R-Certificate Song Book Vol. 1 (1969)

Home  |  The Blue Kangaroo at the Schooner (1969)  |  The Earthy Side (1969)  |  Englishman Abroad (1969)  |  FSH Vol. 1  |  R-Certificate Song Book Vol. 1 (1969)  |  R-Certificate Song Book Vol. 2 (1969)  |  With a Hat On (1969)  |  What's New  |  Contact Us
 

The 'R' Certificate Song Book


BRENDAN HANLEY and BRENT MACDONALD

Here at last is the ultimate bawdy ballads recording, on which not only are the songs themselves classics of their field, and the recording quality of world standard, but the musicianship on each track is impressive, to say the least. It was fortunate that at the time of recording, Australia's top Bluegrass people were in town, and just happened to drop in for a few tracks ... the result is brilliant. Add to this the expertise of Mr. Liam Bradley, well known for his work on vibes, trumpet and guitar; unfortunately we forgot to tell him that he had to play piano on this Album, but after a couple of ciders, he almost managed. Furthermore, the elusive and extremely talented Greg Young, from South Yarra's famous Record Collector shop, came down and made many unsavoury background noises almost on the right occasions.

The songs themselves, on this L.P. are classics in the true sense, and were drawn, in the main, from the songbook "Mess Songs and Rhymes of the R.A.A.F. 1939-1945", which was compiled in New Guinea in the middle of World War II and was fortunately reprinted in 1961. These are the songs that have been sung in messes and camps, all 'round the world for generations. We also learnt the odd one or two from the fellows in Melbourne's esteemed Friday Club, which has been meeting now for over twenty five years, and happily, memories were sharp enough to deliver a line or two of some old ditties, which we naturally rushed to preserve forever on record. One or two also were further developed with the aid of Britain's now famous Rugby Songs series.

Many thanks must go to all those who assisted with the production of this record, to Graham, our phantom engineer, to Colleen, Paul and the other Graham for turning up and playing, and to Milo and Allen for staying home and not playing. Thanks also to Brian Broberg for his usual expert artwork, and to Liam Bradley for his efforts.

BRENDAN HANLEY
 

--------------------------THE SONGS--------------------------

Side One.

1.   WOODPECKER'S HOLE. 2:01

The woodpecker is a small bird, renowned for pecking holes in wood. Question . . . How many people can put their finger in a woodpecker's hole? On this, our opening track, the last count was 4,357 1/2 . . .

2.   THE BASTARD KING OF ENGLAND. 4:21

The politics involved in this song make modern-day parliamentary manoeuvres look like kids' stuff. Apparently the song has deep historical satirical value, and after the recent B.B.C. Henry VIII Series, who's to say who did what, to whom, and with what? The ending is, of course, reasonably contemporary, and with Britain's joining the Common Market, may easily become the interim Australian National Anthem.

3.   WHOREDEAN SCHOOL. 3:52

Most of the bawdry we have come across in our researches has been predominantly male-orientated, and in this day of Women's Lib., it comes as a rather pleasant surprise to find that the girls of a fine upper-crust establishment such as the above-mentioned House of Learning, can indulge in a trifle more believable hanky-panky than St. Trinian's would have us believe. We were lucky enough to get some of the girls themselves into the studio for the session, as your delighted ear will undoubtedly inform you.

4.   BLINDED BY TURDS. 2:35

This song appears in many different forms, but most of them have melodies stolen from songs like "Botany Bay" etc. This version appealed to us most because of the originality and the singalong quality of the melody, although the subject matter is scarcely credible, even in this age of pollution consciousness.

5.   LITTLE RED HEN. 0:47

A short one, incredibly Bluegrass, thanks to our guest artists. This is one of the Friday Club's songs, and belongs to the very community song conscious post-war era (45-50).

6.   CHASTITY BELT. 4:15

Recorded live at Hamilton County Castle, this is a delightful song of a "Lady-Seemingly-in-Distress", until we find out that the cunning little page boy has had a good thing going all along. Never judge a book by one page . . .

7.   DROP-THE-LINE-MEDLEY. 3:25
a. Brighton Beach Pier. b. There Was a Young Farmer, c. Pinto Pony.

Friday Club again essentially, and nostalgia strikes. Remember "Sweet Violets", and how the end line never happened. And remember at school . . . "Ask your mother for sixpence — to see the big giraffe . . . ", these songs (again Circa '45-'50) are probably the originals of all that endline swapping, and as such, provide an interesting essay on the "backroomology", or "let's pretend it's not a bawdy song anyway," of the era Oscar Brand recorded similar songs in the early '50s, and because no actual nasty words were used, the records were openly accepted, even in such supposedly unpermissive times.

Side Two.

1. ABDUL THE BUL BUL AMEER. 3:00

The most obvious, and famous of all the wartime songs, and one which like many popular songs of the time, also had an emasculated counterpart suitable for airplay on the radio. A true classic of bawdry, this song in our version, gains a truly Eastern flavour from the genuine bazaar background sounds, and the unmatchable fiddle playing of Colleen, who of course played blindfolded so as not to be offended by the naughty song.

2.   LYDIA PINKHAM. 3:10

Women's Lib. again, and this time the grandmammy of 'em all. The first lady of Femlib, Lydia Pinkham, Suffragette and No. 1 who's who, ladywise of the turn of the century. Obviously lampooned by the more liberated males of the era, she emerges from the song, somewhat unscathed personally, although her cause is melted down to a laughable "vegetable compound". This song, as with Abdul and others, appeared on the top selling charts, disguised as "Lilly the Pink", and was sung by Paul McCartney's brother.

3.   CHRISTOPHER COLOMBO. 2:45

American, and proud of it, this song shows a lot less finesse as a piece of History than, say, the earlier "Bastard King of England," however it appears in most collections of bawdry, and this version is gleaned mainly from the R.A.A.F. book, and the "Unexpurgated Songs of Men", L.P. which was kindly lent to us for research purposes by the aforementioned Greg. Young. The Flamenco Dancers who open the track, were imported at great expense to do the session.

4.   POOR LITTLE ANGELINE. 4:21

This Melodrama never needs introduction, for it surely is the all time favourite ditty. The vocal possibilities are too tempting to any group of four or more men around a jug, late at night. We have tried to capture the barbershop quartet feeling that accompanies this type of "heroine-villain-hero" tale, and we hope you enjoy it. Incidentally, all those voices are only really four people. So much for modern technology, and multiple track tape recorders.

5.   THE HERMIT. 2:23

Apparently this was originally a European folk tale, with the classical tricky finish, however this version is decidedly western, although the story is the same.

6.   THE GREAT BIG WHEEL. 2:58

. . .or THE ENGINEER'S SONG, or THE OLD SAILOR'S LAMENT, or THE COWBOY'S LAST TALE, or AN OLD MAN TOLD ME etc. etc. This song is as old as engineering, and is a long time favourite in Technical Schools and similar places, where the pure technological issues must tickle the imaginations of the students concerned. It appears, as above, in many different forms, but the outcome of the experiment is always as disastrous as our version.

7.   DICKY DIDO. 2:44

Rugbydom's universal favourite, this time dressed in finer robes than the dressing shed, after the game. We felt it appropriate to finish with something a little extraordinary, and with a fair amount of multiple recording, four voices became forty. Awe-inspiring, isn't it?


BRENDAN HANLEY: 12 String Guitar, 6 String Guitar, Plectrum Banjo, Harpsichord and Vocals.
BRENT MACDONALD: Guitar and Vocals.
LAURIE NICOLL: Bass.
DAVID McMASTER: Percussion and Vocals.
LIAM BRADLEY: Piano, Trumpet and Vocals.
COLLEEN TRENWITH: Violin.
PAUL TRENWITH: 5 String Banjo.
GRAHAM LOVEJOY: Mandolin.

All songs Traditional arranged Hanley-Macdonald.
Produced by Brendan Hanley.
Photograph by Colin Beard. Artwork and Design, Brian Broberg.

Trade enquiries and mail orders: P.O. Box 132, Balwyn, Vic. 3103.
 

R1  Certificate
Records

STEREO
& monoplay


Copyright © 2001-2020 by The Jack Horntip Collection.  Conditions of Use.