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1981 Beverly Cotten Clogging Lessons Vinyl LP Record NM SEALED
Vinyl / Jacket Grade per Goldmine Standard: NM / NM; Sealed
SIDE ONE According to “word of mouth” accounts of older dancers I’ve met and observed since my childhood, traditional dancing in America appears to be a synthesis of dance forms brought from other countries by the early settlers as well as some in- fluence from the native Indians. There are many obvious carryovers from Irish jigs and stepdancing, Scottish dancing and of course English clogging. Another very prevalent influence in the South was buckdancing which came out of the early black culture. Traditional dancing seemed to develop here primarily for entertainment and its variations are endless. These days many people refer to all of the dancing as clog- ging, buckdancing, flatfooting, etc., although these originally denoted different styles. In the context of this record, the term “clogging” will be used overall for simplicity rather than tracing the lineage of each step. This record presents a few basic clog- ging steps I’ve learned in North Carolina through the years and is in response to many people wanting a tool to help them get involved in traditional music and dance. I’d like to make it clear that break- ing steps down into numbers or “rights” and "lefts” is purely for communication and ease of learning. After you get a feel for the rhythms, forget which foot you’re on and develop your own style, responding to die music and other dancers by simply “playing your feet like an instrument.” This is referred to as “freestyling” and It’s what clogging is really all about to me. Willard Watson, a great friend and “flat- footer” (76 years young) sums it up by saying "Young’un, you ain’t got to worry about your feet ’cause your feet take care of themselves.” Lastly, don’t miss any opportunity to hear live traditional music, see dancing, and participate in it yourselves. Most im- portantly, enjoy it and pass it on. That’s how a tradition stays alive and it’s definitely what this one is all about. Beverly Cotten 1 Old Jimmy Sutton Tommy Jarrell, Fiddle Beverly Cotten, Dancing 2 The Basic Step Ducks on die Millpond Clay Buckner, Fiddle 3 Variations a.The Single Shuffle b. Three Stomps c. Ducks on die M illpond Clay Buckner, Fiddle Doug Dorschug, Guitar Tommy Thompson; Banjo 4 Chugging Rhythms a.The Chug b.The Indian Soldiers Joy — Clay Buckner, Fiddle 5 Traditional Steps a. The Buck and Wing b.The Wagon Wheel c.The Eddie d.Soldiersjoy Clay Buckner, Fiddle Doug Dorschug, Guitar Tommy Thompson, Banjo 6 Smoodi Style Flatfooting a. Wringing the Chicken’s Neck b. Walking the Hell Chicken Reel Clay Buckner, Fiddle 7 Advanced Steps a. Hansel’s Double Toe b. Double Heel fe Toe c. Fiddle Tune Rhythms d. Mississippi Sawyers — Freestyle Clay Buckner, Fiddle Doug Dorschug, Guitar Tommy Thompson, Banjo Solo Fiddle throughout by Clay Buckner Algia Mae Hinton SIDE TWO 1 Hell Amongst the Yearlings — Here’s your chance to fill in the gaps with those rhythms you’ve just learned. Dance my breaks with me and take the toe tapping one and empty space for yourselves. Clay Buckner, Fiddle Tommy Thompson, Banjo Doug Dorschug, Guitar 2 Colored Aristocracy — This tune has a slightly different feel for dancing. Old- timers around home say there used to be just a fiddle and banjo playing at their “frolics.” Here’s your chance to dance to that old sound. Clay Buckner, Fiddle Beverly Cotton, Banjo 3 Buckdance — Algia Mae learned blues guitar and buckdancing from her mother when she was 9 years old. Here she dances and plays guitar at the same time (even behind her head). Listen to those rhythms —- She’s the best!I! Algia Mae Hinton, Guitar Algia Mae Hinton, Dancing 4 Susanana Gal — This is one of my favorite tunes learned from Tommy Jarrell. It’s also called "Western Country” and "Fly Around My Pretty Little Miss.” Clay Buckner, Fiddle Beverly Cotton, Banjo Doug Dorschug, Guitar Beverly Cotten, Vocals 5 Golden Keyboard/The Tinker’s Daughter /The Earl’s Chair — The dancing on this tune is a combination of some of the same steps you learned on side one. Since Irish Music and dance are such a large part of die lineage of American music, it all works. I dance many of the rhythms that I’ve heard the bones or bodhrans play. Try it! Clay Buckner, Fiddle Jack Herrick, Pennywhistle Grey Larsen, Flute & Concertina Triona Ni Dhomhnaill, Clavinet Beverly Cotten, Dancing 6 Miss Liza Poor Gal — A great song I first heard done by the Highwoods String Band. On this one I sing, play, and dance all at the same time — Whew! Beverly Cotten, Banjo, Dancing, Vocals 7 Sandy River Belle / Alabama Gals — Use this medley of G tunes for a good long practice of your freestyling or a whole clogging routine. It’s also great for calling a nice long square or round dance. Wear ’em out!! Clay Buckner, Fiddle Doug Dorschug, Guitar Beverly Cotten, Banjo Doug Dorschug, Bass Produced by: Doug Dorschug. Recorded at (side one) The Art School, Carrboro, N.C., engineer Doug Dors- chug; (side two) TGS Studios, engineers Steve Grom beck and Tim Hildebrandt. Front cover: Bucky Sears, "friend and associate,” in Grandma’s Yard, Morris- ville, North Carolina. Booklet: Photography: Tom Rankin; written by Beverly Cotten; designed by Horizon Graphics; typeset by MRS Composing. Photography: Cover and top photo on back by Tom Cox; Hinton by Joann Sieburg-Baker; Watson & Jarrell by Beverly Cotten. Design by Bob McCamant. Special thanks to the Art School, Carrboro, N.C. for the use of the Dance Studio. This record is dedicated to all past, present, and future Green Grass Cloggers and to the people like Willard Watson and Tommy Jarrell who supported and believed in us from the beginning. .flying ©©1981, Flying Fish Records, Inc. 1304 West Schubert, Chicago, IL 60614 FF-237 Willard Watson and Tommy Jan ell






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