As this is going somewhere, I'd better provide the sources to bring it up to Malcolm's standards. The crap OCR is here, and the good PDF scan here.

The intro's also interesting, as it discusses the origins of "Tipperary", which are referred to here: the tune was not as ubiquitous as some might claim, but picked almost by chance by George Curnock, the Daily Mail correspondant at Boulogne when the BEF arrived in 1914. It was new to him, and so he mentioned it. This was then pounced on by the publishers, who promoted it for all they were worth: in Nettleingham's words, "a hitherto unknown and unwanted song of such mediocre worth that it was like any other of the hunddred songs that appear and are sung by third-rate artistes, and then disappear; the couplet of which, by the way, was a crib on Has Anybody Here Seen Kelly?".

I think that intro might be worth studying in greater depth, as the collection shows the vernacular repertoire of the country folk of the day, which is mostly hymnody, some music hall, but also folk tunes and nursery rhymes far more consistent with my recent postings on the National Song Book.
In order, the following are referenced:
UK                                 US
Sweet Genevieve                   Little Grey Home in the West
Auld Lang Syne                     My Old Kentucky Home
Old King Cole                      Back Home in Tennessee
Here's to the Maiden of Sweet Seventeen
The Mermaid                        John Brown's Baby
D'Ye Ken John Peel                John Brown's Body
Moonlight Bay                      Dixie
The Rosary                         Marching through Georgia
The Mountains of Morne             Yankee Doodle
Here we go gathering nuts in May
The Grand Old Duke of York
The Green Grass Grew All Around
Down in the Valley
Old MacDonald Had a Farm( as old Macdougal Had a Farm in Ohio-i-o)
One Man Went to Mow
Early in the Morning, Down at the Station
Ninety-Nine Bottles on the Wall
British Grenadiers

It might be interesting to extend this to the other collections of the day, as it precedes the rise of Vaughan Williams (whose real breakthrough built on his appointment as Director of Music of the First Army in 1918), and to some extent the promulgation of the work of Cecil Sharp and his circle, as one of the motivations for his work in the Appalachians during WWI was lack of income from what he had published. I would appeal to wiser and more knowledgeable heads than mine to continue these thoughts addressing the extent by which the nationalism he tapped into to create the first revival was derived from WWI jingoism, remembering that the sense of national pride predates the War itself and was one of the dynamics either justifying or motivating the War. I rather suspect the memes already exist, of course!