The Greatest Oldies Music

Country

“Get Drunk and Be Somebody” – Toby Keith

About the Song

In the realm of country music, Toby Keith stands as a towering figure, a true American icon. With his signature blend of twang and grit, Keith has captivated audiences for decades, crafting songs that resonate with the heartland experience. Among his vast repertoire of hits, “Get Drunk and Be Somebody” holds a special place, emerging as an anthem of self-empowerment and unbridled spirit.

Released in 2005 as the lead single from Keith’s album White Trash with Money, “Get Drunk and Be Somebody” immediately struck a chord with listeners, topping the Billboard Country Airplay chart and reaching number three on the Billboard Hot 100. The song’s infectious energy and Keith’s charismatic delivery made it an instant favorite, cementing its status as a modern country classic.

At its core, “Get Drunk and Be Somebody” is a celebration of the underdog, a rousing call to arms for those who feel overlooked and underestimated. Keith’s lyrics paint a vivid picture of small-town life, where dreams often seem out of reach. The protagonist, trapped in a monotonous routine, yearns for something more, a chance to break free and make a mark on the world.

The song’s title, while seemingly straightforward, carries a deeper meaning. Getting drunk, in this context, is not about mindless intoxication but rather about embracing a sense of liberation, shedding inhibitions and unleashing one’s true potential. It’s a metaphor for taking charge of one’s life, refusing to be defined by limitations or societal expectations.

Keith’s voice, raspy and full of conviction, perfectly captures the song’s message. He sings with a raw honesty that resonates with listeners, conveying the frustrations and aspirations of those who feel stuck in a rut. The chorus, with its anthemic melody and empowering lyrics, serves as a rallying cry, urging listeners to rise above their circumstances and embrace their dreams.

“Get Drunk and Be Somebody” is more than just a catchy country tune; it’s a testament to the human spirit’s resilience. It’s a reminder that no matter where we come from or what challenges we face, we all have the power to shape our own destinies. Keith’s song serves as an inspiration, urging us to break free from self-doubt and pursue our passions with unwavering determination.

In the years since its release, “Get Drunk and Be Somebody” has become a staple of country radio and live performances. Keith’s energetic renditions of the song never fail to ignite crowds, leaving audiences feeling empowered and ready to take on the world. The song’s enduring popularity speaks to its universal message of self-belief and the pursuit of one’s dreams.

“Get Drunk and Be Somebody” is a true country anthem, a celebration of the underdog spirit and the power of self-empowerment. Toby Keith’s rousing delivery and the song’s infectious melody have made it a timeless classic, inspiring generations to embrace their dreams and never give up on themselves.

Video

Lyrics: Get Drunk and Be Somebody

Yeah the big boss man, he likes to crack that whip
I ain’t nothing but a number on his timecard slip,
I give him 40 hours and a piece of my soul,
Puts me somewhere at the bottom of his totem pole,
Hell I don’t even think he knows my name…[Chorus]
Well all week long I’m a real nobody,
But I just punched out and its paycheck Friday,
Weekends here, good God almighty,
I’m going to get drunk and be somebody
Yeah, yeah, yeah…My baby cuts hair at a beauty boutique,
Just blowin’ and goin’ till she dead on her feet,
They walk right in and sit right down,
She gives them what they want and then she spins them around,
Hey I don’t think they even know her name…[Chorus]
All week long she’s a real nobody,
but I just picked her up and its paycheck Friday,
Weekends here, good God almighty,
Baby lets get drunk and be somebody
Yeah, yeah, yeah…Well just average people, in an everyday bar,
driving from work in our ordinary cars,
and I like to come here with the regular Joes,
drink all you want, be the star of the star
of the show[Chorus]
All week long bunch of real nobodies,
but we just punched out and its paycheck Friday,
Weekends here, good God almighty,
People lets get drunk (lets get drunk!)
All week long we’re some real nobodies,
but we just punched out and its paycheck Friday,
Weekends here, good God almighty,
People lets get drunk and be somebody
Yeah, yeah, yeah…

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Thousands of fans filled the Nashville arena, restless after waiting two years to see Loretta Lynn again. She sat in the shadows beside the stage, weakened by the stroke that had taken her mobility in 2017 and the broken hip she suffered the following year. When the house band started the familiar rhythm of ‘Coal Miner’s Daughter,’ the room seemed to hold its breath. Her sister, Crystal Gayle, leaned over and encouraged her to sing. Loretta waved her off at first, looking down, apparently content to stay quietly in the wings. Then something changed. As the crowd pressed forward, humming the song that told her own story, their response seemed to reach her through the exhaustion. She reached out suddenly and firmly, closing her hand around the microphone’s cool metal. ‘Let me have that damn mic,’ she muttered. Her voice carried through the sound system with unmistakable authority. She was taking back the place she had held for more than fifty years, brushing aside every doctor and therapist who had told her to slow down. The crowd’s roar hit the stage and seemed to shake the rafters. For a moment, the frailty of the past two years faded from view. The audience saw the Kentucky girl who had lived through hardship and made music out of it. Loretta leaned into the song, her voice cracking a little but still carrying the grit that had defined her career. As the last note lingered, everyone in the room understood: she was giving them more than a performance. She was reminding them who was still in charge.

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RCA’s doors stayed closed to Dottie West, enough to shake any performer’s confidence in Nashville. Her stints with Starday and Atlantic had left her with little beyond empty pockets and unpaid bills. By 1961, she and her husband, steel guitarist Bill West, were living in a small house in West Nashville. It felt less like a home than a place to make one last, desperate attempt. For years, they had driven back and forth from Cleveland, spending time and money on trips that brought them no closer to getting through the industry’s doors. At that house, Dottie began taking a different approach. Instead of chasing executives, she fed hungry songwriters. Willie Nelson, Roger Miller, and Red Lane started coming over, finding something at her kitchen table that the labels hadn’t offered: someone willing to listen. Auditions gave way to suppers, with Dottie hearing unfinished verses as her guests unpacked their battered guitar cases. If she couldn’t get into the business, she would bring it into her home. Each meal was a deliberate investment in the songwriting Nashville claimed to value but had yet to recognize in her. Things changed the night Jim Reeves heard her song, ‘Is This Me?’ and took it to Chet Atkins. One straightforward exchange over a melody opened a path that had been blocked for years. It wasn’t simply a lucky break. It grew out of her decision to stop asking for a place and create one herself. When she became the first woman to win a country Grammy, the award meant more than recognition. It confirmed that those lean years in the West Nashville house had produced some of the most important work of her life.

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