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Introduction

There’s something profoundly comforting about hearing a classic country tune on a quiet evening. I recall driving down a dusty road, the sun setting behind the rolling hills, when Randy Travis’s “On the Other Hand” came on the radio. The song’s heartfelt lyrics and mellow melody seemed to encapsulate the essence of country life and the complexities of love and commitment.

About The Composition

  • Title: On the Other Hand
  • Composer: Paul Overstreet and Don Schlitz
  • Premiere Date: July 1985
  • Album: Storms of Life
  • Genre: Country (Neotraditional Country)

Background

“On the Other Hand” was co-written by Paul Overstreet and Don Schlitz, two prolific songwriters in the country music scene. The song was first released in 1985 as Randy Travis’s debut single from his album Storms of Life. Initially, it didn’t make a significant impact on the charts. However, after the success of his next single, “1982,” the song was re-released in April 1986. This time, it resonated deeply with audiences, climbing to the top of the Billboard Hot Country Singles chart and becoming Travis’s first number-one hit.

The song emerged during a period when country music was embracing a return to its traditional roots, a movement known as neotraditional country. Randy Travis became one of the leading figures in this movement, and “On the Other Hand” played a pivotal role in solidifying his place in country music history. The song’s exploration of temptation and fidelity struck a chord with listeners, offering a sincere reflection on personal values and commitment.

Musical Style

“On the Other Hand” is characterized by its classic country instrumentation, featuring steel guitar, fiddle, and a steady acoustic rhythm. The arrangement is understated, allowing Travis’s deep baritone voice to convey the song’s emotional weight. The neotraditional style pays homage to the genre’s roots while providing a fresh sound that was appealing to 1980s audiences. The simplicity of the melody complements the complexity of the song’s theme, creating a poignant and relatable piece.

Lyrics

The song tells the story of a man faced with temptation but reminded of his commitment through his wedding ring—literally, “on the other hand.” The lyrics delve into the internal struggle between desire and fidelity, ultimately highlighting the strength of love and marriage vows. Lines like “On one hand I could stay and be your loving man, but the reason I must go is on the other hand” encapsulate the moral dilemma and the choice to honor one’s commitments.

Performance History

After its re-release in 1986, “On the Other Hand” received widespread acclaim. It not only topped the charts but also earned Randy Travis the CMA Award for Single of the Year. The song has since been covered by other artists and remains a staple in Travis’s performances. Its success helped pave the way for his subsequent hits and solidified his status as a country music icon.

Cultural Impact

The song contributed significantly to the neotraditional country movement, influencing both listeners and emerging artists. It brought attention back to traditional country themes and sounds during a time when pop influences were becoming more prevalent in the genre. “On the Other Hand” also found its way into popular culture, featured in various media and covered by other musicians, further cementing its legacy.

Legacy

Decades after its release, “On the Other Hand” continues to resonate with audiences. Its timeless message about love and commitment remains relevant, and its classic country sound appeals to both long-time country fans and new listeners. The song stands as a testament to Randy Travis’s impact on the genre and his ability to convey profound emotions through his music.

Conclusion

Listening to “On the Other Hand” is like taking a journey back to the roots of country music. Its heartfelt lyrics and traditional sound offer a refreshing experience in today’s fast-paced world. I encourage you to give it a listen—perhaps start with the original recording from Storms of Life. Allow yourself to be drawn into its story, and you might just find that it speaks to you as profoundly as it has to countless others over the years

Video

Lyrics

On one hand, I count the reasons I could stay with you
And hold you close to me all night long
So many lover’s games I’d love to play with you
On that hand there’s no reason why it’s wrong
But on the other hand, there’s a golden band
To remind me of someone who would not understand
On one hand, I could stay and be your lovin’ man
But the reason I must go is on the other hand
In your arms, I feel the passions I thought had died
When I looked into your eyes, I found myself
And when I first kissed your lips, I felt so alive
I’ve got to hand it to you girl, you’re somethin’ else
But on the other hand, there’s a golden band
To remind me of someone who would not understand
On one hand, I could stay and be your lovin’ man
But the reason I must go is on the other hand
Yeah, the reason I must go is on the other hand

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THE FOUNDRY CLOSED. HIS MARRIAGE COLLAPSED. JOE DIFFIE SOLD HIS STUDIO, BORROWED MONEY FROM HIS PARENTS — AND LEFT OKLAHOMA FOR NASHVILLE. In 1986, Joe Diffie was not waiting around for a record deal. He was working as a machinist at an iron foundry in Duncan, Oklahoma, a job he had held for years. Music lived around the edges. He sang bluegrass with Special Edition, wrote songs, and had built his own small recording studio where he recorded local bands and gospel groups. There had been just enough encouragement to keep the idea alive. Hank Thompson recorded one of his songs. Randy Travis put another on hold, although he never cut it. Then the foundry shut down. Diffie lost his job. His first marriage broke apart around the same time. With money disappearing, he sold the recording studio he had built. He later acknowledged that if the foundry had stayed open, he might have simply kept working there. Instead, with little left tying him to Oklahoma, he borrowed money from his parents and headed for Nashville in December 1986. Music City did not hand him a microphone. It handed him a job at Gibson Guitar. Diffie worked on the loading dock and eventually in quality control. When his shift ended, he went after the other job he actually wanted. He wrote songs, worked nights and weekends, and began singing demos—the rough recordings publishers used to pitch songs to established artists. Soon his voice was everywhere behind the scenes. Diffie sang demos of songs that later became hits for Ricky Van Shelton, Billy Dean and Alabama. He became so busy that by 1989 he could leave Gibson and sing demos full-time. Hundreds of recordings carrying his voice began circulating through Music Row. One of those trails reached publisher Johnny Slate. Slate took Diffie’s material to Bob Montgomery at CBS/Epic. This time, somebody was not listening only for the song. Montgomery heard the singer. Epic signed Joe Diffie in 1990. But there was one more near-miss. For his debut album, Diffie kept passing over a song called “Home.” He had heard it so many times that it had stopped affecting him. Johnny Slate asked him to listen once more. Diffie did. The song gave him a lump in his throat, so he recorded it. “Home” became his debut single. It went to No. 1. Four years earlier, Joe Diffie had been an unemployed foundry worker selling off his little Oklahoma studio. Now the first single with his own name on it had gone all the way to the top.

PATSY CLINE HEARD “BLUE” AND WANTED IT. SHE DIED BEFORE SHE COULD RECORD IT. MORE THAN 30 YEARS LATER, THE SONG FOUND A 13-YEAR-OLD LEANN RIMES. Bill Mack had written “Blue” back in 1958. He recorded it himself, but the song never traveled very far. Believing it needed a woman’s voice, Mack kept looking for the right singer. Eventually he played it backstage for Patsy Cline in San Antonio. According to Mack, Cline liked the song and told him to send it to her. She never recorded it. Cline died in the plane crash of March 1963, and “Blue” spent the next three decades passing through other singers without becoming the record Mack had imagined. Then he heard LeAnn Rimes. She was still a child, already singing around Texas and appearing on *Star Search*. Mack believed the huge voice coming out of the young singer could finally carry his old song. LeAnn recorded “Blue” when she was **11 years old** for the independent album *All That*. The record sold about 15,000 copies locally—enough to attract Curb Records. The label signed her and released “Blue” nationally in May 1996. LeAnn was thirteen. Even she was unsure country radio would accept it. “Blue” sounded like something from another era: steel guitar, fiddle and a vocal performance that immediately invited comparisons to Patsy Cline at a time when Nashville was moving deeper into polished contemporary country. Radio played it anyway. “Blue” reached the country Top 10. The album of the same name reached No. 3 on the Billboard 200 and eventually sold six million copies in the United States. LeAnn went from the Texas circuit to national television almost overnight. Then came February 26, 1997. At Madison Square Garden, fourteen-year-old LeAnn Rimes won **Best New Artist** at the Grammy Awards. Later that night she also won **Best Female Country Vocal Performance** for “Blue.” At the time, she became the youngest person ever to win a Grammy. Bill Mack had written the song almost forty years earlier. Patsy Cline had never made it into the studio with it. The girl who finally did was barely old enough for high school—and by the end of Grammy night, Nashville was no longer asking who LeAnn Rimes was.

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TANYA TUCKER BECAME A COUNTRY STAR AT 13. SHE HAD TO WAIT UNTIL 61 TO HEAR HER NAME CALLED FOR A GRAMMY. By the time Brandi Carlile approached Tanya Tucker about making another record, Tanya had already lived several versions of a country career. “Delta Dawn” had made her famous at thirteen. Before adulthood, she was already collecting No. 1 records. Then came decades of touring, tabloid stories, relationships, career dips and comebacks. Tanya kept singing, but by the 2010s she had gone nearly twenty years without releasing an album of original material. Carlile did not hear a finished career. She heard a voice that had finally lived long enough to sing certain songs differently. With Shooter Jennings, she persuaded Tanya back into the studio for *While I’m Livin’*. They did not try to recreate the teenager from “Delta Dawn.” The songs dealt with age, family, regret and the uncomfortable fact that there are things people often wait too long to say. One afternoon, Tanya sat at a piano with Carlile and twins Phil and Tim Hanseroth and worked on **“Bring My Flowers Now.”** The idea had been with her for years: if you love someone, tell them while they are still here. Bring the flowers now, not after the funeral. They finished the song and recorded Tanya’s vocal almost immediately. Later, Tanya wanted another pass. Carlile said no. She wanted the first one—the cracks, the age, the places where Tanya’s voice sounded like it had actually lived the words. *While I’m Livin’* was released in 2019. Then on January 26, 2020, Tanya Tucker walked into the Grammy Awards with a career that stretched back nearly half a century and a long history of nominations without a win. “Bring My Flowers Now” won **Best Country Song**. Tanya had her first Grammy. Then *While I’m Livin’* won **Best Country Album**. She had two. Three years later, Tanya was inducted into the Country Music Hall of Fame. By then, Brandi Carlile was no longer simply the younger singer who had talked one of her heroes back into a studio. She was standing onstage helping country music honor her. Tanya had spent decades trying to survive every version of the music business. The record that finally brought her a Grammy did not ask her to sound like the girl who sang “Delta Dawn.” It needed the woman who had survived long enough to sing “Bring My Flowers Now.”

THE FOUNDRY CLOSED. HIS MARRIAGE COLLAPSED. JOE DIFFIE SOLD HIS STUDIO, BORROWED MONEY FROM HIS PARENTS — AND LEFT OKLAHOMA FOR NASHVILLE. In 1986, Joe Diffie was not waiting around for a record deal. He was working as a machinist at an iron foundry in Duncan, Oklahoma, a job he had held for years. Music lived around the edges. He sang bluegrass with Special Edition, wrote songs, and had built his own small recording studio where he recorded local bands and gospel groups. There had been just enough encouragement to keep the idea alive. Hank Thompson recorded one of his songs. Randy Travis put another on hold, although he never cut it. Then the foundry shut down. Diffie lost his job. His first marriage broke apart around the same time. With money disappearing, he sold the recording studio he had built. He later acknowledged that if the foundry had stayed open, he might have simply kept working there. Instead, with little left tying him to Oklahoma, he borrowed money from his parents and headed for Nashville in December 1986. Music City did not hand him a microphone. It handed him a job at Gibson Guitar. Diffie worked on the loading dock and eventually in quality control. When his shift ended, he went after the other job he actually wanted. He wrote songs, worked nights and weekends, and began singing demos—the rough recordings publishers used to pitch songs to established artists. Soon his voice was everywhere behind the scenes. Diffie sang demos of songs that later became hits for Ricky Van Shelton, Billy Dean and Alabama. He became so busy that by 1989 he could leave Gibson and sing demos full-time. Hundreds of recordings carrying his voice began circulating through Music Row. One of those trails reached publisher Johnny Slate. Slate took Diffie’s material to Bob Montgomery at CBS/Epic. This time, somebody was not listening only for the song. Montgomery heard the singer. Epic signed Joe Diffie in 1990. But there was one more near-miss. For his debut album, Diffie kept passing over a song called “Home.” He had heard it so many times that it had stopped affecting him. Johnny Slate asked him to listen once more. Diffie did. The song gave him a lump in his throat, so he recorded it. “Home” became his debut single. It went to No. 1. Four years earlier, Joe Diffie had been an unemployed foundry worker selling off his little Oklahoma studio. Now the first single with his own name on it had gone all the way to the top.

PATSY CLINE HEARD “BLUE” AND WANTED IT. SHE DIED BEFORE SHE COULD RECORD IT. MORE THAN 30 YEARS LATER, THE SONG FOUND A 13-YEAR-OLD LEANN RIMES. Bill Mack had written “Blue” back in 1958. He recorded it himself, but the song never traveled very far. Believing it needed a woman’s voice, Mack kept looking for the right singer. Eventually he played it backstage for Patsy Cline in San Antonio. According to Mack, Cline liked the song and told him to send it to her. She never recorded it. Cline died in the plane crash of March 1963, and “Blue” spent the next three decades passing through other singers without becoming the record Mack had imagined. Then he heard LeAnn Rimes. She was still a child, already singing around Texas and appearing on *Star Search*. Mack believed the huge voice coming out of the young singer could finally carry his old song. LeAnn recorded “Blue” when she was **11 years old** for the independent album *All That*. The record sold about 15,000 copies locally—enough to attract Curb Records. The label signed her and released “Blue” nationally in May 1996. LeAnn was thirteen. Even she was unsure country radio would accept it. “Blue” sounded like something from another era: steel guitar, fiddle and a vocal performance that immediately invited comparisons to Patsy Cline at a time when Nashville was moving deeper into polished contemporary country. Radio played it anyway. “Blue” reached the country Top 10. The album of the same name reached No. 3 on the Billboard 200 and eventually sold six million copies in the United States. LeAnn went from the Texas circuit to national television almost overnight. Then came February 26, 1997. At Madison Square Garden, fourteen-year-old LeAnn Rimes won **Best New Artist** at the Grammy Awards. Later that night she also won **Best Female Country Vocal Performance** for “Blue.” At the time, she became the youngest person ever to win a Grammy. Bill Mack had written the song almost forty years earlier. Patsy Cline had never made it into the studio with it. The girl who finally did was barely old enough for high school—and by the end of Grammy night, Nashville was no longer asking who LeAnn Rimes was.

THE NIGHT AFTER KEITH WHITLEY’S FUNERAL, LORRIE MORGAN WALKED BACK ONTO THE GRAND OLE OPRY STAGE. SHE HAD TWO CHILDREN, BILLS TO PAY — AND A CAREER THAT WAS JUST BEGINNING. Lorrie Morgan had been waiting almost seventeen years for Nashville to take her seriously. She first sang on the Grand Ole Opry at thirteen, following her father, Opry star George Morgan, into the same world. But the standing ovation she received that night did not turn into an easy career. Her father died when she was sixteen. Lorrie kept singing, worked with his band, played clubs, sang demos and spent years watching other careers move faster than hers. By the late 1980s, something finally changed. RCA signed her. “Trainwreck of Emotion” reached the country Top 20. “Dear Me” followed. Her first RCA album, *Leave the Light On*, was being prepared, and for the first time Lorrie had a real shot at becoming a star under her own name. At home, Keith Whitley was breaking through too. They had married in 1986 and had a young son, Jesse Keith. Keith had also adopted Morgan, Lorrie’s daughter from her first marriage. His own career had suddenly caught fire: “Don’t Close Your Eyes,” “When You Say Nothing at All” and “I’m No Stranger to the Rain” became three consecutive No. 1 hits. For a brief stretch, both careers were finally moving at once. Then Lorrie went out on the road. Keith stayed home. On May 9, 1989, he was found dead at their home after drinking heavily. He was thirty-three. One month earlier, “I’m No Stranger to the Rain” had reached No. 1. Three days later, hundreds gathered for his funeral. Ricky Skaggs, Keith’s friend since their Kentucky bluegrass days, delivered the eulogy. At the graveside, Lorrie placed a red rose on her husband’s casket. Then came Saturday night. Lorrie had two performances scheduled at the Grand Ole Opry. She went. She later explained the decision without dressing it up: there were children to support, bills to pay, and she needed to work. Within days she was traveling again, using Keith’s old tour bus and fulfilling concert dates while *Leave the Light On* was beginning its run. Then the career she had waited so long for arrived in the middle of everything else. “Out of Your Shoes” became a major hit. In April 1990, “Five Minutes” reached **No. 1 on Billboard’s country chart**, Lorrie’s first. That summer, another record appeared on country radio. It was **“’Til a Tear Becomes a Rose,”** a duet Keith and Lorrie had recorded before his death. While Lorrie was now building a solo career without him, listeners could still turn on the radio and hear their voices together. The duet became a hit and won the **1990 CMA Vocal Event of the Year**. By then, Lorrie Morgan finally had the success she had chased since she was thirteen. And one of the records playing alongside her first No. 1 still had Keith Whitley singing harmony.