By 1957, however, the answer seemed clear: Marty Robbins was going to be everybody. In 1957 and 1958, he charted two doo-wop teen-love pop ballads (“A White Sport Coat (and a Pink Carnation),” “She Was Only Seventeen (And He Was One Year More")), two country/rockabilly tunes (“Just Married,” “Ain’t I the Lucky One,”), a poppy tune reminiscent of “Mr. Sandman, Send Me a Dream” ("Stairway of Love"), a country blues (“Knee Deep in the Blues”), and the Hawaiian-tinged “Story of My Life.”
In 1959, Robbins was astute enough to pick up on Johnny Cash’s success singing cowboy songs, and began turning out western swing and Mexican-flavored tunes. The most famous of these was of course “El Paso,” one of the biggest hits of the year, but there was also “Ballad of the Alamo,” “Big Iron,” “Devil Woman,” and several others.
He would continue to have success in the western style throughout the 1960s, charting with songs like “The Cowboy in the Continental Suit,” and “Tonight Carmen,” all the while also turning out straight country hits like "The Shoe Goes on the Other Foot Tonight."
The 1970s and 1980s blunted Robbins’ attack in the way it did so many others - by drowning his songs in an ocean of strings. His go-to producer in the late ‘70s and early ‘80s was Billy Shirell, known for his devotion to overproducing every song to the point of parody, and – yep – strong songs like “Among My Souvenirs” "Some Memories Just Won't Die" are nearly unlistenable under the thick film of keyboards, strings, choirs, and noise-gated drums, forcing Robbins to belt like Jim Nabors to be heard over the din. Many songs from this era seem more suited to the tacky spectacle of Elvis’ Vegas showroom than to Robbins’ simple delivery.
The final song on Essentials is “Honkytonk Man,” the title song from the 1982 Clint Eastwood film of the same name. Though near death from chronic heart disease and nearly overpowered by the overproduction, Robbins nevertheless gives an affecting and lovely performance. His voice is deeper and rougher, and he seems finally to have discovered how to sing a ballad without crossing into maudlinness. It seems that Robbins died just as he was entering another chapter of his career, one where he finally figured it all out.
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