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Toby Keith ft Sting – I’m So Happy I Can’t Stop Crying

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

 

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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?

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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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.