It's not just publishers. I attach a set of recommendations from the Southwark Diocesan Liturgy Commission.

"Tale as old as time......beauty and the beast."

I don't know about WLP/Bolduc's "guide," but Rendler's choices at OCP have been dreadful for decades. It begs acknowledgement that there is, in fact, method in their madness. What is reinforced: the misunderstanding and tactical choices of material that reflects "gathering.....giving.....receiving.....going; the establishment of a repertoire of OCP copywritten materials, predominantly their chestnuts (GUI, OEW, Here I is, Lord...") with a smattering of the woebegone Spirit and Song new junk stuff; and a junkie's dependency upon what appears an easy resource, but which actually costs a fortune per annum.
I could populate, however, a whole NEW and decent hymnal with the myriad of good hymns and other pieces that OCP has yanked out of the MI/BB over the last 40 years.

When music publishers Diocesan Liturgy Commissions think this is appropriate (or even advisable ) for Mass, this fact should tell us that they don't understand the Mass.

I read that article by Bolduc. I think it's emblematic of a very common and dangerous attitude among contemporary liturgical musicians that they are the main attraction at worship and that so much of the success of liturgy rides on them because they're so important. Oh, they'll deny that they believe that, but the way they approach their performances belies their claims: the pop-style music they choose, their preference for solo verses and instrumental interludes over assembly singing, relegating assembly singing to a short and repetitive refrain, the instrumentation and arrangements that scream concert instead of Mass.

Too often these musicians get in the way of worship instead of facilitating worship. The focus is drawn to them and to their music/performance instead of helping the assembly focus on Christ and sing the liturgy. The Mass becomes a weekly concert interrupted by the Liturgy of the Word and the Liturgy of the Eucharist.

As another example of this mentality, take a look at what is being billed as the "177 Project", coming this fall:

https://www.the177project.com/artists/

After looking at the glam headshots of the hip Catholic musicians, click on the menu at the top of the screen to read about the project. Take a good look at the picture I've attached that comes from that page, in which the lights, music stands and instruments have been placed in front of the altar, obscuring it and the crucifix, showing that the musicians are the most important thing.



The 177 Project is billed as an effort to encourage Eucharistic Adoration. Various popular contemporary Catholic musicians are booking dates at parishes in every diocese this fall to appear and lead music at Eucharistic Adoration. It's modeled after the LifeTeen XLT and Steubenville models of Adoration, in which very emotional and sentimental contemporary pop-religious music is performed during exposition, supposedly as a way to get the attendees more involved in adoration. With teens it's especially emotionally manipulative and pernicious, because these musicians and their youth ministers know how susceptible teenagers are to the emotional power of music and that it can induce weeping and generate a mass-induced emotional experience (especially at large convention venues with hundreds or thousands of teens present) that is misinterpreted as the presence of the Holy Spirit. What it really is, is these artists are promoting themselves and performing to an audience under the pretense of doing Eucharistic Adoration, and pointing to the emotional experiences generated as evidence of God's activity. It's all about them and their music, not about worshiping the Eucharist. If you've ever been to an XLT Adoration, you know what I mean. The musicians usurp Adoration to promote themselves and perform their music to an audience, like it was a coffee shop venue. Yet they claim they're doing it for Jesus instead of for their egos.

This 177 Project is just the latest manifestation of an entertainment mentality and model that has overtaken large swaths of parish and diocesan liturgy.

I'm still left wondering which psalm tone would require the use of drum accompaniment.
150?

our parish not having excess money to fund any programs

If the parish doesn't have the money, perhaps individual members of the Catholic Community of St. Charles' parish ……

(I completely agree with you that, when it comes to this sort of nonsense, having limited available resources is a boon.)