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Tag Archives: Ella Haley

Ella Haley, Ed Haley, and Margaret Arms

26 Saturday Jan 2013

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Appalachia, blind, culture, Ed Haley, Ella Haley, genealogy, history, life, music, photos, U.S. South

Ella Haley, Ed Haley, Margaret Arms, 1925-1945

Ella Haley, Ed Haley, Margaret Arms, 1925-1945

Mona Haley (1940s)

20 Sunday Jan 2013

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Appalachia, culture, Ed Haley, Ella Haley, genealogy, history, Kentucky, Mona Haley, photos

Mona Haley

Mona Haley, daughter of J.E. “Ed” Haley and Ella (Trumbo) Haley

In Search of Ed Haley 54

20 Sunday Jan 2013

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Appalachia, Ashland, Big Sandy River, Bill Bowler, blind, Cabell County, Ed Haley, Ella Haley, Field Furniture Store, Gibson's Furniture Store, Green McCoy, guitar, Harts Creek, history, Ironton, John Hartford, Kentucky, Lawrence County, Lawrence Haley, life, Logan, Milt Haley, Mona Haley, music, Noah Haley, Ohio, Paintsville, Peter Mullins, Portsmouth, Ralph Haley, Route 23, Route 60, Russell, South Point, West Virginia, writing

Lawrence said we could go see Mona if Noah would show us the way. Apparently, Lawrence didn’t know where his own sister lived. Noah agreed to guide us there, but drove a separate car so he could leave right away. He and Mona weren’t getting along. On the way, I said to Lawrence, “Now this sister is the youngest one?” and he said, “Yeah, she’s the baby.” I said, “She’s the only sister you have, and her name is?” “Mona,” he finished. “M-O-N-A. That wasn’t what she was intended to be named. Mother intended her to be named after old Doc Holbrook’s wife — her name was Monnie.”

Mona was staying with her daughter in nearby Ironton, Ohio. At the door, before Lawrence could tell her who I was or the reason for our visit, she looked right at me and said, “Well I know you. I’ve seen you on television.” It was an instant connection. I noticed that she had a high forehead just like her father.

We went on out in the yard where she showed a little surprise that Noah had led us to her house.

“He’s mad at me,” she said before sighing, “I feel sorry for poor old Noah. So lonely. Has to buy his friendship.” Right away, she dispelled our hopes that she had any of Ed’s records.

“No, I don’t have any,” she said. “I let my part of the records get away from me. I lost mine in my travels. I left them somewhere and never did get them back. It was around ’56. I went back to get them and the lady — Dorothy Bates — had moved. And I think she’s dead. I was living here in Ironton.”

Mona seemed a little emotionless — her voice was hollow, distant, as if her mind was a million miles away. She didn’t seem to show much remorse about losing her father’s records — “I’m sorry that I did, but you know hindsight’s 20/20.”

I asked her if Ed ever talked about his father or mother and she said, “He talked about his dad getting killed. He said that he was in the Hatfield-McCoy feud and he got killed with Green McCoy. He was a friend to the McCoys, I guess. And that’s all I can tell you about that. And he never talked about his mother at all.” Mona had no idea who Ed’s mother was and knew nothing about her connection with Uncle Peter Mullins on Harts Creek. She didn’t even remember what year her father died, saying, “My memory is failing me. I was married and living at South Point.”

I noticed again how much Mona looked like her dad.

I asked her if she ever had any long talks with him and she said, “My mother and I were very close but we didn’t talk much about my dad. I’ll tell you, I loved my dad but I didn’t like him very much because he was mean.”

She laughed and said to Lawrence, “Wasn’t he?”

“Yeah, if you struck him the wrong way,” Lawrence admitted. “He never was mean to me. I can’t even remember Pop whipping me.”

Mona insisted, “He wasn’t ever mean to me either but he was mean to Mom.”

I asked her what Ed did to her mother and Lawrence said (somewhat agitated), “He was a little bit mean to Mom. He’d fight with her sometimes and we’d have to stop things like that.”

It got a little quiet — a whole new facet of Ed’s life had just opened up to me.

“Maybe I shouldn’t have said that,” Mona said, “but that’s how I feel. I sympathize with him now but he was a mean man.”

Lawrence tried to smooth it over by saying, “I put that down, part of it, to frustration with his condition. Really, I do.”

Sensing Lawrence’s dislike of the topic, I got the conversation directed back toward Ed’s music. He and Mona remembered Pop playing frequently on the streets of Ashland at Gibson’s Furniture Store, Field Furniture Store (later Sears) on 17th and Winchester and at the Ashland (later Second) National Bank on 16th and Winchester. It made sense that Ed often played on Winchester Avenue, the main east-west thoroughfare through town, currently merged with Route 60 and Route 23. I asked if Ralph ever played with Ed and Ella on the street and Mona said no — that he only played with them at home. Bill Bowler, a blind guitarist, was the person she remembered playing with her father on the street.

“He wasn’t very good,” Mona said. “When they’d get ready to set down and make music Pop would have to tune up his guitar for him.”

Ed hung around Ashland through the winter, Lawrence said, then took off around February. There was not a particular place he went first; it just depended on his mood. Mona said he was in Greenup County, Kentucky, often.

“He played in front of the courthouse there,” she said. “I’ve seen them have that whole front of the courthouse with people standing around dancing.”

She and Lawrence also remembered Pop playing in Portsmouth, Ohio; Cabell County, West Virginia; Logan, West Virginia; Lawrence County, Kentucky; Paintsville, Kentucky; and “all up and down the Big Sandy River.”

“They’d play around railroad YMCAs, too,” Lawrence said. “They had one in Ashland, one in Russell. And down on the N&W they had a big railroad YMCA in Portsmouth — New Boston, I guess. And there was a big steel mill at New Boston. Mom used to play there more than Pop, I guess. Mom used to play at the main gate.”

Mona and Lawrence gave me a great idea of how Ed dressed when on the road. She said he wore “moleskin pants and a long-sleeve shirt — sometimes a top coat when it was cold.” Lawrence said his dad always buttoned his shirt “all the way to the top button” but never wore a tie and mostly wore blue pants. For shoes, he preferred some type of slipper, although he sometimes wore “high top patent leather shoes” — what I call “old man comfort shoes.” Mona said he always donned a hat, whether it was a Panama hat, straw hat or felt hat. He also packed his fiddle in a “black, leather-covered case” — never in a paper sack as Lawrence remembered. “No,” she stressed, seeming amused at the idea of Ed having anything other than a case. Lawrence disagreed, clearly recalling to the contrary — “Buddy, I have.” He said Ed seldom had his fiddle in a case when he went through the country, usually just tucking it under his arm. “Same way with Mom. She didn’t have a case for her mandolin a lot of times. I guess that’s the reason he wore out so many, reckon?”

Parkersburg Landing 53

18 Friday Jan 2013

Posted by Brandon Ray Kirk in Ed Haley

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Appalachia, Ashland, Ed Haley, Ella Haley, history, John Hartford, Kentucky, Lawrence Haley, life, Mona Haley, music, Noah Haley, West Virginia, World War II, writing

     We drove over to Noah’s rented apartment and parked near a Chrysler with “NOAH HALEY” emblazoned on its bumper in big stick-on letters. At the door, Lawrence told Noah, “I got a fella here that wants to talk to you.” Noah was surprised but seemed happy to see Lawrence. “Come on in,” he said. “I’ll just straighten up in here a little bit, but come on in.” He led us into a living room where the TV was blaring. It was a real bachelor pad. We all sat down and Lawrence introduced me. It was the first time I had met any of Ed’s children other than Lawrence and I was very curious to watch Noah for clues about his father and to shore up his memories of his dad with what Lawrence had told me.

     “I’ll tell you anything I can,” Noah said. “It’s been so long ago, I’ve just about forgot everything.”

     “I told him you probably couldn’t tell him much because you went into the service in 1939,” Lawrence said.

     Noah said, “Right. I stayed in the service nine and a half years — from 1940 until 1949. And then in ’51 I went to work on the railroad in Cleveland and I worked there until I retired. The only thing I know is they made their living by playing music on the streets and at fairs and churches and everywhere else. We’d go with them — one of us kids — to lead them around. And they would go to Logan, West Virginia. They used to set out on the street and play music at the courthouse, and we’d just wait till they got done. They would play sometimes all day long on Saturdays in the courtyard. People’d come along and give them money. That’s about all I can remember about them.”

     I asked if Ed ever talked about any older fiddlers he learned from and Noah said, “The only thing I ever heard him say was he taught himself. He couldn’t read music or nothing but my mother could read music by Braille. She was pretty well-educated. Pop played by ear.”

     The room got a little quiet for a few seconds — we were waiting on Noah to tell us something (anything) about Ed. Instead, he kind of laughed and said, “I’m not gonna be much help to you on this.” Lawrence asked Noah if Pop ever talked about his parents and Noah said, “The way I understood it, this guy shot his mother and… I don’t remember now how it went. Whether his dad got a gun and killed him or how.”

     Basically, Noah was saying just enough to confirm that he’d “been there,” but his memories were so vague that I wasn’t getting any great insight out of them. I wasn’t ready to give up though, next asking him about his share of Ed’s records. He assured us that he didn’t have any, which caused Lawrence to say, “You know, when Mom divided those records out, she gave you so many, she gave Mona so many, she gave Jack so many, and she gave me so many of them. And the only ones that was left, Jack had eight or nine left, I think.”

     “I don’t have a one of them,” Noah said. “The only ones I had I give them to Pat. She made tapes of them.”

     Pat, Lawrence explained, was Patsy Haley — his sister-in-law.

     “My sister, she could tell you more than I could,” Noah said to me. “Mona knows all them things. And she’s even got records of Mom and Pop’s music.” He looked at Lawrence and said, “I think she’s got some like you have — round and aluminum.”

     That was all I needed to hear.

     Looking back, I realize I lost almost all interest in talking with Noah — sacrificing his memories — at the prospect of getting to hear more of Ed’s records. That’s a strange thing to consider from a biographical standpoint but I was just so into Ed’s music.

In Search of Ed Haley 52

18 Friday Jan 2013

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Appalachia, Ashland, Ed Haley, Ella Haley, genealogy, history, John Hartford, Kentucky, Lawrence Haley, life, Milt Haley, Noah Haley, U.S. South, writing

     Lawrence Haley and I spent an hour or so driving around Ashland looking at many of the sites where Ed had lived in town. Not one single residence was still standing. As we visited each site, I noticed that the Haley residences seemed to have been in poor areas of town…although I didn’t suggest this to Lawrence.

     “They never did own a home,” Lawrence said of his parents. “They always rented. About eight different places in Ashland and one in Catlettsburg that I can remember.”

     In 1933, according to city directories, Ed and Ella lived at 805 45th Street. The next year, Ella received a postcard at 1030 45t Street. The 45th Street area of Ashland — renamed Blackburn Avenue in recent years — was a long street situated to the back of town, with schools and churches intermixed occasionally with small residences. It was the longest street in town.

     Lawrence guided me to 37th Street, also known as Ward Hollow, where the Haleys settled around 1937-38. Ward Hollow, I discovered, was recently cleared entirely of homes and filled with dirt as part of some planned business development. It was nothing like Lawrence or Curly Wellman remembered it.

     “This was a two-lane road at that time,” Lawrence said, looking up the hollow where he once lived. “And they was a bunch of houses sat up on the bank. There wasn’t too many trees up through there. About twelve to fifteen houses — small homes, twenty-five or thirty foot long. We lived in a three-bedroom house. I was just a kid then.”

     In 1944, the Haleys moved downtown to 105 17th Street, the spot where Haley made his home recordings. From this location, presently occupied by a dull gas building and a partially empty lot near the floodwall, Haley could easily walk up 17th Street past City Hall to the post office or Central Park.

     In 1947, the Haleys were briefly at 5210 45th Street, before settling at 1040 Greenup Avenue. Two years later, Ella was listed in city directories at 932 45th Street. Today, this spot is almost wiped out, although a Little Caesar’s pizza is on the corner of a modern building at 933 45th Street.

     Around 1950, the Haleys lived at 2144 Greenup Avenue. This spot, where Ed Haley died in 1951, is the current site of a Boyd County Ford parking lot and Pathways, Inc. “They’ve got a mental health center there where Pop died,” Lawrence said.

     In 1952, Ella lived at 932 45th Street.

     As Lawrence and I made our way around town, I suggested going to see his older brother Noah who had recently moved back to town.

     “Well that’ll be fine John, but if he’s playing cards I ain’t even gonna go around him because that’s one of his vices,” he said. “He used to go down there to Covington, Kentucky, some and lose his shirt. Two or three shady people have been after him to collect his debts.”

     It seemed as if each of the Haley children had some kind of a major hang-up, which kept me thinking about Milt Haley’s genetics — as well as Ed’s. I asked Lawrence if Noah was a drinker and he said, “He doesn’t drink any more. I think he’s got to the point where drinking aggravates his system too much.” There was also the restlessness. Milt Haley came to Harts Creek from “over the mountain” — probably the Tug Valley — and married a local girl. After the trouble with Al Brumfield, he hid out in Kentucky. Ed Haley, perhaps taking a genetic cue from his father, left Harts Creek at a young age and roamed throughout West Virginia and eastern Kentucky. Even after marrying and settling down in Ashland, it was a Haley ritual to always be on the go — moving through town or taking off on a season-long jaunt. Lawrence Haley did not seem to “inherit” that desire, preferring to live the quiet life of a laborer and postman in Ashland. But his half-brother Ralph had went overseas during World War II and then on to live in Cincinnati. His brother Clyde had been all over the United States — everywhere from Alaska to New Orleans. Likewise, Jack had moved away to Cleveland and Mona had been in different cities in Ohio.

     Noah, a veteran of the Pacific Theater and longtime resident of Cleveland, was apparently a roamer, too. “He moves around,” Lawrence said. “The last place he lived was up on Winchester Avenue in an apartment out over a garage. He’s getting ready to go out to California, I guess. He’s about 71.”

Ella Haley

31 Monday Dec 2012

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Appalachia, culture, Ella Haley, genealogy, history, Kentucky, life, Morehead, music, photos, U.S. South

Ella Trumbo Haley, 1910-1920

Ella Trumbo Haley, 1908-1920

Ella and Ed Haley

29 Saturday Dec 2012

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Appalachia, blind, culture, Ed Haley, Ella Haley, fiddler, fiddling, history, life, music, photos, U.S. South

Ella and Ed Haley, 1925-1945

Ella and Ed Haley, 1925-1945

Parkersburg Landing 39

26 Wednesday Dec 2012

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Appalachia, blind, Calhoun County, Ed Haley, Ella Haley, Harts Creek, history, John Hartford, Kentucky, Lawrence Haley, Milt Haley, music, Ugee Postalwait, West Virginia, writing

     The next thing I knew, Ugee was up at the stove cooking a big meal and singing “Maggie and Albert” — Haley’s version of “Frankie and Johnny”. When she was finished, she said, “Now that’s some old songs. Ed played them and when he played them, you’d be glad to sit and listen to them, too. And he patted his foot.”

     During dinner, Ugee told me about her own musical experience.

     “I started off on the five-string banjo then graduated myself to the guitar,” she said. “The first guitar that I ever seen, Howard Alexander brought it in the country. He’d been over to his mother-in-law’s around Rosedale and when he come back he brought a guitar. Howard didn’t play the guitar or banjo either. He come down and said, ‘Ugee, I brought you something. A guitar.’ And I said, ‘Well, I never tuned one of them things.’ I suppose I’d been playing the banjo about three or four years. Dad said, ‘Well, you tune the banjo. Go ahead and tune it up there.’ Howard said, ‘Aw, just keep it as long as you want to. I’m in no hurry fer it.’ He’d traded something for it. I forget what it was. I went to fooling with that guitar, you know, picking around with it, this that and another, running a knife down it. Well, I tuned it up like a banjo. First thing you know I found me a chord, and then Dad come in with a mandolin.”

     “We went to play music around at the schoolhouse and places like that for pie suppers and cake walks,” Ugee said of herself and her father. “My dad thought there wasn’t nobody in the world like me. Nobody could do like I could. We went to a place and played for a schoolhouse and the teacher down there… He was a Glenville graduate — you know, went to college and everything — thought he knew it all. He said, ‘Mr. Hicks, play ‘Soldiers Joy’. So Dad played it for him. Just as soon as he got done playing it, he said, ‘Mr. Hicks, play ‘Soldiers Joy’. Dad played it for him again. I think he played it about five times. By that time, Dad was getting tired of it. And he come there and said, ‘Mr. Hicks would you please play ‘Soldiers Joy’? Dad said, ‘Hell, I’ve played it for you five times and you didn’t know it when you heard it.’ Made Dad mad. Every once in a while, me and Dad’d be a sitting playing, practicing, you know, and I’d look over, I’d say, ‘Dad, would you please play ‘Soldiers Joy’?’ He said, ‘I’ll mash you in the mouth.'”

     Ugee said, “One time, a teacher taught at our school and he made me mad the way he treated me in school. He was having a doing going on at his school and Dad said, ‘I’m supposed to play at the White Oak School.’ And I went to the White Oak School. Well, me and Dad went over and I decided I wasn’t gonna play any music. When I sat down, the teacher said, ‘Oh, I’m so proud you come to play, Ugee,’ and just going on. I just reached down with my finger on that guitar and I broke that string. Dad reached down in his pocket and pulled out another one and said, ‘Now put that on and don’t you do that again, either.’ I never will forget it as long as I live. Jasper McCune was playing the five-string banjo. He was Dad’s first cousin. He said, ‘Why don’t you do that again, Ugee? Laury’ll slap your ears, too.'”

     After supper, I asked Ugee what she knew about Ed’s blindness.

     “They said Ed went blind when he was three or four years old. He had the measles. Well, he was sick and had a high fever. I don’t know whether you ever knowed it or not but the gypsies used to come around in the country and he had a high fever and they told his dad and them to take him down to the creek and throw him in the cold water and that would break the fever on him and he’d never have a fever again. And that’s what he done and it put him blind. But you know measles will put you blind because I almost went blind too when I had the measles. I was about twelve years old. And that’s what Ed said that put him blind. I asked him, I said, ‘Was you born blind?’ He wasn’t.”

     Ugee said Ed occasionally talked about his father — a growing source of interest for me — although she didn’t remember much about it.

     “I think his dad was a pretty mean man, the way he talked. And the way I understood him to say his mother got killed by some of them Hatfields and McCoys or some of them when that feud was going on. But I believe he said his dad was a pretty mean man. I don’t know what he meant by that. I never did hear what happened to his dad. I never heard him say about that. I believe he said he was raised by a aunt.”

     I told Ugee about Lawrence and I going to Harts Creek and she said, “Lawrence, he was little all the way around. He thought an awful lot of his dad and mother. Larry’s the only one that turned out real good. Noah, he gambles and I don’t know what all. And Clyde, he’s been in a little bit of everything. Mona’s been the same way. Poor old Larry, he’s looked after all of them. He don’t care whether he hears from them or not because every time he hears from them it’s money or have to help them out or get them out of something. Jack died. Jack was a nice looking man, too. He was taller than Lawrence. He was a nice boy like Larry.”

     I asked Ugee if she thought maybe some of Ed’s kids took after his father Milt, who she called “a pretty bad feller.” She said, “I have an idea they did. And I heard Ed say one time that Ella had some awful mean people on her side. He said Noah was turned just exactly like his mother’s people. They was a lot of mean people down there in Kentucky. Lot of murdering and lot of killing.”

In Search of Ed Haley 38

25 Tuesday Dec 2012

Posted by Brandon Ray Kirk in Ed Haley

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Black Sheep, Blackberry Blossom, Buttermilk Mountain, Calhoun County, Ed Haley, Ella Haley, fiddling, Fire on the Mountain, Florene, Harvey Hicks, history, John Hartford, Laury Hicks, McKinley, music, Old Zed Tanner, Parkersburg Landing, Pat Malone, Stacker Lee, Sweet Florena, Ugee Postalwait, West Virginia, writing

I reached Ugee my Parkersburg Landing album, hoping it might rekindle the names of more Haley tunes.

“Ed had a habit of changing the name if he was in a different town,” she said. “Now just like this ‘Parkersburg Landing’, that’s another song that he always played.”

Ugee remembered Haley’s singing ability more than his fiddling.

“He had a beautiful voice,” she said. “It’d bring tears to anybody’s eyes. He could sing low, he could sing high. He sang ‘Stacker Lee’ and he didn’t lay his fiddle down when he sung. He played his own music and sang at the same time. I never heard nothing like him and I’ve heard a lot of them, Mr. Hartford, because they used to come to my dad’s house. Anybody come in anyplace close, they’d come to our place. They didn’t stay all night — they stayed a week or month. Banjos, guitars, whoever played music come to my dad’s. They wasn’t nobody in the world loved it any better than he did.”

Ugee went through some other tunes — like “McKinley” and “Old Zed Tanner” — but only remembered pieces of them. There was also “Fire on the Mountain” and “Buttermilk Mountain”.

Going on Buttermilk Mountain to see my old girlfriend again.

When I come out, there’ll be no Buttermilk girlfriend to meet me again.

When I come back, I’ll bring my girl from old Buttermilk Mountain.

I’m a goin’ away, I’m a goin’ to stay, I’m a goin’ to Buttermilk Mountain.

“Ella didn’t like that song,” Ugee said. “She’d say, ‘I hate that song. I don’t want to hear that old thing.’ She thought it was some girl Ed used to go with that he was talking about. Harvey my brother would get around and have Ed to sing it.”

Ugee said Harvey would come around with whisky and get Ed to play what he wanted, usually songs that made Ella jealous, like “Florene”.

I’m leavin’ you sweet Florena.

I’m leavin’ you sweet Florene.

I’m goin’ away, I’m goin’ to stay.

I’m a leavin’ you sweet Florene.

Oncest I bought your clothes sweet Florena.

Oncest I bought your clothes sweet Florene.

Oncest I bought your clothes

But now I ain’t got no dough

Now I have to travel on, sweet Florene.

Down in the pen sweet Florena.

I’m down in the pen sweet Florene.

I’m down in the pen, but for you I’d go again

I’m a leavin’ you sweet Florene.

“Harvey was a good man but he’d slip Ed a little shot of whiskey,” Ugee said. “He’d say, ‘Ed, it’s about time for you to have a little drink of water, ain’t it?’ Oh, it wouldn’t be but about a few minutes till old Ed was playing like crazy. You give him a shot and boy you oughta heard him. Then he’d say, ‘Ed, I’d like to hear that old Florene song.’ Ella would shake her head — ‘I don’t like that song. That’s about some of his old women that he used to run around with probably.’ And that’s all she’d say about it, but she’d shut her eyes tight and shake her head.”

She remembered Ed playing ‘Blackberry Blossom’ but couldn’t quite remember the story behind it.

“And then there was a song called ‘Pat Malone’,” she said. “Did you ever hear that song?”

Before I could answer, she started singing:

Times are hard in an Irish town. Everything was a going down

And Pat Malone was short for any cash.

He for life insurance spent all his money to a cent

And the most of his affairs had gone to smash.

Pat’s wife spoke up and said, “Oh dear Pat, if you were dead

There’s twenty thousand dollars we could get.”

So old Pat laid down and tried to make out that he had died

Until he smelt the whiskey at the wake.

Then Pat Malone forgot that he was dead.

Oh, he raised right up and shouted from his bed.

“If the wake goes on a minute, the corpse’ll sure be in it.

You gotta get me drunk to keep me dead.”

So they gave the corpse a sup.

After they had filled him up

And they laid him back upon his bunk again.

Then before the break of day everybody felt so gay

That they all forgot that he was dead.

So they took him from his bunk, still alive but he’s awful drunk.

And they laid him in his coffin with a prayer.

Then the driver swore by dad that he’d never start ahead

Until he seen that someone paid the fare.

And Pat Malone forgot that he was dead.

He raised right up in the coffin and he said,

“If you dare to doubt my credit, you’ll be sorry that you said it.

Drive on or this corpse will smash your head.”

So the driver started out on the cemetery route

And the people tried that widow to console.

Then near the churchyard lot, Pat Malone’s last resting spot,

They begin to lower the dummy in the hole.

When the clods begin to drop, Pat burst off the coffin top

And quickly to the earth he did ascend.

Then Pat Malone forgot that he was dead.

He quickly from that cemetery fled.

Pat come near a goin’ under, what a lucky thing by thunder,

Old Pat Malone forgot that he was dead.

I was blown away. I said to Ugee, “That’s great! Where in the world did that come from?”

“Oh,” she said, “that was from back in the hills there. That’s an old song. Just like that ‘Black Sheep’ song. You ought to have heard Ed play that.”

In a quiet country town not so very far away

Lived a rich and aging man whose hair was silvery gray.

He had three sons, his only ones, Jack and Tom were sly.

Ted was as honest as he could be and he would not tell a lie.

They both began to ruin him within the old man’s eyes.

Then the poison began its work and Ted was most despised.

One day the father said to him, “Be gone ye to the poor,”

And these words the Black Sheep said while standing in the door:

“Don’t be angry with me Dad. Don’t turn me from your door.

I know that I’ve been a worry, but I’ll worry you no more.”

Give to me one other chance and put to me the test

And you’ll find the Black Sheep loves you Dad far better than the rest.”

Year by year passed by and the father he grew old.

He called in both Jack and Tom and he gave to them his gold.

“All I want is a little room, just a place by your fireside.”

Jack returning home one night and he brought with him a bride.

The bride begin to hate the father more and more each day

Until one night she declared, “That old fool is in our way.”

They decided to send him to the poor house which was near.

And like a flash that Black Sheep’s words went ringing in his ear:

“Don’t be angry with me Dad. Don’t turn me from your door.

You know that I’ve been a worry worry, but I’ll worry you no more.

Give to me one other chance and put to me the test

And you’ll find the Black Sheep loves you Dad far better than the rest.”

Well a wagon drove up to the door, it was the poor house van.

The boys laughed and pointed to their dad and they says, “There is your man.”

Just then a rich and a manly form came pressing through the crowd.

“Stop you brutes,” the stranger said, “This will not be allowed.

You’ve taken the old man’s property and all that he could save.

You’ve even sold that little lot containing his wife’s grave.

I am his son but I’m not your kin from now till Judgement Day.”

The old man clasped the Black Sheep’s hand and the crowd all heard him say:

“Don’t be angry with me lad. Don’t turn me from your door.

I know that I was foolish, but I’ve repented o’er and o’er.

I should have gave to you my gold ’cause you have stood the test.

Now I find the Black Sheep far better than all the rest.”

Ugee apologized for her voice, saying, “Now, that’s not sung right. You oughta heard Ed Haley sing that to you. The first time I ever sung that, I sung a little bit of it to Ed, and when he come back again he was playing and singing that. It’d raise the hair on your head.”

I wondered if Laury was a singer and she said, “My dad couldn’t carry a tune but he could play that fiddle. My dad could whistle.”

Ralph Haley on ram

24 Monday Dec 2012

Posted by Brandon Ray Kirk in Ed Haley

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Appalachia, Ed Haley, Ella Haley, genealogy, history, Kentucky, life, photos, Ralph Haley, U.S. South

Ralph Haley, circa 1916

Ralph Haley, circa 1916

Parkersburg Landing 37

24 Monday Dec 2012

Posted by Brandon Ray Kirk in Ed Haley

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Akron, Calhoun County, Ed Haley, Ella Haley, history, John Hartford, Laury Hicks, music, Ohio, Ralph Haley, Spencer, Ugee Postalwait, West Virginia, writing

     A little later, Ugee saw Ed and Ella at Spencer, the county seat of Roane County.

     “I lived three miles below Spencer one year and come up to town to get some groceries or something and Ed and Ella was there at the courthouse playing music. Well I went over to talk to Ed and Ella. Nothing else would do but for us to go down to eat at the hotel. Well, there was just a whole bunch of big shots over for that stock sale and Roane County was a Republican county. And they put us up to eat. That’s when they had that WPA and were giving out rations, like meat. My son Harold was up at the end of the table and they said, ‘Well, what do you want?’ He said, ‘I think I’ll have some of that Roosevelt dog meat.’ Aw, you ought to heard them good ole Republicans get up and just clap their hands. ‘Oh, that’s the smartest little boy I ever seen,’ he said and throwed him a dollar. Ed just throwed back his head. I can see him now – ‘Ha! Ha! Ha! That wasn’t a Republican said that, though.’ Me and Ella laughed about that.”

     In later years, Ugee’s brother Harvey took Ed and Ella to Akron, Ohio where he worked at the B.F. Goodrich factory. Ugee said, “Ed drawed such a big crowd at the B.F. Goodrich they passed a law that people had to keep moving on the streets. Harvey got so mad. At Goodyear, it was the same way. People couldn’t get by. Traffic was that bad.”

     I tried to explain to Ugee what I had learned about Haley’s fiddling and she said, “He was one of the smoothest fiddlers I ever heard. He’d put his fiddle right along here — he didn’t put it under his chin — and if somebody’d make him mad when they’d ask him to play something he’d almost make that fiddle insult that person. I don’t know how he’d do it, but I’ll tell you what: he could almost insult you with it. He’d make it squawl at them and squeal at them. Just like that ‘Wild Hogs in the Red Brush’ — the way he’d hit that fiddle somehow or other it’d sound just like hogs squealing.”

     I played some of Ed’s recordings for Ugee, who quickly pointed out that they didn’t compare to hearing him in person.

     “I’d give anything in the world if they could get some of Ed’s music out,” she said. “Now I had a nephew that went down to Kentucky after World War II and got two or three records of Ed’s. He give them five dollars. I tried to buy one off of him and he said, ‘I wouldn’t take a million dollars for them.’ That’s just how much we thought of Ed and Ella and them.”

     More Ed Haley records?

     “My nephew’s dead but his son is living in Parkersburg and I don’t know whether he’s throwed them away or what he’s done with them,” Ugee said. “They shouldn’t be scratched up. They took care of them.”

     Ugee said her nephew was James Russell Shaver, who lived just off of 7th Avenue.

     Turning my thoughts to music, I got my fiddle out to probe Ugee’s mind about Ed’s technique. She said, “Him and Dad both — that wrist done the work for them.”

     Did he always sit down when he played?

     “Most of the time. He could stand up and play but he didn’t like to.”

     Did he pat his foot pretty hard when he played?

     “Patted this one,” Ugee said. “The other one came down like you’re dancing. Whenever he began to pat that foot you could say he was bringing out some good music somewhere.”

     I asked if fiddlers ever questioned Ed about how to play and she said, “Well he wouldn’t a showed one how to play. He learned it like I did — the hard way — just fooling with the fiddle.”

     I told Ugee, “Now Lawrence said Ed played the banjo,” and she said, “Ed could play a guitar like crazy, too. He could play any kind of string music. Now Dad could thump a banjo a little but he wasn’t what you call a banjo player. Ed could play a mandolin, too. He could play a guitar, too. There’s where Ralph learned to play a guitar — Ed learned him.”

     I told her about working on Ed’s music with Lawrence and about my theory regarding genetic memory and she said, “I don’t think I ever seen Lawrence even pick up a music box and try to play anything,” kind of dismissing the entire notion. She didn’t know much about Ralph’s musical ability. “I never was around him too much — just there at home,” she said. “He played with his pick or fingers either one.”

     She was aware that Ella had Ralph before she married Ed.

     “I forget how old he was when Ed and Ella got married but he’s just a half-brother to them.”

     I asked Ugee if Ella ever talked about her first husband and she said, “No. They always made out like Ralph was Ed’s boy. Ed just called him his boy.”

     I was very curious to see what Haley tunes Ugee might remember.

     “I can remember a lot of his tunes,” she said, “but I can’t sing them any more: ‘Sourwood Mountain’, ‘Cripple Creek’ and ‘Wild Hogs in the Red Brush’. He played one — ‘The blue-eyed rabbit’s gone away. The blue-eyed rabbit’s gone to stay.’ Probably old fiddle tunes, all of them. You couldn’t mention one of them he couldn’t play. ‘Marching Through Georgia’, ‘Red Wing’. ‘Old Jimmy Johnson’ — you’ve heard that. ‘Old Jimmy Johnson, bring your jug around the hill. If you don’t have a jug, bring a ten dollar bill.'”

     I asked if her father and Ed played most of the same tunes and she said, “Oh, yeah. Dad knowed some that Ed didn’t but Ed would learn them when he’d get in there, and if Ed knowed some, why Dad’d learn them, too.”

Parkersburg Landing 36

22 Saturday Dec 2012

Posted by Brandon Ray Kirk in Ed Haley

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Appalachia, Arnoldsburg, Calhoun County, Ed Haley, Ella Haley, Harvey Hicks, history, John Hartford, Laury Hicks, music, Natchee the Indian, Spencer, Ugee Postalwait, West Virginia, writing

     Ugee said Ed seldom had a fiddle case with him when he traveled into Calhoun County, West Virginia.

     “Most of the time Ed had his fiddle in a twenty-four pound flour poke,” she said. “Sometimes he’d put it under his coat and sometimes up under his arm — just whichever way he felt best about it. He was very careful with it under there. Dad told him one time, ‘Why don’t you get a case so you can carry that bow without tearing it up all the time?’ Ed said he didn’t want to bother with carrying that case in his hand. Some times he might take a notion to stop and play some music somewhere on the road.”

     At that instant, I had this image of Ed being so attached to his fiddle, with such an addiction, that the two were virtually inseparable. To not even want to put it away in a case made me think he always had it in his hands, feeling it, tinkering with it, trying new ways to make it work — all the time. You know, a person can get really attached to feeling an object — a ball or a pen — to where it doesn’t seem comfortable to not have it in hand. I imagine for a blind person this feeling is most intense. There’s a real comfort level to consider. This fiddle would’ve been his entire life — his passion, his breadbasket, his ticket to daily comforts and a better life in general. Then, I also pictured horrible images of him stumbling or even falling with it in his hands or tucked under his coat as he scooted along bumpy country roads.

     Ugee said Ed ordered his strings from “Sears & Roebuck and places like that. You could buy strings out in them country stores. Used to be you could buy them all in a drug store.”

     How did he get his bows haired?

     “Horse’s tail. Dad haired it for him.”

     Ugee said Ed and Laury played music at little towns called Rosedale, Grantsville and Webster Springs. I asked if Ed put a box or cup out to catch money and she said, “Oh, no. Maybe Dad would put a cigar box down. When Ed was some place and Dad was around, he’d just step up after they’d get to playing and Dad’d say, ‘If you fellers like that how about putting some money in this cigar box? This man’s got six kids. Don’t make him play for nothing’.”

     Ugee had faint memories of Ed fiddling in contests with her father. One time, she said, he lost a contest in Charleston to an Indian — no doubt Natchez the Indian, the famous show fiddler. “Ed got so mad at hisself,” Ugee said, “he just about blowed up over it because he knowed the feller couldn’t play but they give it to him. He was the world champion fiddler but he couldn’t play. Ed said, ‘It’s already cut and dried.’ Ed cut a shine and said that his music wasn’t worth a damn. You never heard such cussing.”

     The first time Ugee saw Ella, she was pregnant with Lawrence (circa 1927). At that time, Ella did not play the mandolin — an important thing to note considering how it was so prominently featured on the home recordings of the mid-40s.

     “Now Ella, when she first come in there, she played the accordion. Dad told Ed, he said, ‘I don’t like the accordion. It drowns out your music. I’d ruther hear the fiddle.’ He said, ‘Why don’t you teach her to play the guitar or the mandolin?’ Ed laughed. He said, ‘Hell, you can’t teach her nothing.’ Ella — I can see her shut her eyes yet — said, ‘Laury, don’t you like the accordion?’ He said, ‘Oh, I like it. Ella, you’re the best in the world, but I like string music.’ Next time she come back, she was playing mandolin. Ed learned her how to second and buddy she could keep time with it, too. Dad said, ‘I like that a whole lot better, just hearing that time.'”

     Ugee said, “Well, they had Lawrence and they named him after Dad. Then when they come back they had a little girl and they named her Monnie after my mother, Minnie. Ella wrote and told Mom, ‘Well, I had my baby and it’s a girl. Instead of calling her Minnie, I’m calling her Monnie, but it’s still your namesake.”

     I wondered if Ed and Ella played at courthouses in that part of West Virginia and Ugee said, “Yes, yes. They played at every courthouse there was in West Virginia down there: Grantsville, Clay County, Glenville and back through that way. Gassaway, West Virginia. Sutton, West Virginia. Just any place around — all the churches and all the schoolhouses. The old Roane County Courthouse in Spencer, it used to have great big shade trees. Then they had the stock market up on the Spencer Hill back towards Arnoldsburg and Ed and them’d go over there. And they had a boarding house just before you crossed the bridge — state hospital’s across over there — and then there’s the big Miller Hotel and everybody went in there to eat. And they’d be over there playing music and people would take Ed and Ella down there to eat.”

     Ugee said Ed and Ella were regulars at Arnoldsburg, a little town north of the Hicks home on Route 33 in Calhoun County. It was the first of many stories where she became the hero of her own narrative.

     “My brother, Harvey, he took me down to Arnoldsburg and Ed and Ella was playing music. They had a platform to dance on and Dad was down there. Harvey said, ‘Well, let’s sit back over here and listen to them a while.’ There was some girls trying to dance. They wasn’t keeping time. You could tell right then that Ed didn’t like the noise they were making. They was some way about twisting his shoulders that he didn’t like something that was going on. I looked at Harold and said, ‘He’s gonna quit playing in a little bit.’ Me and him sat over there in the car and was laughing about it. And Ed and them wasn’t making very much money there at the time.

     “So Dad happened to see us over there. He come over and said, ‘Won’t you go over and dance some?’ I said, ‘I don’t want to go over and dance.’ He went back and he told Uncle Jerry — that was Aunt Susan’s man — he said, ‘I’ll give you ten dollars if you’ll say something like, I’ll give ten dollars to see Ugee Hicks dance.’ Jerry said, ‘You give me ten dollars and I’ll put it in the box.’ Uncle Jerry said, ‘I’ll give ten dollars to see Ugee Hicks dance.’ Ed perked up like that — he’d give ten dollars too almost to hear me dance. And old Carey Smith, I never will forget it. Carey and old John both was there and they had money. ‘Well,’ Carey said, ‘I’d give a twenty-dollar bill to see Ugee Hicks come in there on that board and show them girls a few things.’ I just walked over to Uncle Jerry and I said, ‘Uncle Jerry, just put your ten where your mouth is.’ And I looked down at Carey Smith and I said, ‘Carey, you put your twenty where your mouth is. Throw it in that cigar box.’

     “Well, Ed went to playing ‘Carroll County Blues’. I had a pair of shoes on that had like a wooden heel on them. I hit that floor and I wanna tell you right now, you oughta heard Ed play. He just brightened up so. I don’t think I ever heard him play it better in my life. And Uncle Jerry turned around to old John, he said, ‘Well, you better put your twenty in here.’ Well, Ed made fifty dollars. Old Ed and Ella, you know they had a family. I was a pretty good dancer then. Them two girls quit. One girl stepped back and said, ‘Well, she can’t do the Charleston.'”

     Ugee told me more about the pact made between her father and Ed in the early thirties.

     “Now they made that pact a long time ago and they renewed it when Ed was back again. Dad told him he wanted him to play ‘When Our Lord Shall Come Again’ and he said, ‘I don’t care what you play before, fiddling pieces or anything, but when you play ‘When Our Lord Shall Come Again’, that’s when I’ll meet my Lord.’ And he said, ‘I’ll be a laying there in that grave until you sing that.'”

     Ed asked Laury to play “What A Friend We Have in Jesus” and a few fiddle tunes at his funeral.

     “I’ll lay there in that grave and won’t hear nothing,” Laury joked.

     Ed was “kindly acting a fool” about it too and told him to let Ugee sing since he was such a horrible singer.

     “Laury, we’re getting a little serious with this stuff,” Ed finally said. “I don’t know whether I can play anything or not.”

     “I know,” Laury said. “I don’t know whether I can sing over you, either.”

     Ugee said her father died of leukemia and stomach cancer in January of 1937 at the age of 56 years. About a month later, Ed made it to Calhoun County and played “When Our Lord Shall Come Again” at his grave. The famous Ohio River flood of ’37 delayed his trip. According to one publication, the flood crested in Ashland at 74.3 feet — nearly 20 feet above flood stage. It took one month and a half to play out, leaving residents with a large cleanup effort that lasted for six months.

     “Ed went up to the grave — it’s right up on the hill from the house — and he stayed and played music all day,” Ugee said. “He played fast fiddle tunes and he played slow ones and then he’d sing. That evening, back at the house, nobody said a thing. You coulda dropped a pin in our house. Ed just come down on the fiddle and went to playing that ‘Carroll County Blues’ and I just jumped up in the floor and went to dancing. I said, ‘Well, if my dad was a living, that’s what he’d wanted me to do because I can’t hold my feet.’ Ed told me the next day, ‘If you hadn’t done that I’d a choked to death right there.’ Ella said, ‘When you hit that floor I knowed you was gonna be all right.'”

In Search of Ed Haley 33

18 Tuesday Dec 2012

Posted by Brandon Ray Kirk in Ed Haley

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American Rolling Mill Corporation, Appalachia, Armco Steel Corporation, Ashland, Ashland Culvert Works, Ashland Oil and Refining Company, Ashland Steel Company, Ashland Tomcats, Ashland YMCA, C&O Railroad, Ed Haley, Ella Haley, Frogtown, Henry Clay, history, Kentucky, Midland Trail, National Dixie Highway, Norton Iron Works, Open Hearth Furnace Company, Paramount Arts Center, Poage Settlement, Sanitary Milk Company, Sherman Luther Haley, West Ashland

Ashland, Kentucky — originally named Poage Settlement but renamed “Ashland” in 1854 in honor of Henry Clay’s home — was a thriving spot of business activity when Ed Haley settled there after the Great War. It was an “iron and steel town” free of labor troubles with untapped natural resources situated at the intersection of the National Dixie Highway and the Midland Trail and accessed by at least five railroads. Its primary business was the Open Hearth Furnace Company, which according to a 1917 business directory, was the “largest in the world.” It also had the largest fire brick plant and the largest tannery and leather company in the world. By 1920, its population was 15,000 — almost twice what it had been in 1910.

In 1923, the American Rolling Mill Company (later Armco Steel Corporation) located in the western section of Ashland and constructed the world’s first continuous sheet mill. This new technology was revolutionary: it created thousands of jobs and improved the quality of sheet metal while also reducing its cost so that average Americans could afford refrigerators and other modern conveniences. Shortly thereafter, in what one local history referred to as “the greatest single event in Ashland’s history,” American Rolling Mill Company acquired Ashland Steel Company and the Norton Iron Works. In 1924, Ashland Oil & Refining Company was formed, helping to fuel an economic and population explosion, and the Sanitary Milk Company built a new plant at 34th and Winchester. The following year, Ashland Culvert Works located in town and the Chesapeake & Ohio Railway built a new passenger station. At that time, the population was estimated at 29,000.

During the early twenties, Ed and Ella Haley lived at “Frogtown” in West Ashland, a somewhat low-income area near the Armco plant. In 1920, Ed’s oldest son, Sherman Luther Haley, was born on March 17. He died, according to Kentucky death records, on April 5, not quite one month old. In the census for that year, Ed was listed as a thirty-five-year-old married musician. Ella was listed as thirty years old. Her son Ralph was not listed in census records with them, indicating that he was perhaps with the Trumbos in Morehead. In a 1924 business directory, Ed’s address was given as 618 ½ West Greenup Avenue. Today, this spot is at a floodwall near the city mall and a music store-turned-Chinese restaurant.

In those days, Ashland was not just an industrial site — it also favored the arts and recreation. The eastern edge of town offered a fifty-acre amusement park with a concert hall and dancing pavilion, as well as boating and swimming facilities. There was a YMCA and five theatres and “moving picture houses”, as well as a racetrack and a yearly agricultural fair. Its local high school, the Ashland Tomcats, was the national basketball champion in 1928, having edged Canton, Illinois, 15-10. Ashland seems to have retained its zest for the arts. Today it offers a beautiful park in the center of town, a community college, the Paramount Arts Center, a library, and a museum.

In Search of Ed Haley 31

16 Sunday Dec 2012

Posted by Brandon Ray Kirk in Ed Haley

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Appalachia, Arthur Smith, Ashland, Cincinnati, Clyde Haley, Ed Haley, Ella Haley, Hamilton, history, John Hartford, Kentucky, Lawrence Haley, life, love, Milt Haley, music, Ohio, Pat Haley, ragtime, Ralph Haley, Roxie Mullins, Scott Joplin, Sugar Foot Rag, writing

Back in Ashland, Lawrence and I told Pat all about our trip to Harts Creek. We had some great photographs — including the one of Ed’s mother — and all kinds of new information. One of the first things Lawrence did was joke Pat about seeing “that funny boy” who nearly scared her to death forty years ago. I told her about Milt Haley’s murder, the possibility of Milt having been a fiddler and about our interview with Roxie Mullins. Lawrence liked the story about his father breaking a fiddle over someone’s head, although it kind of bothered me to think he would do such a thing.

At some point during the evening, Pat suggested showing me Ella’s postcards, but Lawrence quickly dismissed the idea. I could tell there was something in those postcards he didn’t want me to see, which of course only peaked my curiosity. It was clear by his negative response, though, that the issue was closed so I didn’t mention it again.

Instead, I pelted him with very specific questions about his father. I wanted to know how Ed Haley felt about different types of music.

Did your dad like the Blues? I asked.

“I guess he liked, uh, Joplin,” Lawrence said. “He liked a lot of that ragtime. ‘Sugar Foot Rag’, he liked that.”

What about something like Hank Williams?

“No, I don’t think he cared too much for that.”

Otis Redding?

“Well, he might have liked some of it.”

How about Dixieland Jazz, somebody like Louis Armstrong?

“No, not too much of that.”

How about bluegrass?

“No, he didn’t like that.”

How about Arthur Smith?

“That was a fiddler, and he had nothing for him, I reckon.”

Clayton McMichen?

“Well, I never have heard him mention him.”

How about Georgia Slim Rutland?

“I really can’t remember him ever mentioning that guy, either.”

Did he ever know about Benny Thomasson or Major Franklin or any of those Texas fiddle players?

“John, I wouldn’t say one way or the other,” Lawrence finally said. “It’s just like you keep asking me, did he play this tune, did he play that tune? I guess my best answer whenever you started that shoulda been what didn’t he play in the way of this old-time music. And that’s the same way, who didn’t he know if they was into that and they was around this area he probably found out about them.”

Early the next morning, Lawrence and I went to see Ed and Ella’s graves in Ashland. Along the way, I asked him if he remembered all the places where his father had lived in town.

“Aw, we lived in half a dozen different places,” he said. “All we did was rent. We lived in a couple down on Greenup Avenue, 10th Street, 22nd Street. Then we lived in one on Halbert and about three different ones on 45th Street and one up on 37th Street. That’s about it.”

None of Ed’s former dwellings were still standing.

Lawrence told me about the time his brother Clyde almost got married: “That’s one of those deals where I told you he was afraid of women. He was courting a lady up in Detroit or somewhere and she told my sister-in-law, Patsy — Jack’s wife — said, ‘He run off and left me practically at the alter. We had made all the plans and everything.’ Next thing we knew, he was working on a platform out in the Gulf of Mexico out of Louisiana. I don’t know where he was when Mom passed away.”

After we got back to the house, Lawrence explained why he’d ruled out showing me his mother’s postcards the night before.

“Some of the old postcards that Mom used to receive kinda had a flavor of real broken love,” he said.

They also revealed that Ralph Haley actually belonged to Ella by a previous marriage.

“I don’t know what his name was, her first husband,” Lawrence said. “Apparently it was somebody that she met either in school or after she come out of school and went back to Morehead. I think Ralph was born around 1914, ’15, somewhere along in there, ’16. He was approximately ten years older than me, twelve at the most.”

For the first time, I thought, Lawrence was opening up about his mother. He said she used to type letters to her friends.

“She had a friend, I guess she must have been pretty well Irish. Her first name was Bridget. I don’t remember her last name. She never married. She went into a home and kept people up at Hamilton, Ohio. Every time we went to Cincinnati, Mom wanted to go see her.”

I listened quietly before saying, “I wonder what happened to your mom’s letters? I bet they would tell a lot of history.”

Pat said, “They probably would but it would mostly be my mother-in-law’s. You know, her life.”

I said, “But women invariably talk about their husbands a lot,” and Lawrence agreed.

“Women can pass along more information between them in five minutes than two men can all day long,” he said.

Still, he never offered to show the cards so I just kind of left it at that.

Just before I headed back to Nashville, Lawrence reached me his father’s walking stick. “Here’s something I think you’d like to have,” he said. He also loaned me the four Library of Congress reel-to-reel tapes, containing over 100 recordings.

In Search of Ed Haley 26

11 Tuesday Dec 2012

Posted by Brandon Ray Kirk in Big Harts Creek, Ed Haley, Music, Spottswood

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Appalachia, Clyde Haley, Ed Haley, Ella Haley, Enslow Baisden, Harts Creek, history, John Hartford, Lawrence Haley, Logan County, music, Ralph Payne, Robert Martin, Sol Bumgarner, West Virginia

In talking with Enslow and Bum, Lawrence and I were able to piece together some of Ed’s family connections on Harts Creek. Everyone seemed to know about the Mullinses — Ed’s mother’s people — but drew a blank when it came to his father. Enslow remembered his kids well, hinting at their mischief.

“I don’t know whether you remember, them boys — I don’t know whether it was Clyde or who — put them three-inch firecrackers in Ed’s coat pockets and shot them off.”

Lawrence said, “That must’ve been Ralph. They’d do that to each other.”

“They used to come in here a whole lot and get out and get in a fight,” Bum said. “They’d fight with each other.”

I was slowly getting this picture of Ed’s children running wild on Harts Creek — or anywhere else for that matter — so long as they kept at a safe distance from their parents. If true, it may have severely crippled Ed and Ella’s ability as traveling musicians to find people willing to give them room and board. Then Enslow told a horrible story about one of the kids getting stuck in a well.

“They just had a cement tile for a well out there at Robert Martin’s and one of them kids went down in it and he couldn’t get back up out of it,” he said. “He wedged his feet and his arms going down in it. Got down there, couldn’t get out. They had to rescue him out of that well.”

I asked Bum what Ed did when his kids started fighting or getting into mischief and he said, “He’d tell them to quit. They’d pretty well quit whenever he told them to, too.”

In Search of Ed Haley 25

10 Monday Dec 2012

Posted by Brandon Ray Kirk in Big Harts Creek, Ed Haley, Music, Spottswood

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Appalachia, Ashland, blind, Cleveland, Ed Haley, Ella Haley, Enslow Baisden, fiddler, fiddlers, fiddling, Harts Creek, Hell Up Coal Hollow, history, Huntington, Jack Haley, Jeff Baisden, John Hartford, John Martin, Kentucky, Las Vegas, Lawrence Haley, Liza Mullins, Logan County, Milt Haley, music, Nevada, Noah Mullins, Ohio, Oklahoma, Peter Mullins, Robert Martin, Sherman Baisden, Sol Bumgarner, Trace Fork, Turley Adams, U.S. South, West Virginia, writing

After visiting with Turley and Joe’s girls, Bum guided Lawrence and I up a nearby hollow to see his uncle Enslow Baisden. Enslow lived in a newly built single story log cabin. He said he’d gone blind recently due to sugar and cataracts. At Enslow’s, we met “Shermie”, who Lawrence indicated was the “funny boy” that chased the Haley women off of Aunt Liza’s porch in 1951.

“A lot of times I wouldn’t have no company if it wasn’t for him,” Enslow said of Shermie, who was epileptic. Shermie wasted little time in pulling out a few cards from the pocket of his overalls and sputtering toward me, even reaching for my fiddle case. I knew right then I was surrounded by “good people”: they had kept Shermie under their care all of these years as a valued member of the family in lieu of institutionalization.

When I mentioned Ed Haley’s name, Enslow said, “I was young but I can remember him all the time a coming. They was some Martins lived on top of a mountain out here — Robert Martin and John — and they fiddled all the time, and he’d go out there and fiddle with them. I don’t know how he walked from up this creek and out on that mountain and him blind, for I can’t find my way through the house.”

Enslow said he didn’t know much about Ed because he left Harts during the early years of the Depression.

“See, I lost all time, about everything nearly. I left here in ’35 and went up to the northern part of the state here and then went out in Las Vegas, Nevada, a while. Then, when I come out, I went in the Army in April of ’41. I stayed in there four and a half years and got married out in Oklahoma and we never did come back but just on visits. And Ed, he died in ’51.”

Enslow’s recounting of his travels was sort of an interesting revelation since it reminded me that these folks on Harts Creek — like many mountain people — were not as isolated as some may think. Ed Haley himself left the creek and traveled widely with his music just after the turn of the century, while Lawrence and his siblings had lived in Ashland and Cleveland and served overseas in the armed forces. Several of the people I had met on Harts Creek had been to faraway places and lived in big cities but chose at some point to return to the grounds of their ancestors.

I asked Enslow how old he was the first time he saw Haley and he said, “Oh man I was about nine or ten years old. He all the time played that fiddle. He used to come down here to old man Peter Mullins’ and Liza Mullins’. I guess they was real close kin to him. And Ed’s daddy’s name was Milt Haley. I don’t know whether Lawrence knowed that or not.”

Lawrence said, “Yeah, I knew that. But I understood from the way Aunt Liza told me, he came from over the mountain and I think that she was talking about from up around Williamson or over in that area. My dad, he was born right down here below Uncle Peter’s, where Turley’s at now, in the old house.”

Lawrence’s mentioning of “the old house” really got Enslow going. He remembered it well.

“There used to be an old log house there he was born in and they had a chimney outside on that old house down there — just an old rock chimney. Dad all the time talked about it. He said Ed got him one of them little old homemade sleds, you know, and he got him a ladder and put it on top of that house. And he got right up by that chimney and then when he come off’n there on that sled he knocked the rocks off with him.”

What? Why would he have done such a thing?

“I’ve always heard my dad tell it,” Enslow said. “Said that rock just barely did miss him.”

I wasn’t sure what to make of such a story but before I could really ask anything about it Enslow was off on another tale.

“Dad said one time they sent Ed down there to get some milk or butter or something. When Ed got out there on his way back he got in a briar patch. Dad took a notion to have some fun out of Ed. They had an old horse they called Fred. Dad got to stomping and snickering like that old horse and Ed said, ‘Old Fred, don’t you come here, now. Don’t you come here, Fred.’ Dad said he kept stomping and Ed throwed that stuff at him and tore hisself all to pieces in them briars.”

I asked Enslow to describe Haley and he said, “Well, he just always dressed pretty nice. He was a big man, too. They used to buy him these plugs of tobacco and these guys would get this beech bark and whittle it out about the size of a plug of tobacco and let Ed have that bark and they’d take his tobacco. If he ever got a hold of you, though, he’d eat you up, see. They said you couldn’t get loose from him.”

Apparently, Ed and his wife were so self-sufficient that locals sometimes forgot they were blind. Enslow told a great story about Ella and Aunt Liza, who were sitting by a lamp together one night. “Well, Mrs. Haley, I’m going to bed,” Liza said. “Well, just blow out the light,” Ella answered. “I’m going to read a while.” Liza said, “How’re you going to read in the dark?” Ella said, “Well, I can’t see no way.”

Enslow’s mentioning of Aunt Liza conjured up a great memory from Lawrence.

“Uncle Peter liked to wore me to death one time. Me and my brother Jack went with him up there behind his house and he had a old team of oxen we was snaking logs out of a hollow with. These oxen got hot. One of them got in the creek trying to cool off. Well, Uncle Peter couldn’t get him to move, so he went over underneath a tree and sat down. Well, me and my brother Jack was a cutting up, you know. He was teasing me. I was younger than he was. And I picked up a big rock and throwed it at him and hit Uncle Peter right where it hurts. And he got up. I knowed I could outrun him. My brother — I looked at him — he took off. And I was afraid to move. Uncle Peter come up there. I thought, ‘Well, I’m dead meat.’ It looked like he pulled down a half a tree and got a hold of me and he didn’t let go until he wore that limb out.”

I asked Enslow about Ed Haley’s music.

“I used to hear him play all them old tunes,” he said. “He’d sit and play for hours and hours at a time, him and her.”

Enslow motioned toward Lawrence, saying, “His mother played a mandolin and had a thing on that sat on her shoulders there and had a harp and played them both at the same time.”

He leaned back a little, reflecting, “Yeah, he played all the old music. He’d make up songs. Be sitting around and just directly he’d write a song. Like ‘Hell Up Coal Hollow’ and two or three more he made up that way. You’d come up and say, ‘What was that Ed?’ He’d just tell them what it was.”

Enslow and Bum said Haley made “Hell Up Coal Holler” and named it for Cole Branch, a tributary of Harts Creek. I didn’t know if Ed was the source of that story but I later learned that “Hell Up Coal Hollow” (at least the title) actually predated Haley’s lifetime. As I was gradually learning, Ed wasn’t preoccupied with historical accuracy and was good at creating temporary titles and weaving stories based on coincidence.

Enslow said, “Ed had some kind of saying he always said when he played on the radio down there about ‘carbide acid and acifidity gum’ or something.”

Lawrence said he’d never heard anything about his father playing on the radio but Enslow seemed sure of it.

“He played on the radio down there at Ashland or Huntington or somewheres way back there. I’m pretty sure they said he did.”

I wondered what acifidity gum was and no one knew, although Lawrence had heard Ed talk about it. (We later learned it was an old folk remedy for treating asthma.) Enslow said Uncle Peter asked Ed about it one time and he said, “Well, you have to get a little comedy with the music.”

Wow — so Ed told jokes?

Enslow said, “I guess to draw their attention or something.”

I asked Enslow if he’d ever heard Ed play for a dance and he said, “Well, I used to go to lots of things he played for, but I can’t remember now. They’d go out there on that mountain and play all night at Robert and John Martin’s. They’d be maybe two hundred people out there. Robert Martin all the time played the fiddle and I don’t know whether John played or not.”

Enslow thought Ed and Robert played their fiddles “together,” but Bum added, “Bob played a little different than Ed did. He played newer stuff.”

Enslow thought for a moment, then said, “Yeah, my dad, he used to play the banjo all the time, him and his nephew. They used to play for dances way back years ago.”

What was his name?

“Jeff Baisden.”

Bum said, “I was telling him about Grandpaw taking them two little sticks and beating on the fiddle for Ed.”

Someone said, “He’s the one had the big old feet and he’d get up and dance and play the banjo.”

Enslow said, “They called him ‘Jig-Toe’ Baisden. He wore a twelve or thirteen shoe and he’d get up on his toes and dance. And Noah Mullins, Uncle Peter’s son, he could flat dance. He’d get on his heels and dance all over. He called their square dance about all the time.”

In Search of Ed Haley 24

09 Sunday Dec 2012

Posted by Brandon Ray Kirk in Big Harts Creek, Ed Haley, Spottswood

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Appalachia, Ashland, Ashland Cemetery, Buck Fork, Clifford Belcher, Connie Woods, Dingess, Ed Belcher, Ed Haley, Ella Haley, fiddle, fiddler, fiddling, genealogy, George Greasy Adams, guitar, Harts Creek, history, Hoover Fork, Jackson Mullins, Jeff Baisden, John Frock Adams, John Hartford, Johnny Hager, Kentucky, Lawrence Haley, Liza Mullins, Logan, Logan County, Maynard's Store, music, Nashville, Peach Creek, Peter Mullins, Ralph Haley, Sol Bumgarner, square dances, Trace Fork, Turley Adams, Violet Mullins, Weddie Mullins, West Virginia

At some point, Connie showed up with a small entourage of women toting some of Joe Mullins’ old pictures. My eyes immediately went to a large, framed photograph of two serious mustachioed men. Turley said one was Weddie Mullins — his grandfather on “both sides” of the family tree — while the other was Ed Haley’s Uncle Peter Mullins. Both men were brothers. Turley said his grandfather Weddie — Ed’s uncle — was murdered at the little town of Dingess just after the turn of the century.

Lawrence said, “Mom and Pop used to play at Dingess — just a little community over in MingoCounty.”

That got us back on the subject of Ed, although most of the commentary was choppy and mixed between looking at photographs. One of the girls said, “We’ve heard talk of Ed all our lives.” Another made the unusual remark, “He could see lightning. Some way he could feel it or something and tell it was hitting.” Someone said Ella could tell the difference between the Haley children by their smell.

Turley, who had been fairly quiet throughout our visit, said to Lawrence, “Bernie Adams used to play a lot of music with your dad.”

Violet said, “Bernie’s the one took him in the chicken house for the toilet. They stayed all night up at our house. Robert Martin and Bernie and Ed and them played music all night. I can remember it. I was just a little girl. Mother said Ed played many a time where she was raised up over in the head of Francis Creek.”

Lawrence said, “You know, these different places like Hoover and places like that don’t ring a bell to me. I can remember going down here to the end of Trace, and maybe down to Smoke House, and up to George Adams’ who lived on up this way, and up to that store — Maynard’s Store — and buying candy, but that’s about the limit of my travel, except coming up from the mouth of Harts.”

Basically, the next half-hour or so was a giant “get to know everybody session” — mostly between Lawrence and the locals. I sort of hung back a little, taking it all in, while Lawrence spoke of and listened to stories about his father. There was a glow about his face that had been absent in Ashland.

At one juncture, he told Connie how her grandparents, Peter and Liza Mullins, raised his father.

“Oh, really?” she said. “I didn’t know that. Now I remember Granny. They wanted me to stay all night with her and I was always afraid she’d die in her sleep or something. That’s terrible.”

She asked Lawrence if he remembered Uncle Jeff — “he was Granny’s brother and he was kinda slow.”

Violet said, “He liked to go to all these dinner meetings they’d have out in the country. He’d walk for miles and miles.”

Connie asked Lawrence if Ed ever played at Logan — the seat of government for Logan County — and he said, “Yeah, he used to play around Logan quite a bit and Peach Creek. He’d play up there during court days especially. Back in them days, the town would load up. I’ve been there with him during those times. The old courthouse, I think it faced toward the river. One side of it was on Stratton Street.”

Connie asked where Ed was buried and Lawrence said, “He’s buried in the Ashland Cemetery in Ashland. Mom’s buried in the same cemetery but not with him. By the time my mother died — she died three years after Pop — they’d filled that section up.”

I’d never really thought about that. Ed and his wife were not buried together, the kind of seemingly minor detail tossed out randomly that took on somewhat of a greater meaning at a later date. I made a note to myself right then that I would visit Ed’s grave in Ashland before heading back to Nashville.

Violet wondered about Lawrence’s older brother, Clyde.

“Clyde’s out in Stockton, California,” he said. “He’s what I call the black sheep of the family. Never married. He just followed the sun for work. When it was summertime, he’d go north; when it was wintertime, he’d go south.”

Just then, an old man called Bum showed up at Turley’s. Bum remembered Ed and his family well. He asked Lawrence about the Haleys. It was hard to focus on their conversation — everyone in the room seemed to be talking at once — but I heard Bum mention something about how Lawrence’s brother Ralph used to hang from tree limbs by his “sticky toes” and would “do anything.”

“That’s exactly how he got killed,” Lawrence said. “He was hanging by his toes and he was gonna let go with his toes and flip over and land on his feet but he didn’t make it. He was just active like that. See, Ralph danced around these carnivals and fairs and places.”

A few minutes later, things quieted down a little. I moved over near Bum to ask him about Haley. His answers seemed to come through his nose more than his mouth and were usually followed by a little chuckle. He was great. Bum said he was 67 years old and first saw “Uncle Ed” in the thirties.

“He lived down in Ashland and he’d come up pretty often,” Bum said. “People come from everywhere to listen at him play whenever they’d have them big dances and stuff. He’d play half the night. Yeah, I’ve been right there.”

I asked Bum about Ed’s tunes and he said, “Ah, he played so many… There was one religious tune he’d put the bow under the fiddle, and the hair, he’d turn it right over and slip his fiddle between it, and play that. I forgot what it was.”

Bum told me all about the old dances.

“They used to have a big working,” he said. “About every family on this creek and Harts Creek down here, they’d all gather up and hoe one man’s field out and then move to the next one. And they’d all go to each other’s farms that way and help each other, and when they got done one man would have a big dance. They’d have a dance on Saturday night. They’d have them at just about every home, mostly at Uncle Peter’s up here, in the house. Like one room in there, they’d gather everything up and take it outside and they’d have a dance in there, and when they got through they’d put the furniture all back in. Anybody that wanted to come was invited. They’d have food right in the house. There were usually three or four around to call the reel: ‘Dosy doe and here she comes and there she goes.'”

“It’d just be Uncle Ed and John Hager playing?” I asked.

“Well, Ed mostly,” Bum said. “Uncle Johnny, he played some with him. Uncle Ed, he played by himself most all of these dances. Mrs. Haley played with him a lot. She played the mandolin, guitar or accordion.”

“Did Johnny Hager play the banjo about like Grandpa Jones?” Turley asked Bum.

“Yeah, over-handed they call it,” Bum said. “Molly O’Day, she played that way. My grandpaw would whittle out two little sticks and he’d sit and beat on them strings and Ed a playing the fiddle.”

“Ed played with Ed Belcher,” Turley said.

“Yeah, I’ve heard Pop talk about Ed Belcher,” Lawrence said.

Now who was Ed Belcher?

“He played the guitar,” Bum said. “He could play the piano, too. They’d get together at times and play together. They’d go up Buck Fork.”

Bum said he last saw Ed Haley “over here on that mountain yonder” at Clifford Belcher’s beer joint.

“He’d go down there and play and people’d give him beer and stuff. That’s about all he wanted. I run into him over there one night. I said, ‘Uncle Ed, where you been?’ He said, ‘I ain’t been no where but right here. I come up here to sit around and play music a while.’ I bought him a beer and he sat there and played music. Well, a Conley boy run in and went to playing and thought he was better than Ed and everything. Ed finally told that boy, said, ‘Why don’t you quit playing that music? You can’t play. You’re cutting my music up too much.’ That boy come back at him, you know, and aimed to fight him. He said, ‘Shut up, old man. You don’t know what you’re a talking about.’ I was standing there and I told him, I said, ‘Now listen. If you jump on that man, you’ll have me to fight and him both.’ And Ed took his fiddle and hit that feller right down over the head with it and busted that fiddle all to pieces.”

Lawrence laughed.

Turley said Ed Haley was high-tempered, as well as strong, and hinted at his mean streak.

“Dad said Peter had a dog that Ed couldn’t get along with at all. Ed told Uncle Johnny, ‘You get me close to him and I’ll hit him in the mouth. I’ll knock him out.’ And he said Ed hit that dog and killed him with his fist. Hit him in the ear and killed him. That’s what my daddy told.”

Bum was very familiar with Ed Haley’s family on Trace. He said Uncle Peter Mullins was “pretty bad to get out and get drunk and get into it with people.” He knew all about Ed’s uncle Weddie Mullins’ murder at an election in Dingess. “There used to be a train come in there and they’d bring flour and stuff over there and people’d go over there to Dingess and get it,” he said. “They’d take wagons and go through these hills, like up Henderson and all them places and they got into it over there.” Bum wasn’t sure who shot Weddie but knew that his killer survived the fracas. Once the news reached Harts Creek, John Adams got a pistol from Jackson Mullins and rode to Dingess where he found Weddie’s killer laid up in a bed clinging to life. Someone told him the guy probably wouldn’t make it so (like something out of a Hollywood Western) he pulled out a .38 pistol and said, “I know he won’t,” and shot him in cold blood.

I wasn’t exactly sure who any of these people were — Jackson Mullins, John Adams — but I had the impression that they were some relation to Ed Haley. At that juncture, I just let the tape recorder roll and tried to take notes and absorb everything, figuring that what seemed like unimportant details would perhaps later develop into major items of interest.

In Search of Ed Haley 20

07 Friday Dec 2012

Posted by Brandon Ray Kirk in Ed Haley

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Appalachia, Arkansas Traveler, Ashland, Blackberry Blossom, blind, Chillson Leach, Ella Haley, fiddler, fiddlers, fiddling, Fisher's Hornpipe, J P Fraley, John Hartford, Kentucky, Lawrence Haley, Mt. Sterling, music, Ralph Haley, Turkey in the Straw, U.S. South, Virgil Alfrey, West Virginia, Williamson

Later that evening, Lawrence and I went to see J.P. Fraley. On the way, he told me more about his father’s recordings.

“Well, he depended on my brother Ralph to tap him on the shoulder when he wanted him to start, and when he was getting near the end of the disc he’d tap him again, see? And Pop, sometimes he’d stop right then, cut it off real short, and then sometimes he’d go to the end of that run and hit that shave and a haircut at the end of it. Sometimes it sounded like he was gonna quit, see? Ralph hadn’t give him the signal that they was close to the end of the recording, so you can hear a little bit of hesitation at times. I thought Mom was getting ready to stop, too.”

Lawrence figured the records were made in the daytime but wasn’t sure of the time of year. “I guess the good part of maybe one spring or something because I was in the service and I wasn’t home.”

At the time of the recordings, Ed was no longer playing professionally. “He’d go out, like I say, a few times. Somebody’d come and get him, take him somewhere. He thought, ‘Well, if they’re gonna have a good time, I’ll go up and play for them and have a good time with them.’ As time went on, the older he got, the harder it was to get him to go. I guess he was having more trouble with his circulatory system.”

At J.P.’s, we met Virgil Alfrey and Chillson Leach, two old-time fiddlers from around Ashland. Virgil began playing the fiddle as a boy of twelve in the early thirties, around the time he used to see Ed in Williamson, West Virginia. The last time he saw him there he reached Ed a dollar and requested “Fisher’s Hornpipe”. Haley recognized his voice, played the tune then tried to give his dollar back because he liked him.

Chillson Leach, an 83-year-old retired rigger from Mt. Sterling, Kentucky, had been playing the fiddle since he was nine years old.

“Uncle Ed was one of the best fiddlers in this country,” he said. “He would get an audience in front of him and he kinda knowed that they was a lot of people by the sound of the money they throwed in his cup. And he’d say, ‘People, they’s a mental strain and a physical strain on playing the violin.’ Now that’s what he would tell them. He wanted them to know that he was earning his money when he was a playing that violin. And lord, when he would pull that bow across that fiddle he’d get some of the prettiest notes that ever you heard in your life. His fingers was long and slim and as nimble right up I reckon till he died.”

Lawrence, who was taking all of this in, said, “Pretty close. He slowed down the last five or six years.”

Chillson said, “Yeah but when I knowed him, my goodness, he’d get way down on that neck. Any position you wanted him to play. He was wonderful. It’s a shame that a person has to die. I’d give him a quarter and I’d say, ‘Play that ‘Blackberry Blossom’ and he played that for me and man he could just make your hair stand on your head. And then he played a lot of reels, you know. He could play anything you’d ask him: ‘Turkey in the Straw’, ‘Arkansas Traveler’.”

Chillson was obviously a fan.

“I just thought the world of him because he entertained everybody in Ashland,” he said. “He had a blind fellow that played the guitar with him and this blind fellow would sit there and man they’d make some pretty music.”

On the way home, Lawrence told me that his father hated to play “Turkey in the Straw”.

Ed Haley family

04 Tuesday Dec 2012

Posted by Brandon Ray Kirk in Ed Haley

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Appalachia, Ashland, blind, Clyde Haley, culture, Ed Haley, Ella Haley, fiddler, Great Depression, history, Jack Haley, Kentucky, Lawrence Haley, life, music, Noah Haley, photos, Ralph Haley, U.S. South

Ed Haley family, circa 1929

Ed Haley family, circa 1929

In Search of Ed Haley 15

03 Monday Dec 2012

Posted by Brandon Ray Kirk in Ed Haley

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Appalachia, Ashland, Bill Day, Blind Frailey, Bonaparte's Retreat, Clyde Haley, Ed Haley, Ella Haley, fiddler, fiddling, history, Ironton, Jack Haley, Jesse Stuart, John Hartford, Kentucky, Lawrence Haley, Library of Congress, life, Mona Haley, music, Noah Haley, Ohio, Pat Haley, U.S. South, Washington's March

Pat said, “My mother-in-law used to worry about Pop — whether Pop would go to heaven, because Pop would curse and I guess Pop was a rough man when he was growing up.” Lawrence added, “A drinker and a swarper, I guess.” Pat went on: “My father-in-law used to wear these big Yank work clothes — the dark green and navy blue, he liked those — and I would tell him, ‘Pop, time to change your clothes.’ Pop had been dead, I guess, about two years and one night I had a dream. And I saw my father-in-law on this cloud and he had an almost brand new set of big Yank work clothes on. He was chewing his tobacco and he had his pipe, and he said, ‘Patricia, I don’t have to worry about it anymore. I can chew my tobacco all I want and spit anywhere I want.’ I got up and my mother-in-law got up and I said, ‘Mom, you don’t have to worry about Pop anymore. I had a dream about him.'”

Hearing this caused me to think about how Jesse Stuart, the famous Kentucky writer, wrote about Haley — who he called “Blind Frailey” — playing in Heaven.

This is a fiddler when he gets to Heaven

As people say “Blind” Frailey’s sure to do —

He’d go up to the golden gates of Heaven,

“Blind” Frailey would, and fiddle his way right thru.

He’d fiddle all round God’s children with harps,

“Blind” Frailey doesn’t know the flats and sharps,

But all God’s children will throw down their harps

And listen to a blind man fiddling thru.

“Blind” Frailey will fiddle on the golden street

Till dancers will forget they are in Heaven,

And they’ll be swept away on dancing feet

And dance all over golden streets of Heaven.

“Blind” Frailey will fiddle for the dancers there

Up where the Lord sits in his golden chair,

He will sit down to jolly fiddling there.

 And if one Plum Grove man has gone to Heaven

And if he hears this fiddle by a chance,

He will call out the angels here in Heaven;

The sweet fair maids here all white-robed in Heaven,

And they’ll renew again the old square dance —

The old Kentucky mountain “Waltz the Hall” — 

The most Kentuckian of all dance calls —

The Lord will sit in his high golden chair

And watch “Blind” Frailey from Kentucky there,

The Lord will sit wistfully a-looking on

But the Lord will never say a word at all,

Not when he sees his angels “Waltz the Hall — “

And when he hears Frailey from Kentucky there

He will sit back and laugh from his golden chair.

And if “Blind” Frailey finds rest in Heaven

And if the Plum Grove folks knew it back here,

I’m sure these folks would try harder for Heaven

To follow the “Blind” Frailey fiddler there —

They love to dance to his magic fiddle —

They could dance all the night and all the day —

And if they would become light spirits in Heaven

And get all the thirst and hunger away

Their light spirits then could dance till Doomsday —

There’s danger that they would forget to pray —

But when “Blind” Frailey starts sawing his fiddle

Only he stops long enough to resin his bow —

When he does this, spry dancers will jig a little —

Jig on till Frailey says: “Boys, let ‘er go!”

I wondered if Ed was a religious man.

“A lot of preachers, he was with them like he was the record companies,” Lawrence said. “He took about half of what they said as truth. But he believed in a heaven and hell, I’m pretty sure, because his hell was if he had to play music with people like Bill Day or some other half-assed musician. And that would be his hell, and that’s the way he felt about it.”

Not long after Ed’s death, Ella divided their home recordings among the kids.  Lawrence showed me his share — some were aluminum-based, while others were paper-based. Most had been scratched. Others were warped or had the disc holes entirely off center. But in spite of their poor condition, I could tell that Lawrence had faithfully guarded them with a passion and a stubborn resolve that his dad’s music would survive. (Back in the fifties or sixties, he’d refused a $5,000 offer for them by a Gospel singer from Nashville.) His dedication seemed to stem from a deep love for Ed and Ella, as well as an unyielding pride in their music. When I told him that Ed was a musical genius, he wasn’t surprised or flattered — it was something he already knew. He took it all in stride. If I started bragging on Ed too much, he joked about how I never did see his “mean side.”

Lawrence didn’t know much about the circumstances surrounding Ed’s records, because they were made during his years in the Air Force.

“I was in the service, and they give me what they thought I’d like. They mighta duplicated some of the same records they gave me and gave them to some of the other children. Like ‘Old Sledge’, maybe one of my other brothers or somebody liked that piece of music, so they’d make one for me and one for them. Maybe a fifth of those were duplicated.”

Most of the records featured Ella on the accordion or singing.

“Mom would sing things like ‘Me and my wife and an old yellow dog, we crossed the creek on an old hollow log.’ She would come up with that mostly. Maybe one little thing like that through the whole tune.”

In addition to Haley’s home recordings, Lawrence showed me the four reel-to-reel tapes of his dad’s music, which the Library of Congress had made for him in the early 1970s.

I asked him about the other kids’ records and he said, for starters, his brother Clyde sold his to “a guy by the name of Brickey that run a store down on 12th Street and Winchester. Pop used to go around and play with Brickey — sit around the store with him and play music. I think this guy was from out in Carter County originally. But Clyde sold him all of his records, just for enough money for him to take off on one of his wild jaunts. He’d start out and take off and be gone two or three years at a time.”

Lawrence didn’t think any of the Brickeys were still around Ashland.

“I think this old gentleman died. I got some of the records back from him, but I know he didn’t turn loose of all of them.”

Lawrence’s sister Mona lost her records when she got behind on her rent.

“I know my sister, she lived over in Ironton, and she got in back on her rent some way and moved out. She took one of them ‘midnight flights’ you know, and didn’t take this trunk — she had a big trunk — and all those records was in that and where they went to from there nobody knows.” Pat said, “She never could get the trunk. The woman later told her that she discarded it. We also know for a fact that my sister-in-law trashed a bunch of the records because she was angry at her husband and threw them at him.”

Oh Lord.

Lawrence’s brother Jack apparently lost most of his records, too.

“Jack and his family, they probably just wore a lot of theirs out and discarded them,” Lawrence said. “They didn’t take care of them right. They just played them to death, I guess.” Pat agreed, “Jack said they didn’t take care of them. They let the kids play with them.”

Noah, Lawrence’s older brother, lost his records when his ex-wife threw them at him in various arguments.

Lawrence sorta dismissed their destruction.

“They went. We all had our share of them — just one of the gifts that Mom and Pop gave us.”

As our conversation turned away from Ed’s life and toward his music, Lawrence almost immediately mentioned his father’s version of “Bonaparte’s Retreat”.

“Well, they call the first part of it ‘Washington’s March’,” he said. “My dad would tune the low string way down and you could hear the real fast march, like the men marching at a pretty good pace, and all at once he’d lift that bow up and hit that low string and it’d sound like a cannon booming. And he’d go into this real fast finger-work that had to do with the troops moving out of Russia as fast as they could and then there’d be a small section that was slow, like it was a sad, sad situation for these French soldiers coming back out of Russia. You can picture it, I guess. A bunch of soldiers coming out with their shoulders stooped and rags around their feet and just barely able to move. Pop would play part of that real slow like a funeral dirge and then he’d go back to the fast march with the cannons booming.”

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Feud Poll 2

Do you think Milt Haley and Green McCoy committed the ambush on Al and Hollene Brumfield in 1889?

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Feud Poll 3

Who do you think organized the ambush of Al and Hollene Brumfield in 1889?

Recent Posts

  • Logan County Jail in Logan, WV
  • Absentee Landowners of Magnolia District (1890, 1892, 1894)
  • Charles Spurlock Survey at Fourteen Mile Creek, Lincoln County, WV (1815)

Ed Haley Poll 1

What do you think caused Ed Haley to lose his sight when he was three years old?

Top Posts & Pages

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  • Levisa Hatfield (1927-1929)
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© Brandon Ray Kirk and brandonraykirk.wordpress.com, 1987-2023. Unauthorized use and/or duplication of this material without express and written permission from this blog’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Brandon Ray Kirk and brandonraykirk.wordpress.com with appropriate and specific direction to the original content.

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Appalachia Ashland Big Creek Big Ugly Creek Blood in West Virginia Brandon Kirk Cabell County cemeteries Chapmanville Charleston civil war coal Confederate Army crime culture Ed Haley Ella Haley Ferrellsburg feud fiddler fiddling genealogy Green McCoy Guyandotte River Harts Harts Creek Hatfield-McCoy Feud history Huntington John Hartford Kentucky Lawrence Haley life Lincoln County Lincoln County Feud Logan Logan Banner Logan County Milt Haley Mingo County music Ohio photos timbering U.S. South Virginia Wayne County West Virginia Whirlwind writing

Blogs I Follow

  • OtterTales
  • Our Appalachia: A Blog Created by Students of Brandon Kirk
  • Piedmont Trails
  • Truman Capote
  • Appalachian Diaspora

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OtterTales

Writings from my travels and experiences. High and fine literature is wine, and mine is only water; but everybody likes water. Mark Twain

Our Appalachia: A Blog Created by Students of Brandon Kirk

This site is dedicated to the collection, preservation, and promotion of history and culture in Appalachia.

Piedmont Trails

Genealogy and History in North Carolina and Beyond

Truman Capote

A site about one of the most beautiful, interesting, tallented, outrageous and colorful personalities of the 20th Century

Appalachian Diaspora

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