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

Introduction

What Am I Gonna Do About You” is more than just a country song; it is a deep dive into the heartache and the emotional labyrinth one navigates post-breakup. This piece, immortalized by Reba McEntire, stands out in her illustrious career for its poignant narrative and heartfelt delivery.

About The Composition

  • Title: What Am I Gonna Do About You
  • Composer: Jim Allison, Doug Gilmore, Bob Simon
  • Premiere Date: Released as a single in September 1986
  • Album/Opus/Collection: Featured on Reba McEntire’s eleventh studio album of the same name
  • Genre: Country

Background

Originally recorded by Con Hunley, “What Am I Gonna Do About You” found its perfect voice with Reba McEntire. Released as part of her 1986 album, it became a significant hit, showcasing McEntire’s ability to convey deep emotional narratives. The song quickly climbed to number one on the Billboard Hot Country Singles & Tracks chart, echoing the sentiments of many who have struggled with lingering memories of past relationships.

Musical Style

The song is a ballad, characterized by its slow tempo and reflective mood. McEntire’s rendition is particularly noted for its emotional depth, with a melodic structure that complements the lyrical content. The song effectively uses the traditional country instrumentation to support the storytelling, making it a classic in the genre.

Lyrics/Libretto

The lyrics of “What Am I Gonna Do About You” explore the theme of coping with memories of a past love. It poetically describes the everyday moments that unexpectedly bring memories flooding back, portraying the challenge of moving on despite seeming normal to the outside world.

Performance History

Since its release, the song has been a staple in McEntire’s performances, often highlighted by fans for its relatability and McEntire’s powerful vocal performance. It topped both the U.S. and Canadian country charts, marking a significant achievement in her career.

Cultural Impact

The song’s impact extends beyond just chart success; it has become a part of the emotional fabric of many listeners’ lives. It also features prominently in discussions about songs that effectively depict personal struggles through evocative storytelling.

Legacy

“What Am I Gonna Do About You” remains a testament to Reba McEntire’s legacy as a storyteller within the country music genre. Its enduring popularity underscores its resonance with themes of love, loss, and recovery—emotions that are universally understood.

Conclusion

Reflecting on “What Am I Gonna Do About You” invites an exploration of our own experiences with love and loss. Reba McEntire’s interpretation offers not just a musical escape but a companion through difficult times. For those looking to experience the depth of this song, listening to McEntire’s album or watching her perform live can be profoundly moving​ (Wikipedia)​​ (Wikipedia)

Video

Lyrics

The kid down the street mowes the grass every week
The neighbor next door fixed the roof where it leaked
Job’s going fine and the bills are all paid
And everyone thinks that I’m doing OK
There’s a guy down at work
He’s asked me out once or twice
I haven’t said yes
But I’m thinking I might
And on my way home I thought I saw you walk by
If only I could get you out of my mind
What in the world am I gonna do about you
Oh your memory keeps coming back
From out of the blue
But I still can’t believe that we’re through
So tell me what in the world am I gonna do about you
What am I gonna do about you
I went to the store
But it wasn’t much fun
It doesn’t take long when you’re shopping for one
Standing in line I thought I saw you walk in
And that’s when it started all over again
What in the world am I gonna do about you
Oh your memory keeps coming back
From out of the blue
But I still can’t believe that we’re through
So tell me what in the world am I gonna do about you
What am I gonna do about you
Darling what am I gonna do about you

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HE WAS ON THE ROAD, TALKING TO HIS WIFE, WHEN HE SAID THE WORDS THAT WOULD TURN INTO A SONG ABOUT A MAN DYING UNDER A BRIDGE. The road had become part of the job. Airports, buses, hotel rooms, soundchecks, another city before the last one had settled in his mind. He tried to reassure her the way people on the road often do. “This is temporary,” he told her. “I’m almost home.” The phrase stayed with him. Later, Morgan and songwriter Kerry Kurt Phillips built a different story around it. Not a road song. Not a love song. A song about a homeless man lying under a bridge, cold and tired, dreaming of a woman named Jenny and a place he can finally reach. “Almost Home” did not sound like a normal radio calculation. The man in the song was not drinking in a bar, driving a truck, or trying to get a girl back. He was dying. The final turn was quiet: the police officer finds him in the morning, but the man has already gone where he believed home really was. Morgan recorded it for his 2003 album I Love It. The song became his breakthrough. It reached the country Top 10, won BMI Song of the Year recognition, and introduced a different side of Craig Morgan to listeners. They knew the soldier. They knew the working-class singer. Now they heard him telling a story about someone most people passed without seeing. Years later, Jelly Roll told Morgan that “Almost Home” had helped him through jail. That may be the strangest part of the song’s life. It began with a husband on the road trying to reassure his wife. It became a dying man’s last dream. Then it reached people in places Craig Morgan could not have imagined when he first said the words into a phone.

AT 70, BILLY JOE SHAVER SHOT A MAN OUTSIDE A TEXAS BAR. THREE YEARS LATER, WILLIE NELSON SAT IN THE COURTROOM WHILE A JURY DECIDED IF HE WOULD GO TO PRISON. By 2007, Billy Joe Shaver had already lived the kind of life that made most outlaw songs sound tame. He had written much of Honky Tonk Heroes for Waylon Jennings. He had buried his wife, his mother, and his son. He had survived a heart attack onstage at Gruene Hall. He was nearly seventy, still playing Texas rooms, still carrying the same hard edge that had made people call him an outlaw even when he preferred another word. Then, on March 31, 2007, he went to Papa Joe’s Texas Saloon in Lorena. Outside the bar, Billy Joe got into an argument with a man named Billy Bryant Coker. Shaver said Coker threatened him with a knife. Witnesses described the confrontation differently. What nobody disputed was what happened next: Billy Joe pulled a .22 pistol and shot Coker in the face. Coker survived. Shaver turned himself in days later. He was charged with aggravated assault, a case that could have sent him to prison for as long as twenty years. The old songwriter who had spent a lifetime turning fights, failures, faith, and bad decisions into songs was suddenly standing inside a Texas courtroom with his own life reduced to testimony, photographs, and one question: had he acted in self-defense? The trial came in April 2010. Willie Nelson was there. Robert Duvall was there too. Duvall testified about Billy Joe’s character and told the jury he did not believe Shaver would have fired unless he thought his life was in danger. Willie sat through the proceedings as the case moved toward its verdict. Then the jury came back. Not guilty. Billy Joe walked out of the courthouse without prison waiting behind him. He was seventy years old when the shooting happened. He had spent three years carrying the charge. And after the verdict, he went back to doing what Billy Joe Shaver always did when life nearly broke open around him. He kept moving. Most singers spend their final years protecting the legend. Billy Joe Shaver spent his standing in a courtroom while two old friends watched a jury decide whether the road had finally caught him.

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