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Appalachian Entertainer/Fiddler Randall Franks has the distinction of being one of Bill Monroe’s Blue Grass Boys working alongside Wayne Lewis, Tater Tate and Blake Williams. As of 2024, he is considered the youngest of the living members of the band contributing to the legacy of the Bluegrass Music, Country Music, Rock and Roll Music and Songwriter halls of fame member.

For his contributions to the legacy of Bill Monroe, he was honored or recognized by the Grand Ole Opry; Bluegrass Unlimited; The State of Kentucky; The International Bluegrass Music Hall of Fame and Museum at Monroe’s Centennial Celebration and also with an exhibit inclusion; and Bluegrass Music Profiles.

      “Without Bill Monroe, Randall Franks would have not had a music career in Nashville and would have never performed as a guest artist for the Grand Ole Opry,” Franks said. “He along with Jim & Jesse McReynolds were my greatest advocates, cheerleaders and door-openers in country music.”

Randall has written extensively and in greater depth about Bill Monroe in his book series Encouragers. In fact, he is featured in all three volumes of the collection available at www.RandallFranks.com/store .

Radio May Find Two New Releases “Back Up and Push” and “The Road to Columbus” of Randall with Bill Monroe and the Blue Grass Boys on “The American’s Creed” album at https://airplaydirect.com/RandallFranksTheAmericansCreed/ 

This album releases to ITunes of May 15, 2024.

Below is an interview that Randall Franks share in 2008 for the former magazine Bluegrass Music Profiles:

Randall Franks Question and Answer for Bluegrass Music Profiles May 2008

Let me preface this interview with the following:

I am proud to talk about my thoughts about the iconic performer Bill Monroe, although, I think there are many more worthy Blue Grass Boys more deserving of this level of discussion about his artistry. My tenure as a Blue Grass Boy was short for the reasons revealed below, but my friendship with him during our association was a true blessing to me and my late parents Floyd and Pearl. So my comments are not to lift up my association with him but rather simply to remember someone who along side other artists such as Jim and Jesse and the Virginia Boys, The Lewis Family, Jeff and Sheri Easter, Doodle and the Golden River Grass, and The Marksmen that helped place in motion a series of God’s door openings to allow me to reach NBC and CBS as an series actor and to bless my music career with top selling musical releases and various awards.

1) What did you know and think about Bill Monroe before you met him?

First, I knew the sound of his music from the records I had bought; as a child I looked forward to whenever I could catch his appearances on Hee Haw or various specials on the three majors networks. I learned about some of the Monroe lore about various topics from the Georgia and Tennessee bluegrassers that I was exposed to growing up such as stories about Monroe’s relationships with former band members such a Flatt and Scruggs and Jimmy Martin, his musical successes, frustrations and sometimes unchanging attitudes.

2) How and when did you meet him?

As a fan, I first met him when he went to Scottsboro, Ala. to cut a live album in Cathedral Caverns in Alabama. My late father and my friend and mandolin teacher Eugene Akers along with another member of my band The Peachtree Pickers made the trip to see the recording and have an opportunity to be part of that bit of Bluegrass history. Although I don’t think the project as a whole was ever released, it was a fun day and it only solidified my awe of Monroe.

3) Tell me how you heard about an opening and how you auditioned for the group?

I didn’t audition for the Blue Grass Boys. I had met Monroe as a musician in Jekyll Island, Ga. while appearing at an event with Josh Graves. After coming off stage, Monroe was back in a small dressing room where all the performers kept cases. The musicians all played a number with Mr. Monroe, because he had out his mandolin and was tuning up. They all put away their instruments and went away. Monroe came up to me and asked ‘Do you know how to play ‘Katy Hill’.’ I replied ‘Yes, sir.’ And proceeded to play. He looked at me and shook his head ‘That’s not the way you should play it, you should do it like this.” Showing me the first section and then waiting for me to mimic him. So that is how our relationship officially began, teacher to student. After that tune I looked around and realized we were the only one in the room and the lesson continued with only brief interruptions as acts moved in and out as they went on and off stage for about three hours.

He then invited me to Nashville where I visited him at the farm and at the Opry. I shared some volunteer hours helping to build, set up displays for the creation of the first Bill Monroe Bluegrass Hall of Fame on Music Valley Drive. I performed with the Blue Grass Boys as a guest at its opening, then at Bill’s birthday celebration.

In October, Bill invited me to bring my band the Peachtree Pickers to appear on the Early Bird Bluegrass Show for the Grand Ole Opry in October of 1984. We did. It was just a few days later that Kenny departed the group just prior to their going to Japan.

Sue Lewis (Blue Grass Boy Wayne Lewis’s wife) made me aware of Kenny’s departure. Bill and his secretary Betty McInturff were searching for a replacement as they were departing for Japan. My name was discussed and I received the call, but too late for the overseas trip. (I didn’t have a passport.) I joined them on their return to the states.

4) Tell me about your first rehearsals and your first shows as a Blue Grass Boy. What were the typical comments he’d give you about your playing?

I didn’t have a first rehearsal. I walked on the bus in Yakima, Washington. Monroe asked me if I knew most of his numbers. I told him I knew several but was not greatly familiar with his regular set list. Kenny kicked off many of the tunes; this was an area that had me concerned. He said ‘Well why don’t you play the big fiddle tonight and we will let Tater play the little fiddle.’

Since I had done little more than hold a bass, this made my stress level increase immensely. Tater gave me a fifteen-minute bass lesson, taped up my fingers and the next thing I knew I was on stage as a Blue Grass Boy for my first 75-minute show. Some of the biggest advice about playing bass was he told me to smile and look like I’m having a good time. I smiled a lot because I did have a good time; although I am sure, my contribution drove my fellow Blue Grass Boys crazy as I tried to keep up with them with an instrument on which I had just a passing knowledge. Those 75 minutes flew by and I was in a musical heaven. I was a Blue Grass Boy. As the tour continued, Tater and I would swap instruments back and forth.

5) Where did you meet for road dates and what were the traveling conditions like? Where were you living?

I flew from Atlanta to meet Bill in Washington and rode his bus from there until we returned to Nashville. Traveling conditions were fine — a bunk in a bus and motel rooms. Otherwise, I drove to meet them at various shows from Atlanta.

6)  What did Bill usually do during travel and can you tell me a story about something unique you witnessed?

I don’t know how unique it is but he often sat in his recliner playing solitaire or gin rummy. I often would sit and play with him. He also would like to sit in the jumper sit at the front of the bus and I would sit down on the stair by him at night. We along with the bus driver would talk about a myriad of subjects, often about his experiences on the road, with various people, sometimes simply singing hymn such as “Farther Along.”

7) Did you write any songs with Bill? If so, what were they and how did they come together?

I did not share any writing credits with him. (However, we do share some shared arrangements on my released performances with the Blue Grass Boys)

8) Did you witness Bill writing or practicing/ How did he usually do this?

Bill was constantly creating tunes and songs in his head. Any time he put the old mandolin in his hands inevitably a new tune would come out.

9) What songs do you remember him writing while you were a member?

“Jekyll Island” was one that sticks in my mind. That was another one that he taught me early on. There were several others through the years I heard him work on, many of which he recorded in his last instrumental session that I attended.

10)  What projects and songs did you record on/Where and when were these done and what was the atmosphere like?

Although I did have the honor of sitting next to Mr. Monroe throughout one of his final recording sessions, I never recorded in the studio with him, however, thanks to James Monroe and the Blue Grass Boys of my period, Wayne Lewis, Blake Williams and the late Tater Tate, a few of the live performances that I did with Bill featuring me on fiddle will soon be available for a special project for our Share America Foundation, Inc. to help raise monies for our Pearl and Floyd Franks Scholarship Fund, named for my late parents, helping young people continuing the traditional music of Appalachia. While the particular songs are not selected yet they could be either “Back Up and Push,” “Liberty” or “Road to Columbus.”

11) Who were the other band members at the time and what members joined and quit before you left?

Mr. Bill was trying different things to fill needs at the time — basic core Wayne Lewis, Blake Williams and the late Tater Tate; he also had Joe Stuart and Roger Aycock (bass) come in on different appearances. Seems like I recall Dale Morris coming in following me.

12) What were your favorite songs to perform live?

I enjoyed performing “Sweet Blue Eyed Darling,” “Old, Old House,” “Blue Moon of Kentucky” and “Bluegrass Breakdown.”

13) What was your relationship with Bill like when not on the road and did you spend much free time with him at his home?

Even as a youth, I always felt Bill treated me somewhat as an equal possibly because I was leading my own band. We were always friends and when I’d come to Nashville, he’d take me out to eat or to an area music venue and when he came to Georgia, I would do the same. I visited the farm on several occasions and felt it to be a special look at someone I really admired.

Did you have any other chores or responsibilities?

While working on the road, I helped keep up with the mandolin and often carried it around. I also would make sure Bill had what he needed when we went to eat or he ate in his motel room.

14) What did you learn from Bill Monroe?

In short, perseverance. He was an overcomer, no matter what he faced in his career or personal life, he came back giving it his best with the attitude that only the best will happen to those who are steadfast, honest and who treats his friends with dignity.

15) Can you give me a story about him or tell something people may not know about him?

When Bill was in a major car accident the 1950s that sidelined him for a while. As he lay injured following the accident at the edge of the highway and out of it, he could feel a passerby not there offering him aid but working to pull whatever rings he was wearing from his fingers.

16) How, when and why did you leave the group?

Surprisingly, it was years after my departure from the group that I knew what brought about my leaving.

I had completed the cross-country tour and was making various appearances with Monroe as part of his winter shows. We were at Norman Adams’ and Tony Anderson’s Myrtle Beach, S.C. show that Thanksgiving. My parents had made the trip in with me to see me appear with Bill. He and they went out to dinner together without me.

I found out years later that my future as a Blue Grass Boy was the point of discussion. Bill told my parents he wanted me to work for him; they told him they wanted me to finish college. I was the first in my family on both sides at the time to start that endeavor and they wanted me to see it through.

After some discussion, they agreed and when classes started back after winter break guess who was on campus. Years later after my father’s death, mother and I were back stage at the Opry after my own star was rising. Monroe came over placed his hand on my shoulder and commented to mom, ‘I guess we did a good job in getting him a good education.’ Mother agreed, he gave me a little pat on the back and he moved along. She then told me the story. She also added the fact that he told them if I ever wanted to come back to the Blue Grass Boys after school, he wanted me back. Of course, I did come back many times as a guest appearing on stage with most of the other remaining band members at events during his last years.

17) What was Bill’s reaction and what was your last performance and last days as a BGB like?

In response to the above discussion, Bill just quietly let me know he would be looking at other fiddlers. That was that except for one final appearance that I attribute to my stint with the group was at the High School Auditorium in Sparta, Tenn. It was essentially as a back up fiddler for lack of better description that Bill asked me to join them in case he needed me. Tater and I both played at that show. Joe Stuart played bass.

18) Did you ever regret leaving? Did you see Bill many times after that?

Did I regret leaving?  I was devastated at the time. I was a teenager sitting in our bluegrass equivalent of the first chair of the New York Philharmonic. It was initially hard to come down from being on stage and going back to my own youth band but the experience elevated my reception in the regional bluegrass community and helped our group gain more opportunities and me more fiddling engagements with other artists. Bill (and the Grand Ole Opry) also brought my group, whomever I was working with and wanted to bring back to perform for the Opry bluegrass shows several times.

19) How do you look back on that phase of your life and career?

I was learning, soaking up anything and everything I could. I was definitely not deserving of the opportunity afforded but ever so glad that God allowed our musical careers to become one for a while.

20) How did you feel when he passed away?

While Bill was a man of few words, we shared many in our association. I feel there was times he didn’t always agree with the direction of my musical career especially during the time musically my sounds were becoming more country in orientation. The last time I spoke with him he said “I tell you man, there are not that many people like you and me anymore. Folks like us have got to stick together and be friends to one another.” I was in California pursuing acting opportunities when I heard of his stroke. I was working behind the scenes on “Grace Under Fire.” As soon as I returned South, I immediately went to Nashville and arranged to spend some time with him at the hospital where he was staying.

He could barely speak and was not the tower of strength that helped push me on the national stage, he was just my friend Bill, slowed by infirmities of his age. When I walked in a said my name, he looked up at me and with some effort brought out the syllables ‘Good Fiddler.’ I spent some time with him there just talking about the shared moments as he lay there listening with no response. I told him goodbye, placed my hand on his shoulder, and said “Mr. Bill, I will see you again soon. Thank you for all you did for me.”

I had to return again to Los Angeles, but had returned south when I heard of his death. I felt as if I had lost a father and a person who let his star shine on me for a while and thus gave me a chance to shine myself.

I was only able to make the service at the Ryman and wasn’t able to go to Rosine although I wish I had.

I for the last time placed my hand on that hand as it laid still in the casket the one that would often bring me to me knees as he shook mine. It was a hard goodbye and I have missed him ever since but I imagine not any less than anyone else who knew the Man.

20)  How do you sum up what you think of Bill Monroe now and what he means to you?

He was strength personified. Someone that carried his own legacy and an industry into something he could have never even envision in his own youth. He was a man who gave of himself to those he cared about and held to strict philosophies and opinions that were a compass to his life. Did he have shortcomings, sure. Did he make decisions that some questioned, sure. We all do. But what he shared with me is his later life is that he knew Jesus came to clean the slate. He was one of my musical fathers. Because he and others took an interest in me, I do my best to take an interest in young people wishing to continue what we do. That is an honor I owe not only my parents but also all those who helped me along the way including Mr. Monroe.

End of Interview

I think this photo by Donna Tracy above sums up our friendship, in 1991, I took my co-stars from TV’s “In the Heat of the Night” Alan Autry and David Hart to appear with me on the Grand Ole Opry. Look how Bill greeted us. He was so glad to see the tremendous success that one of his Blue Grass Boys was having on network TV as an actor.

Randall has appeared at Blue Grass Boys Reunions hosted by East Tennessee State University in Tennessee, by the IBMA Hall of Fame and Museum in Owensboro, Kentucky, and in North Carolina.

Here is a webpage referencing his work as a Blue Grass Boy: https://doodah.net/bgb/RandallRandyFranks.html

As additional historical accounts are being written about Bill Monroe and members of the Blue Grass Boys, Randall wanted to make sure that his legacy in the history of the band was solidified by the only remaining officer and staff member of Monroe Enterprises, so he asked James Monroe to attest about his place in Bill Monroe’s legacy and the Blue Grass Boys’ history. James Monroe gave the following statement:

To Whom It May Concern:

     My father Bill Monroe became aware of the talents of Georgia fiddler Randall “Randy” Franks in 1983 and began teaching him tunes on the fiddle, and in 1984 he began inviting Randy to come a make appearances with the Blue Grass Boys.

     His first appearance was at the Grand Opening Celebration of Bill Monroe’s Bluegrass Music Hall of Fame on June 4, 1984 in Nashville, Tenn. We had included a picture of his band – The Peachtree Pickers in the museum of the Hall of Fame.

     Dad had him come to the Dahlonega Bluegrass Festival in June 1984 to have him appear with the Blue Grass Boys alongside Kenny Baker. He was included to play among other Blue Grass Boys at dad’s birthday celebration at the hall of fame in September 1984.

Dad then had him bring his band – The Peachtree Pickers to appear at the Grand Ole Opry Birthday Celebration at the Early Bird Bluegrass Show on October 9, 1984. Which he continued to do either at the Birthday Celebration or at Fan Fair with his band or other Grand Ole Opry acts backing him until my father’s passing in 1996.

     When Kenny Baker left the Blue Grass Boys at the Jemison Bluegrass Festival, dad was leaving for a Japan tour. Our office reached out to Randy to see if he could do the tour, but he did not have a passport. Despite this, dad had Betty hire him as a Blue Grass Boy in mid October and we arranged for him to join the band upon their return to the United States. He flew from Atlanta, Ga. to Yakima, Wash. on Oct. 29, 1984. He stayed over night and met the band – dad, Blake Williams, Wayne Lewis and Tater Tate upon their arrival at the Capitol Theatre. They did one 7:30 p.m. show. The band then moved to Portland, Oregon doing an 8:30 p.m. show at the Starry Night; then to Seattle, Wash. for an 8 p.m. appearance on Thursday, Nov. 1 at the Jane Adams Auditorium for the Seattle Folklore Society. The band then traveled to Colorado doing shows at the Arvada Center in Arvada, Colo. at 8 p.m. on Nov. 2 and 3. The band moved on to Fort Collins, Colo. for a 7 p.m. show at the Cow Palace on Nov. 4. After traveling for three days to The Ark in Ann Arbor, Mich. they did 7:30 and 9:30 p.m. shows on Nov. 7. The band returned to Nashville, Tenn. and Randy returned to his classes in Atlanta. Dad had him come and appear with the Blue Grass Boys in Sparta, Tenn. on Nov. 18 and at the South Carolina State Bluegrass Festival in Myrtle Beach on November 23. While I was not there during the discussion, I understand that dad had dinner with Randy’s parents, Floyd and Pearl at Myrtle Beach and talked with them about him staying with the Blue Grass Boys, they wanted him to finish school first, and asked dad to allow him to come back in the future once that was done if a spot was open then, and for dad not make Randy the offer. They all agreed.

     As dad continued to try future fiddlers, he did have Randy make some appearances in 1985 and guest appearances for years to come. Randy played both fiddle and bass as a Blue Grass Boy. My dad was proud of one of his Blue Grass Boys in future years achieving network television stardom as an actor on “In the Heat of the Night.” The Grand Ole Opry and Bluegrass Unlimited presented him with on of the Blue Grass Boys buckles. The state of Kentucky made him a Kentucky Colonel for his work as a Blue Grass Boy and the International Bluegrass Music Hall of Fame honored Randy alongside me and the other Blue Grass Boys in 2011 as a Bluegrass Legend at my father’s centennial celebration.

     Though some historians may try to look back upon history and change reality based on their own criteria, to Bill Monroe, and to me, Randall “Randy” Franks was, is, and will always be a Blue Grass Boy. He will always be part of the legacy of Bill Monroe.

James Monroe

Oct. 23/’23

 

 

 

 

 

Randall Franks is an actor. entertainer and journalist. He serves as president of the Share America Foundation, Inc. a Georgia 501-C3 that works to preserve the traditional music of Appalachia by encouraging youth through the Pearl and Floyd Franks Scholarship. For more information, visit  www.ShareAmericaFoundation.org or write P.O. Box 42 Tunnel Hill, Ga. 30755.