Country Music

Classic Country Music Hits

Country Music

George Jones – Somebody Wants Me Out Of The Way

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

Introduction

Every once in a while, a song comes along that feels like it was made to echo through the corridors of heartbreak and resilience. “Somebody Wants Me Out of the Way” by George Jones is one of those songs. Imagine finding yourself at a crossroads, feeling an invisible push, like a force determined to make you leave a place where your heart firmly belongs. That sentiment, paired with Jones’ emotionally charged delivery, makes this song a gem that resonates deeply with anyone who’s ever felt sidelined or unwelcome.

About The Composition

  • Title: Somebody Wants Me Out of the Way
  • Composer: Dennis Knutson and A.L. “Doodle” Owens
  • Premiere Date: 1986
  • Album: Wine Colored Roses
  • Genre: Country

Background

“Somebody Wants Me Out of the Way” is a track from George Jones’ 1986 album Wine Colored Roses. Co-written by Dennis Knutson and A.L. “Doodle” Owens, the song speaks to a palpable sense of displacement and longing. In the mid-1980s, Jones was navigating a turbulent period in his career, dealing with personal struggles and changes in the music industry. The song captures this tension, serving as both a reflection of his own battles and a universal narrative for those feeling pushed aside.

When the song was released, it wasn’t just a musical entry—it was an artistic declaration from Jones, signaling that despite the challenges, his voice and presence in country music were far from being diminished.

Musical Style

Musically, “Somebody Wants Me Out of the Way” is steeped in traditional country elements. It features a melancholic blend of steel guitar, fiddle, and steady rhythm sections, which perfectly underscore the song’s theme of rejection and perseverance. The minor chords and deliberate pacing add a layer of gravity, making listeners feel the weight of the lyrics. Jones’ nuanced vocal delivery, with his signature emotional inflection, breathes life into each line, pulling the listener into the story with every verse.

Lyrics/Libretto

The lyrics depict a man who senses that someone is subtly trying to push him out of a relationship—whether it’s a rival or an unseen hand of fate. The storytelling is vivid and direct, capturing a complex emotional landscape of suspicion, heartbreak, and defiance. There’s a raw honesty in lines like “Somebody wants me out of the way, and that somebody’s with you every day,” which draws a stark picture of feeling unwelcome but standing firm.

Performance History

The song was performed by George Jones during a pivotal era of his career. While it may not have garnered the commercial success of some of his earlier hits, its emotional depth has made it a cherished piece among fans. Over the years, “Somebody Wants Me Out of the Way” has become a beloved track in Jones’ discography, often praised for its lyrical intensity and Jones’ powerful delivery.

Cultural Impact

“Somebody Wants Me Out of the Way” may not be as widely known outside the realm of country music aficionados, but its impact within the genre is profound. It’s a song that exemplifies Jones’ ability to convey complex emotions and to remain relevant in a rapidly changing industry. The themes of the song have made it a frequent choice for covers by artists who appreciate its depth and authenticity.

Legacy

This song is a testament to George Jones’ resilience and talent. Even when facing personal and professional challenges, Jones delivered performances that resonated deeply. “Somebody Wants Me Out of the Way” serves as a reminder of his unwavering dedication to his craft and his ability to articulate the often-painful realities of life and love. Today, the song stands as a classic example of 1980s country music, showcasing the storytelling and emotional richness that define the genre.

Conclusion

“Somebody Wants Me Out of the Way” is more than just a song—it’s a story of defiance and standing your ground. If you’re looking to experience it in its finest form, I recommend listening to the original album version from Wine Colored Roses. Jones’ voice, coupled with the melancholic instrumentation, makes it a hauntingly beautiful piece that lingers long after the last note fades. Explore this track and let its message resonate with your own experiences of holding on, even when the world seems determined to push you out of the way

Introduction

Every once in a while, a song comes along that feels like it was made to echo through the corridors of heartbreak and resilience. “Somebody Wants Me Out of the Way” by George Jones is one of those songs. Imagine finding yourself at a crossroads, feeling an invisible push, like a force determined to make you leave a place where your heart firmly belongs. That sentiment, paired with Jones’ emotionally charged delivery, makes this song a gem that resonates deeply with anyone who’s ever felt sidelined or unwelcome.

About The Composition

  • Title: Somebody Wants Me Out of the Way
  • Composer: Dennis Knutson and A.L. “Doodle” Owens
  • Premiere Date: 1986
  • Album: Wine Colored Roses
  • Genre: Country

Background

“Somebody Wants Me Out of the Way” is a track from George Jones’ 1986 album Wine Colored Roses. Co-written by Dennis Knutson and A.L. “Doodle” Owens, the song speaks to a palpable sense of displacement and longing. In the mid-1980s, Jones was navigating a turbulent period in his career, dealing with personal struggles and changes in the music industry. The song captures this tension, serving as both a reflection of his own battles and a universal narrative for those feeling pushed aside.

When the song was released, it wasn’t just a musical entry—it was an artistic declaration from Jones, signaling that despite the challenges, his voice and presence in country music were far from being diminished.

Musical Style

Musically, “Somebody Wants Me Out of the Way” is steeped in traditional country elements. It features a melancholic blend of steel guitar, fiddle, and steady rhythm sections, which perfectly underscore the song’s theme of rejection and perseverance. The minor chords and deliberate pacing add a layer of gravity, making listeners feel the weight of the lyrics. Jones’ nuanced vocal delivery, with his signature emotional inflection, breathes life into each line, pulling the listener into the story with every verse.

Lyrics/Libretto

The lyrics depict a man who senses that someone is subtly trying to push him out of a relationship—whether it’s a rival or an unseen hand of fate. The storytelling is vivid and direct, capturing a complex emotional landscape of suspicion, heartbreak, and defiance. There’s a raw honesty in lines like “Somebody wants me out of the way, and that somebody’s with you every day,” which draws a stark picture of feeling unwelcome but standing firm.

Performance History

The song was performed by George Jones during a pivotal era of his career. While it may not have garnered the commercial success of some of his earlier hits, its emotional depth has made it a cherished piece among fans. Over the years, “Somebody Wants Me Out of the Way” has become a beloved track in Jones’ discography, often praised for its lyrical intensity and Jones’ powerful delivery.

Cultural Impact

“Somebody Wants Me Out of the Way” may not be as widely known outside the realm of country music aficionados, but its impact within the genre is profound. It’s a song that exemplifies Jones’ ability to convey complex emotions and to remain relevant in a rapidly changing industry. The themes of the song have made it a frequent choice for covers by artists who appreciate its depth and authenticity.

Legacy

This song is a testament to George Jones’ resilience and talent. Even when facing personal and professional challenges, Jones delivered performances that resonated deeply. “Somebody Wants Me Out of the Way” serves as a reminder of his unwavering dedication to his craft and his ability to articulate the often-painful realities of life and love. Today, the song stands as a classic example of 1980s country music, showcasing the storytelling and emotional richness that define the genre.

Conclusion

“Somebody Wants Me Out of the Way” is more than just a song—it’s a story of defiance and standing your ground. If you’re looking to experience it in its finest form, I recommend listening to the original album version from Wine Colored Roses. Jones’ voice, coupled with the melancholic instrumentation, makes it a hauntingly beautiful piece that lingers long after the last note fades. Explore this track and let its message resonate with your own experiences of holding on, even when the world seems determined to push you out of the way

Video

Lyrics

Somebody keeps paying my bar tab
But the bartender won’t tell me who
He gives me six cold ones to go when he closes
And slips me a dollar or two
My woman is keeping me busy
And I’m afraid to go ask her why but the more
I keep drinking, the more I keep thinking
There’s somebody new in her life
Somebody wants me out of the way
And I bet I’ll find out when I go home today
Here comes the waitress with a loaded down tray
Somebody wants me out of the way
Now, my woman is under suspicion
And all I can see in my mind
It’s two cheating lovers who love under cover
And the covers they’re under is mine
Somebody wants me out of the way
And I bet I’ll find out when I go home today
Here come the waitress with a loaded down tray
Somebody wants me out of the way
Somebody wants me out of the way

Related Post

Country Music

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.

Country Music

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.

Country Music

A 1977 CAR CRASH NEARLY ENDED JEANNIE SEELY’S CAREER. DOTTIE WEST HELPED HER RECOVER — THEN DIED 14 YEARS LATER FROM INJURIES SUFFERED IN ANOTHER CRASH. By 1977, Jeannie Seely had already built a solid place in country music. “Don’t Touch Me” had given her a major breakthrough and a Grammy. She was a Grand Ole Opry member, had toured extensively with Jack Greene and had spent more than a decade building a career as both a singer and songwriter. Then everything stopped. Seely was involved in a near-fatal automobile accident that left her with serious multiple injuries. Her own biography describes it as a crash that almost ended her career. The recovery was not quick, and for a performer whose life depended on travel and stage work, the uncertainty was immediate. One of the people closest to her during that period was Dottie West. Their friendship went back years. West had encouraged Seely to move to Nashville in the first place, and now she helped her through the aftermath of the wreck and back toward everyday life. Seely later said that a close call like that changed what she took for granted. She recovered. The accident did not end the career after all. Seely returned to performing, continued appearing at the Opry and in the early 1980s opened shows for Willie Nelson across the country. She also appeared in Nelson’s Honeysuckle Rose and sang on its platinum soundtrack. Then, in 1991, the story turned in a way Seely could never have expected. Dottie West was badly injured in an automobile accident while on her way to the Grand Ole Opry. She later died from those injuries. The woman who had helped Jeannie recover from one terrible crash was gone because of another. Seely never treated Dottie as just another Nashville acquaintance. She remained part of the way Seely told her own story. In 1995, Seely served as a consultant on the CBS television movie Big Dreams and Broken Hearts: The Dottie West Story, helping preserve the memory of the friend who had been there when her own career was hanging in the balance. Years later, Seely was still talking about Dottie. Not because of the symmetry of the two accidents, but because some friendships become part of the career itself — long after the road has moved on.

You Missed

Country Music

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.

Country Music

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.

Country Music

A 1977 CAR CRASH NEARLY ENDED JEANNIE SEELY’S CAREER. DOTTIE WEST HELPED HER RECOVER — THEN DIED 14 YEARS LATER FROM INJURIES SUFFERED IN ANOTHER CRASH. By 1977, Jeannie Seely had already built a solid place in country music. “Don’t Touch Me” had given her a major breakthrough and a Grammy. She was a Grand Ole Opry member, had toured extensively with Jack Greene and had spent more than a decade building a career as both a singer and songwriter. Then everything stopped. Seely was involved in a near-fatal automobile accident that left her with serious multiple injuries. Her own biography describes it as a crash that almost ended her career. The recovery was not quick, and for a performer whose life depended on travel and stage work, the uncertainty was immediate. One of the people closest to her during that period was Dottie West. Their friendship went back years. West had encouraged Seely to move to Nashville in the first place, and now she helped her through the aftermath of the wreck and back toward everyday life. Seely later said that a close call like that changed what she took for granted. She recovered. The accident did not end the career after all. Seely returned to performing, continued appearing at the Opry and in the early 1980s opened shows for Willie Nelson across the country. She also appeared in Nelson’s Honeysuckle Rose and sang on its platinum soundtrack. Then, in 1991, the story turned in a way Seely could never have expected. Dottie West was badly injured in an automobile accident while on her way to the Grand Ole Opry. She later died from those injuries. The woman who had helped Jeannie recover from one terrible crash was gone because of another. Seely never treated Dottie as just another Nashville acquaintance. She remained part of the way Seely told her own story. In 1995, Seely served as a consultant on the CBS television movie Big Dreams and Broken Hearts: The Dottie West Story, helping preserve the memory of the friend who had been there when her own career was hanging in the balance. Years later, Seely was still talking about Dottie. Not because of the symmetry of the two accidents, but because some friendships become part of the career itself — long after the road has moved on.

Country Music

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.