His childhood set the stage for a career in music. His father gave him a guitar when he was eight, and he learned music from his hometown neighbor Clayton Delaney, later the subject of Hall’s longest-running #1 single. His mother died when he was just 11, and when a hunting accident four years later made it impossible for his father to work, Hall joined the workforce of a garment factory at age 15.
Tag Archives: Bobby Bare
Few have done so much to shape country music from behind the scenes as this legendary songwriter and producer. In addition to writing some of the genre’s best-loved songs, he produced classic records such as “Ring of Fire” and “Dreaming My Dreams with You,” as well as Bobby Bare’s concept album A Bird Named Yesterday. He also played an instrumental role in launching the careers of icons such a Roy Orbison and Jerry Lee Lewis, while helping the now-legendary Charley Pride become one of the first major African-American country stars. He was inducted into the Nashville Songwriters Hall of Fame in 1973 and is one of this year’s inductees into the Country Music Hall of Fame.
Finally, enjoy the following performances of some of Clement’s most beloved compositions. We at Country Universe are saddened to hear of Clement’s passing, and we extend our condolences to his family, friends, and fans.
This year’s inductees into the Country Music Hall of Fame have just been announced from Nashville by Bill Anderson. The 2013 inductees are Cowboy Jack Clement (Non-Performer), Bobby Bare (Veterans Era), and Kenny Rogers (Modern Era).
Songwriter and producer Jack Clement, a member of the Nashville Songwriters Hall of Fame since 1973, claims writer’s credit for some of country music’s most beloved classics. He supplied Johnny Cash with multiple hits, including the standard “Ballad of a Teenage Queen,” and has also had his songs recorded by the likes of Charley Pride, Dolly Parton, Jim Reeves, Hank Snow, and Ray Charles, among many other legendary artists.
Bobby Bare enjoyed a run of country hits throughout the sixties and seventies, including genre classics such as “Detroit City,” “500 Miles Away from Home,” “Four Strong Winds,” and “Marie Lavaux.” He hosted the program Bobby Bare and Friends on The Nashville Network from 1983 t0 1988, and in the late nineties, enjoyed a strong second act as a member of the country music supergroup Old Dogs with friends and fellow legends Jerry Reed, Mel Tillis, and Waylon Jennings.
Kenny Rogers is widely known for his beloved 1978 classic “The Gambler” – a Grammy and CMA-winning crossover smash that spawned a TV serial adaptation in which Rogers starred. His multifaceted career has also included success with his band The First Edition, as well as crossover success lasting on through the 1980s and hit duets with stars such as Kim Carnes, Sheena Easton, Dottie West, and Dolly Parton.
Congratulations to the 2013 Country Music Hall of Fame inductees from the Country Universe community. What’s your take on this year’s inductees, and who would you like to see follow them into the Hall in 2014?
A comedic flair, a speech impediment, and a famous daughter have often overshadowed the fact that Mel Tillis is one of the finest songwriters and performers in the history of country music.
Tillis hailed from Tampa, Florida, and he discovered music at a young age, playing guitar and singing songs at local talent shows. Though he had a severe stutter from age three, the impediment disappeared when he sang. Tillis entered the military, and while stationed in Japan, formed a band called the Westerners. Once back stateside, he moved to Nashville to jump-start his songwriting career, alternating between Tennessee and Florida until the hits started coming in.
From 1957 to the end of the sixties, Tillis would record for major labels and score a handful of hits, but he had a far bigger impact as a songwriter. He wrote hits that are now standards, recorded by legends like Webb Pierce (“I Ain’t Never, “No Love Have I”), Bobby Bare (“Detroit City”), Ray Price (“Heart Over Mind”, “Burning Memories”) and Kenny Rogers and the First Edition (“Ruby, Don’t Take Your Love to Town.”)
However, once the seventies arrived, Tillis became a major presence on country radio, scoring dozens of hits, many of which were his own recordings of his compositions that had been hits for other artists in the sixties. In 1976, he was named CMA’s Entertainer of the Year, the same year he was inducted into the Nashville Songwriters Hall of Fame. Tillis’ comedic talents made him an in-demand performer, and he was a fixture on both network and syndicated television shows during the peak years of his career. He also appeared in several movies, with Smokey and the Bandit II and Cannonball Run being the most successful.
As with many of his contemporaries, the hits slowed down
in the eighties, even though other artists continued to score hits with his material, most notably Ricky Skaggs’ chart-topping recording of “Honey (Open That Door)” in 1984. He purchased radio stations that he later sold for a big profit, and he became one of the most popular draws in Branson, Missouri, where his theater was a cornerstone for tourist entertainment.
In recent years, Tillis has frequently collaborated with his daughter Pam Tillis, making appearances on her albums and co-headlining a popular Christmas show at Opryland. Tillis was inducted into the Grand Ole Opry in 2007, and elected to the Country Music Hall of Fame that same year. In 2010, he released his first comedy album, You Ain’t Gonna Believe This…, on Show Dog Records.
- Heart Over Mind, 1970
- I Ain’t Never, 1972
- Good Woman Blues, 1976
- Heart Healer, 1977
- I Believe in You, 1978
- Send Me Down to Tuscon, 1979
- Coca Cola Cowboy, 1979
- Southern Rains, 1980
- Life’s That Way, 1967
- Sawmill, 1973
- M-M-Mel, 1975
- Love Revival, 1976
- Heart Healer, 1977
- Mr. Entertainer, 1979
- Your Body is an Outlaw, 1980
Next: #32. ?
Previous: #34. Charlie Rich
Though his Hall of Fame career has now stretched several decades, Kris Kristofferson will forever be defined by his legendary songwriting in the late sixties and early seventies.
An intellectual of Swedish descent, Kristofferson’s father was in the U.S. military, and as a result, he moved around quite a bit while growing up. His twin passions were writing and rugby, and he pursued both vigorously while completing his undergraduate studies in California. He earned a Rhodes Scholarship to Oxford University, and while studying there, he gained distinction in boxing, and more importantly, he began writing songs.
He briefly pursued a performing career while in England, with hopes that success could help him toward his real goal of publishing a novel. When this was unsuccessful, he succumbed to family pressure and joined the army in 1960. Five years later, he left the army, which resulted in estrangement from his family, and he arrived in Nashville to pursue his songwriting craft full time.
The cuts came slowly, but after having a few chart hits by artists like Dave Dudley and Roger Miller, he became established around town. As the sixties turned into the seventies, Kristofferson’s pen became legendary, thanks to a string of hits for other artists. Sammi Smith’s recording of “Help Me Make it Through the Night” won him a Grammy for Song of the Year, while he earned the CMA trophy for “Sunday Morning Coming Down” (Johnny Cash) and the ACM trophy for “For the Good Times” (Ray Price.) Janis Joplin, who Kristofferson had dated for some time, found her greatest success after her death, as her recording of Kristofferson’s “Me and Bobby McGee” topped the pop singles chart for several weeks.
Kristofferson’s notoriety as a writer piqued enough interest in him to lead to a successful singing career of his own. He had several well-received albums for Monument, two of which sold gold. Radio was mostly indifferent to the projects, with the glaring exception of his stunning #1 hit, “Why Me”, in 1973.
While he continued to sing and write songs, Kristofferson’s career took a surprising turn toward Hollywood, and he became a legitimate film star, winning a Golden Globe for Best Actor starring opposite Barbra Streisand in A Star is Born. He also had successful musical collaborations with his wife, Rita Coolidge. Meanwhile, Nashville stars continued to record his songs, with friend Willie Nelson even recording a platinum-selling tribute album in 1979.
His last major success as a recording artist came in 1985 as part of the supergroup The Highwaymen with Johnny Cash, Waylon Jennings, and Willie Nelson. That same year, he was inducted into the Songwriters Hall of Fame, while the Country Music Hall of Fame elected him in 2004.
Over the past two decades, he has continued to release albums of self-written material, while continuing to tour and appear in various films, including a prominent role in the Blade trilogy.
- For the Good Times (Ray Price), 1970
- Sunday Morning Coming Down (Johnny Cash), 1970
- Me and Bobby McGee (Janis Joplin), 1971
- Help Me Make it Through the Night (Sammi Smith), 1971
- Please Don’t Tell Me How the Story Ends (Bobby Bare), 1971
- Why Me, 1973
- The Highwayman (with Johnny Cash, Waylon Jennings, and Willie Nelson), 1985
- Kristofferson, 1970
- Me and Bobby McGee, 1971
- The Silver Tongued Devil and I, 1971
- Jesus Was a Capricorn, 1972
- To the Bone, 1981
- Broken Freedom Song: Live From San Francisco, 2003
Next: #47. Rodney Crowell
Previous: #49. Toby Keith
With a career that has spanned seven decades, Bobby Bare's body of work has made him one of the genre's most influential and critically acclaimed recording artists.
Raised in poverty by his widowed father, Bare was on his own by age fifteen. He built his own guitar and played in a Springfield, Ohio band before moving to Los Angeles to pursue a music career full-time. His first single, “The All-American Boy”, was recorded under the name Bill Parsons. It became a surprise pop hit, reaching #2 in America and the top thirty in England.
His pop career was short-lived, thanks to being drafted into the army. When he returned from service, he resumed performing under his own name, pursuing a singing and songwriting career in the pop music field. He shared an apartment with Willie Nelson and toured with some big pop acts, before turning his attention to country music in the early sixties.
Chet Atkins signed him to RCA in 1962, and he had a string of big hits for the label, including classics like “Detroit City”, “The Streets of Baltimore”, and “500 Miles Away From Home.” Bare began incorporating elements of the folk music scene into his music, and by the end of the decade, he'd established a reputation for tackling challenging material on record, including the controversial “(Margie's at) the Lincoln Park Inn.”
A brief stint on Mercury Records in the early seventies continued the streak of critically acclaimed albums, but he returned to RCA shortly thereafter. It was on that label that he released the landmark album Bobby Bare Sings Lullabys, Legends, and Lies. The double album showcased the songs of Shel Silverstein, including the #1 hit, “Marie Laveau” and a duet with his son on “Daddy What If?” Thus began a fruitful partnership with Silverstein that resulted in more critically acclaimed albums, though none of them would approach the commercial success of their first collaboration.
As the seventies progressed, Bare became aligned with the Outlaw movement, and by the early eighties, he was drawing on the catalog of writers such as Guy Clark and Townes Van Zandt. After releasing his 1983 album Drinkin' From the Bottle, Singin' From the Heart, Bare took more than a decade off from recording. In recent years, he has returned to prominence through the Americana scene, and is now viewed as one of the forefathers of that fledgling musical movement.
- Detroit City, 1963
- 500 Miles Away From Home, 1963
- The Streets of Baltimore, 1966
- (Margie's at) the Lincoln Park Inn, 1969
- How I Got to Memphis, 1970
- Daddy What If? (with Bobby Bare, Jr.), 1974
- Marie Laveau, 1974
- Detroit City and Other Hits, 1963
- 500 Miles Away From Home, 1963
- (Margie's at) the Lincoln Park Inn, 1969
- This is Bare Country, 1970
- Bobby Bare sings Lullabys, Legends, and Lies, 1973
- Down & Dirty, 1980
Next: #55. Roy Clark
Previous: #57. Kenny Chesney
A first class singer, songwriter, and musician, Jerry Reed’s talents ran far deeper than his tongue-in-cheek persona might have indicated.
Born and raised in Georgia, Reed played guitar from an early age. Music brought him comfort and structure during a childhood of instability. By the time he was out of high school, he was already signed to Capitol Records. Though he released several singles over the next few years, it was his songwriting and guitar playing that first earned him notice.
Throughout the late fifties and the sixties, his songs were recorded by Elvis Presley, Gene Vincent, Johnny Cash, Brenda Lee, and others. He also became an in-demand session guitarist, with a career highlight being the sessions he played with Presley, who feel in love with Reed when he heard his 1967 single, “Guitar Man.”
A strong working relationship with Chet Atkins led to a contract with RCA and further raised Reed’s profile. By the late sixties, Reed was getting critical notice for his own records. He had his big breakthrough in 1970, when “Amos Moses” became a gold-selling pop and country hit. In 1971, ‘When You’re Hot, You’re Hot” became his first #1 country single and another big pop hit.
Throughout the seventies, Reed matched popular singles and albums with high profile media exposure. He was a regular on Glen Campbell’s television show, and he appeared in several films. His greatest notoriety came as Cledus Snow in the wildly popular Smokey and the Bandit film series. “East Bound and Down” was recorded for the soundtrack of the first film, and became one of his biggest hits.
Reed’s recording career had a second wind when he released the 1982 album The Man with the Golden Thumb. Often rated as his strongest studio album, it featured the classic hit “She Got the Goldmine (I Got the Shaft).” Reed quickly followed with the hit album, The Bird. The title track had him mimicking both George Jones and Willie Nelson, and the album also featured a hit cover of the Creedence Clearwater Revival song, “Down on the Corner.”
The nineties brought a fun collaboration with Mel Tillis, Bobby Bare, and Waylon Jennings, a live album dubbed Old Dogs. Reed also starred as the coach in the box office smash, The Waterboy. Illness sidelined him as he aged, and he passed away in 2008 due to complications caused by emphyzema.
- Guitar Man, 1967
- Amos Moses, 1970
- When You’re Hot, You’re Hot, 1971
- Lord, Mr. Ford, 1973
- East Bound and Down, 1977
- She Got the Goldmine (I Got the Shaft), 1982
- The Unbelievable Guitar and Voice of Jerry Reed, 1967
- Nashville Underground, 1968
- Me & Chet (with Chet Atkins), 1972
- Lord Mr. Ford, 1973
- The Man with the Golden Thumb, 1982
Next: #63. Clint Black
Previous: #65. Asleep at the Wheel
If you had a friend who was a tightrope walker, and you were walking down a sidewalk, and he fell, that would be completely unacceptable. – Mitch Hedberg
Emotional Traffic is a collection of poor choices.
First and foremost, the material is shockingly weak. Yes, McGraw has been slowly slipping over the last couple of albums, but the bottom has completely fallen out here.
Take a song like “Right Back Atcha Babe”, for example. It’s a hodgepodge of little details in the same vein as “Something Like That,” but none of them are believable. And why are they having the conversation anyway? It’s not like they’ve suddenly run into each other after a really long time. Why is he recapping the events like he’s got to get her caught up before this week’s episode?
“One Part, Two Part” and “I Will Not Fall Down” are Nashville songwriting at its laziest. They’re not even songs so much as they’re song titles. It’s all packaging and no product.
The album is polluted with that bizarre inversion of modern country music: The less a song has to say, the longer it takes to say it. Songs go on forever on this album. The bloated opener, “Halo”, doesn’t contain a single intelligible moment, despite five minutes of trying. “Touchdown Jesus” is a ridiculous concept to begin with, and could’ve made its point in two minutes instead of four, had McGraw had the good taste to cover Bobby Bare’s “Dropkick Me, Jesus” instead.
Look, you know you’re in trouble when nine tracks in, it’s a relief to hear “Felt Good On My Lips.” Sure, the melody’s so blatantly derivative of “Video Killed the Radio Star” that it makes Lady Gaga sound fresh and original. But at least it has a pulse, even if I’m still bewildered by the Incredible Machinery of it all.
And to be fair, there are some decent moments scattered throughout, like “Better Than I Used to Be” and “Die By My Own Hand”, but it’s all ground that McGraw’s covered before, and better, too. They’re just not worth sitting through Emotional Traffic for.
Had I not committed to writing this review, I don’t know that I would’ve listened to this album at all, certainly not for a second and third time. This level of work from this level of talent is nothing short of completely unacceptable.
A Cheating Song.
Here are the staff picks:
Kevin Coyne: “(Margie’s at) The Lincoln Park Inn” – Bobby Bare
Proof that while the other woman can sometimes sound sympathetic, there’s no getting around the fact that the guy is a heel, allowing his selfishness to wreck the lives at home and at the Lincoln Park Inn.
Leeann Ward: “Phones Are Ringin’ All Over Town” – Martina McBride
Country music is rife with the greatest cheating songs, but the one that’s running through my head now is Martina McBride’s “Phones Are Ringing All Over Town.” I love the frenzied way the desperate man tries to live in his denial that his wife has had enough of his cheating ways by calling everyone he can think of to try to find her. Sucker!
Dan Milliken: “Oh, Sweet Temptation” – Gary Stewart
That signature tremble in Stewart’s voice works wonders here as he considers fooling around with a married woman. It’s part nervousness, part gaspy adrenaline, and of course very part self-loathing. Mmm, country.
The first quarter of the countdown comes to a close, highlighted by excellent comeback attempts by T. Graham Brown, Emmylou Harris, and Willie Nelson.
400 Greatest Singles of the Nineties: #325-#301
He Would Be Sixteen
1992 | Peak: #31
Sometimes the choices that you make linger forever. Here, a woman in her thirties drives past a high school football game, and her mind wanders to the painful void left in her heart from the son she gave up for adoption. – Kevin Coyne
It Matters to Me
1995 | Peak: #1
Faith Hill’s sophomore album is a surprisingly deep set, filled with candid insights into different womens’ lives. The title track represents that approach well, with Hill’s protagonist speaking to the differences in her approach to love and her partner’s. Seems simple, but then again, people spend thousands in couples counseling trying to find a way to voice feelings this directly. – Dan Milliken
She’d Give Anything
1993 | Peak: #4
A not-so-subtle depiction of how elusive true love can be for some women – even those who desperately seek it – that resonates not despite of but because of its blatancy. There’s a beautiful honesty to the song’s precise articulation of the mixture of frustration and strength that builds up within these women. – Tara Seetharam
The Trouble With the Truth
1997 | Peak: #15
The trouble with the truth is that is just so demanding. We think we want it, but it often requires some sort of action from us once we have it. Loveless struggles with this quandary: “The trouble with the truth is it always begs for more. That’s the trouble with the truth.” – Leeann Ward
Still Gonna Die
1999 | Peak: Did Not Chart
Waylon Jennings, Mel Tillis, Bobby Bare, and Jerry Reed united for an amazing live album dominated by Shel Silverstein songs. For anyone who read his brilliant poetry books for children, “Still Gonna Die” is the golden years equivalent: clever, frightening, and darkly hilarious. KC
1990 | Peak: #3
An apology via a wanted ad could be disastrous in the hands of many male country artists, but it’s simply lovely in Jacksons’, ringing with sincerity and regret. – TS
Finish What We Started
1995 | Peak: #19
While it’s not a part of the wedding song canon, this is a gorgeous declaration of commitment. – LW
Tryin’ to Hide a Fire in the Dark
1992 | Peak: #6
From the first strains of the song, we know this is going to be a dark one. While he hasn’t physically cheated yet, the thoughts of at least wishing to do so are spilling over, which begs the analogy of “It’s like trying to hide a fire in the dark.” – LW
She is Gone
1996 | Peak: Did Not Chart
As in his classic recording of “Blue Eyes Crying in the Rain”, Nelson’s sad remembrance of a lost love glows with unspoken warmth, as the beauty of his good memories shines through the outer layer of melancholy. – DM
1999 | Peak: #11
An ode to the nonsensical mess of emotions that accompany falling in love, just contradictory enough to make sense. – TS
You Can Feel Bad
1995 | Peak: #1
As deft a take down of a departing lover there’s ever been. Not since “You’re So Vain” has a jilted lover struck back so powerfully by simply holding up a mirror. – KC
Till I Found You
1991 | Peak: #12
With a Roy Orbison feel, “Til I Found You” is a sweet declaration of finally finding the right one. – LW
Blame it On Your Heart
1993 | Peak: #1
A shameless radio bid delivered with more power and charm than such bids generally deserve. – DM
You Never Even Call Me By My Name
1994 | Peak: #60
Presenting the perfect Country & Western song! This is a great David Allan Coe cover with some alterations, including the exclusion of a stanza (which does water down the song a bit), changes to the spoken part, and additions of some special guests. – LW
Wine Into Water
T. Graham Brown
1998 | Peak: #44
A kneeling drunkard’s plea for the modern age. A broken man struggling with his alcoholism asks Jesus to perform His first miracle in reverse. Brown’s rough and tumble voice is the best possible fit for this fine composition.- KC
High Powered Love
1993 | Peak: #63
The added punch to the production shows that Harris could do nineties country as well as anybody on the radio back then, which is quite the compliment, given who was getting airplay in 1993. A perfect lament for a lover who won’t settle for skin deep treasures, she wonders, “Is there anyone left with teeth just a little uneven? Who won’t spend more time with a mirror than he does with me?” – KC
You Won’t Ever Be Lonely
1998 | Peak: #2
Griggs creates a touching ballad out of one of the sweetest, simplest promises that comes with making a commitment to someone – that no matter the storm outside, you’ll never have to face it alone. – TS
1997 | Peak: #65
Instead of serving as a means to shut the other person out, the door that Tippin is suggesting is for the purpose of letting the other person in. “a door ain’t nothin’ but a way to get through a wall”, he sings. If they work together to create it, then they might be able to walk through it to meet each other halfway. – LW
1991 | Peak: #12
Suzy Bogguss takes this Ian Tyson cowboy folk song and makes it her own. She successfully breathes emotion into this wistful song that, once again, pits woman against rodeo. – LW
1992 | Peak: #1
Built on a poignantly written metaphor, “The River” gracefully weaves together elements of faith, inspiration and motivation. It’s a masterful single, from its poetic lyrics to its beautifully simplistic arrangement, but the heart and soul is Brooks’ gripping conviction – quiet yet fierce. On a personal note, this song contains one of my all-time favorite lyrics that I often revisit: “So don’t you sit upon the shoreline and say you’re satisfied/Choose to chance the rapids and dare to dance the tide.” – TS
Time Passes By
1991 | Peak: #7
Blessings are fleeting, and they’re best appreciated in the moment. It’s far more satisfying to celebrate them without the bittersweet tinge of regret. – KC
You Can’t Stop Love
1996 | Peak: #26
To hear Marty Stuart tell it, there’s nothing more powerful than love. No matter what you do, you can’t stop it. True enough. – LW
1997 | Peak: #1
McGraw’s character leaves behind a lifelong love interest and a little home town to explore the world. But instead of getting good closure, the poor guy starts seeing the girl he left in every place he visits, even long after she has married and had children. That these visions could feasibly represent both unresolved romantic feelings and the inescapable imprint of one’s roots is just country-delicious. – DM
You’re Beginning to Get to Me
1998 | Peak: #2
Walker’s falling head first for a girl, but he isn’t ready to take the plunge with the L-word just yet. In his catalogue of fabulous 90s hits, this understated “love” song gets overshadowed by some of the more distinct ones, but it’s nonetheless memorable. – TS
Help Me Hold On
1990 | Peak: #1
Travis Tritt is one of few country artists who is as known for his rocking side as he is for being a strong balladeer. “Help Me Hold on” is a plea to his lover to help him salvage what’s left of their relationship, which doesn’t seem to be much, since she’s already packing a suitcase. – LW