Chords for Bill Monroe performance and interview, 1986 | The Weekly Special
Tempo:
71.275 bpm
Chords used:
G
D
Bb
Eb
A
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[Gb] And now, last up tonight, we've located a treasure trove of Bill Monroe video that has never been seen [Db] before anywhere.
That's right, [Bbm] exclusive to the Weekly Special.
We now take you back a quarter century to the 1986 Bill Monroe Bean Blossom Bluegrass Festival.
And [Eb] we'll hear from Bill Monroe himself, from his [N] farm in Tennessee.
[F] Alright, guide your tongue in there, and we'll [N] just shove it back here so we can get it.
I like to get out and walk, you know, and get exercise.
And I like to do something every day.
I like to work and do something every day.
It's hard to work on a farm and do the work like it should be done.
I like to drive mules and horses.
Yeah, I was raised out about a mile and a half from Rosene, Kentucky, [D] back on a farm.
[N] I had five other brothers.
Five brothers and two sisters.
They all could play.
Some, my sisters, they couldn't play much.
We sung in church a lot there at Rosene, Kentucky, and played for old-time square dances.
A little later on, you know, I had my group together and called it the Bluegrass Boys.
Kentucky was called the Bluegrass State, and they raised bluegrass up there.
Well, to let the people all over the world know, you know, that I was from the state of Kentucky,
I thought if I used the name of Bluegrass, why, they would know that I was from Kentucky.
But it wasn't until the Bluegrass Boys hit the airwaves on the radio that people started to take notice.
I started in Asheville, North Carolina, on WWNC, and went from there to WFBC in Greenville, South Carolina,
then moved to the Grand Ole Opry.
To get to be on the Grand Ole Opry was great, man.
To know that I could be on a station where everybody could hear it, you know,
and know where I was at, and they could hear it every Saturday night, and it [Db] helped me a lot with the [D] music.
When [A] you need any vassal down on the hill in a boat,
I'm a gangway fiddle, or a howl of the rang, if you hear a talk, you can hear it soon.
Howl.
I can play fiddle very little, [D] and I play [A] guitar sound,
[C] but mandolin is my favorite instrument when [D] I can play.
[G] [C]
[G] [D] [G]
The Bluegrass Boys have experienced a [C] lot of success over [D] the years,
but there has always been a lot of change in who makes up the group.
But Bill says that's a good thing.
[N] Well, they stayed about three years, that's the way all of them did back in the early days, you know.
That's as long as I would want them to stay, because I wanted new entertainers,
and to help other people, you know, as I went along.
So there's been, I'd say, around 35 or 40 different lead singers with me, guitar players,
and 35, between 35 and 40 fiddle players and banjo players, the same way.
And it's been like a school of music Bluegrass has.
It's helped a lot of people get started where they could learn good music and make some money out of it.
Even at this stage in Bill's career, he was still promoting his craft.
I hope the people up in Indiana are saving their money and going to come to Bean Blossom
and be there at the festival with me.
This is going to be the 21st year there, 21 years, and I'm looking forward to it.
We've got a powerful lineup with [Bb] talent going to be there.
Another morning, another day, still I'm feeling the same [Gm] old way, [Eb] I should listen in, [Bb] listen in.
[Eb] The talent back in 1986 [Bb] included a Bluegrass group called the Whites.
[F] This is Sharon White singing.
[Bb] She's the wife of another well-known Bluegrass performer, [Eb] Ricky Skaggs.
But no matter [Bb] how great their own talent, they all pay [Eb] homage to Bill Monroe.
It's because of Bean [F] Blossom and Bluegrass [Gm] that we're in the music business.
And in 1971, at the Bluegrass [G] Festival here in June, that they always have,
we came here not as [C] a booked [G] band, but just [D] as spectators.
And back then they [G] had contests and had an open stage where they would let people,
[C] you know, bands get up and [G] play and sing, and they invited [D] us to be on [G] stage.
And we got up a couple of different times during [Gm] the weekend and played
and spent a lot of hours in the park [G] playing music.
And Bill Monroe and his music have meant a lot to us, really been an influence.
[E]
[A] [D] [G] Well, [E] down in the wild woods, [Em] so little law, couldn't really figure [D] out how to know,
where the grass [G] can be [D] so tall.
[Ab] Another performer at Bean Blossom that [Em] year was banjo player Doug Dillard.
[G] He was an original member of the Bluegrass group, the Dillards.
They were often [E] seen performing [A] on the Andy Griffith Show in the early [D] [A] 1960s.
He [G] paid his respects to Bill Monroe as well.
[N] He was the man that I got most of my inspiration from for Bluegrass, yeah.
He sure was.
And I got the chance to go back to the backstage of the Opry [E] one time
and got a chance to play with him back [Em] in the early 50s when I was just getting into it,
the Bluegrass [Ab] banjo.
And I was really thrilled to be able to play [Ebm] with Bill.
Yeah, Bill's been my buddy for a long time.
I love him.
[Bb] I love his music.
In spite of all the praise and success, Bill Monroe managed to live a humble life.
[N] But as far as ever being rich, I've never cared nothing about that.
I just like to make enough money to live good on and enjoy life.
That's all I've ever [G] cared about.
[Cm] Well, there might be just one more [G] thing Bill cared about.
He was very proud to be called the father of Bluegrass [Gm] music.
That makes me feel good to know that I originated the music
and they call me the father of Bluegrass music.
That makes me feel wonderful.
[G]
I don't think it'll ever die.
I think it's here to stay.
And I think that there'll be people coming along with it every year and will play [D] it.
And I think there'll be people that want to play it just [C] as pure as they [G] can play it.
[A] And I just hope it's here to stay.
[G] This rare [Ab] footage comes to us courtesy of Jim Krause and Michael White.
So our thanks to them for [Eb] sharing it with us tonight.
Absolutely.
That is so cool.
And of course, we'd like to [Gbm] remind you that you can see
segments [Gb] from tonight's show as well as past episodes [B] by visiting our website,
From there, you can [Bb] also link to our [Gm] Facebook page for behind-the-scenes photos,
That's right, [Bbm] exclusive to the Weekly Special.
We now take you back a quarter century to the 1986 Bill Monroe Bean Blossom Bluegrass Festival.
And [Eb] we'll hear from Bill Monroe himself, from his [N] farm in Tennessee.
[F] Alright, guide your tongue in there, and we'll [N] just shove it back here so we can get it.
I like to get out and walk, you know, and get exercise.
And I like to do something every day.
I like to work and do something every day.
It's hard to work on a farm and do the work like it should be done.
I like to drive mules and horses.
Yeah, I was raised out about a mile and a half from Rosene, Kentucky, [D] back on a farm.
[N] I had five other brothers.
Five brothers and two sisters.
They all could play.
Some, my sisters, they couldn't play much.
We sung in church a lot there at Rosene, Kentucky, and played for old-time square dances.
A little later on, you know, I had my group together and called it the Bluegrass Boys.
Kentucky was called the Bluegrass State, and they raised bluegrass up there.
Well, to let the people all over the world know, you know, that I was from the state of Kentucky,
I thought if I used the name of Bluegrass, why, they would know that I was from Kentucky.
But it wasn't until the Bluegrass Boys hit the airwaves on the radio that people started to take notice.
I started in Asheville, North Carolina, on WWNC, and went from there to WFBC in Greenville, South Carolina,
then moved to the Grand Ole Opry.
To get to be on the Grand Ole Opry was great, man.
To know that I could be on a station where everybody could hear it, you know,
and know where I was at, and they could hear it every Saturday night, and it [Db] helped me a lot with the [D] music.
When [A] you need any vassal down on the hill in a boat,
I'm a gangway fiddle, or a howl of the rang, if you hear a talk, you can hear it soon.
Howl.
I can play fiddle very little, [D] and I play [A] guitar sound,
[C] but mandolin is my favorite instrument when [D] I can play.
[G] [C]
[G] [D] [G]
The Bluegrass Boys have experienced a [C] lot of success over [D] the years,
but there has always been a lot of change in who makes up the group.
But Bill says that's a good thing.
[N] Well, they stayed about three years, that's the way all of them did back in the early days, you know.
That's as long as I would want them to stay, because I wanted new entertainers,
and to help other people, you know, as I went along.
So there's been, I'd say, around 35 or 40 different lead singers with me, guitar players,
and 35, between 35 and 40 fiddle players and banjo players, the same way.
And it's been like a school of music Bluegrass has.
It's helped a lot of people get started where they could learn good music and make some money out of it.
Even at this stage in Bill's career, he was still promoting his craft.
I hope the people up in Indiana are saving their money and going to come to Bean Blossom
and be there at the festival with me.
This is going to be the 21st year there, 21 years, and I'm looking forward to it.
We've got a powerful lineup with [Bb] talent going to be there.
Another morning, another day, still I'm feeling the same [Gm] old way, [Eb] I should listen in, [Bb] listen in.
[Eb] The talent back in 1986 [Bb] included a Bluegrass group called the Whites.
[F] This is Sharon White singing.
[Bb] She's the wife of another well-known Bluegrass performer, [Eb] Ricky Skaggs.
But no matter [Bb] how great their own talent, they all pay [Eb] homage to Bill Monroe.
It's because of Bean [F] Blossom and Bluegrass [Gm] that we're in the music business.
And in 1971, at the Bluegrass [G] Festival here in June, that they always have,
we came here not as [C] a booked [G] band, but just [D] as spectators.
And back then they [G] had contests and had an open stage where they would let people,
[C] you know, bands get up and [G] play and sing, and they invited [D] us to be on [G] stage.
And we got up a couple of different times during [Gm] the weekend and played
and spent a lot of hours in the park [G] playing music.
And Bill Monroe and his music have meant a lot to us, really been an influence.
[E]
[A] [D] [G] Well, [E] down in the wild woods, [Em] so little law, couldn't really figure [D] out how to know,
where the grass [G] can be [D] so tall.
[Ab] Another performer at Bean Blossom that [Em] year was banjo player Doug Dillard.
[G] He was an original member of the Bluegrass group, the Dillards.
They were often [E] seen performing [A] on the Andy Griffith Show in the early [D] [A] 1960s.
He [G] paid his respects to Bill Monroe as well.
[N] He was the man that I got most of my inspiration from for Bluegrass, yeah.
He sure was.
And I got the chance to go back to the backstage of the Opry [E] one time
and got a chance to play with him back [Em] in the early 50s when I was just getting into it,
the Bluegrass [Ab] banjo.
And I was really thrilled to be able to play [Ebm] with Bill.
Yeah, Bill's been my buddy for a long time.
I love him.
[Bb] I love his music.
In spite of all the praise and success, Bill Monroe managed to live a humble life.
[N] But as far as ever being rich, I've never cared nothing about that.
I just like to make enough money to live good on and enjoy life.
That's all I've ever [G] cared about.
[Cm] Well, there might be just one more [G] thing Bill cared about.
He was very proud to be called the father of Bluegrass [Gm] music.
That makes me feel good to know that I originated the music
and they call me the father of Bluegrass music.
That makes me feel wonderful.
[G]
I don't think it'll ever die.
I think it's here to stay.
And I think that there'll be people coming along with it every year and will play [D] it.
And I think there'll be people that want to play it just [C] as pure as they [G] can play it.
[A] And I just hope it's here to stay.
[G] This rare [Ab] footage comes to us courtesy of Jim Krause and Michael White.
So our thanks to them for [Eb] sharing it with us tonight.
Absolutely.
That is so cool.
And of course, we'd like to [Gbm] remind you that you can see
segments [Gb] from tonight's show as well as past episodes [B] by visiting our website,
From there, you can [Bb] also link to our [Gm] Facebook page for behind-the-scenes photos,
Key:
G
D
Bb
Eb
A
G
D
Bb
[Gb] And now, last up tonight, we've located a treasure trove of Bill Monroe video that has never been seen [Db] before anywhere.
That's right, [Bbm] exclusive to the Weekly Special.
We now take you back a quarter century to the 1986 Bill Monroe Bean Blossom Bluegrass Festival.
And [Eb] we'll hear from Bill Monroe himself, from his [N] farm in Tennessee.
_ _ _ _ [F] Alright, guide your tongue in there, and we'll [N] just shove it back here so we can get it.
_ I like to get out and walk, you know, and get exercise.
And I like to do something every day.
I like to work and do something every day.
It's hard to work on a farm and do the work like it should be done.
I like to drive mules and horses. _ _ _ _
_ _ _ Yeah, I was raised out about a mile and a half from Rosene, Kentucky, [D] back on a farm.
[N] I had five other brothers.
Five brothers and two sisters.
They all could play.
Some, my sisters, they couldn't play much.
We sung in church a lot there at Rosene, Kentucky, and played for old-time square dances.
A little later on, you know, I had my group together and called it the Bluegrass Boys.
Kentucky was called the Bluegrass State, and they raised bluegrass up there.
Well, to let the people all over the world know, you know, that I was from the state of Kentucky,
I thought if I used the name of Bluegrass, why, they would know that I was from Kentucky.
But it wasn't until the Bluegrass Boys hit the airwaves on the radio that people started to take notice.
I started in Asheville, North Carolina, on WWNC, and went from there to WFBC in Greenville, South Carolina,
then moved to the Grand Ole Opry.
To get to be on the Grand Ole Opry was great, man.
To know that I could be on a station where everybody could hear it, you know,
and know where I was at, and they could hear it every Saturday night, and it [Db] helped me a lot with the [D] music.
When [A] you need any vassal down on the hill in a boat,
I'm a gangway fiddle, or a howl of the rang, if you hear a talk, you can hear it soon.
_ _ _ _ Howl.
I can play fiddle very little, [D] and I play [A] guitar sound,
[C] but mandolin is my favorite instrument when [D] I can play.
_ [G] _ _ _ _ [C] _
_ [G] _ _ _ _ _ [D] _ [G] _
_ _ The Bluegrass Boys have experienced a [C] lot of success over [D] the years,
but there has always been a lot of change in who makes up the group.
But Bill says that's a good thing.
[N] Well, they stayed about three years, that's the way all of them did back in the early days, you know.
That's as long as I would want them to stay, because I wanted new entertainers,
and to help other people, you know, as I went along.
So there's been, I'd say, around 35 or 40 different lead singers with me, guitar players,
and 35, between 35 and 40 fiddle players and banjo players, the same way.
And it's been like a school of music Bluegrass has.
It's helped a lot of people get started where they could learn good music and make some money out of it.
Even at this stage in Bill's career, he was still promoting his craft.
I hope the people up in Indiana are saving their money and going to come to Bean Blossom
and be there at the festival with me.
This is going to be the 21st year there, 21 years, and I'm looking forward to it.
We've got a powerful lineup with [Bb] talent going to be there.
_ Another morning, another day, still I'm feeling the same [Gm] old way, [Eb] I should listen in, _ [Bb] listen in. _
[Eb] The talent back in 1986 [Bb] included a Bluegrass group called the Whites.
[F] This is Sharon White singing.
[Bb] She's the wife of another well-known Bluegrass performer, [Eb] Ricky Skaggs.
But no matter [Bb] how great their own talent, they all pay [Eb] homage to Bill Monroe.
It's because of Bean [F] Blossom and Bluegrass [Gm] that we're in the music business.
And in 1971, at the Bluegrass [G] Festival here in June, that they always have,
we came here not as [C] a booked [G] band, but just [D] as spectators.
And back then they [G] had contests and had an open stage where they would let people,
[C] you know, bands get up and [G] play and sing, and they invited [D] us to be on [G] stage.
And we got up a couple of different times during [Gm] the weekend and played
and spent a lot of hours in the park [G] playing music.
And Bill Monroe and his music have meant a lot to us, really been an influence.
[E] _
[A] _ _ [D] _ _ [G] _ Well, [E] down in the wild woods, [Em] so little law, couldn't really figure [D] out how to know,
where the grass [G] can be [D] so tall.
[Ab] Another performer at Bean Blossom that [Em] year was banjo player Doug Dillard.
[G] He was an original member of the Bluegrass group, the Dillards.
They were often [E] seen performing [A] on the Andy Griffith Show in the early [D] [A] 1960s.
He [G] paid his respects to Bill Monroe as well.
[N] He was the man that I got most of my inspiration from for Bluegrass, yeah.
He sure was.
And I got the chance to go back to the backstage of the Opry [E] one time
and got a chance to play with him back [Em] in the early 50s when I was just getting into it,
the Bluegrass [Ab] banjo.
And I was really thrilled to be able to play [Ebm] with Bill.
Yeah, Bill's been my buddy for a long time.
I love him.
[Bb] I love his music. _ _ _ _
_ In spite of all the praise and success, Bill Monroe managed to live a humble life.
[N] But as far as ever being rich, I've never cared nothing about that.
I just like to make enough money to live good on and enjoy life.
That's all I've ever [G] cared about.
[Cm] Well, there might be just one more [G] thing Bill cared about.
He was very proud to be called the father of Bluegrass [Gm] music.
That makes me feel good to know that I originated the music
and they call me the father of Bluegrass music.
That makes me feel wonderful.
[G]
I don't think it'll ever die.
I think it's here to stay.
And I think that there'll be people coming along with it every year and will play [D] it.
And I think there'll be people that want to play it just [C] as pure as they [G] can play it.
[A] And I just hope it's here to stay. _ _ _ _ _
[G] _ This _ _ rare [Ab] footage comes to us courtesy of Jim Krause and Michael White.
So our thanks to them for [Eb] sharing it with us tonight.
Absolutely.
That is so cool.
And of course, we'd like to [Gbm] remind you that you can see
segments [Gb] from tonight's show as well as past episodes [B] by visiting our website,
From there, you can [Bb] also link to our [Gm] Facebook page for behind-the-scenes photos,
That's right, [Bbm] exclusive to the Weekly Special.
We now take you back a quarter century to the 1986 Bill Monroe Bean Blossom Bluegrass Festival.
And [Eb] we'll hear from Bill Monroe himself, from his [N] farm in Tennessee.
_ _ _ _ [F] Alright, guide your tongue in there, and we'll [N] just shove it back here so we can get it.
_ I like to get out and walk, you know, and get exercise.
And I like to do something every day.
I like to work and do something every day.
It's hard to work on a farm and do the work like it should be done.
I like to drive mules and horses. _ _ _ _
_ _ _ Yeah, I was raised out about a mile and a half from Rosene, Kentucky, [D] back on a farm.
[N] I had five other brothers.
Five brothers and two sisters.
They all could play.
Some, my sisters, they couldn't play much.
We sung in church a lot there at Rosene, Kentucky, and played for old-time square dances.
A little later on, you know, I had my group together and called it the Bluegrass Boys.
Kentucky was called the Bluegrass State, and they raised bluegrass up there.
Well, to let the people all over the world know, you know, that I was from the state of Kentucky,
I thought if I used the name of Bluegrass, why, they would know that I was from Kentucky.
But it wasn't until the Bluegrass Boys hit the airwaves on the radio that people started to take notice.
I started in Asheville, North Carolina, on WWNC, and went from there to WFBC in Greenville, South Carolina,
then moved to the Grand Ole Opry.
To get to be on the Grand Ole Opry was great, man.
To know that I could be on a station where everybody could hear it, you know,
and know where I was at, and they could hear it every Saturday night, and it [Db] helped me a lot with the [D] music.
When [A] you need any vassal down on the hill in a boat,
I'm a gangway fiddle, or a howl of the rang, if you hear a talk, you can hear it soon.
_ _ _ _ Howl.
I can play fiddle very little, [D] and I play [A] guitar sound,
[C] but mandolin is my favorite instrument when [D] I can play.
_ [G] _ _ _ _ [C] _
_ [G] _ _ _ _ _ [D] _ [G] _
_ _ The Bluegrass Boys have experienced a [C] lot of success over [D] the years,
but there has always been a lot of change in who makes up the group.
But Bill says that's a good thing.
[N] Well, they stayed about three years, that's the way all of them did back in the early days, you know.
That's as long as I would want them to stay, because I wanted new entertainers,
and to help other people, you know, as I went along.
So there's been, I'd say, around 35 or 40 different lead singers with me, guitar players,
and 35, between 35 and 40 fiddle players and banjo players, the same way.
And it's been like a school of music Bluegrass has.
It's helped a lot of people get started where they could learn good music and make some money out of it.
Even at this stage in Bill's career, he was still promoting his craft.
I hope the people up in Indiana are saving their money and going to come to Bean Blossom
and be there at the festival with me.
This is going to be the 21st year there, 21 years, and I'm looking forward to it.
We've got a powerful lineup with [Bb] talent going to be there.
_ Another morning, another day, still I'm feeling the same [Gm] old way, [Eb] I should listen in, _ [Bb] listen in. _
[Eb] The talent back in 1986 [Bb] included a Bluegrass group called the Whites.
[F] This is Sharon White singing.
[Bb] She's the wife of another well-known Bluegrass performer, [Eb] Ricky Skaggs.
But no matter [Bb] how great their own talent, they all pay [Eb] homage to Bill Monroe.
It's because of Bean [F] Blossom and Bluegrass [Gm] that we're in the music business.
And in 1971, at the Bluegrass [G] Festival here in June, that they always have,
we came here not as [C] a booked [G] band, but just [D] as spectators.
And back then they [G] had contests and had an open stage where they would let people,
[C] you know, bands get up and [G] play and sing, and they invited [D] us to be on [G] stage.
And we got up a couple of different times during [Gm] the weekend and played
and spent a lot of hours in the park [G] playing music.
And Bill Monroe and his music have meant a lot to us, really been an influence.
[E] _
[A] _ _ [D] _ _ [G] _ Well, [E] down in the wild woods, [Em] so little law, couldn't really figure [D] out how to know,
where the grass [G] can be [D] so tall.
[Ab] Another performer at Bean Blossom that [Em] year was banjo player Doug Dillard.
[G] He was an original member of the Bluegrass group, the Dillards.
They were often [E] seen performing [A] on the Andy Griffith Show in the early [D] [A] 1960s.
He [G] paid his respects to Bill Monroe as well.
[N] He was the man that I got most of my inspiration from for Bluegrass, yeah.
He sure was.
And I got the chance to go back to the backstage of the Opry [E] one time
and got a chance to play with him back [Em] in the early 50s when I was just getting into it,
the Bluegrass [Ab] banjo.
And I was really thrilled to be able to play [Ebm] with Bill.
Yeah, Bill's been my buddy for a long time.
I love him.
[Bb] I love his music. _ _ _ _
_ In spite of all the praise and success, Bill Monroe managed to live a humble life.
[N] But as far as ever being rich, I've never cared nothing about that.
I just like to make enough money to live good on and enjoy life.
That's all I've ever [G] cared about.
[Cm] Well, there might be just one more [G] thing Bill cared about.
He was very proud to be called the father of Bluegrass [Gm] music.
That makes me feel good to know that I originated the music
and they call me the father of Bluegrass music.
That makes me feel wonderful.
[G]
I don't think it'll ever die.
I think it's here to stay.
And I think that there'll be people coming along with it every year and will play [D] it.
And I think there'll be people that want to play it just [C] as pure as they [G] can play it.
[A] And I just hope it's here to stay. _ _ _ _ _
[G] _ This _ _ rare [Ab] footage comes to us courtesy of Jim Krause and Michael White.
So our thanks to them for [Eb] sharing it with us tonight.
Absolutely.
That is so cool.
And of course, we'd like to [Gbm] remind you that you can see
segments [Gb] from tonight's show as well as past episodes [B] by visiting our website,
From there, you can [Bb] also link to our [Gm] Facebook page for behind-the-scenes photos,