair dinkum Aussie Girl Power, most of the blokesy rock on this record is compiled from tracks released within the last couple of years. For the most part, they’re boots-and-all power numbers with enough grunt to cover for the lack of subtlety. Occasionally, there’s even a hint of imagination – the oddly dissonant pizzicato that punctuates Custard’s Hit Song, and the bass and brass bursts that colour You Am I’s pungently pleasing Junk. Cooling down the tempo is Icecream Hands, who serve up some stylish folk-rock with their titillating Nipple. And four new compositions, written specifically for the film by Cezary Skubiszewski (Two Hands, The Sound Of One Hand Clapping), fit the mood like a comfortable singlet and jeans ensemble. As does the first single, SupaSkuba’s Giveway, to which he contributed. The only real let down is Tap Forge – a boots-tapped-for-sound finale that comes across as a bit of a wimp-out after the fabulous racket these guys made at the Olympic opening ceremony. Nevertheless, if you like your Ozi-rock with lotsa guitars and few frills, you’ll love this CD. You can bet your boots on it. Brad Green Composer:

Cezary Skubiszewski is too well-known a composer to dwell on at length here. Skubiszewski was listed at move here, with this short bio:

Polish-born Cezary Skubiszewski is one of Australia's leading film composers, with award-winning hits such as La Spagnola, Bootmenand Two Hands to his credit. He is the recipient of numerous awards from the AFI, APRA and the Australian Guild of Screen Composers. Described by Erin Free of Filmink as "one of the most prolific and consistently fascinating composers working in Australian film", Cezary Skubiszewski was born in Warsaw (Poland) and studied piano from of 6. He migrated to Australia in 1974, and through his life has both played in and composed for a number of rock, jazz and classical groups. In 1981 Cezary composed and performed the symphony Home at Last and in 1990 created Soundscape - a musical journey through time and emotion - together with designer Shaun Gurton. Cezary's first feature film score was for the film Lilian's Story, directed by fellow Pole Jerzy Domaradzki. He has since worked with many Australian directors, including Gregor Jordan (Two Hands), Richard Flanagan (The Sound of One Hand Clapping), Steve Jacobs (La Spagnola) and Brendan Maher (the acclaimed Network 10 / Granada mini-series After the Deluge). Cezary has composed music for many television films and programmers and also wrote music for many advertising campaigns.

Skubiszewski had a reasonably detailed wiki listing here, and his own eponymous website here, which contained information about his works, YouTube links, awards, recordings, etc, as well as this short CV:

Cezary Skubiszewski is an Australian film and TV composer whose work has claimed numerous awards. Cezary’s first film score was for Lilian’s Story (1996), directed by fellow Pole Jerzy Domaradzki and staring . This was followed by (2000) and La Spagnola (2001), for which he collected Best Original Music awards from the Australian Film Institute. His other early works include Black & White (2002), The Brush Off (2004), The Book of Revelation and Blessed. His work on the 1999 film Two Hands saw Cezary collect the Best Film Score Award from APRA at the annual Screen Music awards. This was followed in later years by the mini-series After the Deluge (2003) starring Hugo Weaving and Rachel Griffiths, and (2007) for which he also received Best Film Score Awards. He then went on to compose scores for The Book of Revelation (2006) and Blessed (2009). His latest work composing for Night (2008) Bran Nue Dae (2009), Red Dog (2011) and The Sapphires(2012) – which received critical acclaim at an international level, have seen him win awards from Inside Film and the Film Critics Circle of Australia. In last few years Cezary composed music for Serrangoon Road (2013 APRA AWARD), The Broken Shore (2014) (APRA AWARD) Parer’s War (2014), Jeziorak (2014 Polish Film Festival Best Music Award) Turkey Shoot (2014), Women H'e Undressed (2015) , Karbala (2015) Oddball (2015), Red Dog - True Blue (2016) and USA film Tiger (2016). In 2017 Cezary Received ACCTA Award for Best Music in a documentary for his score to Monsieur Mayonnaise. Cezary just finished scoring TV mini-series Picnic At Hanging Rock. In 1981 Cezary composed the symphony Home at Last and in 1991 created musical theatre multi-media production Soundescape which was performed at Melbourne and Festivals. (2015) Cezary has also composed music for a number of adverts,including 2000 Olympics, Australian Football Finals, Melbourne 2006 Commonwealth Games, Carlton Draught Big Ad campaign and the VB Bottle Symphony which became a worldwide hit. In 2008 and 2011 Cezary was the Musical Director of APRA/AGSC Screen Music Awards. Cezary is the Recipient of the Centenary Medal 2003 "For Service to Australian Society and Australian Film Production" and Film Circle of Australia (FCCA) 2010 Award "in recognition of contribution to Australian Cinema".

(Below: Cezary Skubiszewski)

In 2010 Albert published a collection of Skubiszewski’s soundtrack work. There were some 18 tracks from a variety of films on the CD:

Skubiszewski’s discography can be checked at Discogs here - the site had this list of tracks for his Filmworks album. Interestingly, his work for Bootmen didn’t make the cut: Music in the film:

Inevitably, given that the subject of the film is industrial tap dancing, there’s plenty of music, and a couple of bands on view in the film. For more shots of assorted bands at work, see this site’s photo galleries. A few examples, in order of appearance in the film: