“Scroll down to the end of the article to listen to music.”

Introduction

Imagine a moment in life when you’re trying to move on, but every little reminder pulls you back into the memories of someone you once held dear. It’s a sentiment that we all can relate to—those moments of stubborn resilience when you’re determined to get over a heartbreak, yet find yourself lingering just a little longer. That’s the heart of Charley Pride’s song “It’s Gonna Take a Little Bit Longer,” a country classic that resonates with the bittersweet struggle of letting go.

About The Composition

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

Background

Written by Ben Peters and recorded by Charley Pride, “It’s Gonna Take a Little Bit Longer” was released in 1972 as a part of the album A Sunshine Day with Charley Pride. The song quickly climbed the charts, becoming one of Pride’s most memorable hits. Set against the backdrop of the early 1970s—a time when country music was deeply intertwined with themes of heartache and perseverance—this song embodies the essence of the genre. Its reception was overwhelmingly positive, cementing Pride’s status as a leading figure in country music and further showcasing Peters’ prowess as a songwriter.

Musical Style

The song is a classic country ballad, featuring the genre’s signature blend of guitar, fiddle, and steel guitar, which together create a melancholic yet comforting sound. The tempo is steady and measured, mirroring the slow and painful process of moving on that the lyrics describe. Pride’s rich baritone voice carries the emotional weight of the song, making each note resonate with the listener’s own experiences of love and loss. The arrangement is straightforward, allowing the lyrics and vocal delivery to take center stage.

Lyrics/Libretto

The lyrics of “It’s Gonna Take a Little Bit Longer” are poignant and straightforward, telling the story of someone struggling to move on from a past love. Lines like “It’s gonna take a little bit longer, for me to ever get you off my mind” encapsulate the inner battle of trying to forget someone while still holding onto their memory. The repetition of the phrase “a little bit longer” emphasizes the persistence of these emotions, even when the person knows they should move forward. The simplicity of the lyrics is where their power lies, making the song universally relatable.

Performance History

Since its release, “It’s Gonna Take a Little Bit Longer” has been performed by Pride in numerous concerts and television appearances. The song topped the Billboard Hot Country Singles chart, marking it as one of Pride’s 29 number-one hits on the country charts. Its success is a testament to Pride’s ability to connect with audiences through his authentic delivery and the song’s relatable theme. Over the years, the song has been covered by various artists, though none have matched the emotional impact of Pride’s original rendition.

Cultural Impact

The song has left an indelible mark on country music, often cited as one of Charley Pride’s defining works. Its themes of heartache and the struggle to move on have made it a favorite for those going through similar experiences, helping to solidify its place in the hearts of country music fans. Additionally, it contributed to the broader cultural conversation about love and loss, resonating with a wide audience beyond just country music enthusiasts.

Legacy

“It’s Gonna Take a Little Bit Longer” remains a classic in Charley Pride’s catalog, continuing to touch audiences with its honest portrayal of heartache. The song’s enduring appeal lies in its simplicity and emotional depth, making it as relevant today as it was over 50 years ago. It serves as a reminder that the process of moving on is never straightforward, and that it’s okay to take a little longer to heal.

Conclusion

In the end, “It’s Gonna Take a Little Bit Longer” is more than just a song; it’s a reflection of the human experience. Whether you’re a long-time country music fan or new to the genre, this song is a must-listen. I encourage you to explore Charley Pride’s discography and experience the full emotional range of his music. For a poignant rendition, the original 1972 recording is a perfect place to start—just be prepared for it to linger in your heart a little bit longer

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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THEY GOT MARRIED ON A CONCERT STAGE IN WICHITA. LESS THAN THREE YEARS LATER, JEAN SHEPARD WAS LEFT WITH TWO SONS AND A HUSBAND COUNTRY MUSIC COULD ONLY HEAR ON RECORDS. They met inside the world that had already claimed both of them — radio shows, road dates, the Grand Ole Opry, dressing rooms, and the kind of touring life where a singer’s home could feel like whatever town had the next stage. Jean was not fragile. She had already fought her way into hard country when women were still expected to sound sweeter than the men around them. “A Dear John Letter” had taken her to No. 1. The Opry had taken her in. She had survived one bad early marriage and kept her career anyway. Hawkshaw was different. Six-foot-five. Smooth. Charismatic. A West Virginia singer people called “Eleven Yards of Personality.” He had the height, the grin, and the kind of stage presence that made a crowd feel like he had walked in from a bigger life. On November 26, 1960, they married onstage during a concert in Wichita, Kansas. It was not just a courthouse promise. Ken Nelson gave Jean away. A local disc jockey broadcast the ceremony over the radio. The crowd was there. The music world was there. Their private vow entered country history through a microphone. For a while, it looked like the show and the marriage could live together. They toured. They built a home in Goodlettsville. They had a son, Don Robin, named after friends Don Gibson and Marty Robbins. Jean became pregnant again. Then the calendar turned cruel. The marriage that had started in front of an audience ended with Jean carrying the part no audience could sing for her — a toddler, an unborn child, and a husband whose voice kept climbing the chart after he was gone.

JEAN SHEPARD CUT “LONESOME 7-7203” BEFORE HER HUSBAND DID. CAPITOL LEFT IT SITTING. THEN HAWKSHAW HAWKINS RECORDED IT — AND DIED THREE DAYS AFTER ITS RELEASE. The song did not start as Hawkshaw Hawkins’ last hit. It passed through Jean Shepard first. By the early 1960s, Jean was already one of country music’s toughest women. She had come up through honky-tonk, made “A Dear John Letter” a No. 1 duet, joined the Grand Ole Opry, and proved she was not just a pretty harmony voice in a man’s business. Hawkshaw Hawkins was already part of that same Opry world. Tall, smooth, steady, with a career that had stretched from West Virginia radio to national country stages. He and Jean married in 1960. Two singers. Two roads. One house outside Nashville. Then came a Justin Tubb song called “Lonesome 7-7203.” Jean recorded it for Capitol, but the label left it unreleased. The song sat there. A lonely telephone number. A heartbreak line waiting for somebody to dial it. Hawkshaw finally told her that if Capitol was not going to release it, he would record it himself. King Records released his version on March 2, 1963. Three days later, Hawkshaw Hawkins was dead. The plane crash near Camden took him, Patsy Cline, Cowboy Copas, and pilot Randy Hughes. Jean was left with the grief, the children, and the strange sound of her husband’s voice still rising on the radio. Then the song climbed. “Lonesome 7-7203” reached No. 1 after Hawkshaw was gone. Jean had recorded it first. Hawkshaw made it immortal. Country music kept dialing the number after the man who sang it could no longer answer.

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