I don't know what 'volkist' means, but the Bushell notes were hardly meant to be taken seriously - 'Oi! The Album' had the Khmer Rouge on its 'dedications' list, while Benny Hill and Daly Thompson got mentions on the back of 'Strength Thru Oi!' (it's also open to debate whether Bushell actually wrote most of the manic prose on the latter ; it seems a bit more 'poetic' than his usual style). In any case, the Bushell-compiled albums, in retrospect, don't fit that neatly into the Oi! canon, featuring as they did tracks by Slaughter and the Dogs (from 1977!), the abysmal Blacklace soundalikes Toy Dolls and some other shit that's not worth remembering. AFAIK he didn't go to public school but studied journalism at East London Poly. It's also worth noting that he actually associated with a majority of the early bands, directly booked gigs for them, went drinking with them etc and wasn't just a distant figure, passing comments and cooking up theories on what he thought 'the kids' were up to.
In case that sounds like I'm sticking up for him, I'm not, I couldn't care less about him either way. The best way of understanding Oi! is as a form of pure backlash- it probably wouldn't have existed if bands like Gang of Four, Magazine, Wire, Ultravox and The Pop Group hadn't. Similarly, I got into it when I was 16 or so, because I was sick of being surrounded by other A-Level students who couldn't stop listening to muck like Nirvana or Pearl Jam and moaning that their parents had never wanted them and they just wanted to meet a pretty indie girl who liked them for who they were.....in contrast to which, I found bands like Last Resort, Combat 84 and Public Enemy positively rocking. It's all about gut level OI!, it's music for bashing in social workers to, you're not supposed to sit and have a think about it once you've reached the end of Side 2! (I never had a social worker, but you get my drift)
There's another band I forgot, Public Enemy, who were an NF band but never really had the bottle to use openly racist lyrics - which is great, because it makes their only LP, "England's Glory", a treat to blast out loud. It's better than any pastiche could ever hope to be, the lyrics are the epitome of Oi! itself - the fake little girl screams on the barmy opener "Pervert" (a pro-hanging song where the singer expresses his concern that a child molestor might try and get him too after being released from prison) are one of the most glorious moments in underground rock culture.