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

Some songs don’t simply pass through the air — they stay with you, echoing long after the final note fades. “If I Could Only Fly” is one of those rare, tender pieces of music that lingers like a breath against the soul. And when Ben Haggard sings it, the song transforms into something deeper than melody — it becomes a quiet, trembling moment suspended in time.

Written by the late Blaze Foley and embraced by Merle Haggard during the later years of his life, the song has long been understood as a confession whispered in the dark. It speaks of distance that can’t be crossed, of regret that cannot be undone, of the longing to reach someone you love even when life has placed oceans — visible or invisible — between you. For Merle, it was a kind of farewell. A gentle acknowledgment of the aches we carry and the apologies we wish we had said sooner.

But when Ben Haggard steps into the song, something remarkable happens.

It no longer feels like a man singing another man’s truth. It becomes a dialogue — intimate, unforced, and deeply human. A son responding to the lingering voice of his father, not with imitation or theatrics, but with honesty. Ben doesn’t try to sound like Merle; he doesn’t need to. He lets the quiet speak. He allows the pauses to breathe. In those small spaces between the notes, you can feel both the weight and the warmth of a legacy he never asked for but carries with grace.

Ben’s rendition is not a performance — it’s a moment of remembrance. You hear the sorrow, but also the healing. You sense the grief, but also the gratitude. It’s the sound of love continuing its journey after loss, refusing to disappear simply because the person is gone. His voice carries a soft resilience, the kind born from living with memories that comfort as much as they hurt.

For anyone who has lost someone, or has wished for one more conversation, one more chance, one more moment — this song reaches out quietly. It doesn’t demand attention or try to overwhelm. Instead, it settles beside you like a familiar memory, gentle and patient, willing to stay for as long as you need it.

“If I could only fly / I’d bid this place goodbye…”
In Ben’s hands, these words are no longer just a longing — they become a promise. A promise that love, even in its quietest form, continues to move, continues to rise, continues to fly where our feet cannot.
 
Video

Lyrics

I almost felt you touching me just now
I wish I knew which way to turn and go
I feel so good, and then then I feel so bad
I wonder what I ought to do
If I could only fly, if I could only fly
I’d bid this place goodbye, to come and be with you
But I can hardly stand, and I got no where to run
Another sinking sun, and one more lonely night
The wind keeps blowing somewhere everyday
Tell me things get better, somewhere, up the way
Just dismal thiking on a dismal day
Sad songs for us to bare
If I could only fly
If we could only fly
If we could only fly
There’d be no more lonely nights
You know sometimes I write happy songs
Then some little thing goes wrong
I wish they all could make you smile
Coming home soon and I wanna stay
Maybe we can somehow get away
I wish you could come with me when I go again
If I could only fly, if I could only fly
I’d bid this place goodbye, to come and be with you
But I can hardly stand, and I got no where to run
Another sinking sun, and one more lonely night

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BOBBY BARE’S OFFICE WAS NOT SUPPOSED TO BE THE FIRST DOOR INTO OUTLAW COUNTRY. BUT IN 1968, A DAMAGED-HAND TEXAS SONGWRITER WALKED IN THERE AND LEFT WITH $50 A WEEK. Before Waylon Jennings built an album around his songs, Billy Joe Shaver was still trying to get somebody in Nashville to listen. He had already worked rodeo jobs, joined the Navy young, done hard labor, and lost most of two fingers on his right hand in a sawmill. The hand was damaged before the songs ever reached the men who would make them famous. He did not come into town clean. He came in broke, stubborn, and carrying songs that sounded like they had been dragged across Texas gravel. Nashville was not waiting on him. Then Billy Joe found his way into Bobby Bare’s office in 1968. Bare already had “Detroit City.” He already knew what a real country story sounded like when it walked in rough. Billy Joe convinced him to listen. Bare gave him a songwriting job for $50 a week. It was not fame. It was not security. But it put Billy Joe inside the room. From there, the songs started moving. Kris Kristofferson cut “Good Christian Soldier.” Tom T. Hall recorded his work. Waylon Jennings later heard enough to build *Honky Tonk Heroes* around him. Elvis Presley eventually recorded “You Asked Me To.” Before outlaw country became a word people sold on posters, one of its main writers was just a scarred-up Texas man sitting in Bobby Bare’s office, getting his first real chance for fifty dollars a week.

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BOBBY BARE’S OFFICE WAS NOT SUPPOSED TO BE THE FIRST DOOR INTO OUTLAW COUNTRY. BUT IN 1968, A DAMAGED-HAND TEXAS SONGWRITER WALKED IN THERE AND LEFT WITH $50 A WEEK. Before Waylon Jennings built an album around his songs, Billy Joe Shaver was still trying to get somebody in Nashville to listen. He had already worked rodeo jobs, joined the Navy young, done hard labor, and lost most of two fingers on his right hand in a sawmill. The hand was damaged before the songs ever reached the men who would make them famous. He did not come into town clean. He came in broke, stubborn, and carrying songs that sounded like they had been dragged across Texas gravel. Nashville was not waiting on him. Then Billy Joe found his way into Bobby Bare’s office in 1968. Bare already had “Detroit City.” He already knew what a real country story sounded like when it walked in rough. Billy Joe convinced him to listen. Bare gave him a songwriting job for $50 a week. It was not fame. It was not security. But it put Billy Joe inside the room. From there, the songs started moving. Kris Kristofferson cut “Good Christian Soldier.” Tom T. Hall recorded his work. Waylon Jennings later heard enough to build *Honky Tonk Heroes* around him. Elvis Presley eventually recorded “You Asked Me To.” Before outlaw country became a word people sold on posters, one of its main writers was just a scarred-up Texas man sitting in Bobby Bare’s office, getting his first real chance for fifty dollars a week.

“WHISKEY RIVER” WAS CLIMBING THE CHARTS WHEN JOHNNY BUSH’S OWN THROAT STARTED CLOSING ON HIM. Before Willie Nelson turned “Whiskey River” into a nightly ritual, it belonged to Johnny Bush. Bush had come out of Houston and San Antonio honky-tonks, played drums, worked around Ray Price and Willie, and carried a voice so big people called him the Country Caruso. In Texas, he was not some polished visitor. He was part of the room. By 1972, RCA had him. Chet Atkins’ Nashville division was behind him. “Whiskey River” was moving on radio, and Johnny Bush looked like he was finally crossing from Texas favorite into national country star. Then the thing that made him valuable started betraying him. The high notes quit coming clean. His throat tightened. His range fell apart. Some nights he could barely sing. Some days he could barely talk. Doctors missed it for years. RCA dropped him in 1974. The career that had been rising behind “Whiskey River” started sinking while Willie Nelson took the same song and made it one of the most recognizable openings in country music. In 1978, Bush finally learned the name of what had been stealing his voice: spasmodic dysphonia, a rare neurological disorder that causes involuntary spasms in the vocal cords. Later, vocal work and Botox treatments helped him sing again. He returned older, rougher, and more Texas than ever. But the cruel part stayed simple. Johnny Bush wrote the river that Willie rode for decades — and right when the water started rising for him, his own voice nearly drowned.

HE COULD BARELY GET THROUGH A SENTENCE WITHOUT THE WORDS BREAKING APART. THEN MEL TILLIS WALKED ONSTAGE, OPENED HIS MOUTH TO SING, AND THE STUTTER DISAPPEARED. Mel Tillis did not grow up sounding like a man built for a microphone. He was born in Florida, raised around Pahokee, and developed a stutter after a childhood case of malaria. Talking could turn on him at any moment. A simple sentence could catch, twist, and make a room wait while he fought his own mouth. But singing was different. In the Air Force, stationed in Okinawa, he worked as a cook and baker and sang on Armed Forces Radio. After service, he made his way toward Nashville with songs instead of confidence. At first, the town used him more as a writer than a star. Webb Pierce cut “I’m Tired.” Later came “I Ain’t Never.” Kenny Rogers turned “Ruby, Don’t Take Your Love to Town” into a standard. The man who stumbled when he spoke kept writing words other singers could carry cleanly. Then Mel stopped hiding the stutter. Onstage, he let people hear it. He joked with it. He let the crowd laugh with him before he sang. Then the band would come in, and the same voice that broke apart in speech would move through a country song without missing a note. By the 1970s, he was no longer just the songwriter behind other men’s records. He had his own hits, his own band, his own crowd. In 1976, Mel Tillis won CMA Entertainer of the Year. The thing that should have made the stage impossible became part of why people loved him there. He did not beat the stutter by pretending it was gone. He carried it under the lights until Nashville had to clap for the whole man.

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