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I Like It, I Love It – Tim McGraw

About the SongI Like It, I Love It

“I Like It, I Love It” by Tim McGraw is a lively and infectious country anthem that celebrates the joys of love and life. Released in 1994 as part of his album Not a Moment Too Soon, this track quickly became one of McGraw’s signature songs, showcasing his energetic style and charismatic vocals.

The lyrics convey a sense of pure happiness and contentment that comes from being in love. Lines like “I like it, I love it, I want some more of it” express an irresistible attraction and the joy of sharing moments with a partner. The upbeat and catchy chorus makes it impossible not to sing along, creating an immediate connection with listeners.

Musically, “I Like It, I Love It” features a driving beat and a blend of traditional country instrumentation with a modern twist. The infectious melody and lively arrangement, complete with electric guitars and a strong rhythm section, contribute to the song’s feel-good vibe. McGraw’s enthusiastic delivery adds to the song’s charm, making it a favorite at concerts and celebrations.

Upon its release, the song achieved significant commercial success, reaching the top of the country charts and solidifying McGraw’s place in the country music landscape. Its relatable themes of love and appreciation for life have made it a staple at weddings, parties, and other joyous occasions.

“I Like It, I Love It” has been embraced by fans across generations, and its catchy chorus continues to resonate with listeners. The song’s ability to evoke feelings of happiness and celebration ensures its lasting popularity in the country music genre.

In summary, “I Like It, I Love It” is a vibrant and uplifting song that captures the essence of love and joy. Tim McGraw’s dynamic performance and the song’s catchy lyrics make it a cherished favorite, inviting listeners to revel in the pleasures of life and love. Whether enjoyed at a lively gathering or played during a quiet moment, this track serves as a reminder to embrace the happiness that comes from those we cherish.Picture background

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Lyrics: “I Like It, I Love It”

 

Spent forty-eight dollars last night at the county fair
I threw out my shoulder but I won her that teddy bear
She’s got me saying “sugar-pie”, “honey”, “darling”, and “dear”
I ain’t seen the Braves play a game all year
I’m gonna get fired if I don’t get some sleep
My long lost buddies say I’m getting in too deepBut I like it, I love it, I want some more of it
I try so hard, I can’t rise above it
Don’t know what it is ’bout that little gal’s loving
But I like it, I love it, I want some more of itMy Mama and Daddy tried to teach me courtesy
But it never sank in ’til that girl got a hold of me
Now I’m holding umbrellas and opening up doors
I’m taking out the trash and I’m sweeping my floors
I’m crossing my fingers and counting every kiss
Praying that it keeps going on like this’Cause I like it, I love it, I want some more of it
I try so hard, I can’t rise above it
Don’t know what it is ’bout that little gal’s loving
But I like it, I love it, I want some more of it

Gotta wash my truck and dress up
To pick her up to watch TV
And she sits down on the sofa, she’ll move a little closer
She can’t get enough of me

Yeah, I like it, I love it, I want some more of it
I try so hard, I can’t rise above it
Don’t know what it is ’bout that little gal’s loving
But I like it, I love it, I want some more of it

Come on, baby
You know what I like
Yeah, I like that
Mm, mm, mm
Hey, don’t forget to turn out the lights

 

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A cot waited in a rehearsal hall at RCA Victor’s New York studio while Jimmie Rodgers made his final recordings. Between songs, he lay down to recover enough strength for another take. It was May 1933. Rodgers was 35 and had battled tuberculosis since 1924. As his health deteriorated, his earnings had dwindled. Victor was paying $250 per recorded side, and he wanted to provide for his wife, Carrie, and their daughter, Anita. The sessions started on May 17. Within days, standing to sing became impossible. He worked from an easy chair, supported by pillows that brought him close enough to the microphone, then returned to the cot. On May 24, two musicians accompanied him through three songs. After they left, Rodgers recorded one more with only his guitar: “Years Ago.” He had completed twelve songs in eight days. The following night at the Taft Hotel, severe coughing gave way to hemorrhaging in his lungs. The hotel doctor could not be located. Rodgers fell into a coma and died on May 26, roughly 36 hours after his last recording. Before music made him famous, he had worked as a railroad brakeman. A Southern Railway train carried his body home to Meridian, Mississippi, in a baggage car. According to accounts of the journey, the engineer kept sounding the whistle along the way.

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Randy Owen sometimes stopped his tour bus at truck stops to call radio DJs from pay phones. Alabama had already made him a country star. These calls were about persuading stations to help children at St. Jude. He knew what it meant to grow up with little. On his family’s sharecropper farm near Fort Payne, Alabama, he picked cotton and corn to help put food on the table. At school, other children mocked his scarred hands and the cotton dust on his clothes. Years later, after millions of record sales, Owen met St. Jude founder Danny Thomas in Atlanta. Thomas asked him to bring the country music community into the hospital’s fundraising work. When illness prevented Thomas from speaking at Nashville’s Country Radio Seminar, Owen took his place and proposed a nationwide radio effort. Winning support required persistence. He later described himself as “begging, pleading” with DJs. Some stations remained unconvinced. The first Country Cares radiothon aired on November 19, 1989: twelve hours, 45 artists and more than 800 stations. It raised approximately $1 million. By its 35th year in 2024, the initiative had brought in more than $1 billion. Owen has said helping St. Jude may be his most important work beyond being a husband and father. That enormous total began with individual requests, including calls made beside the highway between shows. Owen kept asking stations to participate. Across the country, their listeners kept answering.

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Lorrie Morgan saved the card Keith Whitley gave her at the Nashville airport for her flight home. When she finally opened it, her husband was dead. It was early May 1989. Lorrie was heading to Alaska to promote her first RCA album, while Keith was enjoying the strongest run of his career. Just weeks earlier, “I’m No Stranger to the Rain” had become his third consecutive No. 1. At home, success had brought little reassurance. Keith had struggled with alcohol for years. A period of sobriety beginning in 1987 lasted about six months. Lorrie later described the fear surrounding his drinking as living with a ticking time bomb. In her 1997 memoir, she recalled tying her leg to his while they slept so she would know if he got up to drink. During her trip, he began drinking again that weekend. On Tuesday morning, May 9, his brother-in-law, Lane Palmer, visited the house in Goodlettsville. They drank coffee and discussed golf and lunch. Palmer left around 8:30 a.m. When he returned roughly an hour later, Keith was lying on the bed, fully dressed and unconscious. The medical examiner determined that he died from acute alcohol poisoning. Traveling back to Nashville, Lorrie read the card she had set aside. She later said its words left her feeling that Keith had been trying to tell her something—a feeling she was left to carry without the chance to ask him.

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For Vince Gill, the memory of singing with Dolly Parton came down to their final note together at the 1995 CMA Awards. Thirty-one years later, on the day she died, he shared that performance again. “We are all crushed here at our house,” he wrote. He called the closing note of their duet one of the most beautiful sounds he had ever heard. Their recording of “I Will Always Love You” began with Dolly’s album *Something Special*. That summer, she revisited three of her classics, including the farewell she had written for Porter Wagoner in 1973. It had already topped the country chart twice in her own voice, and Whitney Houston’s 1992 recording had brought it to listeners worldwide. For this version, Dolly invited Vince to join her. They performed it on the Grand Ole Opry on August 26, 1995, during a TNN broadcast. Radio programmers began playing the duet before Columbia officially issued it as a single. That unsolicited airplay carried it onto Billboard’s country chart at No. 53. On October 4, they sang it again at the CMA Awards. Vince, then 38, was hosting the broadcast at the Grand Ole Opry House. He stepped away from those duties to sing beside the woman who had written the song when he was sixteen. As the performance ended, their voices met on one sustained note. Decades later, that was the moment he singled out. Released as a single that November, the duet reached No. 15, received a Grammy nomination and won the 1996 CMA award for Vocal Event of the Year. But Vince’s remembrance centered on what he had heard standing beside her. Dolly died in Nashville on August 25, 2026, at 80, after a brief battle with cancer. Two days later, Vince appeared at the Midland Theatre in Kansas City. He told the audience how deeply his family was hurting, then began “I Will Always Love You.” This time, he sang it alone. Fan footage captured him struggling with his emotions throughout the performance. When he stepped back to compose himself, people in the audience carried the words. Musicians behind him wiped their eyes. He reached the closing note without Dolly’s voice beside his. After finishing, he moved away from the microphone, placed a hand over his chest and lowered his head.