That's Not My Problem Anymore
Jan Howard · Bad Seed [Decca] [1966]
(Bobby Bare)
He's not my problem anymore
It ended when he walked out the door
Now someone else must try to do
All the things I couldn't do
But that's not my problem anymore
That's not my problem anymore.
It feels so good to get him off my mind
Unhappiness is all he left behind
And I never was quite sure
What that boy was searching for
But that's not my problem anymore
No, that's not my problem anymore.
It's someone else's problem now
To keep him satisfied
And I hope she figures out a way
And never has been tried
Someday he may be happy but I'll know for sure
But that's not my problem anymore
It ended when he walked out the door.
Now someone else must try to do
All the things I couldn't do
But that's not my problem anymore
That's not my problem anymore...
He's not my problem anymore
It ended when he walked out the door
Now someone else must try to do
All the things I couldn't do
But that's not my problem anymore
That's not my problem anymore.
It feels so good to get him off my mind
Unhappiness is all he left behind
And I never was quite sure
What that boy was searching for
But that's not my problem anymore
No, that's not my problem anymore.
It's someone else's problem now
To keep him satisfied
And I hope she figures out a way
And never has been tried
Someday he may be happy but I'll know for sure
But that's not my problem anymore
It ended when he walked out the door.
Now someone else must try to do
All the things I couldn't do
But that's not my problem anymore
That's not my problem anymore...
That's Not My Problem Anymore
Jan Howard delivers a poignant country ballad on the 1966 album Bad Seed, exploring themes of emotional detachment and the complexities of moving on from a relationship. The track exemplifies Howard's signature vocal style, blending traditional country storytelling with a mature, reflective tone that resonates with listeners seeking authenticity in her discography. Recorded during a pivotal era for female country artists, the song stands as a testament to her ability to convey deep personal sentiment without relying on dramatic flair. Its enduring appeal lies in its honest portrayal of letting go, making it a standout piece within her catalog of work from the mid-to-late 1960s.