‘The Springtime it Brings on the Shearing’ is the sixth song on Burl Ives’ 1953 record, ‘9 Australian Folk Songs.’ It has been recorded by many people since then, including Lionel Long, Gary Shearston, Martyn Wyndham-Read and the Bushwackers.
The song describes how the shearers are the heroes of the hour at the height of the shearing season, splashing money around carelessly. Once the shearing is finished for the year, however, you will generally find them camped on the banks of a river, living an extremely frugal existence.
A number of writers point out that the words have been taken from a poem, ‘The Wallaby Track’, by E. J. Overbury. For example, the second verse of the poem begins:
With a ragged old swag on his shoulder,
And a billy or pot in his hand,
‘Twould astonish the new-chum beholder
To see how he’ll traverse the land.
The second verse of ‘The Springtime it Brings on the Shearing’ reads as follows:
With a ragged old swag on my shoulder
And a billy quart-pot in my hand,
And I’ll tell you we’ll ‘stonish the new-chum
To see how we travel the land.
‘The Wallaby Track’ was first published in the Creswick and Clunes Advertiser, in 1865. (By way of historical context, Banjo Paterson was born the year before, in 1864, and Henry Lawson two years later in 1867. Dame Mary Gilmore was born in the same year. This is also probably the year when Ned Kelly, at the age of ten or eleven, rescued the seven-year-old Richard Shelton from drowning in Hughes Creek in Avenel, Victoria.)
Creswick and Clunes are two old Victorian gold mining towns in central Victoria. They are not far apart, and are often considered together. Creswick is perhaps best known as being the birthplace of the Australian painter and writer, Norman Lindsay. Clunes’ principal claim to fame these days is that it hosts the annual ‘Clunes Booktown Festival.’
Overbury also wrote two other well-known poems, ‘The Public by the Way’ and ‘The Loafer’s Club.’
Overbury also published a collection of his poetry, ‘Bush Poems’, in 1865. In 1999 Red Rooster Press published ‘Two Goldfield Balladists’, edited by Hugh Anderson. The balladists were W. W. Coxon and E. J. Overbury, and the book comprises two small, old books: ‘Coxon’s Comic Songster’ and Overbury’s ‘Bush Poems.’
Overbury wrote a preface to his book, with his tongue firmly in his cheek. It reads as follows:
The great object I have in view publishing this little book is, if possible, to make a little money by it. If the purchaser obtains six-pennyworth of amusement from it, the benefit will be mutual. Like all virgin authors, I naturally expect that it will permeate through all classes of society, not only in this country, but in the most distant parts of the earth – that it may even cause some sensation amongst the crowned heads of Europe, and be recognised by the “Great Panjandrum” himself. Under these circumstances, I am willing to declare “The right of translation is not reserved.”
Anderson wrote an extensive introduction to ‘Two Goldfield Balladists.’ He tells us that “…Overbury was born in Scotland about 1830, and arrived as a cabin passenger on the Anne Cropper in May 1853, aged 22 years…”
He goes on to say that Overbury spent most of his time in Australia employed by the Anderson brothers – James, John and William. He also rented his home from them. The Andersons were based in the gold fields of central Victoria, and their primary business was supplying timber for the deep leads. When local supplies were exhausted, tramways were laid deep into the Wombat State Forest. Their empire continued to grow, and they became involved in land speculation and agriculture. They built a five-storey flour mill in nearby Smeaton, which still stands today. (Overbury wrote his ‘Preface’ from Smeaton.)
Hugh Anderson makes the point that there is some confusion about Overbury’s middle name, as it is sometimes given as ‘Irvine’. Dr Graeme Skinner confirms that his middle name was indeed ‘Irvine’, and the initial ‘J’ is therefore an error. Skinner also tells us that Overbury was born in Westbury, Wiltshire (via Bath), England, on 5 September 1830. Information provided by Skinner is far more detailed, and also much more recent, than that provided by Anderson, so I am inclined to think it is also more accurate.
Eight years after ‘Bush Poems’ was published, in 1873, Overbury wrote a letter to The Australasian newspaper in Melbourne. He was now in Glengower, not far from Smeaton. The letter was published in part, with an editorial response, in The Australasian, Saturday 8 August 1873, on page 16. He is complaining about a man – whom he names (but the editor chooses not to) – who is making minimal changes to Overbury’s work, and passing it off as his own.
“E. J. Overbury” (Glengower) – This correspondent writes to us to give satisfactory proof that he is “the real author of the songs termed the ‘Wallaby Track,’ ‘The Public by the Way,’ ‘Jack and I,'” &c, and in support of his claim gives the names of a good many respectable gentlemen as references. We regret that we are not familiar with the compositions themselves. He says “the songs themselves are certainly not worth much notice grammatically speaking. No doubt error abounds in them to a large extent. But the working classes in Victoria, New South Wales and Queensland appreciate them, and I do not believe that a party who calls himself ______ should intentionally rob me of that little approach to fame that I am certainly due. Mr. ______ represents himself as the author of all these songs. He attends in shearing time every station that can possibly lie in his route. He partially makes a parody by calling ‘The Public by the Way,’ ‘The Shanty by the Way,’ but every word in it except the change of substantives is mine. The same with the ‘Wallaby Track,’ and as time, and ignorance, and dishonesty advance, I fear that others of my own composition may suffer the same fate.” We are sorry to learn that Mr. Overbury, like other men of creative genius, suffers from the competition of plagiarists. He may, however, take it as a proof of his popularity when his songs are acceptable even in their altered and plagiarised form. We trust that as time advances ignorance and dishonesty will not advance too, and that his rival minstrel will come to rely on songs of his own production.
it is clear the editor has little respect for Overbury. He does not know his poems, and refers to him sarcastically as a ‘creative genius.’ Overbury had the last laugh, of course, with his words now immortalised in ‘The Springtime it Brings on the Shearing.’ His rival also achieved some long-term success, however. ‘The Public by the Way’ is now better known as ‘The Shanty by the Way.’
Hugh Anderson tells us that Overbury died in Creswick Hospital on 22nd February 1898. The local papers noted the death of “an old resident of Smeaton.” The records of the Smeaton cemetery referred to him as “the local bush poet.”
I can find no information at all about the tune to ‘The Springtime it Brings on the Shearing’. To my ear, it sounds quite similar to ‘The Dying Stockman’.
‘Australian Folklore – A Dictionary of Lore, Legends and Popular Allusions’ by W. Fearn-Wannan (Lansdowne Press 1977) – page 543
‘Old Bush Songs and Rhymes of Colonial Times’ by Douglas Stewart and Nancy Keesing (Angus & Robertson 1970) – pages 232 – 3, page 248
‘Complete Book of Australian Folklore – Compiled and annotated by Bill Scott’ (Summit Books 1976) – page 193, pages 332 – 3
Maggie Somerville and I were thrilled to be invited to perform at the 2020 Port Fairy Festival, as part of the Writers/Spoken Word section of the festival, organised by Jim Haynes.
We agreed to contribute an item (Maggie a song, me a poem) to the Aussie Morning Show on each of the three mornings (Saturday, Sunday and Monday). Maggie would launch her new CD (‘The Forest Prayed’ – poems of Dame Mary Gilmore set to music by Maggie), while I would contribute to a forum on ‘The Magic of Children’s Literature.’ I also agreed to participate in the Pat Glover Storytelling Award and, in the end, Maggie did too.
Our involvement got off to a bright start at the Saturday Morning Show, held in recent years in the Pavilion, rather than St. Pat’s Hall, where it was held when we last attended, in 2016. The Pavilion is a great venue, as it is right in the heart of the festival. The 9am start meant we were done and dusted by 10am, when the music shows started up, and threatened to drown us out. The Morning Show is held in the upstairs part of the Pavilion, offering great views of the festival from its balconies.
The show began with Jim briefly interviewing Maggie and me, as well as Di Jackson-Hill, who was launching her new children’s picture book, ‘Windcatcher’ (published by CSIRO Publishing), about the local bird, the short-tailed shearwater (illustrated by Craig Smith), and local writer Maya Linnell, who was launching her new ‘rural romance’ novel, ‘Wildflower Ridge.’ Jim was also launching his own very large new book, ‘The Big Book of Australia’s War Stories.’
Jim is an absolutely brilliant performer who always packs in a crowd, so we were playing to a full house every morning.
Thank you to Maggie for this photo of me. Here is Maggie strutting her stuff.
Bush poet Mick Coventry, from Kyabram, did a bracket of jokes and poems later in the show, exercising his particular brand of laconic Aussie bush humour. The crowd loved it!
Maggie and I had something of a programme clash, in that her CD launch was scheduled to begin while the panel discussion of ‘The Magic of Children’s Literature’ was still in progress, and I was keen to spend as much time as possible at her launch to support her. The situation was further complicated by the discovery of a technical hitch. Rather than employ a bevy of musicians to accompany her (a very expensive exercise), the plan was for her to sing along to the CD minus her vocal track, karaoke style. Unfortunately, however, there was a problem with getting it to play. This was eventually solved, but not without a good deal of angst all round!
There was still another problem, as we had no sound man to stop and start the track as needed. Fortunately an old friend of Maggie’s, Melanie Dorian, who was at the festival assisting her husband, instrument maker at ‘Rocky Creek Strings’, agreed to step into the breach.
The panel discussion was held at Blarney Books & Art, a relatively new (and excellent) combined bookshop and art gallery in the town.
More information about ‘Blarney Books & Art’ can be found here:
Jim suggested I kick off proceedings to allow me to spend as much time as possible at Maggie’s launch, and I was pleased to be able to talk about my journey as a writer – the decision to write poetry for children, and the subsequent long and rather tortuous, but ultimately very satisfying, path to the publication of ‘The Billy That Died With Its Boots On’ by Walker Books in 2014. The other members of the panel were Di, Craig and Jim. Unfortunately, I was not able to hear what they had to say, but I was told that it had all gone well, with plenty of fruitful discussion towards the end.
I was pleased to find upon my arrival back at the Pavilion that Maggie’s launch had not yet begun, so I was able to watch the whole show. Melanie did a fine job as Maggie’s assistant!
Only one track could not be played, that for the accompaniment of ‘Botany Bay’, and it was probably more effective performed acapella anyway.
More information about ‘The Forest Prayed’ can be found here:
The Pat Glover Storytelling Award was great fun on the Sunday afternoon. Maggie’ poem, ‘A Deadly Weapon’ (a cautionary tale about taking Irish penny whistles to the Magistrate’s Court!), was extremely well received, but the winner was Eric Purdy, a Scotsman, who told a hilarious tale about deciding to wear a kilt one day, and ending up with one that was far too big for him. He described a garment that began high at his chest, descended to near his feet, and extended great distances both front to back and side to side, so that he felt like ‘a tartan shuttlecock.’ Congratulations Eric!
After final performances at the Monday Morning Show, it was time to wind down and head for home. First, though, we took the opportunity to go for a stroll along the beautiful beach…
All in all, it was a wonderful weekend at an amazing festival, and we both feel very privileged to have had an opportunity to contribute to the proceedings.
Last Saturday I had the great privilege of attending (and performing at) the launch of Maggie Somerville’s new album based on the poetry of Dame Mary Gilmore, ‘The Forest Prayed’. Maggie has taken 16 poems by Mary Gilmore, written music for them, and recorded them as songs. We believe this is the first album of songs based on the poems of Dame Mary Gilmore to be recorded (but would be happy to be proved wrong).
Maggie felt the most appropriate place to launch the album would be Crookwell in New South Wales, near the place of Gilmore’s birth, and home of the Upper Lachlan Shire Mary Gilmore Society. The Society holds an annual Mary Gilmore Festival, which Maggie has attended for the last two years. The driving force behind the festival and the society is Crookwell resident Trevene Mattox, who has become a great supporter of Maggie in recent years.
Trevene enthusiastically agreed to organise the launch, to be held at the Memorial Centre, and very kindly allowed us to stay at her house.
She did an excellent job of advertising the event.
Trevene is a superb organiser, and does a wonderful job of bringing local community groups together. It is always a little nerve-racking in the minutes leading up to an event such as this. The best organisation in the world does not guarantee that an audience will turn up. Fortunately, on this occasion, they most definitely did!
The hall had been beautifully decorated, with great attention to detail.
The launch began with Elaine Delaney (left) and Trevene (right) welcoming the many groups and individuals who had attended.
The Upper Lachlan Shire Mayor John Stafford then introduced Maggie and me.
Our moment had arrived! Maggie performed “No Foe Shall Gather Our Harvest’, with me joining her for the choruses, and doing my best to impersonate Prime Minister John Curtin’s 1941 ‘speech to the nation’ in response to the threat of the invasion of Australia by Japan during World War II (which features on the album).
Dame Mary Gilmore’s great great nephew, The Hon Scott Morrison PM, had been invited to launch the album, but was otherwise engaged. The local member for Hume, The Hon Angus Taylor, was also unable to attend. However, his lovely wife, Louise, did most graciously agree to launch the album, and spoke entertainingly, in great detail, and with glowing praise for ‘The Forest Prayed.’
We had been warned that the audience would be satisfied with the performance of one song only but, in fact, they were thirsty for more, so we followed with a rather impromptu (but nonetheless successful) rendition of ‘Never Admit the Pain.’
A very healthy number of CDs were sold during the course of the afternoon, and we can only express our most sincere and heartfelt thanks to Louise Taylor and Mayor John Stafford, and to Trevene Mattox and Elaine Delaney and their large team of tireless and hard working assistants. I realise I have neglected to mention the food which was both varied and delicious, and available in large quantities! All in all, it was a great event for which, I hope, Dame Mary Gilmore herself would have been very proud!
I went for a bracing walk along the road to Bathurst the following morning, and became better acquainted with some of the locals.
More information about ‘The Forest Prayed’ album, including details of future launches to be held in Melbourne, can be found here:
The AGM of the John Shaw Neilson Society was held last Sunday, and I had accepted an invitation to be the guest speaker.
I am fond of the poetry of John Shaw Neilson, but it does not fire my passion quite like that of C.J. Dennis. Given that I do not have a great depth of knowledge about the poetry or the life of Neilson, it seemed to me a comparison of the lives of Dennis and Neilson might be a good way to put together an entertaining presentation. (I decided to also spend some time discussing a book I had enjoyed many years earlier, “The Autobiography of John Shaw Neilson”.)
The talk was well received, and I have since received a couple of requests for copies of my notes.
For this reason, I have decided to post my notes about “C.J. Dennis vs. John Shaw Neilson” here.
1. Cultural extraction
Neilson: Scottish Presbyterian
Dennis: Irish Catholic
2. Year of birth.
3. Place of birth
Neilson: South Australia (Penola)
Dennis: South Australia (Auburn)
Neilson: Left school at 14 after a total schooling period of two and a half years
Dennis: Also left school at 14, but this was after a comprehensive primary schooling, followed by a couple of good years of secondary schooling at Christian Brothers College in Adelaide
5. Earnings from poetry
Dennis: a short period of spectacular earnings, followed by a long period of solid earnings
6. Nature of poetry
Neilson: lyrical, surreal, mysterious verse – no verse novels (also some light verse and limericks)
Dennis: verse with strong rhyme and metre; strong characterisations; much humour and slang; many verse novels
7. Nature of prose
Neilson: by his own admission, not his strength: “I was about twenty two before I came to the conclusion that I could not write prose.” (Autobiography, page 34)
Dennis: superb writer of prose, though wrote considerably less of it
8. Personal life
Neilson: never married, no children
Dennis: married, but no children
9. Relationship with other poets
Neilson: close relationship with Dame Mary Gilmore:
(Speaking of her first meeting with him) “…and when I saw his work-swollen hands, with the finger-nails worn to the quick by the abrading stone, I felt a stone in my heart.” (Quote taken from “John Shaw Neilson – Australian Dictionary of Biography”)
Dennis: good friendship with Henry Lawson, who was, of course, very close to Gilmore
10. Attitudes to Nature
Both very keen observers of Nature (and both keen to avoid the city of Melbourne)
11. Attitudes to mechanical things:
Neilson: According to his brother, Frank, (Autobiography, page 18) “…he had a total lack of interest of all mechanical things. Often after we had left farming and were looking around for employment, I would obtain work, as I had a bicycle and could of course ride if necessary some miles to work. He, however, used to be compelled to walk, as he never would have the patience to be bothered even with the simplest push-bike.”
Dennis: had a love of gadgets and innovations, and was very good with his hands
Neilson: A.G. Stephens, James Devaney
Dennis: J. G. Roberts
Neilson: plagued by difficulties with eyesight – probably as a result of macular degeneration, which meant he relied very heavily on his peripheral vision – for much of his life
Dennis: suffered from asthma, exacerbated by smoking; also very heavy drinker – health deteriorated sharply during his fifties
14. Financial position
Neilson: lived a largely ‘hand to mouth’ existence through manual labour; after many years working as road builder, worked as messenger and office worker for the Victorian Country Roads Board for the last decade or so of his life. He also obtained a small pension (from the Commonwealth Literary Fund) towards the end of his life
Dennis: made a large amount of money during his life, but lost it through a combination of lavish spending and poor investments; died in debt
15. Year of death
16. Place of death
17. Place of burial
Neilson: Footscray Cemetery
Dennis: Box Hill Cemetery
18. Public acknowledgement of passing:
Neilson: very little: “…partly because poetic fashions had changed, but mainly because of the intensity of the war.” (Quote taken from “John Shaw Neilson – Australian Dictionary of Biography”)
Dennis: The Australian Prime Minister, Joseph Lyons, suggested he was destined to be remembered as the “Australian Robert Burns”
19. Who is now better remembered?
It is very difficult to say. Neither poet has a high profile these days. My suspicion is that Neilson has more appeal to younger generations than Dennis.