The RSCDS attributes this dance to Wilson, but I have my doubts.

In 1816 Wilson in A Companion to the Ball Room, London, gives three figures to this tune, in 1830 Smyth in A Pocket Companion... gives a figure, as do Anderson (1897) and Allan (~1900). But none of those figures seems to match the RSCDS figure.

RSCDS Book 6 claims this was "collected in Oxton, Berwickshire."

Quoted from The Register of Dances at Castle Menzies (as transcribed by Jim Healy):

1^st man goes figure eight round the 2^d man & the 3^d woman the 1^st woman does the same round the 2^d woman & 3^d man then the 1^st pair leads forward to the 2^d pair then leads up & casts off, then does the same below and casts up; then the 1^st woman goes round the 2^d man & turns her partner, who was doing the same round the 3^rd woman then she goes round the 2^d woman then the 1^st pair leads out att the sides

The RSCDS attributes this dance to David Rutherford, but John Johnson published the same figure a few years earlier.

The first Couple casts of two Couple cast up again Cross over & half figure right hand and Left quite round with the second Couple foot it Corners and turn foot it the other Corners and turn Lead through the Mens side and turn your Partner Lead through the Womens side and turn it out

RSCDS Book 8 says this was "collected in Galloway."

From the Holmain MS (dated sometime between 1710 and 1750):

1st Part.

Cross right hands & go round all four; cross left hands & go back to your place, then sett to your partner, & cast off one pair, the right and left.

2nd Part.

First go down on the Woman's right side then come back to her left, & again to the right, then sett round & clap hands, & then go to the next woman.

Originally spelled "Cald Kale".

The RSCDS attributes this figure to Walsh (who did print it in The Compleat Country Dancing Master in 1718, but Playford published it considerably earlier. Playford (and Walsh) spell the title "Dainty Davy" rather than "Davie".

Playford's music is a 32 bar reel rather than a 16 bar strathspey.

Playford writes:

The 1. cu. clap hands and cross over below the 2. cu. and turn to your own sides The 2. cu. do the same The 1. cu. cross over below the 2. cu. and Figure through the 3d. cu then Figure through the 1. cu. and turn in the 2. cu. place Each Strain twice.

Clearly having the 1s figure eight through the 1. cu. is a misprint, presumably the 2s are meant (or perhaps the couple now standing in the 1s place - which is the 2s)

The RSCDS attributes this dance to Alexander Bowman. Hugh Thurston's Scotland's Dances, 1954 refers to something called the Bowman MS (held in the Laing Collection at the University of Edinburgh) dated somewhere between 1750 and 1800.

The RSCDS attributes this dance to Rutherford (1775), but the figure is nothing like Rutherford's figure. Thompson (1770) published the same figure as Rutherford, and Bride (1775) published yet another figure (none matching the RSCDS figure).

Hands four quite round back again cross over two Cu. lead up to the top and cast off hands four at bottom right and left at top

RSCDS Book 12 attributes this to Johnson's Caledonian Country Dances of 1748 but it appears earlier.

Walsh published Kiss Quick Mother's A'Comeing (sic) in his The Compleat Country Dancing-Master Book 2, 3rd Ed. ~1740 Given that this is the third edition, the dance may well have appeared earlier but I don't have access to the earlier editions.

Johnson republished it a few years later in his Caledonian Country Dances of ~1748.

In 1735 Walsh a different figure named Kiss me fast my Mother's coming. The Merry Medley, 1749 published yet another figure named Kiss me quick my Mother's coming.

Anyway in 1740 Walsh writes:

Each strain twice

First Man kiss quick the 2d Wo. and cast off and go the whole figure round the 3d Cu. and stand in 2d Cu. place And the 1st Wo. do the same 1st man heys with 3d Cu. at the Bottom and the 1st Wo. heys at top with 2d Cu. at the same time Then 1st Cu. cast up to top and go the whole Figure and cast off into the 2d Cu. place

Music consists of two 8 bar strains both repeated.

Note the kiss has been replaced by a bow

Thompson writes:

The 1^d. Cu. cast off half Figure with the 2^nd. Cu. cast off half Figure with the 3^rd. Cu. lead up to the Top Foot it cast off Right and Left

SINGLE FIGURE (Each strain repeated)
Set & change sides with the 2^th. Cu: set & back again
whole poussette
DOUBLE FIGURE (Tune played twice thro' with repeats)
Set & change places with 2^th. Cu: allemande
swing corners
set contrary corners
& the double triangle
OR THUS Cast off 2 Cu: & back again
swing with right hands round 2 Cu:
half figure up to the top allemande
lead down the middle up again & right & left with the top Cu:

Wilson usually gives multiple figures for each tune, I am following the second DOUBLE FIGURE.

The music is two 4 bar strains, each repeated, and then the whole tune repeated.

Wilson defines most of his figures in his An Analysis of Country Dancing.
Cast off 2 Cu: (& back again) is defined on pages 8-9 and means: "active couple cast down, go outside the set, passing two other couples, then turn away from each other to face up, and return to places."
swing with right hands round 2 Cu: this is defined on pages 104-105: "Right turn half, using the momentum to loop round your partner's place, then cross the set and loop around the same sex person in the couple below. This leaves you on the same side but having moved down 1 couple. Then you repeat the process, going down one more couple."
half figure up to the top, is, I think, what Wilson calls "Half figure eight on your own sides" on page 67 and means: "weave up through the two couples above, inside the closest, outside the next ending home."
allemande may be found on page 7 and appears to mean a gypsy (or perhaps a back-to-back). This is an unusual meaning for "allemande", but, as best as I can understand, that is what Wilson describes.
lead down the middle up again may be found on pages 10-11 and means: "lead down two couples, turn, lead up to the place of the couple who were below (who move up)" Wilson does not specify a hand hold for the lead, nor whether the 2s take hands.
right and left may be found on pages 39-44 and does not mean what I expect, instead: "2nd corners change by left shoulders, 1st corners right, 2nd corners change back by left, 1st corners by right."

Wilson, on page 101, writes:

SINGLE FIGURE Each strain repeated
Swing with right hands round the 2^th. Cu: allemande lead thro the bottom & right & left with the top Cu

OR THUS Lead thro the 2^th. Cu. lead down the middle & up again turn your partner & half poussette with the top Cu:

DOUBLE FIGURE Tune played twice thro with repeats
Cross over 1 Cu: half figure round the 3^th. Cu: cross up 1 Cu: half figure round the top Cu: chase round the 3^th. Cu: lead thro the top Cu: foot corners with the bottom Cu: & hands 4 round with the top Cu:

This is an interpretation of the DOUBLE FIGURE. The music is two 4 bar strains. The strain marks suggest to me that the music should be played ABABABAB, while the text suggests AABBAABB. The figures suggest that each bar has two beats, not four.

Wilson defines foot corners on page 75 of An Analysis of Country Dancing as the four dancers move to the center and foot together. He does not say so but presumably they must return to places.

The RSCDS interpretation seems basically the same as the original.

RSCDS attributes this dance to David Rutherford, but Johnson published the same figure earlier. Unfortunately I can't find his work online so I provide a link to Rutherford.

Both Johnson and Rutherford spell the title as "The Lasses of Dunce".

The first Man Cast of and the second Woman Casts up at the same time, and turns The second Man and first Woman does the same Lead Down two Couple foot it and half Figure with the third Couple Lead up to the top foot it and half Figure with the second Couple

Some sources say the 1s "lead" down (and up) while others say they "dance". This animation follows the ones which say "dance".

The RSCDS attributes this dance to Johnson, and he did publish it in at least two books, but Walsh got there first and he published it in at least three books. Both of them spelt the dance Sulters of Selkerke.

According to Robert Keller's site these dances match the figure of the RSCDS interpretation.

Rutherford calls this dance Just as I am in the Morning.

The 1st Cu. casts of one Cu. cast up again cross over and turn · the 2d Cu. does the same the 1st Man Leads his Partner off and Leaves her in the 2d Mans Place then turns the 2d Wo then Leads her thro the Mens side and turns her then the 1st Cu. half figures Round the 2d Cu. and turns

The Lowes published a dance called "The Deuks dang o'er my Daddie" in ~1831 but it has a different figure.

According to the the Regency Dance site Wilson devised, and Button & Whitaker published, a dance with this name but whether its figure matches the RSCDS's, I cannot say.

Since the dance contains double triangles, it seems likely Wilson was its deviser.

According to the the Regency Dance site Campbell did publish a dance with this name. Whether the figure matches I cannot check.

Thompson writes:

Swing right hands & cast off one Cu the same again lead to the top & cast off lead to the bottom & cast up one whole figure at top & bottom then the same on your own sides 4 hnds round at bottom right and left at top .

Also published in The London Magazine:

Swing right hands and cast off one couple , the same again , lead to the top and cast off , lead to the bottom and cast up one , whole figure at the top and bottom , then the same on your own sides , four hands round at bottom , right and left at top .

I don't have access to the 1710 publication, but the same figure occurs in John Young's Dancing Master and in later publications by Walsh.

In 1729, John Young wrote:

Note: The first Strain twice, and the last but once.

The 1st Cu. Figure thro' the 2d Cu. Sett and cast off, then Figure thro' the 3d Cu. and turn in the 2d Cu Place The 2d Cu. do the same The 1st and 2d Men Sett to their Partners and change Places, the 1st Man turn the 2d Man with left-hand quite round, the 1st and 2d Wo. do the same at the same Time, then Right and Left half round, and the 2d Cu. cast off, then the 1st Cu. Sett and cast off.

The music consists of a 16 bar strain and a 20 bar strain to be played AAB.

Walsh (and Young) spell the title Lord Killmurry's Delight.

First published by Walsh in 1735, later by Johnson, and Wright in 1740, with more publications later.

Walsh writes:

Note: Each Strain twice.

The 1^d. and 2^th. Men lead thro' the two We. the We. lead thro' the Men and all turn S. the 1^d. Cu. whole figure thro' the 2^th. Cu. and sett and cast off cross over round 3^th. Cu. Lead thro' the 3^th. Cu. and thro' the 2^th. Cu. right and left with the 3^th. Cu.

The music is in cut time and consists of an 8 bar strain (repeated) and a 12 bar strain

Quoted from The Register of Dances at Castle Menzies (as transcribed by Jim Healy):

1^st pair joins cross right hands & 1^st woman turns under her own right arm, then they join cross left hands & the 1^st man turns under his own left arm, then the 1^st pair leads down & up between the 2^d pair & casts off, then leads down between the 3^d pair & casts up, then goes the figure of eight, the man on the womans side & the woman on the man's side, (setting en passant to each other) & then foots it into their own places

The full title is "Couteraller's Rant a Strathspey Reel".