Best Buy: The Best of the Five Americans [CD]

About the Song

While the music landscape of the 1960s was bursting with innovation and experimentation, some songs found success by capturing a more relatable experience. “Western Union” by The Five Americans, released in 1967, falls squarely in this category. This catchy tune, which reached number 5 on the Billboard Hot 100 chart, continues to resonate with listeners today due to its relatable themes and infectious energy.

“Western Union” is a song about the anticipation – and potential disappointment – associated with receiving a telegram, a once-ubiquitous form of communication. The lyrics paint a vivid picture of the protagonist waking up to find “bad news in his head,” a feeling amplified by the arrival of a telegram – a message that could bring either good or bad tidings, often for a hefty price (50 cents at the time).

The song’s brilliance lies in its simplicity. The driving beat and catchy melody are instantly memorable, while the lyrics, delivered with a touch of playful anxiety by The Five Americans, perfectly capture the emotions surrounding that yellow envelope. Whether it’s news from a loved one, a job offer, or simply the mundane realities of life, “Western Union” taps into the universal human experience of waiting for important information.

Beyond its relatable theme, “Western Union” is a prime example of the tight harmonies and vocal prowess that defined The Five Americans. Their smooth blend and energetic delivery add another layer of appeal to the song, making it both catchy and emotionally resonant.

Although telegrams have faded from everyday use, the song’s message remains timeless. In today’s digital age, “Western Union” serves as a reminder of a bygone era of communication, while still capturing the anticipation and anxiety associated with waiting for important news, whether it arrives by text, email, or social media.

URBAN ASPIRINES: The Five Americans: 5 Albums

Video

Lyrics: Western Union

[Intro]
*telegraph*

[Verse 1]
Things went wrong today
Bad news came my way
I woke up to find
Oh, I had blew my mind

[Verse 2]
Western Union man
Bad news in his hand
Knocking at my door
Selling me the score

[Verse 3]
Fifteen cents a word to read
A telegram I didn’t need
Says she doesn’t care no more
Think I’ll throw it on the floor

[Bridge]
Got your cable just today
Killed my groove I’ve got to say-ay-ay

[Chorus]
Western Union
(Ta, ta-ta-ta, ta-ta, ta, ta-ta-ta, ta-ta
Ta, ta-ta-ta, ta-ta, ta, ta-ta-ta, ta-ta
Ta, ta-ta-ta, ta-ta, ta, ta-ta-ta, ta-ta
Ta, ta-ta-ta, ta-ta, ta, ta-ta-ta, ta-ta)

[Verse 3]
Now, you’ve gone away, and
How it’s sad to say you’ve gone
(Ta, ta-ta-ta, ta-ta, ta, ta-ta-ta, ta-ta
Ta, ta-ta-ta, ta-ta, ta, ta-ta-ta, ta-ta)
I remember what they said
Now, I’m going out of my head
(Ta, ta-ta-ta, ta-ta, ta, ta-ta-ta, ta-ta
Ta, ta-ta-ta, ta-ta, ta, ta-ta-ta, ta-ta)

[Bridge]
Telegram just had to say
You’ve learned your lesson all the way-ay

[Organ Solo]

[Bridge]
Telegram just had to say
You’ve learned your lesson all the way-ay-ay

[Chorus]
Western Union
(Ta, ta-ta-ta, ta-ta, ta, ta-ta-ta, ta-ta
Ta, ta-ta-ta, ta-ta, ta, ta-ta-ta, ta-ta
Ta, ta-ta-ta, ta-ta, ta, ta-ta-ta, ta-ta
Ta, ta-ta-ta, ta-ta, ta, ta-ta-ta, ta-ta)

[Verse 4]
I’ll be on my way ’cause
There’s another girl for me
(Ta, ta-ta-ta, ta-ta, ta, ta-ta-ta, ta-ta
Ta, ta-ta-ta, ta-ta, ta, ta-ta-ta, ta-ta)
I’ll be sure of her, and
Things will be as they were
(Ta, ta-ta-ta, ta-ta, ta, ta-ta-ta, ta-ta
Ta, ta-ta-ta, ta-ta, ta, ta-ta-ta, ta-ta)

[Outro]
(Ta, ta-ta-ta, ta-ta, ta, ta-ta-ta, ta-ta)
Western Union
(Ta, ta-ta-ta, ta-ta, ta, ta-ta-ta, ta-ta)
Oh, Western Union
(Ta, ta-ta-ta, ta-ta, ta, ta-ta-ta, ta-ta)
Western Union
(Ta, ta-ta-ta, ta-ta, ta, ta-ta-ta, ta-ta)

You Missed

THE MUSIC STOPPED, THE LIGHTS HELD THEIR BREATH, AND FOR THE FIRST TIME IN HIS CAREER, TOBY KEITH DIDN’T HAVE A JOKE TO DEFLECT THE MOMENT. During one of the final shows of his career, the last chord of a song didn’t signal the beginning of the next—it signaled the end of a lifetime of chasing the horizon. The band stepped back, the arena lights caught the sweat on his brim, and the crowd waited for that familiar, bravado-fueled grin that usually followed. It never came. Instead, Toby just stood there. Guitar still strapped across his chest, head bowed slightly, eyes scanning the sea of faces that had been with him since the bars of Oklahoma. Thousands of people who had used his songs to celebrate their weddings, mourn their losses, and define their American identity stared back, suddenly realizing that the man onstage wasn’t just performing—he was saying goodbye in the only way he knew how: by trying to memorize the room. The silence didn’t feel like a technical glitch or a pause for breath. It felt heavy, filled with the weight of decades of road miles, stadium roars, and the quiet realization that the curtain was closing. When he finally leaned into the mic, he didn’t boast. He didn’t promise to see them next year. He whispered, “Thank you for letting me do this all these years.” The arena erupted, the sound reaching a fever pitch of devotion and grief, but the true resonance of that night happened in those seconds of dead air. It was a raw, unscripted confession from a man who spent his life sounding larger than life, finally admitting that he knew exactly how much he owed to the people standing in front of him. In that silence, he wasn’t the star; he was just a man looking at the people who had given his life its meaning, making sure he took the image of them with him when he left the stage for the last time.

THE MOST POWERFUL PATRIOTIC ANTHEM IN COUNTRY MUSIC WASN’T WRITTEN FOR THE STADIUMS. IT WAS WRITTEN FOR A GHOST. Toby Keith didn’t sit down to craft a hit. He didn’t head to a sterile Nashville writing room to hunt for a chart-topper. He sat down alone, scribbling in a fury on the back of a discarded Fantasy Football sheet, pouring every ounce of the grief and rage he’d been carrying for months onto the page. He wrote “Courtesy of the Red, White and Blue” in twenty minutes. And then, he tried to bury it. The song wasn’t about politics. It was about a man with one eye. Toby’s father, H.K. Covel, had served his country and lost his sight in the process, yet he’d spent his life flying the flag in his front yard, never uttering a word of complaint. When he died in a car crash in March 2001, the world felt like it was shifting. Six months later, the towers fell, and that personal ache transformed into a national roar. Toby never wanted the public to hear it. He kept it to himself until he stood inside the Pentagon, alone with his guitar, playing for a group of Marines preparing to deploy to Afghanistan. He was singing for them, but in his head, he was singing for his father. When he finished, a Marine commander stopped him, looked him in the eye, and told him the truth: “That’s the most amazing battle song I’ve ever heard in my life.” The commander told him that releasing it wasn’t just a career move—it was a service. It hit No. 1 in 2002 and became the defining song of Toby’s life, but he never forgot why he scratched those lyrics out on a piece of scrap paper. It was for H.K. Covel. Some songs are crafted for the radio, designed to fit into a playlist and fill the silence between commercials. This one was written for one man who never got to hear it—and in the process, it ended up speaking for an entire country.

ALAN JACKSON WROTE HIS FATHER’S EULOGY AND BURIED IT IN PLAIN SIGHT, HOPING NO ONE WOULD REALIZE HE WASN’T SINGING A SONG—HE WAS SAYING GOODBYE. When Alan Jackson released “Small Town Southern Man” in 2007, it sounded like the quintessential radio staple—a warm, nostalgic breeze about a quiet life in a quiet town. It was the kind of track that felt like home, designed to be heard in the background of a drive or a summer afternoon. Nobody was supposed to look deeper. Nobody was supposed to realize that every single line was a pinprick of memory. But the song wasn’t a story about a random man. It was a roadmap of a life that had ended seven years earlier. The car mechanic at the Ford plant? That was Daddy Gene. The house that hadn’t been left in fifty-three years? That was the foundation where Alan grew up. And the “unplanned” boy who came along late to a family of four daughters? That was Alan himself. When he walked into the recording booth, he didn’t just lay down a track; he chronicled the blueprint of his father’s existence, detailing his work, his marriage, and his quiet gravity, all without ever calling him by name. When the industry asked him about it, Alan played it cool. Just another song about small-town life. Nothing personal. Nothing to see here. But Alan once admitted something that cuts to the bone: “I learned more about my daddy after he died than I did when he was alive.” He realized that a traditional eulogy lasts for twenty minutes in a church, but a song—a song stays on the radio forever. He didn’t write a standard tribute; he hid a lifetime of love and regret inside a three-minute melody, waiting for the people who listened closely enough to catch the truth. He didn’t just honor his father; he immortalized him, turning a man who never left his hometown into a legend who traveled the world on the strength of his son’s voice.

VERN GOSDIN DIDN’T WRITE THAT SONG. HE SURVIVED IT. THE WORLD CALLED IT A HEARTBREAK BALLAD; VERN CALLED IT HIS AFTERNOON. In 1982, when Vern Gosdin released “Today My World Slipped Away,” the country music machine did exactly what it always does: it labeled it a “formula” ballad. Fans heard the velvet tone, the impeccable phrasing, and the classic ache, and they slotted it right into the rotation between the other sad songs. They thought they were listening to a singer. They had no idea they were listening to a man who had just walked out of a courtroom, driven to a silent church, and collapsed on his knees before he ever stepped into a vocal booth. That wasn’t just a record; it was a confession. They called him “The Voice.” Tammy Wynette—a woman who knew a thing or two about pain—famously said Vern was the only singer who could stand in the shadow of George Jones and not disappear. But the magic wasn’t just in his range or his pitch; it was in the gravity behind every syllable. Most singers act out heartbreak; Vern Gosdin lived in the rubble of it. He went through three marriages and three divorces, and every single time the walls came down, he didn’t run away. He walked into a studio and bled into the microphone. He once joked, with a laugh that didn’t quite reach his eyes, that “out of everything bad, something good will come—I got ten hits out of my last divorce.” The audience laughed because they thought it was a quip. It wasn’t. It was the brutal, pragmatic arithmetic of a man who had nothing left to lose but his songs. We measure success in country music by the size of the crowds and the number of trophies, but Vern Gosdin lived by a different metric. He was a man who took the darkest hours of his life, polished them into three minutes of radio play, and handed them to the world so they could feel the weight of his life without ever having to carry it themselves.