Sign up for newsletter
 

Strait gives it all he's got on new single

Friday, October 26, 2012 – George Strait will be out with a new single on Monday from his next disc.

Give It All We Got Tonight will be sent at 3 p.m. eastern time Monday to country radio. The single was recorded in Nashville and penned by Tim James, Phil O'Donnell and Mark Bright. Strait once again collaborated with longtime producer, Tony Brown, on the music.

"The song has a very unusual melody and very cool phrasing, which I've always been drawn to," said Strait.

Lyrics to the song are:
July moonlight shines
Your pretty little head on my shoulder
Pull over on the side of the road
Oh my God, you're something
Like nothing I've ever seen
If I'm asleep girl, let me dream

Baby fall into my kiss
It should just happen like this
Trust it so much that there's no one else but us and
This moment that says it's so right
'Cause that's all we have in this life
Drink up this love, baby, give it all we got tonight

Summer honeysuckle
Leaking through a rolled down window
We both know when that seat lays back
Anything can happen
So imagine it'll never end
Just close your eyes and you can see that we are where we're meant to be

Baby fall into my kiss
It should just happen like this
Trust it so much that there's no one else but us and
This moment that says it's so right
'Cause that's all we have in this life
Baby, drink up this love, give it all we got tonight
Give it all we got tonight

Baby fall into my kiss
It should just happen like this
Trust it so much that there's no one else but us and
This moment that says it's so right
That's all we have in this life
Drink up this love, c'mon, give it all we got tonight
Give it all we got tonight

Strait recently announced the two-year The Cowboy Rides Away Tour starting on Jan. 18, 2013 in Lubbock, Texas with special guest Martina McBride.

More news for George Strait

CD reviews for George Strait

Cold Beer Conversation CD review - Cold Beer Conversation
recording front. This surprise release shows an artist now in his early 60s completely capable of being the leading voice for his brand of country music, which is increasingly rare these days. Strait always has enjoyed a voice that resonates and is dexterous depending on the style. And the Texan sticks with the types of styles that brought him to the top - traditional country ("Let It Go," "Goin' Goin' Gone"), Texas swing ("It Takes All Kinds") and Zydeco »»»
The Cowboy Rides Away: Live From AT&T Stadium CD review - The Cowboy Rides Away: Live From AT&T Stadium
George Strait has been one of the most dependable country music stars for three decades. In this day and age, the Texan is a certifiable throwback. He's low key, not a self-promoter. All's he has done is churn out hit after hit for decade after decade. He has not been the kind of artist who put his finger up in the air either or trading his cowboy hat for a baseball cap. When looking up the definition of traditional country, George Strait sits at the top. Strait tackles 20 songs on »»»
Love Is Everything CD review - Love Is Everything
George Strait may have reached his seventh decade, but he shows zero signs of slowing down. In fact, Strait seems to be getting even more consistent as he gets older. Strait doesn't stray all that far from the formula that has resulted in superstar status. First and foremost, that means his sonorous voice is mixed far above the music, a very good thing. He is comfortable on everything including hard core country (pedal steel, fiddle and mandolin are not tacked on afterthoughts with »»»
Editorial: Walking the talk – When names like Hank Williams, Johnny Cash, Waylon and the Hag are invoked, you're talking hard core country. These are the touchstones of country , the guys who made country music what it was and still is (or maybe can be). When these folks would sing about being down-and-out and the rough-and-tumble, they knew of what they were singing about. Fast forward a few years to the country singers of today. »»»
Concert Review: The Surly Gentlemen prove anything but – For about the past six months, veteran bluegrassers Clay Hess, formerly of Kentucky Thunder, and Tim Shelton of NewFound Road, along with Clay's son Brennan, have collectively been The Surly Gentlemen. The trio's sound is probably best described as stripped down bluegrass meets singer/songwriter. These Surly Gents have been playing small... »»»
Concert Review: Isbell shines – Jason Isbell was in a jubilant mood shortly after taking the stage at the Anaheim House of Blues' recently relocated new location. Now situated in a shopping strip called the GardenWalk, yet still close to the Disney theme parks, Isbell later humorously noted how the area is so clean. He even referred to it as a "tiny Toronto.... »»»
Subscribe to Country News Digest Country News Digest      Follow Country Standard Time on twitter CST      Visit Country Standard Time on Facebook CST

Elsewhere in the news

Currently at the CST blogs

Gibson Brothers rise up from "In the Ground" There's no more solid live bluegrass show than the Gibson Brothers. They play with great technical skill and crispness. Their harmonies are just what a brother act should be: sweet, true and never forced. Brothers Leigh and Eric Gibson surround themselves with outstanding sidemen with impeccable bluegrass cred: Jesse Brock (mandolin), Mike Barber (bass) and Clayton Campbell on fiddle.... »»»
The Devil Makes Three examine salvation, sin For nearly a decade and a half, The Devil Makes Three has concocted an amazing blend of bluegrass, folk, country, blues, rockabilly and whatever happens to bubble to the surface, and applied it liberally to their songwriting ethic.... »»»
For Shires, home is where the family lies Mercy Rose Isbell recently celebrated her first birthday and, ironically, the album she helped inspire has just been released. Synchronicity is a beautiful thing. Mercy Rose is, of course, the daughter of singer/songwriters Jason Isbell and Amanda Shires, two of the most gifted Americana artists working today... ... »»»
The Drugstore Gypsies CD review - The Drugstore Gypsies
In a time when good old fashioned electric guitar rock has grown a bit stagnant, a fresh new quintet from Texas is stepping up to provide a jolt courtesy of a concise and confident debut that makes a case for the genre by adding touches of blues, country and southern rock to muscular classic rock riffs. »»»
Universal Favorite CD review - Universal Favorite
Noam Pikelny is the most ingratiating musical iconoclast you're likely to come across. He has deep roots in the Americana genre, and his playing, on banjo in most contexts, is precise and brilliant. Pikelny has produced a string of outstanding solo records, most recently "Universal Favorite."  »»»
Vaquero CD review - Vaquero
Independent singer/songwriter Aaron Watson's "Vaquero" is an ambitious 16-song mix of Texas country and mainstream Nashville with mostly good results. The strongest tracks are those that embrace the Tex Mex style of the title track, which imparts some sound advice delivered by an "old Mexican cowboy" the singer meets in a bar ("don't live your life like a sad country song/ A fool on a stool still a fool right or wrong"). »»»
Graveyard Whistle CD review - Graveyard Whistle
Old 97s' "Graveyard Whistling" is a slight return to form after 2014's "Most Messed Up," which was heavy on profanity, but far too light on charming country songs. "Graveyard Whistling" is a little more innocent and a lot more fun than its predecessor. "Bad Luck Charm," for instance, finds lead vocalist Rhett Miller playing a familiar role - that of lovable loser.  »»»
Freedom Highay CD review - Freedom Highay
Rhiannon Gidden's "Freedom Highway" takes an expansive look at the Black experience in America. "Better Get It Right the First Time" utilizes a gospel-y call and response format to tell the tragic story of a Black life that mattered. However, Giddens goes all the way back to slavery days for the lyrics to "At the Purchaser's Option." »»»
Notes of Blue CD review - Notes of Blue
Son Volt's "Notes of Blue" is said to be influenced by the blues (among other musical styles), and the blues is most at the fore during "Cherokee St.," a stomping, electric guitar-driven blues rocker. The song has the stripped-down sound of a Blind Willie Johnson sermon, although lead vocalist Jay Farrar is by no means the gravelly singer Johnson was. »»»