Tuesday, 28 August 2018

BOOK REVIEW - Under Wide Skies by Jim Grahame, reviewed by Karen Fong

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Under Wide Skies by Jim Grahame (J W Gordon)   Review © Karen Fong

 
Photo by Ken Cunningham - from National library of Australia - this photo is out of copyright. 


Jim Grahame (pen name for Jim Gordon (1874-1949) has written for the world at large and especially for bush folk. … He writes of simple things and simple joys, themes that enter into the everyday life of the outback Australian” - so writes J K Moir, President of the Bread and Cheese Club in the Foreword to Under Wide Skies in 1947.

Grahame’s poems (numbering about 200 in this volume) are organised under headings such as Bush Songs, People of the Bush, Bugle Calls, Tributes to Lawson and Other Tributes. When reading the selection of poems in the section Bush Songs, it doesn’t take long to realise we have a craftsman who can paint wonderful images in our minds:
We breakfast, then start on a rollicking jaunt
Through ti-tree and bracken that wallabies haunt,
By wheat fields a-waving and emerald green
Low hills in the distance, enhancing the scene.
A track leads us down to a broad billabong
Where sentinel gum trees have guarded it long.
(from Arcadia)

In The Call of the Bush, Grahame urges city folk, especially youths that are dole-faced, to venture into the bush Blazing new tracks through my forests, scaling my ruggedest peaks, carving out homes in the valleys, skirting my rivers and creeks and although he acknowledges that the bush has its challenges, he seems to remain upbeat about the healing powers of nature Bushfires here their toll have taken, but their work is partly hidden by a kurrajong that’s growing, green and glowing, at the gate (taken from Vanished Homesteads).
Grahame also writes of the many characters of the bush he met as he trekked through the outback or settled in various townships. We learn about The Bushman’s Wife (The children’s clothes are all in rags, I’m sick an’ tired of patchin’ ), Concertina Jack (He played while they danced till the sun went down and the west was arched with a golden glow) and The Old Bush Hawker (The children stand and gaze and gaze and peep beneath the fly, and whisper of the treasures there that mother “oughter” buy.)
As a travelling companion and friend of Henry Lawson, Grahame has a number of poems in Under Wide Skies dedicated to his mate. In When Lawson Walked With Me, we learn of their pleasure in each other’s company (As we passed by a little church we glimpsed within the door, where people sat with bowing heads and some knelt on the floor; but we heard not the preacher’s voice nor listened to the bell; we were content to hear the tales each other had to tell.). Mary Gilmore was also a friend of both Lawson and Grahame and in Mary Gilmore, Grahame writes The women of hut and tent and camp are in Mary Gilmore’s ken; for she knows the lives of the bushmen’s wives as our Lawson knew the men.
My only small beef with Jim Grahame’s work is that in the first poem of the book The Men that Understand, he states that
Shed-hand, jackeroo, boss and teamster –
They are the men that can understand!
Self-taught scholars and baffled dreamers,
Bronzed barge-hands of the river steamers –
They are the men I love to heed me
(Let furious critics reprimand) –
They are the men that clothe and feed me;
And I’ll sing the tune that their ears demand.
I would suggest that both women and men can enjoy Grahame’s poetry. Towards the end of his life, Grahame was awarded a Commonwealth Literary Pension with Prime Minister Ben Chifley deciding “it was due recognition of his contribution to Australian literature as a poet and balladeer over 50 years” (from the book Mates: The Friendship that Sustained Henry Lawson by Gregory Bryan, New Holland Publishers 2016 p. 402).

Jim Grahame deserves to be more widely read and Under Wide Skies is a great place to start.
Copies of the book can be purchased by contacting Phillipa Hollenkamp, 0409 564 100, cost $30 + postage & packing $12.50

Video - Jim Grahame was a a contemporary of Henry Lawson and a fellow poet. His granddaughter and great great grandson tell how his poetry has affected them and the things they have learned from him.

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CD REVIEW - The Lies that Made Australia by Keith McKenry

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Review © Allen Davis


This review follows an earlier Bush Music Club appraisal of a book by Keith McKenry titled
More than a Life: John Meredith and the fight for Australian Tradition. The CD moves on and, rather smoothly augments, Meredith’s struggles to preserve the folk heritage. It is a combination of poetry, lies and yarns that linger and bind many of our traditions.

Using a clever methodology, McKenry recites and discusses Australian lies and myths with live audiences at both the National and Maldon Folk Festivals. His technique is to provide the people present with a named and numbered list of 27 “lies”. He then requests any audience member to call out a number. At this point he announces the title of that “lie” and proceeds to recite a poem and/or provide his view of the lie. Very effective! 
 
 Examples of the lies include, inter alia, Australia is a Classless Society, Asbestos, the Wonder Insulator and Captain Cook Discovered Australia. The CD is redolent with pathos and humour. McKenry knows his subject well. He addresses all “lies” in a warm and comforting way, even the most confronting topics.
It is pleasing to note the inclusion of Duke Tritton’s The Sandy Hollow Line and John O’Brien’s Said Hanrahan” along with 13 of McKenry’s own compelling and enjoyable works.
This is a veritable cornucopia of ripping and revealing yarns. McKenry is to be congratulated for this work which should form part of Australia’s literary heritage for generations yet unborn. “And that’s no lie “

available from Keith

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CD REVIEW - Saturdays In The Casual Room – Megan Roweth

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Saturdays In The Casual Room – Megan Roweth


Review © Helen Romeo
Buy this excellent CD!


Megan at Poet's Breakfast, Kangaroo Valley 2014 (Sandra Nixon photo)

I first heard Megan recite about five years ago when she was lifted onto a chair so she could reach the microphone. It was Banjo Paterson’s Been There Before and, at the time, I thought “what a wonderful rendition”. Over the past five years it has been a delight to see and hear how much she has developed and become quite comfortable in her choice of material and its delivery. Five years of festivals, poet’s breakfasts and concerts have given her the experience and aplomb to match, and quite often surpass, reciters of any age.
The CD itself is presented in a cardboard case with a well-designed cover (Megan’s work) where most of the poems are represented as pictures on the wall in the “casual room”. It literally invites you to pull up your favourite chair, make yourself comfortable and sit back and enjoy!!


From the selection of material on the album and Megan’s ease of delivery, it seems fairly safe to assume that she has chosen the poems she wanted to record - the emotional connection to the poems in her delivery comes across as very natural and relaxed. You can tell that she has not only spent time learning the words but really thinking about the best way to deliver them to make the most of the listeners enjoyment. Well done Megan.




This CD is an absolute must for collectors of Australian poetry and for those who have never owned an album of poetry, a great opportunity to listen to a thoughtful mix of some well-known standards, some lesser known material and two of Megan’s originals which are very powerful – belying her young age! It is a CD you will want to listen to often just to feel the different emotions of each track and listen to the tempo and warmth of Megan’s voice.

It is very exciting to see new, young reciters enjoying and building on the resource that is Australian poetry. This is quite an exceptional album for someone so young and I am very much looking forward to her next offering!



Megan at Poet's Breakfast, NFF18
(Sandra Nixon photo)

(Sandra Nixon photo)

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Sunday, 12 August 2018

Levi Jackson's Rag, memories from Annette Dwight

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 Article © Annette Dwight, photos from Annette Dwight collection

In the Folk Revival period of the seventies Bush Dancing became very popular.

Frank Canty started the first Balmain Bush Dance at the Town Hall in 1978 with 2 to 3
sets of people and by the end of the year it was so crowded that it was hard to get in
the door and on the 12th August 1978 the first Bush Music Club Subscription Ball was
held at Ashfield Town Hall. 

Arising from this I was invited by Frank Canty to attend a meeting at Bankstown to
form the Sydney Colonial Dancers as a performance dance group. Practices were
initially held at the Tritton Hall in Marrickville up until 1981 and then when I took over
the running of the group the practice venue moved to St James Hall at Glebe.

The Sydney Colonial Dancers performed every year at the National Folkloric Festival
in the Concert Hall at the Opera house and did outdoor performances on a Sunday
afternoon in the Opera House forecourt. Much fun was also had performing at the
Rocks, Sydney Town Hall and at Folk Festivals.

In 1982 a tall, lanky American visited the Sydney Colonials at our Tuesday night
practices. He was on an extended holiday Down Under and shared our enthusiasm for
dancing. He was keen to learn our repertoire of dances and reciprocated by teaching us
Levi Jackson's Rag. This was completely new to the folk scene in Sydney at the time
and quickly became one of the most popular dances. Now 36 years later it is even
more popular than ever, being included on the dance program of any bush dances
across Australia.




In 1982 the National Folk Festival was held at Sydney University and Bryden Allen
ambitiously got together a group of dancers to perform the marathon dance The
Running Set.
The lanky American who taught us Levi Jackson's Rag joined us and
can be seen in the following photographs with his long baggy red pants, dark hair and
beard. We danced until we dropped.



I'm sure that he would be pleased to know that we still remember the contribution that
he made and the great dance he gifted to us.



The photos show the group who performed The Running Set at the National
Folk Festival in 1982. In the foreground I am the lady in the yellow skirt and white
blouse dancing with the tall American in red pants. Others who can be seen include
Bryden Allen, Paul Weaver, Vernon Verass and Alan Phillips






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Monday, 6 August 2018

Bush Music Club Preamble & Constitution, 2-5-61

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Another find from the Archives, another foolscap page scanned in 2 images.


Wednesday, 1 August 2018

Posters for Keith Hollinshead's shows found on the walls of Tritton Hall.

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1.



2.




3.


4.


4.


5.   Saturday 18th April 1987


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Thursday, 12 July 2018

Duke's Place Australian Songs in Concert & Session with Matthew Black & The Bottlers, Friday 10th August, 7.30 for 8pm

Bush Music Club  
Tritton Hall, Hut 44
Addison Road Centre
142 Addison Road, Marrickville 


$10, BYO, bring a contribution for supper 

The Bottlers are a hard playing, nine piece, all acoustic folk punk band hailing from Sydney, Australia. Drawing life breath from not only the traditionally folk fuelled rural reaches of the nation but also it’s cityscapes and suburban streets with a solid tip of the hat to the folk, punk and folk punk pioneers that have traipsed and trekked the trails well before them.



The Bottlers believe folk based music should progressively speak of the times it exists in whilst hearkening back to it’s past, to the true heart of folk music, people. Because you truly can’t get where you’re going till you know where you’ve been.

Folk music should speak of the times it’s written in while hearkening back to the past, reckon The Bottlers. It’s something of yourself that others can dance to. It’s a conversation. It’s a lot of other things, too, but maybe most importantly – and by definition – it’s people. All kinds.

“We’ve played to punk crowds, metal crowds, folk festival crowds – which can be an older generation of people,” explains Matthew Black, the band’s founder and vocalist.
“Some people it shocks the socks and sandals off, but at the same time some people really embrace it.”
The band’s broad influences, authentic western Sydney twang and infectious larrikinism mean they’re equally at home at a scuzzy punk show or a rustic country pub. You might or might not detect influences like the Dropkick Murphys, Redgum or Billy Bragg, but buggered if you don’t get drawn in by the yarns, the energy and the playful mix of personalities all crammed up there on stage.

The Bottlers got going in earnest about three years ago when Ned McPhie and Black teamed up. The two started trying to cobble into songs what Black had committed to a collection of notebooks.

“You write about what you know and if a bit of western suburbs confliction gets the ink scraping across the paper, then that helps the job along,” says Black of what started to come together, and became the track “Blacktown” on the band’s demo release.

“We then started collecting the menagerie of members we have now. We didn’t mean to make it that large a group, but that’s how it panned out.”

And collect they certainly did. The folk-punk outfit is now nine members strong, with vocals, fiddle, drums, guitars, tin whistle, bass, accordion, mandolin, and banjo in the mix. Shows have even been known to feature a lagerphone.


Duke Tritton, by Hottie Lahm, 1959.

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Duke's Place - Australian songs in concert & session

usually 2nd Fridays, 7.30 for 8pm start
- concert is followed by a session



enquiries Sandra 9358 4886 

www.bushmusic.org.au
http://bushmusicclub.blogspot.com.au/



Map of Addison Road Centre     http://www.arcco.org.au/contact/


Duke's place, named after our honoured early member Harold 'Duke' Tritton (1886-1965), is the place to go once a month for a great night of Australian songs in concert and session. Duke was a powerful singer who supplied BMC with many songs he had learnt in his younger days while working as a shearer and at other bush jobs. He was also a songwriter and poet giving us songs that have entered the tradition such as Sandy Hollow Line and Shearing in the Bar.

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Duke's Place Australian Songs in Concert & Session with Russell Churcher, Friday 14th September, 7.30 for 8pm


Bush Music Club  
Tritton Hall, Hut 44
Addison Road Centre
142 Addison Road, Marrickville
 




Russell’s first festival performance was as a lead soloist in Peter Bellamy’s folk opera The Transports at the 1988 National Folk Festival. Since then he has performed at countless country halls and pubs from Port Macquarie to Mungindi.

Russell has supported touring performers such as Foster and Allen, Jimmy Little and John Williamson and has performed in front of the Prince of Wales, The Duke Of York and many other well-known hotels.

For a number of years he was resident entertainer, penny-farthing cyclist and shingle-splitter at Timbertown theme park Wauchope.

In recent times he has performed with Dave de Santi in the duo 'Rusty and The Saint' at the Illawarra Folk Festival, Folk by the Sea Kiama and the Peak Festival Perisher.

usually 2nd Fridays February to December, 7.30 for 8pm start - concert is followed by a session $10, bring a contribution for supper  

enquiries Sandra 9358 4886 

www.bushmusic.org.au
http://bushmusicclub.blogspot.com.au/


Map of Addison Road Centre     http://www.arcco.org.au/contact/

Duke's place, named after our honoured early member Harold 'Duke' Tritton (1886-1965), is the place to go once a month for a great night of Australian songs in concert and session. Duke was a powerful singer who supplied BMC with many songs he had learnt in his younger days while working as a shearer and at other bush jobs. He was also a songwriter and poet giving us songs that have entered the tradition such as Sandy Hollow Line and Shearing in the Bar.





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Monday, 2 July 2018

Moondyne Joe and other Sandgroper Ballads (1969) by L.G. Montgomery

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From the Archives - Three letters from Mr L. G. (Lloyd) Montgomery (aka Sandgroper) received by Editor Dale Dengate in 1969 and 1970.

In April 1969 Western Australian member Mr L. G. Montgomery renewed his membership and enclosed copies of 2 songsheets he had published - Moondyne Joe and other Sandgroper Ballads, and The Wildflower Songsheet of Australian Ballads. 

The Moondyne Joe songsheet was also sent to the Victorian Folk Music Club where two songs were published in the December 1969 edition of Australian Tradition and credited to the Perth Bush Music Club. 
http://catalogue.nla.gov.au/Record/2357914 Australia's singing West : a folk history of Western Australia in ballad and song / collected and retold by the Westerner. Rivervale, W.A. : Lloyd Montgomery, c1983, 61 p. : ill., music ; 30 cm. c1985 Red Tree Music.


.


(All songs © LG Montgomery aka Sandgroper)



1.
 
2.

3. 

In the May 1969 Bush Music Club Newsletter the Songsheets were credited to Mr. L.G. Montgomery, the "Sandgroper"

4. Newsletter, June 1969 - Moondyne Joe was set  ...  to a variant of Johnny goes down to Hilo - I  loved this shanty tune - above all others - as a boy out on Blackadder Creek, in Moondyne country.  
I remember singing 'the bathing beauty with the seaboots on' ...

The Victorian Folk Music Club published two songs from the Moondyne Joe Songsheet in the December 1969 issue of their journal Australian Tradition, crediting them to the Perth Bush Music Club. Thanks to the Victorian Folk Music Club for permission to reproduce these pages

5.  


6. Kangaoroo Pups

The folder came in 2 colours, and both contained an extra song.

8.  The folders contained words & music for
Moondyne Joe, Canning Stock Route, Down in The Gold Mine and  Coast of New Holland. They also included a single songsheet - The Ballad of Ned Kelly (green cover) and The Canning Stockroute (black cover) and were accompanied by a smaller publication The Wildflower Songsheet.

9. 



































9a. information about Moondyne Joe



































9b. Moondyne Joe

9c.  Canning Stock Route
 
10.

  (BMC Archives)

11.
State Library of Western Australia catalogue entry for Moondyne Joe, with incomplete citation.

12. State Library of Western Australia catalogue entry for The Wildflower Songsheet, with incomplete citation.


13.  Letter, 27th November 1969, accompanied by 4 songsheets (foolscap pages scanned as 2 pages)

14.


15. Down in the Goldmine, version date 27th November 1969

16.


17.

18.

20.   Letter dated 14th May, 1970

21. Canning Stock route,
version dated 14th May 1970

22. 
Down in the Goldmine, version dated 14th May 1970

23.

(BMC Archives) 

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