It was bound to happen, but several people have reported mistakes.
The worst one is the dance Twenty-Fourth of June, by Steve Schnur.
The dance I gave is a perfectly good dance, but it is not the version he wrote. The dance he wrote ended:-
B2: Circle four once; and a quarter more, and California twirl with your partner
what makes it worse is that having tried both versions I think his version is better than the one I learnt and had put in the book.
In the Bonny Breast Knot I described the contra-corners figure as right to your partner, left to your first corner, right to your partner and right to your second corner. Of course I meant left to both corners.
The Boston Tea Party was originally written with the arch up over the men first (rather than the women, as I give it) -- and with explicit instructions to whirl the woman down and round to the outside of the men for the arch up.
The Leaving of Liverpool music should not have the repeat markings -- the tune should be played AB, not the implied AABB.
Although the tune is written with 8 bar phrases it is notated in 4/4 so there are 4 steps per bar rather than the usual 2. This means that the dance description should read A:1-4, A:5-8 rather than A1:1-8, A2:1-8. If you are a confused caller who doesn't understand music then tell your musicians to ignore the repeat markings and assume they are playing a conventional 32-bar tune and everything will work out fine.
My explanation of Escort to Leicester is slightly unclear. After the right hand turn it should flow into a hey passing right with the person you just turned.
I neglected to say that the hey in the Astonished Archaeologist is half way, though there is no way you would fit a full hey into the music available!
In The Lighted Sconce I should have said that in A1 both couples swing in place (needing a lot of space up and down the hall) and finish the swing in original places facing up and down ready for the circle. Alternatively you could swing on the side (using less space up and down the hall) and only circle three quarters before the twos arching (which doesn't fit the music so well).
In the PAT testing section I said that a plug-cum-transformer doesn't need "testing"; of course I meant that it doesn't need testing with a fancy testing machine. Obviously it needs "testing" in the sense of looking it over for a broken case with interesting bits of bare metal creeping out. But you wouldn't be using something in that state anyway would you?
An electrical engineer has (quite correctly) complained to me about my claim that you shouldn't run microphone cables very far because they have weedy signals. In fact if you know what you are doing (and the keywords are "balanced" and "low impedance") then you can run microphone signals miles -- how do you think your telephone talks to the exchange? However the advice is sound: keep cable runs short if you can.
The Appleings (who run the folk sales I mention) have moved their mail address to Derek-Ann@folksales.co.uk.uk (delete the spare uk - it's just there to confuse the spam harvesters)
In the index on the back page (but not on the page describing the dance) I say that Dorset Four Hand Reel is for 4 couples. Oops, I mean 2 couples. Similarly I claim in the index that Shrewsbury Lasses is longways rather than for 3 couples.
The bibliography claims that Newcastle is recorded on PLA. It lies. However Newcastle is on the recently re-released Playford Pops CD, which has lots of other useful Playford tracks, and also on English Echoes