Rules for bluegrass living in 2017

“I like the rules. I think you know how I feel about that.” – Fake Santa in Santa Clause 2

In the 1970s, once bluegrass music had evolved into its own genre, with its own festival circuit, its own record labels, and its own publications, a set of rules became established to help us differentiate bluegrass music from other genres, especially other forms of country music. These rules mainly involved what kind of instruments the music could and couldn’t have because those were rules easiest to articulate and understand (and if necessary, enforce). Rules about how those instruments could be played, or what singing style was or wasn’t appropriate to the music were a little more of a murky area. To this day we love to argue about these things (and when I say “we,” I really mean “people with too much time on their hands”).

Take the argument about drums in bluegrass, for example; the view that many hold today is that drums don’t belong in bluegrass music under any circumstances: “There are no drums in bluegrass.” It’s an easy enough rule to draw up, since Bill Monroe didn’t use them in 1946-47 with Lester and Earl, etc. Neither did the first generation of bands that followed, at least not for a while. What prompts debate about this is the fact that almost every first generation bluegrass act did use drums just a few years later, some, like Jimmy Martin, throughout most of their careers. Apparently no one briefed them on this rule, probably because there weren’t rules like this in 1958. To complicate matters, Bill Monroe himself used drums on a lot of his recordings throughout the 1950s, but this is disputed, too, by those who say that it doesn’t count because the drum was played by the bass player, Ernie Newton, who had it mounted on his bass. To me—not to take sides here or anything—that’s a little like saying Doc Watson wasn’t playing harmonica on his recordings because he was also playing the guitar and the harmonica was hanging on his neck.

These are the kinds of arguments these bluegrass rules generate, and we spend valuable time debating them, time that could be better spent solving the problem of global terrorism, helping to feed hungry children, or doing our own truss rod adjustments.

I would prefer not to open or reopen any of these discussions (ever), but for those who love rules, I present a partial list of some new bluegrass music rules that I hope are much more cut and dried. It’s my hope that these aren’t the kinds of rules that lead to more debates like whether the dobro is really a bluegrass instrument, or whether or not Bill Monroe could have started bluegrass music without the banjo.

Bluegrass Rules for 2017:

  • Every slow song performed by a bluegrass band must be preceded by the statement, “we’re going to slow things down just a little.”
  • Unless you’re Doyle Lawson and Quicksilver, no matter how simple your band name is, a festival M.C. will always be capable of messing it up in your introduction.
  • Related rule: No matter what your band name is, it will always be abbreviated to the first name of the band leader plus “and them,” e.g. “Doyle and them,” “Russell and them,” “Rhonda and them,” etc.
  • Every bluegrass musician and fan of bluegrass believes that he or she can imitate Bill Monroe talking.
  • In modern bluegrass songwriting, “Grandpa” is the new “Mother.”
  • There are fewer than five appropriate bluegrass songs for a wedding, and most bands hired to play weddings do 12 to 25 songs.
  • The first question at any songwriting workshop will always be “which do you write first, the music or the lyrics.” The question is never really answered.
  • If you still have cell service, you haven’t yet arrived at the festival.
  • Will the Circle Be Unbroken must finish every finale/encore/jam session on stage. Only the first two verses may be sung. Repeat if necessary (and it will be necessary).
  • Exception to rule: if Sam Bush is present, the finale must be a song by The Band.
  • Every traditional bluegrass festival must feature at least one band wearing dark suits in 98 degree weather.
  • Every progressive, mixed-genre festival must feature at least one band performing barefoot.
  • Bluegrass music will always be the last genre of music to completely accept a new music format, like the CD, or the digital download. As evidence, the phrase “long play album” was still being used in stage patter as recently as 2015.
  • No matter how famous a bluegrass artist you may be, when you meet a stranger who finds out that you’re a professional musician, and they ask, “would I have heard of you?” the correct answer is always “no.”
  • The larger the jam session, the louder everyone plays.
  • There’s nothing quite as beautiful as a small 5:00 a.m. jam session under a tree at a bluegrass festival (unless you’re the one in the tent nearby trying to sleep).

It is my hope that these are all identifying principles of our music today we can all agree on, but if not, feel free to debate them in comments below. I won’t participate.

  • @bluegrassdj

    * No matter how famous a bluegrass artist you may be, when you meet a stranger who finds out that you’re a professional musician, and they ask, “would I have heard of you?” the correct answer is always “no.” *

    Very true, as evidenced by a conversation I had several years ago with a gentleman wearing a ball cap, as we walked into the IBMA convention from the parking garage at 8am in the morning, I even asked if I would be hearing him play anywhere during the convention…. He told me he’d probably do some picking at the jams after the “RedHat” show that night

    I was later told he was some guy named “Ricky Skaggs”…. I think he forgot to mention he was one of the headliners at the RedHat show…..

  • Herbie Beasley

    While the article is funny, the topic is not. I think we need to begin thinking about splitting bluegrass into multiple sub genres in the future. Don’t laugh, look at what is popularly called “metal” music – a director named Sam Dunn did a mini-docu-series on the 13-14 more popular sub-genres of “metal” a few years ago and had an organizational flow chart graphic that showed probably 20-25 sub genres. Given that, we can certainly have a more or less traditional bluegrass genre, and then the ‘everything else that’s blugrass-like’ genres for those with drums and whose tunes would sound more at home on The Bridge or Margaritaville than they do presently on Bluegrass Junction. Much like Bro Country has taken over radio country to the point now to where we actually refer to the “good” older country as Classic Country today, and the radio rock country of today is sold as Bro Country. People can make and love any kind of music they want, but as a paying consumer of their music (*shock, I know, someone that still buys music!!), I appreciate being able to better categorize my listening preferences as finely as possible. But, that’s just me… (reference to Sam Dunn’s metal sub genre docu-series)

    • Mitchell Reynolds

      Monroe WAS bluegrass. Anything Monroe had in kis band, drums, piano or accordion, or swing style rhythm like Clyde Moody played, it’s all bluegrass. Honky tonk, ala Flatt and scruggs, maybe not so much. Ditto for Jimmy Martin and his “good and country”. Stanley called his music “mountain music”, eschewing the bluegrass label entirely. How about a genre for every band? Bass and drum grass? Speed grass? The Seldom Scene claimed “acid grass” on Live at the Cellar Door. Croon grass for some of the singers without the mountain roots? Progressive grass? Where would it end?

      I like Kevin Prater and The infamous Stringdusters. Del McCoury, and his sons’ Grateful Ball. Doyle Lawson’s gospel quartets, and Laurie Lewis’ more secular quartets. Reno and Harrell, and Hayseed Dixie. Crooked Still and Split Lip Rayfield. J.D. and Noam. Why not unite rather than divide?

      • Herbie Beasley

        You’re simply overthinking this dude – I don’t want to divide anyone, but I do want to better be able to find the string band music that I prefer without having to listen to a lot of it that I don’t prefer. SiriusXM’s new playlist (since January) that includes a lot of “progressive” (not bluegrass) bluegrass is an example…and that’s fine. I just tune to another channel for a while when they go on one of their progressive kicks for a few minutes. That’s not division, that’s preference.

        • Mitchell Reynolds

          Sorry. My post was pointing out that you are the one overthinking this. Listen to different things and you might find it grows on you. Satellite radio is one of the problems with music genres these days as it encourages a top 40 view of bluegrass.

          Bottom line: while bands may get exposure from satellite and internet radio, and services like Pandora and Spotify, it doesn’t pay the bills. Buy tickets to festivals to see new bands. Buy their CDs. Program your own listening. That’s the only way the artists we love get paid.

          I was talking to a member of a Grammy winning band, who related that the most streamed song/tune was played over 1,000,000 times. The writer had made $50 from the song.

          But go ahead. Split whatever into whatever sub-genres. Bands without Dobro. Four piece bands. Six piece bands. Me? there are two genres. Good. Bad.

  • Donald Teplyske

    Chris, another home run. I snorted about Grandpa/Mom- a thought I have had and never articulated. I guess that’s why you get the big bucks. Ditto music/lyrics, which are usually called words. Hey, enjoy your summer with the Night Rangers.

  • MIchael Kennedy

    Forget rules. It boils down to one question – is the music any good? Because if it’s not worth listening to, who cares what the “rules” are? And if it is good, well, who cares what the “rules” are?

  • JimL

    You forgot the most important rule that there must be at least one song every set where your lover is murdered or dies in some horrific manner. It ain’t politically correct in 2017 (maybe never was) but you have to do at least one. And if you can work a train in even better.

  • Had a good laugh at this. Thanks, Chris.

  • Ron Block

    I am simply shocked at the flippancy with which you deal with this topic of rules in bluegrass. For instance, I get very good cell service at many of the festivals because I have Sprint. You have many rules in this article that don’t really work. In a serious bluegrass column like this, you need to get your facts straight before you write.