Music ByTrevor Jones

(cast)

Emma Murdoch Jennifer ConnellyFour Piece Band Tony Mosley

Glenford RichardsStanley SteerGreg Tell

MUSIC

Executive in Charge of Music Toby EmmerichMusic Executives Paul Broucek, Dana SanoMusic Recorded and Mixed by Simon RhodesAdditional Music Mixed by Gareth CousinsMusic Recorded and Mixed at Abbey Road Studios LondonAssistant Engineers Alex Marcou, David Flowers,

Alex Scannell, Robbie KazandjianSynthesizers Performed by Trevor JonesSynthesizers Programmed by Gareth Cousins, Kipper,

Glenn KeilesOrchestrations by Trevor Jones, Geoff Alexander,

Julian KershawAdditional Orchestrations by Edmund Butt, Simon ChamberlainOrchestral Contracter Isobel GriffithsLeader Rolf WilsonEWI Played by Phil ToddSinger Anita KelseyConductor Geoff AlexanderMusic Preparation Tony StantonMusic Co-ordinator for CMMP Victoria SealeStudio Monitoring by ATC Loudspeaker Technology

“Le Chale Bleu”Written by Francois Perchat

“Sway”Written by Norman Gimbel and Pablo Beltran Ruiz

“The Night Has 1000 Eyes”Written by Marilyn Garrett, Dottie Wayne and Ben Weisman

Produced and Arranged by Martin Armiger

Music Editor Simon LeadleyAdditional Music Editing Jim HarrisonPublishing Clearances Christine Woodruff

Music in the film:

In keeping with film noir genre expectations, Jennifer Connelly’s heroineis a night club torch singer. In detective Bumstead’s world, a piano accordion assumes symbolic significance.

Connelly’s first number is “Sway”, but the film’s credits don’t give a singing credit. It’s left to the CD’s credits to suggest that Anita Kelsey was the vocalist.

Kelsey’s wiki here confirms this by calling her the “featured vocalist on bigscreen productions such as Dark City…”

However, for the director’s cut extended version, one of the changes made was to return Jennifer Connelly’s original vocals to the cut, and there’s a noticeable difference in the stylings between the two cuts.

(Below: Jennifer Connelly in torch singer mode, with band, and below that Bumstead’s symbolic piano accordion, which scored its own close-up)

Lyrics:

The song sung by Jennifer Connelly, “Sway” returns at the very end of the film to run over the end credits. (She also does a slow tempo version of “The Night Has 1000 Eyes” as her second night club torch singer routine).

Lyrics as heard in the film over the end credits:

When marimba rhythms start to playDance with meMake me swayLike a lazy ocean hugs the shoreHold me closeSway me moreLike a flower bending in the breezeBend with meSway with easeWhen we dance you have a way with meStay with meSway with meOther dancers may be on the floorDear, but my eyes will see only youOnly you have that magic technique

When we sway I go weakI can hear the sound of violinsLong before it beginsMake me thrill as only you know howSway me smooth, sway me nowSway me now …Sway me smooth …Sway me now …

(The song fades out with about twenty seconds of titles to run).

CD:

A CD was released of the soundtrack:

CD (ST) TVT Soundtrax D31865 1998 (* Not included in the motion picture)

Original Motion Picture Score Written and Produced by Trevor JonesMixed by: Simon Rhodes Compiled by Alex Marcou

Recorded and mixed by: Simon RhodesAdditional music mixed by: Gareth CousinsRecorded and mixed at: Abbey Studios LondonSynthesizers performed by: Gareth Cousins, Kipper & Glenn KeilesOrchestrations: Trevor Jones, Geoff Alexander & Julian KershawAdditional orchestrations: Ed Butt, Simon ChamberlainOrchestral contractor: Isobel GriffithsLeader: Rolf WilsonEwi played by: Phil ToddConductor: Geoff AlexanderMusic Preparation: Tony StantonMusic Coordinator for CMMP: Victoria SealeStudio Monitoring by ATC Loudspeaker TechnologyPublished by New Line Music Co. Administered by Sony/ATV Music Publishing except: 'Sway' and 'The Night Has A Thousand Eyes' 'Dark', 'The Information', 'Just A Touch Away', 'Sleep Now'Mastered by Phillip Klum at Master Cutting Room, NYC

1. Sway (Pablo Beltran Ruiz/Norman Grimbel), published by Peer International Corporation, vocals: Anita Kelsey2. The Information * (Course of Empire), published by Lustrejaw Music/Warner-Tamerlane Publishing Corp; vocals: Course Of Empire; Course of Empire appears courtesy of TVT Records, 1998 TVT Records, produced by Jay Rifkin & John Avila; Reel Big Fish appear courtesy of Mojo Records3. Just a Touch Away * (Echo & The Bunnymen) vocals: Echo & The Bunnymen, published by Warner Chappell Music Ltd., admin. by WB Music Corp; Echo & The Bunnymen appears courtesy of London Records 90 Limited, by arrangement with PolyGram Film and TV Music,1997 London Records 90 Limited4. Dark * (Gary Numan), published by Numan Music Ltd. under license from Cleopatra Records, vocals: Gary Numan, 1997 Numa Records. © 1997 Eagle Records5. Sleep Now (Hughes Hall/Jeff Lamont), published by XCommunicate Inc., 1997 XCommunicate Inc. vocals: Hughes Hall6. The Night Has a Thousand Eyes (Dorothy Wayne/Ben Weisman/Marilyn Garrett), vocals: Anita Kelsey, published by Chappell & Co. o/b/o Shelby Music/WB Music Corp. o/b/o Blen Music Publishing Co. & Senar Music7. Into the City8. No More Mr Quick9. Emma10.The Strangers are Tuning11. Memories of Shell Beach12. The Wall13. Living an Illusion14. You Have The Power

Composer Trevor Jones:

Trevor Jones is too well known a composer to list in detail here.

Jones has a wiki detailed here and an eponymous website here which provided this short VC:

At 17, Trevor was awarded a Scholarship from the Vice Chancellor of the University of Cape Town, Dr J.P. Duminy, and left South Africa to attend the Royal Academy of Music in London where for four years he studied composition, orchestration, conducting, piano and organ. Amongst other Prizes at the RAM he won the criticism prize for music and was appointed Classical Music Reviewer for BBC Radio & Television, a full-tme post he held for four years and continued for a further two years, part-time while he pursued his graduate studies at York University, England.

Under the mentorship of Professor Wilfrid Mellers ("Twilight of the Gods: the Beatles in Retrospect";  “Man and his Music” etc),  he studied Jazz, Pop, Rock, Folk, Ethnic Music, (including Balinese, Javanese & Indian),  Avant Garde 20th Century music,  Electronic Music, and Acoustics and received a BA Hons. and an MA in the relationship of Image and Music.

He became the first Composer to attend the National Film and Television School in England having completed 23 student film scores, and studying production, direction, sound, cinematography, and editing. The film ‘The Dollar Bottom’ produced and directed by fellow graduate students with music by Trevor was the first film at the NFTVS to win an Oscar.

While pursuing his career as a film composer he continued his doctorate studies at the University of East Anglia.

In 1999 he was elected First Chair of Music at The National Film and Television School. He was honoured with an Associateship (ARAM) in 1998 and was awarded the Fellowship (FRAM) of the Royal Academy of Music in 2006.

In 2005, Archbishop Desmond Tutu conferred on him an Honorary Ph.D. from The University of the Western Cape, South Africa.

Trevor Jones has composed over a hundred projects for film and television.They include, ‘Excalibur’, ‘The Dark Crystal’, ‘Runaway Train’, ‘Angel Heart’, ‘Mississippi Burning’, ‘Last of the Mohicans’ , ‘Cliffhanger’, ‘Arachnophobia’, ‘Merlin’, ‘ Sea of Love’, ‘In the Name of the Father’, ‘Richard III’, ‘Brassed Off’, 'Thirteen Days', ‘Dark City’ and ‘Notting Hill’ amongst many others.

His pioneering work with the fusion of Acoustic and Electronic sounds set the

benchmark for film and television scores.

He has also composed music for the theatre and ballet and conducted suites of his film music for concert performances at International Film Music Festivals, including Madrid, Malta, Athens, and Finland.

He has collaborated with David Bowie, Sting, U2, Sinead O'Connor, Charlotte Church, Britney Spears and Elvis Costello and has been a jury member for BAFTA, the Mercury Music Prize and the International Film Festival of Flanders, Ghent.

In addition to his role of Chair of Music at the NFTVS, he lectures extensively and has given Masterclasses at the Royal College of Music, The Film Music Conference at the National Film & Television Museum, The National Film Theatre, The British Academy of Film & Television Arts, The Soncinemad International Festival of Film Music, The Sociedad General de Autores y Editores, Madrid, The Arts Council of Spain in Barcelona, The National Film & Television School, The Hay Festival, and the School of Sound Symposium in London.

He was the key-note speaker at the 2010 EMMA-Fest in Thassos, Greece and at the 2013 Music Exchange Conference in Cape Town.

He has founded a scholarship for South African students to attend the National Film and Television School in England and together with the Trevor Jones Composition Studio at the University of York is further testament to his commitment to fostering the next generation of composers, musicians and film-makers.

He has funded music programming installations for students and the community at the University of the Western Cape and continues to initiate educational projects in South Africa.“The next generation of the ‘Rainbow Nation’ deserves the finest education.”

Dr. Trevor Jones MA PhD ARAM FRAM

Nominations & Awards include:

1985 - Ivor Novello Awards nomination for Best Theme for Television Production - "The Last Place on Earth"1989 - British Academy of Film & Television Arts (BAFTA) nomination for Best Original Film Score - "Mississippi Burning"1991 - Ivor Novello Awards nomination for Best Film Theme - "Arachnophobia1992 - British Academy of Film & Television Arts (BAFTA) nomination for Best Original Film Score - "The Last of the Mohicans"1992 - Golden Globe nomination Best Original Score - "Last of the Mohicans"

1992 - American Society of Composers, Authors & Publishers (ASCAP) Award for "The Last of the Mohicans"1993 - American Society of Composers, Authors & Publishers (ASCAP) Award for "In the Name of the Father"1994 - American Society of Composers, Authors & Publishers (ASCAP) Award for "Cliffhanger"1996 - British Academy of Film & Television Arts (BAFTA) nomination - Anthony Asquith Award for achievement in Film Music - "Brassed Off"1997 - American Society of Composers, Authors & Publishers (ASCAP) Award for "GI Jane"1998 - Golden Globe nomination for Best Original Song - "The Mighty"1998 - Emmy Awards Nomination for Outstanding Music Composition - "Merlin"1999 - American Society of Composers, Authors & Publishers (ASCAP) Award for "Notting Hill"2001 - Ivor Novello Awards nomination for Best Original Film Score - "Thirteen Days"2001 - American Society of Composers, Authors & Publishers (ASCAP) Award for "From Hell"2002 - American Society of Composers, Authors & Publishers (ASCAP) Award for "Dinotopia"2003 - American Society of Composers, Authors & Publishers (ASCAP) Award for "The League of Extraordinary Gentlemen"2004 - American Society of Composers, Authors & Publishers (ASCAP) Award for "Around the World in 80 Days"2006 - Japan Academy Prize for "Aegis"

(Below: Trevor Jones)