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Tag Archives: Skillet Lickers

In Search of Ed Haley 339

20 Sunday Jul 2014

Posted by Brandon Ray Kirk in Calhoun County, Ed Haley, John Hartford, Music

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Alabama, banjo, Booger Hole, Brandon Kirk, Calhoun County, Dixie, Ed Haley, Elizabeth Hicks, fiddle, fiddlers, fiddling, Gid Tanner, Hinkey Dinkey Dee, Jasper McCune, Jim McCune, John Hartford, John McCune, Laury Hicks, Minnie Hicks, Mount Airy, music, North Carolina, Perry Meadows, Ralph Haley, Rogersville, Skillet Lickers, Tom McCune, Ugee Postalwait, Washington Hicks, West Fork Gals, West Virginia, writing

As Ugee spoke about her life, I pulled out the Laury Hicks fiddle and began to play. For Ugee, hearing it painted pictures and conjured up images from long ago. Her eyes teared up, full of emotion and melancholy.

“I never thought I’d hear Dad’s fiddle played again,” she said, after I played one tune.

For the next half-hour, I played for her, intermittently asking things like, “Did you ever hear Ed play ‘The Star Spangled Banner’?”

“I certainly have.”

What about “Dixie”?

“Oh my god, yes. Him and Dad both played ‘Dixie’.”

Did they play “West Fork Gals”?

“Oh, yeah. I don’t think they was any fiddling pieces back then they didn’t know.”

Before putting the fiddle back in the case, I asked what Ed did when he needed repairs on his fiddles.

“They didn’t work on their fiddles very much,” Ugee said. “They kept their fiddles in good shape. I’ve seen Dad string the bow hair off a horse’s tail. Seen him do that a many a time. He’d string up the bows for Ed, too. Dad could do all of that.”

Did Ed trade fiddles a lot?

“Oh, yeah. Anybody that came along. He’s been there with three or four. He used to come and try to trade some of them off to Dad. Sometimes Dad’d trade with him, sometimes he didn’t. I’ve seen my dad have as high as seven fiddles.”

I showed Ed’s fiddle to Ugee and she said, “Ed Haley got that fiddle from Dad. Ed traded him a real dark-looking fiddle. Ed got my guitar, too. He wanted it for Ralph.”

Brandon asked Ugee about her father’s background, a very important thing considering his strong presence in Ed’s life. She said he was born in 1880 to Washington and Elizabeth (McCune) Hicks in Calhoun County.

“Well, he come very near to getting killed when he was young,” she said. “Perry Meadows stabbed him seven times with a knife right around the heart in a fight. They didn’t think he’d live at all. He told Perry if he lived, ‘I’ll get you.’ He liked to beat Perry to death after he got older. Old Mrs. Meadows was gonna indict Dad over it it but Dad rode a pony horse and went with Ab Moss’ mother to Mount Airy, North Carolina. Back then, they wasn’t no roads — just trails. Took his big dog with him named Ring. He come very near to beating Perry to death, though, I guess. They was friends afterwards. Perry lived down the road just about half a mile below us. Dad never cared that much about Perry but he treated him right.”

Ugee spoke little about Laury’s bachelor days but implied that his musical skill and talent at square dancing made him popular with the ladies.

“They wouldn’t have a square dance in the country without having Laury Hicks,” she bragged.

She felt Laury inherited his musical talent from his mother’s side of the family, the McCunes. Laury’s uncle Jim McCune, who lived at the infamous “Booger Hole,” had musical children: John was a good fiddler on two or three tunes, while Jasper was the best banjoist in the area. Another son Tom “could play the banjo, but he was the best whistler I ever heard in my life. Dad give him a dollar a day to come up and whistle for him when he was bad sick.”

“All them McCunes could play music and they could dance, too,” Ugee said, before adding that they were mostly known as singers.

In 1904, Laury married Minnie Shaver. Because he was so close to his mother (he was her “favorite”), he remained living at home with his new bride. Years later, he played his fiddle and sang for his mother at her deathbed. Ugee sang all she could remember of the song:

There was an old man, he had a wooden leg.

He had no tobaccer but tobaccer he’d beg.”

“That was Grandpap Hicks’ favorite and the night that Granny died in 1923 I was putting her to bed and he was just see-sawing on the fiddle. She said ‘Laury, play your dad’s tune,’ and he said, ‘Oh Mam, I have to change the key.’ She said, ‘Don’t make no difference. Play Wash’s piece.’ I never will forget: I went to the kitchen and he was playing that and he hollered, ‘Hey, Ugee! Come here quick!’ And I come back in and seen they was something wrong with Granny. And I run and aimed to work with her…she was gone.”

Ugee couldn’t remember the title of her grandfather’s favorite tune, nor any more words to it, but Brandon later found those lyrics in a song recorded by Gid Tanner and His Skillet Lickers called “Hinkey Dinkey Dee”.

In Search of Ed Haley 290

17 Thursday Apr 2014

Posted by Brandon Ray Kirk in Ed Haley, Music

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Alphon Theater, Arthur Smith, Ashland, Ashland Vocational School, Bert Layne, blind, Blind Soldier, Catlettsburg, Cowboy Copas, Curly Wellman, David Miller, Ed Haley, Ella Haley, fiddling, Fleming County, Great Depression, Grimes Music Shop, Guyandotte Mockingbirds, Hawkshaw Hawkins, history, Horse Branch, Huntington, Kentucky, Logan, Logan Banner, music, Natchee the Indian, Old Shep, Red Foley, Riley Puckett, Rose Connelly, Skillet Lickers, Ward Hollow, West Virginia, Wilson Reeves, World War I, World War II, writing, WSAZ

Curly suggested that we visit Wilson Reeves, a local record collector, for more information about Ed. Wilson was glad to talk to us. He remembered seeing Ed and his family play on the streets of Ashland during World War II.

“This was in the early forties,” Wilson said. “I came up here to take training at the old Ashland Vocational School. I lived on Carter about 17th. There was a house there where I had a room upstairs. And every evening I’d cross over from Carter over to Winchester, go down Winchester, and on down to a little restaurant — what they call a ‘hole in the wall.’ Greasy food, but it was cheap. And she [meaning Ella] would be sitting in a chair there by the Presbyterian Church close to 16th Street. Most of the time she’d be playing the mandolin. Sometimes, I’d see her with the accordion. The little girl would stand on her side — I believe the 16th Street side — and she’d be holding the tin cup. I didn’t notice whether people put money in it or not.”

Where was Ed?

“Well, I don’t remember too much about them,” Wilson said. “I was twenty years old and other things to think about and on my way. Mr. Haley, I don’t remember whether he was sitting down or what. I’ve seen him over at the old Alphon Theater. He would sit right there. Best as I remember about him, he was by hisself. And there was times — and this is very vague in my memory — that I saw them get off the bus. They’d drag a chair out with them. Just a straight-backed chair, I believe. After the war was over, I went back to Fleming County for a while. Sometime in 1947 I came back up here, but I don’t recall ever seeing them any more.”

Wilson said he was never really acquainted with Ed or his family and was never at his home.

“Course I was in the house,” Curly said. “Poorly furnished. The family was rich in being family but very poor as far as living conditions. You might say if it was possible at that time, they would have been on food stamps.”

Curly was speaking of Ed’s home at Ward Hollow. I asked Wilson for some paper so I could sketch it out based on Curly’s memories. We started out with the living room.

“Just a square room,” Curly said. “No rug. A pine floor and a fireplace and a mantle and a little side table and his rocking chair and an old cane-backed straight chair. There was another doorway here that went into the next bedroom back. It was just an open door really. It was a shotgun house. I was never in their kitchen. They had about four rooms. But this was in a big building that there was a lot of apartments in — several apartments in this building — and Ed and his family lived downstairs in the first apartment as you went up the hollow. Big old community house — all wood — weather-boarded house. In my time, it mighta been sixty, seventy years old. They had a name for that building but it won’t come to me.”

When I’d finished my sketch of Ed’s home at Ward Hollow, I said to Curly, “Now what about his home at Horse Branch?”

“It was about a four room house — and one floor — and set up about six foot off a the ground because the creek run down through there and if they hadn’t a built it up on these sticks that it set on they woulda got flooded out every time it rained,” he said. “And you had to go up a long pair of steps to get up on their porch. Handrails down each side of the steps. Porch all the way across the front. I’d say the porch was six feet deep. I was never inside. In fact, the front room is as far as I was in the other house.”

Curly said he used to play music with Ed on the porch. Ed always sat to the right of everyone, probably so he wouldn’t have to worry about pulling his bow into them.

Wilson said Ed played with David Miller, a blind musician sometimes called “The Blind Soldier.” Miller (1893-1959) was originally from Ohio but settled at 124 Guyan Street in Huntington just prior to the First World War. He played on WSAZ, a Huntington station, with The Guyandotte Mockingbirds in the late 1920s and early 1930s. He also made it as far up the Guyan Valley as Logan where he hosted at least one fiddling contest.

“Saturday night, September 17th at 8 p.m., sharp at the court house, Logan, W.Va., David Miller, an old time recording artist, will open a real old time Fiddlers Contest, awarding three big cash prizes to contestants and one prize to best old time flat-foot dancer,” according a September 1927 article in the Logan Banner. “It is expected that this will be the season’s big meeting of old timers and lovers of old time music. See Miller at Grimes’ Music Shop Saturday afternoon.”

According to one source, Miller lost his radio job around 1933 after threatening to throw his manager through a window. Wilson heard that Ed taught Miller the tune “Rose Connelly”, as well as Red Foley’s “Old Shep”.

Aside from the Blind Soldier, there were several other well-known musicians working in Huntington during the Depression. In the mid-thirties, Riley Puckett and Bert Layne (two of the famous Skillet Lickers) spent a few months there, while Hawkshaw Hawkins, Cowboy Copas (a friend to Natchee the Indian), and Arthur Smith were featured acts during the World War II era.

In Search of Ed Haley

21 Tuesday May 2013

Posted by Brandon Ray Kirk in Ed Haley

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Clayton McMichen, culture, fiddle, fiddler, Georgia, Georgia Wildcats, history, life, music, photos, Skillet Lickers

Clayton McMichen of Georgia

Clayton McMichen of Georgia

In Search of Ed Haley 1

24 Saturday Nov 2012

Posted by Brandon Ray Kirk in Ed Haley, John Hartford, Music

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Alan Jabbour, Appalachia, Ashland, Bill Monroe, blind, Boulder, Cherokee Polka, Cherry River Rag, Colorado, Dunbar, Ed Haley, fiddler, fiddling, Flatt and Scruggs, Flower of the Morning, Forked Deer, history, Humphrey's Jig, John Hartford, Kentucky, Lawrence Haley, Library of Congress, Man of Constant Sorrow, music, Nashville, Parkersburg Landing, Ralph Haley, Signal Corps, Skillet Lickers, West Virginia

In 1981, roughly thirty years after Ed Haley’s death, my search to know everything about his life and music began at a second hand music store in Boulder, Colorado. While thumbing through a box of records by early radio stars and bluegrass artists with such familiar names as The Skillet Lickers, Bill Monroe and Flatt & Scruggs I saw this certain green and yellow album cover. On its front was a picture of a blind fiddler buttoned up in an overcoat. On its back was a drawing of a steamboat landed at a wharf. Nearby the drawing was a brief note: “This album consists of home recordings made in 1946 by Ed Haley, a blind Kentucky fiddler who never made a commercial record. The original discs were prepared by his family in order to preserve some of their father’s music and were never intended for public use.”

The album was titled Parkersburg Landing, an apparent geographical reference to the small city by that name on the Ohio River. “Even twenty-five years after his death, anyone researching fiddle music in West Virginia or eastern Kentucky is certain to learn of Ed Haley,” the album cover proclaimed. I had never heard of anyone named Ed Haley, but I bought the album and mailed it home to Nashville anyway. I knew that part of the country was a traditional hotbed of great musicians.

Some time later (I forget exactly when – it’s difficult to recall now), I rediscovered Parkersburg Landing filed away on one of the crowded shelves in my office. I put it on the record player and as soon as the title track started, I thought, “Uh oh. This is pretty good.” I turned up the volume knob and slumped down in my chair. I sat there stunned for the next twenty or so minutes listening to Haley plow through tunes with names like “Humphrey’s Jig”, “Cherokee Polka” and “Cherry River Rag”. By the time I reached out to flip the album to Side 2, my fingers were trembling and I was almost breathless. I tried to focus on every nuance as Haley played “Flower of the Morning”, “Man of Constant Sorrow” and “Dunbar”. Then, when he took off on “Forked Deer”, I almost fell out of my chair. It was a profound experience…the kind that pulls you away from everything you’ve done up to that moment and sends you off into another direction. I don’t even remember listening to the rest of the album, although I’m sure I did.

Where did these recordings come from?

“The present recordings were made by Ralph Haley, who also plays guitar on several selections,” I read in the album liner notes. “Ralph had served in the Signal Corps during the war and used a home disc-cutting machine of the Wilcox-Gay type. After Ralph’s death in the late forties, the collection of discs were evenly divided among the five remaining children. It is estimated that the 106 sides presently accounted for represent approximately one third of the original total. Most of these records were preserved by Lawrence Haley of Ashland, who kindly gave us permission to issue them here. The discs were transferred at the Library of Congress under the supervision of Larry Haley and Alan Jabbour and were remastered at Intermedia Studios in Boston.”

I spent the next several years glued to Parkersburg Landing. I talked about Haley constantly. Every now and then I would call up friends and play some of the album, saying, “Now, that’s how it’s supposed to go.” No one had a clue who Ed Haley was; most seemed unimpressed. But to me, the scratchy recordings were like old faded photographs and I was so excited by what I heard that the imperfections in recording technique quickly disappeared to my ear.

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