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

Introduction

Every time I hear the title track of “That’s the Way Love Goes,” I am transported back to a simpler time in country music, a time Merle Haggard helped define with his poignant lyrics and unmistakable voice. This album, released in 1984, epitomizes the maturity of Haggard’s musical influence and his deep understanding of love and loss.

About The Composition

  • Title: That’s the Way Love Goes
  • Composer: Merle Haggard
  • Premiere Date: January 1984
  • Album/Opus/Collection: That’s the Way Love Goes
  • Genre: Country

Background

The album “That’s the Way Love Goes” is a testament to Merle Haggard’s enduring appeal. Following a period of reflection in his career, this work represents a culmination of his mature understanding of musical storytelling. The album, warmly received, garnered Haggard a Grammy Award, solidifying his place in the pantheon of country music legends.

Musical Style

Haggard’s music on this album blends traditional country with elements of the Bakersfield sound. The title track, originally by Lefty Frizzell, is given a new lease on life with Haggard’s heartfelt rendition, characterized by its gentle, lilting melody and classic country instrumentation.

Lyrics/Libretto

The lyrics of “That’s the Way Love Goes” speak profoundly about the enduring and forgiving nature of love. Haggard’s delivery of the lyrics adds a layer of depth, making the song resonate with anyone who has experienced love’s highs and lows.

Performance History

Since its release, the album has been celebrated for its authentic country sound and insightful interpretations. Notable performances of the title track have continued to highlight Haggard’s impact on the genre.

Cultural Impact

This album not only contributed to the country music landscape but also influenced many artists who sought to emulate Haggard’s style. Its themes of love, regret, and resilience have universal appeal, securing its place in American cultural history.

Legacy

“That’s the Way Love Goes” remains a significant work in Merle Haggard’s discography, offering a look into the soul of a man who understood the human condition perhaps better than any other songwriter of his time.

Conclusion

Reflecting on this album, I am reminded of the timeless nature of great music and the way it can express the indescribable depths of human emotion. I recommend everyone to listen to this album, starting with the graceful and melancholic title track, to fully appreciate Haggard’s genius.

Video

Lyrics

I’ve been throwing horseshoes
Over my left shoulder
I’ve spent most all my life
Searching for that four-leaf clover
Yet you ran with me
Chasing my rainbows
Honey, I love you too
That’s the way love goes
That’s the way love goes, babe
That’s the music God made
For all the world to sing
It’s never old, it grows
Losing makes me sorry
You say, “Honey, now don’t worry
Don’t you know I love you too?”
And that’s the way love goes
That’s the way love goes, babe
That’s the music God made
For all the world to sing
It’s never old, it grows
Losing makes me sorry
And you say, “Honey, don’t worry
Don’t you know I love you too?”
And that’s the way love goes

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.