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AbstractHistoryArchive Description
'10 songs selected from a collection of Australian Indigenous songs from 1900 to 1999, focusing on the Christian missions, state-run settlements and native camps where Aboriginal and Torres Strait Islander people were relocated. Curated, arranged and produced by Jessie Lloyd.' (CD synopsis)
Notes
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Album Credits:
–Produced by Jessie Lloyd
–Recorded at The Aviary Recording Studio, Melbourne
–Engineered, mixed and mastered by Colin Leadbetter
–Artwork by Joe Geia and Creative Design by Lyn Geia
–Project Patrons and Advisors - Prof Marcia Langton AM and Archie Roach AM
Singers and Musicians:
–Jessie Lloyd - vocals/ukulele/acoustic guitar
–Monica Weightman - vocals/acoustic guitar
–Leah Flanagan - vocals
–Karrina Nolan - vocals
–Jess Hitchcock - vocals
–Iain Grandage - piano/piano accordion
–Ed Bates - pedal steel guitar
–Rob Mahoney - double bass
–Archie Roach - vocals/acoustic guitar (track 11)
–Lillian Geia - vocals/ukulele (tracks 10 & 12)
–Lynelda Tippo - vocals (tracks 10 & 12)
–Alma Geia - vocals (track 13)
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Dedication: Dedicated to Alma Dawn Geia (1921 – 2016)
Contents
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Own Native Land,
Albert Geia
(composer),
single work
lyric/song
'This song was written by Albie Geia shortly after leading the 1957 strike on Palm Island with six other Indigenous men. The strike was against the discriminatory treatment of Indigenous people, after a petition to the superintendent demanding improved wages, health, housing and working conditions, was ignored. As punishment, Albie and his family were removed to Woorabinda, Qld. (Mission Songs Project)
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Outcast Half-Caste,
Micko Donovan
(composer),
Mary Kathleen Duroux
(composer),
single work
lyric/song
'This song was written by Micko Donovan and Mary Deroux of northern New south Wales about growing up half-caste, a now derogatory term, used to describe Indigenous people of mixed heritage. The term was one of many devised in the policy to assimilate or ‘breed out’ Aborigines, and part of the misinformed theories of the ‘survival of the fittest’ that were deployed to result in Aboriginal extinction. Micko was raised on a mission and learned to play music from the local missionaries.' (Mission Songs Project)
-
The Irex,
Anonymous
(composer),
single work
lyric/song
'The Irex was the boat that transported Aboriginal and Torres Strait Islander people who were forcibly removed from the mainland settlements governed by the Native Affairs officers or missionaries to Palm Island Aboriginal Settlement in Queensland. The Palm Island settlement was known as a ‘punishment island’ for those who committed misdemeanours on other government - settlements or missions. A strike was organized by the Aboriginal residents in 1957 to protest the brutal conditions.' (Mission Songs Project)
- Down in the Kitchen, Alma Geia (composer), single work lyric/song
- Hopkins River, Alice Clarke (composer), single work lyric/song
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Old Cape Barren,
Anonymous
(composer),
single work
lyric/song
'The Tasmanian Aboriginal community have a long history with Cape Barren Island but the last 200 years has been the most brutal act of genocide and oppression. The islanders have always maintained a strong presence and connection to Cape Barren, including cultural practices such as mutton birding. This beautiful song paints a picture into the old days, full of love and loss. It is an honour to have our Tasmanian brothers and sisters represented in Mission Songs Project.' (Mission Songs Project)
-
Middle Camp,
Eric Craigie
(composer),
single work
lyric/song
'Middle Camp was an Aboriginal camp set up on the fringes of the township of Moree in New South Wales. It was one of three camps and was closed down at some point by the local shire. Composed by Eric Craigie, this song is a protest ballad about displacement from his home when Middle Camp was closed. The lyrics and tune are full of optimism, resilience and determination, and love of the old community of the camp.' (Mission Songs Project)
-
Surrare,
Anonymous
(composer),
single work
lyric/song
'A song from the Torres Straits, Surrare is a song about hunting a seabird that is sung in Ailan Kriol language. The Western Island language name for seagull is ‘Saora Leh’ and pronunciation has changed over time in various places. The final verse is Cowral Mut, a ‘curry feathered small bird’ and it sings of hunting inland as opposed to hunting coastal. This track incorporates all three versions although excluding the Western Island language words in the 3rd verse. The song was made popular by Joe Geia on his first solo album Yil Lull.'
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Port Fort Hill,
Anonymous
(composer),
single work
lyric/song
'A song from Darwin during the Second Word War, Fort Hill was a location where the Aboriginal and Torres strait Islander men used to scout for enemy ships and spies to keep the town safe. During the post-war years the Australian Half Caste Progress Association held weekly fund-raising dances at The Sunshine Club in a decommissioned Army barracks. This was one of the songs that was performed during those times.' (Mission Songs Project)
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Now Is the Hour Medley,
Anonymous
(composer),
single work
lyric/song
'This song, also known as the Maori Farewell, is a heartfelt tune adopted by Aboriginal and Torres Strait Islander people on missions in the early 20th century. The Maori wives sang it to their husbands as they left to fight in WWI. It was then shared among the ANZACs including Aboriginal soldiers. The hymn Search Me Oh God was composed by a missionary from New Zealand using the same melody and is well know on many Aboriginal missions. Guest vocals are by Lou Bennett, Leah Flanagan and Mere-Rose Paul.' (Mission Songs Project)
Publication Details of Only Known VersionEarliest 2 Known Versions of
Works about this Work
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Songs as Oral Histories : The Songs Back Home and Perfect Pearls
2021
single work
review
essay
— Appears in: History Australia , vol. 18 no. 3 2021; (p. 610-612)
— Review of Songs Back Home 2017 anthology lyric/song'Two recent song compilation projects draw our attention in powerful ways to how songs are an (often overlooked) vector for oral history. Released as static studio recordings, these songs are also very much part of living practice. They capture poignant first-person accounts of history and are a medium for tradition and story to be carried in the present enabling future inter-generational transmission.' (Introduction)
-
Songs Right at Home
2017
single work
column
— Appears in: Koori Mail , 5 April no. 648 2017; (p. 11) 'Songs Back Home, a collection of 10 songs unearthed by Jessie Lloyd's Missions Songs Project, was launched this month in Melbourne.'
-
Songs as Oral Histories : The Songs Back Home and Perfect Pearls
2021
single work
review
essay
— Appears in: History Australia , vol. 18 no. 3 2021; (p. 610-612)
— Review of Songs Back Home 2017 anthology lyric/song'Two recent song compilation projects draw our attention in powerful ways to how songs are an (often overlooked) vector for oral history. Released as static studio recordings, these songs are also very much part of living practice. They capture poignant first-person accounts of history and are a medium for tradition and story to be carried in the present enabling future inter-generational transmission.' (Introduction)
-
Songs Right at Home
2017
single work
column
— Appears in: Koori Mail , 5 April no. 648 2017; (p. 11) 'Songs Back Home, a collection of 10 songs unearthed by Jessie Lloyd's Missions Songs Project, was launched this month in Melbourne.'
