Nineteen ninety-five was a weird year for music. Coolio was dominating the charts with "Gangsta’s Paradise," TLC was chasing waterfalls, and smack in the middle of it all, a guy in a black cowboy hat named Tim McGraw decided to release a song that would eventually become the ultimate earworm of the decade. I like it, I love it, I want some more of it wasn’t just a catchy chorus. It was a cultural pivot point for country music. It took the genre out of the "my dog died and my truck broke down" trope and shoved it into the high-energy, arena-rock spectacle we see today.
Honestly, it’s hard to find anyone who grew up in that era who doesn't instinctively clap along to the beat.
The song, written by Jeb Stuart Anderson, Steve Dukes, and Mark Hall, didn't just climb the Billboard Hot Country Singles & Tracks chart; it parked there at number one for five consecutive weeks. But why? Was it the lyrics about a guy so head-over-heels that he’s skipping "Monday Night Football" to spend time with a girl? Maybe. Or maybe it was just that infectious, driving rhythm that felt more like a pep rally than a traditional ballad.
The Story Behind the Hook
Most people think Tim McGraw wrote it. He didn't. That’s a common misconception about 90s country stars—they were often the messengers for a massive Nashville songwriting machine. Jeb Stuart Anderson actually came up with the "I like it, I love it" line while he was just messing around. It was simple. Almost too simple. In the songwriting world, there’s this constant pressure to be deep or poetic, but this track leaned into the "kinda goofy, very relatable" vibe of early-stage infatuation.
It's about that specific phase of a relationship where you're losing your mind a little bit. You’re neglecting your hobbies. Your friends are annoyed. You're "spending all your money" on dinner and movies. It’s a universal experience wrapped in a honky-tonk bow.
When McGraw heard the demo, he knew it was a hit. At the time, he was coming off the success of "Not a Moment Too Soon," but he needed something to prove he wasn't a one-hit-wonder or just "Tug McGraw’s son." This was the song that solidified him as a superstar. It showed he had a sense of humor and a commercial edge that his peers were sometimes lacking.
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Why "I Like It, I Love It, I Want Some More Of It" Still Works
Have you ever wondered why you still hear this song at every single Nashville Predators game or during NFL transitions? It has staying power because it’s modular. The phrase I like it, I love it, I want some more of it fits basically any situation involving excitement.
Sports broadcasts love it. It’s a "pump up" song. It’s also incredibly easy to sing when you’ve had one too many light beers at a tailgate. That’s the secret sauce of 90s country—it was built for mass consumption without feeling corporate. It felt like it belonged to the fans.
The Production Magic of Byron Gallimore
You can't talk about this song without mentioning Byron Gallimore. He’s the producer who helped craft the "Tim McGraw sound." If you listen closely to the original recording, it’s not just fiddles and steel guitars. There’s a crispness to the drums and a specific pop-influenced layering that was pretty revolutionary for 1995.
Country music in the early 90s was still very much in the shadow of Garth Brooks. Everyone was trying to figure out how to be "big." Gallimore and McGraw figured out that the key wasn't just being loud; it was being bright. They made country music sound expensive. This song, specifically, has a tempo that sits right at the sweet spot of 120 beats per minute, which is the gold standard for getting people to move their feet without realizing they're doing it.
The Music Video: A Time Capsule of 1995
If you want a laugh, go watch the music video on YouTube. It’s a chaotic mix of tour footage, Tim McGraw wearing shirts that are arguably three sizes too big, and a lot of very enthusiastic fans in denim. It captures a moment in time before social media, where the only way to see a star was to catch the video on CMT or buy a ticket to the "Spontaneous Combustion" tour.
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It’s authentic.
There’s no CGI. No over-the-top filters. Just a guy and his band playing to a crowd that is genuinely losing their minds. That raw energy is part of why the song feels so "human" compared to the highly polished, pitch-corrected tracks we get today.
Beyond the Radio: Impact on the Industry
When I like it, I love it, I want some more of it hit the airwaves, it signaled a shift in what Nashville was willing to export. It paved the way for the "bro-country" movement that would come a decade later, for better or worse. It proved that you could have a massive hit that was purely about fun. No tragedy required.
Critically, some purists hated it. They thought it was too poppy. They thought it was "bubblegum country." But the numbers didn't lie. It helped the album All I Want sell over five million copies in the US alone. That’s 5x Platinum. In today’s streaming world, those kinds of numbers are almost mythical for a country artist.
Real-World Legacy and Modern Context
Even in 2026, the song is a staple. It’s one of those tracks that bridges the gap between generations. You’ll see a 60-year-old and a 20-year-old both screaming the lyrics at a karaoke bar. It’s because the sentiment is timeless. Everyone wants "some more" of something good.
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- The Sports Connection: The Nashville Predators (NHL) use a modified version as their goal song. It’s baked into the city’s identity.
- The Streaming Stats: On platforms like Spotify, it consistently remains one of McGraw’s top-played tracks, even decades after its release.
- The TikTok Factor: Younger audiences have rediscovered it through short-form video trends, often using the hook to showcase food, travel, or new purchases.
Breaking Down the Lyrics
Let’s look at the second verse. "My mama and my daddy say I'm losing my mind / But I've got to have a little of your love one more time." It’s classic "young love vs. parental advice" storytelling. It’s a trope as old as time, but McGraw delivers it with a wink. He’s not actually worried about his parents; he’s bragging.
Then there’s the line about "Monday Night Football." In 1995, skipping MNF was a significant cultural statement for a "man’s man" in the South. It established the character as someone who was truly, deeply smitten. It gave the song a narrative weight that elevated it above just being a catchy tune.
Cultural Nuance: Why This Song Matters
We live in an era of "disposable" music. Songs trend for two weeks and vanish. This track has survived for thirty years. That doesn't happen by accident. It happens because the songwriters tapped into a cadence that feels natural to the human ear. The repetition of the title isn't annoying—it's foundational.
It’s also important to note (wait, I shouldn't say it's important to note—let's just say) that McGraw’s vocal performance is what sells it. He’s got that slight growl, that North Louisiana drawl that makes the words feel lived-in. If a pop singer from LA sang this, it would feel fake. From McGraw, it feels like a guy telling you a story over a fence.
Actionable Insights for Music Lovers and Creators
If you’re a songwriter or a fan of the genre, there are a few things to take away from the success of this track:
- Simplicity Wins: Don’t overcomplicate the hook. If you can’t say it in one breath, it’s probably too long. The I like it, I love it, I want some more of it structure is a masterclass in brevity.
- Relatability Over Poetry: While deep metaphors are great, sometimes people just want to hear about skipping a football game or spending too much money on a date.
- Vary the Energy: The song works because it builds. It starts with that punchy drum beat and just keeps layering on the enthusiasm until the final chorus.
- Embrace the "Cheese": Don’t be afraid to be a little bit corny. Some of the biggest hits in history are songs that people initially called "silly."
If you’re looking to dive deeper into the 90s country era, start with the All I Want album in its entirety. It’s a perfect snapshot of a genre in transition. Also, look up the Nashville Predators' goal celebration to see how the song has been adapted into a modern "war chant."
The song isn't just a relic of 1995. It’s a blueprint for how to create something that sticks to the ribs of the culture. It reminds us that sometimes, the best things in life are the ones we just want some more of, over and over again.