Robbins’ career had flourished since signing with the Columbia label in 1952, scoring fourteen #1 hits by 1970, but a contract impasse prompted him to sign with Decca/MCA in 1972, where he continued to chart, although not as prolifically as he had done during his years at Columbia.
None of the Decca/MCA records made a significant impact, and after four years (with fences mended) Marty returned to his old label in a big way, notching an instant #1 smash with “El Paso City”, his first chart-topper since “My Woman, My Woman, My Wife” six years earlier.
“El Paso City” was a sequel to the 1959 original, and its lyrics made frequent reference to Robbins’ earlier classic. In an interview with writer Bob Allen for “Country Song Roundup” magazine, Marty said, “Every time I flew over El Paso, I was usually getting some sleep.
A session was quickly scheduled immediately after Marty’s return to Columbia. He had high hopes for success, feeling especially optimistic about “El Paso City.” It was the first time Robbins had worked with legendary producer Billy Sherrill, who had previously guided the recording careers of Tammy Wynette, Charlie Rich, David Houston, George Jones, Tanya Tucker, Johnny Paycheck and many others. Although their tenure in the studio was brief, Sherrill says Robbins was “an absolute pleasure to work with.”
The session reunited Marty with his old friend Grady Martin, who had played guitar so memorably on the original “El Paso” 17 years earlier, providing its “trademark” Spanish flavor.