George Jones’ “Finally Friday”: The Anthem of the Working Week’s End
There are some songs that, with just a few opening chords, can transport you straight back to a specific feeling, a particular moment in time. For many of us, especially those who’ve known the grind of a long week and the sweet anticipation of freedom, George Jones’ “Finally Friday” does just that. This isn’t a heart-wrenching ballad about lost love or a reflection on life’s deeper mysteries; it’s a rollicking, unadulterated celebration of the weekend, a pure shot of honky-tonk joy. Released in 1992 as part of his acclaimed album Walls Can Fall, “Finally Friday” quickly became a fan favorite. While Walls Can Fall itself peaked at No. 24 on the Billboard Country Albums chart, “Finally Friday” didn’t hit the heights of some of Jones’s earlier singles. However, it secured its place as a beloved track, a quintessential “Friday song” for country radio stations and listeners eager to kick off their boots.
This spirited tune was a collaborative effort from a team of talented songwriters: Bobby Boyd, Dennis Robbins, DeWayne Mize, and Warren Haynes. While the exact genesis of the song isn’t widely detailed as a dramatic narrative, it’s clear they tapped into a universal sentiment. Who among us hasn’t felt that surge of relief and excitement as the clock ticks down on Friday afternoon? The song captures that visceral feeling, the almost palpable shift from the demands of work to the promise of personal time. It’s a narrative woven from the everyday experiences of ordinary folks, making it instantly relatable.
The meaning of “Finally Friday” is beautifully straightforward and wonderfully unpretentious: it’s about the sheer, unbridled joy of wrapping up the work week and embracing the freedom of the weekend. The lyrics paint a vivid picture of anticipation: “I’ve got a hundred dollars smoking in my billfold / I know I ought to save it, but it’s burning a hole / Right through my pocket and into my skin / Come Monday morning I’ll be broke again.” This isn’t a story of grand aspirations, but of simple pleasures – a little money for fun, a partner to share it with, and the freedom to “let the good times roll.” It’s an ode to letting loose, forgetting the “working blues,” and diving headfirst into a “wild weekend.”
And then there’s George Jones. The Possum. His voice, that unmistakable instrument, transforms this seemingly simple song into something truly special. By the 1990s, Jones was already a living legend, his voice seasoned by decades of triumphs and trials. While he was known for his profound, often mournful, delivery on ballads like “He Stopped Loving Her Today,” on “Finally Friday,” he brings a playful swagger, a knowing grin to his vocal performance. There’s a mischievous glint in his tone, a palpable sense of release and enjoyment that is infectious. You can almost see him winking as he sings about being “out of control” or doing “all the wrong things right.” It’s a testament to his incredible versatility and his ability to inhabit any song, from the deepest heartache to the lightesthearted celebration, with absolute authenticity.
“Finally Friday” embodies the spirit of classic country music – honest, relatable, and designed to connect with the listener’s everyday life. It found a comfortable home on jukeboxes and radio playlists, a reliable pick-me-up for anyone needing a mental escape as the work week drew to a close. It’s a song that speaks to the shared human experience of labor and leisure, of looking forward to that precious sliver of time when the world is your oyster, if only for a couple of days. For those of us who recall Fridays coming with a tangible sense of liberation, this song isn’t just a track; it’s a vibrant echo of countless Friday afternoons, a soundtrack to the collective sigh of relief and the enthusiastic embrace of the weekend ahead. It stands as a delightful, enduring piece in George Jones’ vast and varied catalog, reminding us that even the Possum knew how to have a good time when the clock struck five.