I suspect that almost all revival recordings of the song derive ultimately from Paddy Tunney, though they will often have been learned from records made by intermediate revival performers (the Mary Dillon arrangement sounds like a second or third generation one, if it starts with that verse: perhaps learned from Sean Cannon, who recorded it in the late '70s, and I think began it that way). That's not to say that these don't form part of a tradition, but it isn't in the main the same tradition that Paddy belonged to, though in part deriving from it.