The Blue Sky Boys

The Blue Sky Boys

ADVISORY BOARD

David Evans, General Editor

Barry Jean Ancelet

Edward A. Berlin

Joyce J. Bolden

Rob Bowman

Susan C. Cook

Curtis Ellison

William Ferris

John Edward Hasse

Kip Lornell

Bill Malone

Eddie S. Meadows

Manuel H. Peña

Wayne D. Shirley

Robert Walser

DICK SPOTTSWOOD

www.upress.state.ms.us

The University Press of Mississippi is a member of the Association of American University Presses.

Copyright © 2018 by University Press of Mississippi

All rights reserved

Manufactured in the United States of America

First printing 2018

∞

Library of Congress Cataloging-in-Publication Data

Names: Spottswood, Richard K. (Richard Keith) author.

Title: The Blue Sky Boys / Dick Spottswood.

Description: Jackson: University Press of Mississippi, 2018. | Series: American made music series | Includes bibliographical references and index. | Identifiers: LCCN 2017036812 (print) | LCCN 2017037466 (ebook) | ISBN 9781496816429 (epub single) | ISBN 9781496816436 (epub institutional) | ISBN 9781496816443 (pdf single) | ISBN 9781496816450 (pdf institutional) | ISBN 9781496816405 (cloth: alk. paper) | ISBN 9781496816412 (pbk.: alk. paper)

Subjects: LCSH: Blue Sky Boys. | Country musicians—United States—Biography.

Classification: LCC ML421.B673 (ebook) | LCC ML421.B673 S66 2018 (print) | DDC 782.421642092/2 [B]—dc23

LC record available at https://lccn.loc.gov/2017036812

British Library Cataloging-in-Publication Data available

Dedicated to the memory of Barbara and Perry Westland, who loved the Blue Sky Boys.

Praise for the Blue Sky Boys

I grew up just outside Atlanta, Georgia, and I could . . . and did listen to the Blue Sky Boys virtually every afternoon on WGST Radio. There was something about their impeccable harmonies, plaintive songs, and straightforward musicianship that spoke to me from an early age. Listening to their recordings today, I can easily conjure up those old memories and warm feelings.

They might not have been the biggest, brightest stars on the horizon, but their music and their contributions definitely mattered.

They did then and they always will.

—BILL ANDERSON

GRAND OLE OPRY

COUNTRY MUSIC HALL OF FAME

I was a big fan, though never fortunate enough to meet them—came close several times when our family was doing radio work over the country in the 1940s. Seems like our paths never crossed. The Blue Sky Boys were two of the unsung heroes of country music. To my knowledge, they were the very first to sing their type harmony, switching the lead and harmony back and forth with each other. Certain songs they would do this harmony more than others, but always tastefully. And most importantly the highest compliment I could pay them is, They were original.

—THE LATE SONNY JAMES

COUNTRY MUSIC HALL OF FAME

Bill and Earl Bolick of Hickory, North Carolina, were only eighteen and sixteen respectively when they recorded There’ll Come a Time, but their musical integrity always displayed a maturity beyond their years. Rock-ribbed devotees of genuine old-time country music, they recorded several of the finest versions of British broadside ballads ever preserved. They are among the finest, if not the finest, examples of the sincerity and dignity of mountain music.

—RANGER DOUG, RIDERS IN THE SKY

When I first had a radio at home, the first duets and trios I heard were by the Blue Sky Boys. I always go by the Starday people and say I’ve got to have one of the Blue Sky Boys’ latest albums. I take it home and play it over and over and over.

—JIMMY MARTIN, 1964

Their sunny name notwithstanding, the Blue Sky Boys gravitated to the dark side. Their unerring sibling harmony was almost dreamlike and made them perhaps the all-time finest brother duet. Along the way, they saved many ancient songs from extinction.

—COLIN ESCOTT

Those of us who grew up in, or listened outside of, the listening range of radio stations in the Carolinas, southern Virginia, or east Tennessee had to rely on local disc jockeys or a record shop to gain exposure to the Blue Sky Boys. In my case, it was the RCA Victor shop in Baltimore that agreed to allow me to listen to a Blue Sky Boys 78 rpm in one of their listening booths—and I was literally blown away with their gentle and extremely smooth harmonies, incorporating a third part by way of Bill Bolick’s mandolin. Bill and his wife Doris were kind enough to allow me to visit them in their North Carolina home in the early 1970s, where I asked Bill how he was able to add a third-part harmony to his and Earl’s duets: Did it just come naturally? Well no, I really had to work on that, was Bill’s quick and honest response.

Meeting them and getting to see them in a live performance only began several years later, when I was able to see them perform live at a festival in Virginia. Despite long periods of separation they came very close to perfection in both their choice of material and their brotherly harmonies.

But perhaps the most overlooked aspect of the Bolicks’ contribution to American mountain music is the wealth of good material they produced over a fairly short span of years. Personally, I believe that Bill Bolick collected, and generously passed along to others, more good songs than any other artist outside of A. P. Carter of the original Carter Family.

The book you hold in your hands is long overdue and it will finally provide real insight into one of this country’s finest pioneering music teams.

—BILL CLIFTON

DANIELS, WEST VIRGINIA

Sincere thanks to a great writer and my good friend Dick Spottswood for sharing his wonderful story about the life and times of the Blue Sky Boys. I never had the pleasure of meeting Bill and Earl Bolick. However, I’ve been an avid fan since their first recordings. One that really stands out is I’m S-A-V-E-D.

I’ve had the pleasure of reading this wonderful story about Bill and Earl and heartily suggest everyone should read it.

—MAC WISEMAN

Contents

Preface

Introduction

Origins, Family, and Childhood

More Early Inspirations

The 1930s and the Call of Music

Crazy Water, Odysseys with Homer

WWNC, WGST, 1935–36

Homer Redux

The Blue Sky Boys Almost Retire

Red Hicks and Uncle Josh, 1938–40

New Records, More Radio, Good Times, 1938–41

Off to War, 1940–46

New Songs, New Rules, 1946–48

Goodbye to Atlanta, 1948

Winding Down, 1949–51

Goodbye to RCA, 1950

Sunset in the Blue Sky, 1950–74

Folk Music and the Final Years, 1963–2008

Appendix One

Blue Sky Boys Songs: An Annotated List

Appendix Two

Blue Sky Boys Discography

Chronology

Sources and References

Index

Preface

William was never at a loss for words. I think William took that from Daddy; I think that came from Daddy’s side. If you asked him for his opinion, I think he would tell you. Earl was more of the quiet type and not that outgoing.

RUTH BOLICK SIGMON, HICKORY, NC, SEPTEMBER 20, 2010

BILL AND EARL BOLICK WERE ONLY TEENAGERS WHEN THEY FIRST performed publicly in 1935 as brother duets were becoming increasingly popular on radio and records. As the Blue Sky Boys, their gentle harmonies, wistful hymns, and sentimental songs explored themes of longing, alienation, and regret that had flourished in Victorian parlors and music halls decades before they were born. They called attention to their songs more than themselves, and their closely blended voices and accompaniments were spare and unobtrusive. As Bill Anderson says, they were never headliners, but they’ll never be forgotten either.

When country music became an identifiable genre in the 1920s, performing family groups were an important source of talent, and organized themselves for recording, broadcasting, and local stage opportunities. A few, like the Carters, Stonemans, and Pickards, had regular media access and acquired local and regional prominence, but child-rearing and domestic requirements limited other family women’s ability to be away from home. Nevertheless, country music and family values have remained closely entwined, and many families are active today, particularly in the gospel music sphere.

Families were supplemented by brother acts in the 1930s, usually self-accompanied duets who could travel and perform by themselves or with others, and who didn’t require large salaries until they either acquired a measure of fame or began to have families of their own. The Allen Brothers from Chattanooga were the first country brother duo to enjoy a measure of success, although they were a quirky, non-harmonizing novelty act who recorded blues-flavored originals from 1927 until their appeal faded during the Depression.

The Delmore Brothers from northern Alabama wrote more bluesy songs and broadened their appeal with comic and sentimental tunes, and close harmony singing. An initial disc made for Columbia in 1931 sold poorly, but they reappeared in 1933 to record Brown’s Ferry Blues, coupled with a reissue of the Allens’ A New Salty Dog for RCA’s low-priced Bluebird label. Brown’s Ferry took the Delmores to the Grand Ole Opry and sparked a career that lasted until Rabon’s death in 1952. Homer and Walter Callahan from western North Carolina had a comparable hit with She’s My Curly Headed Baby in 1934, and were in and out of music for most of their lives. When Bill and Earl Bolick became the Blue Sky Boys and made their first records in 1936, they joined the Delmores and the influential Carlisle Brothers, Dixon Brothers, and Monroe Brothers, all on RCA Bluebird. The brothers Wade and J. E. Mainer were Bluebird regulars, too, though they never sang duets.

All had significant radio careers that boosted record sales and live show attendance, producing income streams that provided modest livelihoods. The Bluebird brothers’ influence persisted in the later music of the Louvin, Bailes, Armstrong, McReynolds, Wilburn, Osborne, and Stanley Brothers into bluegrass and other popular formats after World War II.

Other 1930s sibling duets were from the Midwest and southwest, including the Shelton Brothers from East Texas and De Zurik Sisters from Minnesota. The Overstake Sisters (a.k.a. Three Little Maids) and Girls of the Golden West were from Illinois, and starred on the WLS National Barn Dance at various times from 1933 into the 1940s, and all featured mid-western and western-style vocal harmonies.

I was in my early teens, living in Bethesda, Maryland, near Washington, DC, when I discovered the Blue Sky Boys. My adolescence began just as the duo was retiring from music in 1951, but I actively sought old copies of their records and was always happy to hear one on local country music shows. Though their influence occasionally lingered in bluegrass and country styles, their compelling, heartfelt singing and understated instrumental accompaniments were unlike any other music I knew. In 2010 I learned from Gary Reid that the Bolick family wanted to have a book written about the Blue Sky Boys. I volunteered, thinking the project would be a conventional third-person narrative, piecing together as much who, what, where, and when as I could gather. But I soon learned that over the years Bill Bolick provided numerous spoken interviews and written accounts of his music, life, and career, and he was unsparing in his appraisals of all aspects of the Blue Sky Boys story and the country music world of the 1930s and 40s. I learned to appreciate his eloquence and passion, his memory of details, and how well he placed them within the perspective of the times. To make maximum use of them, I have woven parts of Bill’s multiple narratives into a single account that presents much of the Blue Sky Boys story in his voice. I have edited to eliminate repetition and so-called crutch words and phrases, adjust pronouns, correct obvious misspeaking, and to add or subtract small words to enhance the flow. Bill’s extended quotes are italicized and unattributed when their context is clear; those from others are credited as appropriate.

Special thanks are due to family members Steven Bolick, Larry Settlemyre, the late Doris Bolick, the late Ruth Bolick Sigmon, and to Linda and Alan Justice for help, patience, hospitality, and encouragement. Gary Reid of Copper Creek Records introduced me to Alan and provided stimulus and inspiration for this entire project. Lorrie Westland has created an online video that celebrates the Blue Sky Boys with images and music. Mary-Jo Cooney, Bill Malone, Fred Bartenstein, and an anonymous reader have reviewed this work in draft form and made solid observations, suggestions, and corrections.

Mary Katherine Aldin, Rob Bamberger, Julay Brooks, John Broven, Jay Bruder, Bob Carlin, Bill Clifton, Stuart Colman, Wayne Daniel, Paolo Dettwiler, Tom Diamant, David Diehl, John Dodds, the late Ernest Ferguson, Kevin Scott Fleming, Ranger Doug Green, Lorrie Westland, Kitsy and the late Pete Kuykendall, the late Eric LeBlanc, Kip Lornell, Greil Marcus, the late Ben Niblock, Kevin Owens, Ina and the late Ray Patterson, Linda Penniman, Kinney Rorrer, John Rumble, Walt Saunders, Bob Shea, Mark Slobin, Richard D. Smith, Aaron N. Smithers, Jeremy Stephens, Chris Strachwitz, Eddie Stubbs, Charles Travis, Stephen Wade, Leslie Weidenhammer, Steven Weiss, Richard Weize, Mac Wiseman, and Marshall Wyatt have helped out in many ways, and each has contributed vital links to the chain.

Introduction

DURING THE 1940S, COUNTRY MUSIC WAS RAPIDLY EVOLVING FROM traditional songs and string band styles to honky-tonk, western swing, and bluegrass, via radio, records, and film. The Blue Sky Boys resisted the trend, preferring to continue performing folk and parlor songs, southern hymns, and selected new compositions that enhanced their trademark intimacy and warmth. Their instantly recognizable style was fully formed in 1936, when their first records captured their youthful harmonies and spare guitar and mandolin accompaniments. Other successful 1930s brother duets inspired imitators, but none could duplicate the Bolick brothers’ emotional appeal and distinctive Catawba County (NC) accents. Even their last records in the 1970s retained their magic sound, decades after other brother duets had become history.

As their story unfolds, we’ll learn that the Bolicks were far from being rural throwbacks or idealized folk specimens of an isolated society tied to ancient beliefs and customs. They grew up after World War I in a mid-sized, progressive North Carolina mill town whose opportunities afforded their family a comfortable middle-class lifestyle. Bill and Earl chose performing careers while still in their teens, gladly leaving menial hometown jobs behind when they discovered music was something they could do well. It eventually earned them devoted fans throughout the world, whose loyalty has endured from the Blue Sky Boys’ professional years into our own time.

Their father Garland was a mail carrier who embraced old hymns and folk songs, and actively encouraged his sons’ interest in them. Bill was six and Earl four when Garland brought home a radio in 1924 for his family, who enjoyed National Barn Dance broadcasts on Saturday nights from WLS in Chicago. These were supplemented with the hymns and country songs that Garland loved, and Bill inherited his father’s passion for traditional music.

Fourteen of Garland’s favorite hymns were among the ninety songs Bill and Earl placed on 78 rpm records between 1936 and 1940. In those days they were free to choose the songs they and their audiences liked without interposition from record producers and song publishers, who dominated music in Nashville after 1942. The comic title of a 1938 Collier’s article, Thar’s Gold in Them Hillbillies, became reality as wartime copyrights, contracts, and publishing rights to new songs were secured and profits accumulated. As we shall see, the country music business eventually worked against the Blue Sky Boys, whose postwar records often featured professionally crafted tunes they did not like and rarely performed.

In those days the Blue Sky Boys were little known outside the southeastern states. Their broadcasts were limited to local stations in Georgia, the Carolinas, and southwest Virginia, and their records were only regionally distributed. Northern folk music and bluegrass aficionados began to discover the Bolicks after they retired from music in 1951 and their out-of-print records became collectible. When they made two reunion LPs in Nashville for the country market in 1963, a few folklorists arranged festival appearances and more records, new and reissued. A 1965 Capitol set, Presenting the Blue Sky Boys, contained traditional songs selected by a young folklorist, Ed Kahn. Good as it was, it failed to appeal either to the country music audience or the folk revival. Beyond hard core fans, the record’s sales were negligible.

Traditional songs had dominated country music when it was first heard on radio and records in the 1920s. It was still a new genre, and initially marketed in catalogs with descriptors like Old Familiar Tunes (OKeh 1925), Familiar Tunes Old and New (Columbia 1926), and Old Familiar Tunes and Novelties (Victor 1930). In the 1930s hillbilly became a default name for the music, even though some (including the Bolicks) viewed it as demeaning. Bluebird and Decca catalogs called it Hill Billy or Hillbilly, but Columbia Records’ Vocalion and OKeh products were called Country Folk and Sacred Songs in 1938, and later Country Dance [and] Folk Songs (1942) and American Folk Music (Columbia 1948), as the industry sought to invest the music with more respect. The country and western tag was adopted in 1949 and shortened a few years later to country when Nashville became its center and western music was perceived as a separate entity.

In the 1920s and ’30s, Vernon Dalhart, the Carter Family, Ernest Stoneman, Bradley Kincaid, and other prolific record makers reclaimed old songs from sheet music, hymnals, broadsides, and songbooks. They could often be recorded without royalty costs after copyrights expired, or when attribution could be evaded by reshaping songs or altering titles. Resourceful musicians routinely recycled old music when radio and records demanded a constant supply of fresh material at low or no cost.

Nineteenth-century composers like Gussie L. Davis (1863–1899), Will S. Hays (1837–1907), and Henry Clay Work (1832–1884) were no longer household names in the 1920s, but their successful songs lingered in memory. Quite a few were reborn as country classics, including Maple on the Hill and In the Baggage Coach Ahead (Davis), We Parted by the Riverside and Jimmie Brown, the Newsboy (Hays), and Grandfather’s Clock (Work). Work’s The Ship That Never Returned (1865) supplied the melody for Wreck of the Old 97, which commemorates a train accident that occurred nearly forty years later.

Pioneer country artists often relied on memory or improvisation to provide melodies for their texts, and many tunes lost their distinctive Victorian era contours when they were reborn as country songs. Wade Mainer kept most of the words to Maple on the Hill (1880) but replaced Gussie Davis’s melody with a simpler one when he recorded it in 1935. It displaced the original and is still sung today.

Even professional folklorists provided occasional grist for the mill. Ernest Stoneman learned and recorded The Wreck on the C and O from John Harrington Cox’s Folk-Songs of the South (1925), and the Texas cowboy singer Carl T. Sprague carried a copy of John Lomax’s Cowboy Songs (1910) in his guitar case. Bradley Kincaid, Bascom Lamar Lunsford, and Buell Kazee learned folk songs from printed collections and professional songsmiths revisited, revised, and copyrighted old ballads like Naomi Wise, Frankie and Johnny, and The Strawberry Roan.

Carson J. Robison (1890–1957), from Oswego, Kansas, and a blind Methodist preacher from Atlanta, Rev. Andrew Jenkins (1885–1957), were prominent among country music’s 1920s songsmiths, creating quantities of material for expanding record catalogs. Both excelled at novelties and topical songs inspired by train wrecks, celebrity deaths, criminal trials, and other sensational events. A Texas-born New Yorker, Vernon Dalhart (born Marion Try Slaughter, 1883–1948), was a professional tenor who put many of their songs on records. His previous résumé included everything from Tin Pan Alley to operatic roles in Puccini and Gilbert and Sullivan productions. He embraced country music in 1924 when his Prisoner’s Song became a novelty hit and his voice training ensured that he could be easily understood in areas of the country where record buyers might otherwise have had trouble understanding southern regional dialects.

Dalhart dominated country record-making between 1925 and 1927, appearing in one New York studio after another, often in company with Carson Robison, performing multiple versions of songs for competing labels, with professional musicians doing their labored best to sound down home. Dalhart’s records sold throughout the English-speaking world but his singing lost some of its appeal after he separated from Robison in 1928. By then, record makers were routinely traveling to Atlanta, Charlotte, and other southern locales to capture the region’s music closer to home. Resourceful producers like Frank Walker at Columbia and Ralph Peer at OKeh and Victor discovered new stars like the Carter Family, Stoneman Family, Gid Tanner’s Skillet Lickers, and Jimmie Rodgers for record companies that had paid little attention to regional music in any form before the 1920s. These pioneers were the first to have a lasting influence on country music, reflecting the tastes and feelings of people who preferred to hear music they knew from performers they understood. Peer had a particularly good ear for promising talent and songs, and he led frequent recording trips to southern and southwestern locations between 1923 and 1932, when he left the record business to build a major music publishing house. By then, country music was an essential component of the radio and record industry.

The Blue Sky Boys

Origins, Family, and Childhood

THE BLUE SKY BOYS COULD TRACE THEIR ROOTS BACK TO EIGHteenth-century German immigrants who settled in Pennsylvania and elsewhere, establishing farms and related industries. Their family name was spelled Böhlich in the Old World; in America the variants include Balch, Balich, Boalich, Bohlich, Bohlig, Boleck, Boley, Bolich, Bolick, Boliek, Bolig, Boligh, Bolih, Bolish, Bollich, Bollick, Bollig, Bolligh, Bolock, Bolsch, Boulch, and Bowlick. A website traces the family tree back to Johan Adam Bolch, a shoemaker who sailed from Rotterdam to Philadelphia with his wife Anna Christina and two children in 1753, along with his brother Andreas Balch. In 1754 a half-brother, Johan Georg Bolch, made the same voyage.

Even before the Revolutionary War, restless settlers began to move on to western North Carolina, where the German presence remains a component of the southern Piedmont region to this day. Johan Adam Bolch’s family took up farming before 1770 and his son Jacob later simplified the name to Bolick. Catawba County development was expedited after 1865, when the South sought to rebuild industries and revive an economy shattered by the Civil War. New textile mills throughout the region prompted the growth of cotton farming and railroads, and the town of Hickory developed a furniture industry that still thrives.

By the twentieth century, Hickory supported a comfortable middle class and Lenoir-Rhyne College, a prominent Lutheran institution that would one day include Bill Bolick among its students. West Hickory was an industrial suburb where the Blue Sky Boys’ parents, Garland Bolick and Annie Hallman, met as children when both worked at Ivey Weavers, a cotton mill located between the railroad tracks and First Avenue SW. It was one of several locations where the photographer and social activist Lewis Wickes Hine took disturbing photographs that documented juvenile working conditions as part of a campaign to reform child labor laws in 1908. A few years later, Garland briefly worked in Ivey’s Southern Desk Company, building school and church furniture.

Young workers at the Ivey Weavers cotton mill, Hickory, NC, 1908. Photograph by Lewis Wickes Hine. Courtesy of Library of Congress, Prints and Photographs Division, Washington, DC.

The Blue Sky Boys’ father Garland Henry Bolick (1890–1977) was the sixth child of Abel Bolch/Bolick (1837–1908) and his second wife, Elenora Euphemia Dellinger Bolick (1851–1927), who farmed in rural Catawba County before moving to West Hickory in 1901. On February 13, 1910, Garland married Annie Elizabeth Hallman (1892–1988), daughter of David Plonk Hallman (1855–1926) and Nancy Missouri Froneberger Hallman (1861–1935). Bill and Earl’s siblings were James (1911–2003), Myrtle (1913–1998), Carl (1916–1992), and Ruth (b. 1926). Myrtle married Russell Settlemyre and Ruth married Glenn Sigmon.

William Anderson Bolick (October 29, 1917–March 13, 2008) and Earl Alfred Bolick (November 16, 1919–April 19, 1998) were the fourth and fifth of Annie and Garland’s six children. Bill was born at home and thought Earl was, too. The brothers were exposed to music from church, friends, and neighbors, supplemented by mid-1920s Saturday night radio barn dance shows.

Radio brought stimulating new sounds to remote areas, influencing the Bolick boys and other North Carolina musical children, including Thelonious Monk, Max Roach, John Coltrane, Nina Simone, and Billy Taylor, all major jazz figures after World War II, and contemporaries of the Blue Sky Boys. Starting in the 1920s, professional dance bands led by Kay Kyser, Les Brown, Tal Henry, and Hal Kemp entertained in the Triangle region (Chapel Hill, Raleigh, Durham) and elsewhere. Bill and Earl could hear these and other competing popular music styles but, with their father Garland’s encouragement, they preferred to learn the old music that had flourished where they lived before they were born.

Bolick children, 1925. Left to right: Carl, James, Earl (age 5), Myrtle, and Bill (age 7). Courtesy of Larry Settlemyre.

The Bolick family lived in a West Hickory area called Mill Hill, where small homes were built for Ivey mill workers. Bill remembered that before he was old enough to go to school his grandmother Elenora Bolick cared for the children while Garland and Annie worked at the mill. Garland took a correspondence course and studied with a tutor to broaden his education and earn a better living. He became a substitute mail carrier after passing a US Post Office exam in 1918. When he was hired full-time around 1923, the family moved from Mill Hill to 24th Street SW, three or four houses down the street from the church, as Bill recalled. Garland’s increased income allowed Annie to leave the mill, and he delivered mail until he retired on May 9, 1955. Eventually Carl Bolick, Glenn Sigmon (Ruth’s husband), and Bill had Post Office careers, too.

Bolick family house, Hickory, NC, completed in 1929. Photograph by Leslie Weidenhammer, 2010.

In June 1929 the family moved to a spacious new two-story brick home on a seven-acre parcel of land on Old Shelby Road, now 33rd Street SW in Hickory, where they remained until the end of their long lives. As Bill recalled,

We moved out in the country about four or five miles from town. We had a small farm, seven acres, I think. We raised our own vegetables and had a cow and things like that. I did quite a bit of farm work when I was growing up, because my uncle next to us had a pretty good-sized farm, and I helped him quite a bit. We traded work because we didn’t have a horse or a mule to do the plowing. So usually they did our plowing for us, and we helped in the fields to make up for it.

In 1975 Bill and Doris Bolick built a new home on a lot next door to his parents. The next one over had been occupied by Bill’s sister Ruth and Glenn Sigmon since the late 1950s. His older sister Myrtle and Russell Settlemyre lived in a fourth house at the end of the row.

Annie and Garland had been raised as Methodists. Garland attended the First Church of God (of Anderson, Indiana)* when its building in Hickory was completed in 1908; Annie attended with him following their marriage in 1910. A wall plaque there today cites them as charter members as of January 22, 1912.

Bill (left) and Earl at the new house, 1929. Courtesy of Larry Settlemyre.

Music was part of