Introduction:
For a connoisseur of classic country music, there are certain artists whose names evoke an immediate sense of genuine quality and timeless sound. Among them, few stand taller than Alan Jackson. The man from Newnan, Georgia, established himself as a standard-bearer for traditional country during an era when the genre was often tempted by the sounds of pop crossover. In his remarkable body of work, a cover song from his 1999 album, Under the Influence, shines with a particular warmth and authenticity: Alan Jackson – It Must Be Love.
The song itself is a masterful piece of songwriting penned by the legendary Bob McDill. Originally recorded and taken to the top of the charts by “The Gentle Giant,” Don Williams, in 1979, the track possesses an inherent, understated brilliance. It’s a testament to the fact that profound emotional truth can be conveyed with the simplest of language and a melody that feels as natural and comforting as a rocking chair on a porch. The lyrics don’t try to be clever or overly dramatic; instead, they capture the tangible, almost bewildering physical symptoms of new, all-consuming affection: “First I get cold then hot / Think I’m on fire I’m not / Oh what a pain I’ve got / It must be love.” This is not the grand, sweeping romance of a Hollywood film, but the relatable, charming confusion of a person suddenly struck by a feeling so potent they can only offer a gentle, bewildered diagnosis.
When Alan Jackson decided to revisit this piece for his covers project, he was doing more than just recording a tribute. He was, as many analysts have suggested, aligning himself with the very spirit of the song’s original artist, Don Williams, whose quiet dignity and unvarnished delivery were a profound influence on Jackson’s own approach. While Jackson is often rightly associated with the deep honky-tonk of George Jones, his handling of this particular track reveals an affinity for Williams’ trademark soft touch—a subtle, masterful control over his voice that allows the song’s central emotion to speak for itself.
Jackson’s rendition, released in 2000, brought the song back to the number one position on the Billboard country charts, a rare feat for a cover, and a clear indication of how perfectly Jackson’s voice and production style suited the material. His take is arguably “brighter” than Williams’, featuring the crisp, clean instrumentation that defined the best of late ’90s and early 2000s traditional country: the subtle cry of the steel guitar (likely Paul Franklin), the steady rhythm section, and the tasteful fiddle work. Yet, despite the somewhat more polished production, the emotional core remains intact. Jackson sings the words with a sincere, almost awestruck vulnerability. He sounds like a man surprised by his own feelings, a mature adult encountering the youthful giddiness of a crush all over again.
The chorus—”It must be love, it must be love / I fall like a sparrow and fly like a dove / You must be the dream I’ve been dreamin’ of / Oh what a feelin’, it must be love”—is a perfect example of Bob McDill’s genius. It uses simple, universal imagery—the sparrow’s fall and the dove’s flight—to poetically capture the duality of love: the sense of falling, losing control, combined with the exhilarating lift of pure joy and aspiration.
For readers who appreciate genuine craftsmanship in music, the song Alan Jackson – It Must Be Love is not merely a hit single from the year 2000; it is a beautifully executed bridge between two generations of country greats. It demonstrates the enduring power of a well-written song and Jackson’s role as a faithful steward of the genre’s finest traditions. It remains a track that, when it drifts across the airwaves, immediately slows the pace, demands a quiet listen, and reminds us that the greatest statements of the heart are often the ones whispered with humble sincerity. It is, quite simply, a timeless piece of musical elegance.