He'll Have to Go
"He'll Have to Go" is a country ballad written by Joe Allison and Audrey Allison, recorded by American singer Jim Reeves and released as a single by RCA Victor in late 1959.[1] The song depicts a man pleading with his lover over the telephone to send away her male companion so they can speak privately, capturing themes of jealousy and longing through its intimate, whispered delivery.[2] The track became Reeves' breakthrough crossover hit, topping the Billboard Hot Country Songs chart for 14 consecutive weeks beginning February 8, 1960, while peaking at number two on the Billboard Hot 100 for three weeks in March 1960, behind Percy Faith's "Theme from A Summer Place."[3][4] It spent 23 weeks on the Hot 100 and marked one of the earliest examples of the countrypolitan style blending country with pop orchestration.[5] Selling over three million copies, "He'll Have to Go" propelled Reeves to international stardom and inspired an answer record, "He'll Have to Stay," by Jeanne Black, which also charted successfully in 1960.[3][6] The song's enduring popularity is evident in its inclusion on numerous compilations and its role in defining Reeves' smooth vocal style, often called the "Gentleman Jim" sound.[7]Background and recording
Songwriting
The song "He'll Have to Go" originated from a personal phone conversation in 1959 between its co-writers, Joe Allison and his wife Audrey Allison, during which Joe struggled to hear her soft voice and asked her to speak closer to the receiver.[8] This moment captured the intimacy and tension of a strained connection, evolving into the song's central theme of a jealous lover on the phone with his partner, hearing another man in the background and issuing an ultimatum to end it. Audrey suggested changing "mouth" to "lips," inspiring the opening line: "Put your sweet lips a little closer to the phone."[9] Joe Allison, a seasoned Nashville songwriter and radio personality, took the idea as the foundation and composed the melody and remaining lyrics with Audrey as a collaborative husband-and-wife team.[8] The result was a narrative-driven piece exploring jealousy within a romantic triangle, structured in verse-chorus form to build emotional suspense through the protagonist's interrupted dialogue. Following its creation, Joe Allison recorded a simple demo of the song, performing it himself with guitar accompaniment. The demo was pitched to several artists; it was first recorded by Billy Brown, who released it as a single in April 1959, though it did not chart.[10] Jim Reeves later recognized its potential and selected it for his next recording session. The lyrics' chorus incorporates a spoken-word delivery for dramatic effect, with the narrator directly confronting his lover and declaring, "He'll have to go," heightening the ultimatum's urgency.[11]Recording process
The recording of "He'll Have to Go" occurred on October 15, 1959, during a morning session at RCA Studio B in Nashville, Tennessee.[12] Produced by Chet Atkins, who played a key role in shaping the Nashville Sound, the session highlighted a minimalist arrangement that underscored the song's intimate theme of a desperate phone call.[13] Atkins encouraged Reeves to record the track, envisioning its potential despite Reeves' initial reservations about its unconventional structure.[14] The ensemble consisted of prominent Nashville session players, including Floyd Cramer on piano, Marvin Hughes on vibraphone, Bob Moore on bass, Buddy Harman on drums, and Hank Garland on guitar, with the Anita Kerr Singers providing subtle backing vocals.[15] This tight-knit group delivered a sparse, atmospheric sound, with Cramer's piano and Hughes' vibraphone adding a gentle, shimmering texture that complemented the lyrical narrative.[16] Reeves' vocal performance defined the session, employing his renowned "velvet touch"—a soft, velvety timbre achieved by singing close to the microphone—to blend melodic singing with spoken dialogue, evoking a real-time telephone conversation.[15] This hybrid delivery, central to the song's emotional immediacy, was captured efficiently in the morning timeframe, allowing for a focused take that preserved the track's raw, heartfelt quality without extensive overdubs.[14]Release and commercial performance
Initial release
"He'll Have to Go" was released as a 7-inch vinyl single in November 1959 by RCA Victor, serving as the B-side to "In a Mansion Stands My Love" under catalog number 47-7643.[17] The track, recorded on October 15, 1959, at RCA Studio B in Nashville,[18] was initially promoted by RCA Victor to country radio stations, capitalizing on Jim Reeves' prominence in the genre.[19] Its gentle ballad arrangement and smooth vocal delivery quickly highlighted crossover appeal to pop audiences. By late December 1959, the single had reached number 9 on the Billboard Hot Country Songs chart (having debuted at number 26 on December 7) and debuted at number 58 on the Hot 100 on December 28, 1959.[20][21]Chart performance
"He'll Have to Go" achieved significant commercial success upon its release, particularly in the United States where it demonstrated crossover appeal across multiple Billboard charts. On the Hot Country Singles chart, the song reached number one on February 8, 1960, and held the top position for an impressive 14 consecutive weeks, marking one of the longest runs at the summit in the chart's history at that time.[22] On the Billboard Hot 100, it peaked at number two for three weeks in March 1960, blocked from the top spot by Percy Faith's "Theme from A Summer Place," and spent a total of 23 weeks on the chart.[4] The track also crossed over to the Hot R&B Singles chart, where it reached a peak of number 13.[23] The single sold over three million copies worldwide.[3] Internationally, the single performed strongly in several markets, underscoring Jim Reeves' growing global popularity. In Canada, it topped the pop charts for six weeks.[23] The song ascended to number one on the Australian Singles Chart, maintaining the position for four weeks.[24] In the United Kingdom, it peaked at number 12 on the Official Singles Chart and remained on the listing for 31 weeks, reflecting a steady climb from its entry position.[25]| Chart (1960) | Peak Position | Weeks at Peak | Total Weeks on Chart |
|---|---|---|---|
| U.S. Billboard Hot Country Singles | 1 | 14 | N/A |
| U.S. Billboard Hot 100 | 2 | 3 | 23 |
| U.S. Billboard Hot R&B Singles | 13 | N/A | N/A |
| Canadian Pop Charts | 1 | 6 | N/A |
| Australian Singles Chart | 1 | 4 | N/A |
| UK Official Singles Chart | 12 | N/A | 31 |