Hinh website 2024 05 16T114124.590
“Scroll down to the end of the article to listen to music.”
Introduction

Have you ever heard a song that just makes you laugh out loud every time it comes on? That’s “The Mississippi Squirrel Revival” for you. It’s one of those tunes that doesn’t just get stuck in your head—it plays out like a mini-comedy show right in your ears. Imagine a mischievous squirrel wreaking havoc in a sleepy Southern town’s church, and you’ve got the gist of this hilariously heartwarming song.

The genius of “The Mississippi Squirrel Revival” lies in its storytelling. The song spins a yarn about a young boy who, quite innocently, brings a wild squirrel to church. This isn’t just any church session, though—it turns into utter chaos when the squirrel escapes and starts darting from pew to pew. What unfolds is a series of confessions and revelations, as the congregation starts admitting to their sins in the midst of the pandemonium, hoping for divine forgiveness as the squirrel scurries around.

What makes this song truly special is the way it captures a slice of Southern life with humor and a bit of cheekiness. The imagery is so vivid that you can almost see the old ladies fainting and the men shouting, turning a regular Sunday into a spectacle of revelations and laughter. It’s not just a song; it’s a community experience packed into a few minutes of uproarious melody.

“The Mississippi Squirrel Revival” isn’t just funny; it’s a reminder of the unpredictable moments that bring communities together, showing us that sometimes, it takes a little chaos to see the humor in our human follies. The song has a timeless appeal, resonating with anyone who appreciates a good story and a good laugh, making it a cherished piece in the annals of country music.

Video

Lyrics

Ooh, ooh
Well, when I was kid, I’d take a trip
Every summer, down to Mississipp’
To visit my granny in her Antebellum world
I’d run barefooted all day long
Climbing trees, free as a song
One day, I happened to catch myself a squirrel
Well, I stuffed him down in an old shoebox
And punched a couple holes in the top
When Sunday came, I snuck him into church
Well, I sit way back in the very last pew
Showin’ him to my good buddy Hugh
When that squirrel got loose and went totally berserk!
Well, what happened next is hard to tell
Some thought it was Heaven, others thought it was Hell
But the fact that something was among us was plain to see
As the choir sang “I surrender all”
The squirrel ran up Harv Newlan’s coveralls
Harv leaped to his feet and said
“Something’s got a hold on me! Yeah!”
The day the squirrel went berserk
In the First Self-Righteous Church
In that sleepy little town of Pascagoula (Pascagoula)
It was a fight for survival that broke out in revival
They were jumpin’ pews and shouting “Hallelujah!” (Hallelujah!)
You know Harv hit the aisles dancin’ and screamin’
Some thought he had religion, others thought he had a demon
And Harv thought he had a Weed Eater loose in his Fruit-of-the-Looms
He fell to his knees to plead and beg
And that squirrel ran out of his britches leg
Unobserved, to the other side of the room
All the way down to the amen pew
Where sat Sister Bertha better-than-you
Who’d been watchin’ all the commotion with sadistic glee
You should’ve seen that look in her eyes
When that squirrel jumped her garters and crossed her thighs
She jumped to her feet and said, “Lord! Have mercy on me!”
As that squirrel made laps inside her dress
She began to cry and then to confess
To sins that would make a sailor blush with shame
She told the gossip and church dissension
But the thing that got the most attention
Was when she talked about her love life
And then she started naming names
The day the squirrel went berserk
In the First Self-Righteous Church
In that sleepy little town of Pascagoula (Pascagoula)
It was a fight for survival that broke out in revival
They were jumpin’ pews and shouting “Hallelujah!” (Hallelujah!)
Well, seven deacons and then the pastor got saved
And 25, 000 dollars was raised
And 50 volunteered for missions in the Congo on the spot
And even without an invitation
There were at least 500 rededications
And we all got re-baptized whether we needed it or not
Now you’ve heard the Bible story, I guess
How He parted the waters for Moses to pass
All the miracles God has brought to this ol’ world
But the one I’ll remember ’til my dyin’ day
Is how He put that church back on the narrow way
With the heart praise and a Mississippi squirrel
The day the squirrel went berserk
In the First Self-Righteous Church
In that sleepy little town of Pascagoula (Pascagoula)
It was a fight for survival that broke out in revival
They were jumpin’ pews and shouting “Hallelujah!” (Hallelujah!)
The day the squirrel went berserk
In the First Self-Righteous Church
In that sleepy little town of Pascagoula (Pascagoula)
It was a fight for survival that broke out in revival
They were jumpin’ pews and shouting “Hallelujah!” (Hallelujah!)

Related Post

HE WAS ON THE ROAD, TALKING TO HIS WIFE, WHEN HE SAID THE WORDS THAT WOULD TURN INTO A SONG ABOUT A MAN DYING UNDER A BRIDGE. The road had become part of the job. Airports, buses, hotel rooms, soundchecks, another city before the last one had settled in his mind. He tried to reassure her the way people on the road often do. “This is temporary,” he told her. “I’m almost home.” The phrase stayed with him. Later, Morgan and songwriter Kerry Kurt Phillips built a different story around it. Not a road song. Not a love song. A song about a homeless man lying under a bridge, cold and tired, dreaming of a woman named Jenny and a place he can finally reach. “Almost Home” did not sound like a normal radio calculation. The man in the song was not drinking in a bar, driving a truck, or trying to get a girl back. He was dying. The final turn was quiet: the police officer finds him in the morning, but the man has already gone where he believed home really was. Morgan recorded it for his 2003 album I Love It. The song became his breakthrough. It reached the country Top 10, won BMI Song of the Year recognition, and introduced a different side of Craig Morgan to listeners. They knew the soldier. They knew the working-class singer. Now they heard him telling a story about someone most people passed without seeing. Years later, Jelly Roll told Morgan that “Almost Home” had helped him through jail. That may be the strangest part of the song’s life. It began with a husband on the road trying to reassure his wife. It became a dying man’s last dream. Then it reached people in places Craig Morgan could not have imagined when he first said the words into a phone.

NINE YEARS AFTER COUNTRY RADIO LAST TOOK RANDY TRAVIS TO NO. 1, HE CAME BACK WITH A SONG ABOUT THREE CROSSES BESIDE A HIGHWAY. By the early 2000s, Randy Travis was no longer the new man changing Nashville. The years of “On the Other Hand,” “Forever and Ever, Amen,” and “Deeper Than the Holler” were behind him. Country radio had moved toward younger voices, bigger production, and songs built for a different kind of audience. Randy was still recording, still touring, still carrying the deep baritone that had helped bring traditional country back in the 1980s. But his last No. 1 had come in 1994. Then he began making gospel records. It was not a sharp break from the Randy Travis people already knew. Faith had always been close to the way he sang. The voice was still slow, low, and steady. But the songs came from a different room now — less about barstools and broken promises, more about judgment, mercy, and the things people carry after the road has gone dark. In 2002, he recorded “Three Wooden Crosses.” The song followed four strangers on a midnight bus bound for Mexico: a farmer, a teacher, a preacher, and a woman nobody in the story expected to matter most. Then an eighteen-wheeler came through the darkness. Three people died. Three crosses were left beside the highway. But the song did not end at the wreck. The preacher handed his bloodstained Bible to the woman who survived. Years later, her son stood in a church holding that same Bible, telling the story of the night that changed his mother’s life. Randy did not sing it like a sermon. He sang it like a country story people had to sit still and hear all the way through. The record kept climbing. In May 2003, “Three Wooden Crosses” reached No. 1 — Randy Travis’s first chart-topper in eight years and the last No. 1 of his career. It later won CMA Single of the Year, while the album Rise and Shine earned Grammy recognition. For a singer country radio had started treating like part of another era, the comeback did not come with a flashy new sound. It came with a bus, a dark highway, and three crosses standing where four people had been.

You Missed

HE WAS ON THE ROAD, TALKING TO HIS WIFE, WHEN HE SAID THE WORDS THAT WOULD TURN INTO A SONG ABOUT A MAN DYING UNDER A BRIDGE. The road had become part of the job. Airports, buses, hotel rooms, soundchecks, another city before the last one had settled in his mind. He tried to reassure her the way people on the road often do. “This is temporary,” he told her. “I’m almost home.” The phrase stayed with him. Later, Morgan and songwriter Kerry Kurt Phillips built a different story around it. Not a road song. Not a love song. A song about a homeless man lying under a bridge, cold and tired, dreaming of a woman named Jenny and a place he can finally reach. “Almost Home” did not sound like a normal radio calculation. The man in the song was not drinking in a bar, driving a truck, or trying to get a girl back. He was dying. The final turn was quiet: the police officer finds him in the morning, but the man has already gone where he believed home really was. Morgan recorded it for his 2003 album I Love It. The song became his breakthrough. It reached the country Top 10, won BMI Song of the Year recognition, and introduced a different side of Craig Morgan to listeners. They knew the soldier. They knew the working-class singer. Now they heard him telling a story about someone most people passed without seeing. Years later, Jelly Roll told Morgan that “Almost Home” had helped him through jail. That may be the strangest part of the song’s life. It began with a husband on the road trying to reassure his wife. It became a dying man’s last dream. Then it reached people in places Craig Morgan could not have imagined when he first said the words into a phone.

NINE YEARS AFTER COUNTRY RADIO LAST TOOK RANDY TRAVIS TO NO. 1, HE CAME BACK WITH A SONG ABOUT THREE CROSSES BESIDE A HIGHWAY. By the early 2000s, Randy Travis was no longer the new man changing Nashville. The years of “On the Other Hand,” “Forever and Ever, Amen,” and “Deeper Than the Holler” were behind him. Country radio had moved toward younger voices, bigger production, and songs built for a different kind of audience. Randy was still recording, still touring, still carrying the deep baritone that had helped bring traditional country back in the 1980s. But his last No. 1 had come in 1994. Then he began making gospel records. It was not a sharp break from the Randy Travis people already knew. Faith had always been close to the way he sang. The voice was still slow, low, and steady. But the songs came from a different room now — less about barstools and broken promises, more about judgment, mercy, and the things people carry after the road has gone dark. In 2002, he recorded “Three Wooden Crosses.” The song followed four strangers on a midnight bus bound for Mexico: a farmer, a teacher, a preacher, and a woman nobody in the story expected to matter most. Then an eighteen-wheeler came through the darkness. Three people died. Three crosses were left beside the highway. But the song did not end at the wreck. The preacher handed his bloodstained Bible to the woman who survived. Years later, her son stood in a church holding that same Bible, telling the story of the night that changed his mother’s life. Randy did not sing it like a sermon. He sang it like a country story people had to sit still and hear all the way through. The record kept climbing. In May 2003, “Three Wooden Crosses” reached No. 1 — Randy Travis’s first chart-topper in eight years and the last No. 1 of his career. It later won CMA Single of the Year, while the album Rise and Shine earned Grammy recognition. For a singer country radio had started treating like part of another era, the comeback did not come with a flashy new sound. It came with a bus, a dark highway, and three crosses standing where four people had been.

FOR YEARS, NEAL MCCOY WALKED ONSTAGE BEFORE CHARLEY PRIDE. THEN ONE DAY, COUNTRY RADIO FINALLY STOPPED TREATING HIM LIKE THE OPENING ACT. He had grown up in East Texas listening to country, R&B, gospel, and whatever else came through the radio. He worked a shoe store job. He sang in clubs. He entered a talent contest in Dallas in 1981, and Janie Fricke heard enough to help him get in front of Charley Pride’s people. For years, Neal toured as Charley Pride’s opening act. Night after night, he walked out before the crowd had fully settled in. He sang while people were still finding their seats, still buying beer, still waiting for the name on the ticket to come onstage. Charley Pride was the star. Neal was the young singer trying to make sure people remembered him after the headliner had finished. He got a small record deal in the late 1980s. He released singles. They barely moved. The label closed. Then Atlantic signed him and changed the spelling of his name from McGoy to McCoy because people had already started calling him that anyway. The first albums did not break through either. “One More Time.” “Where Forever Begins.” “Now I Pray for Rain.” The songs charted, but not enough to change his life. For a singer who had spent years opening for a legend, it must have felt like country music was still asking him to stand at the edge of the stage and wait his turn. Then came “No Doubt About It.” Released at the end of 1993, the song climbed slowly into 1994. It became Neal McCoy’s first No. 1 country record. Then “Wink” followed it to No. 1. The album went platinum. The singer who had spent years warming up crowds for Charley Pride suddenly had crowds waiting for him. And he never forgot where he had learned how to hold a room. In 1994, Neal recorded Charley Pride’s “You’re My Jamaica” and brought Pride in to sing on it with him. The opening act had become a star, but he still took time to stand beside the man who had let him ride the road long before radio gave him a reason to headline.