Reinhard wrote: But did Colquhoun copyright the Wellerman tune, i.e. is that one of the "copyrighted eight other tunes"?

He didn't copyright it. In the second edition of the book (the one that goes with the recording), it's listed as "Words: Anon. Music: Anon."

The back page of the book is a list of sources. The source for "Wellerman" is "P.D. F. R. Woods" for both words and music.

The third edition rearranges the information a little, but doesn't change it.

The LP lists the song simply as "Trad." (Of course, the LP uses Tommy's tune, which is not Colquhoun's.)

It is not one of the eight copyrighted items, which are (there are actually more than ten; I counted too fast:
The Black Swans
Digger's Farewell
End of the Earth
How to Dodge the Hard Times
I'm a Young Man
John Smith, A.B.
Murderers Rock (the one for which he also wrote the words)
Run for Your Life
Talking Swag
Trade of Kaori Gum
Wakamarina

Of these, I think the only one I've ever heard from any other source is "John Smith, A.B."

"Wakamarina," or "The Wakamarina," is an interesting case. The words are by Charles R. Thatcher (Colquhoun is uncertain of the attribution to Thatcher, but the attribution is correct; it's verified from other sources). Thatcher set his texts to popular tunes, so there is an original melody. Yet it was set to music twice, once by Colquhoun and once by Les Cleveland. Even more interesting, Colquhoun printed hist two tunes twice (once in Song of a Young Country and once in Bailey and Roth) -- and the tunes aren't the same; one is 4/4, one is 6/8.

I just bought Song of a Young Country from iTunes, and the accompanying booklet does state for Soon May the Wellerman Come "Anon / Neil Colquhoun / Copyright Control".

Interesting. But, even were he alive, he'd have a hard time enforcing that, given that his own publications claimed he got it from F. R. Woods.

Maybe he's claiming an arrangement credit. That would actually be valid, in a way, because Colquhoun's arrangement is not instantly obvious -- as I stated earlier, he uses a Dorian rather than an Aeolian chord pattern for the verse. (Something most of the recent recordings don't observe. I sometimes wonder if I'm the only person left, at least outside New Zealand, who sings it the way Colquhoun meant it to be sung.)