***The Hills And Hollas Of Home-In Honor Of The Late Hazel Dickens

From The Pen Of Peter Paul Markin

Kenny Jackman heard the late Hazel Dickens (d. 2011) for the very first time on her CD album It’s Hard To Tell The Singer From The Song some years back, about 2005, when he was in thrall to mountain music after being hit hard by Reese Witherspoon’s role as June Carter in the film Walk The Line. At that time he was into all things Carter Family unto the nth generation. A friend, a Vermont mountain boy, hipped him to Hazel during his frenzy and he picked up the CD second-hand in Harvard Square. Hazel’s You’ll Get No More Of Me, A Few Old Memories and the classic Hills of Home knocked him out. The latter, moreover, seemed kind of familiar and later, a couple of months later, he finally figured out why. He had really first heard Hazel back in 1970 when he was down in the those very hills and hollows, those Appalachia badlands and back roads, that are a constant theme in her work, and that of the mountain mist winds music coming down the crevices. What was going on though? Was it 2005 when he first heard Hazel or that 1970 time? Let me go back and tell that 1970 story.

Kenny Jackman like many of his generation of ’68 was feeling foot loose and fancy free, especially after he had been mercifully declared 4-F by his friendly neighbors local draft board in old hometown of North Adamsville, south of Boston, on the ocean south of Boston. So Kenny, every now and again, took to the hitchhike road, not like his mad man friend Peter Paul Markin with some heavy message purpose a la Jack Kerouac and his beat brothers (and a few sisters) but just to see the country while he, and it, were still in one piece. On one of these trips he found himself kind of stranded just outside Norfolk, Virginia at a road-side campsite. Feeling kind of hungry one afternoon, and tired, tired unto death of camp-side gruel and stews he stopped at a diner, Billy Bob McGee’s, an old-time truck stop diner a few hundred yards up the road from his camp for some real food, maybe meatloaf or some pot roast like grandma used to make or that was how it was advertised.

When he entered the mid-afternoon half-empty diner he sat down at one of the single stool counter seats that always accompany the vinyl-covered side booths in such places. But all of this was so much descriptive noise that could describe a million, maybe more, such eateries. What really caught his attention though was a waitress serving them“off the arm” that he knew immediately he had to “hit” on (although that is not the word used in those days but “hit on” conveys what he was up to in the universal boy meets girl world). As it turned out she, sweetly named Fiona Fay, and, well let’s just call her fetching, Kenny weary-eyed fetching, was young, footloose and fancy free herself and had drawn a bead on him as he entered the place, and, …well this story is about Hazel, so let us just leave it as one thing led to another and let it go at that.

Well, not quite let’s let it go at that because when Kenny left Norfolk a few days later one Billy Bob McGee’s ex -waitress Fiona Fay no longer serving the famous meatloaf like grandma used to make off the arm (although Fiona hipped Kenny to the fact that the steamer-frayed specialty was just so-so and thus not grandmother worthy) was standing by his side on the road south. And the road south was leading nowhere, nowhere at all except to Podunk, really Prestonsburg, Kentucky, and really, really an even smaller dink town named Pottsville, just down the road from big town Prestonsburg, down in the hills and hollows of Appalachia, wind- swept green, green, mountain mist, time forgotten . And the reason two footloose and fancy free young people were heading to Podunk was that a close cousin of Fiona’s lived there with her husband and child and wanted Fiona to come visit (visit “for a spell” is how she, the cousin, put it but I will spare the reader the localisms). So they were on that hell-bend road but Kenny, Kenny was dreading this part of the trip and only doing it because, well because Fiona was the kind of young woman, footloose and fancy free or not, that you followed, at least you followed if you were Kenny Jackman and hoped things would work out okay.

What Kenny dreaded that day was that he was afraid to confront his past. And that past just then entailed having to go to his father’s home territory just up the road in Hazard. See Kenny saw himself as strictly a yankee, a hard “we fought to free the slaves and incidentally save the union” yankee for one and all to see back in old North Adamsville. And denied, denied to the high heavens, that he had any connection with the south, especially the hillbilly south that everybody was making a fuse about trying to bring into the 20th century around that time. And here he was with a father with Hazard, Kentucky, the poorest of the poor hillbillies, right on his birth certificate although Kenny had never been there before. Yah, Fiona had better be worth it, worth the sorrow.

Kenny had to admit, as they picked up one lonely truck driver ride after another (it did not hurt in those days to have a comely lass standing on the road with you in the back road South, or anywhere else, especially a young man with longish hair and a wisp of a beard), that the country was beautiful. As they entered coal country though and the shacks got crummier and crummier he got caught up in that 1960s Michael Harrington Other America no running water, outhouse, open door, one window and a million kids and dogs running around half-naked, the kids that is, vision. But they got to Pottsville okay and Fiona’s cousin and husband (Laura and Stu) turned out to be good hosts. So good that they made sure that Kenny and Fiona stayed in town long enough to attend the weekly dance at the old town barn (red of course, run down of course) that had seen such dances going back to the 1920s when the Carter Family had actually come through Pottsville on their way back to Clinch Mountain.

Kenny buckled at the thought, the mere thought, of going to some Podunk Saturday night “hoe-down” and tried to convince Fiona that they should leave before Saturday. Fiona would have none of it and so Kenny was stuck. Actually the dance started out pretty well, helped tremendously by some local “white lightning” that Stu provided and which he failed to mention should be sipped, sipped sparingly. Not only that but the several fiddles, mandolins, guitars, washboards and whatnot made pretty good music. Music like Anchored in Love and Come All You Fair And Tender Ladies, stuff that he had heard in the folk clubs in Harvard Square when he used to hang out there in the early 1960s. And music that even Kenny, old two left-feet Kenny, could dance to with Fiona.

So Kenny was sipping, well more than sipping, and dancing and all until maybe about midnight when this woman, this local woman came out of nowhere and begins to sing, sing like some quick, rushing wind sound coming down from the hills and hollas (hollows for yankees, okay). Kenny begins to toss and turn a little, not from the liquor but from some strange feeling, some strange womb-like feeling that this woman’s voice was a call from up on top of these deep green hills, now mist-filled awaiting day. And then she started into a long, mournful version of Hills of Home, and he sensed, sensed strongly if not anything he could articulate that he was home. Yes, Kenny Jackson, yankee, city boy, corner boy-bred was “home,” hillbilly home. So Kenny did really hear Hazel Dickens for first time in 1970, see.