Thank you!  You are both too kind.

Listening it through, I'm hearing that I should woodshed those transitions more.  Bowing is still a pretty alien concept for me, and spots where I'm trying to switch strings right at the beginning or end of a slur is about the worst.  Figuring out how to.. I don't know what it is called so I'll call it "phrase" with the bow, meaning figure out when to be going down or up and just when to change between the two.. that is being a bit of a headache.  My bow hand still gets way too tense and I have to keep relaxing my thumb back into a curve instead of locking it.

Anyway, Mary Hamilton is the latest addition to my "repertoire", this would be the third day for it.  On the bright side, it should only get better with more practice. LOL

Thanks, Mad_Wed!

Since I guess the best idea is to post these to show progress, I suppose I should also post a quick take of the first verse of Whisky You're the Devil, since that is what I originally put up on the "introduce yourself" section. 

Not a great take, since I'm playing over hearing my son watching Blues Clues and making a good bit of noise about 6 ft away while I was recording.  Fortunately, since I use electric, you won't hear any of that though.

Anyway, this is with a week more practice than in the "introduce yourself", which was about one week on the particular piece.  I've also gone to doing it on the high strings because.. well, it is more fun there.  At first I played mostly on the low strings because until I got better rosin than came with the violin, the high strings sounded rather hissy and it was very hard to get a note from them.  With the new bow and some dark Hill rosin, they sing pretty well, and the piece feels like it has more of a fiddle "lilt" on the high strings.

Played guitar and bass for years, and oud a bit for a couple years, NV.  So my left hand can figure out what to do with a set of strings.  My right hand though, is only used to hitting them with a pick or plucking them, though, so it gets confused real easy and tends to lag behind the changes on my left hand badly.  As you can hear.

I read just the other night that to hit every note on the violin perfectly, one would have to bring the fingers down with an accuracy of something like 1/30th of a millimeter.  The point was of course, that nobody does, at least not all the time.  And that what good players do is they correct that little bit up or down as necessary so fast that it is not noticeable.  Anyway, the intonation is just one of the interesting challenges of the instrument that will improve with a bit of time and work, like everything else.  Nothing to get discouraged over.

I feel recording practices and listening them through right after is good for hearing one's flaws.  (Umm.. then erase the recordings to get rid of the evidence.  LOL)

Yeah Oliver, I'd at least agree that writer (Carl Flesch-The Art of Violin Playing, page 8) at least spent some time writing that more sensible folks would have rather spent playing.

But his statement that "To play in tune, in terms of physics, is an impossibility." seems to agree with what I'm seeing said here. LOL

I must confess, I didn't read a lot of the sample of the book that was up on google books.  Let's say that while it did not exceed my understanding, it definitely exceeded my attention span?  But that particular bit and his explanation of how he came up with 1/30th of a millimeter caught my attention.