Mark Hembree had long hair when he first decided to try out as a bass player for Bill Monroe’s band. That would have to go, along with many preconceptions and a lot of sleep. What would fill his world for the next five years (1979-84) was the golden opportunity to travel and perform with the acknowledged “Father of Blue Grass.”

Monroe was born with a crossed eye, blurred vision and the prospect of unrelenting poverty stamped into his Appalachian heritage. But his talent for music, both as a singer and later as a mandolin master, lifted him up and out into the wide world as an icon, considered the progenitor of what would become known as bluegrass music. As depicted by Hembree, Monroe was beyond stubborn, not given to idle chatter. If someone dared cross him, his silence alone would serve as a cutting blade. Once he asked Hembree to drive a large “cattle” truck with 10 forward gears; the young man demurred but volunteered to drive a smaller pickup. Monroe responded that he had asked a favor and been refused: “I will never forget this!” For three months he spoke not a word to his bass player.

"Hembree can’t and won’t ever forget his years with Bill Monroe, whose personality beams out from the pages of this honest, fascinating and often amusing memoir offered for the appreciation of a new generation of fans."

Hembree, a Yankee from Wisconsin, had to learn southern speech style, and he includes a brief “Yankee Devil’s Dictionary” of such terms as “fern,” meaning “foreign,” and “Hiyonchaygs?” for “How do you want your eggs?” He reveals that the rather flashy bus the Bluegrass Boys sometimes traveled in generally smelled pretty rank inside, but they often slept curled up in it. It was all worth it, though, for the gigs --- in far-flung places, for famous people including US Presidents, and among the greats of the genre.

Hembree’s enthralling account includes such details as the utmost importance of wearing a suit and tie for each gig, sporting a Stetson-style hat, and keeping one’s shoes brightly polished. Such touches, Monroe felt, distinguished his performances from the folk, old time and new country trends. Monroe loved to play baseball, expecting his band to join in, sometimes setting up games with the locals. His stony character was doubtless whetted by his harsh upbringing and disability. Yet he made time to sing and play for handicapped folk, gave way to other performers when required, and could josh and jibe with one of his main rivals, John Duffey, onstage, to the benefit of both. Hembree paints “His Billness” as a tough man to get to know, but mellowing as he grew older. Still, Monroe never allowed his musical style to be sullied, stating, “I will never change.”

With a modicum of negativity, Hembree, who went on to perform with the Nashville Bluegrass Band, details the small but persistent problems --- low or no pay at times, long hours, short notice for gigs that could be anywhere --- that led him to drop out of the Blue Grass Boys. One senses it was a difficult decision, but necessary for his lifestyle and ambitions. Hembree can’t and won’t ever forget his years with Bill Monroe, whose personality beams out from the pages of this honest, fascinating and often amusing memoir offered for the appreciation of a new generation of fans.