Original Music Oleh Witer

Original Music mixed at Allan Eaton's - Robyn Grey

Opening Title MusicComposed and Conducted by Daryl McKenzie

Additional Music The Bonners - Martin, Larry, Stefan,Anthony and David

We would like to thank the following organisationsfor their support

Music and Effects (Doron Kipen)

"ANGEL"Performed by AlbareComposed by Dadon and NorrisPublished by PolyGram Music PublishingCourtesy of Bare Productions/Festival Records

"FEED THE RIVER"Performed by TumbleweedComposed by Curley, Curley, Lewis, Hausmeister and O'BrienPublished by PolyGram Music PublishingCourtesy of Polydor Records AustraliaUnder licence from PolyGram Pty Limited

"TV GENOCIDE"Performed by TumbleweedComposed by Curley, Curley, Lewis, Hausmeister and O'BrienPublished by PolyGram Music PublishingCourtesy of Polydor Records AustraliaUnder licence from PolyGram Pty Limited

"AIN'T NO USE"Performed by BellydanceComposed by Hughes, Ward, Janssen, Maclean, Page, Bell,Guiney and SilveraPublished by PolyGram Music PublishingCourtesy of Bellydance/Roadshow

"DEAR VALUED CUSTOMER"Performed by SnogComposed by Thrussell and Bourke

Published by PolyGram Music PublishingCourtesy of The International Mind Control Corporation

"BUBBLES (PIGS WILL FLY)"Performed by BellydanceComposed by HughesPublished by PolyGram Music PublishingCourtesy of Bellydance/Festival Records

"RAINY DAZE"Performed by JazzbratComposed by Michiru and BrownPublished by PolyGram Music Japan IncCourtesy of Kitty Enterprises Inc

"PUSHPIN"Performed by GodstarComposed by DaltonPublished by Moo ChewnsCourtesy of Half A Cow/Mercury Records AustraliaUnder licence from PolyGram Pty Limited

"CARNIVAL"Performed by The CardigansComposed by Svensson, Sveningsson and PerssonPublished by Stockholm SongsCourtesy of Stockholm Records

"RECOGNISE"Performed by Underground LoversComposed by Bennie and GiarrussoPublished by PolyGram Music PublishingCourtesy of Polydor Records AustraliaUnder licence from PolyGram Pty Limited

"THE PSEUDO BLUES"Performed by SPDFGHComposed by BowersPublished by Moo ChewnsCourtesy of Half A Cow/MercuryUnder licence from PolyGram Pty Limited

"SHIVERS"Performed by Frances O'ConnorComposed by HowardPublished by Mushroom Music

"SUNDAY MORNING"Performed by Velvet UndergroundComposed by Cale and ReedPublished by John Cale Music Inc/Oakfield Avenue Music/EMI Music Publishing AustraliaCourtesy of MGM Records Inc, USA

"JUST A MAN"Performed by The Cruel SeaComposed by Perkins and GormlyPublished byPolyGram Music PublishingCourtesy of Polydor Records AustraliaUnder licence from PolyGram Pty Limited

"EVERYTHING I DO"Performed by SwoopComposed by Beagley, Kaapferer and WoolfPublished by ESP Phantom RecordsCourtesy of Orange Records

"BABYLON MIXED BUSINESS"Performed by BellydanceComposed by Hughes and JanssenPublished by PolyGram Music PublishingCourtesy of Bellydance/Festival Records

"FAKE THAT EMOTION"Performed by Tex, Don and CharlieComposed by Perkins and DormanPublished by PolyGram Music Publishing/ControlCourtesy of Polydor Records AustraliaUnder licence from PolyGram Pty Limited

"WHAT ARE YOU SO HAPPY ABOUT"Performed by BoxcarComposed by Smith, Mitchell and LawlerPublished by PolyGram Music PublishingCourtesy of Volition Australia

"I'M NOT AFRAID TO BE HEAVY"Performed by Dave Graney and The Coral SnakesComposed by GraneyPublished by PolyGram Music PublishingCourtesy of id/MercuryUnder licence from PolyGram Pty Limited

"STEAL MINE"Performed by SPDFGHComposed by BowersPublished by Moo ChewnsCourtesy of Half A Cow/MercuryUnder licence from PolyGram Pty Limited

"CAN YOU FEEL IT BABY"Performed by Blue MinkComposed by Cook and GreenawayPublished by Dick James Music LtdCourtesy of Trojan Sounds Ltd.

"EMPTY"Performed by Rebeccas EmpireComposed by BarnardPublished by Lost In MusicCourtesy of Eternity RecordingsUnder licence from PolyGram Pty Limited

"YOU'RE JUST TOO HIP, BABY"Performed by Dave Graney and The Coral SnakesComposed by GraneyPublished by Lost In MusicCourtesy of id/PolyGramUnder licence from PolyGram Pty Limited

"LET'S DO IT"Performed by Simon Holmes and Morgana AnconeComposed by Cole PorterPublished by Harms IncCourtesy of Polydor Records Australia

"GOOD AT LOVE"Performed by Died PrettyComposed by Myers and PenoPublished by PolyGram Music PublishingCourtesy of Sony Music Productions

Dolby (r)In selected theatres - logo

Lyrics:

The soundtrack mainly consisted of a good collection of pop songs, as

emblematic of Australian music in the mid-1990s as might be assembled for a feature film, thanks to the access provided by the PolyGram/Polydor labels.

A typical example was the Died Pretty song which ran over the end credits. At the time Died Pretty was reckoned to be a coming major force in the pop game, though in the end they never quite made it. The group has a detailed wiki here, and inter alia, it notes about the February 1996 album Solo, “Its singles ‘Cuttin’ Up Her Legs’ (September 1995) and ‘Good at Love’ (November) failed to chart and Died Pretty were dropped by Sony in April 1996.”

Still at least they had a song with a good hook at the end of a relatively successful feature film.

Lyrics for Good at Love, as heard in the film (note the singer tends to swallow his words, so these are on a ‘best guess’ basis and might be worthy of a ‘misheard lyrics’ prize):

Pulls down inside as she comes to her sensesCalls other names as she jumps to defencesSwears on my words as she clears for the rundownCalls out my name as she laughs out loud

I never was that good at loveI never was that good at love

Who’s for the ride as she crawls over fencesIt’s on a rise and she swings and then tensesMakes up her mind as she stalls for the right timeHowls out her name as she leaves me behind

Because I never was that good at loveI never was that good at love

I never was that good at loveI never was that good at loveI never was that good at loveBecause I never was that good at loveI never was that good at loveI never was that good at loveI want to tell you againI never was that good at loveI want to say it againI never was that good at love ... (fade out)

CD:

A CD of the film’s soundtrack was released, with at least two different kinds of slick:

CD (ST) Polydor. 5357282. 1996. Contains dialogue from the film.Blue Mink courtesy of Action Replay Records. Died Pretty courtesy of Sony Music. Belly Dance courtesy of Roadshow Music.

1. Manhattan Walk Daryl McKenzie (Control)2. Sunday Morning (John Cale/Lou Reed) Vocals: Velvet Underground (Polygram Music/EMI Music Publ.).3. Just A Man (Tex Perkins/Ken Gormly)Vocals: The Cruel Sea.(Polygram Music)4. You’re Just Too Hip Baby (Dave Graney)Vocals: Dave Graney & The Coral Snakes, (Polygram Music)5. Dreaming With Woody (Dialogue)6. Recognise (G. Bennie/V. Giarrusso)Vocals: Underground Lovers (Polygram Music)7. Pushpin (Nic Dalton) Vocals: Godstar (Moo Chewns/Polygram Music)8. Empty (Rebecca Barnard)Vocals: Rebecca’s Empire (Polygram Music)9. TV Genocide (J. Curley/L. Curley/R. Lewis/P. Hausmeister/S. O’Brien) Vocals: Tumbleweed (Tarijuana/Polygram Music)10. It’s A Conspiracy (Dialogue)11. Steal Mine (Tania Bowers) Vocals: Spdfgh (Moo Chewns/Polygram Music)

12. Fake That Emotion (Tex Perkins/Glen Dormand)Vocals: Tex, Don & Charlie, (Polygram Music/Control)13. Rainy Daze (M. Michiru/J. Brown) Vocals: Monday Michiru (Polygram Music)14. Lightness & Weight (Dialogue)15. Perils Of Mia The Boners (Control)16. Carnival (P. Svensson/M. Sveningsson/N. Persson) Vocals: The Cardigans (Polygram Music)17. Bubbles (Pigs Will Fly) (Anthony Hughes).Vocals: Bellydance (Polygram Music)18. Can You Feel It Baby? (Roger Cook/Roger Greenaway) Vocals: Blue Mink (Polygram Music)19. Relationships (Dialogue)20. Let’s Do It (Let’s Fall In Love) (Cole Porter) Vocals: Simon Holmes & Morgana Ancone (Warner Chappell)21. Good At Love (Brett Myers/Ron Peno) Vocals: Died Pretty (Polygram Music)

Composer:

While most of the soundtrack consists of imported pop music, there is some underscore, and composer Oleh Witer maintained the pop connection as the founder of a band popular in the late 1980s, Big Pig, on which he did vocals and percussion. Witer also turned up on the soundtrack for Young Einstein.

Big Pig has a wiki listing here.

On the basis that there can’t be too many arts-orientated Melbourne-based people going by the name Oleh Witer, it seems that Witer might have later reinvented himself as an artist.

An Oleh Witer is listed at the Jackman Gallery here, with examples of work, including details such as these:

Oleh Witer is a still life painter who draws his subject matter both from nature and from man made objects. He uses various process devices and pictorial elements to create evocative oil paintings which explore the divide between narrative and descriptive, representational and abstract. His work displays great attention to detail, both in the rendering of the subject and to the way the subject is lit.Oleh won the painting category at the 2007 Churchie Emerging Art Prize and the Peoples Choice Award at The 2007 Williamstown Contemporary Art Prize. He was a finalist in the 2007 and 2009 Sulman Prize.

SOLO EXHIBITIONS2010 Jackman Gallery, Melbourne

2008 Recent work, Space 39 Gallery, Melbourne2006 Trophy, 4 Cats, Gallery Melbourne2005 Masque, 4 Cats Gallery, Melbourne2003 Cochsencansia tu, Metropolis Gallery, Melbourne2003 Cochsencansia, Gasworks Theatre, Melbourne2002 Larger than Life, Patrizia Autore Gallery, Melbourne1997 You Need Hands, George Gallery, Melbourne1996 Still Life, George Gallery, Melbourne

In his days in Big Pig, Witer was featured along with the group in Spin Magazine, July 1988. Witer is second from the left in the first photo:

Witer can also be seen in glasses in this band photo:

Witer and the band were also profiled in the LA Times, on 21st May 1988 by Duncan Strauss under the header Big Pig Beats the Drums for Oleh Witer’s Musical Individualism:

Oh no, not another group with three drummers and two percussionists, a wailing harmonicat but no guitars or bass, formed by a Ukrainian-speaking Australian influenced by '30s a cappella gospel and Japanese drums and featuring five vocalists, including a soulful female belter of Sri Lankan descent named Sherine. . . .Yep, another one of those bands. Moreover, the story of how Big Pig came together and wound up with a much-admired debut LP ("Bonk"), a dance-chart champ ("I Can't Breakaway")--not to mention a sold-out Big Pig gig at the Roxy on Sunday--is every bit as routine.Actually, as told by bespectacled founder Oleh Witer, the Pig tale is either a long story full of struggle and change or a breezy yarn full of good fortune and quick results--depending on where you pick up the narrative.The full story goes back about five years, when songwriter-drummer Witer, frustrated over playing in a string of unsuccessful groups, traveled from Australia to London."I'd been in four bands and nothing had really come of it," he recalled, reconstructing the Big Pig history with Sherine over drinks in a West Hollywood watering hole. "I put loads of effort into each group, and at the end we'd have nothing to show for it, except a lousy demo or something."And I thought, 'Well, right, if I'm gonna do it again, I'm gonna do it on my own terms completely. I'm going to write all the songs, I'm going to create something that's very different and I'm not going to compromise at all on my ideas.' And that's really what sparked it off."That's also the kind of noble bluster issued by many a young rocker before reality slaps him in the face, or his record company persuades him to sing a different tune.But Witer knew what he wanted musically: a strong element inspired by gospel from the '30s ("that's really when that transformation from traditional music to

pop music" was made, he explained) and drums. Lots of drums."The idea was to have four guys playing like a giant drum kit and have each one play a different part. But I wasn't really sure how to do it, though I sort of had an idea. And then I saw these Japanese drummers," he said, referring to an ensemble he saw perform in London.The troupe had 10 drummers and it worked wonderfully, Witer remembered, which further convinced him his approach could too."When I saw them, the key to it was orchestration--that each guy had his own part. There was no improvisation at all," said Witer, 30. "So from that point on, I knew how to do it. It was just a matter of getting the right people."That's where the struggle-and-change part of the story comes in: The first, London-based incarnation of Big Pig involved eight or nine drummers, with Witer trying to sing over the polyrhythmic din; members came and went. That early version did perform some shows--one of which Sherine happened to catch.She liked what she saw and was keen to join when Witer moved the Big Pig operation to Melbourne after his visa expired. A back-up singer who has logged tours and sessions with the likes of INXS, Sherine had earlier worked in other bands with Witer."Since I started joining bands eight years ago, as long as the music was high-energy, really strong, that was the criterion," explained Sherine, 27, whose soulful singing has drawn frequent comparisons to Eurythmics' Annie Lennox.Just as Sherine was eager to join Big Pig once Witer returned to Melbourne, people were quick to support--and sign--the band.If it sounds as if Big Pig's fortunes are tied to its live presentation, Witer suggests that seeing the band perform is also essential to understanding the polyrhythmic equation, which he said is hard to explain but easy to appreciate."It's very difficult to verbalize," he allowed. "But wait till you see us live. Then you'll go, 'All right-- now I see what he's talking about.' "

Composer Daryl McKenzie:

Daryl McKenzie contributed the jazz-inflected music which runs through the head credits.

McKenzie has a wiki here, and at time of writing, his Jazz Orchestra had a Facebook listing here.

McKenzie was also represented at the Brolga Music Publishing Company here, which offered this short CV and photo:

Daryl McKenzie is Musical Director of the Daryl McKenzie Jazz Orchestra (DMJO) and the Victoria Police Showband, Melbourne Australia. He has worked extensively as an educator directing ensembles at all school levels.Daryl works as a freelance composer, arranger, trombonist and conductor. He has worked on national television shows including Hey Hey It's Saturday and

Dancing with the Stars, and has orchestrated and conducted Australian and international movie scores including The Truman Show, Red Dog, and The Sapphires.Daryl's undergraduate studies in music were at the Victorian College of the Arts and North Texas State University. He holds a Master of Education (Music) from RMIT University.

(Below: McKenzie with his orchestra)