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

Introduction

There’s something profoundly moving about songs that touch on themes of faith, hope, and resilience. “Believe” by Brooks & Dunn is one such song that has left an indelible mark on listeners, resonating with its powerful message and heartfelt delivery. Whether you’re going through a tough time or simply reflecting on life’s challenges, “Believe” offers a comforting reminder that hope is never far away.

About The Composition

  • Title: Believe
  • Composer: Ronnie Dunn, Craig Wiseman
  • Premiere Date: October 2005
  • Album/Opus/Collection: Hillbilly Deluxe
  • Genre: Country, with gospel influences

Background

“Believe” was born out of the creative synergy between Ronnie Dunn and Craig Wiseman, two titans of country music. Released as part of Brooks & Dunn’s album Hillbilly Deluxe, the song quickly became a standout track, earning critical acclaim and widespread popularity. The song’s inception was deeply rooted in the personal experiences and reflections of its composers, particularly Dunn’s memories of his grandmother and her unwavering faith.

The song’s reception was overwhelmingly positive, with audiences and critics alike praising its emotional depth and spiritual message. It became more than just a country hit; it was a testament to the power of belief and the strength of the human spirit. Over time, “Believe” has solidified its place in the Brooks & Dunn repertoire, often considered one of their most impactful songs.

Musical Style

Musically, “Believe” blends traditional country elements with gospel influences, creating a sound that is both familiar and spiritually uplifting. The song is characterized by its simple yet powerful arrangement, featuring acoustic guitar, piano, and subtle strings that complement Dunn’s soulful vocals. The song’s structure is straightforward, but it’s the emotional delivery and the heartfelt lyrics that truly make it stand out.

The instrumentation is intentionally minimalistic, allowing the lyrics and the message to take center stage. This approach enhances the song’s impact, drawing listeners into the story and the emotions it conveys. The gospel choir in the background adds a layer of spiritual resonance, making “Believe” feel like a hymn of hope and perseverance.

Lyrics/Libretto

The lyrics of “Believe” tell a poignant story of an elderly man’s reflections on life, loss, and faith. Through the verses, we learn about the man’s experiences, including the profound loss of his wife and child, and how his faith has guided him through these difficult times. The chorus, with its repeated refrain of “I still believe,” serves as a powerful affirmation of hope and trust in something greater.

The themes of the song revolve around the ideas of resilience, faith, and the enduring human spirit. The narrative style of the lyrics, coupled with Dunn’s emotive delivery, creates a deeply moving experience for the listener, making “Believe” a song that resonates on both a personal and universal level.

Performance History

Since its release, “Believe” has been performed by Brooks & Dunn at numerous live events, often receiving standing ovations for its powerful message and emotional impact. Notably, the song won the Country Music Association Award for Single of the Year in 2006, cementing its place in country music history. Its live performances are often accompanied by a gospel choir, which enhances the song’s spiritual dimension and leaves audiences deeply moved.

Cultural Impact

“Believe” has transcended its initial release, becoming a song that is often referenced in discussions about faith and perseverance in country music. Its message has resonated with a broad audience, and it has been used in various media, including television shows and memorial services, where its themes of hope and resilience are particularly poignant.

The song’s influence extends beyond the realm of country music, touching listeners from all walks of life. It has become a cultural touchstone for those seeking comfort and inspiration in difficult times, illustrating the enduring power of music to heal and uplift.

Legacy

The legacy of “Believe” is one of hope and inspiration. Even years after its release, the song continues to be a source of comfort for many, its message as relevant today as it was when it first debuted. It stands as a testament to the power of belief, and its place in the Brooks & Dunn catalog is assured as one of their most beloved songs.

Conclusion

“Believe” is more than just a song; it’s a beacon of hope and a reminder of the strength of the human spirit. Its message is timeless, resonating with listeners across generations. Whether you’re discovering it for the first time or revisiting it after many years, “Believe” has a way of touching your heart and soul, encouraging you to hold on to faith, no matter what challenges life may bring

Video

Lyrics

Old man Wrigley lived in that white house
Down the street where I grew up
Momma used to send me over with things
We struck a friendship up
I spent a few long summers out on his old porch swing
Said he was in the war when in the navy
Lost his wife, lost his baby
Broke down and asked him one time
How ya keep from goin’ crazy
He said, “I’ll see my wife and son in just a little while”
I asked him what he meant
He looked at me and smiled, said
I raise my hands, bow my head
I’m findin’ more and more truth in the words written in red
They tell me that there’s more to life, than just what I can see
Oh I believe, hmm
Few years later I was off at college
Talkin’ to mom on the phone one night
Gettin’ all caught up on the gossip
The ins and outs of the small town life
She said, “Oh, by the way son
Old man Wrigley has died”
Later on that night, I laid there thinkin’ back
Thought about a couple long-lost summers
I didn’t know whether to cry or laugh
If there was ever anybody deserved a ticket to the other side
It’d be that sweet old man who looked me in the eye, said
I raise my hands, bow my head
I’m findin’ more and more truth in the words written in red
They tell me that there’s more to life than just what I can see
I can’t quote the book, the chapter or the verse
You can’t tell me it all ends in a slow ride in a hearse
You know I’m more and more convinced, the longer that I live
Yeah, this can’t be, no, this can’t be, no, this can’t be all there is
Lord, I raise my hands, bow my head
Oh, I’m findin’ more and more truth in the words written in red
They tell me that there’s more to this
Than just what I can see (just what I can see)
I believe
Oh, I, I believe
I believe
hmm
(I believe) I believe
(I believe) I believe (I believe)
(I believe) oh, I believe
(I believe, )
(I believe)
(I believe)

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In the small West Nashville house Dottie West and her family could finally afford in 1961, supper often came with a guitar. Songwriters arrived carrying unfinished verses, stayed around the table, and played what they had written. Dottie cooked, listened and learned. She was not yet the woman Nashville remembers from “Country Sunshine” or her duets with Kenny Rogers. She and her husband, steel guitarist Bill West, had moved their young family from Cleveland after years of driving south on weekends, trying to establish enough contacts to make the move possible. Starday Records had given Dottie a chance, then little came of it. Atlantic did not change her fortunes either. The house supplied what the record companies had not: a place inside Nashville’s working conversation. Hank Cochran, Roger Miller, Red Lane, Willie Nelson and Justin Tubb were among the writers moving through the Wests’ circle. Published accounts recall Dottie feeding musicians and absorbing what they knew about constructing a song. The arrangement carried no formal title. People brought guitars; she put food on the table. Everyone was still trying to write the piece that might keep them in town. One of Dottie’s songs eventually opened the door the labels had kept half-closed. Jim Reeves recorded “Is This Me?” in 1963 and spoke to Chet Atkins about the woman who had written it. RCA signed her. The next year, her own “Here Comes My Baby” reached the country Top Ten, helped secure her Grand Ole Opry membership and earned a Grammy—the first awarded to a female country performer. Success did not close the house. West later encouraged Jeannie Seely to move to Nashville, hired a young Steve Wariner and helped Larry Gatlin when each was still trying to find a place in the business. Her daughter Shelly remembered being included rather than kept outside the career: sitting on a bench in the Ryman wings, watching her mother work. Dottie West’s Nashville home never became a museum. Its importance was less formal than that. Long before the awards filled a room, there had been children in the house, food on the stove and another writer at the table, holding a song that was not finished yet.

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