Country Oldies Musics

“Is Anybody Goin’ To San Antone” – Charley Pride

Charley Pride Dead at 86 From Covid-19 Complications

About the Song

Charley Pride’s “Is Anybody Goin’ to San Antone” is a classic country roadhouse ballad that captures the spirit of wanderlust and heartache. Released in 1970, the song became a number-one hit, showcasing Pride’s distinctive voice and his ability to connect with audiences on a deeply personal level.

The song paints a vivid picture of a lonely traveler searching for solace and escape. Pride’s soulful vocals convey a sense of weariness and longing as he asks the titular question, inviting listeners to share in his journey. The lyrics evoke images of open roads, dusty highways, and the allure of the unknown.

Beyond its storytelling prowess, “Is Anybody Goin’ to San Antone” is a testament to Pride’s ability to craft a memorable melody. The song’s infectious rhythm and catchy chorus make it an instant earworm, while the underlying melancholy adds depth and emotional resonance.

This classic country tune continues to resonate with audiences, serving as a reminder of the enduring appeal of the open road and the human desire for connection. Charley Pride Dead: Country Musicians, Stars Pay Tribute

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Lyrics: Is Anybody Goin’ To San Antone

Rain drippin’ off the brim of my hat
Sure is cold today
Here I am walkin’ down 66
Wish you hadn’t done me that waySleepin’ under a table in a roadside park
A girl could wake up dead
But it sure seems warmer than it did
Sleepin’ in our king size bedIs anybody goin’ to San Antone
Or Phoenix, Arizona?
Any place is alright
As long as I can forget I’ve ever known ya

Wind whippin’ down the neck of my shirt
Like I ain’t got nothin’ on
But I’d rahter fight the wind and the rain
Than what I’ve been fightin’ at home

Yonder comes a truck with the U.S. Mail
People writin’ letters back home
Tomorrow he’ll probably want me back
But I’ll still be just as gone

Is anybody goin’ to San Antone
Or Phoenix, Arizona?
Any place is alright
As long as I can forget I’ve ever known ya

Is anybody goin’ to San Antone
Or Phoenix, Arizona?
Here, any place is alright
As long as I can forget I’ve ever known ya

AN UNFORGETTABLE FAREWELL: “HIS VOICE FALTERED, SO 20,000 SOULS CARRIED HIM HOME.” In 2023, as the final chapter of his journey drew near, Toby Keith stepped into the spotlight, and the entire arena seemed to buckle under the weight of the moment. More than 20,000 fans rose as one—not just to salute a country icon, but to stand with a man whose music had been the soundtrack to our pride, our heartache, our humor, and our American grit for thirty years. Then, the moment hit. His voice wavered. His eyes drifted shut. The anthem he had commanded from stages for decades suddenly felt too heavy for one man to bear alone. For a split second, the silence was deafening. Then, it broke. The crowd took the lead. One voice became thousands, and suddenly 20,000 people were roaring the chorus to keep him upright. There were no wild, empty cheers—just a sea of tears, a surge of raw love, and a final, haunting memory that every fan in that room will carry to their grave.

THEY CLAIMED SHE WAS FADING INTO HISTORY, SO NASHVILLE CARVED HER IN STONE TO PROVE THEM WRONG. On October 20, 2020, the Ryman Auditorium unveiled a bronze monument to Loretta Lynn on the Icon Walk—not merely as a decoration, but as a permanent declaration that the Coal Miner’s Daughter is built into the very foundation of country music. Maybe the airwaves have shifted. Maybe the new generation knows her name but hasn’t fully grasped the weight of the battles she won. Some might look at the girl from Butcher Hollow and forget that she was the one who shattered the glass ceiling of what a woman was allowed to speak on. Forgotten? Hardly. Loretta didn’t just churn out hits; she laid the groundwork for everything that came after. Her bronze likeness now guards the Mother Church of Country Music, shoulder-to-shoulder with the giants who built this town. From the Country Music Hall of Fame and the Kennedy Center Honors to the Presidential Medal of Freedom, her accolades aren’t just trinkets—they are monuments to a Kentucky girl who walked into Nashville and refused to let the truth be hushed. She sang about the grit of motherhood, the sting of poverty, the bitterness of jealousy, and the realities of marriage when the world demanded she stay quiet and compliant. Genres evolve and trends turn to dust, but every time a modern woman steps to a mic and refuses to apologize for her truth, Loretta Lynn is standing right there in the shadow. Does anyone really believe a force like hers could ever be forgotten?

HE NEVER MEANT TO RELEASE IT TO THE WORLD, BUT NOW, TWO YEARS AFTER HE’S GONE, THE MARINES ARE STILL MARCHING TO IT. Toby Keith hammered out “Courtesy of the Red, White and Blue” in a frantic 20-minute burst just a week after the 9/11 attacks. It wasn’t meant for the airwaves or an album—it was just his way of giving something back to the troops he visited on USO tours. That all changed when the Commandant of the Marine Corps cornered him with a stark reality: “You have to release this. Combat isn’t the only way to serve your country.” Toby took that to heart, and for more than twenty years, that song became the anthem of every military base and soldier’s heart he stood in front of. He may have laid his burden down in February 2024, but the song hasn’t skipped a beat. Last night, the opening of the Great American State Fair turned into a tribute for the ages. On the National Mall, right in the shadow of America’s 250th birthday celebration, a Marine took the stage. Backed by the thunder of the U.S. Marine Band, they belted out those iconic lyrics. It wasn’t a country star standing there for the troops this time—it was the troops themselves, raising their voices to honor the man who never stopped fighting for them.

TWO DAYS BEFORE THE FINAL CURTAIN, ALAN JACKSON DROPPED A LOVE LETTER TO THE WOMAN WHO KNEW HIM WHEN HE WAS NOBODY. Half a century ago in Newnan, Georgia, a young Alan Jackson stood watching a high school cheerleader named Denise perfect a dance routine. The track spinning that day was Orleans’ “Still The One,” a song that etched itself into his soul for the next fifty years. Three years later, they were married. Long before the sold-out arenas, the mountain of platinum records, the whiskey legacy, and the massive farewell at Nissan Stadium, there was just Denise—the girl who was there before the world knew his name. Today, Alan dropped his own version of that 1976 hit, infusing it with that signature country soul that defined his career. He says every time the melody hits, the years melt away. He tracked this version as a birthday gift for her because, after 46 years of life together, she’s still the only one. On the very same day his Silverbelly Whiskey Distillery and Museum threw open its doors in downtown Nashville, Alan delivered something far more lasting than a business milestone. He gave Denise a piece of their history preserved in a song. And truthfully, there’s no better way for a man like Alan Jackson to bow out—not with the roar of the crowd, but with a quiet, honest act of devotion.