Later nineteenth-century Australia was fairly rough and tumble and very dependent on an itinerant workforce: shearers, stockmen, timber cutters, fruit pickers, bullock-drivers, and to some extent postal, banking, nursing and school teaching saw armies of men moving across the country. This, of course, is how many traditional songs were transplanted to new communities. Such workers were encouraged to participate in local community events, including sporting clubs where the singing of songs went with the territory.
The same could be said for those migratory outback workers, especially drovers, who travelled thousands of miles, tending their herds or flocks, and were reliant on the company of fellow travellers. A few songs sung around a campfire offered a welcome break from the monotony and loneliness of the job.
The majority of convicts and early emigrants were decidedly lower, working class, and unlikely to be puritanical. They were usually seen as inveterate gamblers, boozers and devoted to bawdy behaviour and extremely bad language. In the 21 st century our national stereotype is still seen as a gambler , boozer and swearer and this is possibly why international folklorists see us as one of the last bastions of bawdy song.
Although the majority of our population became urbanised in the early twentieth century some areas of work remained exclusively or predominantly male and would have provided an opportunity for the bawdy tradition to continue its rowdy way. Bush workers, especially boundary riders, drovers, shearers, rabbit and dingo trappers, timber cutters and railway workers still led relatively unsophisticated lives. Workers on fishing trawlers, fruit and vegetable farms, road gangs and long haul transport also employed an army of men, many living in communal camps.
The other very conducive atmosphere was mining, especially remote mines in the Northern Territory, far north Queensland and West Australia. I toured many of these mining towns in the s and songs were a welcome break from the back-breaking work however, by that time, the workforce was mainly European.
The Snowy Mountain Project would have also offered a similar challenge to collectors. It struck me that such male dominated, extremely isolated working and living conditions would be a natural stage for bawdy material.
Alas ,I realised this all too late and although I have received encouraging feedback I am yet to find the elusive songbook.
The expeditions are now, of course, open to both sexes and technology has all but eliminated home made entertainment in our frozen south. There is no doubt that Australians have a unique and identifiable sense of humour. This sense of humour also infiltrates our bawdry.
We have a larrikin spirit that is brash and loud, probably born of a need to cover our inert shyness. We also like to use colourful language, especially colloquial expressions, and this too has left an imprint on our songs. The average bushman of the nineteenth century swore like a trooper, peppered his speech with the most extraordinary expressions but clammed shut, tight as a drum, in the presence of women.
They hardly spoke in front of women let alone swear or sing a bawdy song. In analysing the Australian bawdy repertoire I set out to put the various selections into bit-sized sections — the main reason being to make the collection more approachable and, at the same time, more readable and singable. This also turned out to be a way of controlling the large volume of songs that confronted me. I trust I have done the songs and tradition a service but please forgive me if some of the categories do not suit your taste.
It was a difficult juggling act. One of the problems facing an editor of a book on bawdry is how to acknowledge collected and contributed material. Other material was secretively scribbled down as unidentified singers took the floor. In such circumstances the idea of a collector interrupting the flow is unimaginable. That said, wherever possible I have tried to identify the source of material, be it from oral collections or print. Possibly it would have been far better and certainly easier to provide a general list of contributors so no one is blamed for a particular item and the sudden collapse of their maiden aunt.
There are also some collected examples where the contributor could not remember some of the lines. My pinning of tunes on songs has been done to make the collection usable. Wherever possible I have given the most widely distributed melody. In a small handful of cases I have suggested tunes and indicated so.
Remember — there is no definitive tune association. The best resource for bawdry is, without a doubt, www. Parody is one of the keys to the bawdry tradition. Nothing is sacred when it comes to using and abusing a known tune for the sake of carrying song verses into popular circulation.
The more common the tune, the more welcome is the coupling. I should imagine some song composers would be shocked to find their precious work being used to describe unbelievable sexual frolics. There is no rhyme or reason to their selection other than the tune came to the mind of the original creator, or creators, and it stuck like glue.
Advertising commercials also cop their fair share of parody and several are included in this collection. There is no age barrier for bawdry and here you will find filthy playground chants side by side with erotic bawdy ballads that have been around for hundreds of years. You will also find that even parodies get parodied.
In referring to songs taken from previously published Australian collections, not that there have been many, I have identified the most relevant sources. One has to bear in mind that such works, in most cases, were themselves taken from other print sources. The important fact here is that these songs have travelled strange paths and there is no one correct version or owner.
Whilst I have cited some books as a source I have only done so for reference sake and that particular song could also be included in other books. Wherever possible I have used the most commonly published version. The challenge of this book was to survey what bawdy songs, recitations and toasts have been and are still circulating in Australia and try and identify those that possibly were created here or were significantly added to or given an Australian perspective.
Sometimes such changes are a subtle word here or there and others see the majority of the work changed and localised. There would not have been much value in assembling another anthology of unexplained bawdy classics and re-presenting them in a new package. I also wanted to provide some evidence to the belief that Australia remains one of the most active societies in keeping this tradition alive.
Australians have a well-earned international reputation to uphold! Perhaps not surprisingly, many of the popular bawdy songs are common to the English-speaking world. The majority were created in the late 19 th and early 20 th centuries and this had a lot to do with the migration to the cities, changes in working environments, growth of sporting clubs and the general liberalisation of society at large.
I have included two examples in the collection. There is also racist bawdy content in several of the songs and I include them for social and historical importance. Ta ra ra boom dee ay Ta ra ra boom dee ay Ta ra ra boom dee ay Ta ra ra boom dee ay. Sing hallelujah, hallelujah Put a nickel in the pail, get another piece of tail Sing hallelujah, hallelujah Put a nickel in the pail, and you'll be saved.
This collection of folk songs is as valid a manifestation of America's culture as any other. They've been sung around the country for hundreds of years while the nation was being built, and some of them date back hundreds of years before then.
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The E-mail Address es you entered is are not in a valid format. Seller Inventory More information about this seller Contact this seller 2. Published by Dorchester Press Ltd. About this Item: Dorchester Press Ltd. Condition: Very Good.
First Edition. First edition, second printing. Minor shelf and handling wear, overall a clean solid copy with minimal signs of use. Clean, bright cover. No interior markings. Sound binding. Black and white illustrations throughout. Secure packaging for safe delivery. More information about this seller Contact this seller 3. Condition: Fair. No names other than Oscar Brand's are present on the release, only the following explanatory statement:. Keep in mind that different types of music will have quieter moments and depending on your needle and other equipment, there may be some surface noise.
We try to be fair and conservative with our grades, but please read the grade descriptions carefully and understand the expectations before bidding. While we allow returns in extreme cases, we try to avoid them by making sure our customers are getting good records that match description. Records are stored and shipped in Mobile Fidelity Sound Lab original master sleeves. This and every record we sell is shipped in a 4 mil Poly clear outer sleeve.The AUDIO FIDELITY album of BAWDY SONGS and Back Room Ballads Vol. 1 (AFLP ) is listed in WIKIPEDIA as being from , yet the front cover of this Hi-Fi LP says Original mono pressings are on AF's gold w./black print label. Brand's tenor voice is similar to /5(3).