“Scroll down to the end of the article to listen to music.”

Introduction

There are quiet evenings when I reflect on the choices I’ve made in my life. During these moments, the melody of George Jones’s song “Choices” echoes in my mind, serving as a poignant reminder of the power and consequences of the decisions we make.

About The Composition

  • Title: Choices
  • Composer: Billy Yates and Mike Curtis
  • Premiere Date: 1999
  • Album/Opus/Collection: Cold Hard Truth by George Jones
  • Genre: Traditional Country Music

Background

“Choices” was penned by Billy Yates and Mike Curtis and recorded by George Jones for his 1999 album Cold Hard Truth. The song emerged during a turbulent period in Jones’s life, following a severe car accident that nearly claimed his life. This near-death experience led him to introspect about his life and career. “Choices” delves into self-reflection on past decisions and their impacts, mirroring the tumultuous journey of Jones himself. The song was warmly received by audiences and critics alike, and it is considered one of the standout tracks in his illustrious career.

Musical Style

“Choices” embodies traditional country music with its slow, contemplative melody. The blend of acoustic guitar and steel guitar creates a melancholic atmosphere. George Jones’s deep, emotive vocals highlight the sincerity and regret conveyed in the lyrics. The song’s simple yet effective structure focuses on delivering its powerful message and evoking strong emotions from the listener.

Lyrics/Libretto

The lyrics serve as an introspective monologue about life’s choices and their repercussions. George Jones expresses remorse over past mistakes and acknowledges how each decision has shaped his life. Themes of self-blame and a desire for redemption are deeply woven into the narrative, resonating with many who have faced similar reflections.

Performance History

Upon its release, “Choices” quickly garnered attention and earned George Jones a Grammy Award for Best Male Country Vocal Performance. At the 1999 CMA Awards, a memorable incident occurred when Jones declined to perform a shortened version of the song. In a heartfelt tribute, Alan Jackson performed “Choices” instead, leaving a lasting impression on both the audience and the music industry.

Cultural Impact

“Choices” transcended its status as a country hit to influence popular culture broadly. The song became an anthem for self-reflection and regret, covered by numerous artists and featured in various television shows and films. It has inspired many to contemplate their own lives and the paths they’ve taken.

Legacy

Today, “Choices” maintains its standing as a classic in George Jones’s repertoire and in country music as a whole. The song continues to be discovered and cherished by new generations, demonstrating the enduring power of music to connect with and move people deeply.

Conclusion

“Choices” is more than just a song; it’s a profound lesson about life and the decisions we make. I encourage you to listen and experience it for yourself, perhaps starting with George Jones’s original version or Alan Jackson’s heartfelt cover. It is sure to provide meaningful reflections and leave an indelible emotional impact

Video

Lyrics

Chorus:
I’ve had choices
Since the day that I was born
There were voices
That told me right from wrong
If I had listened
No, I wouldn’t be here today
Living and dying
With the choices I’ve made
I was tempted
By an early age I found
I liked drinkin’
Oh, and I never turned it down
There were loved ones
But I turned them all away
Now I’m living and dying
With the choices I’ve made
Chorus:
I’ve had choices
Since the day that I was born
There were voices
That told me right from wrong
If I had listened
No, I wouldn’t be here today
Living and dying
With the choices I’ve made
— Instrumental —
I guess I’m payin’
For the things that I have done
If I could go back
Oh, Lord knows I’d run
But I’m still losin’
This game of life I play
Living and dying
With the choices I’ve made
Chorus:
I’ve had choices
Since the day that I was born
There were voices
That told me right from wrong
If I had listened
I wouldn’t be here today
Living and dying
With the choices I’ve made
— Instrumental —
Living and dying
With the choices I’ve made…

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A SONG CALLED “AMERICANA” GAVE MOE BANDY HIS FINAL SOLO TOP 10 HIT. THEN GEORGE H. W. BUSH TURNED IT INTO A CAMPAIGN ANTHEM — AND THE SONG OPENED THE DOOR TO THE WHITE HOUSE AND A 30-YEAR FRIENDSHIP. By 1988, Moe Bandy had already spent years singing about cheating, drinking, rodeos and broken homes. Then he released something different. “Americana,” written by Larry Alderman, Richard Fagan and Patti Ryan, celebrated the small-town images of American life. Released from Bandy’s No Regrets album, it climbed to No. 8 on the country chart and became his final Top 10 solo hit. But the song traveled much farther than the chart. George H. W. Bush’s presidential campaign began using “Americana” heavily at rallies during the 1988 race. Bandy joined the campaign trail himself, later remembering one early stop in Chicago where they moved through seven rallies in a single day. By election night, he had been invited to sit with Bush, his family and campaign staff as the returns came in. The relationship did not end when the campaign did. After Bush won, Bandy performed during the 1989 presidential inauguration festivities and made two White House appearances that year. What had started with one campaign song became a genuine friendship. Bandy spent time with the Bush family away from politics, including visits to Camp David and Kennebunkport. During one Camp David weekend in 1991, he sang hymns for the first family during Sunday worship, then spent time walking in the woods and playing horseshoes with the president. Bandy later said that when he and Bush were together, they rarely talked politics. They talked about country music, careers and ordinary life. The friendship eventually circled back into Bandy’s own world. After Bandy opened the Americana Theatre in Branson, Missouri, Bush asked about the town. In August 1992, the sitting president came to Branson for a campaign rally and attended Bandy’s show at the theater. Presidential-library records document Bush and Barbara Bush joining Bandy onstage there. The connection lasted long after both men had left those campaign buses behind. When Bandy published his autobiography Lucky Me in 2018, Barbara Bush wrote the foreword. The book included memories from what Bandy described as roughly three decades of friendship with the Bush family. “Americana” never became Moe Bandy’s biggest chart record. But no other single carried him into quite so many places he had never expected to go.

A LAWNMOWER ACCIDENT LEFT CONNIE SMITH RECOVERING AT HOME. SHE TAUGHT HERSELF GUITAR, ENTERED A TALENT CONTEST FOR FIVE SILVER DOLLARS — AND WITHIN A YEAR HER FIRST SINGLE WAS No. 1. Before Nashville knew Connie Smith, she was a young wife and mother in Ohio with no record contract and no professional career. At 18, a lawnmower accident injured her badly enough that she spent time recovering. During that period, Smith taught herself to play acoustic guitar. Music gradually moved from something she loved into something she could actually perform. Then, in August 1963, someone persuaded her to enter a talent contest in Columbus. The prize was modest: five silver dollars and a chance to perform that evening on a show featuring Grand Ole Opry artists. Smith won. One of the headliners was Bill Anderson. He heard her sing and remembered the voice. When they crossed paths again on New Year’s Day 1964 in Canton, Ohio, Anderson did more than compliment her. He invited her to Nashville. In March, Smith appeared on Ernest Tubb’s Midnite Jamboree. In May, she returned to cut demos of Anderson songs. By June, Chet Atkins had signed her to RCA. A month later, producer Bob Ferguson put her into RCA Studio B with one of Anderson’s songs: “Once a Day.” RCA released it as her first single. By November, “Once a Day” was No. 1. It stayed there for eight weeks — an extraordinary run for a brand-new female country artist — and immediately turned Smith from an unknown Ohio singer into one of Nashville’s most important new voices. She joined the Grand Ole Opry the following year. The five silver dollars were almost irrelevant by then. What mattered was that one local contest had put Connie Smith in the same room as the one songwriter who knew exactly what Nashville should hear next.

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A LAWNMOWER ACCIDENT LEFT CONNIE SMITH RECOVERING AT HOME. SHE TAUGHT HERSELF GUITAR, ENTERED A TALENT CONTEST FOR FIVE SILVER DOLLARS — AND WITHIN A YEAR HER FIRST SINGLE WAS No. 1. Before Nashville knew Connie Smith, she was a young wife and mother in Ohio with no record contract and no professional career. At 18, a lawnmower accident injured her badly enough that she spent time recovering. During that period, Smith taught herself to play acoustic guitar. Music gradually moved from something she loved into something she could actually perform. Then, in August 1963, someone persuaded her to enter a talent contest in Columbus. The prize was modest: five silver dollars and a chance to perform that evening on a show featuring Grand Ole Opry artists. Smith won. One of the headliners was Bill Anderson. He heard her sing and remembered the voice. When they crossed paths again on New Year’s Day 1964 in Canton, Ohio, Anderson did more than compliment her. He invited her to Nashville. In March, Smith appeared on Ernest Tubb’s Midnite Jamboree. In May, she returned to cut demos of Anderson songs. By June, Chet Atkins had signed her to RCA. A month later, producer Bob Ferguson put her into RCA Studio B with one of Anderson’s songs: “Once a Day.” RCA released it as her first single. By November, “Once a Day” was No. 1. It stayed there for eight weeks — an extraordinary run for a brand-new female country artist — and immediately turned Smith from an unknown Ohio singer into one of Nashville’s most important new voices. She joined the Grand Ole Opry the following year. The five silver dollars were almost irrelevant by then. What mattered was that one local contest had put Connie Smith in the same room as the one songwriter who knew exactly what Nashville should hear next.

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HE BROKE HIS COLLARBONE TWICE RIDING BULLS AND WALKED AWAY FROM RODEO. YEARS LATER, MOE BANDY TURNED THAT LOST LIFE INTO “BANDY THE RODEO CLOWN” — HIS FIRST NO. 1 COUNTRY HIT. Moe Bandy grew up around rodeo before country music ever became a career. His grandfather had ridden. His father had ridden. By the time Moe was 16, he was competing in bull riding and bareback bronc events around Texas. The attraction was obvious: danger, adrenaline and the chance to prove he could stay on when everything underneath him was trying to throw him off. But rodeo kept collecting a price. Bandy was thrown hard, hurt his back and broke his collarbone more than once. After the second break, he began joking that he had discovered music was considerably safer. The injuries eventually pushed him away from serious competition. His younger brother Mike went the other direction. Mike became a successful bull rider and qualified for the National Finals seven times. Moe, meanwhile, took a sheet-metal job and started working honky-tonks at night, slowly building the career that would finally break through in the mid-1970s. Then rodeo came back into the story. In 1975, Bandy recorded “Bandy the Rodeo Clown,” a song about a rodeo man whose life is falling apart away from the arena. It became Moe’s first No. 1 country hit and one of the records most closely associated with him. The success pulled him straight back into the world he had left. Bandy began performing at rodeos across the country. At many of them, Mike was still competing. Moe later remembered nights when he would sing while his brother rode bulls — and on some of those same nights, Mike won the event. By then, the two Bandy brothers had found different ways to remain inside the same world. Mike stayed in the arena. Moe stood on the stage beside it. For country audiences, “Bandy the Rodeo Clown” became more than a hit record. It connected the singer they knew to a Texas life he had been living long before anyone in Nashville knew his name.