In Search of Anna Music Credits

Total Page:16

File Type:pdf, Size:1020Kb

In Search of Anna Music Credits theme music by John Martyn • Alan Stivell Roger Frampton and Nicholas Lyon • Andrew Wilson (sic, also Nicholas) musical director • dubbing editor Michael Norton Musical Engineer Keith Walker 'The Dealer' 'Couldn't Love You More' 'Certain Surprise' Composed and Performed by John Martyn John Martyn appears by courtesy of Island Records 'Hard Road' Composed by Vanda and Young Performed by Stevie Wright Stevie Wright appears by courtesy of J. Albert & Son Pty. Ltd. 'The Man' Composed by Leslie Blackwood Performed by Stilletto (sic, also Stiletto) Published by Propaganda Publishing Pty. Ltd. 'Nights in Parlour' Composed by Andrew Bell and Kellie Howe Performed by Stilletto (sic, also Stiletto) Who appear by courtesy of Oz Records 'Bad Boy for Love' Composed by Rilan Performed by Rose Tattoo Who appear by courtesy of Albert Records 'Dreambuilder' Composed by Brewster, Neeson & Brewster Performed by Angels 'Am I ever going to see your face again' Composed by Brewster, Neeson & Brewster Performed by Angels Who appear by courtesy of J. Albert & Son Pty. Ltd. 'Dirty Deeds Done Dirt Cheap' Composed by Young, Young & Scott Performed by ACDC 'Long Way to the Top' Composed by Young, Young & Scott Performed by ACDC Who appear by courtesy of J. Albert & Son Pty. Ltd. All Albert's tracks produced by Harry Vanda & George Young 'Thakria' Composed and Performed by George Moudanidas 'Dealing With Love' Composed by Gauin (sic) Hamilton Performed by Pacific Breeze 'Sam's Dance' Composed by Gus Fenwick Performed by Pacific Breeze The sound track is a relatively early revival example of using music as a compilation of pop and rock tracks. The compile s notable for scoring a couple of big names, most notably AC/DC (when they travelled in credits as ACDC), as produced by Vanda and Young, though there's no shame in terms of 1970s pop music trendiness to have a couple of tracks from pub rockers The Angels, Rose Tattoo, Stevie Wright (also by Vanda and Young), or a couple of tracks from "alternative/pseudo-feminist" band Stiletto, as Jane Clifton defines the group she belonged to in the late 1970s. Throw an international credibility with British singer John Martyn singing the theme song over the opening titles, and throwing in a couple more tracks, and the score reflected the zeitgeist of sensitive folk rock through the banging pub rock. John Martyn as a web site active as of November 2013, here. Others who contributed to the track are Alan Stivell, a Celtic harpist, wiki here, and Roger Frampton, wiki here. Nicolas (credited as Nicholas) Lyon was the Australian connection for the theme song. Lyon is a UK born, then Australian based, musician, violinist and composer, who had a website active as of November 2013, here. The other Australian involved was Andrew Wilson, who has his career details recorded at the Australian Music Centre, here. Writer-producer-director Esben Storm explained in a July 1977 interview in Cinema Papers how Celtic harpist Alan Stivell came into the mix: Alan Stivell who plays a Celtic harp was out here recently, and he recorded a lot of music for the film. We put him in a studio and he gave us an hour of music. He saw all the sequences that were to have music and we explained what sort of feeling we wanted. He was brilliant - the music gives the film a whole new feeling. However after this beginning, the music score became much more ambitious, no doubt as a result of Storm's post-production fiddling with the cut, which took a good year after the shoot had finished. Martyn's site shows the lyrics for the theme song, but the lines are out of order when compared to the way they are in the film, with a portion of the first verse transposed to the last, and with some deletions. Below are the lyrics as they appear over the opening titles, with brackets indicating deletions: Remember how you cried when I bought a gun. Iʼve never been one to turn and run Everybodyʼs got to have a dream, To help them make it down the stream If they cannot chain or buy you, You know theyʼll try to crucify you Now Iʼm out here on the road, Thinking about my way back home. (Oh Anna, Oh Anna). We had a dream that didnʼt last, Like a fly in amber, Iʼm trapped in the past Stay on your feet in this human race, You think about a lover or a special place Lost you somewhere down the road, Now I hear you singing when Iʼm all alone Youʼre the only one, makes me feel this way, Keep on searching for you every day. Oh, Anna, Oh Anna, Oh, Anna, (Oh Anna). She came to me so young and free, And put her arms around (of) me She said that she would always stay, With me until my dying day (We grew up in a dirty town, Where they like to kick you when youʼre down If you show an easy side, They twist the knife and open you wide). Oh Anna, Oh Anna, Oh Anna … This last verse is put first on Martyn's site. In the film this last verse is reprised in full, with a few minor variations - 'of" in the second line, and a third "Oh Anna", finishing around the 07'45" mark. The theme song was released on a 45: 45 stere Island K7450 1978 Production: Michael Norton Recorded 29th July, 1978 at United Sound Studio, Sydney, Australia Engineer: S. Lee Final Mix & Production March 1979 Engineer: P. Radcliffe 1978 Island Records Ltd., England. Side A: In Search Of Anna (3'57").(John Martyn - Michael Norton) (Festival) vocal: John Martyn Martyn's website provides the following details about the 45: Released in Australia only. The theme tune to the Australian film In Search Of Anna released in 1978 and directed by Esben Storm. The song was recorded on 29th July 1978 at United Sound Studios, Sydney, Australia with final mix and production in March 1979. The B side is a live recording of Certain Surprise recorded in Sydney during a tour in 1977. This has not been released in any other format, on an album for example, however a live version (albeit very different from this single) has been released on Live At The Bottom Line, New York 1983 (Collectors Series Volume 3 by Voiceprint in 2001). A very rare single, if you ever see one buy it! The song "Certain Surprise" runs over the film's end titles, performed by Martyn on guitar, in a laid back, mellow style. Martyn's website provides this short biography for him: A short biography to introduce you to Iain David McGeachy (aka John Martyn). In a world that lacks compassion, John Martyn and his music, is a breath of fresh air. John was an incurable romantic who sang from his heart; no other artist sang with such commitment and emotion. People have fallen in and out of love listening to the most enduring and magical songs of deep sensitivity that have been sung over his forty year plus career. A truly progressive artist John never stayed with a tried and trusted sound, preferring to explore, experiment and break new ground. His trade mark melodies and lyrics are in a class of their own and his voice which is steeped in pleasure and pain, joy and fear and love and hate, expresses emotion like no other and can reduce even the strongest of men to tears. John Martyn was born Iain David McGeachy on 11th September 1948 in New Malden, Surrey, the only son of two light opera singers. Johnʼs parents separated and his early childhood was spent in Glasgow, John recalls, “you went out and kicked a few heads or you where looked on as a pansy.” John learnt to play the guitar at fifteen and on leaving school at seventeen he started playing in some of the local folk clubs under the wing of Hamish Imlach, who encouraged and John to play the guitar. John was influenced by many different music genres including Debussy and soon began to explore music on his guitar. Davey Graham was one of Johnʼs first heroes, as was Clive Palmer who founded the Incredible String Band and became a good friend. John and Clive lived together for a while in a shed near Alston in Cumbria. “Those were wild times, and Clive was a remarkable man, a great musician and down to earth, absolutely no bullshit, taught me lots of things to play.” With a growing reputation on the club circuit in the North John decided it was time to move on and he started playing in the clubs around London such as Les Cousins and the Kingston Folk Barge, and was soon signed by Chris Blackwellʼs Island Records. Johnʼs debut album, London Conversation, was recorded in mono and released in October 1967. An album of innocent songs that won praise from the music press and launched a career that spanned five decades! July 1968 saw John playing live for the BBCʼs Night Ride radio programme and he was soon to be featured again on the same programme with the release of his next album The Tumbler in December 1968. The jazz flautist, Harold McNair, who played on The Tumbler, joined John and he performed a number of songs including Dusty, Hello Train, Flying On Home, Seven Black Roses and The Easy Blues, which was to appear 5 years later on Solid Air. The Tumbler, was produced by Al Stewart and like London Conversation, was again in the folk tradition but early jazz influences were evident, as were beautifully simple and touching lyrics in love songs such as The River and Dusty that was inspired by Johnʼs happy memories of Hampton Court (where he stayed with his Aunt) and the annual Fair.
Recommended publications
  • Chemical Engineering Education Graduate Education in Chemical Engineering
    I • N • D • E • X GRADUATE EDUCATION ADVERTISEMENTS Akron, Uni versity of. .......... , .... ... .................. 321 Iowa State Uni versity .................. ... ....... ....... 360 Pensylvania State Uni versity ........................ 395 Alabama, University of ................................ 322 Johns Hopkins University .... .... .. .... .... .......... 361 Pittsburgh, University of .............................. 396 Alabama, Huntsville; Uni versity of.. .... .. ..... 323 Kansas, University of ............................... .... 362 Polytechnic University .. .... ... .... ........... .. ..... .. 397 Alberta, Uni versity of .. ........ .... .. .... ... ..... ..... .. 324 Kansas State University ............... ... ...... ........ 363 Princeton University ....................... .......... .. .. 398 Arizona, University of ....... .. .... .. .... ... .. ... ....... 325 Kentucky, Uni versity of ........................ .. ..... 364 Purdue University .. ........... ... ... ....... ... .... .... ... 399 Arizona State University ..... .. ... ...... ..... ......... 326 Lamar University .. ... ..... ..... ......... ........... .. ..... 430 Rensselaer Polytechnic Institute .... ...... .... ... .. 400 Auburn Uni versity .. ..... .. ... ..... .. .............. .... ... 327 Laval Universite ...................... ........... ...... .. .. 365 Rhode Island, University of.. .... ..... .. ... ..... .. ... 435 Bri gham Young Uni versity .............. ... .. ..... ... 427 Lehigh University .................................. .... ... 366 Rice University
    [Show full text]
  • Nicl\ Renbour:Rz, D~Vey Graham, Ralpl1 Mcte/1 and Donovan, to Be Followed by Fair­ Port Conventzon, John Martyn, Pentangle and the Incredible String Band
    . Tlze En~lish fol~ scene has always seemed obscure and mysterious from tlzis J szd~ of the. Atlantzc Ocean. _Tize traditional music of the British Isles began a re­ I nmssance ~n tlze 1950s and 60s witlz Ewan MacCo/1 A .L. Lloyd, Imz Campbell and Ma.rtm Carthy. Tlzey paved the way for the singer/songwriter/guitarist, who, w>tll a nod towards Bob Dylan, updated the traditional folk style and syn­ thesized it with blues and jazz. The early '60s wave was led by Bert Jansch, John Nicl\_ Renbour:rz, D~vey Graham, Ralpl1 McTe/1 and Donovan, to be followed by Fair­ port Conventzon, John Martyn, Pentangle and the Incredible String Band. ~orne .of thes~ people r~ached llationwide, even worldwide, success. Many re­ r:zamed m relatzve obscunty, rarely if ever playing ill the States. They remained m the folk club and small concert scene in Englmzd. Tlzeir music was often intri­ Drake cate, introsp~ctive and unlike tlze )olk mu~ic" we were accustomed to. One of them .wa~ Nzck Drake, who remams to thzs. day all almost anonymous figure, even m hzs own country. already established himself through Witch­ season Productions, recording LPs by Fair­ port, John Martyn and the Incredible String Band (as well as being the latter's mentor/manager). He called Nick and asked for a tape, which Nick obliged. Joe described his initial impression of Drake's music as "melodically unusual and sophisti­ cated." There was no doubt that Nick had to be nurtured and recorded. Five Leaves Left was begun in mid-1968.
    [Show full text]
  • Current Songs List
    Current Songs List Printed on Monday, 12 January 2004 403 songs are listed. Some are in more than one category. Song Title and Artist Name Song Title and Artist Name Xmas Carols / Xmas Songs Teddy Bear - Elvis Presley That'll Be The Day - Buddy Holly & The Crickets Happy Christmas (War Is Over) - John Lennon The Great Pretender - The Platters Rudolph The Red Nosed Reindeer - Xmas Carol The Twist - Chubby Checker Special Event The Wanderer - Dion Auld Lang Syne - Traditional Arrangement Tutti Frutti - Little Richard Bridal Chorus (Here Comes The Bride) - Traditional Arrangement Twist And Shout - The Beatles (Wagner) Wake Up Little Susie - The Everly Brothers Happy Birthday To You - Orchestrated Arrangement Wild One - Bobby Rydell Wedding March (Out Of Church) - Traditional Arrangement (Mendelssohn) Rock - Hard / Heavy Always - Bon Jovi Rythym & Blues / Soul Am I Ever Gonna See Your Face Again - The Angels In The Midnight Hour - The Commitments Soundtrack Are You Gonna' Go My Way - Lenny Kravitz Mustang Sally - The Commitments Soundtrack Born To Be Wild - Steppenwolf Shake Your Tailfeather - From "The Blues Brothers" Film Soundtrack Gimme All Your Lovin' - Z.Z. Top Treat Her Right - The Commitments Soundtrack High Voltage - AC/DC When A Man Loves A Woman - Percy Sledge Jailbreak - AC/DC When A Man Loves A Woman (Original Version) - Percy Sledge Jump - Van Halen Wonderful World - Sam Cooke La Grange - Z.Z. Top Rock'N'Roll Rebel Yell - Billy Idol Ain't That A Shame - Fats Domino Sharp Dressed Man - Z.Z. Top All I Have To Do Is Dream - The
    [Show full text]
  • Hard Knocks Music Credits
    (Cast) Maple Leaf Jazz Band Drums Roger Kennedy Bass Gary Dunbier Banjo John Withers Trombone Don Santin Trumpet Rob Green Alto sax Kim Rushworth Music Editor Zbigniew Friedrich Music Consultant Greg Pickhaver Hard Knocks Performed by Paul Kelly & the Dots Written by Kelly Published by Mushroom Courtesy of Mushroom Records Evie Part 1 Performed by Stevie Wright Written by Vanda/Young Published by Alberts Courtesy of Albert Productions Most People I Know Performed by Aztecs Written by Thorpe Published by Rock of Ages Courtesy of Havoc Records Who Listens To The Radio Performed by Sports Written by Cummings/Pendelbury Published by Antipodes/Mushroom Courtesy of Mushroom Records My Little Angel Performed by William Shakespeare Written by Vanda/Young Published by Alberts Courtesy of Albert Productions Take A Long Line Performed by Angels Written by Brewster/Neeson/Brewster Published by Alberts Courtesy of Albert Productions Where The Action Is Performed by John Paul Young Written by Vanda/Young Published by Alberts Courtesy of Albert Productions Birmingham Performed by John Paul Young Written by Vanda/Young Published by Alberts Courtesy of Albert Productions High Voltage Performed by AC/DC Written by Scott/Young/Scott Published by Alberts Courtesy of Albert Productions I Remember When I Was Young Performed by Matt Taylor Written by Matt Taylor Published by Mushroom Courtesy of Mushroom Records Breakfast at Sweethearts Performed by Cold Chisel Written by Walker Published by Rondor Courtesy of W.E.A. Records When The Heat's Off Performed by Richard Clapton Written by Richard Clapton Published by Gypsy Courtesy of Infinity Records High Class Women Performed by John St.
    [Show full text]
  • Music Education a Sound Investment
    Music Education A Sound Investment A report commissioned by PREPARED BY Dr Anita Collins Dr Rachael Dwyer Mr Aden Date Alberts is a 135-year-old family business that has played a vital role in the evolution of Australia’s media and popular culture since the early days of sheet music and music publishing, through to the birth of commercial radio and television, and the founding of the Australian pop and rock music industry. Founded in 1885 by Jacques Albert, the company is now run by members of the fifth generation under the guidance of fourth-generation member Robert Albert. Alberts was a co-founder of the Australasian Performing Right Association (APRA) in 1926, introduced to protect the rights of writers, composers and publishers. The company is known for its long association with local musicians including AC/DC, The Easybeats, Stevie Wright, Harry Vanda and George Young; and more recent support of Megan Washington, Wally DeBacker and Josh Pyke. Alberts has always believed in the power of music to change lives. In 2012 members of the fifth generation established The Tony Foundation, which strives to improve the lives of young Australians through music. Dr Anita Collins Dr Rachael Dwyer Mr Aden Date Dr Collins is an award-winning educator, Dr Dwyer is an educator, researcher and Mr Date is a social impact consultant researcher and writer in the field of advocate, who is focused on ensuring who focuses on driving ambitious and brain development and music learning. that all students have opportunities innovative projects within the arts She is best known for her role as on- to participate in quality music and arts and cultural sector.
    [Show full text]
  • Music & Entertainment Auction
    Hugo Marsh Neil Thomas Forrester (Director) Shuttleworth (Director) (Director) Music & Entertainment Auction Tuesday 19th February 2019 at 10.00 Viewing: For enquiries relating to the auction Monday 18th February 2019 10:00 - 16:00 please contact: 09:00 morning of auction Otherwise by Appointment Saleroom One 81 Greenham Business Park NEWBURY RG19 6HW Telephone: 01635 580595 Christopher David Martin David Howe Fax: 0871 714 6905 Proudfoot Music & Music & Email: [email protected] Mechanical Entertainment Entertainment Music www.specialauctionservices.com As per our Terms and Conditions and with particular reference to autograph material or works, it is imperative that potential buyers or their agents have inspected pieces that interest them to ensure satisfaction with the lot prior to auction; the purchase will be made at their own risk. Special Auction Services will give indications of the provenance where stated by vendors. Subject to our normal Terms and Conditions, we cannot accept returns. ORDER OF AUCTION Music Hall & other Disc Records 1-68 Cylinder Records 69-108 Phonographs & Gramophones 109-149 Technical Apparatus 150-155 Musical Boxes 156-171 Jazz/ other 78s 172-184 Vinyl Records 185-549 Reel to Reel Tapes 550-556 CDs/ CD Box Sets 557-604 DVDs 605-612 Music Memorabilia 613-658 Music Posters 659-666 Film & Entertainment Memorabilia Including items from the Estate of John Inman 667-718 Film Posters 719-743 Musical Instruments 744-759 Hi-Fi 760-786 2 www.specialauctionservices.com MUSIC HALL & OTHER DISC RECORDS 18. Music hall and similar records, 10 inch, 67, by Geo Robey (G & T 2-2721 & 18 1.
    [Show full text]
  • John Martyn Tape > 1St Generation Maxell XLII-90 Cassette, Dolby B On
    Thanks to the taper; and to kneesfudd for sharing the show at Dime. kneesfudd noted: Warts: Volume levels a bit erratic on #1. #10 has tapeflip splice in middle. Fixed a number of small pops, dullspots and dropouts, but surely missed a few. Last minute of #12 dropped in volume, so is a bit hissy where it was raised. The other two acts on the bill were the Dazz Band and Whitesnake. The audience was not happy about the billing. Non-stop background chanting for Whitesnake going on between songs. Lineage: stereo FM radio broadcast > unknown stereo recording equipment > off-air master John Martyn tape > 1st generation Maxell XLII-90 cassette, Dolby B on. SW3 Festival Playback 2014-07-14: 1st generation Maxell XLII-90 cassette on Nakamichi 680ZX Friedrich-Ebert-Halle cassette deck, Dolby B on, azimuth adjusted for individual recording, heads cleaned & demagnetized > Sony Linear PCM Recorder PCM-M10 (LPCM 44.10kHz/16bit Ludwigshafen am Rhein WAV files) > computer > Audacity [normalisation to remove DC offset, channel/ phase alignment, fades, manual one-at-a-time glitch, bump, pop, click, dropout & Germany dullspot repairs, volume adjustments, NO equalisation] > CD Wave (track splits) > flacs (Trader’s Little Helper) March 19, 1983 MP3 Version 01. Intro 0:26 02. Glorious Fool 3:39 03. Amsterdam 4:09 04. Call Me Crazy 3:55 1983 Martyn Germany John 05. Couldn’t Love You More 5:19 06. Bless The Weather 4:14 07. Dealer 5:45 08. Inside Out 5:08 09. Could Have Been Me 3:38 10. Sweet Little Mystery 5:18 11.
    [Show full text]
  • Jeff Apter @320Kbps.Mp3
    Jeff Apter @320kbps.mp3 [00:00:00] Welcome to the Inner West Library Speaker series. Before we begin, I would like to acknowledge the Gadigal and Wangal people of the Eora nation and pay my respects to the elders past, present and emerging. Today's conversation will be with Jeff Apter, Jeff is the author of more than 20 music biographies, many of them bestsellers. His subjects include Johnny O'Keefe, Keith Urban, Johnny Farnham, the Bee Gees and AC/DC. Jeff worked with Rolling Stone for many years and has written about music legends Aretha Franklin, Bob Dylan and Patti Smith. In 2015, he worked on the Helpmann Award nominated live show A State of Grace, The music of Jeff and Tim Buckley. Today, we speak about his new book, Friday On My Mind, The Life of George Young. This podcast is relevant to the music library, which will open at Ashfield Library in November this year. So, Jeff, can you talk a little about George Young and his early relationship with Harry Vanda while staying at the Villawood migrant hostel? [00:01:04] George Young and his family. He was one of 10, came to Australia in nineteen sixty three. They were part of what we now know, known as the ten pound POM scheme. And they've been hoping they've been invited basically over to the sunny side of Australia. And they ended up in the Villawood Migrant Hostel, which was not the most hospitable place then or now. But George one day was walking around the hostel and he heard a sound coming from the laundry room.
    [Show full text]
  • Crystal Ship 3
    EDITORIAL ADDRESS: JOHN D. OWEN, 22,CONISTON WAY, BLETCHLEY, MILTON KEYNES ENGLAND MK2 5EA GILDED SPLINTERS : The generation gap in Rock. p. 4 STAR SAILORS: Philip K.Dick can build you. by Andy Muir p. 6 FEAR & LOATHING IN MIDDLE-EARTH. The Silmarillion gets the finger from Joseph Nicholas p. 9 CADENCE & CASCADE : RyCooder p.14 THE QUALITY OF MERSEY : A personal account of a Scouse New Year by Patrick Holligan p.16 ISLANDS IN THE SKY : Can SF really come true so soon? p.19 JUST A PINCH OF....: Some thoughts on spells, charms and toads , by Peter Presford p.25 ARTIST CREDITS : Yes folks, real artists! p.25 RIPPLES : Being an actual real live letter column. p.26 RECENT REEDS : The return of the book reviews. p.50 In both size and content this issue of the Crystal Ship has reached a new high: so has the printers' bill! So, finally, I've come to the stage where one of two things must happen. Either I cut back to a very small circulation and keep paying for it all myself, or I accept subscriptions for the 'zine. Until now, I haven't particularly thought the 'zine worth it,( typically modest self-depreciation!), but cir­ cumstances (approaching bankruptcy) force me to accept the second alter­ native. So from now on readers who either don't contribute, exchange or send letters of comment (even if its only "I like/loathe it") will have to pay real money, at a rate of 25p a copy in Britain or 2 per dollar over­ seas (bills only please).
    [Show full text]
  • The Comment, February 8, 1973
    Bridgewater State University Virtual Commons - Bridgewater State University The ommeC nt Campus Journals and Publications 1973 The ommeC nt, February 8, 1973 Bridgewater State College Volume 52 Number 17 Recommended Citation Bridgewater State College. (1973). The Comment, February 8, 1973. 52(17). Retrieved from: http://vc.bridgew.edu/comment/306 This item is available as part of Virtual Commons, the open-access institutional repository of Bridgewater State University, Bridgewater, Massachusetts. The COMMENT , . r~ebruary 8, 1973 VOl-. 1.11 NO. 17 BRIDGEWATER STATE COLLEGE Language Dissens-ion Centers Around "What are Relevant Considerations II ()Par Kevin: he fulfilled either by further study to the requirements for its major, it is evident that both faculty and two basic principles enumerated This is in response to your letter in foreign language courses or by it was assumed that the recom- students found it difficult to grasp above in the sixth paragraph of of January 16, 197:3, regarding the courses in non-English literature ml'ndations of the departments the full implications of the Board this letter. decisions recen~Iy made in the in translation.) w('re professional judgements, not of Trustees' policy in terms of With respect to the Department foreign language requirements at The experience of other colleges to be overruled by any segment or what are relevant considerations. of [t:arth Sciences and Geography, Bridgewater State College .. May I has shown that a great many step of the College Community The Faculty Council, also I subsequently received on say at the outset that I share many students who have studien a governance process, including the cognizant of the Board of Trustees' November- 14, 1972, a sup­ of the principles that you express foreign language in high schOol are President, unless they were in policy, voted at its November 13, plementary and unsolicited so forcefully in your thoughtful able to pass the proficiency conflict with the two basic prin- 1~l72 meeting to accept the statement further clarifying the iptter.
    [Show full text]
  • Risk Music Credits
    composer Don Miller-Robinson Music Supervision Christine Woodruff Music Recorded at Big Bang Theory Trackdown Digital Engineered by Don Miller-Robinson & Damian Candusso Hammond, Fender Rhodes Stu Hunter Drums Hamish Stuart Bass Sam Dixon Analogue Synthesizers Alexander Nettelbeck Percussion Huey Benjamin Guitars, various instruments Don Miller-Robinson "Friday On My Mind" written by Harry Vanda/George Young. © 1966 J. Albert & Son Pty Ltd performed by The Easybeats, courtesy of Albert Productions "The Sound" written by Ash Hansen (control), performed by Rumanastone ℗ 2000 Mushroom Records Australia Pty Ltd, licensed from Festival Music Group "Whatever Makes You Happy" written by Ben Nash, Ivy League Music/Mushroom Music Publishing performed by 78 Saab, courtesy of Ivy League Records "Undecided" written by Michael Bower & Richard Morrison, Universal Music Publishing Pty Ltd performed by The Masters Apprentices, courtesy of Jim Keays "Hej" written by Harada/Skinner/Battah/Blackshaw published by Chatterbox Records Pty Ltd, performed by Skulker, ℗ 2000 Chatterbox Records Pty Ltd, Licensed from Chatterbox/Phantom Records "20th Century Boy" written by Marc Bolan, courtesy of Wizard (Bahamas) Limited licensed from Festival Music Pty Ltd, performed by Skulker ℗ 2000 Chatterbox Records Pty Ltd, Licensed from Chatterbox/Phantom Records "Naughty" written by Blackshaw/Skinner/Battah/Harada published by Chatterbox Records Pty Ltd, performed by Skulker, ℗ 2000 Chatterbox Records Pty Ltd, Licensed from Chatterbox/Phantom Records "Another Up" written
    [Show full text]
  • A BUCK HAY POR BRISBANE JULIANNE SCHULTZ Looks at the New Wave of Violence Against Blacks in This Week's Centrefold
    A BUCK HAY POR BRISBANE JULIANNE SCHULTZ looks at the new wave of violence against blacks in this week's centrefold. THE FACTS OF SZASZ TheMythof mental illness E^e'rpis from Szasi'recent Myer Memorial lecture page 12 The Master of Mime talks to TttUIT? STUART MATCHETT on, h|s life story page 6-7 'The cose for oborfion pages 4-5" and art—Pages 13-14. ?u>m3:^:m «^ '-**^*"*"---. ments to thb public. Generalised poli­ tical statements or slogans can be funda­ mentally true in one context and in fact PART TIME STUDENTSFASS productive in their conseuqences, yet come to a ' ; . they can also be inadequate or lacking in impact or understanding in another (eg BARBECUE exceptions to the rule in question or any /•on •';••'.•• omitted qualifications to a critique can be very important occasionaUy if you don't ; WEDNESDAY AUGUST 24 wish to alienate many of those you wish commencing 4.30 pm to communicate with). Many of the feminist points about the * Beside the Swimming Pool, University of Queensland. show being racist and heterosexist I feel * Barbecuing facilities available-bring picnic or food for barbecuing arc too generalised. They raise potentially important questions (eg the selective and and drinl<s for your family. racist way the western press utilises Idi * Organised by PESO (Part-time and External Students Organisation). Amin in the news), however they do not Dear Gamut, The barbecue tea is an opportunity for part-timers and their families As a member of the Revue 77 go far enough into the specifics of the company and producer of the Bjeike argument's reasoning and also whether to get together and enjoy the University's facilities, and also to they are genuinely applicable to the Bitter advertisements for "Life- Wasn't welcome external students who will be visiting the University for Meant to Be ..." I would like to reply to sketches in question.
    [Show full text]