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Bobby Lane Lambudju (1941–1993) was a leading Wadjiginy songman at Belyuen in the late 1980s and early 1990s whose songs display a rich variety of forms, diverse melodies and even mixes of languages (his own language, Batjamalh, as well as Emmi-Mendhe, the language of his adoptive family). Three of Lambudju’s father’s brothers were prominent Wadjiginy songmen who died before he was old enough to learn from them. Their songs were held in trust for him by the Emmiyangal singer Nym Mun.gi, who passed them on to Lambudju when he was old enough. Many of Lambudju’s songs concern his country to the north of the Daly River and in particular Rak Badjalarr (North Peron Island), the place to which people from Belyuen return after their death.

Allan Marett is professor emeritus of musicology at the University of Õ¬Äе¼º½.

Linda Barwick is a musicologist collaborating with First Nations communities in Australia since 1985 and Italian communities since 1979. She is currently Emeritus Professor at the University of Õ¬Äе¼º½, Õ¬Äе¼º½ Conservatorium of Music.

Lysbeth Ford is an honorary research associate in the linguistics department at the University of Õ¬Äе¼º½.

CD

1. Song 1: rak badjalarr
2. Song 1: rak badjalarr
3. Song 1: rak badjalarr
4. Song 1: rak badjalarr
5. Song 1: rak badjalarr
6. Song 1: rak badjalarr
7. Song 2: bandawarra-ngalgin
8. Song 2: bandawarra-ngalgin
9. Song 2: bandawarra-ngalgin
10. Song 3: karra balhak malvak
11. Song 4: karra-ve kanya-verver
12. Song 4: karra-ve kanya-verver
13. Song 5: benmele
14. Song 6: winmedje
15. Song 7: tjerrendet
16. Song 8: tjendabalhatj
17. Song 9: bangany nye-bindja-ng
18. Song 10: walingave
19. Song 11: djappana
20. Song 11: djappana
21. Song 11: djappana
22. Song 11: djappana
23. Song 12: karra balhak-ve
24. Song 13: Lima rak-pe
25. Song 14: mubagandi
26. Song 14: mubagandi
27. Song 14: mubagandi
28. Song 15: bende ribene
29. Song 16: limila karrawala

Booklet
Introduction
Lambudju’s wangga
Transcription and translation of tracks
Works cited

"I am not aware of any compilation of recordings as comprehensive as this one on any other song genre of Aboriginal Australia. Marett, Barwick and Ford's deep involvement with the people of the Daly River area and their intimate knowledge of the songs, exemplified by Marett's becoming an accomplished performer of wangga, present us with a true labour of love and a great contribution towards interdisciplinary research."
Grace Koch   2018 Yearbook for Traditional Music