Counter-Currents
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The sound of much country music these days is bland and monotonous. The lyrics often seem to be written with commercial use in mind as they concern products, such as “my beer,” “my truck,” and so on. I especially dislike the song “I Can Fix a Drink.” Here is a sample of the lyrics:
I turn on FOX News and then CNN
But it’s the same dang thing all over again
The world’s in the toilet and the market’s in the tank
Well, I can’t fix that, no
But I can fix a drink, pour it on ice
Mix it on up and get’cha feeling right
Since Jews ran the tavern system in the Pale of the Settlement in old Poland, they’ve herded the goy peasantry into their taverns and pushed alcohol on them. Drunken goyim not only enrich Jews by buying alcohol but are also less likely to complain about Jewish cartels in business. This is not to say all consumption of alcohol empowers Jews and disempowers whites, as many red-pilled people enjoy a drink or two, but promoting consumption of alcohol as an escape from politics is not a good message.
I’ve always felt like I was being managed in giant commercial bars, like they were spying on me with security cameras and seeing how to manipulate me into buying more alcohol. They’ve certainly accomplished that with the music they play. It’s so loud that talking to people in any sane way is impossible, and the only thing to do is drink. Unsurprisingly, bars that play loud music make more money.
One song I always hear in bars is “Sweet Home Alabama.” I hate that song. I have nothing against Alabama or those who are nostalgic for it, and the lyrics aren’t bad, but just because Lynyrd Skynyrd puts a Confederate flag on their CD covers doesn’t mean they can make a good tune. It has a 1970s rock sound, which I don’t care for in general.
I also don’t like the garbled Creed style of singing popular among aughts-era country musicians. When somebody sings like that, it sounds like they have a giant canker sore in their mouth preventing them from annunciating properly. The thing is that women are attracted to men who mumble, so maybe that’s why it is so popular.
Even worse than aughts-era country musicians are the current ones who imitate narcissistic Negro rappers as they boast of their sex appeal and dwell on the shape of their woman’s rear end. These silly sexual displays may work for black men, but it is just weird when white guys do it.
At least some country songs still have normal lyrics. Take Blake Shelton’s recent hit “Minimum Wage”:
Girl, your love is money, your love is money
Yeah, your love can make a man feel rich on minimum wage
An endearing sentiment, but while she may make him feel rich on minimum wage, he probably doesn’t make her feel rich. Maybe Shelton, who is worth $100 million, wanted to give poor single guys hope — albeit false hope.
Granted, sometimes being the center of attention can make a poor man attractive to women. For this reason, musicians, actors, and comedians can attract women despite not having riches. Shelton sings of this:
Yeah, I met you ‘fore anybody knew my name
Playing for pennies on a dive-bar stage
Split an All-Star Special on our first date
In a Waffle House booth
Your daddy was crying when he gave you away
‘Cause all those country songs I played
They didn’t come with a 401(K)
But hey, I had you
Shelton is on his third wife, and he met his past two wives after becoming famous. What happens with a lot of musicians, I’ve noticed, is that they’re good at attracting women with their music, but then lose them to manlier and/or richer guys. Attracting a crowd can attract a woman, but it doesn’t always keep them around.
The lyrics of country singer Johnny Paycheck’s 1977 classic “Take This Job and Shove It” are more relatable for rural white men these days:
Take this job and shove it
I ain’t workin’ here no more
My woman done left and took all the reasons
I was working for . . .
Paycheck’s song about quitting is also a good anthem for the millennial men perpetrating the Great Resignation. Many of these men work in low-paying retail jobs and lost their girlfriends because she was unhappy with his status in the world — but of course they’ll never hear a song like “Take this Job and Shove It” piped into the ceiling speakers in the retail establishments where they work.
George Strait’s “I Hate Everything” attracts one’s attention as he echoes the words of a divorcée he met at a bar:
I hate my job, I hate my life, and if it weren’t for my two kids I’d hate my ex-wife
I know I should move on and try to start again
But I just can’t get over her leaving me for him
Then he shook his head and looked down at his ring and said I hate everything
This song isn’t just about crying in one’s beer because there’s a moral to the story, however. After hearing the man complain about how his life has unraveled since his divorce, Strait decides to resolve the conflict he’d been having with his wife:
So I pulled out my phone and I called my house
I said babe I’m comin’ home, we’re gonna work this out
I paid for his drinks and I told him thanks, thanks for everything
Strait shows gratitude to the divorced man for showing him how bad things can be for divorcées and resolves not to become one. This is a good message for most couples. Unless either party is a psycho, then it’s best to stay together and work things out, especially if they have kids. Men who avoid divorce, custody battles, and financial hardship are less likely to end up as malcontents who hate everything.
Strait also shows how positivity, agreeableness, the desire to cooperate, and the need to avoid divorce woes are adaptive in modern society, since the children of parents who stay together are less likely to have relationship troubles.
Country singers like George Strait and Johnny Paycheck are the bards of white America. Their lyrics reveal more truth than all the Ivy Tower’s sociological surveys.
You can buy Tito Perdue’s novel The New Austerities, here.
But to get good tunes you’ve got to go back further, way before the country music genre became a thing — specifically, to Harry Smith’s Anthology of American Folk Music from the late 1920s. It is more creative and has more dark humor than the modern stuff. Of course, intelligent people tend to be more creative and enjoy dark humor, so it suggests that there were more intelligent people living in country America prior to the brain-drains of the twentieth century to urban America.
In “Old Lady and the Devil,” the devil takes a man’s quarrelsome wife down into hell but returns her because she’s too difficult to deal with. “The old lady can outdo the devil and the old man too,” one lyric goes. The song makes heavy use of lilting, i.e. nonsense words thrown in for musical effect. For example, the chorus of Old Lady and the Devil goes “Faaa-dita-la-dita-la-Faaa-dita-la-dita-la-daaay.” Lilting is common in Irish music, but most of it in old American country comes from Scotch-Irish folk traditions. These date back to the eighteenth century and earlier, before the rise of modern cities and when minstrels still roamed about Europe originating new tunes and sculpting classic ones.
Another Scotch-Irish tradition is that of the tragic ballad. We see this in “The House Carpenter,” which is about a woman who leaves behind her newborn child to run off with her true love, only to die with him in a shipwreck. Similar songs could be written today, but they wouldn’t sell well in the drinking establishments where country musicians perform. They’ve got to stick to the basics of singing about being able to fix a drink and stuff like that. That way the song might end up in a beer commercial, and think of the royalties!
Some more recent country music isn’t bad, however. In general, it’s more anodyne as background music in retail establishments, in part because it’s rather bland. A popular modern country song which is not so bland, and as such the best suited to be an anthem not only for country Americans but white Americans, is “A Country Boy Can Survive” by Hank Williams, Jr. I recommend reading all of the lyrics, but here’s a sample which reads like a Richard Houck article:
I had a good friend in New York City
He never called me by my name, just hillbilly
My grandpa taught me how to live off the land
And his taught him to be a businessman
He used to send me pictures of the Broadway nights
And I’d send him some homemade wine
But he was killed by a man with a switchblade knife
For 43 dollars my friend lost his life
I’d love to spit some beech nut in that dude’s eyes
And shoot him with my old .45
‘Cause a country boy can survive
The singer wants to avenge his friend’s death by shooting his murderer with his “old .45.” Country Americans have guns, the thought of which Leftist Jews and their Leftist white minions dislike. They fear law-abiding whites in the country more than criminal urban blacks because, while the latter group poses no threat to their political and economic power, country whites do because they are not amenable to modern brainwashing tactics. They tend to be humbler and more honest than urban whites, too. A guy wearing a camo hat is basically impervious to “wokeism,” and while he may not be as smart as the average Left-wing urban white, he’s a lot smarter and more competent than the typical urban black.
It wasn’t all that long ago, either, when whites banished Jews from their polities for the crime of usury. While certainly not all retaliatory actions against Jewish parasitism were warranted or just, they were all effective, even if they were not all good.
The absurdity of Black Lives Matter portraying blacks as victims of white cops is the result of this Jewish plan to continually bring whites and country Americans in particular down a notch so that they never have the confidence to banish — even non-violently and civilly — invasive Jewish elites again.
Much of Williams’s anthem could be called a survivalist song, as it praises living off the land:
The preacher man says it’s the end of time
And the Mississippi River she’s a-goin’ dry
The interest is up and the Stock Market’s down
And you only get mugged if you go downtown
The biggest problem is not that it’s the end of time, nor that rivers are drying up. It doesn’t matter if the stock market tanks, because it is mostly owned by sexually sterile boomers and Gen Xers — and Jews own a good seventh of it or so.
The real problem is that if you go downtown, you get mugged, and, to paraphrase Donald Trump, “somebody’s doing the mugging.” In one fashion or another, non-whites of all varieties have been mugging white Americans. Jews, Middle Easterners, and Asians mug them out of high-status jobs, Hispanics mug working-class whites out of the ability to demand a living wage, and blacks mug them literally.
Williams’ song has prepper undertones because he sings of country folk being able to live off the land, unlike urbanites, and the implication is that because they can survive a collapse better, they are heartier.
Assuming music is a universal language of emotion, maybe whites should listen to old music from the Baroque and Medieval periods, when whites celebrated their socioeconomic immune-system reactions to Jewish usurers and invading Mongol and Turkish armies. But until that becomes a trend, country music isn’t that bad in the meantime. The truthful kind, that is.
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22 comments
Good article.
https://www.youtube.com/watch?v=oMKOXZiEhqg
My favorite country singer has got to be Hasil Adkins. From Boone County West Virginia, he played his own version of a one man band and was truly wild. Take for instance the classic No More Hot Dogs, where he laments hanging the decapitated head of his woman on the wall for eating all of the hot dogs.
https://m.youtube.com/watch?v=7Nz9jR_AuLM
Also, check out Shel Silverstein’s albums. He wrote some of the funniest and most clever songs I’ve ever heard, especially A Front Row Seat To Hear Ol’ Johnny Sing.
https://m.youtube.com/watch?v=Bwjz9PNh_ZA
The soundtrack to the film Ned Kelly starring Muck Jagger is written entirely by him(barring one Irish folk song) and is performed by Waylon Jennings and Kris Kristofferson. Not to be missed.
I was always anathema to country and milquetoast temp-music but mysterious Australian metallers Portal have the most mesmerizing lyrics of any genre I’ve ever come across.
The guy in the camo hat is smarter than the average left wing urban white. And if a collapse happens, he is better prepared. Just wait until we have another Hurricane Katrina and see who comes out of it better.
At first I was afraid that you are going to destroy the genre. The country music is a treasure too little known outside US, and usually belittled by people that think that . There are many gems out there, entertaining, telling a story, encouraging, soulful, traditional. Good white music, whatever you call it, country, bluegrass, blues, Americana, folk, older or newer.
Let’s face it, we want our country singers shooting men in Reno just to watch them die.
“Strangers don’t come down from Rocky Top, reckon they never will…”
🎶I’m a wacko from Waco, ain’t no doubt about it
Shot a man there in the head but can’t talk much about it🎶
Billy Joe Shaver
https://m.youtube.com/watch?v=cg48w9yBQwM
Good one. Never heard it. Love Billy Joe.
A song you should listen to is one of the few country songs that uncover the secrets to being played on the radio, or becoming famous. He states there is a “force” or entity representative who will approach an up and comer to modify appearance, circle, and lyrics in order to get to the “next level”. Leave your wife and your white country friends and family. Much like Charlie Daniels song the devil went down to Georgia offering gold for a soul.
Lewis song also mentions that Hank taught him how to stay alive. (A country boy can survive)
Here are the lyrics from Aaron Lewis’s song “country boy”
“Now, I grew up down an old dirt road
In a town you wouldn’t know
My pops picked the place up for fifteen hundred bucks
Back in nineteen sixty-four
My grandfather was a drinker
Back in the day, he put ’em down
But a war is known to change a man
And the whiskey’s known to change a man
That’s not me
I rarely drink from the bottle, but I’ll smoke a little weed
I still live in the sticks where you wouldn’t go
In a town of twelve hundred off an old dirt road
And a country boy is all I’ll ever be
Now it’s been twelve years since I sold my soul
To the devil in L.A.
He said, sign here on the dotted line
And your songs they all will play
He set up shop on Sunset
He put me up at the Marquee
He said, you wanna sell a million records, boy
You better listen to me
He said, change your style, widen your smile
You could lose a couple pounds
If you want to live this life you’d better lose that wife
Do you need your friends around?
I said
No, that’s not me
‘Cause the biggest things in life are your friends and family
And I like my jeans and my old t-shirts
And a couple extra pounds never really hurt
‘Cause a country boy is all I’ll ever be
‘Cause Hank taught me just how to stay alive
You’ll never catch me out the house without my nine or fourty-five
I’ve got a big orange tractor and a diesel truck
And my idea of heaven’s chasing white tail bucks
And as a country boy, I know I can survive
Now two flags fly above my land
And really sum up how I feel
One is the colors that fly high and proud
The red, the white, the blue
The other one’s got a rattlesnake
With a simple statement made
“Don’t tread on me” is what it says
And I’ll take that to my grave
Because
This is me
I’m proud to be American and strong in my beliefs
And I’ve said it before, but I’ll say it again
‘Cause I’ve never needed government to hold my hand
And I’ve said it before, but I’ll say it again
‘Cause my family’s always faught and died to save this land
And a country boy is all I’ll ever be.”
Nicely said.
My favorite country song is devil went down to Georgia. Is that country or some sort of rock fusion? I don’t know. I also like that one lady antebellum song where she drinks and dials. I’ve tried to listen to other Charlie Daniels songs, but I didn’t like them. His one other big song—seldom played—he insults Jackson Mississippi for no clear reason, I suppose as a way to do worship to the oligarchs, which seems to be the most gratifying thing for literally everyone to do, oh well.
If only life could imitate, ahem, art—as in this example:
https://youtu.be/aTe0MjAZvMU
The best of Country is some of the greatest lyrical music in the world. Country has also produced some of the most impressive singers to come out of America. There’s a pretty high ratio of bad to good music in Country, though — even in the old stuff.
https://www.youtube.com/watch?v=HQ2naeD5EJA
Since I first heard Jimmie Rodgers’ “Treasures Untold” about 15 years ago, I’ve sensed that there are probably few country tunes out there with a more sophisticated lyrical and chordal progression.
https://www.youtube.com/watch?v=mbCMVa9sZpM
“A Country Boy Can Survive” is Hank Williams, Jr’s weakest hit, musically, lyrically, and production wise. The only reason anyone knows it is because it was his last hit. Pretty much everything he did before that song is the best country of the recorded era.
Sweet Home is one of the best American songs of the 20th century.
I don’t want no handout livin’
Don’t want any part of anything they’re givin’
I’m proud and white and I’ve got a song to sing
I’ve said a few things and I’ll admit it
If you wanna get ahead you gotta hump and get it
I’m a white boy lookin’ for a place to do my thing
Merle Haggard – “I’m a White Boy” (1977)
That is a great song. Thanks for the reminder.
Interestingly enough, Stalin was fond of country music. He considered it authentic music of the proletariat, and it was allowed in the Soviet bloc. Czechs especially enjoyed C&W…maybe they saw some Dvorak in it.
When I was in junior college in my rural area, a fellow student hated C&W. “It isn’t even music,” he huffed, “just bad tone poetry.” He was a big jazz musician.
I always disliked jazz, but as we know, it is the official music of the ruling class.
Stalin liked very much Woody Guthrie and his disgusting communist propaganda. How is that to song songs about Ribentrop-Molotov Pact and partition of Poland and Romania. Sick. Guthrie was an NKVD agent.
The Czechs, and not only them, loved country music, and in fact any American music.
After the savagery and the psihopathy proven again by the Russian soldiers in August 1968, the American music was the single thing able to jump the Wall and give little hope and whatever light in the thick stench and horror of the Russian occupation.
https://www.youtube.com/watch?v=0nt1owWHyHU
Enjoyed the article thoroughly, even though for me Sweet Home Alabama is one of the greatest rock songs ever – certainly put whiny Neil Young in his place. Charlie Daniels’ “Simple Man” might be a better defiant white man’s anthem than Hank Jr.’s “Country Boy Can Survive”:
https://www.youtube.com/watch?v=CQ74BwEwOJY
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