I was thinking about Bert Lloyd the other week, when I was looking for different versions of "The trees they do grow high"/"Long a-growing". Bert Lloyd's version, uniquely, adds another verse between the narrator's change of heart and "At the age of fifteen". The interpolation drops into the third person, explains what doesn't need to be explained and adds a totally misplaced dose of nudge-nudge bawdiness.

This discussion reminds me of the recent thread about "Reynardine", which Bert Lloyd did rather more than tidy up, and in particular in Stephen Winick's fascinating essay. The Recruited Collier is in there; there's also some reassurance for anyone wondering if we can ever trust Lloyd's collecting:

"There appears to be no direct evidence, as far as I am aware, to suggest that Lloyd actually collected [Reynardine] from a Tom Cook of Eastbridge, Suffolk--or from any other individual in any part of Britain--as [Stephen] Sedley said he did ... It is not clear how Sedley came by that information and we can only conjecture that he might have got it from Lloyd himself, as Sedley thanks Lloyd for his expert help in the introduction to [The Seeds of Love].
...
in later years especially, Lloyd did try to separate his revival activities from his academic writings, and to leave the latter relatively free of embellishment. For example, despite Lloyd's 1952 claim that he collected The Recruited Collier from J. T. Huxtable, which would make it a fascinating piece of miners' culture were it true, and despite the fact that it was clearly one of his favourite songs in the genre, he never mentioned it in the ninety-five-page chapter on industrial songs in his 1967 book Folk Song in England. He probably omitted the song precisely because it was not a genuine example of oral industrial folksong, and he wished that book, his most important scholarly work, to be as accurate as possible. Similarly, the song he called "Reynardine" in the revival arena is given its standard title "Rinordine" in Folk Song in England, and none of Lloyd's fanciful connections to Mr Fox, or to Tom Cook of Eastbridge, is mentioned there.

In his dealings with revivalists like Sedley, on the other hand, Lloyd appears not to have considered himself a scholar bound by rules of academic integrity. He was instead an unrepentant revivalist whose goal was to make folksongs popular. In this he succeeded brilliantly"

So: is BLM in FSIE?