The
Second Soundtrack
Moulin Rouge 2
Track Listing
* Review * Lyrics * Credits
1.
Your Song – Instrumental {From the ‘Rehearsal Montage’ scene}
2. Sparkling
Diamonds – Original Film Version
-performed by: Nicole Kidman, Jim
Broadbent, Caroline O’Connor, Natalie Mendoza, and Lara Mulcahay
3. One Day I’ll
Fly Away – Tony Phillips Remix
-performed by: Nicole Kidman
4. The Pitch
(Spectacular Spectacular) – Original Film Version
-performed by: Nicole Kidman, Ewan
McGregor, Jim Broadbent, Jacek Koman,
John Leguizamo, Garry MacDonald, Richard Roxburgh, and Matthew Whittet
5. Come What May
– Original Film Version
-performed by: Nicole Kidman and Ewan
McGregor
6. Like a
Virgin- Original Film Version
-performed by: Jim Broadbent, Richard
Roxburgh, and Anthony Weigh
7. Meet Me in
the Red Room – Original Film Version
-performed by: Amiel
8. Your Song –
Instrumental {From
the ‘After the Storm scene’}
9. The Show Must
Go On – Original Film Version
-performed by: Nicole Kidman, Jim
Broadbent, and Anthony Weigh
10.
Ascension/Nature Boy {From the ‘Death and Ascension’ scene}
-vocal by:
Ewan McGregor
11.
Closing Credits: “Bolero” – Original Film Version
1.
At first, I was sceptical when I saw that two instrumental
versions of “Your Song” were included, but after listening to them, I am
completely won over. Both are beautiful, and quite different: they start out as
“Your Song”, then develop into something completely
their own. I especially loved this version; I first recognised it not from the
film itself, but from the wonderful montage of costume tests, etc., that
precedes the “Stars” section on the DVD.
2.
An older-sounding, more Broadway-type version than the slicker, more top-40 type that appeared on the first soundtrack; I
prefer this version, personally. One complaint: they completely cut out the first
verse (“The French are glad to die for love….”), which I think is an important
part of the song, and I also would have liked to see the ending included, since
I really loved it in the film (The last bit she sings before she falls from the
trapeze.) Also, Zidler is missing from this version (even though Jim Broadbent
is listed in the credits (?)), where he joined in in
the film. But, I liked the actual song; I just would have liked to hear more of
it!
3.
I generally like remixes, and this one is
no exception. As it’s a completely different take on the song, I felt it was
worth including. I especially like the ‘fake out’ where the song builds—the
first time I heard it, I thought that the CD had skipped, but then it
resumed—considering I’ve just about memorised the version on the other
soundtrack, this made me pay attention again.
4.
Hooray! This was one of the songs I really missed from the first
soundtrack, as it’s really catchy, and was so funny in the film. It’s (almost)
the original film version included here; why they have put the Duke’s “what do
you mean by that” comment after Zidler’s introduction instead of before it is a
little strange; also missed is the Duke’s “but what happens in the end” comment
after the first part of the song; but other than those little quibbles, v.
good.
5.
Like the “Sparkling Diamonds” version included here, this is the
actual film version, not the slicker version included on the first soundtrack;
unlike “Sparkling Diamonds”, it has been transferred to the CD without any
parts left out. The ‘greatest thing’ interlude is even included (v. nice).
Other than that, what can I say—I just really love this song.
6.
Hooray again! Another song much missed from the first soundtrack.
Not as hilarious without the visuals, but still funny. A slightly different
ending than the actual version in the film, but I think I like this ending
better. It would have been nice to have some more of Zidler’s spoken
introduction, but can’t have everything, I suppose.
7.
I was a little confused when I saw ‘original film version’ after
this on the CD case, but after hearing the song, I did recognise it from the
film—that is, the two lines from the chorus that were actually in the film. (played in the background while Christian is waiting for
Satine in the elephant.) Quite catchy, though.
8.
The other “Your Song” instrumental—more haunting from the first,
and just as beautiful. Really brings to mind the scene where
9.
Hooray yet again! The other song missed from the original
soundtrack. I really like the operatic, melodramatic feel this song has, and it
really is the original film version—with one exception. Satine joins in here on
the final ‘the show must go on’, whereas she didn’t in the film. Picky, I know,
but it’s quite important that she doesn’t join in that line in the film, so
why she does here I don’t know.
10.
Really moving; brings to mind quite clearly the camera rising
above Christian and Satine at the end. Watching the film, I always thought it
sounded like Ewan McGregor singing the line from “Nature Boy” at the end, and
now I know, it brings the film full circle.
11.
I thought this might be on here, and I was right! When I saw the
film in theatres, I actually sat all the way through the credits to hear this,
and I’m really glad to have it included here; after the moving tragedy of the
previous song, it’s nice to have a song that builds into something slightly
more upbeat.
CONCLUDING THOUGHTS: Some people have complained about the lack of
‘polish’ on the sound mix in the “original film version” songs, but I have to
wonder if it wasn’t done on purpose. After all, this is a professionally
produced album, and they already had lusher versions
of the songs recorded; the ones they use in the film. And in one of the DVD
commentaries, Baz Luhrmann mentions that in the film they went to lengths to
make things look old on purpose, to make things that were perfect imperfect.
With this reasoning, the songs on this album might sound as they do to
purposely bring to mind records of old Broadway shows or film musicals; to make
the songs sound old, just as the film is made to look scratched and jerky at
the beginning on purpose, to make it look like vintage footage. I may be wrong
on this, but I think it works well; after all, you do get a little tired of
listening to perfectly-produced songs with no personality all the time. There
is one exception, however: “Meet Me In the Red Room” is such a little trifle it
would sound a lot better as a lush studio mix.
Other than that, it
would have been nice if more dialogue had been included along with the songs;
I’ve always been a fan of movie soundtracks that mix in bits of dialogue with
the songs (with limits; this can be overdone.) And why was this CD so short,
with so many songs not included? At not even forty-two minutes, they could have
included at least two or three more songs. (My picks: the reprise of “Come What
May” and “Coup D’Etat”; “Gorecki”;
“Zidler’s Rap/Smells Like Lady Marmalade”; “The Sound of Music/Green Fairy”
(with dialogue); the “Come What May” remix; the film version of “Nature Boy”;
film versions of “Your Song” and “El Tango de Roxanne”, with the spoken
introductions; I could go on, but I’m already way past 2 or 3… (I think there’s
enough here for a third soundtrack…well, I can hope, can’t I?)
To wrap up: I love
what’s included on this soundtrack, but I would have liked to see more of it. I
liked this soundtrack as a whole more than the radio-friendly first one, even
though some of my favourite songs were on the first one, and I feel this one is
a better representation of the film, as opposed to the first one, which was
more a representation of the marketing campaign for the film.
Sparkling Diamonds
* One Day I’ll Fly Away – Tony
Phillips Remix * The Pitch (Spectacular Spectacular)
* Come What May
Like a Virgin *
Meet Me In the Red Room
* The Show Must Go On
* Ascension/Nature Boy
[SATINE] A
kiss on the hand may be quite continental,
But diamonds are a…
[SATINE and CHORUS] …girl’s best friend.
[SATINE] A
kiss may be grand, [CHORUS]
Oooohh…
But it won’t pay the
rental on your humble flat,
Or help you feed your (mmm) pussycat.
[SATINE and CHORUS] Men grow cold as girls grow old…
[SATINE] And
we all lose our charms in the end.
[SATINE and CHORUS] But square cut or pear-shape,
These rocks don’t lose their shape;
Diamonds
are a girl’s best friend.
[SATINE] Tiffany’s!
Cartier!
[SATINE and CHORUS] ‘Cause we are living in a material world,
And I am a
material girl!
[SATINE] (*kiss* ahh!)
Come and get me boys!
Black
star, Roscor!
Talk to me Harry
Zidler, tell me all about it!
There may come a time
when a lass needs a lawyer,
[CHORUS] But
diamonds are a girl’s best friend. Oh! Oh!
[SATINE] There
may come a time when a hard-boiled employer
Thinks you’re…
[CHORUS] …awful
nice!
[SATINE] But
get that ice or else no dice!
[CHORUS] He’s
your guy
When stocks
are high,
But beware when they
start to descend.
Diamonds are
a girl’s best,
Diamonds are a girl’s best,
Diamonds are a girl’s best friend.
[SATINE] Cause
that’s when those louses
Go back to
their…
[SATINE and CHORUS] ...spouses.
[SATINE] Diamonds
are a girl’s best friend!
ONE
DAY I’LL FLY AWAY – TONY PHILLIPS REMIX
[NICOLE] I
follow the night,
Can’t stand the
light.
[CHORUS] Here
we are…
[NICOLE] One
day I’ll fly away,
Leave all this to yesterday…
[CHORUS] Here
we go…
[NICOLE] What
more could your love do for me?
When will love be through with me?
Why live life from dream to dream,
And dread the day when dreaming ends?
[CHORUS] Here
we are…
[NICOLE] One
day I’ll fly away,
Leave all this to yesterday.
[CHORUS] Here
we go…
[NICOLE] Why
live life from dream to dream,
And dread the day when dreaming ends?
One day I’ll fly away…
[ECHO] …fly
away…
…fly away…
[NICOLE] One
day I’ll fly away…
[ECHO] …fly
away…
THE
PITCH (SPECTACULAR SPECTACULAR)
[ZIDLER] Spectacular
Spectacular!
No words in the
vernacular (whoosh, whoosh, whoosh, whoosh)
Can describe this great
event. (whoosh, whoosh, whoosh, whoosh)
You’ll be dumb with
wonderment.
Returns are fixed at
ten percent—
You must agree, that’s
excellent.
And on top of
your fee. . .
[ALL EXCEPT THE DUKE] . . .you’ll be involved artistically.
[DUKE] What do you mean by that?
(whoosh, whoosh, whoosh, whoosh)
[ALL EXCEPT THE DUKE] So exciting, the audience will stomp and cheer!
So delighting it will run for fifty
years!
So exciting, the audience will stomp and cheer!
So delighting it will run for fifty years!
[TOULOUSE] Elephants!
[THE DOCTOR] Bohemians!
[ZIDLER] Indians!
[SATINE] And
courtesans!
[SATIE] Acrobats!
[CHRISTIAN] And
juggling bears!
[TOULOUSE]Exotic
girls!
[ALL EXCEPT THE DUKE] Fire-eaters!
Muscle-men,
contortionists!
Intrigue, danger...
[TOULOUSE] And
romance!
[ALL EXCEPT THE DUKE] Electric lights! Machinery!
[TOULOUSE] And
all that electricity!
[ALL EXCEPT THE DUKE] So exciting, the audience will stomp and cheer!
So delighting, it will run for fifty years!
So exciting the audience will stomp and
cheer!
So delighting it will run for fifty years!
Spectacular
Spectacular,
No
words in the vernacular
Can describe this great event!
You’ll be dumb with wonderment!
The
hills are alive with the sound of music!
So exciting, the audience will stomp and cheer!
So delighting, it will run for fifty
years!
So exciting, the audience will stomp and
cheer!
So
delighting, it will run for fifty years!
[CHRISTIAN] The
courtesan and sitar man
Are pulled apart
by an evil plan.
[SATINE] But
in the end she hears his song.
[CHRISTIAN]
And their love is just too strong.
[DUKE] It’s
a little bit funny, this feeling inside.
[ALL EXCEPT THE DUKE] So exciting, the audience will stomp and cheer!
So delighting, it will run for fifty years!
[CHRISTIAN] Sitar
player’s secret song
Helps them
flee the evil one.
Though the tyrant rants and rails,
It is all to no
avail.
[ZIDLER] I am the evil maharajah! You will not
escape!
[SATINE] Oh, Harold, no-one could play him like
you could!
[ZIDLER] No-one’s going to.
[ALL EXCEPT THE DUKE] So exciting, we’ll make them laugh, we’ll make them cry!
So delighting...
[DUKE] And in the end should someone die?
[ALL EXCEPT THE DUKE] So exciting the audience will stomp and cheer!
So delighting it will run for fifty years!
[DUKE] Generally, I like it.
[CHRISTIAN] Never
knew I could feel like this,
Like I’ve never
seen the sky before.
Want to vanish
inside your kiss.
Seasons may change, winter to spring,
But I love you until the end of time.
Come what may, come what may,
I will
love you until my dying day.
[CHRISTIAN and SATINE] Suddenly the world seems such a perfect place,
Suddenly it moves with such a perfect grace.
Suddenly my life doesn’t seem such a
waste,
It all revolves around you.
And there’s no mountain too high, no river too wide,
Sing out this song and I’ll be there by your
side.
Storm clouds may gather, and stars may collide...
[CHRISTIAN] But
I love you…
[SATINE] I
love you...
[CHRISTIAN] …till
the end...
[SATINE] ...until
the end...
[CHRISTIAN and SATINE] …Of time.
Come what may, come what may,
I
will love you...
[CHORUS] The
greatest thing you’ll ever learn…
[CHORUS] Come
what may...
[SATINE-AS-HINDU-COURTESAN and ARGENTINEAN-AS-PENNILESS-SITAR-PLAYER]
I will love you...
[CHORUS] Come
what may...
[SATINE-AS-HINDU-COURTESAN and
ARGENTINEAN-AS-PENNILESS-SITAR-PLAYER] Yes,
I will love you...
[CHORUS]Come
what may...
[SATINE-AS-HINDU-COURTESAN and ARGENTINEAN-AS-PENNILESS-SITAR-PLAYER]
I will love you till my dying day!
[ZIDLER] She’s made it through the wilderness
somehow, she’s made it through. She didn’t know how lost she was,
Until she found you.
She was beat, incomplete,
She’d been had, she was
sad and blue,
But you made her feel,
Yes, you made
her feel shiny and new. Ohhh,
Like a virgin!
Touched for the
very first time!
Like a vir-ir-ir-irgin!
Your hearts beat close in time!
Gonna
give you all her love!
[WAITERS] Give
you all her love!
[ZIDLER] Her
fear is fading fast!
[WAITERS] Her
fear is gone!
[ZIDLER] She’s
been saving it all for you.
[WAITERS] For you!
[ZIDLER] Only
love can last!
[WAITERS] Love,
love, love, love…
[ZIDLER] She’s
so fine…
[WAITERS] She’s
so fine…
[ZIDLER] ...And
she’s thine.
[WAITERS] And
she’s thine.
[ZIDLER] She’ll
be yours.
[WAITERS] She’ll
be yours.
[ZIDLER] Till
the end of time. . .
[WAITERS] Till the end of time.
[ZIDLER] .
. .Cause you make her feel,
[ZIDLER and WAITERS] Yes, you ma-a-a-a-ade her feel
[ZIDLER]
She has nothing to hide.
Like a virgin!
[WAITERS] Like
a virgin!
[ZIDLER] Touched
for the very first time!
[WAITERS] Touched
for the very first ti-i-i-i-ime!
[ZIDLER] Like
a vir-ir-ir-irgin!
When your hearts beat both
in time.
Like a virgin!
[WAITERS] Ooh-oooh!
[ZIDLER] Feels
so good inside.
[WAITERS]Feels
so good inside!
[ZIDLER] When
you hold her. . .
And you touch her,
Ohh! Ohhh!
[DUKE] She’s
so fine, and she’s mine.
Makes me strong,
Yes she makes me bold.
Now, her love thawed out,
Yes, her lo-o-o-o-ove thawed out
What was scared and cold.
[ZIDLER] Like
a virgin!
[WAITERS] Ooh,
like a virgin...
[DUKE] Touched for the very first time!
[ZIDLER] Like
a vir-ir-ir-irgin!
[DUKE] When your hearts beat both in time.
[ZIDLER]
Like a virgin!
[WAITERS] Vir-vir-virgin!
[DUKE] Feels
so good inside.
[WAITERS] Feels
so good inside.
[DUKE] When
you hold her,
And you touch her,
And you hold her,
And you touch her.
Ahh-ahh-ahh-ahh-ahh,
Ahh-ahh-ahh-ahh-ahh.
[DUKE and ZIDLER]Like a virgin!
[WAITERS] Just
like a vir-ir-ir-ir,
Just like a vir-ir-ir-irgin!
Meet me in the red room,
Close the door and dim the lights.
I will be yours truly if indeed the price is right.
So draw your sword, be my king,
Let your passions rise and sing.
Just show me the diamonds,
And I’ll let you wear my ring.
So just lay down beside me,
Let us consummate,
…consummate.
I know you’re perfect,
Let me help you deflate.
…help you deflate.
If you want to plug in
For a high voltage connection,
Show me cold hard cash
And I will turn on my affection.
(Ooh! Nuh-uh, do you wanna…how
about…I’ll let you…just a little.)
So don’t hesitate,
I won’t kiss and tell.
No need to worry,
‘Cause I’m a professional.
The show can start
As soon as I see money on the table,
I’ve an empty space to fill,
I’m willing if you’re able.
(Ooh! Nuh-uh, do you wanna…how
about…I’ll let you…just a little.)
Meet me in the red room,
Close the door and dim the lights.
I will be yours truly if indeed the price is right.
So draw your sword, be my king,
Let your passions rise and sing.
Just show me the diamonds,
And I’ll let you wear my ring.
I’ll let you…ooh!
I’ll let you wear my ring.
(Now, we can…)
Oooh, I’ll let you wear my ring.
Oooh, I’ll let you wear my ring.
I’ll let you,
I’ll let you wear my ring.
Meet you in the red room.
Meet you in the red room.
Meet you in the red room.
Meet you in the red room.
Meet you in the red room.
Meet you in the red room.
Meet you in the red room.
Meet you in the red room.
[ZIDLER] Another
hero, another mindless crime
Behind the curtain in
the pantomime.
On and on,
Does anybody know what
we are living for?
[ZIDLER and CHORUS] Whatever happened, we leave it all to chance.
Another heartache, another failed romance.
On
and on,
Does
anybody know what we are living for?
[ZIDLER] The
show must go on!
The show must go on!
[ZIDLER] Outside
the dawn is breaking
On the stage that
holds our final destiny.
[ZIDLER and CHORUS] The show must go on!
The
show must go on!
[SATINE] Inside
my heart is breaking,
My makeup may be
flaking,
But my smile still
stays on.
[ZIDLER and CHORUS] The show must go on!
The
show must go on!
[SATINE] I’ll
top the bill,
I’ll earn the kill,
I have to find the will
to carry on.
[ALL] On
with the,
On with the,
On with the show!
[ZIDLER] On
with the show!
On with the show!
[CHORUS] The
show,
[ZIDLER, SATINE, and CHORUS] The show must go on!
[CHRISTIAN]
The greatest thing you’ll ever learn
Is just to love, and be loved in return.
1. YOUR SONG (INSTRUMENTAL) – From the “Rehearsal
Montage” scene
Produced by Craig
Armstrong
Engineered by Geoff Foster
Mixed by Geoff Foster
Additional engineering
by Simon Leadley and Tim Ryan
Solo Piano by Craig
Armstrong
Written by Elton John
and Bernie Taupin
Arranged by Craig Armstrong
Published
by Dick James Music Limited. administered by
Universal-Songs of Polygram International,
Inc. (BMI)
2. SPARKLING DIAMONDS – Original Film
Version
Performed by Nicole Kidman, Jim
Broadbent, Caroline O’Connor, Natalie Mendoza and Lara Mulcahy
Arranged by Steve Sidwell
Produced by BLAM, Josh
G. Abrahams, Craig Armstrong and Marius DeVries
Engineered by Geoff
Foster
Mixed by Andy Bradfield
and Simon Leadley
Additional vocal
production and engineering by Simon Franglen
“Diamonds Are A Girl’s Best Friend”, written by Jule
Styne and Leo Robin, published by Music Sales
Corporation (ASCAP)
“Material Girl”, written
by Peter H. Brown and Robert S. Rans, published by
Candy Castle Music
administered
by Warner-Tammerlane Publishing Corp. (BMI)
Natalie Mendoza performs
courtesy of EMI Music Australia PTY Ltd.
3. ONE DAY I’LL FLY AWAY (TONY PHILLIPS
REMIX)
Performed by Nicole
Kidman
Produced by BLAM, Josh
G. Abrahams, Craig Armstrong and Marius DeVries
Engineered by Geoff
Foster
Mixed by Andy Bradfield
Arranged by Craig
Armstrong
Additional vocal
production and engineering by Simon Fraglen
Remixed by Tony Phillips
for One Good Ear Productions
Written by Will Jennings
and Joe Sample
Published by Irving
Music, Inc./Four Knights Music Co. administered by Songs
of Universal, Inc. (BMI)
4. THE PITCH (SPECTACULAR SPECTACULAR) – Original Film Version
Performed by Nicole Kidman, Ewan
McGregor, Jim Braodbent, Jacek
Koman, John Leguizamo,
Garry
MacDonald, Richard Roxburgh and Matthew Whittet
Produced by BLAM, Josh
G. Abrahams and Marius DeVries
Engineered by Richard
Lush
Additional vocal
production and engineering by Simon Fraglen
Mixed by Geoff Foster,
Simon Leadley and Tim Ryan
Arranged by Chris
Elliott
“The Pitch”, lyrics by
Baz Luhrmann and Craig Pearce,
Music by Jacques
Offenbach from “The Can Can” from “Orphee aux Enfers”
Published by Fox Film
Music Corp. (BMI), Festival Music o/b/o itself & Bazmark, Inq. (APRA), T C F
Music Publishing, Inc.
(ASCAP)
Includes: “The Sound of
Music”, written by Richard Rodgers & Oscar Hammerstein II
Published by Williamson Music (ASCAP)
“Your Song”, written by
Elton John and Bernie Taupin
Published by Dick James
Music Limited administered by Universal-Songs of Polygram
International,
Inc. (BMI)
5. COME WHAT MAY – Original Film Version
Performed by Nicole
Kidman and Ewan McGregor
Produced by BLAM, Josh
G. Abrahams, Craig Armstrong and Marius DeVries
Engineered by Geoff
Foster
Additional vocal
production and engineering by Simon Fraglen
Mixed by Geoff Foster,
Simon Leadley and Tim Ryan
Written by David Baerwald
Arranged by Craig
Armstrong
Published by Almo Music Corp./Pale Rider, Inc./
T C F Music Publishing, Inc. (ASCAP)
6. LIKE A VIRGIN – Original Film Version
Performed by Jim Broadbent, Richard Roxburgh and Anthony Weigh
Arranged by Chris Elliot
Produced by BLAM, Josh
G. Abrahams and Marius DeVries
Engineered by Richard
Lush
Mixed by Andy Bradfield
Written by Billy Steinberg
and Tom Kelly
Published by Sony ATV
Tunes LLC (ASCAP)
7.
MEET ME IN THE RED ROOM – Original Film Version
Performed by Amiel
Produced by BLAM, Josh
G. Abrahams and Marius DeVries
Engineered by Richard
Lush, Geoff Foster, Ryan Freeland, Simon Leadley and
Tim Ryan
Additional programming
by Kirke Godfrey
Background vocals by
Lara Goodridge and Fiona Ta’akimoeaka
Written by Marius
DeVries and Amiel Daemion
Published by Fox Film
Music Corp. (BMI), Festival Music (APRA), Chrysalis Music (ASCAP), T C F
Music Publishing, Inc.
(ASCAP)
Amiel
performs courtesy of Festival Mushroom Records
8. YOUR SONG (INSTUMENTAL) – From the “After
the Storm” scene
Arranged by Chris
Elliott
Produced by Marius
DeVries
Engineered by Christo Curtis
Mixed by Marius DeVries
and Simon Leadley
Written by Elton John
and Bernie Taupin
Published by Dick James Music
Limited, administered by Universal-Songs of Polygram
International,
Inc. (BMI)
9. THE SHOW MUST GO ON – Original Film
Version
Performed by Nicole
Kidman, Jim Broadbent and Anthony Weigh
Produced by BLAM, Josh
G. Abrahams, Craig Armstrong and Marius DeVries
Engineered by Geoff
Foster
Mixed by Andy Bradfield
Background Soprano
Vocals by Amanda Colliver
Written by Freddie
Mercury, Brian May, Roger Taylor and John Deacon
Arranged by Craig
Armstrong
Published by Beechwood Music Corp. o/b/o Queen Music Ltd. (BMI)
10. ASCENSION / NATURE BOY – From the “Death
and Ascension” scene
Produced by Craig
Armstrong
Engineered by Geoff
Foster and Christo Curtis
Mixed by Geoff Foster,
Simon Leadley and Tim Ryan
Vocal by Ewan McGregor
“Ascension” written and
arranged by Craig Armstrong
Published by T C F Music
Publishing, Inc. (ASCAP)
“Nature Boy” written by
Eden Ahbez
Arranged by Chris
Elliott
Published by Edwin H. Morris & Company, a
division of MPL Communications, Inc./David J. Janowiak
d/b/a
Golden World (ASCAP)
11. CLOSING CREDITS: “BOLERO” – Original Film
Version
Produced by
Steve Sharples
Engineered by Steve Sharples
Mixed by “The Twins”
for Lordmothership
Solo Violin by Simon Standage
Mastered by Emile Ford
using EFSR Technology
Written and arranged by
Steve Sharples
Published by Fox Film
Music Corporation (BMI)
*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*
All tracks
recorded and mixed at Iwaki Auditorium, ABC Southbank Centre, Air Lyndhurst Studios,
Fishtank
Recording Studio, FLM Studio, Fulham Road, Iona, Rig A & Eleanor Rig B,
Ryan’s Room
(Fox, LA), Studios 301,
Trackdown Digital and The
Village Recorder.
Additional Conducting by Chris Elliot
Sydney and
Sydney and
Sydney Orchestra Contracted by Hartl Music Services
Sydney Orchestra Leader: Philip Hartl
Choir Master: Jenny O’Grady for Metro
Voices
Additional Orchestration by Matt Dunkley
Music Preparations by Nick Mera for Dakota Music, Matt Dunkley, Peter Mapleson and Laura Bishop
Assistant Engineers: Ricky Graham, Jason Wormer and Nick Ceverano
Supervising Music Editor: Simon Leadley
Album Mastered by Don Bartley
Music Editor: Tim Ryan
Singing Coach for Nicole Kidman and Ewan
McGregor: Andrew Ross
BLAM: Baz Luhrmann and Anton Monsted
*~*~*~*~*~*~*~*~*~*~*~*~*~*~*
SOUNDTRACK ALBUM PRODUCER: Baz Luhrmann
MUSIC
SUPERVISORS + EXECUTIVE MUSIC PRODUCERS:
Anton Monsted
+ Laura Ziffren
MUSIC DIRECTOR: Marius DeVries
EXECUTIVE IN CHARGE OF MUSIC FOR TWENTIETH
CENTURY FOX: Robert Kraft
EXECUTIVE SOUNDTRACK ALBUM PRODUCER FOR
INTERSCOPE RECORDS: Karyn Rachtman
BUSINESS AFFAIRS FOR TWENTIETH CENTURY FOX: Traci Dallas Opdahl and Lance Grode
MUSIC CLEARANCE FOR TWENTIETH CENTURY FOX: Ellen Ginsburg
ADDITIONAL MUSIC CLEARANCE: Shelley Hogan
MUSIC PRODUCTION SUPERVISOR FOR TWENTIETH CENTURY FOX: Michael Knobloch
MUSIC PRODUCTION COORDINATOR FOR TWENTIETH
CENTURY FOX: Rebecca Morellato
MUSIC PRODUCTION COORDINATOR FOR BAZMARK FILM: Paul McKay
*~*~*~*~*~*~*~*~*~*~*~*~*~*~*
This story is about truth, freedom, beauty, but above all, love…This story
is about truth, freedom, beauty, but above all, love…