Bill Monroe (September 13, 1911 – September 9, 1996) was an American mandol… Read Full Bio ↴Bill Monroe (September 13, 1911 – September 9, 1996) was an American mandolinist who helped create the style of music known as bluegrass. The genre takes its name from his band, the "Blue Grass Boys", named for Monroe's home state of Kentucky. Monroe's performing career spanned 60 years as a singer, instrumentalist, composer and bandleader. He is often referred to as The Father of Bluegrass.
William Smith Monroe was born on his family's farm near Rosine, Kentucky, the youngest of eight children of James Buchanan "Buck" and Malissa (Vandiver) Monroe. His mother and her brother, Pendleton "Pen" Vandiver, were both musically talented, and Monroe and his family grew up playing and singing at home. Bill was of Scottish heritage. Because his older brothers Birch and Charlie already played the fiddle and guitar, Bill Monroe was resigned to playing the less desirable mandolin. He recalled that his brothers insisted he should remove four of the mandolin's eight strings so he would not play too loudly.
Monroe's mother died when he was ten, followed by his father six years later. As his brothers and sisters had moved away, after bouncing among uncles and aunts, Monroe settled in with his disabled uncle Pendleton Vandiver, often accompanying him when Vandiver played the fiddle at dances. This experience inspired one of Monroe's most famous compositions, "Uncle Pen", recorded in 1950, and the 1972 album, Bill Monroe's Uncle Pen. On that album, Monroe recorded a number of traditional fiddle tunes he had often heard performed by Vandiver. Uncle Pen has been credited with giving Monroe "a repertoire of tunes that sank into Bill's aurally trained memory and a sense of rhythm that seeped into his bones." Also significant in Monroe's musical life was Arnold Shultz, an influential fiddler and guitarist who introduced Monroe to the blues.
In 1929, Monroe moved to Indiana to work at an oil refinery with his brothers Birch and Charlie, and childhood friend and guitarist William "Old Hickory" Hardin. Together with a friend Larry Moore, they formed the "Monroe Brothers", to play at local dances and house parties. Birch Monroe and Larry Moore soon left the group, and Bill and Charlie carried on as a duo, eventually winning spots performing live on radio stations— first in Indiana and then, sponsored by Texas Crystals, on several radio broadcasts in Iowa, Nebraska, South Carolina and North Carolina 1934 to 1936. RCA Victor signed the Monroe Brothers to a recording contract in 1936. They scored an immediate hit single with the gospel song "What Would You Give In Exchange For Your Soul?" and ultimately recorded 60 tracks for Victor's Bluebird label between 1936 and 1938.
After the Monroe Brothers disbanded in 1938, Bill Monroe formed The Kentuckians in Little Rock, Arkansas, but the group only lasted for three months. Monroe then left Little Rock for Atlanta, Georgia, to form the first edition of the Blue Grass Boys with singer/guitarist Cleo Davis, fiddler Art Wooten, and bassist Amos Garren. Bill had wanted "Old Hickory" to become one of the original members of his "Blue Grass Boys", however William Hardin had to decline. In October 1939, he successfully auditioned for a regular spot on the Grand Ole Opry, impressing Opry founder George D. Hay with his energetic performance of Jimmie Rodgers's "Mule Skinner Blues". Monroe recorded that song, along with seven others, at his first solo recording session for RCA Victor in 1940; by this time, the Blue Grass Boys consisted of singer/guitarist Clyde Moody, fiddler Tommy Magness, and bassist Bill Wesbrooks.
While the fast tempos and instrumental virtuosity characteristic of bluegrass music are apparent even on these early tracks, Monroe was still experimenting with the sound of his group. He seldom sang lead vocals on his Victor recordings, often preferring to contribute high tenor harmonies as he had in the Monroe Brothers. A 1945 session for Columbia Records featured an accordion, soon dropped from the band. Most importantly, while Monroe added banjo player David "'Stringbean" Akeman to the Blue Grass Boys in 1942, Akeman played the instrument in a relatively primitive style and was rarely featured in instrumental solos. Monroe's pre-1946 recordings represent a transitional style between the string-band tradition from which he came and the musical innovation to follow.
A key development occurred in Monroe's music with the addition of North Carolina banjo prodigy Earl Scruggs to the Blue Grass Boys in December 1945. Scruggs played the instrument with a distinctive three-finger picking style that immediately caused a sensation among Opry audiences. Scruggs joined a highly accomplished group that included singer/guitarist Lester Flatt, and would soon include fiddler Chubby Wise, and bassist Howard Watts, who often performed under the name "Cedric Rainwater". In retrospect, this lineup of the Blue Grass Boys has been dubbed the "Original Bluegrass Band", as Monroe's music finally included all the elements that characterize the genre, including breakneck tempos, sophisticated vocal harmony arrangements, and impressive instrumental proficiency demonstrated in solos or "breaks" on the mandolin, banjo, and fiddle. By this point, Monroe had acquired the 1923 Gibson F5 model "Lloyd Loar" mandolin which became his trademark instrument for the remainder of his career.
The 28 songs recorded by this version of the Blue Grass Boys for Columbia Records in 1946 and 1947 soon became classics of the genre, including "Toy Heart", "Blue Grass Breakdown", "Molly and Tenbrooks", "Wicked Path of Sin", "My Rose of Old Kentucky", "Little Cabin Home on the Hill", and Monroe's most famous song, "Blue Moon of Kentucky". The last-named was recorded by Elvis Presley in 1954, appearing as the B-side of his first single for Sun Records. Monroe gave his blessing to Presley's rock-and-roll cover of the song, originally a slow ballad in waltz time, and in fact re-recorded it himself with a faster arrangement after Presley's version became a hit. Several gospel-themed numbers are credited to the "Blue Grass Quartet", which featured four-part vocal arrangements accompanied solely by mandolin and guitar – Monroe's usual practice when performing "sacred" songs.
Both Flatt and Scruggs left Monroe's band in early 1948, soon forming their own group, the Foggy Mountain Boys, which met with notable commercial success in the 1950s and 1960s with such hits as "Foggy Mountain Breakdown", "Cabin on the Hill", and "The Ballad of Jed Clampett". In 1949, after signing with Decca Records, Monroe quickly regrouped, entering the "golden age" of his career with what many consider the classic "high lonesome" version of the Blue Grass Boys, featuring the lead vocals and rhythm guitar of Jimmy Martin, the banjo of Rudy Lyle (replacing Don Reno), and fiddlers such as Merle "Red" Taylor, Charlie Cline, Bobby Hicks and Vassar Clements. This band recorded a number of bluegrass classics, including "My Little Georgia Rose", "On and On", "Memories of Mother and Dad", and "Uncle Pen", as well as instrumentals such as "Roanoke", "Big Mon", "Stoney Lonesome", "Get Up John" and the mandolin feature "Raw Hide". Carter Stanley joined the Blue Grass Boys as guitarist for a short time in 1951 during a period when the Stanley Brothers had temporarily disbanded.
On January 16, 1953 Monroe was critically injured in a two-car wreck. He and "Bluegrass Boys" bass player, Bessie Lee Mauldin, were returning home from a fox hunt north of Nashville. On highway 31-W, near White House, their car was struck by a drunken driver. Monroe, who had suffered injuries to his back, left arm and nose, was rushed to General Hospital in Nashville. It took him almost four months to recover and resume touring. In the meantime Charlie Cline and Jimmy Martin kept the band together.
By the late 1950s, however, Monroe's commercial fortunes had begun to slip. The rise of rock-and-roll and the development of the "Nashville sound" in mainstream country music both represented threats to the viability of bluegrass. While still a mainstay on the Grand Ole Opry, Monroe found diminishing success on the singles charts, and struggled to keep his band together in the face of declining demand for live performances.
Monroe's fortunes began to improve during the "folk revival" of the early 1960s. Many college students and other young people were beginning to discover Monroe, associating his style more with traditional folk music than with the country-and-western genre with which it had previously been identified. The word "bluegrass" first appeared around this time to describe the sound of Monroe and similar artists such as Flatt and Scruggs, the Stanley Brothers, Reno and Smiley, Jim and Jesse, and the Osborne Brothers. While Flatt and Scruggs immediately recognized the potential for a lucrative new audience in cities and on college campuses in the North, Monroe was slower to respond. Under the influence of Ralph Rinzler, a young musician and folklorist from New Jersey who briefly became Monroe's manager in 1963, Monroe gradually expanded his geographic reach beyond the traditional southern country music circuit. Rinzler was also responsible for a lengthy profile and interview in the influential folk music magazine Sing Out! that first publicly referred to Monroe as the "father" of bluegrass. Accordingly, at the first bluegrass festival organized by Carlton Haney at Roanoke, Virginia in 1965, Bill Monroe was the central figure.
The growing national popularity of Monroe's music during the 1960s was also apparent in the increasingly diverse background of musicians recruited into his band. Non-southerners who served as Blue Grass Boys during this period included banjo player Bill Keith and singer/guitarist Peter Rowan from Massachusetts, fiddler Gene Lowinger from New York, banjo player Lamar Grier from Maryland, banjo player Steve Arkin from New York, and singer/guitarist Roland White and fiddler Richard Greene from California.
Even after the folk revival faded in the mid-1960s, it left a loyal audience for bluegrass music. Bluegrass festivals became common, with fans often traveling long distances to see a number of different acts over several days of performances.
In 1967 Monroe himself founded an annual bluegrass festival at Bean Blossom in southern Indiana, a park he had purchased in 1951, which routinely attracted a crowd of thousands; a double LP from the festival featuring Monroe, Jimmy Martin, Lester Flatt, and Jim and Jesse was released in 1973. The annual Bill Monroe Bean Blossom Bluegrass Festival is now the world's oldest continuously running annual bluegrass festival.
Monroe's compositions during his later period were largely instrumentals, including "Jerusalem Ridge", "Old Dangerfield" (originally spelled Daingerfield after town in East Texas), and "My Last Days on Earth"; he settled into a new role as a musical patriarch who continued to influence younger generations of musicians. Monroe recorded two albums of duets in the 1980s; the first featured collaborations with country stars such as Emmylou Harris, Waylon Jennings, and the Oak Ridge Boys, while the second paired him with other prominent bluegrass musicians. A 1989 live album celebrated his 50th year on the Grand Ole Opry. Monroe also kept a hectic touring schedule. On April 7, 1990, Monroe performed for Farm Aid IV in Indianapolis, Indiana along with Willie Nelson, John Mellencamp, Neil Young and with many other artists.
Monroe suffered a stroke in April 1996, effectively ending his touring and playing career. He died on September 9, 1996, only four days before his 85th birthday.
Bill Monroe was made an honorary Kentucky colonel in 1966. He was inducted into the Country Music Hall of Fame in 1970, the Nashville Songwriters Hall of Fame in 1971, and the Rock and Roll Hall of Fame (as an "early influence") in 1997. Jimmie Rodgers, Bob Wills, Hank Williams Sr., and Johnny Cash are the only other performers honored in all three. As the "father of bluegrass", he was also an inaugural inductee into the International Bluegrass Music Hall of Honor in 1991. In 1993, he received the Grammy Lifetime Achievement Award, and he was awarded the National Medal of Arts in 1995. His well-known song "Blue Moon of Kentucky" has been covered not only by bluegrass but also rock and country artists, most notably Elvis Presley, Paul McCartney, and Patsy Cline. In 2003, CMT had Bill Monroe ranked No. 16 on CMT 40 Greatest Men of Country Music. Artists that claimed to be influenced by or to be playing the bluegrass genre were often bullied by Bill Monroe. He always considered himself the father and caretaker of bluegrass. He would often say of new bands that did not perform to his standards, "That ain't no part of nothin'." Even those who question the scope of bluegrass refer to Monroe as a "musical giant" and recognize that "there would be no bluegrass without Bill Monroe."
More than 150 musicians played in the Blue Grass Boys over the nearly 60 years of Monroe's performing career. Monroe tended to recruit promising young musicians who served an apprenticeship with him before becoming accomplished artists in their own right. Some of Monroe's band members who went on to greater prominence include singer/guitarists Clyde Moody, Lester Flatt, Jack Cook, Mac Wiseman, Jimmy Martin, Carter Stanley, Del McCoury, Peter Rowan, Roland White, Roland Dunn and Doug Green; banjo players Earl Scruggs, Don Reno, Sonny Osborne, and Bill Keith; and fiddlers Tommy Magness, Chubby Wise, Vassar Clements, Byron Berline, Kenny Baker, Bobby Hicks, Gordon Terry, and Glen Duncan. Monroe also regularly performed with flat-picking guitar virtuoso Doc Watson.
Modern bluegrass singer and mandolin player Ricky Skaggs was influenced by Monroe. Skaggs was only six years old when he first got to perform on stage with Monroe and his band. He stated, "I think Bill Monroe's importance to American music is as important as someone like Robert Johnson was to blues, or Louis Armstrong. He was so influential: I think he's probably the only musician that had a whole style of music named after his band".
Pseudonyms used by Monroe as a composer:
Joe Ahr; Rupert Jones; Wilbur Jones; Albert Price; James B. Smith; James W. Smith
William Smith Monroe was born on his family's farm near Rosine, Kentucky, the youngest of eight children of James Buchanan "Buck" and Malissa (Vandiver) Monroe. His mother and her brother, Pendleton "Pen" Vandiver, were both musically talented, and Monroe and his family grew up playing and singing at home. Bill was of Scottish heritage. Because his older brothers Birch and Charlie already played the fiddle and guitar, Bill Monroe was resigned to playing the less desirable mandolin. He recalled that his brothers insisted he should remove four of the mandolin's eight strings so he would not play too loudly.
Monroe's mother died when he was ten, followed by his father six years later. As his brothers and sisters had moved away, after bouncing among uncles and aunts, Monroe settled in with his disabled uncle Pendleton Vandiver, often accompanying him when Vandiver played the fiddle at dances. This experience inspired one of Monroe's most famous compositions, "Uncle Pen", recorded in 1950, and the 1972 album, Bill Monroe's Uncle Pen. On that album, Monroe recorded a number of traditional fiddle tunes he had often heard performed by Vandiver. Uncle Pen has been credited with giving Monroe "a repertoire of tunes that sank into Bill's aurally trained memory and a sense of rhythm that seeped into his bones." Also significant in Monroe's musical life was Arnold Shultz, an influential fiddler and guitarist who introduced Monroe to the blues.
In 1929, Monroe moved to Indiana to work at an oil refinery with his brothers Birch and Charlie, and childhood friend and guitarist William "Old Hickory" Hardin. Together with a friend Larry Moore, they formed the "Monroe Brothers", to play at local dances and house parties. Birch Monroe and Larry Moore soon left the group, and Bill and Charlie carried on as a duo, eventually winning spots performing live on radio stations— first in Indiana and then, sponsored by Texas Crystals, on several radio broadcasts in Iowa, Nebraska, South Carolina and North Carolina 1934 to 1936. RCA Victor signed the Monroe Brothers to a recording contract in 1936. They scored an immediate hit single with the gospel song "What Would You Give In Exchange For Your Soul?" and ultimately recorded 60 tracks for Victor's Bluebird label between 1936 and 1938.
After the Monroe Brothers disbanded in 1938, Bill Monroe formed The Kentuckians in Little Rock, Arkansas, but the group only lasted for three months. Monroe then left Little Rock for Atlanta, Georgia, to form the first edition of the Blue Grass Boys with singer/guitarist Cleo Davis, fiddler Art Wooten, and bassist Amos Garren. Bill had wanted "Old Hickory" to become one of the original members of his "Blue Grass Boys", however William Hardin had to decline. In October 1939, he successfully auditioned for a regular spot on the Grand Ole Opry, impressing Opry founder George D. Hay with his energetic performance of Jimmie Rodgers's "Mule Skinner Blues". Monroe recorded that song, along with seven others, at his first solo recording session for RCA Victor in 1940; by this time, the Blue Grass Boys consisted of singer/guitarist Clyde Moody, fiddler Tommy Magness, and bassist Bill Wesbrooks.
While the fast tempos and instrumental virtuosity characteristic of bluegrass music are apparent even on these early tracks, Monroe was still experimenting with the sound of his group. He seldom sang lead vocals on his Victor recordings, often preferring to contribute high tenor harmonies as he had in the Monroe Brothers. A 1945 session for Columbia Records featured an accordion, soon dropped from the band. Most importantly, while Monroe added banjo player David "'Stringbean" Akeman to the Blue Grass Boys in 1942, Akeman played the instrument in a relatively primitive style and was rarely featured in instrumental solos. Monroe's pre-1946 recordings represent a transitional style between the string-band tradition from which he came and the musical innovation to follow.
A key development occurred in Monroe's music with the addition of North Carolina banjo prodigy Earl Scruggs to the Blue Grass Boys in December 1945. Scruggs played the instrument with a distinctive three-finger picking style that immediately caused a sensation among Opry audiences. Scruggs joined a highly accomplished group that included singer/guitarist Lester Flatt, and would soon include fiddler Chubby Wise, and bassist Howard Watts, who often performed under the name "Cedric Rainwater". In retrospect, this lineup of the Blue Grass Boys has been dubbed the "Original Bluegrass Band", as Monroe's music finally included all the elements that characterize the genre, including breakneck tempos, sophisticated vocal harmony arrangements, and impressive instrumental proficiency demonstrated in solos or "breaks" on the mandolin, banjo, and fiddle. By this point, Monroe had acquired the 1923 Gibson F5 model "Lloyd Loar" mandolin which became his trademark instrument for the remainder of his career.
The 28 songs recorded by this version of the Blue Grass Boys for Columbia Records in 1946 and 1947 soon became classics of the genre, including "Toy Heart", "Blue Grass Breakdown", "Molly and Tenbrooks", "Wicked Path of Sin", "My Rose of Old Kentucky", "Little Cabin Home on the Hill", and Monroe's most famous song, "Blue Moon of Kentucky". The last-named was recorded by Elvis Presley in 1954, appearing as the B-side of his first single for Sun Records. Monroe gave his blessing to Presley's rock-and-roll cover of the song, originally a slow ballad in waltz time, and in fact re-recorded it himself with a faster arrangement after Presley's version became a hit. Several gospel-themed numbers are credited to the "Blue Grass Quartet", which featured four-part vocal arrangements accompanied solely by mandolin and guitar – Monroe's usual practice when performing "sacred" songs.
Both Flatt and Scruggs left Monroe's band in early 1948, soon forming their own group, the Foggy Mountain Boys, which met with notable commercial success in the 1950s and 1960s with such hits as "Foggy Mountain Breakdown", "Cabin on the Hill", and "The Ballad of Jed Clampett". In 1949, after signing with Decca Records, Monroe quickly regrouped, entering the "golden age" of his career with what many consider the classic "high lonesome" version of the Blue Grass Boys, featuring the lead vocals and rhythm guitar of Jimmy Martin, the banjo of Rudy Lyle (replacing Don Reno), and fiddlers such as Merle "Red" Taylor, Charlie Cline, Bobby Hicks and Vassar Clements. This band recorded a number of bluegrass classics, including "My Little Georgia Rose", "On and On", "Memories of Mother and Dad", and "Uncle Pen", as well as instrumentals such as "Roanoke", "Big Mon", "Stoney Lonesome", "Get Up John" and the mandolin feature "Raw Hide". Carter Stanley joined the Blue Grass Boys as guitarist for a short time in 1951 during a period when the Stanley Brothers had temporarily disbanded.
On January 16, 1953 Monroe was critically injured in a two-car wreck. He and "Bluegrass Boys" bass player, Bessie Lee Mauldin, were returning home from a fox hunt north of Nashville. On highway 31-W, near White House, their car was struck by a drunken driver. Monroe, who had suffered injuries to his back, left arm and nose, was rushed to General Hospital in Nashville. It took him almost four months to recover and resume touring. In the meantime Charlie Cline and Jimmy Martin kept the band together.
By the late 1950s, however, Monroe's commercial fortunes had begun to slip. The rise of rock-and-roll and the development of the "Nashville sound" in mainstream country music both represented threats to the viability of bluegrass. While still a mainstay on the Grand Ole Opry, Monroe found diminishing success on the singles charts, and struggled to keep his band together in the face of declining demand for live performances.
Monroe's fortunes began to improve during the "folk revival" of the early 1960s. Many college students and other young people were beginning to discover Monroe, associating his style more with traditional folk music than with the country-and-western genre with which it had previously been identified. The word "bluegrass" first appeared around this time to describe the sound of Monroe and similar artists such as Flatt and Scruggs, the Stanley Brothers, Reno and Smiley, Jim and Jesse, and the Osborne Brothers. While Flatt and Scruggs immediately recognized the potential for a lucrative new audience in cities and on college campuses in the North, Monroe was slower to respond. Under the influence of Ralph Rinzler, a young musician and folklorist from New Jersey who briefly became Monroe's manager in 1963, Monroe gradually expanded his geographic reach beyond the traditional southern country music circuit. Rinzler was also responsible for a lengthy profile and interview in the influential folk music magazine Sing Out! that first publicly referred to Monroe as the "father" of bluegrass. Accordingly, at the first bluegrass festival organized by Carlton Haney at Roanoke, Virginia in 1965, Bill Monroe was the central figure.
The growing national popularity of Monroe's music during the 1960s was also apparent in the increasingly diverse background of musicians recruited into his band. Non-southerners who served as Blue Grass Boys during this period included banjo player Bill Keith and singer/guitarist Peter Rowan from Massachusetts, fiddler Gene Lowinger from New York, banjo player Lamar Grier from Maryland, banjo player Steve Arkin from New York, and singer/guitarist Roland White and fiddler Richard Greene from California.
Even after the folk revival faded in the mid-1960s, it left a loyal audience for bluegrass music. Bluegrass festivals became common, with fans often traveling long distances to see a number of different acts over several days of performances.
In 1967 Monroe himself founded an annual bluegrass festival at Bean Blossom in southern Indiana, a park he had purchased in 1951, which routinely attracted a crowd of thousands; a double LP from the festival featuring Monroe, Jimmy Martin, Lester Flatt, and Jim and Jesse was released in 1973. The annual Bill Monroe Bean Blossom Bluegrass Festival is now the world's oldest continuously running annual bluegrass festival.
Monroe's compositions during his later period were largely instrumentals, including "Jerusalem Ridge", "Old Dangerfield" (originally spelled Daingerfield after town in East Texas), and "My Last Days on Earth"; he settled into a new role as a musical patriarch who continued to influence younger generations of musicians. Monroe recorded two albums of duets in the 1980s; the first featured collaborations with country stars such as Emmylou Harris, Waylon Jennings, and the Oak Ridge Boys, while the second paired him with other prominent bluegrass musicians. A 1989 live album celebrated his 50th year on the Grand Ole Opry. Monroe also kept a hectic touring schedule. On April 7, 1990, Monroe performed for Farm Aid IV in Indianapolis, Indiana along with Willie Nelson, John Mellencamp, Neil Young and with many other artists.
Monroe suffered a stroke in April 1996, effectively ending his touring and playing career. He died on September 9, 1996, only four days before his 85th birthday.
Bill Monroe was made an honorary Kentucky colonel in 1966. He was inducted into the Country Music Hall of Fame in 1970, the Nashville Songwriters Hall of Fame in 1971, and the Rock and Roll Hall of Fame (as an "early influence") in 1997. Jimmie Rodgers, Bob Wills, Hank Williams Sr., and Johnny Cash are the only other performers honored in all three. As the "father of bluegrass", he was also an inaugural inductee into the International Bluegrass Music Hall of Honor in 1991. In 1993, he received the Grammy Lifetime Achievement Award, and he was awarded the National Medal of Arts in 1995. His well-known song "Blue Moon of Kentucky" has been covered not only by bluegrass but also rock and country artists, most notably Elvis Presley, Paul McCartney, and Patsy Cline. In 2003, CMT had Bill Monroe ranked No. 16 on CMT 40 Greatest Men of Country Music. Artists that claimed to be influenced by or to be playing the bluegrass genre were often bullied by Bill Monroe. He always considered himself the father and caretaker of bluegrass. He would often say of new bands that did not perform to his standards, "That ain't no part of nothin'." Even those who question the scope of bluegrass refer to Monroe as a "musical giant" and recognize that "there would be no bluegrass without Bill Monroe."
More than 150 musicians played in the Blue Grass Boys over the nearly 60 years of Monroe's performing career. Monroe tended to recruit promising young musicians who served an apprenticeship with him before becoming accomplished artists in their own right. Some of Monroe's band members who went on to greater prominence include singer/guitarists Clyde Moody, Lester Flatt, Jack Cook, Mac Wiseman, Jimmy Martin, Carter Stanley, Del McCoury, Peter Rowan, Roland White, Roland Dunn and Doug Green; banjo players Earl Scruggs, Don Reno, Sonny Osborne, and Bill Keith; and fiddlers Tommy Magness, Chubby Wise, Vassar Clements, Byron Berline, Kenny Baker, Bobby Hicks, Gordon Terry, and Glen Duncan. Monroe also regularly performed with flat-picking guitar virtuoso Doc Watson.
Modern bluegrass singer and mandolin player Ricky Skaggs was influenced by Monroe. Skaggs was only six years old when he first got to perform on stage with Monroe and his band. He stated, "I think Bill Monroe's importance to American music is as important as someone like Robert Johnson was to blues, or Louis Armstrong. He was so influential: I think he's probably the only musician that had a whole style of music named after his band".
Pseudonyms used by Monroe as a composer:
Joe Ahr; Rupert Jones; Wilbur Jones; Albert Price; James B. Smith; James W. Smith
I'm Working on a Building
Bill Monroe and the Bluegrass Boys Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
If I was a gambler
I tell you what I'd do
I'd quit my gambling
And I'd work on the building too
I'm a working on building
I'm a working on building
Hallelujah
I'm a working on building
For my Lord, for my Lord
It's a Holy Ghost building
It's a Holy Ghost building
Hallelujah
It's a Holy Ghost building
For my Lord, for my Lord
If I was a drunkard
I tell you what I would do
I'd quit my drinking
And I'd work on the building too
I'm a working on building
I'm a working on building
Hallelujah
I'm a working on building
For my Lord, for my Lord
It's a Holy Ghost building
It's a Holy Ghost building
Hallelujah
It's a Holy Ghost building
For my Lord, for my Lord
If I was a preacher
I tell you what I would do
I would keep on preaching
And I'd work on the building too
I'm a working on building
I'm a working on building
Hallelujah
I'm a working on building
For my Lord, for my Lord
It's a Holy Ghost building
It's a Holy Ghost building
Hallelujah
It's a Holy Ghost building
For my Lord, for my Lord
I tell you what I'd do
I'd quit my gambling
And I'd work on the building too
I'm a working on building
I'm a working on building
Hallelujah
For my Lord, for my Lord
It's a Holy Ghost building
It's a Holy Ghost building
Hallelujah
It's a Holy Ghost building
For my Lord, for my Lord
If I was a drunkard
I tell you what I would do
I'd quit my drinking
And I'd work on the building too
I'm a working on building
I'm a working on building
Hallelujah
I'm a working on building
For my Lord, for my Lord
It's a Holy Ghost building
It's a Holy Ghost building
Hallelujah
It's a Holy Ghost building
For my Lord, for my Lord
If I was a preacher
I tell you what I would do
I would keep on preaching
And I'd work on the building too
I'm a working on building
I'm a working on building
Hallelujah
I'm a working on building
For my Lord, for my Lord
It's a Holy Ghost building
It's a Holy Ghost building
Hallelujah
It's a Holy Ghost building
For my Lord, for my Lord
The lyrics to “I'm Working on a Building” by Bill Monroe and the Bluegrass Boys is a gospel song that centers around the importance of working on oneself, specifically through dedication to a “Holy Ghost building.” The repeated refrain of “I'm a working on building / Hallelujah / For my Lord, for my Lord” is a call to action for listeners to focus on building up their faith and spirituality.
The lyrics also use examples of vices such as gambling and drinking to emphasize the idea that one can overcome their struggles and weaknesses by dedicating themselves to something greater than themselves. The emphasis on working on oneself and building towards a greater purpose is a common theme in gospel and religious music, and the song's upbeat, uptempo melody coupled with the powerful lyrics makes it a popular choice for both religious and secular audiences.
The use of repetition throughout the song highlights its importance and provides a rhythmic quality that allows the listener to become fully engaged with the message. The “Holy Ghost building” is a metaphor for the spiritual journey that each person must take, and the song stresses the importance of this journey in attaining a closer relationship with God.
Overall, “I'm Working on a Building” is a powerful and uplifting song that encourages listeners to focus on their spiritual growth and dedicate themselves to a life of faith and devotion.
Line by Line Meaning
If I was a gambler
If I were someone who bets money on games of chance
I tell you what I'd do
I would like to share my course of action
I'd quit my gambling
I would stop placing bets on games of chance
And I'd work on the building too
And I would focus on constructing a building
I'm a working on building
I am actively and diligently creating a structure
Hallelujah
A word of praise to express joy or gratitude
For my Lord, for my Lord
As an act of devotion and service to my God
It's a Holy Ghost building
The building is imbued with spiritual significance
If I was a drunkard
If I were someone who gets drunk frequently
I'd quit my drinking
I would stop consuming alcoholic beverages
If I was a preacher
If I were a person who delivers sermons or speeches about religious topics
I would keep on preaching
I would continue to give religious discourses
Lyrics © Peermusic Publishing
Written by: A.P. CARTER
Lyrics Licensed & Provided by LyricFind
To comment on or correct specific content, highlight it
More Genres
No Artists Found
More Artists
Load All
No Albums Found
More Albums
Load All
No Tracks Found
Genre not found
Artist not found
Album not found
Search results not found
Song not found
@mohsenhosseini9520
[Chorus]
I'm a working on building[x3]
For my lord for my lord
It's a holy ghost building[x3]
For my lord for my lord
[Verse 1]
If I was a liar I tell you what I would do
I would quit my lying and work on a building too
[Chorus]
[Verse 2]
If I was drunkard I tell you what I would do
I would quit my drinking and work on a building too
I'm a working on building
[Chorus]
[Verse 3]
If I was a preacher I tell you what I would do
I would keep on preaching and work on a building too
I'm a working on building
[Chorus]
@kkiilljjooy
https://amzn.to/2kAsOUd "I'm Working on a Building" (single) Bill Monroe & The Blue Grass Boys MP3 download from album "Live Recordings 1956-1969: Off the Record Volume 1"
https://amzn.to/2m7v4CQ "Off The Record, Vol. 1: Live Recordings" (27 tracks album, 1956-1969 Live) Bill Monroe audio CD
https://amzn.to/2kRFpTb "Off The Record, Vol. 1: Live Recordings" (27 tracks album, 1956-1969 Live) Bill Monroe MP3 download
@tulmkr3
My uncle, Bill Box is playing guitar in this video. Very good song and some great fiddling!!
@tippimail1
Looks like he's playing a D-18.He had a great band called the Dixie Drifters.
@joshuapriestley5307
Ol Kenny sure could play and your uncle too!
@djshumate2782
Bill box used to come down to Ava Missouri where a mutual friend of ours lived named Benny pool. Had many jam sessions with him when he would come down for a week or 2 at a time. I actually got to talk with him on the phone a couple months ago. Bill is a very good fella in my opinion
@mandybellep230
How cool !
@mandybellep230
@tippimail1 that's cool. My daddy's name was dixie !
@pro3tlb
My favorite Bill Monroe moment happened on the night Reba McIntire came to the Opry for the first time (as a major label recording artist) in the mid 80's. Everyone was watching Reba on stage and Bill was inside the rail fence waiting to go on playing his mandolin. He looked over and noticed me standing there listening to him so he walked over and played for an audience of one; me. We chated while Reba and the act that followed her finished. Bill went on stage and did his number. Great moment.
@journeyer58
Nothing can beat that High Lonesome sound. Bill Monroe's voice was superb, no one can recreate that voice.
@tb40ford
The finest fiddler that ever pulled a bow. Smooth and powerful. Travis