Suddenly it all makes sense - possibly. 20+ years ago I was playing melodeon in a pub in Barton upon Humber(N.Lincs)following a carnival where I'd been dancing with the morris team. I ended up talking to a few old locals who it turned out had been part of the 1952 one-off revival of the local mumming play - which included a sword dance. In conversation it came out that they felt some resentment towards the "folk" movement as the believed that somebody had "collected their dance and some tunes and songs and gone off and made a lot of money from them". I was suprised at this (I was pretty new to folk then)and thought that they were referring to Grimsby Folk Club stalwarts John Connolly, Bill Meek, Brian Dawson and co, all of which I knew had done a bit of collecting but were all totally honest and driven soley by their love of the music and the need to save what they could of the surviving local tradition. I passed this opinion to them - I hope it did some good - an thought little more of it. Years later I wanted to find more out about the Barrow play and their musician Luke Stanley. I spoke to both John and Brian, and apart from anything else, it was apparent that they had a good relationship with him all the way through - there was no way they were the people that that had caused the ill feeling. Using Google, I discovered Peter's FolkTrax site and it's archive recording of the play and it's music, a copy of which I purchased. Could this have been the root of the problem that led to the door being slammed in Barton as far as the play and music was concerned? If it is, it has to be seen as ill founded - and a great shame. I can see how it could be viewed as somebody profiting from a recording of someone else's playing but we're not looking at a bootleg of the Rolling Stones here, are we? I still think that Peter's work is far more good than harm, how else could I have got to hear Luke Stanley play melodeon?