Sharp and Marson tampered with texts chiefly when their publishers thought them too 'coarse' to print and, unlike Lloyd, they never altered tunes. His rewrites were of a different order of magnitude.

I don't see why it's 'negative' to understand better the revival folk song canon, and Lloyd's reputation as a scholar had already been seriously compromised without any help from me. Picking it all apart is also fascinating as an exercise in detective work.