original musiccomposedand performed byIva Davies

music recording Spencer Lee

'Blue Eyes' written and composed byElton Johnand Gary Osborneand released byThe Rocket RecordCompany Limitedusage by permission ofHappenstance Limitedand Big Pig Music Limited

'New Moon On Monday' written and performed byDuran Durancourtesy ofEMI Recordspublished in Australasia byChappel & Co.(Australia Pty. Ltd.)

'Reckless' (Don't Be So) written byJames Reyne© Wheatley Musiccourtesy℗ EMI and GeffenRecords 1983

'Hey Little Girl' video segment providedcourtesyChrysalis Records

Iva Davies is a well known performer and composer of popular music, with a large number of charting singles, though he has composed other music, such as his works Boxes and Berlin for the Sydney Dance Company, and The Ghost of Time, performed with Richard Tognetti and the Sydney Symphony orchestra.

Davies won an APRA award and an AFI nomination for his work on the film's score.

There is a lengthy interview with Davies here, and this is excerpted as he

talked about his work at the time and his use of the Fairlight to compose the score:

Iva Davies: Icehouse stopped actively performing in 1994, but resumed again in 2010. However from 1994 on I was involved in a series of quite high profile projects. I had written my first contemporary ballet score, "Boxes" for the internationally renowned Sydney Dance Company in 1985 (using mainly Fairlight). I had also, in 1984, (using mainly Fairlight once again) composed my first score for a feature film Razorback (directed by Russell Mulchay, who was probably the world's leading director of music videos at the time). In 1995, after I had stopped actively touring, I wrote another ballet for the Sydney Dance Company, "Berlin". The two ballets, "Boxes" and "Berlin" are the Sydney Dance Company's most successful works to date. When Graeme Murphy, the creator of the company, Artistic Director and choreographer retired in 2007, he chose a return season of "Berlin" to finish with…....CAROL DUNCAN: What gave you the confidence to leap into these new technologies?IVA DAVIES: Perhaps it was more out of ignorance than anything, I certainly didn't see any risk involved, but the main driver for me was that these were new toys. Every time something new was invented, my eyes would light up and I'd think, 'Imagine the possibilities!'I remember expressly that conversation I had with our management where, out of sheer co-incidence they'd moved offices from where they were in Bondi Junction to the top storey of a two-storey building in Rushcutters Bay and the ground storey was where they made Fairlights, believe it or not. Management were oblivious to this, they had no idea what was going on down there. But I did and I came to the managers one day and said, 'I desperately want to get one of these machines, they are amazing.'Of course, I was proven correct because they revolutionised music forever. I think apart from the technology of recording, the sampler - which is what a Fairlight was - was the single most influential piece of technology ever created. I said this to my management, that I was desperate, that I'd really like one, but the catch was they were $32,000. That was in 1981 or 1982 so you can imagine how much money that was then - it was half a small house.But I got one, and interestingly enough my management were quite philosophical about it. They said, 'Well, it's a lot of money, but according to our calculations you'll pay for this with the first two projects you use it on.' And they were right. The first project I used it on was my very first film score for Russell Mulcahy's 'Razorback', which is about 95% Fairlight.The great irony of that was that I kept producing bits of music, because Russell Mulcahy was out in the desert filming scenes and he kept dragging up Peter Gabriel's fourth album, the one with Shock The Monkey on it, and they were

out in the desert with this blasting away on a ghetto blaster and I got it into my head that this was what Russell likes. So I kept producing Gabriel-esque soundscapes and so on, and the producers of the movie kept coming back to me and saying, 'No, no no - that's not what we want, we don't want this.' In the end I was getting various clues from them but didn't really know, but I had another go along the lines of Stravinsky's 'Rite of Spring' - a fairly mad piece of classical music. I constructed all this with the Fairlight, it was a quasi-orchestral thing. I took it back to them and they said, 'Yes! That's exactly it!' and I said, 'Well, if you wanted that sort of thing why didn't you go and get a classical composer.'In its day, 'Rite of Spring' was a controversial piece of music, and Iva Davies shares a birthday with Stravinsky.Considering that it was 1913 when that piece first hit the stage for Diaghilev's ballet company. It wasn't just the music; it was actually the subject matter of the ballet that I think was fairly upsetting to a lot of people. It's all about primal sexualism, basically, so you can imagine that to an audience of 1913 that sort of idea was fairly horrifying.CAROL DUNCAN: In 1984, you've got Razorback, also 'Sidewalk' - the third album from Icehouse, at this point did you consider that you didn't actually have to be a pop star?IVA DAVIES: No, I had a very strange life prior to that because I had a completely Jekyll and Hyde existence. I took up the guitar when I was 13, and taught myself, and it was probably also the year that I started taking oboe lessons. I had these two parallel lives and completely separate lives. I had a set of classical people - when I was in high school I played in a wind quintet and we used to rehearse every Saturday morning. We all had our first cars at that point. They were my friends and we went off and won the City of Sydney Eisteddfod and so on. They never, ever met the guys that I was in the acoustic band with. Ever! Because I just had these two lives. So my course was fairly accidental all the way through, it was probably always going to be accidental.To this day, I keep remembering things that I did. I remembered that I was in the orchestra that was primarily made up of members of the Sydney Symphony and the senior Conservatorium orchestra, of which I was a member, for the staging of the two first Australian ballets in the Opera House. I would have been about 19 and, of course, that's a fairly big moment for the Opera House to have a night featuring Australian opera in that building, and I'd completely forgotten about it. There are things from both lives that I've forgotten about.Davies wrote the music for the film in a front bedroom studio in a house in the inner western suburb of Sydney (he also wrote the music for Primitive Land (including 'Great Southern Land') in the house, which he sold in 2013 after living in for 32 years.

Davies has an informative website here, and a wiki here. The soundtrack album is listed on his website here.

Details of the album, which was widely published as an LP and as a CD, and remains widely available, including streaming:

As featured on the Icehouse website:

 LP EMI P-430006 1984 GatefoldMusic Composed and Performed by Iva DaviesProduced by Iva DaviesEngineered by Spencer LeeMixed by Tim Kramer

Recorded at Studio 301, Sydney, AustraliaMastered at Studios 301 utilising the “Maxicut Process.” Pat. App. Guitars on “Saltlake Walk” and “The Desert” by Bob KretschmerBass Guitar on “The Desert” by Guy PrattSound Effects courtesy of Greg Bell and AssociatesIva Davies appears courtesy of Regular RecordsI.D Music - Cat Songs except * Reprise

SIDE 1:Theme From Razorback (4'12")Sarahʼs Theme (2'46")Hatchet (0'18")Saltlake Walk (2'27")Jakeʼs Virgil (1'13")Kangaroo Shoot (6'10")

SIDE 2:Jakeʼs Death (3'10")The Desert (1'53")“Jesus Wept” (2'13")The Visit (2'22")Bethʼs Rape (5'16")Petpak (2'30")Theme From Razorback (Reprise) * (2'37")

The music was released on a two CD set, with the second CD featuring Davies' work for 'Boxes', the 1985 score for the work performed by the Sydney Dance Company.

Universal DIVAU1009 2014 "Razorback / Boxes"

Theme From RazorbackSarahʼs ThemeHatchetSaltlake WalkJakeʼs VirgilKangaroo ShootJakeʼs DeathThe Desert“Jesus Wept”The VisitBethʼs RapePetpakTheme From Razorback (Reprise)

The score was also given a release on Milan, and in Japan, and it remains available via iTunes and other streaming services, indicating that, relative to other Australian movie scores, it remains popular:

Iva Davies' website carries this biography:

One of the most iconic Australian bands ever ICEHOUSE was formed by Iva Davies, the front man and musical creative force, that lead the band to an amazing 28 platinum albums, eight top 10 albums and over thirty Top 40 singles.

Iva was born as Ivor Davies on the 22nd May 1955 in NSW, Australia. He later adapted to Iva after there was a misspelling on the label of a single released prior to the formation on Flowers/ICEHOUSE. The youngest of three siblings, Iva grew up in a musical household with both parentsʼ members of the local choir.

When only 6 years old, Iva fell in love with his first of many instruments, the bagpipes, and after begging his parentʼs for lessons, Iva had to wait till he was seven before his fingers could stretch over the chanterʼs holes in order to learn how to play the instrument. Iva later made the move to the oboe with the help of his first year music teacher at Epping High.

It was in July 1975 that Ivaʼs career really began with the release of his first single by RCA with “Leading Lady” and B side “Iʼm Gonna Give You All My Love.” But it wasnʼt until January 1980 that Iva put his name on the map when the successful pub band he founded, FLOWERS, signed a recording contract with Regular Records. In 1980 their debut album, ICEHOUSE, made it into the Top 5, becoming the highest ever selling debut album in Australia.

ICEHOUSEʼs success continued with the band performing their first overseas tour and the release of their second album, PRIMITIVE MAN, which surpassed the success of their debut album. It was this album that produced the anthem for Australians, Great Southern Land, which made it into the Top 5.

Whilst touring the band seized different opportunities that arose including Iva, who travelled to Tokyo in 1984 to write the song, Walking to the Beat, for the Yellow Magic Orchestra star, Yukihiro Takahashi. Two months later, Iva returned to Japan to tour as a member of superband, drawn from all over the world by Takahashi.

ICEHOUSEʼs success continued with the album, MAN OF COLOURS which contained the hit singles Crazy and Electric Blue that topped both the US airplay and sales charts. This album became the highest local selling album by an Australian group ever. For MAN OF COLOURS Iva himself created the artwork of a man clasping a bunch of coloured flowers by investing in a box of 5 crayons (which he still has till this day) and a black felt pen.

Beyond ICEHOUSE Iva has, and still continues, to showcase his musical skills for films, ballet, television and special events. Over the years he has composed scores for two of the most successful ballets for the Sydney Dance Company, Boxes (1985) and Berlin (1995). True commendation for his works came when, after 30 years as founder and Artistic Director of the Sydney Dance Company, Graeme Murphy chose to close his Directorship with a return season of Berlin in 2007.

Ivaʼs score The Ghost of Time was also performed with Richard Tognetti and Sydney Symphony Orchestra on Millennium Eve at the Sydney Opera House as part of International Millennium Celebrations telecast to over 3.5 billion people worldwide.

In 2003 Iva also co-composed the film score for Peter Weirʼs Master and Commander starring Russell Crowe. Critics from around the world praised his work with the Washington Post saying, “…an unforgettable score.”

ICEHOUSE and Iva Davies have won many awards including the Countdown Award for the Most Popular Male Performer, an ARIA award for the Best Album for Man of Colours, an ARIA for Highest Selling Album for Man of Colours, and an ARIA Award for The Ghost of Time in 2000. The band was inducted in the ARIA Hall of Fame in 2006. In recent years Iva Davies has maintained a presence in the Australian media with appearances in a variety of music & entertainment, TV and radio shows, and in interviews and featured press articles. 2011 and into 2012 saw Iva Davies and ICEHOUSE headline a number of major music festivals in Australia and New Zealand including Homebake and the Breath Of Life Festival, which brought him more prime time media appearances including a number of on-air live performances. This coincided with the highly successful special release of the ICEHOUSE WHITE HEAT greatest hits CD & DVD which sold to Gold levels in just 2 weeks.

In January 2012 he was made a Friend Of Australia for the GʼDay Australia campaign in the USA where he wined and dined with Hollywood stars, music celebrities and government ministers and performed a live set including Great Southern Land and Electric Blue. On January 26th 2012 he was honoured as official Australia Day Ambassador including featuring in a number of Tourism Australia videos.

Iva was made an Australia Day Ambassador in 2001 and every year on Australia Day travels to a different region of New South Wales, on behalf of the Australia Day Council, to take part in and perform official duties for local Australia Day activities. Ou

tside his musical activities, Iva has a long history of contributing back to the community from which he comes. Since the 1990s he has been, and remains, an Ambassador for the Nordoff Robbins Music Therapy Australia, a non-profit organization which assists in treating those with physical and intellectual disabilities via the power of music. He has a long association going back to the late 1980s with the Salvation Army Red Shield Appeal where he works every year that he is in Australia, either door-knocking or at one of the events on the day. Iva is also a Patron of Entertainment Assist, the local arm of Music Cares which supports artists and their families who have fallen on hard times.

All albums in the ICEHOUSE catalogue were re-released in May 2012 with a focus on the 30th Anniversary Edition of Primitive Man and the 30th Anniversary Edition of Man Of Colours. Between October and November of 2012 Iva Davies and ICEHOUSE performed to sell-out audiences on their Primitive Colours Tour which showcased the songs from the two Anniversary

albums plus other favourites from the ICEHOUSE pantheon of hits. Due to the success of the Tour, the band has been invited to present several ʻEncoreʼ performances in January 2013. ICEHOUSE was also invited to perform several special events during the year.

In June 2013 Iva was made a Member of the Order of Australia (AM) for ʻsignificant service to the music and entertainment industry as a songwriter and performer, and to the communityʼ.

Davies is closing 2013 with a bit of fun called DubHOUSE, where he and an expanded band rework the songs of ICEHOUSE and some much-loved cover songs with reggae, bluebeat and dancehall feels and is looking forward to continuing his and ICEHOUSEʼs musical journey through 2014 and beyond.

(Below: Iva Davies, in his early years, performing with Ice House, and in later years)