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Introduction

In the early 1970s, country music was graced by the soulful voice of Charley Pride, an artist who broke barriers and touched hearts with his emotive performances. One of his standout tracks, “It’s Gonna Take a Little Bit Longer,” encapsulates the blend of heartfelt lyrics and melodic simplicity that defined an era.

About The Composition

  • Title: It’s Gonna Take a Little Bit Longer
  • Composer: Ben Peters
  • Premiere Date: May 1972
  • Album: A Sunshiny Day with Charley Pride
  • Genre: Country

Background

Written by the prolific songwriter Ben Peters, “It’s Gonna Take a Little Bit Longer” was recorded by Charley Pride on January 12, 1972, and released in May of the same year as the lead single from his album A Sunshiny Day with Charley Pride. The song became Pride’s ninth number one hit on the country charts, maintaining the top position for three weeks and remaining on the chart for a total of fourteen weeks.

Musical Style

The song exemplifies traditional country music elements, featuring a straightforward structure and instrumentation that highlights Pride’s rich baritone voice. The arrangement is unembellished, allowing the emotional weight of the lyrics to resonate with listeners.

Lyrics

The lyrics convey a message of enduring love and patience, with the narrator expressing a willingness to wait for a loved one’s return, despite the passage of time. This theme of steadfast devotion is a common motif in country music, reflecting the genre’s focus on heartfelt storytelling.

Performance History

Following its release, “It’s Gonna Take a Little Bit Longer” became a staple in Charley Pride’s performances, celebrated for its poignant lyrics and melodic appeal. The song’s success further solidified Pride’s status as a leading figure in country music during the 1970s.

Cultural Impact

The song’s enduring popularity is evidenced by its numerous covers by artists such as Kitty Wells, Faron Young, and Neal McCoy, each bringing their unique interpretation to the piece.

Legacy

Decades after its release, “It’s Gonna Take a Little Bit Longer” continues to resonate with audiences, a testament to its timeless appeal and the emotive power of Charley Pride’s performance.

Conclusion

Reflecting on “It’s Gonna Take a Little Bit Longer,” one can’t help but appreciate the song’s enduring charm and emotional depth. For those looking to explore this classic, Charley Pride’s original recording remains a definitive rendition

Video

Lyrics

Baby it’s gonna take a little bit longer for me to ever get you off of my mind
Baby it’s gonna take a little bit longer cause I’ve been lovin’ you a long long time
People try to tell me that it won’t be long till I won’t even miss you anymore
But I can tell them it must be something mighty wrong every day I want you even more
And baby it’s gonna take
They say this lonely feeling it’ll go away but after all this time now it ain’t gone
Every weaken moment and every night and day just seems to keep on keeping on
And baby it’s gonna take
Yes I’ve been lovin’ you a long long time

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BILLIE JO SPEARS HAD ALREADY FOUGHT HER WAY INTO THE COUNTRY TOP 5 WHEN SURGERY ON HER VOCAL CORDS THREATENED THE ONE THING HER CAREER DEPENDED ON. THREE YEARS LATER, “BLANKET ON THE GROUND” TOOK HER TO NO. 1. Billie Jo Spears had been chasing country success since childhood. Born in Beaumont, Texas, she performed on the *Louisiana Hayride* at thirteen, recorded young, worked as a secretary, and eventually moved to Nashville. Her first real national breakthrough came in 1969 with “Mr. Walker, It’s All Over,” which reached the country Top 5. Then her voice became the problem. In the early 1970s, Spears developed serious vocal-cord trouble. She underwent surgery to remove nodules and polyps, with AllMusic noting that she required two operations over roughly two years. For a singer whose husky voice was her identity, the risk was obvious: the procedures could have ended her career instead of saving it. Spears recovered, but the momentum she had built was gone. She returned to recording with United Artists and producer Larry Butler in 1974. Among the songs cut for the new album was Roger Bowling’s “Blanket on the Ground,” a playful story about a married woman asking her husband to recreate the romance of their younger days. Spears initially did not even expect Butler to include it on the album. He did more than include it. United Artists released “Blanket on the Ground” in 1975, and it became Spears’s only No. 1 country single. The record also crossed into pop markets overseas, reaching especially large audiences in Britain and Ireland. The comeback held. “What I’ve Got in Mind” and “Misty Blue” both reached the country Top 5 in 1976, while later songs such as “If You Want Me” and “‘57 Chevrolet” kept her on the charts and strengthened a following overseas that would last long after her American peak. “Blanket on the Ground” was not the beginning of Billie Jo Spears’s career. It was the record that arrived after she had already learned how fragile a career could be when the instrument was part of her own body. By the time the song reached No. 1, the voice on it was not simply older or rougher. It was a voice she had almost lost.

CAL SMITH SPENT YEARS PLAYING GUITAR BEHIND ERNEST TUBB WHILE OTHER MEN STOOD AT THE MICROPHONE. THEN, IN HIS LATE 30s, “THE LORD KNOWS I’M DRINKING” TOOK HIM TO NO. 1—AND “COUNTRY BUMPKIN” MADE HIM ONE OF 1974’S BIGGEST COUNTRY WINNERS. Cal Smith was already deep into country music before most listeners knew his name. Born Calvin Shofner in Oklahoma and raised in California, he worked clubs and radio before joining Ernest Tubb’s Texas Troubadours in the early 1960s. For years, Smith played guitar behind one of country music’s most established stars while trying to build a recording career of his own. The solo records came slowly. By 1972, Smith was in his late thirties and had only modest chart success. Then Bill Anderson gave him “The Lord Knows I’m Drinking,” a song about a man being judged for drinking by a churchgoing woman whose own behavior is hardly spotless. Released late that year, it became Smith’s first No. 1 country hit. The real peak came next. In December 1973, Smith recorded Don Wayne’s “Country Bumpkin” at Bradley’s Barn. The song follows a country boy through marriage, fatherhood and eventually the death of his wife, compressing an entire life into a few verses. Released in 1974, “Country Bumpkin” went to No. 1. It also won Single Record of the Year and Song of the Year at the Academy of Country Music Awards, while the composition earned Song of the Year honors from the Country Music Association as well. Smith followed with another No. 1, “It’s Time to Pay the Fiddler,” confirming that the breakthrough had not been a one-record accident. By then, the former sideman had spent well over a decade watching other singers take the spotlight. When his turn finally came, it arrived late—but large enough that one of country music’s biggest songs of 1974 carried his voice.

CAPITOL DROPPED FREDDIE HART AFTER “CALIFORNIA GRAPEVINE” STALLED AT NO. 68. THEN AN ATLANTA DJ STARTED PLAYING AN ALBUM CUT CALLED “EASY LOVING”—AND HART HAD A NO. 1 HIT BEFORE THE LABEL COULD EVEN SIGN HIM BACK. By 1971, Freddie Hart had spent years close to country success without ever fully breaking through. He had recorded for several labels, written songs for other artists, and even supplied hits such as Carl Smith’s “Loose Talk” and Porter Wagoner’s “Skid Row Joe.” But his own records remained modest sellers. Then “California Grapevine” stalled at No. 68. Capitol dropped him. On the album, however, was a song Hart had written called “Easy Loving.” Atlanta DJ Jim Clemens at WPLO began playing it, and listener response was strong enough that other stations followed. Capitol suddenly had a problem. The song was taking off, but the singer was no longer under contract. The label rushed “Easy Loving” out as a single. By September 1971, it had reached No. 1 on Billboard’s country chart, staying there for three weeks, and it crossed to No. 17 on the Hot 100. Capitol quickly signed Hart again. The turnaround became much bigger than one rescued record. “Easy Loving” won CMA Song of the Year in both 1971 and 1972. Hart followed it with five more consecutive No. 1 country hits, including “My Hang-Up Is You,” and became one of the biggest country hitmakers of the early 1970s. A few months earlier, the record company had decided Freddie Hart’s commercial future was over. What changed that judgment was not another Nashville meeting or a new contract negotiation. It was one DJ in Atlanta turning over an album and deciding the song buried inside deserved to be heard.

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BILLIE JO SPEARS HAD ALREADY FOUGHT HER WAY INTO THE COUNTRY TOP 5 WHEN SURGERY ON HER VOCAL CORDS THREATENED THE ONE THING HER CAREER DEPENDED ON. THREE YEARS LATER, “BLANKET ON THE GROUND” TOOK HER TO NO. 1. Billie Jo Spears had been chasing country success since childhood. Born in Beaumont, Texas, she performed on the *Louisiana Hayride* at thirteen, recorded young, worked as a secretary, and eventually moved to Nashville. Her first real national breakthrough came in 1969 with “Mr. Walker, It’s All Over,” which reached the country Top 5. Then her voice became the problem. In the early 1970s, Spears developed serious vocal-cord trouble. She underwent surgery to remove nodules and polyps, with AllMusic noting that she required two operations over roughly two years. For a singer whose husky voice was her identity, the risk was obvious: the procedures could have ended her career instead of saving it. Spears recovered, but the momentum she had built was gone. She returned to recording with United Artists and producer Larry Butler in 1974. Among the songs cut for the new album was Roger Bowling’s “Blanket on the Ground,” a playful story about a married woman asking her husband to recreate the romance of their younger days. Spears initially did not even expect Butler to include it on the album. He did more than include it. United Artists released “Blanket on the Ground” in 1975, and it became Spears’s only No. 1 country single. The record also crossed into pop markets overseas, reaching especially large audiences in Britain and Ireland. The comeback held. “What I’ve Got in Mind” and “Misty Blue” both reached the country Top 5 in 1976, while later songs such as “If You Want Me” and “‘57 Chevrolet” kept her on the charts and strengthened a following overseas that would last long after her American peak. “Blanket on the Ground” was not the beginning of Billie Jo Spears’s career. It was the record that arrived after she had already learned how fragile a career could be when the instrument was part of her own body. By the time the song reached No. 1, the voice on it was not simply older or rougher. It was a voice she had almost lost.

CAL SMITH SPENT YEARS PLAYING GUITAR BEHIND ERNEST TUBB WHILE OTHER MEN STOOD AT THE MICROPHONE. THEN, IN HIS LATE 30s, “THE LORD KNOWS I’M DRINKING” TOOK HIM TO NO. 1—AND “COUNTRY BUMPKIN” MADE HIM ONE OF 1974’S BIGGEST COUNTRY WINNERS. Cal Smith was already deep into country music before most listeners knew his name. Born Calvin Shofner in Oklahoma and raised in California, he worked clubs and radio before joining Ernest Tubb’s Texas Troubadours in the early 1960s. For years, Smith played guitar behind one of country music’s most established stars while trying to build a recording career of his own. The solo records came slowly. By 1972, Smith was in his late thirties and had only modest chart success. Then Bill Anderson gave him “The Lord Knows I’m Drinking,” a song about a man being judged for drinking by a churchgoing woman whose own behavior is hardly spotless. Released late that year, it became Smith’s first No. 1 country hit. The real peak came next. In December 1973, Smith recorded Don Wayne’s “Country Bumpkin” at Bradley’s Barn. The song follows a country boy through marriage, fatherhood and eventually the death of his wife, compressing an entire life into a few verses. Released in 1974, “Country Bumpkin” went to No. 1. It also won Single Record of the Year and Song of the Year at the Academy of Country Music Awards, while the composition earned Song of the Year honors from the Country Music Association as well. Smith followed with another No. 1, “It’s Time to Pay the Fiddler,” confirming that the breakthrough had not been a one-record accident. By then, the former sideman had spent well over a decade watching other singers take the spotlight. When his turn finally came, it arrived late—but large enough that one of country music’s biggest songs of 1974 carried his voice.

CAPITOL DROPPED FREDDIE HART AFTER “CALIFORNIA GRAPEVINE” STALLED AT NO. 68. THEN AN ATLANTA DJ STARTED PLAYING AN ALBUM CUT CALLED “EASY LOVING”—AND HART HAD A NO. 1 HIT BEFORE THE LABEL COULD EVEN SIGN HIM BACK. By 1971, Freddie Hart had spent years close to country success without ever fully breaking through. He had recorded for several labels, written songs for other artists, and even supplied hits such as Carl Smith’s “Loose Talk” and Porter Wagoner’s “Skid Row Joe.” But his own records remained modest sellers. Then “California Grapevine” stalled at No. 68. Capitol dropped him. On the album, however, was a song Hart had written called “Easy Loving.” Atlanta DJ Jim Clemens at WPLO began playing it, and listener response was strong enough that other stations followed. Capitol suddenly had a problem. The song was taking off, but the singer was no longer under contract. The label rushed “Easy Loving” out as a single. By September 1971, it had reached No. 1 on Billboard’s country chart, staying there for three weeks, and it crossed to No. 17 on the Hot 100. Capitol quickly signed Hart again. The turnaround became much bigger than one rescued record. “Easy Loving” won CMA Song of the Year in both 1971 and 1972. Hart followed it with five more consecutive No. 1 country hits, including “My Hang-Up Is You,” and became one of the biggest country hitmakers of the early 1970s. A few months earlier, the record company had decided Freddie Hart’s commercial future was over. What changed that judgment was not another Nashville meeting or a new contract negotiation. It was one DJ in Atlanta turning over an album and deciding the song buried inside deserved to be heard.

GARY STEWART’S ONLY NO. 1 HIT WAS ABOUT A MAN DRINKING THROUGH A COLLAPSING RELATIONSHIP. YEARS LATER, THE DARKNESS IN HIS RECORDS WOULD BEGIN TO LOOK FAR TOO MUCH LIKE HIS OWN LIFE. Gary Stewart did not sound like the smooth Nashville country dominating much of the 1970s. Born in Kentucky and raised in Florida, he developed a high, quivering voice that seemed permanently on the edge of breaking. Before his own breakthrough, Stewart and songwriting partner Bill Eldridge placed songs with artists including Stonewall Jackson and Cal Smith. RCA signed him as an artist in the early 1970s. The label initially struggled to find a clear direction, but Stewart’s fortunes changed when producer Roy Dea leaned into the harder honky-tonk sound that suited him best. In 1974, “Drinkin’ Thing” reached the Top 10. Then came “She’s Actin’ Single (I’m Drinkin’ Doubles).” Written by Wayne Carson, the song placed Stewart inside a failing relationship where the woman was behaving as though she were unattached and the man responded by drinking twice as hard. Stewart’s strained delivery made the lyric sound less like clever wordplay than a nervous breakdown happening in real time. In 1975, it went to No. 1. The album *Out of Hand* produced three major hits and later came to be regarded as one of the strongest hard-country albums of the decade. For a moment, Stewart had carved out a space between traditional honky-tonk and the emerging outlaw audience. But the instability in his records was not purely theatrical. As the decade progressed, Stewart struggled increasingly with alcohol and drugs. Personal losses compounded the problem, and by the 1980s his recording career had slowed sharply. He eventually returned to performing and recording, retaining a devoted audience that had never forgotten the rawness of those RCA records. Then, in December 2003, Stewart’s wife of more than four decades, Mary Lou, died of pneumonia. Less than a month later, Gary Stewart died by suicide at his Florida home. His reputation had never depended on polish. What listeners remembered was the feeling that every syllable might come apart before the band reached the next measure—and that, somehow, Stewart always held it together just long enough to finish the song.