Exploring The Songs of George Strait’s “Cowboys and Dreamers”

Reviews 24 Comments


George Strait just released his first album in some five years with Cowboys and Dreamers, and many country fans are finding a lot to love about the album. But some fans are also noticing that the early songs of the album are a bit weaker, while many of the songs near the end come on strong. Some of the songwriting is also very involved, and might take some dissecting to figure out what they’re truly about.

So as a supplemental to the Saving Country Music album review for Cowboys and Dreamers, here’s a song by song review of the album, along with the list of writers for each track.


1. “Three Drinks Behind”

(Benjamin Gaither, Jeff Silvey and Kim Williams)

There’s some really great songs on Cowboys and Dreamers. “Three Drinks Behind” doesn’t feel like one of them, and gets the album off to a slow start. It tries to take a drinking song and make it about how all the world’s problems would go away if we all just drink more, softening our perspective. But for many, the opposite is actually the case. The lack of a musical direction and instrumental brakes in the song don’t help it’s cause either. “Three Drinks Behind” isn’t bad. It just kind of “is.” 5

2. “Cowboys and Dreamers”

(Jessie Jo Dillon, Keith Gattis and Bubba Strait)

Though not written by George Strait, this feels like one of the most autobiographical songs on the album. The key lyric is, “Some days I feel like the last of a dying breed trying to find where I fit, somewhere between high on top of the world and fighting with calling it quits.” This explains Strait’s semi-retirement rather expertly. The song is complimented by a modern traditional sound that is pleasant to the ears like some of the best songs of Aaron Watson. 7.5


3. “To The Moon”

(Marty Brown and Steve Clark)

This is a country love song with lush production that starts off on a decent foot with the first few lines. But “To The Moon” fails to really go anywhere or present any meaningful lyrical hook. You can tell George Strait connected to the song in the way he can sing it with conviction about his wife of 53 years, Norma. Unfortunately though, that same passion isn’t conferred to the audience through this song. It’s not a terrible song by any stretch, but contributes to the slow start to the album. 6

4. “MIA Down In MIA”

(Adam Craig and Dean Dillon)

“MIA Down in MIA” is fun for a second or two, but gives away its punch line in the title, and is a little too close to the old Keith Whitley classic “Miami, My Amy.” Besides, we probably have enough of these “island time” songs in country music to last us until eternity. Many of them get written in the numerous country songwriter retreats in Miami, Key West, Mexico, Hawaii, and other beach destinations that have given rise to this Kenny Chesney subgenre. 3.5

5. “Wish I Could Say”

(Keith Gattis)

Just a classic country heartbreaker about a guy pouring his guts out to a bartender after being left by his woman. Nothing exceptional, but a great example of George Strait styling a country song to take it from simple to deeply meaningful. The late Keith Gattis and his family’s estate are the beneficiaries of three separate credits on Cowboys and Dreamers, which will help keep the mailbox money coming in. Though some love to criticize Strait for not writing much of his own material, he’s also one of country music’s strongest songwriting champions. 7.5

6. “Calling From The Car”

(Bobby Braddock)

What an excellent, subtle, sneaky, and super well-written song by the same guy that co-wrote “He Stopped Loving Her Today.” Though the song could be interpreted a number of different ways (which is a sign of good writing), the basic premise is a man who is cheating on his wife or girlfriend under the pretense that he’s “working late,” but eventually heads home when his Rolodex of side pieces gives out. This song is really about the writing, but Strait sells it well with his performance. 8


7. “People Get Hurt Sometimes”

(Jim Lauderdale, Kendell Marvel and Jimmy Ritchey)

Similar to the preceding track “Calling From The Car,” this song relies on subtlety to get its point across. It’s not about what it says, but what it doesn’t say, and what the listener takes from their own life story to fill in the blanks that makes the song memorable. We should expect nothing less from this high caliber songwriting trio. Kudos to Strait for seeing the quiet genius in the song, even if for many audience members it will pass by as one of the album’s less remarkable tracks. 8

8. “Honky Tonk Hall of Fame” feat. Chris Stapleton

(Chris Stapleton, Jameson Clark and Timothy James)

This song sounds like something Merle Haggard and Johnny Paycheck would have cut in the early ’80s as they were both three sheets to the wind and working through the proceedings of their 3rd divorce. This is honky tonk country music at its finest and super fun. We don’t really hear a lot of this hard honky tonk country from Chris Stapleton, or even really George Strait. But together they knock this one out of the park. 9


9. “The Little Things”

(George Strait, Monty Criswell and Bubba Strait)

What a great song, and co-written by Strait himself with his son Bubba. Here Strait really spells out his philosophy in life at this stage in his career. He spent so many years forging his legacy and chasing stardom. And since he was always a staunch traditionalist, this often meant working twice as hard as some of his high-flying contemporaries suspended on wires, soaring across stadiums. But now he’s taking a deserved opportunity to slow down and savor life, while reminding all of us to do the same. Great musical accompaniment here too that perfectly captures the mood. 9.5


10. “The Book”

(George Strait, Dean Dillon, Jessie Jo Dillon and Bubba Strait)

George Strait hasn’t recorded a lot of Gospel or even religious songs in his career. This one utilizes a plainspoken, cowboy’s perspective to express his faith. It’s like the difference between attending a cowboy church Sunday morning, or an Episcopalian sermon. The song is fine and certainly country, but tends to fall behind some of the stronger tracks on the album. 7

11. “Rent”

(Guy Clark and Keith Gattis)

The late great Keith Gattis not only gets three writing credits on Cowboys and Dreamers, for the song “Rent” that Gattis co-wrote with Guy Clark, George Strait starts it off with a little spoken word tribute to the songwriter, producer, and guitar player. But really, the greatest tribute to Gattis is how lovingly George delivers the song while the acoustic guitar typical of Guy Clark’s style graces this excellent composition. “Rent” is a story song about an old man near the end of his life taking stock, and using “rent” as a metaphor for always doing your part and being honest. 8.5

12. “Waymore’s Blues”

(Curtis Buck and Waylon Jennings)

Some have wished that George Strait would be more animated about what has happened in country music since he was last relevant on radio and award shows. But that’s just not Strait’s fashion. He’s too laid back and mild-mannered to ruffle feathers too much. But covering one of Waylon Jennings’ signature songs signals where George Strait stands. It’s like its own form of protest. Even Waylon admitted ‘Waymore’s Blues” really wasn’t about anything. Strait and his band stretches it out, and makes it into a Waylon tribute. 8

13. “The Journey Of Your Life”

(Ronnie Bowman and Troy Jones)

Many of the best songs of Cowboy and Dreamers capture Strait taking stock of life as a now 70+ man who’s done and seen it all. Though this song is about an older man conveying wisdom to a younger one, since it’s told from the perspective of the younger man, it works like a continuum, passing this same wisdom down through the ages. The strings give the song a lush, Countrypolitan feel. It’s a solid way to conclude a quality record. 8

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