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

Introduction

Imagine a warm, sunny afternoon where the clock’s hands liberatingly tick towards leisure—the perfect time to say, “It’s five o’clock somewhere.” This phrase encapsulates more than just a justification for an early start to the weekend; it captures a cultural moment, thanks to the iconic song by Alan Jackson and Jimmy Buffett. Their collaboration brought to life a tune that resonates with anyone yearning to break free from the daily grind.

About The Composition

  • Title: It’s Five O’Clock Somewhere
  • Composer: Alan Jackson and Jimmy Buffett
  • Premiere Date: June 2, 2003
  • Album/Opus/Collection: Featured on Alan Jackson’s album “Greatest Hits Volume II”
  • Genre: Country with a blend of Gulf and Western

Background

Written by Jim “Moose” Brown and Don Rollins, “It’s Five O’Clock Somewhere” was not just a song but a celebration of escapism. Alan Jackson’s collaboration with Jimmy Buffett added the perfect laid-back, beachy vibe that was instrumental in its appeal. Released in the early 2000s, a time when the world was navigating the complexities of new millennia stresses, this song offered a mental getaway. Initially intended as a fun addition to Jackson’s album, it quickly became a standout hit, beloved for its relatable lyrics and easy-going melody.

Musical Style

The song features a blend of country and Gulf and Western styles, characterized by its upbeat rhythm and smooth, flowing melodies that evoke images of sandy beaches and crystal-clear waters. The instrumentation, featuring guitar, steel drum, and fiddle, creates a relaxed, tropical atmosphere. This synergy of sounds not only complements the lyrics but enhances the song’s overall theme of unwinding and enjoying life’s simpler pleasures.

Lyrics/Libretto

The lyrics of “It’s Five O’Clock Somewhere” serve as a light-hearted anthem for those looking to escape the confines of a 9-to-5 schedule. Lines like “What would Jimmy Buffett do?” followed by Buffett’s own response, “Funny you should ask, Alan!” weave a narrative that promotes taking a break from responsibilities to indulge in personal time, even if just for a moment.

Performance History

Since its release, the song has become a staple on both country music stations and in concert setlists, particularly in performances by both Jackson and Buffett. Its premiere in 2003 was met with instant acclaim, charting at the top of the Billboard Country songs and even crossing over to pop charts, a testament to its wide appeal.

Cultural Impact

“It’s Five O’Clock Somewhere” extended its influence beyond music, becoming a cultural catchphrase used to signify breaking away from the norm and indulging in a bit of fun. Its ethos can be seen in various forms of media and entertainment, becoming synonymous with vacation and leisure advertisements.

Legacy

The song’s enduring popularity underscores its impact not just as a musical hit but as a cultural icon. It resonates with a universal desire for a break and a moment of peace in our hectic lives, reminding listeners that sometimes, it’s okay to take that pause, because after all, it’s five o’clock somewhere.

Conclusion

“It’s Five O’Clock Somewhere” isn’t just a song—it’s a reminder that life is to be enjoyed, and there’s always a perfect moment to relax if we decide to find it. For those new to the tune or those who haven’t listened in a while, I recommend revisiting this track to truly appreciate its joyful ode to leisure and escape. Grab your favorite drink, press play, and let Alan Jackson and Jimmy Buffett take you to that idyllic place where the time is always just right

Video

Lyrics

… The sun is hot and that old clock is movin’ slow
An’ so am I
Work day passes like molasses in wintertime
But it’s July
I’m gettin’ paid by the hour, an’ older by the minute
My boss just pushed me over the limit
I’d like to call him somethin’
I think I’ll just call it a day
… Pour me somethin’ tall an’ strong
Make it a Hurricane before I go insane
It’s only half-past twelve but I don’t care
It’s five o’clock somewhere
… Oh, this lunch break is gonna take all afternoon
An’ half the night
Tomorrow mornin’, I know there’ll be hell to pay
Hey, but that’s all right
I ain’t had a day off now in over a year
Our Jamaican vacation’s gonna start right here
Hit the phones for me
You can tell ’em I just sailed away
… An’ pour me somethin’ tall an’ strong
Make it a Hurricane before I go insane
It’s only half-past twelve but I don’t care
It’s five o’clock somewhere
… I could pay off my tab, pour myself in a cab
An’ be back to work before two
At a moment like this, I can’t help but wonder
What would Jimmy Buffet do?
… Funny you should ask, Alan… I’d say
Pour me somethin’ tall an’ strong
Make it a Hurricane before I go insane
It’s only half-past twelve but I don’t care
… Pour me somethin’ tall an’ strong
Make it a Hurricane before I go insane
It’s only half-past twelve but I don’t care
(He don’t care)
I don’t care
It’s five o’clock somewhere
… What time zone am on? What country am I in?
It doesn’t matter, it’s five o’clock somewhere
It’s always on five in Margaritaville, come to think of it
Yeah, I heard that
You been there haven’t you
Yessir
I seen your boat there
I’ve been to Margaritaville a few times
All right, that’s good
Stumbled all the way back
OK, just wanna make sure you can keep it between the navigational beacons
Bring the booze, I tell you
All right, well, it’s five o’clock
Let’s go somewhere
I’m ready, crank it up
Let’s get out of here
I’m gone

Related Post

HE OPENED THE ENVELOPE, SAW JOHN DENVER’S NAME, AND SET COUNTRY MUSIC’S BIGGEST AWARD ON FIRE. Charlie Rich had not come to Nashville as a clean country product. He was born in Colt, Arkansas, raised around gospel, blues, jazz, and cotton-field country. His mother played piano in church. A Black sharecropper named C. J. Allen helped teach him blues piano. By the time Rich found his way through Sun Records, RCA, Smash, Hi, and finally Epic, he had already been too jazzy for country, too country for pop, and too strange for the easy lane. Then 1973 changed everything. “Behind Closed Doors” hit. “The Most Beautiful Girl” hit even bigger. Rich became the Silver Fox, won major awards, and in 1974 took CMA Entertainer of the Year. For one year, the man Nashville had never known how to file became the man holding its highest prize. On October 13, 1975, he walked back onstage at the CMA Awards to name the next Entertainer of the Year. He opened the envelope. John Denver. Rich paused, pulled out a lighter, and burned the card before announcing, “My friend, Mr. John Denver.” Some called it protest. Some called it drunken bad judgment. His son later said Rich had pain medication, gin and tonics, a broken foot, and thought it would be funny — not a personal attack on Denver. The explanation came later. The image stayed first. A white-haired country star. A live television stQage. One burning slip of paper. And a career that never fully stepped out of that smoke.

THEY GOT MARRIED ON A CONCERT STAGE IN WICHITA. LESS THAN THREE YEARS LATER, JEAN SHEPARD WAS LEFT WITH TWO SONS AND A HUSBAND COUNTRY MUSIC COULD ONLY HEAR ON RECORDS. They met inside the world that had already claimed both of them — radio shows, road dates, the Grand Ole Opry, dressing rooms, and the kind of touring life where a singer’s home could feel like whatever town had the next stage. Jean was not fragile. She had already fought her way into hard country when women were still expected to sound sweeter than the men around them. “A Dear John Letter” had taken her to No. 1. The Opry had taken her in. She had survived one bad early marriage and kept her career anyway. Hawkshaw was different. Six-foot-five. Smooth. Charismatic. A West Virginia singer people called “Eleven Yards of Personality.” He had the height, the grin, and the kind of stage presence that made a crowd feel like he had walked in from a bigger life. On November 26, 1960, they married onstage during a concert in Wichita, Kansas. It was not just a courthouse promise. Ken Nelson gave Jean away. A local disc jockey broadcast the ceremony over the radio. The crowd was there. The music world was there. Their private vow entered country history through a microphone. For a while, it looked like the show and the marriage could live together. They toured. They built a home in Goodlettsville. They had a son, Don Robin, named after friends Don Gibson and Marty Robbins. Jean became pregnant again. Then the calendar turned cruel. The marriage that had started in front of an audience ended with Jean carrying the part no audience could sing for her — a toddler, an unborn child, and a husband whose voice kept climbing the chart after he was gone.

JEAN SHEPARD CUT “LONESOME 7-7203” BEFORE HER HUSBAND DID. CAPITOL LEFT IT SITTING. THEN HAWKSHAW HAWKINS RECORDED IT — AND DIED THREE DAYS AFTER ITS RELEASE. The song did not start as Hawkshaw Hawkins’ last hit. It passed through Jean Shepard first. By the early 1960s, Jean was already one of country music’s toughest women. She had come up through honky-tonk, made “A Dear John Letter” a No. 1 duet, joined the Grand Ole Opry, and proved she was not just a pretty harmony voice in a man’s business. Hawkshaw Hawkins was already part of that same Opry world. Tall, smooth, steady, with a career that had stretched from West Virginia radio to national country stages. He and Jean married in 1960. Two singers. Two roads. One house outside Nashville. Then came a Justin Tubb song called “Lonesome 7-7203.” Jean recorded it for Capitol, but the label left it unreleased. The song sat there. A lonely telephone number. A heartbreak line waiting for somebody to dial it. Hawkshaw finally told her that if Capitol was not going to release it, he would record it himself. King Records released his version on March 2, 1963. Three days later, Hawkshaw Hawkins was dead. The plane crash near Camden took him, Patsy Cline, Cowboy Copas, and pilot Randy Hughes. Jean was left with the grief, the children, and the strange sound of her husband’s voice still rising on the radio. Then the song climbed. “Lonesome 7-7203” reached No. 1 after Hawkshaw was gone. Jean had recorded it first. Hawkshaw made it immortal. Country music kept dialing the number after the man who sang it could no longer answer.

You Missed

HE OPENED THE ENVELOPE, SAW JOHN DENVER’S NAME, AND SET COUNTRY MUSIC’S BIGGEST AWARD ON FIRE. Charlie Rich had not come to Nashville as a clean country product. He was born in Colt, Arkansas, raised around gospel, blues, jazz, and cotton-field country. His mother played piano in church. A Black sharecropper named C. J. Allen helped teach him blues piano. By the time Rich found his way through Sun Records, RCA, Smash, Hi, and finally Epic, he had already been too jazzy for country, too country for pop, and too strange for the easy lane. Then 1973 changed everything. “Behind Closed Doors” hit. “The Most Beautiful Girl” hit even bigger. Rich became the Silver Fox, won major awards, and in 1974 took CMA Entertainer of the Year. For one year, the man Nashville had never known how to file became the man holding its highest prize. On October 13, 1975, he walked back onstage at the CMA Awards to name the next Entertainer of the Year. He opened the envelope. John Denver. Rich paused, pulled out a lighter, and burned the card before announcing, “My friend, Mr. John Denver.” Some called it protest. Some called it drunken bad judgment. His son later said Rich had pain medication, gin and tonics, a broken foot, and thought it would be funny — not a personal attack on Denver. The explanation came later. The image stayed first. A white-haired country star. A live television stQage. One burning slip of paper. And a career that never fully stepped out of that smoke.

THEY GOT MARRIED ON A CONCERT STAGE IN WICHITA. LESS THAN THREE YEARS LATER, JEAN SHEPARD WAS LEFT WITH TWO SONS AND A HUSBAND COUNTRY MUSIC COULD ONLY HEAR ON RECORDS. They met inside the world that had already claimed both of them — radio shows, road dates, the Grand Ole Opry, dressing rooms, and the kind of touring life where a singer’s home could feel like whatever town had the next stage. Jean was not fragile. She had already fought her way into hard country when women were still expected to sound sweeter than the men around them. “A Dear John Letter” had taken her to No. 1. The Opry had taken her in. She had survived one bad early marriage and kept her career anyway. Hawkshaw was different. Six-foot-five. Smooth. Charismatic. A West Virginia singer people called “Eleven Yards of Personality.” He had the height, the grin, and the kind of stage presence that made a crowd feel like he had walked in from a bigger life. On November 26, 1960, they married onstage during a concert in Wichita, Kansas. It was not just a courthouse promise. Ken Nelson gave Jean away. A local disc jockey broadcast the ceremony over the radio. The crowd was there. The music world was there. Their private vow entered country history through a microphone. For a while, it looked like the show and the marriage could live together. They toured. They built a home in Goodlettsville. They had a son, Don Robin, named after friends Don Gibson and Marty Robbins. Jean became pregnant again. Then the calendar turned cruel. The marriage that had started in front of an audience ended with Jean carrying the part no audience could sing for her — a toddler, an unborn child, and a husband whose voice kept climbing the chart after he was gone.

JEAN SHEPARD CUT “LONESOME 7-7203” BEFORE HER HUSBAND DID. CAPITOL LEFT IT SITTING. THEN HAWKSHAW HAWKINS RECORDED IT — AND DIED THREE DAYS AFTER ITS RELEASE. The song did not start as Hawkshaw Hawkins’ last hit. It passed through Jean Shepard first. By the early 1960s, Jean was already one of country music’s toughest women. She had come up through honky-tonk, made “A Dear John Letter” a No. 1 duet, joined the Grand Ole Opry, and proved she was not just a pretty harmony voice in a man’s business. Hawkshaw Hawkins was already part of that same Opry world. Tall, smooth, steady, with a career that had stretched from West Virginia radio to national country stages. He and Jean married in 1960. Two singers. Two roads. One house outside Nashville. Then came a Justin Tubb song called “Lonesome 7-7203.” Jean recorded it for Capitol, but the label left it unreleased. The song sat there. A lonely telephone number. A heartbreak line waiting for somebody to dial it. Hawkshaw finally told her that if Capitol was not going to release it, he would record it himself. King Records released his version on March 2, 1963. Three days later, Hawkshaw Hawkins was dead. The plane crash near Camden took him, Patsy Cline, Cowboy Copas, and pilot Randy Hughes. Jean was left with the grief, the children, and the strange sound of her husband’s voice still rising on the radio. Then the song climbed. “Lonesome 7-7203” reached No. 1 after Hawkshaw was gone. Jean had recorded it first. Hawkshaw made it immortal. Country music kept dialing the number after the man who sang it could no longer answer.

SHE SAID A MAN WITH A GUN WAS WAITING IN THE BACK SEAT. DAYS LATER, TAMMY WYNETTE STILL WALKED ONSTAGE IN SOUTH CAROLINA. Tammy Wynette already knew what it meant to sing pain for a living. By 1978, she was not just a country star. She was the woman behind “Stand by Your Man,” “D-I-V-O-R-C-E,” “I Don’t Wanna Play House,” and the kind of songs that made broken homes sound like they had wallpaper, bills, children, and nowhere clean to hide. Her life had become part of the story too. Marriages. George Jones. Public fights. Illness. A voice that could make surrender sound noble even when the woman singing it was barely holding the pieces together. Then came October 4, 1978. Tammy had gone shopping at Green Hills in Nashville for a birthday gift for her daughter. When she returned to her car, she later said a masked man was hiding in the back seat with a gun. He forced her to drive, beat her, and released her about 80 miles away in Giles County. The story sounded like something too strange even for country music. Questions followed. Rumors followed. No one was ever convicted. The mystery stayed attached to her name for the rest of her life. But Tammy still had a calendar. A few days later, bruised and shaken, she appeared for a concert in Columbia, South Carolina. The fans saw the First Lady of Country Music under the lights. What they could not fully see was the woman who had just been left on a Tennessee roadside, trying to explain a nightmare nobody could neatly close. Loretta Lynn turned poverty into defiance. Patsy Cline turned survival into steel. Tammy Wynette turned private wreckage into a voice so controlled it almost hid the damage.