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Music composed and
conducted by Bruce Smeaton
With the participation
of the Melbourne
String Quartet
Title song performed
by Julie McKenna
Recorded and mixed
at A & M Studios, Melbourne
Recording
Supervisor: Alf Bean
Recording
Engineer: Graham Owens
Additional Recording:
Alberts, Sydney
Pepper Studios, Adelaide
Composer Bruce Smeaton
(Below: details of the music in Cinema Papers, May-June 1979)
Bruce Smeaton:
Bruce Smeaton composed two of the segment scores (The Husband and The Priest) for the
portmanteau feature film Libido, before doing the score for Peter Weir's The Cars That Ate
Paris, and then moving on to do David Baker's The Great Macarthy.
Smeaton became a major award-winning Australian composer for film and television, who
immediately after working on Picnic at Hanging Rock would go on to work on a series of
classic Australian feature films, including Fred Schepisi's The Devil's Playground and The
Chant of Jimmy Blacksmith.
Working with Schepisi on The Priest episode for Libido helped prepare Smeaton for the
more expansive score he did for The Devil's Playground, and it's arguable - because his
work on Picnic tended to be overshadowed by the pan flute gambit - that the film was the
first real chance for Smeaton to do an expressive work that aided the atmosphere and
emotion of a fully effective drama.
With The Chant of Jimmie Blacksmith, Smeaton continued in expansive mode, and
because of the film's substantial budget, the score was one of the few in the early revival
that could afford to be laid down at the old Anvil Studios near the village of Denham in
Buckinghamshire, with a British orchestra, the National Philharmonic, formed exclusively for
recording purposes.
Smeaton would continue to work with Schepisi, after the director went to Hollywood
(Barbarosa, Iceman, Roxanne), and he also became involved in various television shows,
such as The Boy in the Bush, A Town Like Alice, 1915, and Five Mile Creek.
Around the same time as Grendel Grendel Grendel, Smeaton also did the underscore for
(…maybe next Time) and The Earthling (or at least the version designed for the Australian
cut).
Smeaton's relatively short wiki - at time of writing - is here.
(Below: Bruce Smeaton in 1988)
(Below: Smeaton as he turns up in the DVD 'making of' for Picnic at Hanging Rock):
(Below: in the 'making of' for Summerfield. Adding the hat changes everything)
The music for the film has been released on CD, no doubt reflecting the way that many
consider it one of composer Bruce Smeaton's brightest and breeziest scores - at least once
past the prologue spoken by Phillip Adams:
CD 1M1CD1033 2004
01. Prologue (spoken by Phillip Adams) 4'32"
02. Tuesday morning. Scandinavia. 515 AD; A Song for Grendel sung by His Mother 6'45"
03. Thursday Afternoon; The Revenge of Wiglaf 2'24"
04. The Shaper's Song sung by The Shaper 3'17"
05. The Strangers 1'14"
06. The Occasion of Consolidating the Realm sung by The Shaper 3'15"
07. Appeasing the King of the Gods 2'52"
08. The Dragon's Song sung by The Dragon 2'40"
09. The Religious Sacrifice 1'35"
10. Montage, A Passing Decade; The Apple-Fight 2'25"
11. Grendel's Soliloquy, Poor Me sung by Grendel 3'26"
12. We Know a Lovely Monster sung by The Shaper 1'55"
13. The Dragon's Riddle 1'40"
14. The Final Evening 3'14"
15. Attacking the Castle 4'42"
16. End Titles 0'56"
The package includes an 8 page booklet featuring an overview of the animated film's story
and imagery.
At time of writing, the disc was still available from www.1m1.com.au
Below are the lyrics for the title song, called Tuesday morning. Scandanavia. 515 AD; A
Song for Grendel sung by His Mother, which - rare for an Australian film of the time - has a
touch of Broadway musical style and sophistication about it, as Grendel's mum gently
bemoans her son's horrendous attributes.
It runs over the head credits and over the early action, and the some of the key words - nail,
fang, claw, and so on - pop on screen during the performance:
Grendel
Grendel
Grendel
Your mother loves you Grendel
Standing there, all twelve feet four
Or more of you
Mother loves
Every hair
Every scale
Every tooth
Nail
Fang
And claw of you
Grendel
Grendel
Grendel
Grendel
Grendel
Grendel
Grendel
Your mother needs you Grendel
Listening nightly at the door for you
Mother loves
Every grunt
Every groan
Every howl
Moan
Wail
And roar from you
Grendel
Grendel
Grendel
Grendel
But other people Grendel
They might even like you Grendel
But feel the size and scale of you
The smell, the eyes
And wail of you
Are all too much
And much too scary
Perhaps if you weren't so
Green
And hairy
Someone other
Than just your mother
Could love you
Grendel
Grendel …
But other creatures
Grendel
May be less pleased with you
Grendel
The jaws, the fangs, and growl of you
The claws, the smell, and scowl of you
Are all too gross and most alarming
If only a part of you were charming
Perhaps some other
Besides your mother
Could bear you
Grendel ...
Grendel …
Grendel …
Grendel …