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Home , Anita Lane, Barry Adamson, Blixa Bargeld, Jeffrey Lee Pierce, Mick Harvey, Pink Elephants

original music by music performed by The Victorian Philharmonic Orchestra leader Rudolph Osadnick oboes Stephen Robinson Ann Gilby (on "I Threw It All Away") harp Julie Raines featured cello Sarah Morse contractor Ron Layton all string arrangements by Mick Harvey music produced by Gareth Jones Blixa Bargeld Nick Cave Mick Harvey recording assistant David Davis music mix Gareth Jones & Mick Harvey recorded at Sing Sing Studios, mixed at Metropolis, Melbourne music supervisor Chris Gough, Mana Music

"I Threw It All Away" Written by published by Big Sky Music/Sony Australia performed by Scott Walker courtesy of Fontana Records Song arranged by

"Gangsta Bone" Written and performed by © Bryan "Darkman" Mitchell

"U Dead" Written and performed by © Bryan "Darkman" Mitchell

We thank for his assistance Mourning song (Traditional) performed by Raun Raun Theatre, PNG

"Opa Tivu Tari" Written by Omardie, performed by The Banditz courtesy of Pacific Gold Studios, Port Moresby, PNG

Music in the film:

A Bob Dylan song is required to do duty as the haunting melody suggesting the madness of Jack.

This culminates, when, after all that’s happened, Kate can be seen on TV in the dead Sal’s bar. Jack switches off the image, and turns, transfixed, to see an indigenous singer stand behind the mike on stage, doing a kind of karaoke version. To emphasise how far out of it Jack is, he sees the singer’s shape through a shot of whiskey.

Eventually her out of tune singing, with a few mangled or missed lyrics, gives way to Scott Walker’s version of the song, while Jack’s face, though he’s now a genuine killer, takes on a kind of beatific glow:

Lyrics:

Lyrics heard during this scene are as follows, beginning with the karaoke version being heard:

Once I held her in my arms, She said that she would always stay. But I was cruel, I treated her like a fool, I threw it all away.

(The song grows fuller in texture, as Jack cradles and gestures, with a shot of drink)

Once I had mountains in the palm of my hand, And rivers that ran through ev'ry day. I must have been mad, I never knew what I had, Until I threw it all away.

(Scott Walker’s version begins to take over)

Love is all there is, and it makes the world go 'round, Love and only love, can't be denied. No matter what you think about it You just won't be able to do without it. Take a tip from one who's tried.

(The last shot is of Jack beaming at the camera in ECU. Cut to black, and after a slight delay end credits begin. The final verse runs over the end credits. It’s now full Scott Walker). So if you find someone that gives you all of her love, Take it to your heart, don't let it stray, For one thing is for certain, You will surely be hurt, If you throw it all away… I threw it all away ...

The music then transitions into an orchestral end theme which runs almost to the end of the credits, until indigenous drumming takes over, and then abruptly stops, leaving the last 0’15” of credits to run in silence until the final copyright notice appears.

CD:

A CD of the soundtrack was released:

This was also promoted on the VHS release of the film: When the film was released in the UK, the CD of the soundtrack was offered as a bonus: CD Icon 19964 1996

Original score Composed by Blixa Bargeld, Nick Cave, Mick Harvey String arrangements by Mick Harvey Produced by Gareth Jones, Blixa Bargeld, Nick Cave and Mick Harvey Recording assistant: David Davis Music mix: Gareth Jones and Mick Harvey Recorded at Sing Sing, Melbourne, November ‘95 Mixed at Metropolis, Melbourne Mastered at Whitfield Street, Mastered by Music supervisor: Chris Gough, Mana Music Published by Mute Songs unless otherwise specified

Violins: Rudolf Osadnik (leader), Kirsty Bremner, Eleanor Bush, Gretta Bull, Isin Cakmakcioglu, Mark Drummond, Peter Fellin, Ron Layton, Robert Macindoe, Richard Panting, David Shafir, Wojciech Statkiewicz, Leon La Gruta, Pauline Tonkin, Mary Allison, George Vi, Lorraine Hook Bass: Dale Jones, Michelle Picker, Ivan Sultanoff, Matthew Thorne Violas: Simon Collins, Elizabeth Corby, Elizabeth Hemming, Isabel Morse, Cindy Watkin Cellos: Rachel Atkinson, Marta Brysha, Joan Evans, Gerald Keuneman, Sarah Morse, Annette Martin, Jennifer Stokes, Willen Van Der Vis Oboe: Anne Gilby (I Threw It All Away), Stephen Robinson Harp: Julie Raines.

1. To Have And To Hold 2. The Jungle Of Love 3. Candlelit Bedroom 4. Luther 5. A House In The Jungle 6. Delerium 7. The River At Night 8. Mourning Song, performed by Raun Raun Theatre (Traditional) 9. Romantic Theme 10. Snow Vision 11. Rose 12. The Clouds 13. Noah’s Funeral 14. The Flight 15. Kate Leaves 16. We’re Coming - The Riot 17. Murder 18. The Red Dress 19. I Threw It All Away, performed by Scott Walker (Dylan) Big Sky Music/Sony Music 20. To Have And To Hold - end titles 21. Gangster Bone, performed by Keety General (Darkman, Keety General), EMI/Control, produced by Darkman.

Co-composers Blixa Bargeld, Nick Cave and Mick Harvey:

This team had previously worked with director John Hillcoat on his first feature Ghosts … of the Civil Dead, and they appeared on and discussed their work for that film, on the DVD release.

(Below: Nick Cave, Mick Harvey and Blixa Bargeld as they appeared in the DVD for John Hillcoat’s Ghosts …of the Civil Dead release - see below for career details)

The Ghosts … of the Civil Dead DVD release also provided some details in relation to the composing team:

Nick Cave:

Nick Cave is too well known to dwell on at length here. He and his co- composers Blixa Bargeld and Mick Harvey are well represented on the internet, with wiki listings, their own sites and many pieces of work available on YouTube and other sites. No one who googles will go short of information.

Cave has a wiki here and at time of writing an eponymous site here. He was also active on Twitter, had a Facebook page, and for nostalgia lovers, a MySpace page, as well as numerous fan sites.

The ‘Ghosts’ DVD provided this brief overview of his career:

Blixa Bargeld:

The ‘Ghosts’ DVD listing for co-composer Blixa Bargeld was relatively short and more details can be found at his wiki here, while at time of writing his website listing now forms part of the Einstürzende Neubauten site, with his personal biography here. Bargeld’s site CV:

Blixa Bargeld was born in West on January 12, 1959. He grew up in Friedenau, a quarter in the Schöneberg district that was in the American sector. Berlin was divided into four sectors. The Berlin Wall was built around the three western sectors in the summer of 1961 and West Berlin became a walled city, an island city. Cold War: “There was a noise around my generation that aroused fear, a noise which could cut through the sky.” KALTE STERNE (COLD STARS) is the title of a single released by the EINSTÜRZENDE NEUBAUTEN in 1981. “We are cold stars – you can see us sparkling – after us there will be nothing”. Blixa Bargeld made his debut with the group he founded in April 1980. Among the original band members, only N. U. Unruh and Blixa Bargeld are still involved. Bargeld’s work with the EINSTÜRZENDE NEUBAUTEN constitutes an essential part of his life. “We can’t play” is the first rule of the game that Blixa Bargeld initiated, begun with a tape recorder, steel and vocals under a West Berlin freeway bridge and developed twelve times over into TWELVE CITIES, which has spread throughout the continents and into the third millennium: Studios, clubs, concerts and theater stages; a HAMLET(-MASCHINE) over the radio microphone; a ½ MAN for Sogho Ishii's camera; site specific performances on Hitler’s Reichsparteitagsgelände (Nazi Party Rally Grounds), in the Mojave Desert, on the roof of an automobile factory in Turin and in the asbestos-free Palast der Republik shortly before its demolition; and through GRUNDSTÜCK and MUSTERHAUS 1-7 on the Internet worldwide. Berlin remained the basic topographical model for the four-story West Berlin HOUSE OF LIES with basement and attic, after the Fall of the Wall the SHAFT OF BABEL in the new center: ISLAND TO GIVE AWAY and ENDING NEW. Scene change. In a hotel room in The Hague in 1982, Nick Cave saw a television recording of an EINSTÜRZENDEN NEUBAUTEN concert: “He was the most beautiful man in the world. He stood there in a black leotard and black rubber pants, black rubber boots. Around his neck hung a thoroughly fucked guitar. His skin cleared to his bones, his skull was an utter disaster, scabbed and hacked […] Blixa Bargeld.” Blixa Bargeld played guitar in THE BAD SEEDS until 2003, the band he founded in West Berlin in 1984, together with Nick Cave, Mick Harvey and Barry Adamson. Blixa Bargeld’s countless tours and trips around the world doubled, multiplied and became entwined. For more than two decades restless passages mounted into contrapuntal dynamics. Changing media. Since the 1980s Blixa Bargeld has expanded his oeuvre as an artist in numerous collaborations, as well as repeated solo events, within all branches of the performing arts. He appears in changing roles and functions in films, radio plays and audio books, theater productions, performances and installations. He is a singer, narrator, actor, director and author, musician, poet and experimenter. His main instrument remains his voice, and language is his distinctive medium. The works he creates should be understood as experimental designs. He devises a game where rules are discovered and broken in perpetual transformations. What exists is variable.

Mick Harvey:

The ‘Ghosts; DVD listing for Mick Harvey is relatively short too, but Harvey maintained his links with the Melbourne push, and subsequently went on to do some fine fine film scores, including one of the best gangster films in the new millennium, Chopper, and ongoing work with Hillcoat and Paul Goldman (Goldman moved from his camerawork on Ghosts into directing television commercials and feature films, such as the story of Frank Sinatra in Australia, The Night We Called It a Day).

Harvey had his own website here, and a wiki here. Trove here contained this review of Mick Harvey’s solo album One Man’s Treasure. While it’s mainly a celebration of the album, it also contained an overview of his career up to 2005.

The source is identified as Destra Media, which might explain why the piece is more an enthusiastic profile than a conventional review:

Mick Harvey - a celebrated arranger, multi-instrumentalist, producer, film soundtrack composer and co-founder of the Nick Cave And The Bad Seeds - moves with total ease to the centre stage, for what is essentially his first solo album, the superlative One Man's Treasure. One Man's Treasure is an inspired and moving collection of classic songs. Songs of humorous wisdom ('Hank Williams Said It Best'), inquisitive songs ('Will You Surrender?'), songs filled with hope ('Come On Spring'), wonder ('Bethelridge') and despair ('Demon Alcohol'). Some are original compositions. These are coupled with unjustly obscure numbers, penned by a diverse collection of enigmatic songwriters. What links this enduring material is a spirit reminiscent of the best urban Australian alternative country music and the fact that Mick Harvey felt a passionate, personal connection with every song. One Man's Treasure sees Harvey step up to the microphone and evince his own formidable talents as an instinctive and emotive interpreter of song. Perhaps inspired by the recorded interpretive work of Johnny Cash and Nina Simone, two of Mick Harvey's favourite artists, he grasps the raw, fervid core of his elected material and makes it his own. Some of these songs once belonged to songwriters such as (the yearning 'First St. Blues'), Tim Buckley (the ominous 'The River') and the late of (the bitter sweet reverie that is 'Mother Of Earth'). They now share ownership with Mick Harvey. "Basically what I'm trying to do with this material is to enjoy getting to sing, be the singer myself, which is fun, apart from anything else," Harvey freely admits. "To try and deliver this material that I feel very strongly about."The basic album tracks were all recorded by Harvey at his home studio and the project developed spontaneously. "It was something I was doing to entertain myself," relates Harvey. "There was no master plan. I've got my music room and I've been tinkering around with the material for a while. I got a lot of songs recorded, did some proper rough mixes and thought, 'Shall I put this out or won't I?’” Harvey eventually played the tapes to Daniel Miller at Mute. Encouraged by Miller's very enthusiastic response Harvey took the tapes to Atlantis Studios in Melbourne, where the drums and strings were added and the record finally mixed. After the long gestation period, Harvey worked very decisively in the studio to capture an air of spontaneity: "I mixed very quickly. Two hours mixes per song, which is unheard of really. Just rap it up and go, that's it. Get the kind of vibe going and get it down." Mick Harvey's entry into the spotlight is not unexpected. Since the late 1970's, Harvey has enjoyed a highly successful career as a musical collaborator with singer/songwriter Nick Cave. Through their bands The Boys Next door, the explosive The Birthday Party, the formation of Cave's Bad Seeds, right up to last year's triumphal two CD set Abattoir Blues/The lyre Of Orpheus, Harvey has provided invaluable assistance in helping realise the singer's utterly distinctive vision on record and stage. One of the featured songs on One Man's Treasure is a Cave composition, 'Come Into My Sleep', originally issued as a B-side on The Bad Seeds single, '(Are You) The One That I've Been Waiting For?' The simple beauty of Mick Harvey's arrangement, filled with swelling strings, simmering organ and a lazy backbeat evoking nocturnal musings, provides ample testimony to Harvey's abiding fascination with Cave's songwriting. As with the rest of his work on One Man's Treasure, Harvey ignites the ardour at the core of the song.Yet concurrently with his work in the Bad Seeds, over the past 21 years Mick Harvey has made time to forge his own creative path. In the mid 1980's he formed the band Crime And The City Solution, with whom he recorded six LP's until the group disbanded in 1991. Mick Harvey played drums, guitar and backing vocals on Conway Savage's eponymous first EP, then produced and played on two albums by chanteuse , Dirty Sings (1993) and Sex O'Clock (2001). In 1992 he produced Once Upon A Time's LP In The Blink Of An Eye and the following year, with Ed Clayton-Jones, Harvey created music for an Australian theatrical production of Nick Cave's novel, And The Ass Saw The Angel.Harvey was a featured player with P.J. Harvey, contributing to her albums (1995) and Is This Desire? (1998). In 2002 he co-produced P.J. Harvey's Mercury Music Prize winning LP, Stories From The City, Stories From The Sea.Together with Cave and fellow Bad Seed Blixa Bargeld, Harvey scored two John Hillcoat films, Ghosts...Of The Civil Dead (1988) and To Have And To Hold (1996). He would also release a compilation of his other film scores from the 1980's, Alta Marea and Vaterland (1993). He would later receive much critical acclaim for his scores for two Australian films, Andrew Dominik's Chopper (2000) and Paul Goldman's Australian Rules (2002) for which he won Best Original Soundtrack for Film and Television at the prestigious Australian Recording Industry Association awards (ARIAS). In the mid 1990's Mick Harvey also produced, arranged, translated, played and sang two albums of songs by the great decadent French songwriter, - (1995) and (1997). These records garnered much praise, including from Gainsbourg's muse, partner and musical collaborator, Jane Birkin. Harvey believes that these previous eminent Gainsbourg records are very different from the One Man's Treasure collection. "This really feels like my first solo album... because it's so personal," opines Harvey. "If you wanted to put it in black and white, the Gainsbourg albums were more of an intellectual exercise and this is more of an emotional exercise. There isn't a lot of premeditation behind this record at all. It's meant to be very unpretentious, in a way." As in his work with other singer/songwriters over the years, on One Man's Treasure Mick Harvey focuses on making all the songs function at their most emotionally powerful level. In a deceptively effortless manner, keeping his arrangements as straightforward as possible, he succeeds. The result is a compelling album, a haunting record delivered straight from the heart. Mick Harvey is already working on the follow up record to One Man's Treasure, preparing a second compilation CD of his film soundtrack work and making what he describes as his own "hard rock album." The ever-productive Harvey will also be presenting a live interpretation of One Man's Treasure on a six date European tour in September 2005. Expect the unexpected and be there.