OldiesButGoodies

Country

Alan Jackson – “Pop A Top”

Pop a Top - song and lyrics by Alan Jackson | Spotify

Introduction:

“Pop a Top” is a classic country song that has been covered by numerous artists over the years. The song was originally written and recorded by Nat Stuckey in 1966, and it was released as a single by Jim Ed Brown in 1967. Brown’s version of the song peaked at number 3 on the Billboard country chart.   

Alan Jackson’s version of “Pop a Top” was released in 1999 as the lead single from his album Under the Influence. Jackson’s version of the song peaked at number 6 on the Billboard Hot Country Singles & Tracks chart.   

The lyrics of “Pop a Top” tell the story of a man who is trying to forget about his troubles by drinking beer. The song is a classic example of country music’s ability to tell stories about everyday life.   

Alan Jackson’s version of “Pop a Top” is one of his most popular songs. It has been certified platinum by the RIAA, and it has been featured in several movies and TV shows. The song is a beloved classic that is sure to be enjoyed by country music fans for many years to come.

Video:

https://youtu.be/pm-zduI7zcE?si=CZkXsvrza_nK-pPD

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THE LAST TIME THE CROWD ROSE FOR MERLE HAGGARD — HE WOULD NEVER WALK ONSTAGE AGAIN. They carried him through the doors wrapped in the very flag he once sang about — and in the stillness that followed, there was something almost audible… a fragile echo only lifelong listeners could feel in their bones. Merle Haggard’s story closed the same way it opened: unpolished, honest, and deeply human. From being born in a converted boxcar during the Great Depression to commanding the grandest stages across America, his life unfolded like a country ballad etched in grit, regret, resilience, and redemption. Every lyric he sang carried the weight of lived experience — prison walls, hard roads, blue-collar truths, and hard-earned second chances. Those who stood beside his casket said the atmosphere felt thick, as if the room itself refused to forget the sound of his voice. It wasn’t just grief in the air — it was reverence. A stillness reserved for someone whose music had become stitched into the fabric of ordinary lives. One of his sons leaned close and murmured, “He didn’t really leave us. He’s just playing somewhere higher.” And perhaps that’s the only explanation that makes sense. Because artists like Merle don’t simply vanish. They transform. They become the crackle of an AM radio drifting through a late-night highway. They become the soundtrack of worn leather seats and long stretches of open road. They live in jukebox corners, in dance halls, in quiet kitchens where memories linger longer than the coffee. Somewhere tonight, a trucker tunes in to an old melody. Somewhere, an aging cowboy lowers his hat and blinks back tears. And somewhere in that gentle hum of steel guitar and sorrow, a whisper carries through: “Merle’s home.”

Gene Watson – Dreams Of A Dreamer Gone Blind

On April 6, 2016 — the very day he turned 79 — Merle Haggard took his final breath after calmly telling his family, “Today’s the day.” No dramatic hospital chaos. No public spectacle. Just a man who had always lived on his own terms choosing to meet the end the same way. His departure was as deliberate and unshaken as the outlaw spirit that defined him. While the world mourned, Haggard exited quietly — steady, self-possessed, unapologetically himself. And though his voice fell silent that day, it never truly faded. Through songs like “Sing Me Back Home,” his legacy still echoes — raw, haunting, and impossible to forget.

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THE LAST TIME THE CROWD ROSE FOR MERLE HAGGARD — HE WOULD NEVER WALK ONSTAGE AGAIN. They carried him through the doors wrapped in the very flag he once sang about — and in the stillness that followed, there was something almost audible… a fragile echo only lifelong listeners could feel in their bones. Merle Haggard’s story closed the same way it opened: unpolished, honest, and deeply human. From being born in a converted boxcar during the Great Depression to commanding the grandest stages across America, his life unfolded like a country ballad etched in grit, regret, resilience, and redemption. Every lyric he sang carried the weight of lived experience — prison walls, hard roads, blue-collar truths, and hard-earned second chances. Those who stood beside his casket said the atmosphere felt thick, as if the room itself refused to forget the sound of his voice. It wasn’t just grief in the air — it was reverence. A stillness reserved for someone whose music had become stitched into the fabric of ordinary lives. One of his sons leaned close and murmured, “He didn’t really leave us. He’s just playing somewhere higher.” And perhaps that’s the only explanation that makes sense. Because artists like Merle don’t simply vanish. They transform. They become the crackle of an AM radio drifting through a late-night highway. They become the soundtrack of worn leather seats and long stretches of open road. They live in jukebox corners, in dance halls, in quiet kitchens where memories linger longer than the coffee. Somewhere tonight, a trucker tunes in to an old melody. Somewhere, an aging cowboy lowers his hat and blinks back tears. And somewhere in that gentle hum of steel guitar and sorrow, a whisper carries through: “Merle’s home.”

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