In truth, “El Paso” is only one hit among dozens more. Robbins spent the mid-1950s through the early 1980s in the country and pop charts, logging 81 country Top 40 hits, 31 pop crossover hits, and spending a collective 63 weeks at #1. That’s a run not unlike Sir Elton John’s, who nevertheless remains a household name while even casual country fans need to struggle to remember the name of... ohh... you know that one guy? Who did that song? You know, “Down in the old Texas town of El Paso?”
Moreover, just as Robbins was not only a country star, he was not merely a country singer. Indeed, the two disc The Essential Marty Robbins makes a case for Marty Robbins as the country-flavored counterpart to chameleonic phenomenon Bobby Darin. Like Darin, Robbins is remembered for a major novelty hit or two (“Mack The Knife,” “El Paso”) and a rock and roll hit or two (“Splish Splash,” “White Sport Coat (and a Pink Carnation).” Like Darin, Robbins worked in many styles throughout his career, defying easy pigeonholing. And like Darin, Marty Robbins was not blessed with a perfect voice. Not as rich as Elvis,’ not as resonant as Cash’s, and not as emotive as George Jones, his slightly brittle tenor nevertheless featured an affecting quaver and technical ability that made up for any shortcomings, and he turned in outstanding vocal performances in a wide variety of genres.
Also like Darin, Robbins’ legacy is a victim of his biggest hit. Although the chronological running order on Essential shows that Robbins excelled in many genres (rock and roll in several styles, Western swing, country, blues, countrypolitan, and straight pop) throughout his career, and although he wrote his own material, it is still necessary to for the compilation to prove that there was more to him than just one long story song set in New Mexico.
Discovered by Don Law and signed to Columbia in 1952, Robbins’ first hits were in the country style of the day, featuring acoustic and steel guitar and melodies reminiscent of Hank Williams. One of his early hits was an Elvis-like cover of Arthur Crudup’s “That’s All Right Mama,” suggesting that he had not quite yet figured out who he was going to be.
Article comments
1 - rory
that has to be the most inaccurate assesment of marty robbins i've ever heard. robbins sang circles around the mentioned singers..yes including elvis. and the last song he recorded...he finally learned how to sing a ballad. utterly laughable.
2 - Cachito
First of all, the opening line happens to be, "Out in the west Texas town of El Paso."
Aside from that blunder ...
the half-forgotten Marty Robbins???
You don't have a clue.
3 - John Owen
Thanks for your honesty, both of you. The opening line was, I admit, a blunder. I've been mis-remembering that line for years for some reason and failed to factcheck it before I published.
Regarding Robbins' balladry, I totally agree, and in fact that's what I said. His last recordings were wonderful (aside from some overproduction) and his voice was richer than it had ever been. I personally don't think his earlier singing measures up to George Jones' at all, but that's nothing against Robbins. Jones has probably the best voice in all of country. As for Elvis, he had similarly limited vocal gifts but also had no shame, which let him cut loose more than Robbins tended to. Cash, that's a closer call, but his deep baritone is so distinctive that it's become iconic in and of itself.
And I would definitely contend that Marty Robbins is half forgotten. I can't think of another singer who had so many top-ten hits for so long - even into the 1980s - whose name has fallen into such obscurity, now really perpetuated for just "El Paso." It's as if the Rolling Stones were only known today for "Satisfaction" alone. That's not a judgement of Robbins. That's a judgement of the market.
4 - rory
maybe for strictly country jones had the best voice. but voice for voice come on robbins sang in so many styles and the overall technical sophistication of robbins voice was light years ahead of jones. do you thin jones could come close to hiting the f#s in el paso. or the wonderful slide into a high A falshetto in don't worry bout me. i mean really. not to mention the hawaian songs.
5 - John Owen
Rory, thanks for your comment.
Since I wrote this, I've come around on Marty Robbin's technical ability. You're right. Elvis and George Jones have loads of personality that help overcome their shortcomings. Marty Robbins has personality and chops.
6 - rory
good for you for finally giving marty his just due. i really like your part on why he is and yes although I hate to admit it, all but forgotten. nice chatting with you so to speak. Rory