Country Music

Classic Country Music Hits

Country Music

Rory Feek -To Say Goodbye

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Introduction

“To Say Goodbye” is a heart-wrenching journey through the universal experience of loss, where love and grief collide in the most profound way. This song isn’t just a melody—it’s an emotional narrative that speaks to anyone who’s ever had to face the pain of parting, whether it’s a relationship, a loved one, or even a dream.

The beauty of “To Say Goodbye” lies in its raw honesty. It captures those moments when words fail, and emotions take over—when saying goodbye feels impossible, yet unavoidable. The poignant lyrics and haunting melody make you pause and reflect, not just on the goodbyes you’ve said but on the moments that came before them. It’s like a bittersweet postcard from the past, reminding us of what we’ve held dear.

The delivery of the song is where its true magic lies. Whether performed with a simple piano accompaniment or a full orchestral backdrop, the vulnerability in every note feels like a conversation between the artist and the listener. You can feel the ache, the hope, and the acceptance all at once, making it a song that resonates deeply, no matter where you are in your life.

This isn’t just a song—it’s a companion for those quiet, reflective nights when memories weigh heavy and the heart needs a moment to heal. It’s a reminder that saying goodbye, as painful as it is, can also be a step toward embracing the future with grace

Video

Lyrics

He said I’ll call you hun when I get there
Ten minutes later he was in the air
She dropped the kids at school and headed home
Walked in and turned the front room TV on
She could tell that there was something wrong
Every channel had the same thing on
Now seven years have come and gone away
But she’s still hurtin’ like it’s yesterday
Cause she wants to put her arms around his neck
And look in his eyes so blue
And say honey I don’t regret
A single day I spent with you
She wants to tell him that she loves him so
And will until the day she dies
It ain’t that she can’t let him go
She just wants to say goodbye
He sits beside her in the nursing home
Through her silver hair he runs a comb
He hangs their wedding picture on the wall
She don’t remember who he is at all
He tells her stories bout the life they’ve lived
From their first kiss to their last grandkids
For seven months now she just sits and stares
But if she wakes up he’s gonna be right there
Cause he wants to put his arms around her neck
And look in her eyes so blue
And say honey I won’t forget
A single day I spent with you
He wants to tell her that he loves her so
And will until the day he dies
It ain’t that he can’t let her go
He just wants to say goodbye
No it ain’t that we can’t let ‘em go
We just want to say goodbye

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TRACE ADKINS WAS SHOT BY HIS SECOND WIFE DURING A 1994 DOMESTIC DISPUTE. THE BULLET PASSED THROUGH BOTH LUNGS AND HIS HEART — AND HE SURVIVED EMERGENCY TREATMENT. TWO YEARS LATER, HE WAS WALKING INTO A NASHVILLE STUDIO TO MAKE HIS FIRST ALBUM. On February 21, 1994, Trace Adkins was at home outside Nashville with his second wife, Julie Curtis. He had been drinking. The argument got worse. Curtis picked up a .38 pistol. Adkins later said he tried to take it from her. Then she fired. The bullet went through his left lung, through his heart, through his right lung, and out the other side. He was rushed to Vanderbilt. Doctors operated. For a while, the people around him were waiting to find out whether he would make it through the night. At that point, Trace was still just another big-voiced singer trying to get noticed in Nashville. He had moved there from Louisiana in 1992. He was playing Tillie and Lucy’s, a small beer joint in Mount Juliet. No hit record. No Capitol album. No “You’re Gonna Miss This.” No crowds waiting for the deep voice everybody would know later. He survived. He did not press charges. The marriage ended. Then he went back to Tillie and Lucy’s. Later that year, Capitol Nashville executive Scott Hendricks came in to hear him. Trace sang. Hendricks signed him on the spot. In 1996, Dreamin’ Out Loud came out. A year later, “(This Ain’t) No Thinkin’ Thing” went to No. 1.

Country Music

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.

Country Music

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Country Music

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.

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