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Robert Joseph Bare Sr. (born April 7, 1935), known as Bobby Bare, is an American country music singer and songwriter, best known for the songs "Marie Laveau", "Detroit City", and "500 Miles Away from Home".[2] He is the father of Bobby Bare Jr., also a musician.

Early career

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Bare was born in Ironton, Ohio,[3] on April 7, 1935.[4]In the 1950s, he repeatedly tried and failed to sell his songs.[5] He finally got a record deal, with Capitol Records, and recorded a few unsuccessful rock and roll singles.[2] Just before he was drafted into the United States Army, he wrote a song called "The All American Boy"[6] and did a demonstration tape (demo) for his friend, Bill Parsons, to learn how to record. Instead of using Parsons' later version, the record company, Fraternity Records, decided to go with Bare's original demo.[2] The record reached number two on the Billboard Hot 100, but Fraternity erroneously credited Bill Parsons on the label.[7][8] The same track, with the same billing error, peaked at number 22 in the UK Singles Chart in April 1959.[9] In 1965, an album of older recorded material, Tender Years (JM-6026), was released on the Hilltop label. That same year, the material was repackaged by Sears and released under the title Bobby in Song (SPS-115).

Career at RCA Victor (1962–1970)

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Bare's big break in country music came when Chet Atkins signed him to RCA Victor. His debut single for the label was 1962's "Shame on Me". Follow-up "Detroit City" reached number six on the Country[8] and number 16 on the Hot 100 charts,[7] and in 1964 earned him a Grammy Award for Best Country & Western Recording. Then, a surge of hits followed, including "500 Miles Away from Home" (based on a traditional folk ballad written by Hedy West as "500 Miles")[7] and Ian Tyson's "Four Strong Winds". In 1965, he received two further Grammy nominations for Best Country & Western Vocal Performance and Best Country & Western single for the latter song. In 1966, he received a yet another Grammy Nomination for Best Country & Western Male Vocal Performance for his song "Talk Me Some Sense". He also recorded two duet albums with Skeeter Davis[2] and recorded six tracks as a trio with Norma Jean and Liz Anderson, which produced a major hit with "The Game of Triangles", a wife-husband-other woman drama that hit number five on the Billboard chart and earned the trio a Grammy nomination. In 1968, he recorded an album with a group from England called The Hillsiders.[10][11] In 1969, he had a top-five hit with Tom T. Hall's "(Margie's At) The Lincoln Park Inn".[8]

Career at Mercury (1970–1972)

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Bare moved to Mercury Records in 1970 and immediately scored a top-three hit with "How I Got to Memphis",[2] and also had two top-10 hits with early Kris Kristofferson compositions, "Come Sundown" and "Please Don't Tell Me How the Story Ends" (both 1971).[2][8] He also scored a number-12 hit in 1972 with a version of Dr. Hook and the Medicine Show's pop hit "Sylvia's Mother", written by Shel Silverstein.

Return to RCA Victor (1973–1977)

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Bare in 1973

Bare returned to RCA in 1973, after two years at Mercury.[2] and scored once more with Billy Joe Shaver's "Ride Me Down Easy", which nearly made the top 10. He started to release novelty songs recorded live with selected audiences. One such song, "Marie Laveau", topped the country chart in 1974; the song was Bare's only number-one hit.[2] It was co-written by his friends Silverstein and Baxter Taylor, who received a BMI Award for the song in 1975. In 1977, Bare released an entire album of songs by songwriter Bob McDill called Me and McDill, which contained the popular hit "Look Who I'm Cheatin' on Tonight".[12]

Silverstein penned other songs for Bare, including a Grammy-nominated hit, "Daddy What If", which he recorded with his five-year-old son, Bobby Bare Jr.[2] The song was an immediate success, as well, not only reaching number two on the country charts, but nearly reaching the top 40 on the pop charts. Bare's album, Sings Lullabys, Legends and Lies, became his most commercially successful album, finding him a new audience, with pop radio once again playing his songs and also gaining a new following with college kids.[2] These songs, all 14 written or co-written by Shel Silverstein, however, became Bare's last top-10 hits. In 1975, Bare recorded a children's album with his family, mainly of Silverstein songs, called Singin' in the Kitchen.[4] It was nominated in Best Group category in Grammy Awards.

His biggest hits during this time included "Alimony" (1975), "The Winner" (1976), and "Drop Kick Me, Jesus (Through the Goalposts of Life)" (an unusual Christian-football waltz and a 1976 Grammy nominee for Best Country Song).[13] In 1977, he recorded "Redneck Hippie Romance"[14] and "Vegas" (a duet with his wife Jeannie).

Career at Columbia (1978–1983)

[edit]

Bare signed with Columbia Records and continued to have hits including "Sleep Tight Good Night Man", which barely cracked the top 10 in 1978, alongside continuing to score critical acclaim with his releases Bare and Sleeper Wherever I Fall.[2] In 1979, he started off Rosanne Cash's career in a big way by being her duet partner on the top-20 hit "No Memories Hangin' Round".[2] In 1980, he almost cracked the top 10 with "Numbers", which came from his album Down and Dirty.[2] On that album, Bare started to experiment with Southern rock, which continued with his following album, Drunk and Crazy (1980).[2] The next year, Bare returned to his country roots with his Rodney Crowell-produced album As Is, featuring the single "New Cut Road". Bare was still doing well chartwise into the early 1980s. In 1983, his duet with Lacy J. Dalton, "It's a Dirty Job", hit the top 30. His last foray into the top 30 came that summer with the novelty song "The Jogger". He also released "Used Cars", the theme song from the film of the same name.

Film career

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Bare was also given an opportunity to star in movies. He acted in a Western with Troy Donahue, A Distant Trumpet, and had a memorable scene being branded for desertion, and a few episodes of the TV series No Time for Sergeants. He turned his back on Hollywood to pursue his country music career.

Later country career (1983–present)

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From 1983 to 1988, Bare hosted Bobby Bare and Friends on The Nashville Network, which featured him interviewing songwriters who sang their hit songs on the show. In 1985, he signed with EMI America Records, where he scored three low-charting singles. In 1998, he formed the band Old Dogs, with Jerry Reed, Mel Tillis, and Waylon Jennings. As of 2023, he is the last surviving member of the group.

In 2005, he released his first new album in two decades, The Moon Was Blue, produced[15] by his son Bobby Bare Jr., who is also a musician. He continues to tour today. In 2012, Bare performed a duet of the song "I'd Fight the World" on the Jamey Johnson album Living for a Song: A Tribute to Hank Cochran.[citation needed]

On April 10, 2013, the CMA announced that Bare would be a 2013 inductee into the Country Music Hall of Fame. Other 2013 inductees included Cowboy Jack Clement and Kenny Rogers.[16]

After being inducted in the 1960s, but gradually drifting away, Bare was reinstated as a member of the Grand Ole Opry on April 7, 2018, by Garth Brooks.[17]

Eurovision 2012

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In January and February 2012, Bare joined Petter Øien at the 2012 Melodi Grand Prix to compete for Norway's entry to the 2012 Eurovision Song Contest to be held in Baku, Azerbaijan, in May. His song "Things Change" got through to the Norwegian final, in which Øien and Bare finished third.

Filmography

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Discography

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Main articles: Bobby Bare albums discography and Bobby Bare singles discography

Awards and nominations

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Year Organization Award Nominee/Work Result
1964 Grammy Awards Best Country & Western Recording "Detroit City" Won
1965 "Four Strong Winds" Nominated
Best Country & Western Vocal Performance - Male "Four Strong Winds" Nominated
1966 "Talk Me Some Sense" Nominated
1968 Best Country & Western Performance Duet, Trio or Group (Vocal or Instrumental) "The Game of Triangles" Nominated
1975 Best Country Performance by a Duo or Group with Vocal "Daddy What If" Nominated
1999 Country Music Association Awards Musical Event of the Year "Old Dogs" Nominated

References

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Other sources

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[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Bobby Bare

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from Grokipedia
Bobby Bare (born Robert Joseph Bare, April 7, 1935) is an American singer, songwriter, and musician renowned for his laconic vocal style that blends wry humor, poignant storytelling, and innovative song choices, earning him nearly 60 on the charts from 1962 to 1983. Born in , near the borders of and , Bare grew up in poverty on a farm in Lawrence County; his mother died when he was five years old in 1940, leaving his father unable to care for him and his siblings, so he was raised by relatives. As a child, he fashioned a homemade guitar from a cigar box and showed early interest in music, forming his first band as a teenager after leaving home due to tensions with his ; by 1953, he had moved to seeking opportunities in the music industry. Bare's career breakthrough came in 1959 with the novelty hit "All American Boy," recorded under the pseudonym Bill Parsons, which reached No. 2 on the Billboard pop chart, but it was his 1962 signing with RCA Records that solidified his place in country music. That year, his recording of "Detroit City" became a signature song, reaching No. 6 on the country charts, No. 16 on the pop charts, and winning a Grammy Award for Best Country & Western Recording in 1964, while "500 Miles Away from Home" followed as another Top Ten crossover success. Throughout the 1960s and 1970s, he amassed hits including "Marie Laveau" (No. 1 in 1973), "Daddy What If" (No. 1 duet with son Bobby Bare Jr. in 1971), and "The Winner" (1977), often championing songs by emerging writers like Tom T. Hall, Kris Kristofferson, and Shel Silverstein, with whom he collaborated on acclaimed concept albums such as Lullabys, Legends and Lies (1973) and Singin' in the Kitchen (1976, Grammy-nominated). In the , Bare pioneered self-production with albums like Ride Me Down Easy (1973), influencing the outlaw country movement alongside artists like and , and he later contributed to the 1998 tribute album Old Dogs honoring Silverstein's work. Beyond recording, he hosted the television show Bobby Bare and Friends on The Nashville Network from 1983 to 1988, showcasing emerging talent, and continued performing on tours focused on country legends into the . His contributions to the genre were recognized with induction into the Hall of Fame in 2013, cementing his legacy as a versatile innovator who bridged folk, country, and pop influences over seven decades.

Early life and family

Childhood and upbringing

Robert Joseph Bare was born on April 7, 1935, in , into a poor farming . His early years were marked by significant hardship, as his mother died when he was five years old, leaving the in turmoil. Unable to adequately support his children, Bare's father was forced to separate the siblings; the younger sister was adopted, the older sister was placed with relatives, and Bare remained with his father on the farm, though the dynamics remained unstable. Bare's father struggled as a on a hill farm, often working long hours but unable to provide stability amid the that defined their rural existence. From a young age, Bare contributed to the household by helping on the farm, an experience that instilled a deep sense of resilience. By his early teens, conflicts with his stepmother led him to leave home and live with various relatives, including his grandmother, aunts, and uncles. At around age 15, he began working to support himself, first on farms and later in nearby , including a clothing where he lied about his age to secure employment at 16. Amid these challenges, Bare discovered music as an escape, constructing his first crude guitar from a can, a stick, and wires during his childhood. By his mid-teens, he acquired a real guitar and began self-teaching by listening to local radio broadcasts and records. His initial musical influences included country pioneers such as and , whose styles he absorbed alongside early heroes like and , shaping his path toward a in country music.

Marriage and children

Bobby Bare married Anita Jacqueline "Jeannie" Sterling in 1964, shortly after meeting her while she worked as a and occasional singer in Nashville. The couple marked their 60th in 2024, a milestone that highlighted their enduring partnership amid Bare's demanding career in country music. Jeannie, who had prior experience in performance, provided steadfast support by managing their home life and occasionally joining Bare on or in business endeavors, such as operating a family shop. The Bares raised four children together in Hendersonville, Tennessee, just outside Nashville: daughter Cari Jean, born May 2, 1960 (Jeannie's daughter from a previous relationship, whom Bare adopted), sons Robert Joseph "Bobby" Bare Jr., born June 28, 1966, and Shannon Bare, born in 1969, and daughter Angela Bare, born circa 1976. Tragically, Cari died on December 19, 1975, at age 15 from complications following surgery at in . Bobby Bare Jr. pursued a career in music as a , while Shannon has occasionally performed with family members and assisted in music projects. As a family man, Bare balanced extensive touring with active involvement in raising his children, drawing from his own challenging marked by family separation to prioritize stability in Nashville. The family collaborated on the 1974 album Singin' in the Kitchen, a collection of Shel Silverstein-penned children's songs featuring Bare, Jeannie, Cari, Bobby Jr., and Shannon, which captured their close-knit dynamic and reached No. 29 on the charts the following year. Jeannie's role was pivotal in maintaining this home base, allowing Bare to focus on his artistry while fostering a musical environment for the children.

Musical career beginnings (1950s–1961)

First recordings and band formation

At the age of 15, Bobby Bare left his family farm near , and hitchhiked to Columbus, where he took on various odd jobs, including dishwasher, delivery boy, and steelworker, to support himself. Using savings from these positions, he purchased his first guitar and taught himself to play by ear, drawing inspiration from country radio broadcasts featuring artists like . This self-taught approach marked the beginning of his musical development amid the hardships of his youth, including and the early death of his mother, which instilled a persistent drive to pursue music as an escape. In the early 1950s, Bare relocated to the Springfield/ area of northern , where he joined a local band as an unpaid vocalist, performing at honky-tonks and community events. These gigs honed his stage presence and exposed him to the regional scene. By around 1954–1955, he formed his own band, which played bars and local gatherings, and he secured a slot for an early morning radio program, further building his local reputation. Seeking broader opportunities, Bare traveled to in the early to pitch his original songs but faced rejection from King Records. Undeterred, he hitchhiked to in 1953 with just $12 in his pocket, taking odd jobs like dishwashing and oil field labor while networking in the West Coast music community and writing songs influenced by peers such as and . Bare's first professional recordings occurred in 1955 in , where he cut demos for steel guitarist Speedy West's publishing company; these caught the attention of executive Ken Nelson, leading to a . In 1956, he recorded three sessions at Capitol's Hollywood studio, backed by notable session musicians including on lead guitar, though the resulting singles—"The Shoes You Wore in Vietnam," " of Love," and "Another Love Has Ended"—failed to chart and were not immediate commercial successes. Throughout this period, Bare's emerging style blended traditional with folk elements and hints of , shaped by his radio exposure to singing cowboys like and in childhood, as well as the rising energy of , whom he later parodied in his songwriting.

Early hits under

In 1959, Bobby Bare signed with the small independent Fraternity Records in , , where he recorded the novelty track "The All American Boy," which he had written for his friend Bill Parsons as a demonstration tape. To circumvent complications from his existing recording contract with Challenge Records, Fraternity released the single under the Bill Parsons, crediting Bare only as the songwriter. This decision allowed the to avoid legal issues while Bare, soon to be drafted into the U.S. Army, focused on his . During his Army service from 1959 to 1961, stationed at , , Bare won a talent contest with a band called the Latin Five. Released late in 1959, "The All American Boy" achieved modest initial success in the United States, peaking at number 2 on the chart and crossing over from country to pop audiences with its humorous narrative about a young man's rise to fame akin to Elvis Presley's before military induction. The track's international breakthrough came in 1960, reaching number 22 on the UK Singles Chart and exposing Bare's work to broader audiences despite the . Follow-up releases on , now under Bare's own name, included originals like "Down in Mexico" and covers such as "Book of Love" in 1961, but these faced significant hurdles from the label's limited resources, financial instability, and inadequate promotion, resulting in no major placements. After his discharge from the in 1961, Bare relocated to , drawn by the burgeoning scene and connections with songwriters like . His prior experience performing with local bands in had prepared him for professional recording sessions, aiding his transition. He recorded additional singles for Fraternity Records, including "Down in Mexico" and "Book of Love" in 1961, but they garnered only limited airplay and no significant chart success, hampered by the competitive market and Bare's evolving shift toward country material. The pseudonym era left Bare frustrated by the lack of personal credit and royalties from "The All American Boy," despite its commercial viability, as the release overshadowed his contributions and yielded no financial gain. This experience underscored the vulnerabilities of early career deals and motivated Bare to prioritize songwriting involvement in future contracts, ensuring greater control and recognition for his creative input.

Rise to prominence at RCA Victor (1962–1970)

Breakthrough hits

Bobby Bare signed with RCA Victor in 1962, marking the beginning of his major label career under producer . His debut single for the label, "Shame On Me," peaked at number 18 on the chart that year. This release set the stage for his rapid ascent in country music. Bare's breakthrough came in 1963 with "Detroit City," written by and Danny Dill, which captured the struggles of Southern migrants in the industrial North. The song reached number 6 on the chart and number 16 on the , earning Bare the 1964 Grammy Award for Best Country & Western Recording. Its crossover success highlighted Bare's ability to blend country storytelling with broader pop appeal. That same year, Bare followed with "500 Miles Away from Home," originally written by and adapted with new lyrics by Bare and his manager Bill Walker. The track topped out at number 5 on the country chart and number 10 on the pop chart, further expanding his audience into circles through its poignant theme of longing and isolation. Throughout the , Bare continued his string of successes at RCA, including "Miller's Cave" in 1964, which peaked at number 4 on the country chart, and a re-release of the "A " with in 1965, reaching number 11 on the country chart. "The Streets of " followed in 1966, contributing to Bare's tally of more than 20 Top 40 country singles over the decade. In 1964, amid this surge of hits, Bare was inducted into the Grand Ole Opry, cementing his status as a Nashville mainstay.

Collaborations and style development

Bare's tenure at RCA Victor marked a pivotal phase in his artistic evolution, where he honed a laconic, vocal style that fused wit with folk poignancy, eschewing the traditional twang for a more universal appeal that drew from the folk revival. This approach was evident in albums like 500 Miles Away from Home (1963), which featured folk-influenced tracks such as the title song—a reworking of the folk standard ""—and demonstrated his interpretive range through introspective narratives of longing and displacement. Similarly, Tender Years (1965) showcased his versatility, blending tender ballads with character-driven stories that highlighted his grainy baritone and understated delivery, allowing the lyrics to take center stage. A key aspect of Bare's growth involved championing emerging songwriters, whose material helped shape his repertoire and launch their careers during this era. He frequently recorded works by , including "(Margie's At) The Lincoln Park Inn" (1969), a bold, tale of that exemplified Hall's conversational and Bare's deadpan execution. Bare's advocacy extended to , whose songs rooted in late-1960s compositions like "Please Don't Tell Me How the Story Ends" (recorded by Bare in 1971) added layers of emotional depth and poetic introspection to his sound, bridging country and folk sensibilities. These partnerships not only enriched Bare's catalog but also elevated the songwriters' profiles within Nashville's evolving scene. This period also saw Bare embracing humorous, narrative-driven material that foreshadowed deeper explorations in later collaborations, such as his affinity for witty tales akin to Shel Silverstein's style—exemplified by Silverstein's 1969 hit "" for —though Bare's full partnership with Silverstein would flourish post-1970. Songs like "Detroit City," serving as platforms for such interpretive innovation, underscored his role in broadening country's appeal through clever, relatable vignettes delivered with wry authenticity. Overall, Bare's commitment to new voices and stylistic experimentation solidified his reputation as a forward-thinking interpreter, influencing the genre's shift toward more literate, story-centric songwriting.

Label transitions (1970–1977)

Mercury Records period

In 1970, Bobby Bare departed from RCA Victor primarily because longtime producer no longer had the time to oversee his sessions, prompting Bare to seek greater artistic control elsewhere. He signed with that year, allowing him to explore more personal song choices and production autonomy, building on his prior RCA collaborations with writers like and . Bare's debut Mercury album, This Is Bare Country, arrived in summer 1970, featuring the top-three country hit "That's How I Got to Memphis" (written by ). The follow-up, Where Have All the Seasons Gone (early 1971), showcased a shift toward a softer, more introspective sound with narrative-driven tracks emphasizing emotional depth over uptempo energy. Key singles from this era included Kristofferson's "Please Don't Tell Me How the Story Ends" (peaking at #8 on the Hot Country Singles chart in 1971) and Silverstein's "Come Sundown" (reaching #7 in 1970). These releases highlighted Bare's evolving style, incorporating politan elements like lush arrangements and reflective lyrics amid the genre's broader shift toward polished sophistication. Bare continued with What Am I Gonna Do (1972), which included the top-20 single "What Am I Gonna Do" and a cover of "" (#20 in 1972). Despite these successes, Bare's Mercury tenure faced hurdles from the label's limited promotional resources compared to RCA, resulting in fewer crossover breakthroughs and no chart-topping singles during his approximately three-year stay (1970–1972). This period marked a transitional phase for Bare, as the landscape increasingly embraced countrypolitan production, influencing his move back to RCA in 1973.

Return to RCA Victor

After a stint at that emphasized more introspective material, Bobby Bare re-signed with RCA Victor in 1973. His return yielded success with the early 1973 album I Hate Goodbyes / Ride Me Down Easy, featuring the composition "Ride Me Down Easy" that reached #11 on the Hot Country Singles chart. Later that year, Lullabys, Legends and Lies, a entirely composed by longtime collaborator , blending storytelling, humor, and folklore in a narrative style that peaked at number 15 on the Top Country Albums chart. The album spawned the key hit duet "Daddy What If" with his young son Bobby Bare Jr., which reached number 2 on the Hot Country Singles chart in 1974. In 1974, Bare continued his commercial rebound with "," a voodoo-themed song written by that topped the Hot Country Singles chart for one week and showcased Bare's flair for eccentric, story-driven country amid the rising outlaw movement. Bare's deepened partnership with Silverstein during this era explored innovative narrative albums, laying groundwork for later works like The Winner and Other Losers in 1978, while balancing humorous tracks with heartfelt ballads to navigate the evolving 1970s landscape. Over the 1973–1977 period at RCA, Bare notched more than a dozen Top 40 singles on the Billboard Hot Country Singles chart, reflecting his adaptability and enduring appeal. Adding a personal dimension, Bare incorporated family into his recordings, such as the 1975 album Singin' in the Kitchen, featuring Silverstein songs performed with his children, which underscored his growing family stability and contributed to a Grammy nomination for Best Country Vocal Performance by a Duo or Group.

Columbia Records era (1978–1983)

Major releases

Bobby Bare signed with in 1978 following his departures from previous labels. His debut album for the label, Bare, was released that same year and was self-produced by Bare, featuring tracks like "Greasy Grit Gravy" and "The Gambler" that highlighted his narrative-driven songwriting style. This release continued his collaborations with songwriter , building on their successful partnership from Bare's RCA era. Also in 1978, Sleeper Wherever I Fall followed, further exploring introspective themes. In 1980, Bare issued Down and Dirty, an album that incorporated influences alongside traditional elements. The standout single "Numbers," penned by Silverstein, depicted a comedic barroom seduction through numerical innuendo and peaked at number 11 on the chart. Another single from the album, "Tequila Sheila," further exemplified Bare's blend of humor and storytelling. Later that year, Drunk and Crazy followed, featuring Silverstein compositions such as the title track and "Food ," which explored themes of indulgence and life's absurdities with a rowdy, reflective tone. Subsequent releases included As Is in 1981, which delved into personal introspection through songs like "Dollar Pool Fool," and Ain't Got Nothing to Lose in 1982, maintaining the rock-infused sound with tracks emphasizing resilience and . In 1983, Drinkin' from the Bottle, Singin' from the Heart closed the era, blending heartfelt ballads and energetic performances. Bare's Columbia output totaled seven studio albums, collectively shifting toward mature themes of aging, relationships, and self-reflection while preserving his signature wit and acoustic roots. The production across these records, often overseen by Bare himself with studio support, contributed to a polished yet authentic sonic quality that suited his evolving artistry.

Chart performances

During his Columbia Records tenure from 1978 to 1983, Bobby Bare's chart performance reflected a period of renewed creativity amid shifting industry dynamics, with several notable singles and albums achieving solid while struggling to match the heights of his earlier career. A career highlight came with the 1979 single "Numbers," which peaked at number 11 on the Hot Country Singles chart in early 1980, praised for its satirical take on and demonstrating crossover appeal through its witty, narrative style that resonated beyond traditional audiences. The accompanying Down and Dirty provided the material for this track and further showcased Bare's evolving sound. Album success included Drunk and Crazy in 1980, which peaked at number 47 on the chart, bolstered by singles like "Willie Jones" (featuring ) that reached number 19 on the Hot Country Singles chart the same year. These releases highlighted Bare's commercial viability, with the album's blend of influences contributing to its performance. However, momentum waned in the later years, as evidenced by the 1981 remake of "Miller's Cave," which only reached number 42 on the Hot Singles . Over the Columbia period, Bare amassed more than 10 Top 40 entries on the country singles , though fewer number-one hits emerged compared to his RCA days. This decline was influenced by the trend, which emphasized polished, pop-oriented production and favored younger artists, alongside Bare's age in his mid-40s potentially limiting radio exposure. The era concluded with "The Jogger" in 1983, peaking at number 29 on the Hot Country Singles chart and underscoring the transition away from major label peaks.
YearSinglePeak Position (Billboard Hot Country Singles)
1978Sleep Tight, Good Night Man11
1979Numbers11
1979Healin'23
1980Willie Jones19
1980Tequila Sheila31
1981Miller's Cave (remake)42
1982New Cut Road18
1983The Jogger29

Later career (1983–present)

Independent recordings and tours

After departing Columbia Records in 1983 following the release of his final album with the label, Drinkin' from the Bottle, Singin' from the Heart, Bobby Bare largely stepped away from new studio recordings for over two decades, focusing instead on television hosting and selective live performances. During this period, Capitol Nashville issued reissues of his early work, such as compilations drawing from his 1950s and 1960s Capitol sessions, helping sustain interest in his catalog among longtime fans. Bare's shift marked a transition to more self-directed projects on smaller, independent labels, allowing greater creative control over material that echoed his earlier folk-country storytelling style. In 1998, Bare returned to recording with the collaborative album Old Dogs, featuring , , and , which consisted entirely of Shel Silverstein-penned songs and was released on . This project highlighted Bare's enduring affinity for Silverstein's humorous and narrative-driven compositions, building on the success of their prior collaborations. By 2005, Bare reactivated his solo career with The Moon Was Blue on the independent label, his first new material in 22 years, which included co-writes with his son . and blended country with folk elements. Follow-up releases maintained this independent trajectory, such as the 2012 album Darker Than Light on Plowboy Records, a collection of traditional folk and country covers—including a rendition of U2's "I Still Haven't Found What I'm Looking For"—that showcased Bare's interpretive depth and involved contributions from family members like his son. Bare's 2017 album Things Change, issued on the independent BFD label in partnership with The Valory Music Co., featured duets with contemporary artists such as on a reimagined "Detroit City," alongside original songs co-written by Bare, emphasizing themes of reflection and resilience. These later works, including streaming availability on platforms like and , represented Bare's adaptation to the digital era, where his catalog reached broader audiences without reliance on major label promotion. Throughout the late 1980s and into the 2010s, Bare maintained a steady touring schedule, performing classic hits like "Detroit City" and "500 Miles Away from Home" alongside newer material at venues including casinos, theaters, and festivals. Originally inducted into the Grand Ole Opry on August 14, 1964, Bare's membership lapsed in 1974 but he continued to make guest appearances at the venue through the 2010s; he was reinstated as an Opry member on April 7, 2018. His road work, including participation in country legends tours in the early 2000s, underscored the lasting draw of his laconic style and narrative songs, sustaining a dedicated fanbase without the pressures of major-label expectations.

Recent activities and 90th birthday

Following the challenges of the , Bobby Bare resumed select performances, including appearances at the Grand Ole Opry, where he has been a member since his reinstatement in 2018. His enduring presence on such stages underscores the fanbase cultivated during his independent recording phase in prior decades. In 2023 and 2024, Bare focused on legacy projects rather than new solo releases, with his son contributing to tribute efforts that highlighted their shared musical history. No new album was released during this period, though archival material from earlier sessions continued to circulate. Bare's 90th birthday on April 7, 2025, marked a significant milestone, prompting a week-long celebration dubbed "Bobby Bare Week" in Nashville, organized by the Americana Music Association and various venues. Nashville Mayor Freddie O'Connell proclaimed April 7 as Bobby Bare Day, recognizing his contributions to country music. The centerpiece event was an Americana salute at The Basement East on April 7, hosted by Bobby Bare Jr. and featuring tributes from artists including Jamey Johnson, Emmylou Harris, Kendell Marvel, Lucinda Williams, Todd Snider, Buddy Miller, and Chuck Mead, who performed Bare's classics such as "Detroit City" and "500 Miles Away from Home." Proceeds benefited MusiCares, emphasizing Bare's ongoing industry impact. Additional events during the week included a Grand Ole Opry tribute on April 10, where performers honored Bare's Opry legacy with renditions of his hits. On April 12, the Country Music Hall of Fame hosted a Writers Round titled "The Songs of Bobby Bare," moderated by Bobby Bare Jr. and featuring Buddy Cannon and Todd Snider performing Bare's signature tunes, including works by Tom T. Hall ("That's How I Got to Memphis"), Kris Kristofferson ("Please Don't Tell Me How the Story Ends"), and Shel Silverstein ("The Mermaid"). At age 90, Bare has maintained a selective schedule amid rumors of , prioritizing and family while debunking through his active involvement in these celebratory events. His light touring reflects a focus on meaningful appearances rather than extensive travel.

Other endeavors

Film and television appearances

Bobby Bare made his acting debut in the 1964 Western film , portraying the minor role of Private Cranshaw, a stationed at a remote fort. His subsequent film appearance came in 1976 with , where he performed as a singer, delivering the track "Those City Lights" during a key scene. Bare's on-screen roles remained sparse throughout his career, as he prioritized his recording and touring commitments in country music; his total includes fewer than 10 credits, predominantly limited to musical performances rather than extended parts. On television, Bare frequently appeared as himself on prominent music variety programs, showcasing his songs and engaging with audiences. He was a recurring guest on the long-running country comedy series Hee Haw from the 1970s through the 1980s, featuring in episodes such as season 2 (1971), season 4 (1972), season 6 (1974), and season 13 (1982), where he performed hits like "Marie Laveau" and participated in comedic sketches. His debut on Austin City Limits occurred in 1979, sharing the stage with , followed by another appearance in 1981 alongside . In the 1990s, Bare contributed to the Ryman Country Homecoming series, a nostalgic celebration of filmed at Nashville's historic , where he performed classics like "Marie Laveau" and co-hosted segments with artists including and . Bare's recordings have also been prominently featured on film and television soundtracks, enhancing scenes with his distinctive narrative style. His 1963 hit "Detroit City" underscores a pivotal moment in the 1997 dark comedy . In the 1990 horror-comedy Tremors, "Dropkick Me, Jesus" (1976) plays during an early sequence, adding ironic humor to the desert town setting. More recently, "" (1965) appeared in season 2 of the series (2017), accompanying a tense road trip scene. These inclusions highlight how Bare's storytelling songs have influenced popular media beyond his live performances.

Eurovision Song Contest involvement

In February 2012, at the age of 76, American veteran Bobby Bare made an unexpected appearance in Norway's , the national selection process for the . He teamed up with Norwegian singer Petter Øien to perform the duet "Things Change," a track co-written by Bare and Jeff Hyde, blending country influences with pop elements. The performance featured violinist Olga Kivaeva, adding a distinctive Eastern European flair to the arrangement. The duo advanced from the third semi-final held on February 4 in Florø, topping the voting to secure a spot in the grand final at Oslo Spektrum on February 11. In the final, "Things Change" competed against nine other entries but ultimately placed third in the gold final round, behind winner Tooji's "Stay" and runner-up Plumbo's "Ola Nordmann." This outcome meant Norway was represented by Tooji at the Eurovision Song Contest in Baku, Azerbaijan, later that year. Bare's involvement stemmed from a longstanding with Øien and his curiosity about engaging European audiences, after sending demo recordings to Norwegian contacts that caught Øien's attention. Bare expressed enthusiasm for the collaboration in later reflections, noting the opportunity arose naturally from shared musical interests. He has not pursued further entries in Eurovision-related events since. The participation garnered significant media attention in and beyond, underscoring Bare's enduring global appeal as a icon crossing into international pop territory. Coverage highlighted the novelty of a 76-year-old American legend competing in a high-energy , with outlets like VG noting his humorous onstage persona and calls for bold performances. The exposure contributed to renewed interest in Bare's catalog, sparking additional European tour dates in the ensuing years and marking a unique, late-career crossover moment.

Legacy

Awards and honors

Bobby Bare received the Grammy Award for Best Country & Western Recording in 1964 for his hit "Detroit City," marking one of his earliest major accolades in the music industry. He earned multiple Grammy nominations throughout his career, including for Best Country Vocal Performance by a Duo or Group in 1975 for "Daddy What If" with his son . In recognition of his pioneering contributions to , Bare was inducted into the Country Music Hall of Fame in 2013 as part of the Veterans Era Artist category, alongside and . He has also received several (CMA) honors, including a 1999 nomination for Vocal Event of the Year. Bare joined the Grand Ole Opry as a member in 1964, becoming a staple of the institution during the 1960s and 1970s, though his official membership lapsed in 1974 due to administrative reasons; he was officially re-inducted on April 7, 2018, during his 83rd birthday celebration at the Opry. As a songwriter and performer, Bare has been honored by (BMI) for several of his chart successes, including a BMI Award in 1975 for "Marie Laveau," co-written by and Baxter Taylor. His career, which includes nearly 60 Top 40 country singles between 1962 and 1983, was highlighted in his Hall of Fame induction speech, where these achievements were acknowledged as foundational to his legacy. In 2025, on the occasion of his 90th birthday, Nashville declared April 7 as Bobby Bare Day, with a week-long series of tributes and performances featuring artists such as , , and at events like the sold-out "An American Salute to Bobby Bare" concert hosted by his son at The Basement East. These celebrations underscored his lifetime achievement status in country music.

Influence and tributes

Bobby Bare played a pioneering role in blending with elements of folk and rock, particularly through his innovative recordings in the 1960s and 1970s that incorporated wry humor and narrative depth. His championing of emerging songwriters such as , , and was instrumental in launching their careers, as he brought their material to wide audiences via his albums and singles, helping to elevate lyrics in the genre. For instance, Bare's recordings of Silverstein's songs, including those that later gained fame through other artists like Johnny Cash's cover of "," underscored his role in promoting unconventional songcraft that bridged country and broader American music traditions. Bare's non-conformist approach significantly influenced the outlaw country movement of the 1970s, emphasizing authentic storytelling over polished production and inspiring figures like and . His laid-back style and willingness to record outside Nashville's mainstream norms helped pave the way for the genre's rebellious ethos, as seen in collaborative efforts and shared billings with and that highlighted a collective push against industry conventions. Tributes to Bare's contributions have been prominent, including his 2013 induction into the Country Music Hall of Fame, where Kris Kristofferson delivered a performance and remarks praising Bare as one of country music's greatest interpreters. Kristofferson, whose career Bare helped advance, has publicly lauded him, stating, "Bobby Bare is one of the greatest people in country music." Modern artists continue to honor Bare through covers, such as Blake Shelton's 2018 rendition of "Tequila Sheila" and Jamey Johnson's 2025 Grand Ole Opry performance of the same track as a direct tribute. Bare's family legacy extends through his son, , who has carried forward an alt-country tradition blending Americana, rock, and narrative elements in albums like those on . This influence was celebrated in the 2025 Writers Round event at the Country Music Hall of Fame, where , alongside and , performed selections from his father's songbook to honor his enduring impact on songwriting. Critically, Bare has been acclaimed for his vocal restraint—a laconic, laid-back delivery that prioritizes emotional subtlety and folk-infused storytelling over bombast—across more than 40 albums spanning seven decades. This approach has profoundly shaped narrative songcraft in Americana, influencing generations with its focus on poignant, character-driven tales that resonate beyond traditional boundaries.

Discography

Studio albums

Bobby Bare's studio album career spans over six decades, beginning with his signing to RCA Victor in 1962 and encompassing more than 39 full-length releases across major labels and independent outlets. His early work emphasized narrative-driven and folk influences, evolving into innovative albums and personal songwriting in later years. During his initial RCA era from 1962 to 1970, Bare released over a dozen studio albums, many capitalizing on his breakthrough hits and blending storytelling with pop accessibility. Key releases included Detroit City (1963, RCA Victor), which featured his signature rendition of the title track and established his vocal style; 500 Miles Away from Home (1963, RCA Victor), drawing from folk traditions; The Travelling Bare (1964, RCA Victor), a road-themed collection; and Tender Years (1965, RCA Victor), highlighting emotional ballads. These albums often served as vehicles for chart-topping singles, reflecting Bare's rise as a crossover artist. He amassed 17 Top 40 singles during this period from 1962 to 1970. Bare's tenure at from 1970 to 1972, followed by a return to RCA until 1977, marked a period of artistic experimentation with songwriters like . Notable albums include (Margie's At) The Inn (1969, RCA Victor; reissued contextually in the era), capturing urban isolation themes; Lullabys, Legends and Lies (1973, RCA Victor), a groundbreaking double entirely penned by Silverstein, exploring whimsical and poignant narratives, which peaked at #5 on the Country Albums chart; and The Winner and Other Losers (1976, RCA Victor), delving into introspection. Singin' in the Kitchen (1975, RCA Victor) stood out for its family collaboration, featuring Bare's children on tracks that evoked domestic warmth. This phase produced around eight studio efforts, prioritizing lyrical depth over commercial formulas. Shifting to from 1978 to 1983, Bare issued six studio albums that leaned into mature, humorous . Highlights encompassed Bare (1978, Columbia), a self-titled return to form; Drunk and Crazy (1980, Columbia), which peaked at #47 on the Albums , known for its irreverent title track; and Ain't Got Nothing to Lose (1982, Columbia), blending rock edges with traditional . These releases, totaling six in the period, showcased Bare's adaptability amid the urban cowboy trend. From 1983 onward, Bare embraced independent labels for over a dozen additional studio albums, maintaining a selective output focused on personal and collaborative projects. Standouts include The Moon Was Blue (2005, Dualtone), featuring original songs with guests like ; Darker Than Light (2012, Plowboy), addressing contemporary themes; Things Change (2017, Hypermedia Nashville), with co-writes by Bare and modern artists like on a remake of "Detroit City"; and Great American Saturday Night (2020, Sony Legacy), a long-lost Silverstein recorded in 1978 but released posthumously to Silverstein, celebrating rowdy Americana vignettes. This era underscores Bare's enduring legacy in conceptual storytelling and family ties in music.

Notable singles

Bobby Bare's earliest notable single was "The All American Boy," released in 1959 under the pseudonym Bill Parsons on Records, which reached number 2 on the and became a talking blues parody of Elvis Presley's rise to fame. His follow-up, "," issued in 1960 on , marked an early foray into rockabilly-influenced country but did not achieve significant chart success. During his prolific RCA period from 1962 to 1970, Bare amassed 17 Top 40 singles, blending folk, , and pop elements that broadened the genre's appeal. Standouts include "Detroit City" (1963), which peaked at number 6 on the chart and number 16 on the Hot 100 while earning a Grammy Award for Best Country & Western Recording, capturing the plight of Southern migrants in Northern factories. " Away from Home" (1963) followed closely, reaching number 5 and number 10 pop, adapting a folk standard into a heartfelt of homesickness. Other key releases like "Miller's Cave" (1964, number 8 ), "" (1964, number 3 ), and "(Margie's at) The Lincoln Park Inn" (1966, number 3 ) showcased his interpretive skills on songs by writers such as and , contributing to his crossover success. In the 1970s, Bare continued charting hits with innovative material, often collaborating with songwriter , resulting in several Top 10 country entries. "Daddy What If" (1974), a duet with his son , peaked at number 2 on the country chart, blending tenderness with novelty in a father-son . "Marie Laveau" (1974), a lively voodoo tale, became his sole number 1 country single, topping the chart for one week and highlighting his flair for storytelling. Additional impacts came from "Please Don't Tell Me How the Story Ends" (1971, number 6 country), "Come Sundown" (1971, number 7 country), and "How I Got to Memphis" (1971, number 3 country), which underscored his role in elevating material within Nashville. Bare's chart activity tapered after 1983, with nearly 60 Top 40 singles overall from 1962 to 1983 establishing his enduring commercial footprint. His final major entry, "The Jogger" (1983), reached number 29 on , a satirical take on urban fitness culture. In later years, select releases like the 2017 duet remake of "Detroit City" with on his album Things Change garnered attention for bridging generations, though it did not chart, emphasizing Bare's lasting influence on storytelling.

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