Country Music

Classic Country Music Hits

Country Music

George Jones – New Patches

“Scroll down to the end of the article to listen to music.”
Introduction
You know that feeling when a song just wraps around you like a comforting hug? That’s exactly what happened the first time I listened to “New Patches.” It’s this heartfelt country tune that beautifully captures the bittersweet process of letting go and starting over. The lyrics weave a story of mending old wounds and embracing new beginnings, all set against a backdrop of soulful melodies that just resonate deep down. Every time I play it, I’m reminded that change, while daunting, can lead to something unexpectedly wonderful. It’s like the song gently whispers, “It’s okay to move forward; something better might be just around the corner.”
Video

Lyrics

I was born and raised in Alabama.
On a farm way back up in the woods.
I was so ragged folks used to call me patches
Papa used to teas me bout it but deep down in side
He was hurtin’ cause he done all he could.
My papa was a great old man I could see him
With a shovel in his hand see education
He never had he did wonders when the times got bad
The little money from the crops he raised barely paid the bills we made.
Ho life would kick him down the ground when he tried to get up life would kick him back down one day papa called me to his dying bed with his hands on ma shoulders and tears he said patches im depending on ya son to pull the family through now son its all left up to you.
Two days later papa passed away and I became a man
That so I told mam I was goin’s quit school
But she said that was daddies strictest rule.
So every mornin’ before I when to school I fed the Chickens
And I copped wood too, some times I felt that I couldn’t go on
I wanted to leave just run away from home
But I would remember what my daddy said
With his hand on ma shoulders and tears
He said he said patches
I’m depending on ya son i’ve tried to do my best
Its up to you to do the rest.
Then one day a strong rain came and washed all the crops away
And at the age of thirteen
I thought I was caring the weight of the whole world on my shoulders
And you know mama knew what I was going through
Cause every day I had to work the fields
Cause that’s the only way we got our meals you see
I was the oldest of the family
And everybody was depending on me every night
I heard my mama pray lord give home strength to make another day.
Though the years have passed
And all the kids have grown the angels took mama
To a brand new lord knows people I’ve shed some tears
But my daddies voice kept ringing
Through the my ears saying patches
I’m depending on ya son to pull the family through
Now son its all left up to you.
Patches I tried to my best its up to you to do the rest

Related Post

Country Music

THREE NASCAR CRASHES IN THREE STRAIGHT STARTS FINALLY CONVINCED MARTY ROBBINS THAT RACING WAS TRYING TO TELL HIM SOMETHING. HE ANNOUNCED HE WAS DONE — THEN CAME BACK TWO YEARS LATER. By the mid-1970s, Marty Robbins had already proved that NASCAR was more than a celebrity hobby. He had been racing stock cars for years, fitting events around recording sessions and concerts. In 1974 he even finished fifth at Michigan, showing that the country star could genuinely compete when the car and the day came together. Then came three starts Robbins would remember for very different reasons. The first was Charlotte in October 1974. A multi-car wreck unfolded in front of him, leaving Richard Childress exposed across the track. Rather than drive into Childress’s side, Robbins turned toward the concrete wall. The crash left him with a head wound requiring 32 stitches. A few days later, Robbins was already back onstage. He looked at the audience and joked about movie stars leaving their fingerprints in wet cement at Grauman’s Chinese Theatre. After Charlotte, he said, he had decided to leave his face in a cement wall instead — except the wall had already dried. Then he climbed into another race car. At the 1975 Daytona 500, Robbins was caught in another pileup. He completed only three laps before his Dodge was eliminated. He escaped serious injury, but once again the car was badly damaged. His next NASCAR start came at Talladega on May 4. This time Robbins was running well. He had started 17th and later recalled being around eighth place when another crash ended his afternoon and sent him to the hospital. Charlotte. Daytona. Talladega. Three consecutive NASCAR starts, three crashes. Robbins finally announced his retirement from racing. The Los Angeles Times later summarized the sequence as the stretch that convinced him to walk away. For a while, he meant it. Music continued. The Grand Ole Opry continued. The race car did not. But two years was about as long as Marty Robbins could stay away. In June 1977, he returned to NASCAR at Michigan and finished 13th. More races followed, and Robbins continued making selected Cup starts through the final year of his life. His last NASCAR start came in November 1982 at Atlanta. Less than a month later, Marty Robbins died after suffering another heart attack. By then, the retirement announcement of 1975 had become just one more interruption in a racing life he never managed to leave behind.

Country Music

WILLIE NELSON WAS SO BROKE HE OFFERED FARON YOUNG “HELLO WALLS” FOR $500. YOUNG REFUSED TO BUY IT — HE LOANED WILLIE THE MONEY INSTEAD, THEN TURNED THE SONG INTO A NINE-WEEK No. 1. By 1961, Faron Young was already one of country music’s established stars. Willie Nelson was not. He was writing songs around Nashville, pitching them wherever he could and trying to keep enough money coming in to stay afloat. One of the songs he carried with him was “Hello Walls.” Willie needed cash badly enough that he offered to sell the song to Faron Young for about $500. Young could have taken the deal. Instead, he told Willie to keep the publishing and treated the $500 as a loan. Young believed the song was worth more than the quick money Willie needed that day. Then he recorded it. “Hello Walls” was released in 1961 and became the biggest hit of Young’s career. It spent nine weeks at No. 1 on Billboard’s country chart and crossed over to the pop market, carrying Willie Nelson’s name as a songwriter to an audience far beyond Nashville. The royalty money followed. For Willie, the difference was enormous. A song he had been ready to surrender for a few hundred dollars suddenly became one of the records that helped establish him as one of Nashville’s most valuable young writers. And Faron had never taken ownership of it. Young later remembered Willie coming to find him after the money started arriving. Willie repaid the loan and, according to Faron’s telling, grabbed him at Tootsie’s Orchid Lounge and kissed him in gratitude. The moment also tied two very different careers together. Young remained one of the era’s major honky-tonk stars, while Willie continued writing songs that other singers turned into hits before eventually becoming a star himself. “Hello Walls” did plenty for Faron Young. But the decision he made before recording it may have mattered even more to the man who wrote it. Willie walked away with the $500 he desperately needed — and still owned the song when the real money arrived.

Country Music

MARTY ROBBINS WAS DOING ABOUT 160 MPH WHEN A WRECK LEFT RICHARD CHILDRESS STOPPED ACROSS THE TRACK IN FRONT OF HIM. ROBBINS HAD TWO CHOICES: HIT CHILDRESS IN THE DRIVER’S DOOR — OR TURN HIS OWN CAR INTO THE CONCRETE WALL. HE TOOK THE WALL. By 1974, Robbins was already far more than a country star dabbling in racing. He had been competing in NASCAR for years, scoring several Top 10 finishes while still maintaining his music career. Then came the Charlotte 500. A multi-car wreck erupted in front of Robbins. Richard Childress’s Chevrolet came to rest with the driver’s side exposed directly in Robbins’s path. Robbins was approaching at roughly 160 mph and had only seconds to react. He later explained the decision simply: he could not stand the thought of driving straight into another driver. So Robbins turned right. His No. 42 Dodge slammed into the concrete wall instead. The impact left him with broken ribs, a broken tailbone and serious facial cuts requiring more than 30 stitches. Childress later recalled seeing Robbins bearing down on him and believing a driver-side impact could badly injure or kill him. Then he watched Robbins suddenly steer away into the wall. That makes this much stronger than a generic “country singer raced NASCAR” story. The real core is: famous country star → legitimate race driver → 160 mph → wreck blocks track → split-second choice → deliberately takes the wall rather than hit another man.

You Missed

Country Music

THREE NASCAR CRASHES IN THREE STRAIGHT STARTS FINALLY CONVINCED MARTY ROBBINS THAT RACING WAS TRYING TO TELL HIM SOMETHING. HE ANNOUNCED HE WAS DONE — THEN CAME BACK TWO YEARS LATER. By the mid-1970s, Marty Robbins had already proved that NASCAR was more than a celebrity hobby. He had been racing stock cars for years, fitting events around recording sessions and concerts. In 1974 he even finished fifth at Michigan, showing that the country star could genuinely compete when the car and the day came together. Then came three starts Robbins would remember for very different reasons. The first was Charlotte in October 1974. A multi-car wreck unfolded in front of him, leaving Richard Childress exposed across the track. Rather than drive into Childress’s side, Robbins turned toward the concrete wall. The crash left him with a head wound requiring 32 stitches. A few days later, Robbins was already back onstage. He looked at the audience and joked about movie stars leaving their fingerprints in wet cement at Grauman’s Chinese Theatre. After Charlotte, he said, he had decided to leave his face in a cement wall instead — except the wall had already dried. Then he climbed into another race car. At the 1975 Daytona 500, Robbins was caught in another pileup. He completed only three laps before his Dodge was eliminated. He escaped serious injury, but once again the car was badly damaged. His next NASCAR start came at Talladega on May 4. This time Robbins was running well. He had started 17th and later recalled being around eighth place when another crash ended his afternoon and sent him to the hospital. Charlotte. Daytona. Talladega. Three consecutive NASCAR starts, three crashes. Robbins finally announced his retirement from racing. The Los Angeles Times later summarized the sequence as the stretch that convinced him to walk away. For a while, he meant it. Music continued. The Grand Ole Opry continued. The race car did not. But two years was about as long as Marty Robbins could stay away. In June 1977, he returned to NASCAR at Michigan and finished 13th. More races followed, and Robbins continued making selected Cup starts through the final year of his life. His last NASCAR start came in November 1982 at Atlanta. Less than a month later, Marty Robbins died after suffering another heart attack. By then, the retirement announcement of 1975 had become just one more interruption in a racing life he never managed to leave behind.

Country Music

WILLIE NELSON WAS SO BROKE HE OFFERED FARON YOUNG “HELLO WALLS” FOR $500. YOUNG REFUSED TO BUY IT — HE LOANED WILLIE THE MONEY INSTEAD, THEN TURNED THE SONG INTO A NINE-WEEK No. 1. By 1961, Faron Young was already one of country music’s established stars. Willie Nelson was not. He was writing songs around Nashville, pitching them wherever he could and trying to keep enough money coming in to stay afloat. One of the songs he carried with him was “Hello Walls.” Willie needed cash badly enough that he offered to sell the song to Faron Young for about $500. Young could have taken the deal. Instead, he told Willie to keep the publishing and treated the $500 as a loan. Young believed the song was worth more than the quick money Willie needed that day. Then he recorded it. “Hello Walls” was released in 1961 and became the biggest hit of Young’s career. It spent nine weeks at No. 1 on Billboard’s country chart and crossed over to the pop market, carrying Willie Nelson’s name as a songwriter to an audience far beyond Nashville. The royalty money followed. For Willie, the difference was enormous. A song he had been ready to surrender for a few hundred dollars suddenly became one of the records that helped establish him as one of Nashville’s most valuable young writers. And Faron had never taken ownership of it. Young later remembered Willie coming to find him after the money started arriving. Willie repaid the loan and, according to Faron’s telling, grabbed him at Tootsie’s Orchid Lounge and kissed him in gratitude. The moment also tied two very different careers together. Young remained one of the era’s major honky-tonk stars, while Willie continued writing songs that other singers turned into hits before eventually becoming a star himself. “Hello Walls” did plenty for Faron Young. But the decision he made before recording it may have mattered even more to the man who wrote it. Willie walked away with the $500 he desperately needed — and still owned the song when the real money arrived.

Country Music

MARTY ROBBINS WAS DOING ABOUT 160 MPH WHEN A WRECK LEFT RICHARD CHILDRESS STOPPED ACROSS THE TRACK IN FRONT OF HIM. ROBBINS HAD TWO CHOICES: HIT CHILDRESS IN THE DRIVER’S DOOR — OR TURN HIS OWN CAR INTO THE CONCRETE WALL. HE TOOK THE WALL. By 1974, Robbins was already far more than a country star dabbling in racing. He had been competing in NASCAR for years, scoring several Top 10 finishes while still maintaining his music career. Then came the Charlotte 500. A multi-car wreck erupted in front of Robbins. Richard Childress’s Chevrolet came to rest with the driver’s side exposed directly in Robbins’s path. Robbins was approaching at roughly 160 mph and had only seconds to react. He later explained the decision simply: he could not stand the thought of driving straight into another driver. So Robbins turned right. His No. 42 Dodge slammed into the concrete wall instead. The impact left him with broken ribs, a broken tailbone and serious facial cuts requiring more than 30 stitches. Childress later recalled seeing Robbins bearing down on him and believing a driver-side impact could badly injure or kill him. Then he watched Robbins suddenly steer away into the wall. That makes this much stronger than a generic “country singer raced NASCAR” story. The real core is: famous country star → legitimate race driver → 160 mph → wreck blocks track → split-second choice → deliberately takes the wall rather than hit another man.

Country Music

STONEWALL JACKSON LIED ABOUT HIS AGE AND JOINED THE ARMY AT 16 JUST TO GET AWAY FROM A BRUTAL SHARECROPPER CHILDHOOD. YEARS LATER, ONE UNPLANNED WALK ACROSS A NASHVILLE STREET PUT HIM ON THE ROAD TO THE GRAND OLE OPRY. Stonewall Jackson grew up in rural Georgia in a family that had very little. His father died when Stonewall was young. His mother later remarried, and Jackson would describe his childhood under a harsh stepfather as deeply unhappy. The family worked as sharecroppers, and by his teens he was already looking for a way out. At 16, he found one. Jackson lied about his age and joined the Army. The deception was discovered, and he was discharged, but the attempt said plenty about how badly he wanted to leave home behind. A few years later, in 1950, he entered the Navy legally and served until 1954. When that chapter ended, country music was still more dream than profession. Jackson eventually made his way to Nashville in 1956. He checked into a motel and noticed the Acuff-Rose publishing office nearby. Instead of waiting for an introduction, he simply walked over and asked whether anyone there would listen to him sing. Wesley Rose did. Jackson performed several songs, and Rose heard enough to take the next step. He brought Jackson to the attention of Grand Ole Opry officials, and the unknown singer was given an audition. The result was almost unheard of. Stonewall Jackson was invited to join the Grand Ole Opry before he had even signed a recording contract. Columbia Records followed soon after. Within a few years, Jackson had major hits including “Life to Go,” “Waterloo” and “B.J. the D.J.” “Waterloo” reached No. 1 in 1959 and turned the former sharecropper into one of the most recognizable hard-country voices of the era. The speed of the change was remarkable. There had been no long Nashville apprenticeship, no years spent waiting behind another star, and no carefully arranged industry introduction. Jackson saw a publishing office from across the street, walked through the door and sang. That single decision gave Wesley Rose a voice to remember — and gave the Grand Ole Opry one of its most unusual new members.