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

Introduction

There’s a distinctive charm in the stories songs tell about life’s circuitous paths. “Round About Way” by George Strait epitomizes this with its witty narrative on love’s unexpected journeys. This piece reminds me of a balmy Texas evening, where the tales of old friends reunite, each chapter more fascinating than the last, much like the song’s serendipitous love story.

About The Composition

  • Title: Round About Way
  • Composer: Written by Steve Dean and Wil Nance
  • Premiere Date: Released on September 22, 1997
  • Album/Opus/Collection: Featured on George Strait’s album “Carrying Your Love with Me”
  • Genre: Country

Background

“Round About Way” found its perfect voice with George Strait, a master of interpreting country ballads with a touch of southern charm. Released as part of his 1997 album, this song showcases Strait’s ability to blend narrative and melody seamlessly. The song was penned by Steve Dean and Wil Nance, who crafted a narrative celebrating love’s ability to surprise and delight. The album itself, “Carrying Your Love with Me,” received critical acclaim and contributed significantly to Strait’s reputation as a country music icon. The song resonated well with fans, adding another hit to Strait’s extensive catalog.

Musical Style

The musical arrangement in “Round About Way” is quintessentially country, with a playful melody carried by guitars and fiddles. The structure is straightforward yet effective, allowing the lyrics to shine and the story to unfold naturally. This song uses classic country instrumentation to enhance the storytelling, creating a cheerful and uplifting mood that complements the lyrical theme of finding love unexpectedly.

Lyrics/Libretto

The lyrics of “Round About Way” playfully explore the theme of a lover returning to his partner, albeit in a roundabout manner. The clever use of everyday scenarios to describe how the protagonist finds his way back to love illustrates the unpredictability of life and relationships. The chorus, catchy and upbeat, reinforces the joyous reunion, making it a memorable part of the song.

Performance History

Since its release, “Round About Way” has enjoyed a place in the hearts of country music fans and has been a staple in George Strait’s concert setlists. Its performance history underscores its popularity and the connection it fosters with audiences, who often sing along to the familiar chorus.

Cultural Impact

Though not as widely influential as some of Strait’s biggest hits, “Round About Way” holds a beloved spot within his discography. Its impact is felt in how it captures the essence of country music storytelling, providing a light-hearted take on love’s unpredictable journey.

Legacy

“Round About Way” may not have changed the landscape of country music, but it certainly reinforces the enduring appeal of George Strait’s music. Its legacy lies in its ability to bring smiles and a sense of warmth to listeners, serving as a testament to Strait’s ability to choose songs that resonate on a personal level with his audience.

Conclusion

“Round About Way” encapsulates the charm and appeal of George Strait’s musical selections. It’s a song that encourages us to appreciate the unexpected routes in our lives, especially those that lead back to love. For those new to Strait’s music, this song is a delightful starting point, and I recommend listening to the track on his “Carrying Your Love with Me” album for a full experience of his musical storytelling prowess.

Video

Lyrics

As far as all my friends can tell
I took her leavin’ well – that’s kinda right,
‘Cause when I’m out with them,
I don’t let her memory rule the night.
For the most part I’m okay,
But I still miss her in a round about way.
Around about the time that midnight rolls around
That’s around about the time my tears start falling down
‘Cause she’s not around,
I come unwound and my heart breaks.
Yeah I still miss her in a round about way.
I no longer sit alone for hours by the phone,
Wishin’ she would call.
And just the other day
I took her smilin’ face down off my wall.
I’ve come a long long way,
But I still miss her in a round about way.
Around about the time that midnight rolls around
That’s around about the time my tears start falling down
‘Cause she’s not around,
I come unwound and my heart breaks.
Yeah I still miss her in a round about way.
Yeah I still miss her in a round about way.

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THE BOY DISAPPEARED UNDER KENTUCKY LAKE IN JULY. THREE YEARS LATER, HIS FATHER WOKE UP AT 3:30 A.M. AND WROTE THE SONG HE NEVER PLANNED TO RELEASE. On July 10, 2016, Craig Morgan’s family was on Kentucky Lake in Tennessee. His 19-year-old son, Jerry Greer, had just graduated from Dickson County High School. He had been an athlete. He was supposed to play football at Marshall University. That summer day was not supposed to become a headline. Jerry was tubing with another teenager when he fell into the water. He was wearing a life jacket. Then he did not come back up. The search began as rescue. Boats moved across the lake. Officials brought in sonar. Family waited through the kind of hours no parent knows how to measure. The next day, Jerry’s body was found. Craig did not turn the grief into music right away. For years, the house had to keep moving around the empty space. His wife Karen kept Jerry’s name alive in family conversations. Holidays still came. Birthdays still came. The pain did not leave just because the world stopped watching. Then, nearly three years later, Craig woke up before daylight. Around 3:30 in the morning, he got out of bed and started writing. “The Father, My Son, and the Holy Ghost” was not built like a radio single. Craig wrote and produced it himself. At first, he did not even intend to release it. Then he did. Blake Shelton heard it and pushed people toward the song. It climbed the iTunes charts without the usual machine behind it. That was not just another grief song. That was a father finally opening the door to a room his family had been living in since the lake took Jerry.

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THE BOY DISAPPEARED UNDER KENTUCKY LAKE IN JULY. THREE YEARS LATER, HIS FATHER WOKE UP AT 3:30 A.M. AND WROTE THE SONG HE NEVER PLANNED TO RELEASE. On July 10, 2016, Craig Morgan’s family was on Kentucky Lake in Tennessee. His 19-year-old son, Jerry Greer, had just graduated from Dickson County High School. He had been an athlete. He was supposed to play football at Marshall University. That summer day was not supposed to become a headline. Jerry was tubing with another teenager when he fell into the water. He was wearing a life jacket. Then he did not come back up. The search began as rescue. Boats moved across the lake. Officials brought in sonar. Family waited through the kind of hours no parent knows how to measure. The next day, Jerry’s body was found. Craig did not turn the grief into music right away. For years, the house had to keep moving around the empty space. His wife Karen kept Jerry’s name alive in family conversations. Holidays still came. Birthdays still came. The pain did not leave just because the world stopped watching. Then, nearly three years later, Craig woke up before daylight. Around 3:30 in the morning, he got out of bed and started writing. “The Father, My Son, and the Holy Ghost” was not built like a radio single. Craig wrote and produced it himself. At first, he did not even intend to release it. Then he did. Blake Shelton heard it and pushed people toward the song. It climbed the iTunes charts without the usual machine behind it. That was not just another grief song. That was a father finally opening the door to a room his family had been living in since the lake took Jerry.

THE STAGE WENT SILENT IN LAS VEGAS ON SUNDAY NIGHT. SIX DAYS LATER, THE SAME SINGER STOOD ON LIVE TELEVISION AND SANG TOM PETTY’S “I WON’T BACK DOWN.” The crowd at Route 91 Harvest did not know the last song would be interrupted by gunfire. It was October 1, 2017. Las Vegas. More than 22,000 people were packed into the festival grounds across from Mandalay Bay. Jason Aldean was onstage, closing the third night of the festival, doing what country stars do on nights like that — lights up, band loud, crowd singing back. Then the sound changed. At first, some people thought it was equipment. Then the band stopped. People started running. Aldean was rushed offstage. By the end of the night, 58 people were dead and hundreds more were injured. The shows after that were canceled. There was nothing normal to return to yet. Then Saturday came. Instead of opening Saturday Night Live with a sketch, the show opened with Jason Aldean standing under quiet studio lights. No joke. No big introduction. Just the man who had been on that Las Vegas stage less than a week earlier, looking into the camera and trying to speak for people still hurting. He said everyone was struggling to understand what had happened. Then the band started. Not one of his hits. Tom Petty’s “I Won’t Back Down.” Petty had died the day after the shooting. The song carried both losses into the same room. Aldean later released the performance to raise money for Las Vegas victims. That wasn’t a comeback performance. That was a country singer walking back to a microphone before the silence had even cleared.