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Heartfelt Harmonies: Exploring the Lyrics of Roxette’s Iconic Ballad

Introduction

In the realm of music, some songs are more than just compositions; they are anthems that touch the depths of the soul. Roxette’s “Listen To Your Heart,” released in 1988, is undoubtedly one such timeless masterpiece. This iconic ballad, composed by the Swedish pop-rock duo Roxette, has carved its name in the annals of music history, capturing the hearts of generations. But there’s more to this song than just its melody – let’s delve into the captivating story of “Listen To Your Heart” and the talented artists behind it.Roxette songwriter Per Gessle pays tribute to Marie Fredriksson: 'What a dream we got to share' | The Independent | The Independent

Did You Know?

1. Chart-Topping Success: “Listen To Your Heart” soared to global acclaim, reaching the top of the charts in multiple countries, including the United States, Canada, and various European nations. It’s not just a song; it’s a sensation that conquered the airwaves.

2. Roxette – The Dynamic Duo: The Swedish pop-rock duo behind this chartbuster, Roxette, consisted of Marie Fredriksson and Per Gessle. Their unique blend of pop and rock elements set them apart in the music industry, and they were known for crafting memorable melodies and powerful lyrics.

3. A Song of Love and Longing: “Listen To Your Heart” is a heart-rending ballad that explores themes of love and longing. The powerful lyrics and emotional vocals make it an anthem for the lovestruck and a comforting refuge for the brokenhearted.

4. Enduring Legacy: Even decades after its release, “Listen To Your Heart” remains an evergreen favorite, often featured in films, TV shows, and cover versions by various artists. Its timelessness is a testament to the song’s enduring quality.

5. Tragic Loss and Lasting Impact: In 2019, the world bid farewell to Marie Fredriksson, who passed away after a long battle with cancer. Her indomitable spirit and extraordinary talent left an indelible mark on the world of music, and “Listen To Your Heart” stands as a tribute to her legacy.It Must Have Been Love: Roxette's power ballad is a masterpiece of pain | Pop and rock | The Guardian

Video

Lyrics: Listen To Your Heart 

I know there’s something in the wake of your smile.
I get a notion from the look in your eyes, yea.
You’ve built a love but that love falls apart.
Your little piece of heaven turns too dark.

Listen to your heart
When he’s calling for you.
Listen to your heart
There’s nothing else you can do.
I don’t know where you’re going
And I don’t know why,
But listen to your heart
Before you tell him goodbye.

Sometimes you wonder if this fight is worthwhile.
The precious moments are all lost in the tide, yea.
They’re swept away and nothing is what it seems,
The feeling of belonging to your dreams.

Listen to your heart
When he’s calling for you.
Listen to your heart
There’s nothing else you can do.
I don’t know where you’re going
And I don’t know why,
But listen to your heart
Before you tell him goodbye.

And there are voices
That want to be heard.
So much to mention
But you can’t find the words.
The scent of magic,
The beauty that’s been
When love was wilder than the wind.

Listen to your heart
Take a listen
When he’s calling for you
Listen to your heart
Take a listen
There’s nothing else you can do.
I don’t know where you’re going
And I don’t know why,
But listen to your heart
Before

Listen to your heart
Take a listen
When he’s calling for you
Listen to your heart
Take a listen
There’s nothing else you can do.
I don’t know where you’re going
And I don’t know why,
But listen to your heart
Before you tell him goodbye.

Listen to your heart
[Repeat until the end]

Take a listen to your heart
Take a
Take a listen to your heart

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HIS FATHER TOLD HIM TO PUT DOWN THE GUITAR. NASHVILLE FORGOT HIM. TWICE. HE CAME BACK IN A WHEELCHAIR AND STILL WOULDN’T SHUT UP. Vern Gosdin grew up hauling rocks and chopping cotton in Woodland, Alabama. His father tried music once, failed, and forbade his son from ever touching a guitar. Vern left home and never looked back — never saw his father again. He moved to California. Then Chicago. Then Nashville. Two record labels went bankrupt under him. Nobody called. Nobody came looking. So he quit, moved to Georgia, and sold glass for a living. But he kept a guitar in his truck. In the late ’70s, he crawled back to Nashville — older, broker, and angrier than every pretty boy on country radio. He didn’t sound trendy. He sounded like a man who’d been through hell and could prove it. Then he wrote “Chiseled in Stone” and beat every superstar in town for CMA Song of the Year. Tammy Wynette called him “the only singer who can hold a candle to George Jones.” In 1998, a stroke stole his voice. He kept writing from a wheelchair. 101 songs. Still fighting. They called him “The Voice.” Nashville called him too late. Does knowing how many times Vern Gosdin had to start over make “Chiseled in Stone” hit even harder now?

SHE WAS A BRIDE AT FIFTEEN, A MOTHER AT SIXTEEN, AND THE FIRST WOMAN NASHVILLE EVER HAD TO CALL “ENTERTAINER OF THE YEAR” — THEN SHE NAMED HER BABY AFTER THE BEST FRIEND SHE’D JUST BURIED, AND THAT BABY SPENT A LIFETIME MAKING SURE NEITHER VOICE WAS FORGOTTEN. Loretta Lynn came out of Butcher Hollow, Kentucky, with nothing but a coal miner’s last name and a voice that could pin a grown man to his chair. Married before she could drive. Four children by twenty-two. Then she wrote songs that scared Nashville half to death — about cheating husbands, birth control pills, and women who’d had enough. Sixteen number-ones. Presidential Medal of Freedom. The whole world calling her the Coal Miner’s Daughter. In 1963, her best friend Patsy Cline died in a plane crash. The next year, Loretta gave birth to twins. She named one of them Patsy. That little girl grew up backstage, between tour buses and honky-tonks. She formed The Lynns with her twin sister Peggy. Earned CMA nominations. Then she did something quieter and heavier — she stepped behind the glass and co-produced her mother’s final albums alongside Johnny Cash’s son. Loretta died October 4, 2022. That first birthday without her, Patsy woke up reaching for a phone call that wasn’t coming — her mama singing “Happy Birthday,” the way she always had. Does knowing Loretta named her daughter after a ghost she never stopped grieving make “I Fall to Pieces” feel like it belongs to both of them now?

“YOU MAKE THE COFFEE, I’LL MAKE THE BED.” — GLEN CAMPBELL DIDN’T NEED A LOVE POEM. HE JUST NEEDED AN OKLAHOMA MORNING. In December 1971, Glen Campbell released “Oklahoma Sunday Morning.” It peaked at #15 on the country charts—not his biggest hit by a long shot. But something about this track stuck. It wasn’t about fame or tragedy; it was about coffee, making the bed, and packing a lunch. It was the kind of love that doesn’t make headlines. But the way Glen sang it, you realized he wasn’t just describing a routine. He was singing about the only place that truly felt like home. A kid from a sharecropper’s family of twelve in Delight, Arkansas—who went on to sell 45 million records—poured something deeply personal into this quiet track. Fifty years later, folks across Oklahoma still know every word. Some songs don’t need to reach #1. They just need to be true.

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HIS FATHER TOLD HIM TO PUT DOWN THE GUITAR. NASHVILLE FORGOT HIM. TWICE. HE CAME BACK IN A WHEELCHAIR AND STILL WOULDN’T SHUT UP. Vern Gosdin grew up hauling rocks and chopping cotton in Woodland, Alabama. His father tried music once, failed, and forbade his son from ever touching a guitar. Vern left home and never looked back — never saw his father again. He moved to California. Then Chicago. Then Nashville. Two record labels went bankrupt under him. Nobody called. Nobody came looking. So he quit, moved to Georgia, and sold glass for a living. But he kept a guitar in his truck. In the late ’70s, he crawled back to Nashville — older, broker, and angrier than every pretty boy on country radio. He didn’t sound trendy. He sounded like a man who’d been through hell and could prove it. Then he wrote “Chiseled in Stone” and beat every superstar in town for CMA Song of the Year. Tammy Wynette called him “the only singer who can hold a candle to George Jones.” In 1998, a stroke stole his voice. He kept writing from a wheelchair. 101 songs. Still fighting. They called him “The Voice.” Nashville called him too late. Does knowing how many times Vern Gosdin had to start over make “Chiseled in Stone” hit even harder now?

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THEY LOOKED LIKE FOUR OUTLAWS WHO COULD OUTRUN TIME ITSELF. BUT WHEN YOU WATCH THE HIGHWAYMEN SING “BIG RIVER” TODAY, THE EMPTY MICROPHONES BREAK YOUR HEART. Onstage, Johnny Cash, Waylon Jennings, Kris Kristofferson, and Willie Nelson looked untouchable. Four weathered men, four different wounds, four voices that made country music sound dangerous, honest, and free. When they traded verses on Cash’s “Big River,” it wasn’t just another performance. It was four old brothers chasing the same song down the same river, each one carrying a piece of the road in his voice. Cash brought the thunder. Waylon brought the grit. Kris brought the broken-poet soul. Willie floated above it all with that calm, aching grace only he could carry. Back then, the stage lights made it easy to believe they would always be there. That was the beautiful lie of watching legends stand side by side. But time does what no outlaw ever could: it catches everyone. Today, Cash is gone. Waylon is gone. Kris has crossed the river too. Willie is the only one left, still playing, still standing, still carrying a brotherhood that can never fully gather again. That is why “Big River” feels different now. It is no longer just a song about chasing something you cannot hold. It feels like time itself moving past four men we were not ready to lose. The song remains. But three microphones are empty. Does “Big River” feel heavier now that Willie is the only one left to sing it?

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SHE WAS A BRIDE AT FIFTEEN, A MOTHER AT SIXTEEN, AND THE FIRST WOMAN NASHVILLE EVER HAD TO CALL “ENTERTAINER OF THE YEAR” — THEN SHE NAMED HER BABY AFTER THE BEST FRIEND SHE’D JUST BURIED, AND THAT BABY SPENT A LIFETIME MAKING SURE NEITHER VOICE WAS FORGOTTEN. Loretta Lynn came out of Butcher Hollow, Kentucky, with nothing but a coal miner’s last name and a voice that could pin a grown man to his chair. Married before she could drive. Four children by twenty-two. Then she wrote songs that scared Nashville half to death — about cheating husbands, birth control pills, and women who’d had enough. Sixteen number-ones. Presidential Medal of Freedom. The whole world calling her the Coal Miner’s Daughter. In 1963, her best friend Patsy Cline died in a plane crash. The next year, Loretta gave birth to twins. She named one of them Patsy. That little girl grew up backstage, between tour buses and honky-tonks. She formed The Lynns with her twin sister Peggy. Earned CMA nominations. Then she did something quieter and heavier — she stepped behind the glass and co-produced her mother’s final albums alongside Johnny Cash’s son. Loretta died October 4, 2022. That first birthday without her, Patsy woke up reaching for a phone call that wasn’t coming — her mama singing “Happy Birthday,” the way she always had. Does knowing Loretta named her daughter after a ghost she never stopped grieving make “I Fall to Pieces” feel like it belongs to both of them now?

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“YOU MAKE THE COFFEE, I’LL MAKE THE BED.” — GLEN CAMPBELL DIDN’T NEED A LOVE POEM. HE JUST NEEDED AN OKLAHOMA MORNING. In December 1971, Glen Campbell released “Oklahoma Sunday Morning.” It peaked at #15 on the country charts—not his biggest hit by a long shot. But something about this track stuck. It wasn’t about fame or tragedy; it was about coffee, making the bed, and packing a lunch. It was the kind of love that doesn’t make headlines. But the way Glen sang it, you realized he wasn’t just describing a routine. He was singing about the only place that truly felt like home. A kid from a sharecropper’s family of twelve in Delight, Arkansas—who went on to sell 45 million records—poured something deeply personal into this quiet track. Fifty years later, folks across Oklahoma still know every word. Some songs don’t need to reach #1. They just need to be true.