Mind Your Own Business
Hank Williams Sr. · Hall of Fame [2006]
If the wife and I are fussin' brother that's our right
'Cause me and that sweet woman's got a licence to fight
Why don't you mind your own business mind your own business
'Cause if you mind your own business then you won't be mindin' mine.
Oh, the woman on our party line's a nosey thing
She pick up her receiver when she knows it's my ring
Why don't you mind your own business mind your own business
Well, if you mind your own business then you won't be mindin' mine.
--- Instrumental ---
I got a little gal that wears her hair up high
The boys all whistle when she walks by
Why don't you mind your own business mind your own business
Well if you mind your own business then you sure won't be mindin' mine.
--- Instrumental ---
If I want to honky tonk around till two or three
Now brother that's my headache don't you worry bout me
Just mind your own business mind your own business
If you mind your own business then you won't be mindin' mine.
--- Instrumental ---
Mindin' other people's business seems to be hightone
But I got all that I can do just midin' my own
Why don't you mind your own business (mind your own business)
Mind your own business (mind your own business)
If you mind your own business you'll stay busy all the time...
Mind Your Own Business
Hank Williams Sr.'s "Mind Your Own Business" stands as a quintessential example of his mastery in honky-tonk and country blues. Recorded during the height of his career, the track captures the raw, unfiltered emotion that defined his discography, blending acoustic guitar with a driving rhythm that propelled the song to the forefront of his legacy. Often associated with themes of heartbreak and the complexities of rural life, the recording showcases Williams' signature vocal style, characterized by its gritty delivery and haunting melody. As a staple of his posthumous compilations, including the Hall of Fame collection, the song remains a powerful testament to his influence on American roots music, resonating with audiences who appreciate the authenticity of his work from the 1940s and 1950s.