And if a "regular" fails to show then his/her songs are fair game for anyone to sing, or try to sing!

Actually I'd be quite flattered if anyone led one of the songs that I'd composed or adapted for singing. In fact I had the singular joy of singing Barry Finn's re-interpretation of "Yangtse River Shanty" in Australia last week, a song which I first set to music fifteen years ago. I'm less flattered if the re-interpretation is radically different from what I'm doing but there's not a lot of control I can exercise at that point. I consider Barry's interpreation of the song a "friendly" re-interpretation, moving something that was originally composed as part of a folk opera to a traditional style capstan shanty that Stan Hugill would have been happy to discover. The version I worked up was more "folk club" than "shanty." Both versions are valid, and I know enough about the original composer to think that he would be amused that his song was being actively revived some 87 years later.

Bob Watson, the composer, would also be delighted with Jeri's rendition of "Mollymauk" as he might be with Roll & Go's reinterpretation of her presentation. However, before recording "Mollymauk" Roll & Go made sure to purchase a formal release from Watson, which is another level of etiquette that should not be ignored.

There is a distinction that should be made about leading a song in a regular session, leading a song at a paid concert, or recording a song. One should credit the sources at each level and certainly secure a legally binding release for recording. I'm not sure what more should be done at the semi-professional concert level.

I generally am reluctant to record anything that I know someone else is making a good faith effort to record. They should get first crack for their work. However, sometimes the recording process becomes extended and I'm not at all certain how long one should wait to release "a good song." However, I do know that I would ask before doing it.

Cheerily,
Charley Noble