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Introduction

“Heartfelt Harmonies and Humorous Truths: Exploring the Charm of ‘It’s Hard To Kiss The Lips…'”

In the realm of country music, where heartfelt emotions and life’s gritty truths often intertwine, there emerges a song that not only captures the essence of love’s complexities but does so with a smile. “It’s Hard To Kiss The Lips at Night That Chew Your Ass Out All Day Long” by The Notorious Cherry Bombs uniquely blends humor with poignant realism, making it a standout track that resonates with anyone who’s navigated the ups and downs of a close relationship.

Crafted by Rodney Crowell and Vince Gill, who are both masters of their craft, the song offers a humorous take on love’s more challenging moments. Imagine sitting down with a good friend over a cup of coffee, sharing stories of love—those moments that test patience yet somehow keep you coming back for more. This song captures that spirit perfectly. It’s like a wink and a nod to those who understand that even the most loving relationships have their ‘moments.’

The clever lyrics are set against a backdrop of smooth melodies and harmonious vocals, making it irresistible not to tap your foot along to the rhythm. The song stands out not just for its lyrical wit but for its ability to evoke a sense of camaraderie among listeners. It’s a reminder that we’re all in this together, facing similar trials in love and life.

As you listen, you might find yourself chuckling at the candidness, appreciating the way the song makes light of what are often tense situations. It’s this blend of relatability and musical charm that cements its place in the hearts of listeners. Whether you’ve been in love for decades or are just starting out, there’s something universally engaging about its message.

So next time you find yourself in a rough patch, remember the chorus of this song. It might just add a little levity to your day and remind you that love, in all its forms, is worth a good laugh now and then.

Video

Lyrics

She used to call me baby
I thought she was such a lady
But my how things have changed since times moved on
I give her my last dollar
Now all she’ll do is holler
Oh my life has become a country song

I’ve learned she can’t resist me
By the way she always disses me
And comes to bed at night with that cold cream on
Sometimes I might feel frisky
But these days its just too risky

It’s hard to kiss the lips at night
That chew your ass out all day long
All day long
It goes on and on

If a tree fell in the forest
And she didn’t hear it
Would I still be wrong

I guess I should admit it
She ain’t never gonna quit it

It’s hard to kiss the lips at night
That chew your ass out all day long

Man I remember when her eyes used to be so blue and shiny
God you oughta see what’s happened to her heiny
Her what?
Her heiny
Man that thing is big enough to land a small plane on
Small plane?

I used to roll her in the clover
But thank God those days are over

It’s hard to kiss the lips at night that chew your ass out all day long
All day long
She goes on and on

If someday they drop the big one
I’d say, “Sweet Jesus she’s gonna finally leave me alone”

It’s all right if we say it
Cause the radio won’t play it

It’s hard to kiss the lips at night
That chew your ass out all day long
It’s hard to kiss the lips at night
That chew your ass out all day long

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“ALMOST HOME” HAD ALREADY FALLEN OFF THE CHART. THEN LISTENERS KEPT CALLING UNTIL COUNTRY RADIO HAD TO PUT IT BACK. Craig Morgan did not come into Nashville like a man chasing a costume. Before the record deal, he had already served in the Army, worked as an EMT, been a sheriff’s deputy, done construction, security, and even Wal-Mart work to support his family. The voice was country, but the life behind it had already been through uniforms, night shifts, and the kind of jobs nobody glamorizes until a song needs them. His first record did not make him a star. Atlantic Nashville closed. The deal was gone. Morgan had to start over with Broken Bow, an independent label still trying to prove it could fight in the same radio world as the majors. Then came “Almost Home.” The song was quiet. A man finds a homeless stranger asleep behind a building and wakes him up, only to hear that the man had been dreaming he was back with his family. No flag waving. No big chorus built for fireworks. Just cold ground, memory, and a line between mercy and loneliness. At first, radio nearly let it die. “Almost Home” peaked low and fell off the chart. For most singles, that would have been the end. Another good song buried before enough people found it. But listeners kept requesting it. The song re-entered the country chart and climbed all the way to No. 6. It also won BMI Song of the Year, giving Morgan the kind of proof a new artist needs when the business has already closed one door in his face. Before “That’s What I Love About Sunday” made him a No. 1 singer, “Almost Home” did something stranger. It came back after country radio had already counted it out.

HE CAME HOME FROM AFGHANISTAN WANTING TO HONOR THE DEAD. THREE MONTHS LATER, “HAVE YOU FORGOTTEN?” WAS TOO BIG FOR COUNTRY RADIO TO IGNORE. Darryl Worley was not built like a Nashville flash act. He came out of Savannah, Tennessee, worked around church, small towns, real people, and the kind of Southern life where patriotism did not need a press release. Before the biggest song of his career, he already had hits. “I Miss My Friend” had gone to No. 1. He had a voice country radio knew. But nothing had prepared him for December 2002. Worley traveled overseas to perform for American troops in Afghanistan and the Middle East. It was his first trip into that world after 9/11. The distance changed the weight of everything. The soldiers were not headlines anymore. The war was not just something debated on television. It had faces, tents, dust, and young men and women standing far from home. He came back needing to write something. With Wynn Varble, he wrote “Have You Forgotten?” — a song built around 9/11, memory, anger, and the feeling that America was already arguing itself away from the wound. Then the song hit the air. Some stations hesitated. Some people heard it as too political, too tied to the coming Iraq War. Others heard exactly what Worley said he meant: a reminder of the people killed and the troops still carrying the cost. The requests came anyway. He debuted it at the Grand Ole Opry in January 2003. By March, the single was moving hard. In April, “Have You Forgotten?” reached No. 1 on the country chart and stayed there for seven weeks. A song born from a trip to the troops had turned into something larger than one singer expected. It asked a question country radio could not dodge.

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