Though Bare isn’t as prolific as he once was, he’s quick to acknowledge country’s recent crop of songwriters and stars–Montgomery Gentry’s “My Town” (written by Reed Nielson and Jeffrey Steele), is a particularly inspired track, he claims. But Bare is also aware of how much Nashville has changed since he arrived. For better or worse, a songwriter’s life is much more of a crapshoot than it was during the ‘60s and ‘70s.
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“To start with, there’s a whole lot more people doing it,” says Bare. “Part of that is my fault because of the TV show I had showcasing songwriters (Bobby Bare & Friends, which made its debut on The Nashville Network in 1983). I had guys on there like Guy Clark, Rodney Crowell, Harlan and everybody. And they made it look so normal and easy, like the thing to do. I don’t know how many songwriters and stars have told me that they watched that show and the next morning packed up and headed for Nashville. Plus, the people doing it now are doing it in a business-like manner. Back when I started, it was all inspiration-something hits you, you go write it. But now, most writers treat it like a job. They show up at their publishing company, and they’ve got all the equipment. They write for six or seven hours and then they’re off.”
At a time when performers feel the constant need to reinvent themselves, Bare is doing it the same way he always has: with a wry smile, a solid feel for a song and a voice that, although limited in range, conveys emotions that are leagues deep. His new record may have one toe in the indie rock world, but in essence it is a monument to the songwriter/craftsmen of the old school, built by his peers. Songwriters like Shel Silverstein, Max D. Barnes, Carl Sigman and Wayne Walker–not to mention Bobby Bare–deserve nothing less
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