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

Introduction

The solemn strains of “Arlington” resonate deeply with those who know its inspiration—the hallowed grounds of Arlington National Cemetery in Virginia. This song, performed by Trace Adkins, taps into a profound narrative of honor and sacrifice, encapsulating the emotions surrounding the final resting place of many American heroes.

About The Composition

  • Title: Arlington
  • Composer: Written by Jeremy Spillman and Dave Turnbull
  • Premiere Date: Released in 2005
  • Album/Opus/Collection: Featured on Trace Adkins’ album, “Songs About Me”
  • Genre: Country

Background

“Arlington” is a poignant piece inspired by the story of United States Marine Corps Corporal Patrick Nixon, who died in 2003 during the Iraq War and was buried at Arlington National Cemetery. The songwriters, Jeremy Spillman and Dave Turnbull, crafted this narrative to voice the thoughts of a soldier lying in Arlington as though he were speaking from beyond the grave. It is a powerful tribute, not only to Nixon but to all soldiers who rest there, capturing the solemn pride and the heavy burden of sacrifice. Upon its release, the song stirred considerable emotions and climbed to number 16 on Billboard’s Hot Country Singles & Tracks chart, but it also sparked controversy among some listeners who felt it exploited military deaths.

Musical Style

Musically, “Arlington” employs a straightforward country style, with a gentle guitar accompaniment that underscores the song’s reflective and somber tone. The arrangement is simple yet effective, allowing Adkins’ deep, resonant voice to carry the emotional weight of the lyrics. This minimalist approach highlights the gravity of the song’s subject matter, making the narrative all the more striking.

Lyrics/Libretto

The lyrics of “Arlington” paint a vivid picture of the peace and dignity afforded by the cemetery, juxtaposed with the personal sacrifice of the soldiers buried there. The song’s narrator, adopting the persona of a fallen soldier, expresses a mix of pride and sorrow, providing a personal touch to the collective memory of those who served and died. The chorus, “I’m proud to be on this peaceful piece of property,” captures the essence of honor and rest, bringing the listener closer to understanding the emotional landscape of those who mourn.

Performance History

Since its release, “Arlington” has been a staple in Trace Adkins’ performances, often serving as a poignant moment in his concerts. It has also been featured in various memorial and patriotic compilations, further cementing its role in American musical and cultural heritage.

Cultural Impact

The song has had a significant impact beyond the country music scene, becoming a part of military commemorations and patriotic events. Its emotional depth connects with a broad audience, serving as a reminder of the sacrifices made by military personnel and their families. “Arlington” also raises public awareness about the honor of being laid to rest in such a revered site.

Legacy

The enduring importance of “Arlington” lies in its ability to convey deep respect and reverence for those who have given their lives for their country. It continues to touch audiences, reminding them of the cost of freedom and the valor of those who serve.

Conclusion

“Arlington” is more than just a song; it is a tribute to the American spirit of sacrifice and remembrance. I encourage listeners to experience this powerful piece, reflecting on its poignant message and the profound emotions it evokes. For those looking to explore further, Trace Adkins’ live performances of this song offer a particularly moving rendition, capturing the solemn beauty and the eternal respect encapsulated in its lyrics

Video

Lyrics

I never thought that this is where I’d settle down
I thought I’d die an old man back in my hometown
They gave me this plot of land
Me and some other men, for a job well done
There’s a big White House sits on a hill just up the road
The man inside, he cried the day they brought me home
They folded up a flag and told my Mom and Dad
“We’re proud of your son”
And I’m proud to be on this peaceful piece of property
I’m on sacred ground and I’m in the best of company
I’m thankful for those thankful for the things I’ve done
I can rest in peace
I’m one of the chosen ones
I made it to Arlington
I remember Daddy brought me here when I was eight
We searched all day to find out where my grand-dad lay
And when we finally found that cross
He said, “Son, this is what it cost to keep us free”
Now here I am, a thousand stones away from him
He recognized me on the first day I came in
And it gave me a chill when he clicked his heels
And saluted me
And I’m proud to be on this peaceful piece of property
I’m on sacred ground and I’m in the best of company
I’m thankful for those thankful for the things I’ve done
I can rest in peace
I’m one of the chosen ones
I made it to Arlington
And everytime I hear 21 guns
I know they brought another hero home to us
We’re thankful for those thankful for the things we’ve done
We can rest in peace
‘Cause we are the chosen ones
We made it to Arlington
Yeah, dust to dust
Don’t cry for us
We made it to Arlington

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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.

After the Crash, Bill Anderson Had to Learn the Woman His Wife Had Become On October 13, 1984, a truck carrying irrigation pipe crossed into Becky Anderson’s path. The collision left her with permanent brain damage, memory loss and no sense of taste or smell. Bill Anderson soon discovered that survival did not mean returning home to the life they had left that morning. Bill and Becky had married in 1970 and were raising their son alongside Bill’s two daughters from his previous marriage. By 1984, the family had settled into the rhythms surrounding his Grand Ole Opry career. Then hospital rooms, rehabilitation and medical assessments replaced the familiar calendar. Becky recovered beyond the bleakest early expectations, but the injury altered how she experienced the world. A psychiatrist later testified that she had lost part of her normal emotional range. Becky described feeling “flat,” without the peaks and valleys she had known before. The family could see her, speak to her and bring her home, while also adjusting to changes no photograph could show. Two years after the crash, the Andersons faced the driver in court. He acknowledged drinking twelve or thirteen beers before the collision. Bill’s testimony included a sentence stripped of the language he normally shaped so carefully: Becky was no longer the woman he had married. He was not saying that she had ceased to be his wife. He was trying to explain an injury that had left much of her outward appearance intact while changing memory, sensation and emotion. A jury awarded the couple $1.2 million, but the verdict could only assign money to a life that now had to be organized differently. Bill later built his 1989 autobiography around two versions of himself—the man he had been before the accident and the man formed by its aftermath. Becky’s recovery had changed more than her own future. Their marriage continued until their divorce in 1997. Bill did not reduce those thirteen intervening years to an easy lesson, and the public record does not justify doing it for him. What remains is the family’s more difficult achievement: after the hospital, the testimony and the settlement, they kept living inside a home where the person who returned was familiar, altered and still Becky.

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After the Crash, Bill Anderson Had to Learn the Woman His Wife Had Become On October 13, 1984, a truck carrying irrigation pipe crossed into Becky Anderson’s path. The collision left her with permanent brain damage, memory loss and no sense of taste or smell. Bill Anderson soon discovered that survival did not mean returning home to the life they had left that morning. Bill and Becky had married in 1970 and were raising their son alongside Bill’s two daughters from his previous marriage. By 1984, the family had settled into the rhythms surrounding his Grand Ole Opry career. Then hospital rooms, rehabilitation and medical assessments replaced the familiar calendar. Becky recovered beyond the bleakest early expectations, but the injury altered how she experienced the world. A psychiatrist later testified that she had lost part of her normal emotional range. Becky described feeling “flat,” without the peaks and valleys she had known before. The family could see her, speak to her and bring her home, while also adjusting to changes no photograph could show. Two years after the crash, the Andersons faced the driver in court. He acknowledged drinking twelve or thirteen beers before the collision. Bill’s testimony included a sentence stripped of the language he normally shaped so carefully: Becky was no longer the woman he had married. He was not saying that she had ceased to be his wife. He was trying to explain an injury that had left much of her outward appearance intact while changing memory, sensation and emotion. A jury awarded the couple $1.2 million, but the verdict could only assign money to a life that now had to be organized differently. Bill later built his 1989 autobiography around two versions of himself—the man he had been before the accident and the man formed by its aftermath. Becky’s recovery had changed more than her own future. Their marriage continued until their divorce in 1997. Bill did not reduce those thirteen intervening years to an easy lesson, and the public record does not justify doing it for him. What remains is the family’s more difficult achievement: after the hospital, the testimony and the settlement, they kept living inside a home where the person who returned was familiar, altered and still Becky.

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