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

Introduction

In the heart of the American South, where country music beats strongest, the song “Believe” by Brooks & Dunn emerged as a poignant narrative of faith and hope. Released in 2005, it quickly resonated with listeners, providing comfort and inspiration through its powerful lyrics and melody. This song does more than just tell a story; it serves as a spiritual companion to many who have faced life’s trials and tribulations.

About The Composition

  • Title: Believe
  • Composers: Ronnie Dunn and Craig Wiseman
  • Premiere Date: 2005
  • Album: Hillbilly Deluxe
  • Genre: Country, specifically Gospel/Country crossover

Background

“Believe” was penned by Ronnie Dunn, one half of the iconic duo Brooks & Dunn, and renowned songwriter Craig Wiseman. The song is a part of the album “Hillbilly Deluxe,” and it stands out as a testament to the personal and emotional depth that country music can explore. The inspiration for “Believe” came from Dunn’s experiences and reflections on faith, making it a deeply personal piece. Initially, the song garnered critical acclaim for its heartfelt message and was praised as one of the standout tracks of the album.

Musical Style

“Believe” employs a simple yet powerful arrangement that emphasizes the song’s emotional depth. The instrumentation is typical of country music but includes gospel elements, such as the organ, which enhances the spiritual tone of the track. Dunn’s vocal performance is particularly noteworthy; his delivery conveys a sense of sincerity and profound belief, drawing listeners into the narrative of the song. The use of dynamics in the arrangement helps to build a climactic feel, making the song’s message even more impactful.

Lyrics

The lyrics of “Believe” tell a story of a young man’s conversation with an older, wiser figure who teaches him about the power of faith. The chorus, “I raise my hands, bow my head / I’m finding more and more truth in the words written in red,” refers directly to the teachings of Jesus in the Bible, highlighting the song’s religious undertones. The narrative structure of the lyrics allows listeners to connect personally with the song’s message, reflecting on their own experiences with faith and perseverance.

Performance History

Since its release, “Believe” has been a staple in Brooks & Dunn’s performances, often serving as a powerful close to their shows. It has been covered by various artists and remains a favorite in the country music community for its ability to touch the hearts of its audience.

Cultural Impact

“Believe” has transcended its musical roots to become a symbol of faith and resilience in popular culture. Its message of hope has been particularly resonant in times of hardship, making it a go-to song for many seeking solace and strength. It has also been used in numerous charity events and public service campaigns, further cementing its place in the landscape of influential country songs.

Legacy

The legacy of “Believe” is marked by its enduring ability to inspire and uplift. It continues to be relevant as it addresses universal themes of faith, hope, and human connection. As a part of Brooks & Dunn’s impressive repertoire, “Believe” stands out for its depth and emotional resonance, ensuring that it will continue to influence both listeners and artists for years to come.

Conclusion

“Believe” by Brooks & Dunn is more than just a song; it’s a narrative that compels us to reflect on our own beliefs and the strength they provide. I encourage everyone to listen deeply to this powerful track, perhaps discovering a personal connection to its message of enduring faith and hope. Whether you’re a long-time fan of country music or just discovering it, “Believe” offers a profound experience that resonates with the soul

Video

Lyrics

Old man Wrigley lived in that white house
Down the street where I grew up
Momma used to send me over with things
We struck a friendship up
I spent a few long summers out on his old porch swing
Said he was in the war when in the navy
Lost his wife, lost his baby
Broke down and asked him one time
How ya keep from goin’ crazy
He said, “I’ll see my wife and son in just a little while”
I asked him what he meant
He looked at me and smiled, said
I raise my hands, bow my head
I’m findin’ more and more truth in the words written in red
They tell me that there’s more to life, than just what I can see
Oh I believe, hmm
Few years later I was off at college
Talkin’ to mom on the phone one night
Gettin’ all caught up on the gossip
The ins and outs of the small town life
She said, “Oh, by the way son
Old man Wrigley has died”
Later on that night, I laid there thinkin’ back
Thought about a couple long-lost summers
I didn’t know whether to cry or laugh
If there was ever anybody deserved a ticket to the other side
It’d be that sweet old man who looked me in the eye, said
I raise my hands, bow my head
I’m findin’ more and more truth in the words written in red
They tell me that there’s more to life than just what I can see
I can’t quote the book, the chapter or the verse
You can’t tell me it all ends in a slow ride in a hearse
You know I’m more and more convinced, the longer that I live
Yeah, this can’t be, no, this can’t be, no, this can’t be all there is
Lord, I raise my hands, bow my head
Oh, I’m findin’ more and more truth in the words written in red
They tell me that there’s more to this
Than just what I can see (just what I can see)
I believe
Oh, I, I believe
I believe
hmm
(I believe) I believe
(I believe) I believe (I believe)
(I believe) oh, I believe
(I believe, )
(I believe)
(I believe)

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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.

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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.

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