Sting – I'm So Happy I Can't Stop Crying Lyrics | Genius Lyrics

About the Song

“I’m So Happy I Can’t Stop Crying” is a country-pop song written by Toby Keith and Sting. It was first released by Keith on his 2003 album Shock’n Y’all, and later by Sting on his 2004 album Sacred Love. The song is a duet about the joy of finding true love.

The song begins with Keith singing about how he’s never felt this way before. He’s so happy that he can’t stop crying. Sting then enters the song, singing about how he’s found the love of his life. The two singers then sing together about how they’re so happy that they can’t stop crying.

The song is a beautiful ballad that celebrates the power of love. It’s a song that will make you smile and cry at the same time. If you’re looking for a song to lift your spirits, then “I’m So Happy I Can’t Stop Crying” is the perfect song for you.

Toby Keith is an American country music singer and songwriter. He has released 19 studio albums, and has had 31 number-one singles on the Billboard Hot Country Songs chart. Keith is known for his his traditional country sound, and his songs often deal with themes of patriotism, family, and hard work.

Sting is an English singer, songwriter, and actor. He is best known as the frontman of the rock band The Police. Sting has also had a successful solo career, and has released 15 studio albums. Sting’s music is known for its eclectic mix of styles, including rock, pop, jazz, and world music.

“I’m So Happy I Can’t Stop Crying” is a beautiful song that is sure to touch your heart. It’s a song about the power of love, and it’s a song that will make you smile and cry at the same time. If you’re looking for a song to lift your spirits, then “I’m So Happy I Can’t Stop Crying” is the perfect song for you.

Here are some additional details about the song:

  • The song was produced by James Stroud.
  • The song was released as the second single from Keith’s album Shock’n Y’all.
  • The song reached number one on the Billboard Hot Country Songs chart.
  • The song was nominated for a Grammy Award for Best Country Performance by a Duo or Group with Vocals.

Here are some interesting facts about the song:

  • The song was inspired by Keith’s real-life experience of finding true love.
  • Keith and Sting wrote the song together in Sting’s home studio in England.
  • The song was recorded in Nashville, Tennessee.
  • The music video for the song was directed by Trey Fanjoy.
  • The music video features Keith and Sting singing the song in a variety of locations, including a field, a forest, and a beach.

I'm So Happy I Can't Stop Crying (w/ Sting) - Toby Keith - Partition 🎸 de la chanson + accords et paroles

Video

Lyrics: I’m So Happy I Can’t Stop Crying

Seven weeks have passed now since she left me,
She shows her face to ask me how I am
She says the kids are fine and that they miss me
Maybe I could come and baby-sit sometimeShe says, “are you o.k? I was worried about you.
“Can you forgive me? I hope that you’ll be happy.”
I’m so happy that I can’t stop crying
I’m so happy I’m laughing through my tearsI saw a friend of mine. he said, “I was worried about you
I heard she had another man, I wondered how you felt about I
I’m so happy that I can’t stop crying
I’m so happy I’m laughing through my tearsSaw my lawyer, Mr. good news, he got me
Joint custody and legal separation
I’m so happy that I can’t stop crying
I’m laughing through my tears,
I’m laughing through my tearsI took a walk alone last night.
I looked up at the stars
To try to find an answer in my life

I chose a star for me, I chose a star for him
I chose two stars for my kids and one star for my wife
Something made me smile.
Something seemed to ease the pain
Something about the universe and how it’s all connected

The park is full of sunday fathers, and melted ice cream
We try to do the best, within the givin time
A kid should be with his mother, everybody knows that
What can a father do but baby-sit sometimes?

I saw that friend of mine, he said, “you look different somehow.”
I said, “everybody’s got to leave this darkness sometime.”
I’m so happy that I can’t stop crying,
I’m laughing through my tears,
I’m laughing through my tears
I’m so happy that I can’t stop crying
I’m laughing through my tears,
I’m laughing through my tears

 

You Missed

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.

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.

Tucked away in a private drawer, far from the polished sets of her television show, lay a bundle of 341 letters. These were not press clippings or scripts; they were brittle, handwritten testimonies from servicemen stationed in remote barracks, deep in war-torn tunnels, and across desolate battlefields. During the long years of the Second World War, as Hollywood presented a glossy, curated image of American life, Donna Reed spent her nights reading these letters and, more remarkably, personally answering them. This was the quiet, invisible work that defined her, long before the public labeled her the quintessential television mother. Behind the camera during her production years, Reed was a different person entirely. She was rarely seen holding a script for a scene; she was more likely to be found hunched over lighting diagrams or studying the intricacies of cinematography. She possessed an uncredited producer’s mind, constantly analyzing how the frame could better reflect the reality of the family she was trying to depict. The studio environment was frequently cold and high-pressured, but she moved through it with a meticulous attention to detail that frustrated those who wanted to treat her as merely another pretty face in the cast. These tactile remnants—the stacks of ink-stained paper and the forgotten notes on camera angles—tell the story of a woman who never truly fit the box Hollywood built for her. While the world remembers the steady, comforting image of a television home, she lived a life carved out of hard labor and deep empathy. She carried the weight of those soldiers’ stories and the technical burdens of the studio floor until her final days, forever balancing the fragility of her public image against the demanding, gritty reality of her actual life.