Country Music

Classic Country Music Hits

Country Music

George Jones – Once You’ve Had The Best (Live at Farm Aid 1985)

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

Picture this: a warm, dimly lit room filled with the soulful strumming of a guitar, the soft clink of glasses, and the hum of hushed conversations. Amidst this serene ambiance, a voice cuts through, rich with emotion and experience, singing about the bittersweet realization that once you’ve had the best, nothing else quite compares. This scene, reminiscent of many late-night gatherings, perfectly encapsulates the essence of “Once You’ve Had the Best,” a song that speaks to the heart and soul.

About The Composition

  • Title: Once You’ve Had the Best
  • Composer: Johnny Paycheck
  • Premiere Date: 1973
  • Album/Opus/Collection: Mr. Lovemaker
  • Genre: Country

Background

“Once You’ve Had the Best” was written and performed by Johnny Paycheck, a name synonymous with the gritty, unvarnished realities of life and love. Released in 1973 as part of his album Mr. Lovemaker, the song quickly became a staple in Paycheck’s repertoire. Known for its poignant lyrics and heartfelt delivery, the song captures the essence of longing and the unshakeable memory of a past love.

In the early 70s, Johnny Paycheck was already a well-established figure in the country music scene, renowned for his ability to infuse his songs with raw, unfiltered emotion. “Once You’ve Had the Best” was no exception. The song resonated deeply with listeners, many of whom found solace and a sense of shared experience in its lyrics.

Musical Style

The musical style of “Once You’ve Had the Best” is quintessentially country, characterized by its simple yet powerful arrangement. The song features traditional country instrumentation, including acoustic guitar, steel guitar, and subtle percussion. The structure is straightforward, allowing Paycheck’s voice and the song’s emotive lyrics to take center stage.

One of the standout elements of the song is its melody, which is both haunting and comforting. The use of steel guitar adds a layer of melancholy, enhancing the song’s themes of nostalgia and yearning. Paycheck’s vocal delivery is raw and sincere, drawing the listener in and conveying a profound sense of authenticity.

Lyrics

The lyrics of “Once You’ve Had the Best” tell a story of a love lost and the realization that nothing else can ever compare to what once was. The song opens with a vivid depiction of the protagonist’s current state, juxtaposed with memories of a past love. Lines like “Once you’ve had the best, the rest is just second best” poignantly capture the essence of the song’s message.

The narrative is relatable and universal, touching on themes of love, loss, and the enduring impact of significant relationships. The lyrics are simple yet profound, allowing listeners to project their own experiences and emotions onto the song.

Performance History

Since its release, “Once You’ve Had the Best” has been performed by numerous artists, each bringing their own unique interpretation to the song. Notable performances include those by George Jones, who covered the song and helped solidify its place in country music history. Over the years, the song has been a favorite in live performances, with its emotional depth and relatable themes resonating with audiences worldwide.

Cultural Impact

The cultural impact of “Once You’ve Had the Best” extends beyond the realm of country music. Its themes of love and loss are universal, making it a favorite across different genres and audiences. The song has been featured in various media, including television shows and films, further cementing its place in popular culture.

The song’s influence can be seen in the works of contemporary country artists, many of whom cite Johnny Paycheck as an inspiration. “Once You’ve Had the Best” continues to be a touchstone for those exploring themes of heartache and longing in their music.

Legacy

The legacy of “Once You’ve Had the Best” is evident in its enduring popularity and continued relevance. The song remains a beloved classic, regularly covered by new generations of artists and featured in various playlists and compilations. Its timeless message and emotive delivery ensure that it continues to touch the hearts of listeners, old and new.

Conclusion

“Once You’ve Had the Best” is more than just a song; it’s a reflection of the human experience, capturing the universal emotions of love, loss, and longing. Its heartfelt lyrics, combined with Johnny Paycheck’s soulful delivery, make it a timeless piece that resonates deeply with listeners.

If you haven’t yet experienced the emotional depth of “Once You’ve Had the Best,” I highly recommend giving it a listen. Whether through Johnny Paycheck’s original recording or one of the many beautiful covers, this song is sure to leave a lasting impression. For a truly memorable experience, seek out live performances where the raw emotion of the song can be felt in its fullest.

Embrace the journey that “Once You’ve Had the Best” offers, and allow its melodies and lyrics to transport you to a place of reflection and emotional resonance

Video

Lyrics

I’m so glad to have you back within these arms of mine
I can finally close my eyes and get some rest
Never once did I think of finding someone new
‘Cause there’s nothing better once you’ve had the best
You’re the very thing they sing about in love songs
And one mistake don’t mean you’ve failed the test
And as you lay beside me softly sleeping, this I know
There’s nothing better once you’ve had the best
Within your arms I’ve had the best and I think the world should know
I don’t care what you’ve said or done I’ll always love you so
You’ve got more love in your little finger than all the rest
And there’s nothing better once you’ve had the best
No, there’s nothing better once you’ve had the best

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PAUL ENGLISH HAD NEVER PLAYED DRUMS WHEN WILLIE NELSON ASKED HIM TO FILL IN ON A RADIO SHOW. HE WAS A FORT WORTH HUSTLER HEADED TOWARD PRISON OR WORSE — AND THAT ACCIDENTAL GIG TURNED INTO A 70-YEAR FRIENDSHIP. In the mid-1950s, Willie Nelson was still a Fort Worth disc jockey with a small live country program. Paul English came to the station because his older brother Oliver was playing with Willie. When the regular drummer failed to appear, someone looked at Paul. He had never played drums. English later remembered being given a snare, brushes and simple instructions: keep time. He tapped along, came back for more broadcasts and gradually added a bass drum, hi-hat and cymbal. Willie later said Paul essentially learned to play behind him. But music was only part of English’s life. Fort Worth’s underworld offered better money. English became a street hustler and pimp, developed a reputation as an intimidating fixer and moved through circles far removed from country radio. Willie left Texas for Nashville, and for years their paths separated. Then Willie needed a drummer again. English heard about the opening and tracked him down. Willie mentioned another Fort Worth drummer he was considering. Paul answered, “I’m better’n him.” Willie offered roughly $30 a night. English took the job. From the mid-1960s forward, he became far more than the man behind the kit. English served as Willie’s road manager, accountant, bodyguard and enforcer. He carried a gun, collected money from promoters and watched Willie’s back through endless one-nighters, broken-down vehicles and the chaotic years before the Family became one of country music’s most famous road bands. Willie eventually turned their adventures into “Me and Paul.” English stayed in the Family for decades, later sharing percussion duties with his brother Billy and continuing to tour even after health problems slowed him. He died in 2020 at 87. Looking back, Paul said Willie had saved his life. Without that road, he believed, the alternatives were simple: prison or an early grave. The man hired because another drummer failed to show eventually became the person Willie trusted when the stage was the easy part of the night.

Country Music

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Country Music

WILLIE NELSON’S NASHVILLE HOUSE CAUGHT FIRE ON CHRISTMAS EVE. HE RAN BACK INSIDE TO SAVE HIS GUITAR — AND A POUND OF MARIJUANA — THEN LOST MORE THAN 100 UNRECORDED SONG TAPES AND DECIDED HE WAS DONE WITH NASHVILLE. By 1970, Willie Nelson had spent years trying to make Nashville work. The city respected him as a songwriter. Patsy Cline had made “Crazy” famous, and Faron Young had taken “Hello Walls” to No. 1. But Willie’s own records still struggled. Producers often smoothed out the loose timing, sparse arrangements and unusual phrasing that made him sound different. Then his house in Ridgetop, Tennessee, burned. Willie later remembered arriving while the fire was already well underway. He ran inside and rescued his Martin guitar, the instrument that would become known as Trigger. He also grabbed roughly a pound of Colombian marijuana, later joking that he did not want firefighters finding it and turning it over to police. Trigger survived. A large part of his archive did not. Willie said more than 100 tapes containing songs he had written but never recorded were destroyed. With his marriage also falling apart and his Nashville career frustrating him, the fire became part of a larger break. He returned to Texas. For a time, Willie considered leaving music altogether. Instead, he found Austin changing around him. Hippies, cowboys, rock musicians and country players were beginning to share the same rooms, and audiences cared far less about whether Willie fit Nashville’s idea of a country star. He bought a used bus and went back on the road. Within a few years came *Shotgun Willie*, *Phases and Stages* and *Red Headed Stranger*. The stripped-down sound Nashville had tried to reshape became the center of his identity. The fire destroyed a house and more than 100 song tapes. But it also marked the point when Willie stopped trying so hard to fit Nashville — and started building the career that finally sounded like him.

Country Music

BOBBY BARE TOLD SHEL SILVERSTEIN HE COULDN’T FIND ANYONE WILLING TO WRITE THE CONCEPT ALBUM HE WANTED. TWO DAYS LATER, SHEL CALLED HIM BACK: “I’VE GOT YOU AN ALBUM.” By early 1973, Bobby Bare had already spent more than a decade moving between labels, hits and near-misses. What he wanted next was different. Bare had heard Joe South’s *Introspect* and became fascinated with the idea of making a country album that felt like one complete world rather than a collection of unrelated singles. He asked songwriter friends to help build one. Nobody really wanted the job. Then Bare ran into Shel Silverstein at a Country Radio Seminar party on a Saturday night. He complained that he could not get anyone to understand what he was trying to make. Silverstein listened. On Monday, Bare’s phone rang. Shel told him he had an album’s worth of material ready. The songs became *Bobby Bare Sings Lullabys, Legends and Lies*. Bare produced the record himself and kept the performances loose, surrounding Silverstein’s strange characters, jokes, dark turns and children’s-story simplicity with an almost living-room feel. The album even used audience reactions to make parts of it sound like a gathering rather than a conventional studio record. The gamble worked. “Daddy What If,” sung with Bare’s five-year-old son Bobby Jr., reached No. 2 on the country chart. “Marie Laveau” went to No. 1 — the only chart-topper of Bare’s career. The album reached the country Top 10 and became one of his biggest records. More importantly, the weekend started a partnership that lasted for decades. Bare eventually recorded well over a hundred Silverstein songs, returning to him for later projects whenever he wanted material that sounded unlike ordinary Nashville product. Bobby Bare went looking for one album. What he found was the writer he would keep calling for the rest of his career.

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BOBBY BARE CAME OUT OF THE ARMY WITH HIS BIGGEST HIT CREDITED TO SOMEBODY ELSE — AND STILL COULDN’T GET HIS OWN CAREER MOVING — UNTIL HARLAN HOWARD AND HANK COCHRAN PUSHED CHET ATKINS TO LISTEN. After two years in the Army, Bobby Bare returned to recording with a strange problem. “The All American Boy” had already climbed to No. 2 while Bare was in basic training, but the record had been released under Bill Parsons’s name. Fraternity Records later began putting Bare’s name on singles, yet none of them became the breakthrough he needed. Meanwhile, some of Bare’s old California friends had moved to Nashville. Harlan Howard and Hank Cochran were becoming successful songwriters, and both believed Bare was being overlooked. Bare later remembered that they effectively “ganged up” on RCA executive and producer Chet Atkins, repeatedly telling him how good their friend was. Atkins finally agreed to meet him. Bare walked in without much leverage. He had already been through Capitol, Challenge and Fraternity, and the one giant record carrying his voice had made somebody else look like the star. Chet listened anyway. Bare recalled Atkins telling him to come back in a week: there would be a contract, they would find songs, and they would make a record. RCA signed him in early 1962. The change came quickly. Atkins let Bare push against Nashville convention. When Bare wanted horns and strings on “Shame on Me,” Atkins allowed it. The single became Bare’s first major country hit under his own name. Then Bare heard Billy Grammer’s recording of “Detroit City” while driving. He later joked that the song hit him so hard he nearly wrecked the car. Bare cut his own version, and in 1963 it reached the country Top 10, crossed to No. 16 pop and won the Grammy for Best Country & Western Recording. A few years earlier, Bobby Bare had watched his own voice become famous under somebody else’s name. This time, Nashville finally knew whose voice it was.