Country Music

Classic Country Music Hits

Country Music

Reba McEntire – What Am I Gonna Do About You

“Scroll down to the end of the article to listen to music.”

Introduction

Imagine a warm, summer evening in 1986—a time when the airwaves were filled with the sound of guitars and heartfelt lyrics. It was during this vibrant era of music that Reba McEntire released her eleventh studio album, featuring the chart-topping title track “What Am I Gonna Do About You.” This song, encapsulating the emotional turmoil of love, became a staple in the country music scene, further establishing McEntire’s influence as a powerhouse in the genre.

About The Composition

  • Title: What Am I Gonna Do About You
  • Composer: Written by Jim Allison, Doug Gilmore, and Bob Simon
  • Premiere Date: Released in September 1986
  • Album/Opus/Collection: Featured on Reba McEntire’s album of the same name
  • Genre: Country

Background

The song “What Am I Gonna Do About You” was first recorded by Con Hunley before Reba McEntire made it a standout track on her album. Under the production of Jimmy Bowen and McEntire herself, this song resonated deeply with audiences, securing its place at the top of the Billboard Hot Country Singles & Tracks chart. Its release during a period of considerable achievement for McEntire underlined her evolving artistry and her knack for connecting with listeners through relatable themes of love and heartache.

Musical Style

“What Am I Gonna Do About You” features a classic blend of country instrumentation with a poignant lyrical narrative. The arrangement is straightforward yet emotive, with guitar, bass, and drums complementing McEntire’s expressive vocals. This musical simplicity serves to amplify the emotional weight of the lyrics, allowing McEntire’s voice to carry the complex feelings of uncertainty and longing that define the song.

Lyrics/Libretto

The lyrics of “What Am I Gonna Do About You” delve into the struggles of overcoming lingering feelings for a past lover. The song’s narrative explores themes of love, loss, and the resilience needed to move forward. This thematic richness is paired seamlessly with the music, highlighting McEntire’s ability to convey deep emotions in her performances.

Performance History

Since its release, “What Am I Gonna Do About You” has been a significant part of Reba McEntire’s repertoire, featured prominently in her concerts and tours. Its enduring popularity is a testament to its relatability and McEntire’s skillful interpretation.

Cultural Impact

This track not only cemented McEntire’s status in country music but also showcased her as a storyteller who could evoke widespread empathy. It’s been used in various media and covered by other artists, highlighting its influence beyond the immediate sphere of country music.

Legacy

Decades later, “What Am I Gonna Do About You” remains an influential piece in the country music genre, admired for its honest storytelling and emotional delivery. Its ability to resonate with generations of listeners speaks volumes about its timeless appeal and McEntire’s lasting legacy as a musical icon.

Conclusion

Reflecting on “What Am I Gonna Do About You,” it’s clear why this song is cherished by so many. Its heartfelt lyrics and classic country sound make it a timeless piece, worthy of deep appreciation. For those looking to explore McEntire’s influential music, this song is a perfect starting point, offering a window into the soul of country music.

Video

Lyrics

The kid down the street mowes the grass every week
The neighbor next door fixed the roof where it leaked
Job’s going fine and the bills are all paid
And everyone thinks that I’m doing OK
There’s a guy down at work
He’s asked me out once or twice
I haven’t said yes
But I’m thinking I might
And on my way home I thought I saw you walk by
If only I could get you out of my mind
What in the world am I gonna do about you
Oh your memory keeps coming back
From out of the blue
But I still can’t believe that we’re through
So tell me what in the world am I gonna do about you
What am I gonna do about you
I went to the store
But it wasn’t much fun
It doesn’t take long when you’re shopping for one
Standing in line I thought I saw you walk in
And that’s when it started all over again
What in the world am I gonna do about you
Oh your memory keeps coming back
From out of the blue
But I still can’t believe that we’re through
So tell me what in the world am I gonna do about you
What am I gonna do about you
Darling what am I gonna do about you

Related Post

Country Music

A TEXAS RANGER HEARD A TEENAGER SINGING IN JAIL. THREE YEARS LATER, THAT SAME VOICE WAS SITTING AT NO. 1 ON THE COUNTRY CHART. The song did not start in Nashville. It started behind bars in Texas. Johnny Rodriguez was still a teenager, already carrying more trouble than a young man should have had to carry. His father had died. His older brother had died. Then came the night that put him in jail. He sang to pass the time. Not for a producer. Not for a label. Just a young man in a cell with a voice too strong for the walls around it. Texas Ranger Joaquin Jackson heard him. Word moved to Happy Shahan, the man behind Alamo Village, the western movie set near Brackettville. Johnny was brought there to perform. Then Tom T. Hall and Bobby Bare helped open the next door. By 21, Johnny Rodriguez was signed to Mercury Records. In 1973, “You Always Come Back to Hurting Me” went to No. 1. Then came “Ridin’ My Thumb to Mexico,” “That’s the Way Love Goes,” and a run of hits that made him one of country music’s most important Mexican American voices. He sang in English. Then Spanish would slip into the record like home refusing to stay outside. Country music had always been full of border towns, working men, lonely highways, and men trying to outrun bad luck. Johnny Rodriguez did not need to fake any of that. Before Nashville found him, a Texas jail heard him first.

Country Music

BILLY JOE SHAVER BURIED HIS WIFE, HIS MOTHER, AND HIS SON. THEN HIS HEART GAVE OUT ONSTAGE AT GRUENE HALL — AND THE CROWD DIDN’T EVEN KNOW HE WAS DYING. By 2001, Billy Joe Shaver had already lost more than most country songs could hold. He was not a polished Nashville product. He was the Texas songwriter behind much of Waylon Jennings’ Honky Tonk Heroes, the man who wrote like the road had cut him open and left the truth showing. Then the losses came close together. His wife Brenda died in 1999. His mother died that same year. On December 31, 2000, his son Eddy Shaver — his guitar player, his blood, his shadow onstage — died of a drug overdose at 38. Billy Joe kept moving because stopping probably felt worse. On August 25, 2001, he walked onto the stage at Gruene Hall in New Braunfels, Texas. The room was historic. The crowd was there for songs. They did not come to watch a man collapse under the weight of the last two years. Then his chest started failing him. Billy Joe was having a heart attack while performing. He kept going long enough that the audience apparently did not realize how close the night came to turning into his final show. Afterward came surgery. Then recovery. Then another record. Most singers talk about surviving the road. Billy Joe Shaver survived a song, a stage, and a heart that finally tried to quit in the middle of the set.

Country Music

HIS WIFE DIED THE DAY BEFORE THANKSGIVING. THREE WEEKS LATER, THE KING OF HONKY-TONK WAS FOUND DEAD IN THE SAME FLORIDA HOME. Gary Stewart was never built like a clean Nashville star. He came out of Kentucky poverty, grew up in Florida, and sang country music like the bottle was already open before the band counted off. In the mid-1970s, people called him the King of Honky-Tonk. “She’s Actin’ Single (I’m Drinkin’ Doubles)” went to No. 1 in 1975. But the road under him was never steady. There was the drinking. The drugs. The old back injury. The disappearing years when country music moved on and Gary Stewart kept slipping further from the bright part of the business. Mary Lou was the person who kept showing up beside him. They had been married for more than 40 years. She had seen the bars, the money, the chaos, the fall, the comeback attempts, and the quiet Florida days after the big moment had passed. Then November 26, 2003 came. Mary Lou died of pneumonia, the day before Thanksgiving. Gary canceled his shows. Friends said he was devastated. On December 16, Bill Hardman, his daughter’s boyfriend and Gary’s close friend, went to check on him at his Fort Pierce home. Gary Stewart was dead from a self-inflicted gunshot wound. Fans remember the voice bending around heartbreak like it had nowhere else to go. But the last chapter was not on a stage. It was a widower in Florida, three weeks after losing the woman who had survived the whole honky-tonk storm with him.

You Missed

Country Music

A TEXAS RANGER HEARD A TEENAGER SINGING IN JAIL. THREE YEARS LATER, THAT SAME VOICE WAS SITTING AT NO. 1 ON THE COUNTRY CHART. The song did not start in Nashville. It started behind bars in Texas. Johnny Rodriguez was still a teenager, already carrying more trouble than a young man should have had to carry. His father had died. His older brother had died. Then came the night that put him in jail. He sang to pass the time. Not for a producer. Not for a label. Just a young man in a cell with a voice too strong for the walls around it. Texas Ranger Joaquin Jackson heard him. Word moved to Happy Shahan, the man behind Alamo Village, the western movie set near Brackettville. Johnny was brought there to perform. Then Tom T. Hall and Bobby Bare helped open the next door. By 21, Johnny Rodriguez was signed to Mercury Records. In 1973, “You Always Come Back to Hurting Me” went to No. 1. Then came “Ridin’ My Thumb to Mexico,” “That’s the Way Love Goes,” and a run of hits that made him one of country music’s most important Mexican American voices. He sang in English. Then Spanish would slip into the record like home refusing to stay outside. Country music had always been full of border towns, working men, lonely highways, and men trying to outrun bad luck. Johnny Rodriguez did not need to fake any of that. Before Nashville found him, a Texas jail heard him first.

Country Music

BILLY JOE SHAVER BURIED HIS WIFE, HIS MOTHER, AND HIS SON. THEN HIS HEART GAVE OUT ONSTAGE AT GRUENE HALL — AND THE CROWD DIDN’T EVEN KNOW HE WAS DYING. By 2001, Billy Joe Shaver had already lost more than most country songs could hold. He was not a polished Nashville product. He was the Texas songwriter behind much of Waylon Jennings’ Honky Tonk Heroes, the man who wrote like the road had cut him open and left the truth showing. Then the losses came close together. His wife Brenda died in 1999. His mother died that same year. On December 31, 2000, his son Eddy Shaver — his guitar player, his blood, his shadow onstage — died of a drug overdose at 38. Billy Joe kept moving because stopping probably felt worse. On August 25, 2001, he walked onto the stage at Gruene Hall in New Braunfels, Texas. The room was historic. The crowd was there for songs. They did not come to watch a man collapse under the weight of the last two years. Then his chest started failing him. Billy Joe was having a heart attack while performing. He kept going long enough that the audience apparently did not realize how close the night came to turning into his final show. Afterward came surgery. Then recovery. Then another record. Most singers talk about surviving the road. Billy Joe Shaver survived a song, a stage, and a heart that finally tried to quit in the middle of the set.

Country Music

HIS WIFE DIED THE DAY BEFORE THANKSGIVING. THREE WEEKS LATER, THE KING OF HONKY-TONK WAS FOUND DEAD IN THE SAME FLORIDA HOME. Gary Stewart was never built like a clean Nashville star. He came out of Kentucky poverty, grew up in Florida, and sang country music like the bottle was already open before the band counted off. In the mid-1970s, people called him the King of Honky-Tonk. “She’s Actin’ Single (I’m Drinkin’ Doubles)” went to No. 1 in 1975. But the road under him was never steady. There was the drinking. The drugs. The old back injury. The disappearing years when country music moved on and Gary Stewart kept slipping further from the bright part of the business. Mary Lou was the person who kept showing up beside him. They had been married for more than 40 years. She had seen the bars, the money, the chaos, the fall, the comeback attempts, and the quiet Florida days after the big moment had passed. Then November 26, 2003 came. Mary Lou died of pneumonia, the day before Thanksgiving. Gary canceled his shows. Friends said he was devastated. On December 16, Bill Hardman, his daughter’s boyfriend and Gary’s close friend, went to check on him at his Fort Pierce home. Gary Stewart was dead from a self-inflicted gunshot wound. Fans remember the voice bending around heartbreak like it had nowhere else to go. But the last chapter was not on a stage. It was a widower in Florida, three weeks after losing the woman who had survived the whole honky-tonk storm with him.

Country Music

IN A FAMILY FULL OF SONS CARRYING GUITARS, MERLE HAGGARD’S OLDEST DAUGHTER CARRIED A QUIETER PIECE OF THE NAME. The Haggard name usually comes with a guitar in its hands. Marty. Noel. Ben. Sons standing under stage lights, singing the songs their father left behind, trying to carry Merle’s voice without pretending they could replace it. Dana Haggard carried the name differently. She was Merle’s oldest daughter — part of the family before the legend became untouchable, before the songs turned every wound into something fans could sing along with. She grew up under a father whose life was never simple: prison behind him, road ahead of him, music pulling him away and bringing him back in pieces. Not every child of a country legend becomes the public keeper of the catalog. Some carry the weight more quietly. Dana’s story reminds people that Merle did not leave only songs, guitars, tour buses, and old photographs. He left children. People who knew the man before and after the crowd did. People who had to live with the private version of a public voice. When Dana died in 2018, only two years after Merle, it felt like another quiet room closing inside the family. Fans mourned the singer. His children kept mourning the father. And some grief in the Haggard family never needed a microphone to be real.