You Can't Get The Hell Out Of Texas
George Jones · Greatest Collection [Platinum Disc] [2005]
I was just about as lost as I could be
I was drivin' round in circles
Tryin' to find the border
But Texas was as far as I could see
Hey!
Well I stopped and flagged me down a State policeman
I said my patience growin' mighty thin
Can you help me get the hell out of Texas
He just flashed me some ole lone star Texas grin
And he said:
You can't get the hell out of Texas
No matter how hard you try
Why in Texas we raise hell, son
Just like you raise a crop
It started with the Alamo
And it aint gonna ever stop
As long as there's a Houston and Austin,
Amarillo, Lubbock, Dallas and Fort Worth
Lord, you can't get the hell out of Texas
'Cause it's the hell raisin' center of the earth
Whoa late last night I fell in love with Texas
I called my dear sweet mamma on the phone
I said i've seen the light aint life a joy
I'm a changed man, I'm a good ole boy
Mamma, I aint never comin' home, uh-uh
For as long as there's a Houston and Austin,
Tyler, Beaumont, Dallas and Fort Worth
Lord, you can't get the hell out of Texas
'Cause it's the hell raisin' center of the earth
I said you can't get the hell out of Texas
'Cause it's the hell raisin' center of the earth
You Can't Get The Hell Out Of Texas
George Jones delivers a quintessential country ballad on his 2005 greatest hits compilation, 'You Can't Get The Hell Out Of Texas.' The track exemplifies his signature vocal style, characterized by a raw, emotive delivery that cut through the airwaves of the late 1950s and early 1960s. As one of the most recorded artists in country music history, Jones' ability to convey deep heartbreak and longing is evident in this recording. The song reflects the genre's tradition of storytelling through personal struggle, capturing the essence of the Texas landscape as a backdrop for emotional turmoil. This particular recording stands as a testament to his enduring legacy, showcasing his mastery of the fiddle and steel guitar arrangements that defined the honky-tonk era. It remains a staple in the canon of classic country music, illustrating how his work transcended regional boundaries to become a universal expression of sorrow and resilience.