Potluck and Dance Tonite Liner Notes (pdf) and Back Cover (pdf) and The Music! (zip of mp3s)

(More Liner Notes below)

Potluck and Dance Tonite
Maybe this record will remind you to attend. It includes ten of my favorite dance figures called to three of the very best dance bands I have ever danced to. There is a bit of other dance music included, as well, to round out the evening. I hope you find the whole thing good to listen to.

In case you find yer calling (pardon me) these figures and calls are good ones to start with. The instructions to the dances and the words for all the calls are enclosed. You will not find my calling free of mistakes, nor will you find that everything goes perfectly on the dance floor every time around. However, when the last note of the tune and the last step of the dance are done, we'll all be standing in exactly the same spots we started out in, and the only thing that will make any difference will be if we all had a good time.

About patter calling:
The call becomes part of the music, with occasional words leaping out to keep the dance floor informed, so that you never have to think about what happens next- you're free to just have a good time. Patter calling allows the dance to change every time around, as it is not tied to the phrase of a particular melody, but can weave in and out of any eight bar fiddle tune, in a variety of ways, as you will hear. Calling is about the fourth most fun thing there is. Dancing comes first, and playing music for dancing comes second.
The fun in calling is two-fold. You get to watch a sea of smiling dancers kaleidoscope the floor, and you get to lose yourself in the task of calling. Picture one square two measures ahead of the music, another two measures behind, and the caller has eight syllables to pull them both back
on to the mark without interrupting their fun, and those eight syllables really should rhyme, and have the most significant words land on the tune in the most punctuated place, with a tone of voice and tune which keeps everybody glad they're dancing.

THE GYPSY GYPPO STRING BAND
A dance party concert or boogie band around Seattle since about 1973 in a variety of configurations. Tracy Schwartz is standing in for me on guitar while I call, and he sure does a grand job of it. The Gyppos have a record on Bay (#209) with songs and dance tunes.
Rob Naess and Armin Barnett, fiddles
Warren Argo, banjo
Jerry Mitchell, mandolin
Sandy Bradley guitar

THE ARM AND HAMMER STRING BAND
A strong driving dance and concert band from around Burlington Vermont since about 1973. They have a great record on Fretless (#136). They put just the right flavor on our two days of recording at the Barn by warming up the room with lots of good dance music as we all arrived.
Pete Sutherland, fiddle
Joel Eckhaus, guitar, mandolin
Hilary Woodruff, piano, bass
Sid Blum, banjo, banjo-guitar

TRACY SCHWARTZ
Tracy's music is available all over, lucky for us all. He plays with the New Lost City Ramblers, Strange Creek, and with his family and others on a new record made just especially for clog dancers (and calling practice too)
on Folkways (#6524) called "Dancing Bow and Singing Strings." The amiable and expert musicians which he settled into a band as if by magic, just for this record are:
Paul Brown of Mt Kisko, New York, on banjo
Sue Thompson, Seattle, Wash, guitar
Hilary Woodruff, of Arm and Hammer, bass

Thanks to all those dance musicians for the great music. Thanks to all the communities which loved and took care of them as they learned to be dance musicians, and who treasure them still, I'm sure. My personal thanks to all those who came along to be the dancers in the studio who I could call to (and who'd dance so quietly, but not dully, and with encouraging smiles) to make the figures come out even.

Side A
1. Upper Lehigh
Choose your partners for a polka. Armin learned this one from C. Peter Kraus. Gypsy Gyppo String Band
2. Kansas City Reel/Bill Cheatham
The first dance is Lady Ballonet. Ballonet means "little balloon" I think, perhaps because the figure expands as each couple is added. The "do si do" here is the variety we do at home, which looks a lot like a "do pas so" when done with three or four couples. The other figure offers both the lady and the gent a great ride n the wings of centrifugal force, and then the exhilarating opportunity to swing anybody on the dance floor, which adds the spice of chaos to any dance. Gypsy Gyppo with Tracy on guitar
3. Fiddler's Reel. The dance is a "divide the ring" type figure, which I like to call early in the evening to settle folks into the symmetry of the square.
4 Danced All Night. Hank Bradley says he used to have dreams in which I called this figure all night long. It is a more recent type of figure, including the "Box the Gnat Move", and keeping all four couples moving all the time.
Tracy et al.
5. I Only Want a Buddy Not a Sweetheart (Bob Shelton, Joe Shelton, Sid Robin) This is my favorite song, which has been a cliche of good intentions for generations. Gypsy Gyppo String Band
6. East Tennessee Blues The Texas Star called here is out and around in many variations. The star and the turns make a nearly cuddly dance. Tracy et al.

Side B
1. Chinese Breakdown/Wooden Nickle (Mark Gaponoff 1979)
I call these two dances together as a "snake medley."
The first tip is called "Garden of Eden" and the second "The Rattlesnake Twist." Thanks to Mark Gaponoff, Seattle fiddler and caller, for writing Wooden Nickle. Gypsy Gyppo with Tracy on guitar
2. Puncheon Floor/Cheat or Swing
Two of my favorite dance tunes, and my very favorite figure. Pete's fiddling here would be enough to goose the most genteel partner into a daring choice of cheating swingers. Arm and Hammer
3. Because, Oh Just Because (Edward H. Jones)
Choose partners for a one-step. The Poplin Family inspired our singing of this one. It conjures up images of the Grange dances we used to play for in Kansas. Warren, lead vocal, Sandy tenor, Tracy and Hilary.
4. Liza Jane The figure is Shoot the Owl. This cut gives credence to the legend that the fiddler is allied with the devil, and that there can be grave danger in dancing to fiddle music. Choose your partners for a bit of vertigo.
5. Chilly Winds (Bodie Wagner, 1979) Riley Puckett, a favorite of mine, sang a song like this, but the words just didn't fit in my mouth. Bodie Wagner wrote me these words that fit in exchange for a shirt that fit. He complains that whenever he takes a breath on stage to blow his harmonica, the shirt unsnaps, baring his chest. I guess we're even, cause I had to go to auctioneering school to learn to say "The rich man sleeps in satin sheets" without making a spitting fool of myself or saying something untoward.
Gypsy Gyppo String Band

 

Liner Notes

Potluck and Dance Tonite: The Dances
1.  Polka (no calls) Upper Lehigh
2.  Lady Ballonet/Cheat or Swing All Over Town
3.  Down the Center and Divide the Ring
4.  Box the Gnat
5.  Song (no Calls) I Only Want a Buddy...
6.  Texas Star
7.  Garden of Eden/Rattlesnake Twist
8.  Cheat or Swing
9.  One-Step (no calls) Because Oh Just Because
10. Shoot the Owl
11. Song (no calls) Chilly Winds

Potluck and Dance Tonite: The Music

1. UPPER LEHIGH Gypsy Gyppo String Band Rob Naess and Armin Barnett, fiddles; Warren Argo, banjo; Jerry
Mitchell, mandolin, Sandy Bradley, guitar
2. KANSAS CITY REEL/BILL CHEATHAM Gypsy Gyppo String Band with Tracy Schwartz, guitar 
3. FIDDLER’S REEL Arm and Hammer String Band: Pete Sutherland, fiddle; Joel Eckhaus, guitar,
mandolin;Hilary Woodruff, piano, bass; Sid Blum, banjo, banjo-guitar 
4. DANCED ALL NIGHT Tracy Schwartz, fiddle; Paul Brown, banjo; Sue Thomson, guitar; Hllary Woodruff, bass
5. I ONLY WANT A BUDDY NOT A SWEETHEART Gypsy Gyppo String Band
6. EAST TENNESSEE BLUES Tracy, Paul, Sue and Hilary
7. CHINESE BREAKDOWN/WOODEN NICKLE Gypsy Gyppo String Band with Tracy Schwartz, guitar 
8. PUNCHEON FLOOR/CHEAT OR SWING  Arm and Hammer String Band 
9. BECAUSE, OH JUST BECAUSE Warren, Sandy, Tracy and Hilary
10. LIZA JANE Tracy Schwartz
11. CHILLY WINDS Gypsy Gyppo String Band

 

 

 

Potluck and Dance Tonite! 

Caution: This record is an instrument of vicarious pleasure. Dance to live music, okay? 

“Square ‘em up! It’s human’s choice, so everybody find a partner, and come on out on the floor. You don’t have to know how, you just have to stand up.: So starts many an evening of dance in our neck of the woods. Everybody came to socialize, whether it’s the community potluck, the weekly dances at the G-Note Tavern, or a wedding party, everybody’s taken the night off to have a good time. The live music and dancing provide a sort of social lubricant: the music soothes the weary mind and carries the heart away, sets the feet tapping in time even before the dance has begun. The dancing provides a good way to get together, without having to discuss the weather, which we try not to do in Seattle, anyway. 
  So, “Square’em up! Four couples per square. Gent put the lady on his right. The person who’s standing next to you who’s not your partner is your corner. If I say “Go home” I mean go to the position in your square that you’re standing in right now. Couple number one has its backs to the music, number two is to their right, number three is facing the music, and couple four is to their right. To balance, take both hands with your partner, step back, then pull together again into a swing. Swing in a social dance position, you both move forward. We usually use a walking swing. 
  Nearly all the dances include: 
ALLEMANDE LEFT 
  Give your left hand to your corner person, walk all the way around your corner and back to your home position. That music is called an allemande left, and sometimes that’s all you do. Sometimes, it’s followed by a 

RIGHT AND LEFT GRAND 
  Face your partner, give your partner your right hand, keep going the direction you are now facing. Give your left hand to the next person, right to the next, left to the next, then right to your partner, and 

PROMENADE HOME 
  Gents keep going, lady turns and walks home with him the direction he’s already headed. Any way you want to hold on is okay with me, if it’s okay with her. 
  The call to that can go a variety of ways, but commonly 
Allemande left with your left hand 
Back to your partner, right and left grand 
Hand over hand around that ring 
Meet your partner and promenade home.” 

  The calls and instructions to the figures follow in the order of the record. I never call a cheat dance first in the evening – give folks time to get used to each other before they have to start making major decisions like who to cheat with or on. The most important thing is that everyone have a good time, not that anybody ever get it right. So go ahead, and start calling and playing for dances. It’s okay for the dancers to make mistakes, so they know it’s okay for you to make a few, too. They just want to dance and somebody has to decide what to do next and keep things together. 
  The caller and the musicians should watch the dancers. The musician will learn what to do on his instrument to make the dancers stand up straighter and step livelier, and the caller will learn to time the call so that the cues keep the dance moving smoothly. 
  So here are the calls, and some instructions, in case they will be of help as refreshers. These pages and the record are not meant to be a substitute for the real thing—go dance, and learn whatever you want there. You’ll learn more, learn the most pertinent stuff, and have a great time in the process. 

Side A 

KANSAS CITY REEL/BILL CHEATHAM 
Gypsy Gyppo String Band with Tracy Schwartz 
  ‘Lady Ballonet’ 

First couple balance, first couple swing 
Lead on out to the right of the ring and circle up four 
  (with couple number 2, circle to the left) 
Now three hands round and the lady ballonet 
  (they keep circling left, except lady number 12 drops out, goes two times around the outside of the circle in the opposite direction) 
The three hands round and the gent ballonet 
  (lady 1 rejoins circle, gent 1 drops out and goes twice around the outside the opposite way.) 
Circle up four, you’re not through yet 
  (Gent 1 rejoins circle.) 

Your girl’s pretty and so is mine, 
I’ll swig your girl, you swing mine 
  (Swing your opposite) 
Hey now, ain’t that fine, I’ll swing my own girl any old time 
  (Swing your own) 
Now circle up four in the middle of the floor just the same as you did before. 
  (Same 4 circle 4) 
Gent number 1 with your left hand gather couple number 3 
Circle up six 
  (Gent makes a circle of six by adding couple 3) 
Five hands ‘round and the lady ballonet 
  (Same lady twice around the outside) 
Five hands ‘round and the gent ballonet 
  (Same gent twice around the outside) 
Circle up six you’re not through yet. 

Now do si do with the gent you know 
The lady go si and the gent go do 
Chicken in the bread pan pickin up the dough 
One more change and on you go 
Circle up six 
  (Note this different style of ‘do si do.’ Stop circling. Gents stand pat, don’t move your feet until I say. Ladies, do a ‘do si do’ with the two gents you are now holding on to. Drop hands, give your left hand to your partner, walk all the way around him. He lets go once you’re behind his back. Keep walking, lady, and give your right hand to the other guy you were holding on to, and walk all the way around him. He lets go when you are behind his back. Now left to your partner, he can move now, puts his right hand behind her back and scoops the lady around in place. That’s a courtesy turn. Then Circle 6) 

Gent number 1 with your left hand gather in eight when you come straight 
Now seven hands ‘round and the lady ballonet 
  (Lady 1 around the outside) 
Now seven hands ‘round and the gent ballonet 
  (Gent 1 outside) 
Circle up eight, you’re not through yet. 
Do si do, etc., ending with Promenade home 

  You may add an allemande left in between if you’d like. Then couple number two leads to the right, and the call is the same, just the number of the couple changes. Then couple three leads, then four. 
  That much is one tip. We usually do two tips per dance, each tip four times through. Sometimes I’ll only call one tip, and some of the cuts on this record, including this one, have each tip called only twice through, to let you sample more figures and calls than would otherwise fit. 

Second tip: “All over the Hall” 

First couple balance, first couple swing 
Gent number one you stay there, the lady leads out to the right of the square (so all the following applies to her) 
Swing the right hand gent by the right elbow round 
Partner by the left go once around 
Opposite gent by the right elbow round 
Partner by the gent go once around 
Left hand gent by the right elbow round 
Partner by the left you’re leaving town 
Cheat or swing all over the town! 
  (She can now swing any person on the dance floor – Chaos!) 
Now go home, 
Lady number one you stay thee, and the gent lead out to the right of the square 
Swing the right hand lady by the right elbow round, 
(Same sequence as for the lady, including the cheating part) 
Now go home 
Birdie in the cage, 7 hands around 
(lady 1 in the center, others circle left around her) 
Birdie hop out and the crow hop in 
(lead gent in the center, lady back in her place in the circle) 
Crow hop out and circle again 
Allemande left, etc. 

3. FIDDLER’S REEL Arm and Hammer String Band 

First couple balance, first couple swing 
Go down the center and divide the ring 
(couple number 1 goes down the center of the square and out between the members of the opposite couple, couple 3) 
Lady turn right and the gent turn left 
(and around the outside of the square to home) 
Swing when you meet at the head and the feet 
(Lead couple 1 and foot couple 3 swing their own partner) 
Now down the center and cut away four, lady go gee and the gent to haw 
(Lady goes to the right between couple 2 and 3, gent left between couple 3 and 4) 
Swing when you meet at the head and the feet 
Now down the center and cut away two 
(Lady goes to the right between the members of couple two and around to home, gent to the left between members of couple four and around to home) 
You swing me and I’ll swing you, everybody home and everybody swing. 

DANCED ALL NIGHT Tracy et. al. 
Tracy has long been a favorite dance fiddler of mine. Paul Brown is a fine banjo player who came along as a favor to me to keep everyone in the necessary helpful, happy, and property irreverent frame of mind. Sue Thompson was in transit to work with other bands, and came to help be the dancers who kept my proper by dancing to the calls in the studio and we pressed her fine guitar playing into service. Hilary Woodruff made special arrangements to return to play the bass, which really helps drive a dance along. That this amiable combination turned out to be such a good band on short notice speaks highly of their skills. This dance is probably a relatively new style one. All four couples are moving simultaneously, and it sure is exciting. 

'Box the Gnat'  This dance was written by Sherry Nevins in about 1978, and so quick was its entry into the local scene that Sandy thought it was just another fine old dance. Thus when Potluck was made, the dance was uncredited.  Thanks Sherry!

First you have to know how to box the gnat: Face your partner, join right hands, you both move forward, trading positions, the lady going under your joined hands. A lot of words for one simple move, isn't it. See why it’s so much more fun just to go to the dance? Anyway, in case more words would help, you trade places, holding right hands, she passes with her back to the gent. If you don’t get it, hold right hands and trade places, and get on with the dance. 

Head couples (1 & 3) balance and swing 
Promenade half the outside ring 
(‘til you’ve traded places) 
Pass thru with the opposite two 
(couple 1 and 3 pass right shoulders with the person they’re facing, headed toward their original home position, but don’t turn around to face the square when you get there. Keep facing out.) 
Lady turn right and the gent turn left, go around one to a line of 4 
(from the position we just made it to, facing out, lead ladies turn right, walk around the lady and stand next to her, between the members of the side couple, the lead gents to the left around the side gent nearest him, stand between the members of the side couple. Each line now goes lady-lady-gent-gent. Members of the side couples are on the ends of those lines. Members of the head couples are in the center of the line, facing their partners who are across from them in the other line.) 
Forward up 8 and 8 fall back 
Forward again and box the gnat 
(with the person you’re facing) 
End couples arch and the centers dive, go around one to a line of four 
(When you finish the box the gnat, keep holding on to that right hand. Pairs on the end make an arch, and the center couples dive out through the nearest arch. As soon as they go through, the people making the arch stand side by side facing the center of the square. Those who went through the arch split, walk around the nearest arch person, who will be of the same sex, and stand next to that person, making a new line of four, perpendicular to the original lines. Then the figure happens three more times.) 
Everybody home and everybody swing 
(After four times, those in the center will find their partner across from them, those on the ends find their partner on the other end of the line, and if everybody heads for their partner at once and swings, you will be in proper order to promenade, or allemande left, or whatever.) 

I ONLY WANT A BUDDY NOT A SWEETHEART 
(© Edward H. Jones) 
Riley Puckett, Oliver Smith and Bing Crosby all sang this song. 

In case you want to, here are the words. 

I only want a buddy, not a sweetheart 
‘Cause buddies never make you blue 
Sweethearts they make vows that are broken 
Broken and their hearts are broken too. 
Don’t tell me that you love me, say you like me 
No lovers’ quarrels, bungalows for two 
Don’t steal down lovers’ lane, just keep right on sayin’ 
I only want a buddy, not a gal. 

What is romance, well, it’s taking a chance 
I’m always feeling blue 
I sit at home, all alone 
I’m always thinking dear of you. 
So don’t tell me that you love me say you like me, 
No lovers’ quarrels, bungalows for two 
Don’t steal down lovers’ lane, just keep right on sayin’ 
I only want a buddy not a gal. 

EAST TENNESSEE BLUES 
Tracy et. al. 
The Texas Star is truly a classic, and is around in many forms. 

Ladies to the center and back to the bar 
(ladies four steps in, and back out again) 
Gents to the center and form a star with your right hand cross 
(gents to the center and put your right hand in, and start moving. I don’t care how you hold on as long as you get moving) 
Now back with the left and don’t get lost 
(make a left hand star, and keep holding on while you…) 
Meet your partner, pass her by, and pick up the next girl on the fly 
(Just a figure of speech, meaning grab the next after your partner around the waist, and she comes along on the star) 
Gents back out with a full turn about, make a turn and a half and the ladies star 
(keep holding on to your partner, ladies right hand star) 
Ladies turn out with a full turn about, make a turn and a half and the gents star 
Break and swing 
(break the star, swing the girl you’re holding on to. She’s your new partner.) 
Allemande left just one and promenade the girl you swung 
(To the gents’ home position) 

Side B 

CHINESE BREAKDOWN/WOODEN NICKLE* 
(© MARK GAPONOFF 1979) 
Gypsy Gyppo and Tracy 

We learned how neat the Chinese Breakdown was from listening to the Arm and Hammer Record. Mark Gaponoff wrote Wooden Nickle. He’s a dance caller in Seattle. If you’re ever at one of his dances, ask him to call ‘County Line’ or ‘The Bump.’ Those two are classic dances that he has written, to which only his considerable theatrical charm can do justice. 

The Garden of Eden 

First couple balance and swing 
Gent number one you stay there, lady lead out to the right of the square 
(she goes to couple number 2 and follows the call) 
right to Adam 
(right elbow once around with the gent) 
Left to Eve 
(left elbow with the lady) 
Serpents swing as they please 
(the lead lady can swing a member of couple number two, or her own partner, as she chooses) 
Then the lady go on and the gent follow up 
(Lead lady to the next couple, lead gent to the couple where the lead lady just was, and they both follow the call 
Right to Adam, Left to Eve, Serpents swing as they please 
(and so on until they’re both home) 
Everybody home and everybody swing. 

Rattlesnake Twist 

All join hands and circle to the left, go once around and stop at home and keep on holding hands. 
Gent number one drop your partner’s hand and go to the left down the Rattlesnake hole. 
(Everybody keep holding hands except the lead gent drops his partner’s hand, everybody else makes arches with their joined hands, creating a lovely gothic look, and the lead gent goes to the left out the first arch, in the next, out the next, and so on, pulling the rest of the line after him. As he gets out the last arch, he takes his partner’s hand to get back out into a circle again.) 
Now lady number one drop your partner’s hand, lead off to the right down the Rattlesnake Hole. 
(Same figure, but lady leads to the right out the first arch that doesn’t have her hand in it. If you miss an arch, go through one with your hand in it, wander past your partner at the last arch, or get hit by magic dust or neutrinos, you may find your circle inside out. If this happens, as soon as you are the first person to notice that has happened, drop hands, go to your home position. Then everybody else will, too, and you can all join hands again and pretend nothing happened. Wait for the next call and dance some more.) 

PUNCHEON FLOOR/CHEAT OR SWING 
ARM AND HAMMER 

These are two of my favorite dance tunes. When I first called a dance in Burlington at the Mountain Greenery, Arm and Hammer was to play for me to call to and for the lucky folks there to dance to. I had heard of them, but had not heard them play. Boy, was I thrilled by their music. I taught Cheat or Swing, my favorite figure, and they played the tune, Cheat or Swing, which I had never heard but which was a great hit for the dance. I hear it is also called “Deceiver” for obvious reasons. Circle always means to the left. 

Couple number one balance and swing! 
Gent number one you stay there, the lady lead out to the right of the square (go to couple number two) and circle up three. 
Now it’s up to the gent to cheat or swing 
(You can swig one of them if you want, gent number two, but you don’t have to. Better choose fast, ‘cause…) 
After he chooses, he stays there, two ladies lead to the right of the square and circle up four (with couple number three) 
And it’s up to the gent to cheat or swing. 
After he chooses, he stays there, three ladies lead to the right of the square and circle up four (with couple number 3) 
And it’s up to the gent to cheat or swing 
After he chooses, he stays there, three ladies lead to the right of the square and circle up five (with couple number four) 
And it’s up to the gent to cheat or swing 
After he chooses he stays there, all four ladies to the right of the square and circle around with the gent all alone, 
He won’t cheat he’ll swing his own (and keep her right there at home, too, while) 
Three ladies lead to the right of the square, circle around with the lady all alone, she won’t cheat, she’ll swing her own, then 
Two ladies lead to the right of the square, circle around with the lady all alone, she won’t cheat she’ll swing her own 
Last lady home alone, everybody swing. 

After that we’ll send the gents out and let the ladies choose. So, gents, if you don’t choose her the first half of this dance, you’re going to have a boring second half of the dance. 

This is the only cut on the record which has both tips called all the way through for each of four couples. It is full length. 

Because oh just Because (© Bob Shelton, Joel Shelton, Side Robin) 

Just because you think you’re so pretty 
Just because you think you’re so hot 
Just because you think you’ve got something 
Nobody else has got 
You caused me to spend all my money 
You laugh and call me old Santa Clause 
I’m telling you baby, I’m through with you 
Because, oh just because. 

They’ll come a time when you’ll be lonely 
They’ll come a time when you’ll be blue 
There won’t be no Santa Clause near you 
To pay all your bills for you 
You made me drop all my girlfriends 
You laugh and call me old Santa Clause 
I’m tellin’ you, baby, I’m through with you 
Because, honey, oh just because. 

LIZA JANE 
Tracy Schwarz, As possessed by the devil 

Shoot the Owl – a very old figure 

Gent number one you stay there, lady lead out to the right of the square and circle up three if you know how\ 
When you get right then shoot the owl 
(Lady 1 and couple 2 circle to the left, and when couple 2 has their back to gent number one, they make and arch, and shoot lady 1 through towards her partner) 
Two hands up, the lady shoots under, grab your partner, swing like thunder. 
Then the lady go on and the gent follow up 
Form two rings with three hands round 
Then two hands up you both shoot under 
Grab your partner, swing like thunder. 
(Then repeat last four lines.) 
Now the lady go home and the gent follow up, form a ring and circle up 3 
And shoot that bad boy home to me. 

CHILLY WINDS (© Bodie Wagner, 1979) 

Well the landlord says to pay my rent, and winter’s coming on 
I done run out of songs to sing, and friends that get along 
I’m going where the Chilly Winds don’t blow 
  Oh I’m going where the chilly winds don’t blow 
  And I won’t be back here any more 
  Even if I could hang around 
  I’d still be leavin’ town 
  I’m going where the chilly winds don’t blow. 

Well a feller he came ramblin’, and he thought he’d make his kill 
Thought he’d buy my mineral rights for a greasy dollar bill 
Now he’s going where the chilly winds don’t blow 
  Oh he’s going where the chilly winds don’t blow 
  And I won’t be back here any more 
  He was running far and wide, when the rock salt tanned his hide 
  He’s goin’ where the chilly winds don’t blow. 

Well the rich man and the hobo Lay down their weary heads 
The rich man sleeps in satin sheets, and the ‘bo may wake up dead 
But they’re going where the chilly winds don’t blow. 
  Oh they’re going where the chilly winds don’t blow 
  And I won’t be back here any more 
  The rich man had his fun, while the poor man’s on the bum 
  They’re going where the chilly winds don’t blow. 

Well I wake up every morning, and I go to bed at night 
If heaven’s got it better boys, then hell must be alright 
We;’re all going where the chilly winds don’t blow 
  Oh I’m going where the chilly winds don’t blow 
  And I won’t be back here any more 
  Old Satin’s gonna drop his chin, just to holler, come on in. 
  We’re going where the Chilly Winds don’t blow. 

Finally, thanks to Joan Pelton for pushing me into making this record. It has been fun. Several people came along to help, and that did a lot to make things both easy and fun. A few of these are Tony Mates, Lucy Young, Sarah Young, Busy Graham, Kevin Gillen, and several others who dropped by with good wishes and encouraging words. Thanks to all my friends at home who keep the dancing alive at the G-Note Tavern and in the community, so that I have a great place to come home to, where there’s lots of dances for me to go to, especially as a dancer. And thanks to the callers: Wild Bill Regan, Sherry Nevins, Mark Gaponoff, Jerry Gallaher, Dan O’Connell, Ron Mickelberry and all the rest. I think they are a credit to our community. They’ve never asked for a spotlight, they only graciously respond to the needs of a floor full of people who are eager to dance. 

Signed 
Sandy