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

Introduction

George Jones’ poignant country classic “The Right Left Hand,” written by Dennis Knutson and A.L. “Doodle” Owens, offers a heartfelt exploration of love and commitment. Released in 1987, this song has a tender backstory often linked to Jones’ own life, reflecting his personal redemption and marital bliss with his fourth wife, Nancy.

About The Composition

  • Title: The Right Left Hand
  • Composer: Dennis Knutson, A.L. “Doodle” Owens
  • Premiere Date: January 1987
  • Album/Opus/Collection: Wine Colored Roses
  • Genre: Country

Background

This track is seen as an homage to Jones’ wife Nancy, who is credited with turning his life and career around. The song metaphorically celebrates their union through the imagery of a wedding band on the ‘right left hand,’ symbolizing correct choices after past mistakes.

Musical Style

The song features traditional country instrumentation and a simple, heartfelt melody that underscores the emotional depth of the lyrics, effectively conveying the gravity of true commitment and the joy of finding lasting love.

Lyrics

The lyrics delve into themes of redemption and renewed love, celebrating the joyous moment of commitment as symbolized by the wedding band. This personal element adds a layer of depth to the song, resonating with listeners who appreciate narratives of second chances.

Performance History

Peaking at number 8 on Billboard’s Hot Country Singles and number 6 in Canadian RPM Country Tracks, “The Right Left Hand” marked a significant moment in Jones’ late-80s career resurgence.

Cultural Impact and Legacy

While not just a chart success, the song stands as a testament to George Jones’ legacy as a storyteller capable of turning personal strife into universally relatable music. Its ongoing popularity underscores its resonance with themes of love and redemption.

Conclusion

“The Right Left Hand” remains a powerful piece in the country music repertoire, offering a window into the soul of one of the genre’s legends. Its emotional depth makes it a compelling listen for anyone who appreciates the intricacies of love and life’s second chances.

For more detailed information, you can visit the Wikipedia page

Video

Lyrics

I’ve cried a million tears,
Down through the years
Searching for that special one
And the vows I took before,
Were all forever more,
But no matter how I tried they came undone
Then the good Lord finally gave me
A true love of a lady,
Someone who believes in me
And she lets me know each day,
That love is here to stay
I finally found someone who’ll never leave
I put a golden band on the right left hand this time,
And the right left hand put a golden band on mine
When our hair is snowy white,
Time will prove I’m right
I put a golden band on the right left hand this time
I’ll never have to plead
For the love that my heart needs,
She’ll be close enough to touch
And when the nights are long and cold,
She’ll be there to hold,
All dressed up for one more night of love
I put a golden band on the right left hand this time,
And the right left hand put a golden band on mine
When our hair is snowy white,
Time will prove I’m right
I put a golden band on the right left hand this time
I put a golden band on the right left hand this time

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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.

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.