CAN'T YOU HEAR ME CALLIN' - THE LIFE OF BILL MONROE, FATHER OF BLUEGRASS

The legendary mandolinist and bandleader Bill Monroe wove his personal vision through more than 60 tireless years of recording and performing, inventing almost single-handedly the music that is now known--in a nod to his first band, the Blue Grass Boys--as bluegrass. In his thoughtful biography Can't You Hear Me Callin', Richard D. Smith argues that "no single artist has had as broad an impact on American music." As evidence, he highlights dozens of country and rock & roll musicians, both whiteand black, who were inspired by Monroe's powerful mandolin playing on the Grand Ole Opry's weekly broadcasts. (Chuck Berry's "Maybelline," for example, is an almost note-for-note copy of Monroe's instrumental "Ida Red.") Until now, however, Monroe'shesitation to reveal personal details has kept his personality as mysterious as one of the foggy mountaintops he sang about in his signature high lonesome tenor. Bluegrass audiences required a rural, Southern authenticity from the "Father of Bluegrass," and Monroe was slow to deny their exaggerations. Smith, however, dismisses many of the backwoodsy stories that grew up around the Monroe myth, instead emphasizing truer biographical elements: loneliness, fear of abandonment, compulsiveness with women. Perhaps the book's main scholarly step forward is the depth of interviews and research the author conducted with the women in Monroe's life. Indeed, Smith remarks that "without exception," none of Monroe's platonic or romantic women friends had been interviewed before. These women reveal a second Bill Monroe, relaxed and gentle in private despite his imperious manner onstage. Much of the book relies on the archives of the late Ralph Rinzler, a Smithsonian folklorist whose plans to write aMonroe biography were thwarted by his untimely death.