Sober wrote:After having read all your posts, I am not sure if I find Shane/The Pogues that original anymore.

actually, I think it goes hand-in-hand with their origionality. what MacGowan and the Pogues did that was so groundbreaking was to incoroporate fast-pace rock tempos and basslines into traditional Irish folk music and fire it up so that it appealed to both young punk fans and fans of traditional music, while mixing in Shane's brilliant lyrics to create original songs (and I think those lyrics and the songs he created are what makes the Pogues a truly great band, as opposed to contemporary Irish trad/punk fusions like the Dropkick Murphys (not to knock the Murphys - they play great music)). Since the infusion of traditional Irish is the very foundation of the band's origionality, it makes sense that they would draw on the folk tradition - which is based around the passing down and borrowing of songs, tunes, themes, ect. Incorporating traditional tunes and motifs into origional songs does not somehow detract from them or make them less credible or origional. On the contrary it establishes their credibility within the folk tradition (keeping the older stuff alive while going new places with it) and, since they were the first to do this, it is a mark of their origionality.
a note on the Kesh Jig (the riff in Sea Shanty and Paddy Public Enemy #1 (also used in Flogging Molly's "Salty Dog")): it's one of the best-known traditional tunes. most notably, it is the first tune in the opening set on the seminal 1975 debut album by the Bothy Band (in my opinion, the single greatest Irish traditional ensemble of all time.) The Kesh jig is also strikingly similar, in its first section, to another well known tune, The Primrose Vale (I have it on the album "Fierce Traditional" by fiddler Frankie Gavin.)
I could've been someone...