Bobby Vee, Pop Idol Known for 'Take Good Care of My Baby,' Dies at 73 - The New York Times

About the Song

The Story Behind the Song:

Written by Gene Pitney and Aaron Schroeder, “Rubber Ball” became one of Bobby Vee’s signature songs, catapulting him to stardom in the early 1960s. The song’s lively tempo and playful lyrics resonated with audiences, earning it widespread popularity and cementing its place as a classic of the era. With its irresistible charm and youthful exuberance, “Rubber Ball” remains a favorite among fans of rock and pop music from the 1960s.

Bobby Vee: Teen Idol Turned Musical Icon:

Born Robert Thomas Velline, Bobby Vee rose to fame as a teen idol in the early 1960s, scoring numerous hits on the charts with his distinctive voice and charismatic stage presence. “Rubber Ball” showcased Vee’s versatility as an artist, demonstrating his ability to infuse even the most lighthearted songs with depth and emotion. His enduring popularity and musical talent earned him a dedicated following and secured his legacy as one of the era’s most beloved performers.

Legacy and Impact:

“Rubber Ball” continues to delight listeners, serving as a timeless reminder of the innocence and joy of youth. Its enduring popularity has led to numerous covers and appearances in films, TV shows, and commercials, ensuring its place in popular culture. As a musical playground of fun and nostalgia, “Rubber Ball” stands as a testament to Bobby Vee’s lasting impact on the world of music and the enduring appeal of his playful anthem.Bobby Vee: 1960s pop singer dies aged 73 - BBC News

Video

Lyrics: Rubber Ball

Rubber ball, I come bouncin’ back to you
Rubber ball, I come bouncin’ back to you
Hoo-ah-ooh-oohI’m like a – rubber ball, baby that’s all
That I am to you (bouncy, bouncy) (bouncy, bouncy)
Just a rubber ball ’cause you think you
Can be true to two (bouncy, bouncy) (bouncy, bouncy)
You bounce my heart around (you don’t even put her down)
And like a rubber ball, I come bouncin’ back to you
Rubber ball, I come bouncin’ back to youIf you – stretch my love till it’s thin enough to tear
I’ll just stretch my arms to reach you anywhere
And like a
Rubber ball, I’ll come bouncin’ back to you
Rubber ball, I’ll come bouncin’ back to youYou bounce my heart around (you don’t even put her down)
And like a rubber ball, I come bouncin’ back to you
Rubber ball, I come bouncin’ back to you
Hoo-ah-ooh-ooh
Bouncy, bouncy… bouncy, bouncy
Bouncy, bouncy… bouncy, bouncy
Eee-ah-eee-eeeYou bounce my heart around (you don’t even put her down)
And like a rubber ball, I come bouncin’ back to you
Rubber ball, I come bouncin’ back to you
Ah-ooh-ooh-ooh-ooh
(Bouncy, bouncy) (bouncy, bouncy)
(Bouncy, bouncy) (bouncy, bouncy)

I’m like a rubber band
When on my shoulder you do tap
(Bouncy, bouncy) (bouncy, bouncy)
Just a rubber band
Because my heartstrings, they just snap
(Bouncy, bouncy) (bouncy, bouncy)
You go and squeeze me till I’m all aflame
(She calls you by some other guy’s name)
But like a rubber ball, I come bouncin’ back to you
Rubber ball, I come bouncin’ back to you
Rubber ball, I’ll come bouncin’ back to you
Rubber ball, I’ll come bouncin’ back to you
Rubber ball, I’ll come bouncin’ back to you

 

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RCA’s doors stayed closed to Dottie West, enough to shake any performer’s confidence in Nashville. Her stints with Starday and Atlantic had left her with little beyond empty pockets and unpaid bills. By 1961, she and her husband, steel guitarist Bill West, were living in a small house in West Nashville. It felt less like a home than a place to make one last, desperate attempt. For years, they had driven back and forth from Cleveland, spending time and money on trips that brought them no closer to getting through the industry’s doors. At that house, Dottie began taking a different approach. Instead of chasing executives, she fed hungry songwriters. Willie Nelson, Roger Miller, and Red Lane started coming over, finding something at her kitchen table that the labels hadn’t offered: someone willing to listen. Auditions gave way to suppers, with Dottie hearing unfinished verses as her guests unpacked their battered guitar cases. If she couldn’t get into the business, she would bring it into her home. Each meal was a deliberate investment in the songwriting Nashville claimed to value but had yet to recognize in her. Things changed the night Jim Reeves heard her song, ‘Is This Me?’ and took it to Chet Atkins. One straightforward exchange over a melody opened a path that had been blocked for years. It wasn’t simply a lucky break. It grew out of her decision to stop asking for a place and create one herself. When she became the first woman to win a country Grammy, the award meant more than recognition. It confirmed that those lean years in the West Nashville house had produced some of the most important work of her life.

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