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

Introduction

There’s something uniquely uplifting about Heidi Hauge’s “Turn It On – Turn It Up – Turn Me Loose.” Imagine you’re on a long drive; the road stretches endlessly ahead, and this track comes on. Instantly, the journey transforms. Heidi’s version of this song, originally made famous by Dwight Yoakam, carries a flair that’s all her own, blending classic country vibes with her signature Scandinavian touch.

The song itself is an anthem of liberation. It’s about shaking off the shackles of a past love and finding freedom in the joy of music. Heidi’s voice, both powerful and poignant, perfectly captures the spirit of resilience and revival. As she belts out the chorus, you can’t help but feel a surge of strength and independence, making it more than just a tune—it’s a personal rally cry.

What makes “Turn It On – Turn It Up – Turn Me Loose” so special isn’t just the melody or the lyrics; it’s the raw, emotional energy that Heidi injects into every note. It resonates because it speaks to anyone who’s ever needed a fresh start or a moment of unapologetic enjoyment. This song doesn’t just sound good; it feels good.

In the broader context of music history, Heidi Hauge may be a nod to the classic country stars, but she also represents the genre’s international appeal. Her interpretation shows how music can cross borders, blending and bending traditional sounds to create something universally relatable.

So next time you feel the need to turn your day around, remember Heidi’s words. Turn the song on, turn it up, and let yourself loose. This isn’t just a track; it’s a companion through thick and thin.

Video

Lyrics

Well, I’m back again for another night,
Of trying to break free from this sadness that i can’t lay to rest.
This old honky-tonk sure does feel like home,
And the music with the laughter seem to soothe my loneliness.

Turn it on, turn it up, turn me loose,
From his memorys driving me lonely, crazy and blue.
It helps me forget him, so the louder the better:
Hey mister, turn it on, turn it up, turn me loose.

If a tear should fall, if i should whisper his name,
To some stranger i’m holdin’ while we’re dancin’ to an old Buck Owens song.
I know he won’t mind, he won’t even know.
He’ll be dancing with a memory, crying teardrops of his own.
Find more lyrics at ※ Mojim.com

Turn it on, turn it up, turn me loose,
From his memorys driving me lonely, crazy and blue.
It helps me forget him, so the louder the better:
Hey mister, turn it on, turn it up, turn me loose.

Turn it on, turn it up, turn me loose,
From his memorys driving me lonely, crazy and blue.
It helps me forget him, so the louder the better:
Hey mister, turn it on, turn it up, turn me loose.
Yeah, mister, turn it on, turn it up, turn me loose.

You Missed

In Muskogee, Oklahoma, there’s a pawn and guitar repair shop sandwiched between a laundromat and a lawyer’s office. It’s called “Gus’s Strings & Stories.” Inside, the air is thick with the smell of pine, fretboard oil, and old tube amplifiers. Gus, the owner, is a quiet man with hands calloused from thousands of hours of soldering wires and adjusting frets. On the walls, instead of flashy guitars, are the broken ones. One with a snapped neck. One with a hole where its previous owner punched it. Next to each is a short, handwritten story of how it was “saved.” The shop’s rule is etched on a small brass plaque on the counter: “Lie to your guitar, it’ll lie right back.” One day, a young man came in, wanting to sell his father’s acoustic guitar. “I need the money,” he said, eyes fixed on the floor. Gus took the guitar. He didn’t check the brand. He checked the pick marks near the soundhole. He looked at the wear on the G fret. He gently plucked a string. Then he handed it back to the boy. “This guitar has played ‘Sing Me Back Home’ one too many times,” Gus said. “It doesn’t belong in a pawnshop. It belongs at a campfire. Go home, son.” The young man looked up, confused. “But I need…” “No,” Gus interrupted, pointing to the etching. “You don’t need the money. You need to play for your father. Don’t lie to the guitar. Merle wouldn’t.” The young man stood there for a moment, then clutched the guitar and walked out the door. Gus nodded, returning to his work.