Marty Robbins – “Hawaii”: A Soulful Voyage to the Pacific Oasis of the “Gentle Giant’s” Dreams
In the late 1950s and early 60s, while much of the world was looking toward the future with a sense of frantic modernization, Marty Robbins took a surprising and beautiful detour. He turned his gaze toward the horizon, where the blue of the Pacific meets the emerald peaks of the islands. His 1957 album, Song of the Islands, and his subsequent work under Columbia Records, revealed a side of the “Gunfighter” that many hadn’t expected: a deep, abiding love for the lush, romantic sounds of Hawaii. It was a departure from the dusty trails of the West, yet it felt entirely natural in his “Velvet Voice,” proving that Marty’s spirit was as vast as the ocean itself.
The “backstory” of Marty’s fascination with the islands is a testament to his musical curiosity. Long before Hawaii became the 50th state in 1959, its music—characterized by the sliding grace of the steel guitar and the gentle strum of the ukulele—had captured his imagination. This wasn’t a passing fad; for Marty, Hawaiian music represented a kind of peace that the “fuzz guitars” and racing engines of his daily life couldn’t provide. While his Hawaiian tracks didn’t always chase the top of the Billboard charts like “El Paso,” songs like “Aloha Oe” and “Lovely Hula Hands” became staples of his live performances, offering his audience a moment of pure, tropical escapism.
The Serenity of the Steel Guitar and the Island Heart
For the sophisticated listener who has weathered the many storms of life, there is something profoundly healing about Marty Robbins’s island music. He didn’t just sing about Hawaii; he sang with a genuine reverence for its culture and its unique melodic structure. His baritone, often associated with the grit of a cowboy, transformed into something ethereal and light, like a warm breeze rustling through palm fronds at sunset.
“I’ll see you in Hawaii… where the moon hangs low and the trade winds blow.”
In these recordings, the traditional Hawaiian steel guitar—played with such fluidity that it sounds like a human voice—merged perfectly with Marty’s natural vibrato. For those of us who remember the “Exotica” craze of the late 50s, Robbins brought a level of sincerity to the genre that was often missing. He wasn’t interested in a caricature; he was interested in the “Aloha spirit”—that sense of welcome, love, and connection to the earth and sea.
A Legacy of Transcendent Calm
As we look back at the grand legacy of Marty Robbins, his Hawaiian period serves as a vital reminder of his versatility. He was an artist who understood that sometimes, the most “Western” thing you can do is look toward the setting sun and follow it to the islands. For a man who lived life at high speed, these songs were his sanctuary. They offer us, the listeners, a chance to slow down, to breathe in the salt air, and to remember that there is still beauty and quietude to be found in the world.
Whether he was singing in a tailored Western suit or a floral shirt, the heart remained the same. Marty Robbins taught us that home isn’t just a place on a map; it’s a feeling of being understood, whether you’re in the desert dust or under a Hawaiian moon. His island songs remain “souvenirs” of a man who was never afraid to cross borders—musical or geographical—to find the “greatest treasure” of all: a peaceful soul.
Music Legend