Whether he meant it or not (hi, Jon!), the key part of Lighter's observation for me is that Bullen's collection has generally been neglected as a source for performers. Tom Sullivan's interpretation, from the _Salt Atlantic Chanties_ album, was based in *Hugill's* "Coal Black Rose."

And this is something to wonder -- why Bullen was ignored. It's clear why Hugill's was popular in later years. But why was Bullen less-used in earlier years? Poor distribution? Unattractive presentation? My guess, in addition to those, is that Sharp's name had pull with the folklore-oriented people, and Terry had pull with the conservatory musician people. But while they both had some disagreements with, or complained about aspects of Bullen's work, Sharp and Terry's own works were informed by Bullen. As was Hugill's.

I am trying to imagine what Hugill's work would have been like without earlier models. Although presumably he still could have given, say, his "Coal Black Rose" learned from Harding, I imagine that earlier authors' versions refreshed his memories!