Music ByDavid McCormackAndrew LancasterAntony Partos

(cast, key only)

Freddy Kick GurryTanya Pia MirandaJoe Brett StillerLucy Chris SadrinnaKevin Andy AndersonSprimp Lead Guitar Dave CotsiosSprimp Drummer Chris 'Skinner

MacguireSprimp Bass Player Scott RyperMusic Teachers Peter Cudlipp

Sandra CampbellPunk Lead Singer Johnathan DevoyPunk Guitarist Ian 'Cut Snake'

ThomasPunk Bass Guitarist April HindPunk Drummer Kurt Eckardt

York Pub BandDavid McCormack,Andrew Lancaster, Dylan McCormack,Emma Tom, Ivan Jordan

Sound Engineers Andrew DoyleMarc Cuffe

Music Tuition David McCormackAndrew LancasterIvan Jordan

Music Supervisors (Australia)Christine WoodruffJennifer Holley-Ashton

Music Supervisor (US)Howard Paar

Senior Music Editor Simon LeadleyMusic Editor Tim RyanMusic Recorded and Produced at SupersonicMusic Mixed at Trackdown Digital

Music Recorded & Mixed byAndrew Lancaster, David McCormackWayne Connolly, Simon Leadley

Music Contractor Ian LewStrings Arranged by Antony PartosViolins Phillip Hartl

Petra DavisViola Rudy CrivicCello Peter MorrisonDrums Ivan Jordan

Shane MelderTheremin Trent Williamson

(Homebake Bands)

Bands28 Days, Superjesus,Commissioner Gordon

Music Recording Simon LeadleyDamian Candusso

Concert Footage courtesy of INXSWembley Stadium Concert "Live Baby Live" 1991Drummer clip used with kind permission of Jon Farriss

High VoltageWritten by Young/Young/Scott© 1975 J Albert & Son Pty LtdPerformed by AC/DCCourtesy of Albert Productions

What A WasteWritten by David McCormack/Andrew LancasterPerformed by Jonathan Devoy

ZalaWritten & performed by Raspal Singh

Buy Me A PonyWritten by Janet English, Mark Maher and Damien WhittySony/ATV Music Publishing AustraliaPerformed by SpiderbaitLicensed courtesy of Universal Music Australia Pty Limited

Stop Thinking About ItWritten by Joey Ramone/Andy ShernoffWhen Worlds Collide, IncPerformed by Joey RamoneCourtesy of Sanctuary Records Group

AlrightWritten by Daniel Goffey/Gareth Coombes/Michael Quinn© 1995 EMI Music Publishing LtdLicensed by EMI Music Publishing Australia Pty LimitedPerformed by SupergrassLicensed courtesy of EMI Music Australia

These Days (Are Coming Up)Written by David McCormackPerformed by the Mechanical Bulls

Pump Up The VolumeWritten by M Young/S YoungLicensed from Rykomusic/Festival Music PublishingPerformed by M/A/R/R/SLicensed Courtesy of 4AD Limited

Ghost TownWritten by Jerry DammersPlangent Visions Music Ltd.Administered by Matthews Music Pty. Ltd.Performed by The SpecialsLicensed courtesy of EMI Music Australia

Angie's ThemeWritten by David McCormack/Andrew Lancaster/Antony PartosPerformed by Jane Sheldon

This Girl's In Love With YouWritten by Burt Bacharach/Hal DavidNew Hidden Valley Music/Casa David MusicAdministered by Universal Music Publishing Pty LtdPerformed by Dionne WarwickCourtesy of Warner Special ProductsBy arrangement with Warner Special Products

Smash It UpWritten by The (International) Noise ConspiracyPublished by Songs & Stories PublishingPerformed by The (International) Noise ConspiracyAppears courtesy of Burning Heart Records

Turn Up Your RadioWritten by Jim Keays/Doug Ford© 1969 EMI Music Publishing Australia Pty LimitedLicensed by EMI Music Publishing Australia Pty LimitedPerformed by Masters ApprenticesLicensed courtesy of EMI Music Australia

Less Than OneWritten by David McCormackPerformed by Ash Hansen

Only After UsWritten by David McCormack/Andrew LancasterPerformed by Ash Hansen

ScuffedWritten by P. Andrews/M. Wilcox/D. Young/P. WilsonMushroom Music PublishingPerformed by Lazy SusanCourtesy of Lazy Susan

Boys Don't CryWritten by Robert Smith/Michael Dempsey/Laurence TolhurstFiction Songs Limited/BMG Music Publishing LimitedUsed with the permission ofBMG Music Publishing Australia Pty. LimitedPerformed by The CureLicensed Courtesy of Warner Music Australia

& Licensed Courtesy of Polydor Ltd. (UK)Licensed from Universal Music Australia Pty Limited& Courtesy of Elektra Entertainment GroupBy arrangement with Warner Special Products

Grunge Killed The GlamWritten and produced by Alias James© 2001 courtesy of Pimptech and Alias James

Mad ManWritten by Randy FitzsimmonsCopyright ControlPerformed by The HivesAppears courtesy of Burning Heart Records

Add It UpWritten by G. GanoLicensed from Leosongs/Festival Music PublishingPerformed by The Violent FemmesLicensed courtesy of Warner Music Australiaby special arrangement with Warner Music UK

That's EntertainmentWritten by Paul WellerStylist Music Limited/BMG Music Publishing LimitedUsed with the permission ofBMG Music Publishing Australia Pty. LimitedPerformed by The JamCourtesy of Polydor Ltd (UK)Licensed from Universal Music Australia Pty Limited

It's A Long Way To The Top(If You Wanna Rock 'N' Roll)Written by Young/Young/Scott© 1975 J Albert & Son Pty LtdPerformed by AC/DCCourtesy of Albert Productions

The Night ShiftWritten by Decoder Ring and Jodi PhillisControl/Sony/ATV Music Publishing AustraliaPerformed by Decoder Ring feat. Jodi PhillisCourtesy of Hello Cleveland!

It's A Wonderful LifeWritten by Mark Linkous© 2001 WB Music Corp. (ASCAP) & Spirit Ditch Music (ASCAP)Used by permission of Warner/Chappell Music Australia Pty Ltd.Performed by SparklehorseLicensed courtesy of EMI Music Australia

SuzanneWritten by Hope SandovalSand Devil Music (BMI)Performed by Hope Sandoval & The Warm InventionsCourtesy of Rough Trade, a division of Sanctuary Records Group

Up and DownWritten by David McCormack/Andrew LancasterPerformed by Christie Woods

Did IWritten by J. SteinMushroom Music PublishingPerformed by WaikikiCourtesy of Liberation Music

KooksWritten by David Bowie© 1971 EMI Music Publishing LtdLicensed by EMI Music Publishing Australia Pty Limited& Chrysalis Music& Tintoretto Music/RZO Music LtdAdministered by Universal Music Publishing Pty LtdPerformed by David BowieCourtesy of RZO Music, Inc.

Special OnesWritten by K. Noonan/N. StewartPublished by Festival Music PublishingPerformed by georgeCourtesy of Festival Mushroom Records

I Want Lotsa MoneyWritten by David McCormack/Andrew LancasterPerformed by David McCormack/Andrew Lancaster

Auger WellWritten by Andrew Lancaster/Jad McAdam/Tony BuchenPerformed by LinoLicensed courtesy of EMI Music Australia

Super FreakWritten by Rick James and Alonzo Miller© 1981 Jobete Music Co Inc/Stone Diamond Music CorpLicensed by EMI Songs Australia Pty LimitedPerformed by Rick JamesCourtesy of Motown Records Co. L.P.Licensed from Universal Music Australia Pty Limited

In The SummertimeWritten by Ray DorsetBroadley Music Int. Ltd/Universal Music Publishing LtdAdministered by: Universal Music Publishing Pty LtdAssociated Music International Ltd./Sony/ATV Music PublishingPerformed by Mungo JerryCourtesy of Sanctuary Records Group/Associated Music International Ltd

Love Is The DrugWritten by Bryan Ferry/Andrew MackayBMG Songs LimitedUsed with the permission ofBMG Music Publishing Australia Pty. LimitedPerformed by Roxy MusicLicensed courtesy of EMI Music Australia

Why Does It Always Rain On Me?Written by Francis HealeySony/ATV Music PublishingPerformed by TravisCourtesy Independiente/SINEa division ofSony Music Entertainment (UK) LimitedBy Arrangement Sony Music Entertainment Australia Limited

10:15 Saturday NightWritten by Robert Smith/Michael Dempsey/Laurence TolhurstFiction Songs Limited/BMG Music Publishing Limited

Used with the permission ofBMG Music Publishing Australia Pty. LimitedPerformed by The CureLicensed courtesy of Warner Music Australia& Licensed courtesy of Polydor Ltd. (UK)Licensed from Universal Music Australia Pty Limited& Courtesy of Elektra Entertainment GroupBy arrangement with Warner Special Products

Heavy HeartWritten by Tim RogersPublished by Festival Music PublishingLicensed from Festival Music PublishingPerformed by You Am ICourtesy of BMG Australia Limited

Lucky Number NineWritten by Kimya Dawson/Adam M. GreenGreat Crap Music (BMI)/Average Cabbage Music (BMI)Performed by The Moldy PeachesCourtesy of Rough Trade, a division of Sanctuary Records Group

Everytime I TryWritten by Josh HadenWixen Music/Rondor Music Aust Pty LtdAdministered by: Universal Music Publishing Pty LtdPerformed by SpainCourtesy of Restless RecordsBy arrangement with Warner Special Products

No ComplicationsWritten by David McCormack/Andrew LancasterPerformed by David McCormack/Andrew Lancaster

Garage DaysWritten by David McCormack/Andrew LancasterPerformed by Katie NoonanKatie Noonan appears courtesyFestival Mushroom Records & One Louder Entertainment

Say WhatWritten by Gardiner/Hepburn/Dunne/Murray/Howard/Fisher-Jones/Noko/T. Gray/H. Gray

Published by Festival Music PublishingReverb Music/Mushroom Music PublishingPerformed by 28 Days & Apollo 440Courtesy of Festival Mushroom Records

Squeeze MeWritten by David McCormack/Andrew LancasterPerformed by Kick Gurry

Over To YouWritten by Sarah McLeod/Stuart Rudd/Paul Berryman/Tim Henwood© 2000 EMI Music Publishing Australia Pty LimitedLicensed by EMI Music Publishing Australia Pty Limited& Licensed from Festival Music PublishingPerformed by The SuperjesusThe Superjesus appear courtesy of Warner Music Australia

Master PlanWritten by David McCormack/Andrew LancasterPerformed by Kick Gurry

Help YourselfWritten by Carlo Donida/Giulio RapettiPublished by BMG Ricordi SPAUsed with the permission ofBMG Music Publishing Australia Pty. LimitedPerformed by Tom JonesCourtesy of Decca InternationalLicensed from Universal Music Australia Pty Limited

Soundtrack Album available onSanctuary RecordsSanctuary logo

Lyrics:

Given the amount of music footage - even if the main gag is that Freddy’s

band never plays a song until the climactic Homebake festival - there’s no room for stills showing the music in the film. See instead this site’s galleries.

Opening song and dialogue:

Kick Gurry’s Freddy is singing in front of a huge audience, with the band rocking behind him. It will turn out to be a fantasy but for the moment it’s a mega rock clip, with screaming audience and flames, as he does an old AC/DC number, High Voltage Rock ’n Roll.

Lyrics as heard in the film:

Well you ask me 'bout the clothes I wearAnd you ask me why I grow my hairAnd you ask me why I'm in a bandI dig doin' one night standsAnd you want to see me doin’ my thingAll you gotta do is plug me in to highI said highHigh voltage rock 'n' rollHigh voltage rock 'n' rollHigh voltage, high voltageHigh voltage rock 'n' roll …

(Instrumental break with lead guitar and chanting audience. Freddy begins to crowd surf as the song fades down)

I said, high …

Freddy’s in bed and he rolls over smiling, with an “Oh, that was unreal …”

Pia Miranda’s Tanya switches on the light, sheet clutched to her, saying with a lack of energy “Yeah, it was nice …”

Freddy: “Nice? But you were calling out my name.”Tanya: “Well you were banging my head into the headboard and singing. It kinda hurt.”Freddy: “Why didn’t you say something?”Tanya: “I just wanted you to finish.”Freddy: “Oh this isn’t right! Oh …”

(He sits up and sort of looks at her sideways)

Freddy: “Well, did you at least … you know?” (waving his fist)Tanya (exasperated): “No, Freddy, I didn’t come.”

(Freddy sighs and gets out of bed)

Tanya: “Look, don’t worry about it, OK?”

(Tanya gets a red vibrator and sets it vibrating)

Freddy: “Oh for Christ’s sake!Tanya: “Well, pay attention. You might learn something.”

(Freddy looks at her, bewildered and aghast, as the image freezes on him, and we hear him in voice over).

Freddy (v/o): “I hated music at first. Seriously.”

(A montage of young Freddy in scratched footage screaming and his parents beaming at him)

Freddy (v/o): “But my parents were determined. I mean, they really tried, man.”

(Then on Freddy on trumpet in the school band, and the teacher shouting, “no, no, no, stop! How many times…?”)

Freddy (v/o): “After the banjo, the trumpet, the piccolo, and the accordion, what came next? … (Freddy races down the school stairs) … Go on, guess …”

(Freddy playing the sitar in an Indian setting with others)

Freddy (v/o): “Summer of ’85. First time I’d been in a record shop. (young Freddy in the shop with a teenager). I was with my date. OK, my baby sitter.”

(Punk band, with pink mohawk singer screaming into the mike)

Freddy (v/o): “That was the moment the lights just blazed on …”

(The singer screams up close at young Freddy, in scratched movie footage, rather like a home movie. The camera moves down and we see he’s pissed his pants, and the pee is trickling onto the wooden floor of the record store).

Freddy (v/o): “That was the day I knew I was destined to be a rock star.”

(The baby sitter looks aghast, the singer screams, then on older Freddy in a pub front bar).

Freddy (v/o): “Unfortunately, I was a generation late …(he’s watching a rock clip of Sprimp on the pub TV) … by the time I was ready, live music in Sydney was flatlining …(he finishes his beer) … bands were getting elbowedout of pubs and clubs by pretty-boy DJs … and the worst plague to hit Australia since the cane toad …”

(Freddy gets off his bar stool, and we see a montage of whirling poker machines) …

“Pokies!”…

“Why people sat there fitting their week’s wages down a slot was anyone’s guess …”

(Freddy furtively gets out some super glue and squeezes it into the poker machine’s coin feed).

“Profits ruled. Live music just couldn’t compete.”

(Exterior on the record shop, then back into the interior):

Freddy (v/o): “This meant it was now up to the labels to make sure we had a range of cutting-edge artistes to choose from …”

(We see a couple of CDs of a vulgarly sultry female singer, Georgie G, and hear “I’ve been waiting for this. Her last album was great. Have you heard ‘Scent of My Love’? I love that song! It’s fantastic.”)

Freddy (askance, v/o): “I had a band. We rocked hard. Well, we would’ve …(as he does the CD sales) … after a year of rehearsing, all we needed was a gig …but that was proving pretty tough ... (he scans the CD and burns the cover photo, revealing the singer’s grotesque teeth) … then one day, just like on an MTV special … ”

The phone rings, Freddy answers “Shaw’s Records”.

(It’s Russell Dykstra’s Bruno, Freddy’s band’s manager, saying they’ve got

a gig to a sceptical Freddy, until he’s convinced).

Freddy (celebrating as he runs out of the shop): “One phone call. One gig. It can change your whole life. Destiny man!”

Spiderbait’s Buy Me a Pony begins playing, and a title introduces Freddy as “The Singer”, and we then meet the other members of his band, also introduced by titles … Pia Miranda’s Tanya as “The Bass Player”, Brett Stiller’s Joe is “Lead Guitar”, Chris Sadrinna’s Lucy is “The Drummer”, and Russell Dykstra is “The Manager”

Tail credits:

At the end, Kick and the band finally get to do their song with lyrics of the “just like a pimple … squeeze me” kind in front of a large Homebake crowd.

The crowd clearly thinks the band sucks.

Freddy (v/o, as Marton Csokas’s Shad Kern, with bloody nose, abandons them to the crowd):

“My big moment. The moment I finally had to admit to myself that we just weren’t very good… but sucking as much as we did that day - and our suckage factor was enormous - we still got to play in front of a whole country full of people …It was the most fun it was humanly possible for any of us to ever have …”

(Fade to black, and the whole gang is pulling back a hospital curtain from a bed. Maya Stange’s Kate is in the bed, bub in arms).

Freddy: “About seven months later, Katie and I got married. Joe was best man. And Joe junior made an appearance too …”(Freddy and Katie kiss, manager Bruno is wildly excited.)

Freddy (v/o): “Bruno won a million bucks in some contest by finding a purple Chocca. Lucky sod!” (Bruno leaps up on stage to hug a pole dancer, then an exterior of the Palace hotel, now with a big neon ‘Bruno’s’ sign above it)

Freddy (v/o): “So he bought the Palace right out from under that butt-crumb Thommo.”

(Bruno is wandering amongst the pub crowd).

“And we took the pokies and smashed them all with polo mallets.”

Then Freddy is asking the pub crowd “ladies and gentlemen, how we doin’?” The crowd cheers.

Freddy (v/o): “Me and Joe manage Bruno’s, and now the bands are back.”

Freddy’s speaking into a mike, explaining to the crowd that “there’s been a little bit of a scheduling mix-up… and ah, in the meantime, the house band’s gonna rip through a few for ya …”

Freddy (v/o): “Every couple of months, I give the opening band the wrong start time and slip us in ahead of them …we might suck, but I never said we were idiots …”

Drummer Lucy beats them in, Kevin (Andy Anderson) is on the mixing panel, and the band begins playing …

Freddy (v/o): “Tanya finished uni and went into anger management. Lucy was the surprising one. He got a degree in pharmacy and went into business.”

(Unlike the opening gag, this time it’s Lucy the pharmacist tied and gagged on the pharmacy floor, as pill thieves flee)

“What goes around, comes around, I guess… Joe kept up his medication and fell in love with a primary-school teacher.”

(Joe in the class doing air guitar with the kids and teacher)

“Now, instead of one kid, he’s got 35…. Kevin. Well, he’s the same …”

(The pub crowd starts chanting an ‘oi’, urged on by Kevin and Bruno) …

“Some things just don’t need to change. That’s good, right? As for Katie, she never got to experience the highs and lows of being a rock star’s wife …” (on Katie and kid in the crowd) …

“But I think she’s OK with it. And me, a rock star? Not my destiny. Still, you don’t have to be a rock star to feel like one…”

(The song ends, the pub crowd cheers, and Freddy holds up his hands in

triumph …) Fade to black, and then end credits begin to roll. In the right hand side of frame, there’s a panel where all the band turn up to do little dance cameos etc. First up is Bruno, as Tom Jones begins playing, “Help Yourself.”

Lyrics as heard in the film:

Love is like candy on a shelfYou want to taste and help yourselfThe sweetest things are there for you Help yourself take a fewThat's what I want you to do

(Bruno slumps back on the bed, and Freddy begins to dance)

We're always told repeatedly The very best in life is freeAnd if you want to prove it's trueBaby, I'm telling you this is what you should do …

(Katie pops up from behind a sofa, and joins the action in the panel)

Just help yourself to my lips to my armsJust say the word and they are yoursJust help yourself to the love in my heartYour smile has opened up the door …

(Bruno opens the fridge and Tanya pops out to begin her dance)

The greatest wealth that exists in the worldCould never buy what I can giveJust help yourself to my lips, to my armsAnd then let's really start to live

(Tanya slides back into the fridge and then Joe bursts into the room to dance)

Alright … (laughter) … yeah

(Brass musical interlude, as Joe exits and Lucy comes into dance)

My heart has love enough for two

More than enough for me and you I'm rich with love, a millionaire …

(Kevin enters to whirl his arms)

I've so much it's unfairWhy don't you take a share …

(Marton Csokas’s Shad Kern pops into frame and begins to dance)

Just help yourself to my lips, to my armsJust say the word and they are yoursJust help yourself to the love in my heartYour smile has opened up the door …

(Shad exits and Yvette Duncan’s goth Angie joins in, and then the whole ensemble begins to dance together)

The greatest wealth that exists in the worldCould never buy what I can giveSo help yourself to my lips, to my armsAnd then let's really start to live

(As the others slump out of sight, Bruno returns to do a solo reprise)

Just help yourself to my lips, to my armsJust say the word and they are yours ...Just help yourself to the love … (the song fades out)

The song is replaced by wispy number, Garage Daysby Katie Noonan, with about 1’30” of credits to go. The official music video (with expanded verses) could, at time of writing, be seen at YouTube here:

Time to take time’N I hit my head, staring at your ceilingYour angel wingsDust the air and dry my eyes completelyThese days won’t fade awayThese days won’t fade away

You know I’ll will always let you downYou know I’ll always let youThe universe will expand and

I’ve got no reason to doubt itSay what you like …But I’m gone with you, andBroken before you met meThese days won’t fade awayThese are … our garage days …

CD:

A CD of the soundtrack was released:

Festival Mushroom Records 335852 2002

01: High Voltage, vocals: The D402: Alright, vocals: Supergrass03: Kooks, vocals: Motor Ace04: Buy Me a Pony, vocals: Spiderbait05: Rockin' It, Instrumental06: Garage Days, vocals: Kate Noonan07: Love is the Drug, vocals: Roxy Music08: Add it Up, vocals: Sonicanimation09: Walk Up, Instrumental10: Ghost Town, vocals: Rhombus11: Smash it Up, vocals: The (International) Noise Conspiracy12: Say What, vocals: 28 Days13: That's Entertainment, vocals: The Jam14: Master Plan, vocals: David McCormack15: Stop Thinkin About It, vocals: Joey Ramone16: Mad Man, vocals: The Hives

17: Get the Tarp, Instrumental18: Lucky Number Nine, vocals: The Moldy Peaches19: Help Yourself, vocals: Tom Jones

Single:

Katie Noonan’s Garage Days was also released as a single, for promotional purposes:

Urban Cinefile review:

Brad Green wrote a review of the soundtrack for Urban Cinefile on 3rd October 2002, available here and at the Wayback Machine here:

Back in the days when garages were used for car storage instead of band practice, kids had to sharpen their guitar licks in their bedrooms. Although they probably didn’t appreciate it at the time, most young pop hopefuls were much better served by this arrangement. Without the aegis of thick garage walls, amplifiers require containment to modest decibel output. Which tends to result in bands learning how to play their instruments, instead of learning how to use distortion to cover up the fact that they can’t.

A predominance of chart-topping garage groups emerged in the mid to late-nineties and our ears are yet to be granted a total respite. Happily, there’s only a portion of this soundtrack devoted to the authentic, and execrable “garage” sound. The title track, for instance, is a delicate and exceptionally pretty little tune, and the rest adds up to a reasonable, if uneven, assortment of retro and contemporary pop-rock.

Among the best moments are Roxy Music’s Love Is The Drug, which still pulses with energy despite what the use-by-date might on the original issue might say; and Tom Jones’ Help Yourself, which doesn’t really belong in any of the categories here, but no one should complain. Jones is the personification of the innate Welsh ability to sing louder, stronger and better than the combined vocal chords of every other population on the planet. 

Jones would probably agree that it’s not unusual for contemporary rock to be overshadowed by the vintage variety; and there’s no exception here, with AC/DC’s High Voltage clearly the pick of the raw riff content. This version by Kiwi outfit The D4 pays acceptable if surprisingly low-charged homage to the original.

As for the genuine grunge element, I reckon they need a bigger garage to rehearse in. Get them all together for a bulk jam in a truck depot, I say, and throw me the keys to the biggest rig. 

Co-composer David McCormack:

David McCormack was the frontman for Brisbane band Custard in the early 90s world of indie rock. He has a relatively detailed wiki here.

He was profiled in The Guardian in May 2019 when doing voice work for a kids’ TV show, here:

As the frontman for Brisbane band Custard, David McCormack was an anomaly in the ultra-serious early-90s world of indie-rock. In an ocean of

angst, he was a goofball: whimsical, absurd, childlike and funny.He can still be all of those things. But McCormack, who turned 50 last year, has two young daughters now, and around a successful soundtrack career as well as occasional reformations of his old band – now more of a hobby – he lives the dad life.He’s also living it out in cartoon form: McCormack is the voice of Bandit, the dad dog in the ABC Kids animated short series Bluey, which chronicles the adventures of an irrepressible six-year-old blue heeler, her younger sister, Bingo, and her mum, Chilli…....Another Brisbane band from the same era and with a similar sense of play, Regurgitator, have recently released a children’s album. “When you hear about it you go, of course, Regurgitator would do a kid’s record,” McCormack says.He marvels at the turn of events himself – “Who would have thought in 1992 that we’d be talking in 2019 about me being the voice of a parent dog?” – but says his parents got the rudest shock. “They’re like, what’s this dog show kids are saying you’re doing the voice to?”Voicing Bandit, and having daughters of a similar age profile to Bluey and Bingo, has opened McCormack’s eyes to the enormous children’s entertainment market: a world away from the slim pickings available to Custard, now practically a heritage-rock band.“Kids get involved and suddenly you go, ‘wow – there’s eight different kids’ channels on Foxtel!’ There’s this whole world of bizarre kids’ stuff out there,” he says.“I’m yet to find out whether it’s the path to riches, but it is the path to being popular at school drop-off time. Lots of other parents are like, ‘Hey! Did I hear your voice on…’ It’s sort of like 1994 all over again, but in the primary-school world.” (follow the link for the full story).

(Below: David McCormack)

Co-composer Andrew Lancaster:

Andrew Lancaster, who did some incidental music for the short film Mr Ikegami’s Flight, listed on this site, is an Australian director and composer, with an eponymous website here. It contained this bio:

Andrew Lancaster is a multiple award winning Australian director and composer based in London and Sydney.  His unique directing style combines cinematic vision, natural performances with a strong emphasis on music, sound, choreography and rhythm. Andrew’s debut feature film, Accidents Happen (starring Geena Davis) premiered at Tribecca Film festival 2009 and has won prestigious festival awards at Giffoni Italy, Stiges Spain, and the Netherlands.His second feature The Lost Aviator premiered at the BFI London Film Festival, Miami,  and a special Jury mention at the Sydney Film Festival.Andrew graduated from AFTRS in 1994 where he directed and composed the short films Palace Cafe and Universal Appliance Co. which between them have won fifteen awards world wide. With a BA in Film and TV, he co-founded Supersonic and over the past eighteen years Andrew has had a career combining music and film.In 2001 his short film In Search of Mike was invited to have its World Premier at Sundance, also picking up the Dendy Award and the prestigious Rouben Mamoulian Award at the Sydney Film Festival. In 2002 he was awarded the Best Rising Talent at the IF Awards. In 2003 he directed Syntax Error for the POV short film collection, going on to win two ARIA awards for Best Australian Music Video in 1996 and 1999.In 2010 he founded the music collective Sonar Music and joined Photoplay Films as commercial director. He recently won the 2012 AACTA award for Best original Music for The Hunter and his micro documentary for the TAC on 'The Town of Speed' has won has won 2 x Gold at the ADMA, Gold at Spikes Asia Awards, 2 x Silver CLIOs and Gold at New York Festival Awards.Andrew has recently finished a feature documentary Joud a cinematic journey through Arabia due for release 2019. 

Lancaster’s agent, Cameron’s, listed him here, with this bio:

Andrew Lancaster’s debut feature film, Accidents Happen, starring Geena Davis, premiered at the 2009 Tribecca Film Festival and has won prestigious awards at Giffoni, Italy; Stiges, Spain; and the Netherlands. His second documentary, produced in association with Porchlight Films and Photoplay Films, The Lost Aviator, premiered at the BFI 58th London Film

Festival.Over the past fifteen years Andrew has had a career combining music and film. He graduated from AFTRS where he directed and composed two short films, Palace Cafe in 1993, and Universal Appliance Co. in 1994, which between them won fifteen awards worldwide. Andrew co-founded Supersonic - a music production company with Antony Partos and Paul Healy. Andrew scored the features The Hunter (dir. Daniel Nettheim) starring Willem Dafoe which was the recipient of an AACTA Award; West (dir. Daniel Krige, 2007); and Garage Days (dir. Alex Proyas, 2002).Andrew won two ARIA awards for Best Australian Music Video, in 1996 and 1999 respectively. Most recently Andrew directed the feature documentary JOUD, which was shot in Saudi Arabia for UK production company Edge Pictures.

(Below: Andrew Lancaster, the second photo being of him at the 2009 Tribeca Film Festival)

Co-composer Antony Partos:

Partos is a well-known composer of film music, and he has a wiki here. He is also listed here, with this CV:

Antony Partos is one of Australia’s most awarded film composers. His passion lies in creating scores that blend both acoustic and electronic elements with an eclectic mix of exotic instruments.His feature film credits include Jasper Jones and 99 Homes (winning the AGSC Award for Best Feature Film Score respectively in both 2016 and 2017), Animal Kingdom (AFI award for Best Feature Score), The Rover, Disgrace, The Home Song Stories and Unfinished Sky (both also winning the AFI Award for Best Feature Score).Antony’s evocative scores for TV Drama include Wake in Fright(AACTA

Award for Best Music Score in Television, Rake (AGSC Award for Best Music in a TV Series), The Slap (AGSC Award for Best TV Theme and Soundtrack), Mabo (AGSC Award for Best Music for a Telemovie) and Redfern Now (AACTA Award for Best Music Score in Television).Recent projects include the score for the Academy Award® nominated feature Tanna (winning both the AACTA and Film Critics Circle Award for Best Feature Score) and the highly acclaimed BAFTA nominated feature documentary Sherpa (AGSC award for Best Music for a Documentary along with Best Soundtrack Album).Earlier this year Antony composed the score for the Lucas Films documentary The Director and the Jedi which had its world premiere at SXSW this year. He has also just wrapped on the HBO feature film, Fahrenheit 451 which airs in May this year.He is a passionate environmentalist and is drawn to projects that are concerned with social issues and human’s impact on the world. (For more information, follow the above link).

(Below: Antony Partos)