Moon Was Blue (2005)
|Artist: Bobby Bare|
|The Moon Was Blue should prove a thirst quencher for those who've long loved Bare's worldly baritone and mastery of a song. At the same time, it will be an invitation to the Bare Jr. generation to discover an artist whom veteran music writer Chet Flippo recently called one of the most overlooked and underrated in country music history. Bare was a singer capable of sophisticated hits like "Detroit City" or "How I Got To Memphis" and the subversive humor of "Drop Kick Me Jesus." He befriended and championed the finest songwriters to ever shake up Nashville, including Kris Kristofferson and Tom T. Hall. He was among the first Nashville country artists to embrace Bob Dylan. And he pioneered ideas like the concept album, dodging the Nashville rules to bring a whole record of Shel Silverstein songs to life in the classics Lullabys, Legends & Lies. Often tagged an "outlaw" in the Waylon and Willie camp, Bare's discography actually transcends categories with a boldly eclectic embrace of American music.|
Album Notes and Credits
Notes & Personnel Info
|Personnel: Bobby Bare (vocals); Dennis Wilson , The Jeannie Bare Kids Choir (vocals); G Daddy, John Henry Jackson, John Jackson, G-Daddy, Chris Masterson (guitar); Pete Finney (steel guitar); David Steele (mandolin); Erin Hugely (cello); Doug Moffet (reeds, brass); Dennis Crouch, Mike Doster (bass instrument); Ben Martin (drums); Gary Kubal (percussion); Bobby Bare, Jr. (vocals, guitar, piano, keyboards); Cindy Walker, Gordon Mote, Carey Kotsionis, Carol Anderson (vocals); Mark Nevers (guitar, piano, keyboards); Paul Burch (guitar, vibraphone, drums); Kenny Vaughn, William Tyler (guitar); Andrew Bird (violin); The Nashville String Machine (strings); Barry Green, Steve Patrick (brass); Tony Crow (piano, keyboards); Brian Kotzur (drums).|
|Audio Mixer: Mark Nevers.|
|Recording information: The Beach House Recording Megaplex.|
|Editors: Matt Rovey; John Kelton.|
|Photographer: Alan Messer.|
|Arranger: Lloyd Barry.|
|Veteran country singer Bobby Bare's return to solo recording after a 20-year hiatus is overseen by his son, Bobby Bare, Jr., who augments strictly traditional arrangements with off-kilter sonic flourishes and appearances from neo-country interpreters like violinist Andrew Bird and singer-songwriter Paul Burch. Bare's world-weary voice eases comfortably into a set of tried-and-true covers that spans classics like Shel Silverstein's "Ballad of Lucy Jordan," "Love Letters in the Sand," and "Am I That Easy to Forget," while Bobby Jr.'s frequently inspired production both highlights the music's familiarity and accentuates its weirdness.|
Producer: Bobby Bare, Jr.; Mark Nevers; Mark Nevers; Bobby Bare, Jr.
Engineer: Mark Nevers
Chet Atkins | Conway Twitty | Elvis Presley | George Jones | Hank Williams | Johnny Cash | Ray Price | Roy Acuff | Slim Whitman
B.W. Stevenson | Billy Joe Shaver | Dave Dudley | David Allan Coe | Don Williams | Dottie West | George Jones | Harlan Howard | Hoyt Axton | Jerry Jeff Walker | Jerry Reed | John D. Loudermilk | Johnny Cash | Johnny Darrell | Johnny Paycheck | Johnny Rodriguez | Kris Kristofferson | Lee Hazlewood | Merle Haggard | Mickey Gilley | Mickey Newbury | Roger Miller (Country) | Sandy Posey | Shel Silverstein | Skeeter Davis | Tammy Wynette | The Geezinslaws | The Stoneman Family | Tom T. Hall | Tompall Glaser | Waylon Jennings | Willie Nelson
|Very Best Of Country Legends|
|All Gone Fishin|
|Charlie Louvin (Dig)|
|Country Love Songs|
|Mead C-Back At the Quanset Hut|
|Best Of Country|
|ULTIMATE DOUBLES COUNTRY|
|COUNTRY TOP HITS OF THE 70'S|
|HARD TO FIND JUKEBOX CLASSICS 1963:RO|
Associated Artists and Works
|Release Date : 10/04/2005|
|Original Release Date : 2005|
|Catalog ID : 80302012092|
|Label : Dualtone Music|
|Number of Discs : 1|
|Studio/Live : Studio|
|Mono/Stereo : Stereo|
|SPAR Code : n/a|
|UPC : 00803020120921|
- "...This is the comeback event of 2005...." - Grade: A-
Bobby Bare was born in Ohio and spent his teens in California, and he played music from the time he made his first guitar out of a coffee can and screen door wire. Back in Ohio in 1958, he helped his friend Bill Parsons make a demo, and with twenty minutes of spare time at the end of the session, Bare asked to cut one of his own songs, a sort of talking blues called "The All American Boy." The record, under Parsons' name, became a smash. But Bare was fine with that. Once out of the Army, he returned to California where he wrote and sang his way on to American Bandstand and tours with Roy Orbison and Bobby Darin.
Friendship with Harlan Howard brought him to Nashville and Chet Atkins signed him to RCA, where he launched a career quite unlike any other. He scored hits with unusually intelligent songs. He became perhaps the first major label artist in Nashville permitted to produce his own albums. And he made early concept albums, including an all-Silverstein opus called Bobby Bare Sings Lullabys, Legends & Lies, an outlaw classic. When Nashville went disco and pop in the late 70s/early 80s and labels began pressuring Bare to simply repeat himself, he turned away from the mic and toward his fishing poles.
When GRAMMY-winning country star Bobby Bare retired from recording in the 1980s, the reasons were as complex as the business he had been married to for 25 years. His welcome, if surprising, return in 2005 was motivated by something much simpler.
"Bobby Jr. was really pumped over doing this," says Bare in his matter-of-fact drawl. "He was the driving force behind it." Yes, he's talking about his son--the son whose five-year-old voice helped make the Shel Silverstein confection "Daddy What If" a left-field hit in 1973--and the artist widely known to the indie rock world as Bobby Bare Jr's Young Criminals Starvation League., a musical iconoclast who has more in common with his father than their surface sounds would suggest. Bobby Jr., working with his trusted friend, producer/engineer Mark Nevers (Lambchop), was able to do what no Nashville record label has been able to do in two decades--coax a great voice and a legendary song hound back onto disc.