Alabama – Highway 80 Stories

“Duane and Doreen, Pt. 2”

LOCATION: Marvyn, Alabama
PERIOD: 1988
DRAMATIS PERSONAE: Jason Duane Robison (1957); Doreen Stacey Collins (1958); Margaret Jane Robison (1988)

Jason Duane Robison (1957) and Doreen Stacey Collins (1958) had been married about five years when Doreen annouced that she was pregnant. At first Duane was troubled by the news since he had just gotten laid off from work. But he quickly realized that the lay off was temporary reduction in force, and in all probability he’d be back at work soon.

They discuss the option of finding out the sex but Duane suggests leaving it to be a surprise. All works out fine, Duane goes back to work shortly before Doreen gives birth to a girl whom they name after their respective mothers, Margaret Jane Robison (1988) – and they see their world as perfect.

Duane and Doreen would go on to have three more kids.

“Duane and Doreen, Pt. 1”

LOCATION: Marvyn, Alabama
PERIOD: 1985
DRAMATIS PERSONAE: Jason Duane Robison (1957); Doreen Stacey Collins (1958)

Jason Duane Robison (1957) and Doreen Stacey Collins (1958) got married in 1985; this story takes place within their first two years of that marriage. They live in a rural setting outside of the small town of Marvyn Alabama, which is about fifteen miles from Opelika, Alabama. Opelika is the county seat of Lee County in the east-central part of Alabama with a population of about 30,000. For Duane and Doreen it is a big city.

The song describes a typical day in their lives, in this case Doreen thinks she saw a dangerous snake behind their house. Duane is convinced it is a black snake, although of which has been known to bite, is not poisonous and has a reputation of keeping worse snakes and rodents away. She also tells of seeing a friend o theirs who talks about someone they know who lost her husband and is not doing too well. Duane’s attention falters during the telling and asks Doreen about something unrelated.

The song highlights married couples can sometimes have little disagreements and things which they have to learn to live with as they acclimate themselves to each other.

Duane and Doreen, Pt. 1
(F. D. Leone, Jr.)

Duane, I saw a snake yesterday,
Out there under one of them big rocks.
Can you get that metal pole you got,
The grabber thing, and put it in a box?
Doreen, what color was the snake?
Cuz if it was black – I’d leave it alone.
We want those black snakes around;
They keep the bad ones gone.

Duane would you just take a look?
I’m afraid to take the garbage out.
Okay Doreen, I’ll take a look,
But that black snake ain’t nothing, I’ve no doubt.
The little things, little concessions;
The give and take, that make up life.
Duane and Doreen,
Just another husband and wife.

Duane you’ll never guess who I saw
The other day at Electronic Express.
Just tell me Doreen, how should I know.
Duane don’t be like that, come on, guess.
Okay, let’s see, it was either April or Pam.
So fine, I guessed, now tell me who.
Yeah it was Pam, and she told me about
That friend hers, you know, Sue.

You remember Sue, her husband died last year;
She was there, crying, in the aisle with the printers.
Pam wants to do something to perk her up.
Doreen, where’d you put the sissors?
The little things, the concessions;
The give and take, that make up life.
Duane and Doreen,
Just another husband and wife.

© 2026 Frank David Leone, Jr./Highway 80 Music (ASCAP). The songs and stories on the Highway 80 Stories website are works of fiction. Names, characters, businesses, places, events, locales, and incidents are either the products of the author’s imagination or used in a fictitious manner. Any resemblance to actual persons, living or dead, or actual events is purely coincidental.

“Duane and Doreen, Pt. 3”

LOCATION: Marvyn, Alabama
PERIOD: 2020
DRAMATIS PERSONAE: Jason Duane Robison (1957); Doreen Stacey Collins (1958); Margaret Jane Robison (1988); John Collins Robison (1990); Ruby Ruth Robison (1990); Kieran Jason Robison (1999); Margaret “Peg” Stacey (1949).

Jason Duane Robison (1957) and Doreen Stacey Collins (1958) have by this time been married about 45 years, raised four children, the youngest boy is now out of the house and on his own. They are now back to being a couple and a experiencing the pangs of the empty nest.

Doreen is strapped with caregiving her elderly mother and sometimes just wants to get away. Duane tries to do what he can to answer this need of hers – but life being what it is just getting away is often not easy to do.

However, they have strong love for each other and overall we know that they will be okay.

Duane and Doreen, Pt. 3
(F. D. Leone, Jr.)

Duane, we never seem to go anywhere.
Doreen we just went to Tiger Town.
Tiger Town! You must be kidding;
Duane, Opelika don’t count.
I want to go somewhere we ain’t been,
Some place fun, where we’d have to pack.
Doreen, we could go see Mamaw Boone,
Then hit Atlanta on the way back.

Duane, we been to Atlanta.
I don’t know why I even bother.
Doreen, what would you do with mama?
Could you even get somebody to watch her?
That’s exactly why I need a break;
I just need to get away once and awhile.
I’m sorry Doreen I didn’t mean nothing;
I know it’s a daily trial.

Hey, I know we been to Mobile, but
Dauphin Island would be somewhere new.
They got a bird sanctuary there;
That’s would be something fun to do.
Okay Duane, let me think on it;
Today I got to get mama’s toenails cut.
I hope it don’t storm like they saying,
It wears me out just getting her up.

The morning rain is gray and cold;
The asphalt is slick and black.
There’s no where else to go;
Cept down the road and back.
The evening sun is going down;
Supper is on the table.
It’s hard just getting out of town;
And easy to forget life is fatal.

“To Pay the Debt”

LOCATION: Alabama; Texas
PERIOD: 1955-2015
DRAMATIS PERSONAE: Frank Roy “Th’ Cunn’l” Cooper (1823-1865); Luther “Luth” Cooper (1827-1876); Charles “Charlie” Cooper (1918-2015); Lucas Keith Cooper (1897-1965); Luther “Sonny Boy” Cooper (1925-1965); Henry Barbour (1848-1924); Charles Thomas Barbour (1933-1955).

Charles “Charlie” Cooper (1918-2013) was the oldest remaining link to a Cooper family dispute tht had raged for 100 years. The patriarch of the family was Frank Roy “Th’ Cunn’l” Cooper (1823-1865), who fought and died in the Civil War. He’d owned a slave, Henry Barbour (1848-1924), who was treated not as a slave but as Frank Cooper’s partner and trusted aide. Cooper was an engineer, architect, and builder and Henry served as his construction foreman, overseeing all the work.

Frank Cooper was killed in the last battle of the war on April 14, 1865, a week after Lee surrendered at Appomattox, however word had not gotten to the western theater and fighting had continued. After Frank’s death, Henry managed the plantation, the various businesses, and supported Frank’s widow until she died. Henry Barbour also erected a memorial gravestone, with the inscription “placed in lasting remembrance of the love and gratitude he felt for his lost friend and former master.”

Frank Cooper had a half brother, same father – different mother, Luther “Luth” Cooper (1827-1876). Luth was nothing like Frank: intolerant, angry, resentful, and a racist – essentially the opposite of Frank Cooper. Three generations later, Luther’s toxic line of the Cooper family would produce Luther “Sonny Boy” Cooper (1925-1965) who would unwittingly be among the mob that lynched Henry Barbour’s great-grandson, Charles Thomas Barbour (1933-1955) on the night of July 10, 1955.

A decade later, 100 years to the day that Frank Cooper died in the last battle of the Civil war, Lucas Cooper, who knew the whole history of the Barbour family and their importance to the Coopers, fought and killed Sonny Cooper, his cousin, as well as dying himself in the struggle.

TO PAY THE DEBT
(F. D. Leone, Jr.)

“I’m old and ornery, got a lot to say;
Be ninety-seven on my next birthday.
Went to prison, twenty-five to life;
Sheriff claimed I shot my wife.”

“After forty I was paroled,
By then I was seventy years old.
That’s when I chose to make my exit,
Left Alabama for West Texas.”

“Frank & Luther Cooper were half brothers,
But were nothing like each other.
Frank, The Cunn’l, was Luther’s opposite;
Luther resentful, The Cunn’l tolerant.”

“Henry Barbour was Cunn’l Cooper’s slave;
Cunn’l treated Henry equal all his days.
My daddy Lucas knew the good Henry done;
And how a Cooper killed his great-grandson.”

The cards have been dealt,
The devil took the bet;
It’s way too late today …
To pay the debt.

“Luth’s great-grandson Sonny was no good;
Ran around in a sheet and hood.
I’m going back to 1955,
That July night Charlie Barbour died.”

“He was lynched by the Klan,
Just because he was a black man.
My cousin Sonny drank whiskey to forget;
Some secrets can’t be kept.”

“Daddy swore to avenge Charlie’s death,
And he did when he got the chance.
He met Sonny on the 14th Street bridge;
Daddy was both jury and judge.”

“They fought and both tumbled down,
Into rushing water muddy brown.
Two Coopers lived; two Coopers died;
April 14, 1965.”

The cards have been dealt,
The devil took the bet;
It’s way too late today …
To pay the debt.

© 2025 Frank David Leone, Jr./Highway 80 Music (ASCAP). The songs and stories on the Highway 80 Stories website are works of fiction. Names, characters, businesses, places, events, locales, and incidents are either the products of the author’s imagination or used in a fictitious manner. Any resemblance to actual persons, living or dead, or actual events is purely coincidental.

“The Puppet”

LOCATION: Alabama
PERIOD: July, 1955
DRAMATIS PERSONAE: Lucas “Sonny Boy” Cooper (1925-1965); Charles Thomas Barbour (1933-1955); Jack Curry (1926-2014)

Lucas “Sonny Boy” Cooper (1925-1965) grew up in Jim Crow Alabama, 1940s-1950s and absorbed the prevailing attitudes about race, integration, and justice. Most people of the time still harbored resentments about the outcome of the Civil War, Federal interference in their society, and African-Americans in general.

This song takes place in the summer of 1955 when a gang of whites, Sonny Cooper among them, kidnap Charlie Barbur, not yet 22 at the time, and hang him. In 1955, 14-year-old Emmett Till was brutally murdered for allegedly flirting with a white woman. Till’s murder and subsequent injustice deeply affected the Black community and galvanized a young generation of Black people to join the Civil Rights Movement.

For the next ten years Sonny Cooper was haunted by this lynching, and would himself die in a violent attack in 1965; killed by his half cousin in a fight.

THE PUPPET
(F. D. Leone, Jr.)

A crow calls from somewhere,
Answered only by silence.
The peace that is out there,
Will soon be shattered by violence.
Sonny watches in the fading light,
Children playing in their yards.
Sonny won’t return until midnight;
Bitter, sad, scared, and scarred.

Jack arrives to pick him up,
Sonny hopes for the last time.
He joins the others in the truck,
Someone hands him a jar of moonshine.
They’re laughing, feeling good,
Excited in anticipation;
What they’re about is understood;
Sonny sweats in quiet resignation.

Sonny Cooper is a puppet,
Unsure of who’s pulling the strings.
He mostly avoids the subject;
It’s more complicated than it seems.
All his life Sonny’s heard:
“We must protect our culture;”
Charlie Barbour is a cardboard character,
“Just another black motherfucker.”

They were all pretty tight,
After drinking that whole jar.
Could hardly see the boy that night;
He looked blacker than a pot of tar.
They stop and jump out of the truck;
Grab him and tie his hands.
Just Charlie Barbour’s bad luck;
They could smell he shit his pants.

They found a tall oak tree,
Put a rope around Charlie’s neck.
The boy tried to break free;
Sonny’s nerves, by now, were a wreck.
It took longer than anyone had thought,
Seemed to take forever for him to die.
They stood and stared, no one talked;
1955, Alabama; July.

Sonny’s father and his father before him,
Taught Son what he should believe.
Sonny tries but can’t ignore them;
It’s a tragic inheritance he received.
Sonny won’t forget that tortured face,
The bulging eyes; the frozen grin.
It’s an image he can’t erase;
Sonny walks haunted by shame and sin.

“The Ballad of Cunn’l Cooper”

LOCATION: Russell County, Alabama; Columbus, GA; Girard, AL
PERIOD: 1850s-1960s
DRAMATIS PERSONAE: Roy Cooper (1794-1858); Mary O’Neill (1801-1826); Edith Carter (1799-1872); Frank Roy “Th’ Cunn’l” Cooper (1823-1865); Luther “Sonny Ray” Cooper (1827-1876); Lucas Keith Cooper (1887-1965); Henry Barbour (1848-1924); Charles Thomas Barbour (1933-1955).

Henry Barbour was part Black and part Catawba Indian was brought as a slave to eastern Alabama by his owner Frank Roy “Th’ Cunn’l” Cooper. Cooper fought and died in the last battle of the War Between the States, which took place near the 14th Street Bridge across the Chattahoochee River on April 16th, 1865. The news of Lee’s surrender at Appomattox a week earlier had not reached Alabama yet.

Th’ Cunn’l was a contractor and builder, and Barbour was his labor foreman, constructing most of the first houses of Columbus, Georgia and Girard, Alabama. After Th ‘Cunn’l’s death, Barbour provided for his widow as long as she lived.

During Reconstruction, Barbour served in the Alabama legislature as a representative from Russell County. Over his former owner’s grave, Barbour erected a shaft with an inscription stating that the stone was placed by Henry Barbour in lasting remembrance of the love and gratitude he felt for his lost friend and former master.

Roy Cooper (1794-1858), Th’ Cunn’l’s father, had a second wife, Edith Carter (1799-1872), who he married after his first wife, Mary O’Neill (1801-1826), died giving birth to his second son, Lucas Neil Cooper (1826-1901). This second family would produce Frank’s half brother, Luther “Sonny Ray” Cooper (1827-1876).

“Sonny Ray” rode with Bedford Forrest, and together after the war, they were early members of the Ku Klux Klan (KKK), which was formed by six veterans of the Confederate Army in Pulaski, Tennessee, during the spring of 1866. Two years after Appomattox, Forrest was reincarnated as grand wizard of the Ku Klux Klan. As the Klan’s first national leader, he became the Lost Cause of the Confederacy’s avenging angel, galvanizing a loose collection of boyish secret social clubs into a reactionary instrument of terror.

But their activities were mostly limited to harassing Federal troops attempting to enforce the new laws of Reconstruction (1865-1877). Forrest also hoped to persuade black voters that returning to their pre-war state of bondage was in their best interest.

Because of the essentially ungovernability of the larger membership of the KKK, and a number of what Forrest thought of as counterproductive violent attacks and lynchings, he announced the dissolution of the organization, and officially left the group. The Klan remained mostly dormant until the early 1910s.

This second iteration of the Klan was the first to use cross burnings and standardized white-hooded robes. The KKK of the 1920s had a nationwide membership in the millions and reflected a cross-section of the native born white Protestant population. The third and current Klan formed in the mid 20th century, was largely a reaction to the growing civil rights movement. It used murder and bombings to achieve its aims.

Each generation of the Cooper family, after Lucas “Sonny Ray” Cooper were sympathetic to the Klan,imbibed it’s racist ideology, and were mostly white supremacists. It was Sonny Ray’s great-grandson, Lucas “Sonny Boy” Cooper (1935-1965), who would be among the mob that lynched Henry Barbour’s great-grandson, Charles Thomas Barbour (1933-1955) in 1955.

Ten years later, the narrator of this song, Lucas Keith Cooper (1887-1965), would confront Sonny Boy. They would fight, both dying from their wounds – 100 years to the day of the death of Frank Roy Cooper.

THE BALLAD OF CUNN’L COOPER
(F. D. Leone, Jr.)

My name is Lucas Cooper;
I died in 1965.
Hundred years from the day,
My grandpa Frank died.
Th’ Cunn’l was killed,
16th of April.
The last battle of the war,
A final betrayal.

Way down;
Way down.
Soldier fights a cause lost,
On bloody Southern ground.
Way down;
Way down.
All the rest is talk,
An empty sound; way down.

Henry Barbour was a slave;
Part Black, part Catawba Injun.
Worked for Th’ Cunn’l,
Supervising construction.
Provided for his widow,
Long as she was livin’.
Carved grandpa’s tombstone,
With a loving inscription.

Way down;
Way down.
Folks will surprise you,
Step out from the crowd.
Way down;
Way down.
Stand beside you,
On common ground; way down.

Grandpa had a half-brother,
Cut from a different cloth.
Th’ Cunn’l was a Christian;
Luther had no god or law.
That’s what he passed down,
Till it produced the one,
Who was in the mob that hanged,
Henry Barbour’s great-grandson.

Way down;
Way down.
Destiny foretold,
Around a neck a noose is wound.
Way down;
Way down.
History is a long road,
Twisting around; way down.

That fella, Sonny Boy Cooper,
Lived ’til 1965.
When he stumbled cross my path;
We fought; we died.
Sank like lead,
The die had been cast.
The past ain’t dead,
It ain’t even past.

Way down;
Way down.
Our stars crossed;
In an Alabama town.
Way down;
Way down.
Battles had been fought,
Been lost; been found; way down.

“Let Her Run”

LOCATION: Bellamy, Alabama and surrounding area
PERIOD: 1990s
DRAMATIS PERSONAE: Rosalie Broussard (1969); Tullison “”Tully”” Tate (1965-1993); Tammy Tate (1991); Michelle Tate (1991)

Rosalie Broussard was a restless girl from a very young age. She would often wander off, not telling her parents anything, causing them to worry. Rosalie was precocious, sexually mature for her age. She got herself pregnant before she was sixteen and decided to have the baby, a boy, whom she chose to name James (b. 1985).

Rosalie married Tully Tate, and they went to live in Bellamy, Alabama, leaving James behind with Rosalie’s father. Rosalie and Tully had twin girls a few years later.

Throughout these early years of her marriage, Rosalie would run off from time to time, forcing Tully to find her and bring her back, only to run off again a few weeks later.

Finally, Tully just gave up on her and let Rosalie run.

LET HER RUN
(F. D. Leone, Jr.)

Rosalie Broussard just turned sixteen
She likes movie magazines
Spends hours in her room alone
But Rosalie’s barely hanging on

She hasn’t told her parents yet
Robert Abbott said it’s either him or it
Under her pillow there’s a list of names
She circled in red Jenny and James

Tully Tate drove a log truck
From Hosston to Bastrop
Rosalie met Tully one Friday night
For once everything felt just right

Tully was from Alabama
He and Rosalie left Louisiana
Got in his truck and drove all night
After leaving James with her daddy Mike

Rosalie’s restless as it gets dark
Listening to the wind outside and a dog bark
She’s stir crazy in that little town
Bellamy, Alabama’s all shut down

Tully works at the WestRock paper plant
Rosalie’ll wander off when she feels trapped
Leaving eggs frying in the pan
Tully just can’t understand

Rosalie don’t know why she has to roam
Tully always found her and brought her home
Later she hates the harm she’s done
One day Tully’s just gonna let her run

© 2020 Frank David Leone, Jr./Highway 80 Music (ASCAP). The songs and stories on the Highway 80 Stories website are works of fiction. Names, characters, businesses, places, events, locales, and incidents are either the products of the author’s imagination or used in a fictitious manner. Any resemblance to actual persons, living or dead, or actual events is purely coincidental.

“James”

LOCATION: Vivian, Louisiana
PERIOD: 1993
DRAMATIS PERSONAE: James Michael Broussard (1985); Rosalie Broussard (1969); Robert Abbott (1965); Michael James “Sarge” Broussard (1948-2014); MaeAnn Murphy (1956)

Rosalie Broussard found her self pregnant a week after turning sixteen (see song “Jenny or James“). Though her boyfriend wanted her to have an abortion, and even offered her the money, she refused, because Rosalie had a naive understanding about what having a baby really meant, and also because she just didn’t like the idea. However, she eventually realized she couldn’t handle the responsibility and when James was three she handed him over to her father and his second wife, MaeAnn.

When Rosalie was twenty she left Vivian, Louisiana and married Tully Tate, a man she met while waitressing at a truck stop. They had twin girls and lived in Mobile, Alabama. But Rosalie never could make peace with domestic life and would run off from time to time, ech time Tully would find and bring her back home (see song “What Tully’s Done“). But eventually he grew tired of chasing after his runaway wife and Rosalie finally left that family as well (see song “Rosalie“).

Mike and MaeAnn dearly loved James since they saw that his mother had not shown him the natural love of a mother. But James still felt an emptiness which was only relieved when he played catch with his grandpa.

JAMES
(F. D. Leone, Jr.)

James was Wednesday’s child, full of woe
His mama left when he was just three years old
Rosalie was only sixteen when she had him
Left him with her parents; he was raised by them

James grew up wondering if he’d done something wrong
That made his mama leave him at his grandpa’s home
His father was a shadow, a name that wasn’t said
But Mike and MaeAnn did their best

When James played catch with Mike
For a little while everything seemed alright
A peaceful feeling settled in with the dimming light
On those summer days when James played catch with Mike

He overheard bits and pieces about his mama’s life
She was living in Mobile, a truck driver’s wife
At Christmas she might visit but wouldn’t stay too long
Gave James some toy he’d long ago outgrown

MaeAnn said he had twin sisters in Mobile
James really hoped that they had a better deal
But soon Rosalie would run off from them too
It seemed that’s all his mama was cut out to do

When James played catch with Mike
For a little while everything seemed alright
A peaceful feeling settled in with the dimming light
On those summer days when James played catch with Mike

© 2019 Frank David Leone, Jr./Highway 80 Music (ASCAP). The songs and stories on the Highway 80 Stories website are works of fiction. Names, characters, businesses, places, events, locales, and incidents are either the products of the author’s imagination or used in a fictitious manner. Any resemblance to actual persons, living or dead, or actual events is purely coincidental.

“The Black Belt”

LOCATION: Marengo County, Alabama
PERIOD: 1965
DRAMATIS PERSONAE: Billy Joe Sparks (1930-1999); Mason Sparks (1899-1956); Mary Hooper (1932); Archie Lee Sparks (1815-1887); Harold Lamont Sparks (1842-1901); Mason Sparks (1899-1956)

Billy Joe Sparks (1930-1999) was thirty-five when this song is set. His family has been share-cropping the same land for five generations going back to his G-G-Grandfather, Archie Lee Sparks (1815-1887). This land was rich, dark, and provided a decent living for all those generations of the Spaks family.

So, during the fifties and sixties when the Civil Rights Movement began to fill the newspapers and finally reaching Marengo County, Alabama, certain resentments appeared in Billy Joe’s mind.

Billy Joe’s G-Grandfather, Harold Lamont Sparks (1842-1901), fought in the Civil war, and was among the first members of the Ku Klux Klan, ridding along with Nathan Bedfor Forrest – never surrendering to the Yankees. And his father Mason Sparks (1899-1956) was killed in a KKK raid in 1956, and Billy Joe absorbed all of this history, although he did not think of himself as a racist.

THE BLACK BELT
(F. D. Leone, Jr.)

The Black Belt is known for the richest dirt
But it’s drenched in a history of hurt
Cotton is king and defines life round here
Row after row under the gun of an overseer
The Black Belt runs across this whole state
The Alabama River carries tons of freight
Down to Mobile and the markets cross the seas
The Black Belt reaches 360 degrees

The Black Belt got its name from the color of the soil
But also by the color of the skin of those who toil
Lincoln freed the slaves in 1863
But a hundred years later looks ’bout the same to me

I’m white and poor as they come
I ain’t got nothin’ but I ain’t dumb
I know that just by being white I’ve have more
Than what a better black man can ever hope for

The Black Belt got its name from the color of the soil
But also by the color of the skin of those who toil
Lincoln freed the slaves in1863
But a hundred years later looks about the same to me
A hundred years later looks about the same to me

© 2022 Frank David Leone, Jr./Highway 80 Music (ASCAP). The songs and stories on the Highway 80 Stories website are works of fiction. Names, characters, businesses, places, events, locales, and incidents are either the products of the author’s imagination or used in a fictitious manner. Any resemblance to actual persons, living or dead, or actual events is purely coincidental.

“Magomry”

LOCATION: Montgomery County, Alabama, along US 80
PERIOD: 1923
DRAMATIS PERSONAE: Maclin Hooper (1877-1955), Lamar Hooper (1907-1969)

Mac Hooper was a tenant farmer in Montgomery County, Alabama, growing cotton, corn, and sorghum. He depended upon his son, Lamar, to help with the farm work, but Lamar hated farm work and couldn’t wait to take off for the nearest city, Montgomery which was about 50 miles down Highway 80 East.

Lamar Hooper was Levi Hooper’s grandfather.

MAGOMERY
(F. D. Leone, Jr.)

I been dreamin’ about Magomry
This stinkin’ farm is his, and he can have it
My hands are calloused, and ugly
I want my own life, that’s all I’m askin’
I’m sixteen and I made a choice
It’s branded on my heart, and in my soul
I’ve had my fill of my father’s voice
There’s a fire in me, I can’t control

Magomry is just down the road
Where I wanna be, where I need to go
Gonna get out from under my old man
Magomry is the answer to who I am

I guess my dad once had dreams
Somewhere along the way he give up on them
Now he looks around for someone to blame
And I sure don’t want to end up like him
In Magomry the first thing I’ll do
I take a long walk down those wide sunny streets
I’m sure in a week or two
Get me a good job and it’ll be sweet

Magomry is just down the road
Where I wanna be, where I need to go
Gonna get out from under my old man
Magomry is the answer to who I am
Gonna get out while I still can
Magomry is the answer to who I am

My father left all his dreams behind
He’s doing his best to kill mine too
When I see that city limit sign
My dreams will start, coming true

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