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

Introduction

Have you ever stumbled upon a song that seems to echo through the chambers of your heart, reminding you of love’s beautifully cyclical nature? That’s the magic captured in “Golden Ring,” a soul-stirring duet by Alan Jackson and Lee Ann Womack. Originally made famous by George Jones and Tammy Wynette, this rendition breathes new life into a tale of love’s ebb and flow, represented by the journey of a simple, yet profound, golden ring.

As you listen to the tender harmonies of Jackson and Womack, it’s almost like sitting on a front porch swing, feeling the gentle tug of nostalgia and wisdom that only such seasoned artists can convey. The song isn’t just about the physical journey of a wedding band from a pawn shop shelf to the hands of hopeful lovers and eventually back to where it began. It’s a narrative that delves deep into the emotional odyssey of love itself—from its hopeful beginnings to its somber endings and the poignant realization that some things are just meant to come full circle.

The beauty of “Golden Ring” lies not only in its storytelling prowess but also in the authenticity with which Jackson and Womack deliver each verse. Their voices blend and navigate through the melody, carrying with them a weight of genuine emotion that makes you feel every word. It’s a reminder that, much like the golden ring in the song, love is enduring and precious, even when it changes hands and hearts.

Whether you’re a longtime fan of country music or just someone who appreciates a good story well told, “Golden Ring” offers a window into the complexities of relationships, mirrored by the simplicity of an unending circle of gold. It’s a song that doesn’t just recount a story—it invites you to feel part of it, making you ponder the cycles in your own relationships and the symbols that hold them together.

Video

Lyrics

In a pawn shop in Chicago
On a sunny summer day
A couple gazes at the wedding rings there on display
She smiles and nods her head
As he says, honey that’s for you
It’s not much, but it’s the best that I can do
Golden rings (golden ring)
With one tiny little stone
Waiting there (waiting there)
For someone to take you home
By itself (by itself)
It’s just a cold metallic thing
Only love can make a golden wedding ring
In a little wedding chapel
Later on that afternoon
An old upright piano plays that old familiar tune
Tears roll down her cheeks
And happy thoughts run through her head
As he whispers low, “With this ring, I thee wed”
Golden rings (golden ring)
With one tiny little stone
Shining ring (shining ring)
Now at last it’s found a home
By itself (by itself)
It’s just a cold metallic thing
Only love can make a golden wedding ring
In a small two-room apartment
As they fought their final round
He says, “You won’t admit it
But I know you’re leavin’ town”
She says, “One thing’s for certain
I don’t love you anymore”
And throws down the ring
As she walks out the door
Golden rings (golden ring)
With one tiny little stone
Cast aside (cast aside)
Like the love that’s dead and gone
By itself (by itself)
It’s just a cold metallic thing
Only love can make a golden wedding ring
In a pawn shop in Chicago
On a sunny summer day
A couple gazes at the wedding rings there on display
Golden ring

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.