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Rebel Music Credits

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Rebel Music Credits Arrangements and Orchestrations Billy Byers Song Co-ordinator Bruce Rowland Original Music Score Chris Neal Original Songs Peter Best Musical Director Ray Cook Music Research David Mitchell Following songs performed and sung by Debbie Byrne "Uncle Sam" Lyrics and Music by Peter Best "We'll Live The Rest of Our Lives Tonight" Lyrics and Music by Peter Best "Air-Raid" Lyrics and Music by Peter Best "Don't Sweetheart Me' Lyrics and Music by Charles Tobias/Cliff Friend Song included by kind permission of Chappell & Co. (Aust.) Pty. Ltd. "Lest I Forget" Music by Ray Cook Lyrics by David Mitchell and Melvyn Morrow "Please Don't Ask Me" Lyrics and Music by Graham Goble Song included by kind permission of Ragtime Music Pty. Ltd. "Lethal As Love" Lyrics and Music by Peter Best "Victory Street" Lyrics and Music by Peter Best "Heroes" Lyrics and Music by Peter Best "Heroes" dedicated to the memory of Jo Hardie. Additional Songs" "Emu Dance" Performed by: Galapagos Duck and Kim Deacon Written by: Tom Hare, John Conley and Greg Foster. Appeared by kind permission of Castle Music. "Rumble Rumble Rumble" Performed by John O'May Lyrics and Music by Frank Loesser Song included by kind permission of Chappell & Co. (Aust.) Pty. Ltd. "Blues Point Blues" Performed by Nicky Crayson. Music by Ray Cook "Is He An Aussie?" Lyrics and Music by B. C. Hilliam Song included by kind permission of A.T.V. Northern. "When A Boy From Alabama Meets A Girl From Gundagi" Sung by Bartholomew John Lyrics and Music by Jack O'Hagan Song included by kind permission of Allans Music Australia Pty. Ltd. Backup Vocals: Shauna Jensen & Kim Deacon Band Source Music Kirribilli Kapers Dixon Street Joplinesque Cat House Grumble G. I. Jitters Enter the Mariachis Conga Australis Bridge Street G. I.'s Bopping I'm Taking a Boat All Clear Spiked Jones Band music and additional underscore composed, arranged and orchestrated by Ray Cook Closing Credits Music, Studio Production and Scatvocal by Bruce Rowland Music Recording and Mixing Facilities Studio 301 Music and Balance Engineer Jim Taig Assistant Engineer Greg Henderson For Ray Cook For Chris Neal Music Supervisor and Pianist on set Conductor Michael Tyack Michael Hope Underscore Producer Orchestrator Greg Flood Eric Cook Music Fixer Music Fixer Billy Weston Phillip Hartl Music Copyist David Jones The Soundtrack Album of Rebel released through EMI - logo The Soundtrack: Debra Byrne is too well known to detail here - she has a reasonably detailed wiki here. For the musical director Ray Cook, musical arranger Billy Byers, and the two composers - Peter Best, whose songs dominate the soundtrack and the LP, and Chris Neal, who did the underscore - see below the details of the record releases. Composer Bruce Rowland is best known for his other work and it seems his main duty on this movie was to compose the end titles track. For more details of Rowland, see Ozmovies' pdf of music credits at The Man from Snowy River, Rowland's break- through feature film score. The soundtrack album doesn't yet seem to have made it to CD, but the LP also had a 45 spun off from it. The song "Heroes" had a respectable amount of airplay - some databases have it peaking at #33 on the charts - while the B side came from Byrne's album The Persuader, all a part of her return to the public eye after her career stalled through 1980-85 because of her heroin addiction and her recovery therefrom: LP EMI EMX-240439 1985 Original Songs Peter Best Songs Arranged and Orchestrated by Bill Byers Additional Arrangements and Orchestrations by Ray Cook Vocals Produced by Bruce Rowland Orchestra Conducted by Ray Cook Studio Engineer: Jim Taig Assistant Engineer: Greg Henderson Album Recorded at Studio 301, Sydney All tracks sung by Debbie Byrne except * Galapagos Duck Back-up vocalists: Kim Deacon and Shauna Jenson SIDE 1: 1. Uncle Sam (3'38") (P. Best) (AMCOS) 2. Weʼll Live The Rest Of Our Lives Tonight (2'10") (P. Best) (AMCOS) 3. Air-Raid (3'42") (P. Best) (AMCOS) 4. Please Donʼt Ask Me (3'48") (G. Goble) (Ragtime Music) 5. Donʼt Sweetheart Me (2'46") (C. Friend - C. Tobias) (Chappell) SIDE 2: 1. Emu Dance * (4'24") (T. Hare - J. Conley - G. Foster) (Castle) 2. Lest I Forget (4'16") (R. Cook - D. Mitchell - M. Morrow) (Control) 3. Victory Street (3'08") (P. Best) (AMCOS) 4. Lethal As Love (3'47") (P. Best) (AMCOS) 5. Heroes (4'47") (P. Best) (AMCOS) The 45 release, with "Heroes" the A side, and the B side "Memory", which came from Byrne's album The Persuader: A trad. jazz-inflected number by "Man from Snowy River" composer Bruce Rowland runs over the end credits. "Heroes" is the climactic song sung just before the end credits roll. The song purports to be a World War 11 anthem, but sounds resolutely 1980s. Lyrics, as they are heard in the film, sung by Kathy (Debbie Byrne) are: You are my heroes And I love you You'll be sailing Across the sea I am always Thinking of you You are heroes To Me You are my heroes (chorus joins in) And I'll miss you Broken-hearted I will be While we're parted It will grieve me You are heroes To Me You are my heroes You are fighting You must be what You have to be We must find out What we believe in You are heroes To Me (As Matt Dillon's character enters the back of the room, the chorus gives way to the personal) You are my hero And I love you You'll be sailing Across the sea I will always Be thinking of you You're a hero To Me You are my hero (chorus returns) You are fighting You must be what You have to be We must find out What we believe in You're a hero To Me You are my hero You are fighting You must be what You have to be We must find out What we believe in You're a hero To Meeeee ... (Chorus): You are heroes Kathy: You're a hero You're a hero To Meeee … (Dillon's character salutes Byrne's character and is led away by Bill Hunter's character, as Byrne mouths "I love you" and the music begins to fade, then builds again over a final montage of Dillon and Byrne and end credits roll). Arranger Billy Byers: There was enough money in the budget for the music department to afford the services of Billy Byers as arranger. Byers has a brief wiki here, and also had an obituary published in The New York Times on 4th May, 1996, here, which in part read: Mr. Byers once attributed his success to the fact that like many other top arrangers he played the trombone. "Trombonists sit in the center of the orchestra," he said. "They develop an empathy for more instruments that way." If so, Mr. Byers came to his central career by accident. A musical prodigy who took up the piano at 6 and was playing professionally at 8, Mr. Byers, a Los Angeles native who eventually performed with the Hollywood Canteen Kids, was stricken with arthritis when he was 14 and had to give up the piano. To further his musical career, he had to overcome another obstacle. His father, a prominent surgeon, insisted that he go to college to prepare for law school, but Mr. Byers outfoxed him. He went to Harvard, well outside the range of his father's supervision, and proceeded to major in New York City, spending so much time there he was soon sitting in as a regular at Manhattan jazz clubs. It took World War II to bring his academic career to an end, and after serving in the Army Air Forces he toured with Benny Goodman, began his television career at the age of 23 with Sid Caesar's "Show of Shows" and discovered Paris, where he wrote for radio orchestras, played in jazz clubs and taught Paul Newman to play the trombone for the 1961 movie "Paris Blues." In the following years, he bounced back and forth between New York and Paris, performing with Count Basie, Duke Ellington, Quincy Jones and other jazz musicians and providing arrangements. Along the way, Mr. Byers, who once learned to play the vibraphone in three weeks so a friend could take a vacation, developed such a reputation for versatility that he would play in a Broadway pit one night and join a classical symphony orchestra the next. Working in a field that Richard Rodgers once dismissed as "a difficult technical task," Mr. Byers, whose arrangements were credited with putting the swing in the musical "City of Angels," received a somewhat higher accolade from the show's composer, Cy Coleman. After receiving a 1990 Tony Award for his score, Mr. Coleman hailed Mr. Byers as an artist. "He puts into his orchestrations everything I put into my music," he said. Mr. Byers is survived by his wife, Yuriko; two sons, Kimiko, of Malibu, and Bryant, of Culver City, Calif.; a daughter, Michiko, of Santa Monica, Calif.; his mother, Mary, of Los Angeles, and a sister, May Byers of Long Beach, Calif. (Below: Billy Byers) Composer Peter Best Peter Best cut his feature film teeth as a composer by working with feature film producer Phillip Adams on the low budget experimental 1970 drama Jack and Jill: a postscript. Best went on score the two Barry McKenzie films, produced by Adams. Best would become one of the major contributors to the revival of screen music in Australia, with scores for films such as Muriel's Wedding, the first two Crocodile Dundees and Bliss.
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