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Introduction

Have you ever heard a song that just makes you laugh out loud every time it comes on? That’s “The Mississippi Squirrel Revival” for you. It’s one of those tunes that doesn’t just get stuck in your head—it plays out like a mini-comedy show right in your ears. Imagine a mischievous squirrel wreaking havoc in a sleepy Southern town’s church, and you’ve got the gist of this hilariously heartwarming song.

The genius of “The Mississippi Squirrel Revival” lies in its storytelling. The song spins a yarn about a young boy who, quite innocently, brings a wild squirrel to church. This isn’t just any church session, though—it turns into utter chaos when the squirrel escapes and starts darting from pew to pew. What unfolds is a series of confessions and revelations, as the congregation starts admitting to their sins in the midst of the pandemonium, hoping for divine forgiveness as the squirrel scurries around.

What makes this song truly special is the way it captures a slice of Southern life with humor and a bit of cheekiness. The imagery is so vivid that you can almost see the old ladies fainting and the men shouting, turning a regular Sunday into a spectacle of revelations and laughter. It’s not just a song; it’s a community experience packed into a few minutes of uproarious melody.

“The Mississippi Squirrel Revival” isn’t just funny; it’s a reminder of the unpredictable moments that bring communities together, showing us that sometimes, it takes a little chaos to see the humor in our human follies. The song has a timeless appeal, resonating with anyone who appreciates a good story and a good laugh, making it a cherished piece in the annals of country music.

Video

Lyrics

Ooh, ooh
Well, when I was kid, I’d take a trip
Every summer, down to Mississipp’
To visit my granny in her Antebellum world
I’d run barefooted all day long
Climbing trees, free as a song
One day, I happened to catch myself a squirrel
Well, I stuffed him down in an old shoebox
And punched a couple holes in the top
When Sunday came, I snuck him into church
Well, I sit way back in the very last pew
Showin’ him to my good buddy Hugh
When that squirrel got loose and went totally berserk!
Well, what happened next is hard to tell
Some thought it was Heaven, others thought it was Hell
But the fact that something was among us was plain to see
As the choir sang “I surrender all”
The squirrel ran up Harv Newlan’s coveralls
Harv leaped to his feet and said
“Something’s got a hold on me! Yeah!”
The day the squirrel went berserk
In the First Self-Righteous Church
In that sleepy little town of Pascagoula (Pascagoula)
It was a fight for survival that broke out in revival
They were jumpin’ pews and shouting “Hallelujah!” (Hallelujah!)
You know Harv hit the aisles dancin’ and screamin’
Some thought he had religion, others thought he had a demon
And Harv thought he had a Weed Eater loose in his Fruit-of-the-Looms
He fell to his knees to plead and beg
And that squirrel ran out of his britches leg
Unobserved, to the other side of the room
All the way down to the amen pew
Where sat Sister Bertha better-than-you
Who’d been watchin’ all the commotion with sadistic glee
You should’ve seen that look in her eyes
When that squirrel jumped her garters and crossed her thighs
She jumped to her feet and said, “Lord! Have mercy on me!”
As that squirrel made laps inside her dress
She began to cry and then to confess
To sins that would make a sailor blush with shame
She told the gossip and church dissension
But the thing that got the most attention
Was when she talked about her love life
And then she started naming names
The day the squirrel went berserk
In the First Self-Righteous Church
In that sleepy little town of Pascagoula (Pascagoula)
It was a fight for survival that broke out in revival
They were jumpin’ pews and shouting “Hallelujah!” (Hallelujah!)
Well, seven deacons and then the pastor got saved
And 25, 000 dollars was raised
And 50 volunteered for missions in the Congo on the spot
And even without an invitation
There were at least 500 rededications
And we all got re-baptized whether we needed it or not
Now you’ve heard the Bible story, I guess
How He parted the waters for Moses to pass
All the miracles God has brought to this ol’ world
But the one I’ll remember ’til my dyin’ day
Is how He put that church back on the narrow way
With the heart praise and a Mississippi squirrel
The day the squirrel went berserk
In the First Self-Righteous Church
In that sleepy little town of Pascagoula (Pascagoula)
It was a fight for survival that broke out in revival
They were jumpin’ pews and shouting “Hallelujah!” (Hallelujah!)
The day the squirrel went berserk
In the First Self-Righteous Church
In that sleepy little town of Pascagoula (Pascagoula)
It was a fight for survival that broke out in revival
They were jumpin’ pews and shouting “Hallelujah!” (Hallelujah!)

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HE TURNED 35 AND ALREADY FELT LIKE THE WORLD HAD PASSED HIM BY. DAVID BELLAMY TURNED THAT MAN INTO “OLD HIPPIE,” AND COUNTRY RADIO KNEW EXACTLY WHO HE WAS. The Bellamy Brothers had already lived through one kind of fame. “Let Your Love Flow” had taken two Florida brothers around the world in 1976. Then country radio gave them another life with “If I Said You Had a Beautiful Body Would You Hold It Against Me,” “Sugar Daddy,” “Redneck Girl,” and a string of records that made David and Howard Bellamy feel less like Nashville products and more like men who had brought their own weather in from Florida. By 1985, they did not need another love song to prove they could survive. Then David Bellamy wrote “Old Hippie.” The man in the song was only 35, but he already sounded older than his years. He had grown up in the 1960s, watched the world turn through Vietnam, rock and roll, disco, new wave, and a country scene that suddenly felt like the last place left for people who did not fit anywhere cleanly. He was not trying to lead a movement anymore. He was not trying to change anybody. He was just trying to adjust without losing the person he used to be. It was not a joke about a burned-out hippie. It was a portrait of a whole generation looking in the mirror and seeing gray hair before they felt ready for it. Released in 1985, “Old Hippie” reached No. 2 on the Billboard country chart and No. 1 in Canada. Years later, Rolling Stone placed it among the 100 greatest country songs. The Bellamy Brothers did not just find another hit. They found a character who kept aging with the audience.

“KISS YOU ALL OVER” MADE THEM NO. 1 ON POP RADIO. THEN THE WORLD MOVED ON — AND EXILE HAD TO REBUILD ITSELF AS A COUNTRY BAND FROM KENTUCKY. Exile had already been around long before the big hit. The band started in Kentucky in the 1960s, playing local events, cover songs, road dates, and whatever kind of room would let them work. They were not born cleanly into country music. They moved through rock, pop, rhythm and blues, and the kind of long band life where members change, labels come and go, and most people quit before the real break ever arrives. Then 1978 came. “Kiss You All Over” hit No. 1 on the Billboard Hot 100 and stayed there for four weeks. For a moment, Exile looked like a pop success story. The record was sleek, sensual, and far from the Kentucky country sound they would later be known for. But one giant pop hit can become a cage. The follow-up records did not carry the same force. Lead singer Jimmy Stokley left. The band could have become another name filed under late-’70s one-hit wonder nostalgia. Instead, they turned toward country. By the early 1980s, J.P. Pennington, Sonny LeMaire, Les Taylor, Marlon Hargis, and Steve Goetzman reshaped Exile around harmony, songwriting, and a cleaner country-band identity. “High Cost of Leaving” opened the door. Then “Woke Up in Love” and “I Don’t Want to Be a Memory” both went to No. 1. The second life was not small. Exile went on to stack country No. 1s through the 1980s, proving the pop hit had not been the whole story. It had only been the first mask. Some bands get trapped by the song everybody remembers. Exile survived by becoming the band country radio had not expected to need.

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HE TURNED 35 AND ALREADY FELT LIKE THE WORLD HAD PASSED HIM BY. DAVID BELLAMY TURNED THAT MAN INTO “OLD HIPPIE,” AND COUNTRY RADIO KNEW EXACTLY WHO HE WAS. The Bellamy Brothers had already lived through one kind of fame. “Let Your Love Flow” had taken two Florida brothers around the world in 1976. Then country radio gave them another life with “If I Said You Had a Beautiful Body Would You Hold It Against Me,” “Sugar Daddy,” “Redneck Girl,” and a string of records that made David and Howard Bellamy feel less like Nashville products and more like men who had brought their own weather in from Florida. By 1985, they did not need another love song to prove they could survive. Then David Bellamy wrote “Old Hippie.” The man in the song was only 35, but he already sounded older than his years. He had grown up in the 1960s, watched the world turn through Vietnam, rock and roll, disco, new wave, and a country scene that suddenly felt like the last place left for people who did not fit anywhere cleanly. He was not trying to lead a movement anymore. He was not trying to change anybody. He was just trying to adjust without losing the person he used to be. It was not a joke about a burned-out hippie. It was a portrait of a whole generation looking in the mirror and seeing gray hair before they felt ready for it. Released in 1985, “Old Hippie” reached No. 2 on the Billboard country chart and No. 1 in Canada. Years later, Rolling Stone placed it among the 100 greatest country songs. The Bellamy Brothers did not just find another hit. They found a character who kept aging with the audience.

“KISS YOU ALL OVER” MADE THEM NO. 1 ON POP RADIO. THEN THE WORLD MOVED ON — AND EXILE HAD TO REBUILD ITSELF AS A COUNTRY BAND FROM KENTUCKY. Exile had already been around long before the big hit. The band started in Kentucky in the 1960s, playing local events, cover songs, road dates, and whatever kind of room would let them work. They were not born cleanly into country music. They moved through rock, pop, rhythm and blues, and the kind of long band life where members change, labels come and go, and most people quit before the real break ever arrives. Then 1978 came. “Kiss You All Over” hit No. 1 on the Billboard Hot 100 and stayed there for four weeks. For a moment, Exile looked like a pop success story. The record was sleek, sensual, and far from the Kentucky country sound they would later be known for. But one giant pop hit can become a cage. The follow-up records did not carry the same force. Lead singer Jimmy Stokley left. The band could have become another name filed under late-’70s one-hit wonder nostalgia. Instead, they turned toward country. By the early 1980s, J.P. Pennington, Sonny LeMaire, Les Taylor, Marlon Hargis, and Steve Goetzman reshaped Exile around harmony, songwriting, and a cleaner country-band identity. “High Cost of Leaving” opened the door. Then “Woke Up in Love” and “I Don’t Want to Be a Memory” both went to No. 1. The second life was not small. Exile went on to stack country No. 1s through the 1980s, proving the pop hit had not been the whole story. It had only been the first mask. Some bands get trapped by the song everybody remembers. Exile survived by becoming the band country radio had not expected to need.

“THE BATTLE OF NEW ORLEANS” HAD JUST MADE HIM A GRAMMY WINNER. “NORTH TO ALASKA” WAS STILL MOVING. THEN JOHNNY HORTON LEFT AUSTIN AFTER A SHOW AND NEVER MADE IT BACK TO SHREVEPORT. Johnny Horton was not built like a quiet country singer. He had come through East Texas, California, Alaska, talent contests, radio work, and Louisiana Hayride stages before the big records finally caught him. He sang like a man chasing history with a fishing pole in one hand and a guitar in the other. “When It’s Springtime in Alaska” gave him a No. 1 country hit. Then “The Battle of New Orleans” made him enormous. By 1960, Horton had become the voice of country saga songs. “Sink the Bismarck” hit. “North to Alaska” followed, tied to the John Wayne film and still rising while Horton was working the road. He was only 35, but the songs had already made him sound like he belonged to some older American story — wars, frontiers, ships, frozen trails, men moving toward danger. On the night of November 4, 1960, he played the Skyline Club in Austin, Texas. After the show, Horton left for Shreveport with manager Tillman Franks and guitarist Tommy Tomlinson. Near Milano, Texas, their car collided with a truck on a bridge. Horton died on the way to the hospital. Tomlinson was badly injured and later lost a leg. Franks survived with serious injuries. The stage was behind them. Shreveport was still ahead. Johnny Horton died in the middle — between one club date and the next road home, while one of his biggest records was still out in the world singing about Alaska.