OldiesButGoodies

Country

Gene Watson – Still They Call Me Love

Still They Call Me Love

Introduction:

Still They Call Me Love was released in 1987 and quickly became a defining moment in Gene Watson’s career. The song, a classic country ballad, showcased Watson’s powerful vocals and his ability to deliver a song filled with emotional depth.

Written by Johnny Russell, a songwriter known for his poignant country lyrics, Still They Call Me Love explores themes of love’s complexities and enduring power. The song’s narrator reflects on a passionate yet troubled relationship, acknowledging his own flaws while expressing a powerful yearning for his lover.

Produced by Billy Sherrill, a legendary country music figure who had worked with artists like Tammy Wynette and George Jones, Still They Call Me Love benefited from Sherrill’s signature production style. Sherrill’s lush arrangements and use of steel guitar helped create a melancholic atmosphere that perfectly complemented the song’s lyrical themes.

Still They Call Me Love was a critical and commercial success for Gene Watson. The song reached number two on the Billboard Hot Country Singles chart, showcasing its wide appeal among country music fans. It also achieved a respectable position at number 68 on the Billboard Hot 100 chart, indicating its crossover potential.

The song’s critical acclaim was further solidified by a Grammy Award nomination for Best Male Country Vocal Performance in 1988. This recognition cemented Still They Call Me Love as a significant achievement in Watson’s discography and a major song within the country music landscape of the late 1980s.

Even today, Still They Call Me Love remains a fan favorite and a staple of Gene Watson’s live performances. The song’s enduring popularity is a testament to its timeless themes and Watson’s exceptional performance.

Video:

https://youtu.be/e9EzYQXX7Yg?si=rqF_rkuHbYk8D_OA

Lyrics:

I make people crazy
Make their hearts beat wild
Cry like little babies
I just watch and smile

I make ’em all unhappy
Still they can’t get enough
You’d think that they would hate me
But still they call me love

I invented heartbreak
I came up with pain
How much can these fools take
Are they all insane?

I’m as bad as whiskey
Strong as any drug
Poison when you kiss me
But still they call me love

I can take a strong man
And bring him to his knees
Make him risk his whole life
For any girl I please

I’ve brought down kingdoms
Turned heroes into dust
You’d think that they would hate me
But still they call me love

I invented heartbreak
I came up with pain
How much can these fools take
Are they all insane?

I’m as bad as whiskey
Strong as any drug
Poison when you kiss me
But still they call me love

I’m poison when you kiss me
But still they call me love

Related Post

Merle Haggard’s childhood was becoming increasingly chaotic when something entered his life that would eventually change everything: a guitar. His older brother Lowell gave him one when Merle was around 12. Merle began teaching himself, absorbing the records and styles of country heroes such as Bob Wills, Lefty Frizzell and Hank Williams. There were no expensive lessons preparing him for Nashville. There was simply a troubled California kid listening closely and learning how another man’s sadness could live inside a melody. Merle would still make plenty of mistakes. Music didn’t instantly rescue him from running away, juvenile detention or eventually prison. But the guitar remained. Years later, millions would recognize Merle’s voice within seconds. Perhaps that’s because he wasn’t merely learning how to sing songs as a boy. He was slowly learning how to tell the truth about his own life.

Merle Haggard rarely needed to invent heartbreak. He had known it since childhood. In 1946, when Merle was only nine years old, his father, James Haggard, died following a stroke. For a boy who deeply needed his father’s presence, the loss became a turning point. His mother, Flossie, worked to support the family. Merle, meanwhile, became increasingly restless. He skipped school, ran away, got into trouble, and began a long journey through juvenile institutions that eventually led somewhere far darker. Looking back at his life, it is difficult not to see that nine-year-old boy behind many of the adult Merle Haggard’s songs. People later called him a rebel, an outlaw and a survivor. But before any of those labels existed, there was simply a grieving boy who had lost his dad—and never seemed to completely outrun that loss.

THE RAREST BEE GEES MOMENT OF ALL — FOUR GIBB BROTHERS, ONE SONG, ONE STAGE… AND A MEMORY FILLED WITH BOTH JOY AND HEARTBREAK.

You Missed

Oldies Music

Even though he could barely stay on his feet, Robin Gibb kept singing. As thousands cheered for the Bee Gees icon, few realized the grueling struggle he was concealing—turning what seemed like an ordinary performance into something far more heart-wrenching.

Oldies Music

“CLIFF RICHARD AND OLIVIA NEWTON-JOHN SHARED DECADES OF MUSIC, LAUGHTER, AND FRIENDSHIP — BUT IN AUGUST 2022, CLIFF HAD TO SAY GOODBYE TO A WOMAN WHO HAD BEEN PART OF HIS LIFE FOR MORE THAN HALF A CENTURY…” Long before Olivia Newton-John became an international superstar through Grease and her remarkable recording career, she and Cliff Richard had already formed a musical connection. Their friendship grew during the early 1970s, when Olivia appeared on Cliff’s television show and the two performers began sharing music with audiences. In 1971, they recorded “Don’t Move Away,” one of their early collaborations. Over the following decades, their careers took different paths, but their friendship endured. They reunited for performances, shared memorable musical moments, and remained connected through an industry that was constantly changing. Then, on August 8, 2022, Olivia Newton-John died at the age of 73 following a long experience with breast cancer. For Cliff, it meant losing a friend whose presence had been woven into his musical life for decades. Their old performances suddenly carried a different emotional weight. The smiles, familiar melodies, and effortless warmth between them became reminders of a friendship that could no longer continue in person. Some musical partnerships are remembered for the records they produce. Others are remembered because the affection between two people seems to survive long after the final note. For Cliff Richard and Olivia Newton-John, their story was always about more than music.

Oldies Music

“AFTER NEARLY TWO DECADES IN MUSIC, CLIFF RICHARD WAS NO LONGER THE TEENAGE IDOL BRITAIN ONCE KNEW — THEN A SONG CALLED ‘DEVIL WOMAN’ GAVE HIM SOMETHING HE HAD NEVER TRULY ACHIEVED BEFORE…” By 1976, Cliff Richard had already experienced a lifetime of fame. He had been Britain’s answer to Elvis Presley, starred in successful films, and recorded songs that defined an entire generation. But the music world had changed. The Beatles had transformed British pop, new artists were dominating the charts, and the young rock-and-roll rebel of 1958 was now a 35-year-old performer searching for his place in a different musical era. Then came “Devil Woman.” Written by Terry Britten and Christine Holmes, the mysterious, guitar-driven song sounded unlike many of Cliff’s earlier hits. It became one of the defining recordings of his career. In Britain, it reached No. 9. But the real surprise came across the Atlantic. “Devil Woman” climbed to No. 6 on the Billboard Hot 100, giving Cliff his first major breakthrough in the American pop market. After nearly twenty years of success at home, he was finally reaching a new generation of listeners in the United States. It was more than another hit record. It proved that a singer who had emerged in the 1950s could still sound fresh in the 1970s. Cliff Richard hadn’t simply survived changing musical fashions. With “Devil Woman,” he reminded the world that his story was far from over.

Oldies Music

“Shadow Dancing” Put Andy Gibb’s Name on the Record—and All Four Brothers Behind the Song. In 1978, “Shadow Dancing” reached number one in America under Andy Gibb’s name. Its songwriting credit told a wider family story: Andy, Barry, Robin, and Maurice had written it together. The collaboration took shape in Los Angeles while the older brothers were working on the Sgt. Pepper’s Lonely Hearts Club Band film. Andy was building a solo career, and this record gave that career another defining success. Barry also shared production duties with Albhy Galuten and Karl Richardson, connecting Andy’s recording to the studio team behind the Bee Gees’ recent hits. Yet Andy remained the featured singer, carrying the song in his own voice. “Shadow Dancing” became his third consecutive American number one and Billboard’s leading single of 1978. Behind that individual achievement sits a rare, concrete document of all four Gibb brothers working on the same composition.