“Troubadour” by George Strait is a hit song: and 34 million views on YouTube will attest to my claim.
When we analyze the lyrics, we see the art of songwriting at work; in particular, the use of effective rhyme scheme and pronoun.
I still feel 25 most of the time.
I still raise a little cain with the boys.
Honky Tonks and pretty women,
But Lord I’m still right there with ’em
Singing above the crowd and the noise…
The rhyme scheme here is AB/AAB. This sets the table for the rest of the song, and he’ll contrast it later against the chorus. The structure matters. Professional songwriters will never repeat a rhyme scheme in both the verse and chorus.
Secondly, he’s writing in the first person (I/Me/My). Again, we see an important element of songwriting. A hit song is always in the first and second person: it’s me/you and never he/she. Some examples?
“Lady…for so many years I thought I’d never find you.”
“I’ve got you…under my skin”
“I left my heart in San Francisco.”
“You are my sunshine, my only sunshine…”
You get the picture. The pronoun is critical to a hit song…a point that was made by Ralph Murphy, the vice-president of ASCAP. The next time that you hear a hit song, take note of the pronoun.
And now on to the chorus…
Sometimes I feel like Jesse James
Still tryin’ to make a name.
Knowing nothing’s gonna change what I am.
I was a young troubador
When I wrote in on a song.
And I’ll be an old troubador when I’m gone…
Notice that the rhyme scheme has changed: we’re on to AAB/ABB. It’s a subtle change, yet a profound one. The listener can notice a difference (if only on a subconscious level). Also, we’re still in the first person. Introducing a different pronoun would confuse the listener.
Now, we’re on to the second verse…
Well the truth about a mirror…
Is that a damn old mirror…
Don’t really tell the whole truth.
It don’t show what’s deep inside.
Or read between the lines.
And it’s really no reflextion of my youth…
The rhyme scheme here is different than the opening verse. The reason? Very simple…the listener gets bored easily. So the songwriter has to alter the pattern to pique the interest. Logic would dictate that we repeat the rhyme scheme from the first verse. But a talented songwriter knows better. You have to do something different if you don’t have a bridge (which the song doesn’t).
Needless to say, George Strait did not write this song; he knows better. Instead, he hired a pro to do the work for him. And Strait focused on what he does best – singing. Every man is born with a talent. And sometimes the talent involves knowing what you CANNOT do, as opposed to what he can do.
Enjoy the song…and notice how the fundamentals of songwriting come together.
If we judge by number one hits, then the answer is George Strait.
Let’s look at the biggest stars in American music:
George Strait = 60 number ones
Elvis Presley = 20 number ones
Michael Jackson = 13 number ones
That’s right. George Strait has nearly double the number one hits of Michael Jackson and Elvis Presley COMBINED! He has more number ones than any artist in any genre of music. Moreover, he sold more than 100 million records worldwide, and he once gave a concert that drew 104,000 (beating the previous record of 87,000, held by The Rolling Stones).
So now the obvious question…if George Strait is so amazing, then why don’t we hear more about him? You’ll get a lot of answers…and nearly all of them are wrong! “Well, perhaps reason #1, or perhaps reason #2…and so forth.”
The Major knows why…
The media despises heritage America.
George Strait is a cowboy from Texas. And his songs are about romantic love and patriotism. Moreover, he’s been married to the same woman since 1971.
The music industry was once noble; however, now it’s a cesspool of dysfunction. Everything they applaud is degenerate or broken: i.e. Miley Cyrus wearing a dildo outfit, Snoop Dog singing about murdering the President, etc. They’re a weapon of cultural agitprop, inseminating your children with a Satanic Semen.
George Strait has never received full credit. The reason is because he’s happily married, sings about positive love, and loves the United States. In short, he represents everything that the mainstream media despises.
Kenny Chesney has a wonderful voice. In addition, he has a team of professional songwriters that work for him. Nashville veterans that top understand the template of songwriting: i.e. the alternation of a rhyme scheme between the verse and chorus, a bridge that adds new information to a theme, etc.
So Kenny Chesney has a great voice, along with excellent lyrics. What could possibly go wrong? The answer is simple…feminist intrusion
The music videos of Kenny Chesney are feminist tripe to the trained eye; and it turns an otherwise beautiful song into a piece of divisive agitprop.
Let’s go through the list:
1.) Anything But Mine
This is a great ballad. It’s a song about a man in love with a woman. However, take a look at the music video. At 1:22 of the video, the woman tries to kick the man in the head. Because, you know…every man loves to be physically assaulted.
The reason is simple. The music industry is run by a diabolic group of feminazis. And their goal is the destruction of anything beautiful or sacred. Don’t believe me? Read the Scum Manifesto of Valerie Solano It’s filled with beautiful lines like the following:
“Every man, deep down, knows he’s a worthless piece of shit.”
“To call a man an animal is to flatter him; he’s a machine, a walking dildo.”
What a gal, no? Unfortunately, she’s not just a random troll. You see, she’s a feminist…and feminism is the dominating agenda of the day – extending from the White House to the Music Industry.
2.) She Thinks My Tractor’s Sexy
This a fun, albeit corny song. However, the beat is great and so is the message. Again, it’s about a man in love with a woman.
Let’s take a look at the first verse of the song:
Plowin’ these fields in the hot summer sun
Over by the gate lordy here she comes With a basket full of chicken and a big cold jug of sweet tea
I highlighted the important part – a woman is walking toward the man with a basket full of chicken and a jug of sweet tea. That’s what every hard-working man wants – to see a beautiful woman willing to dote on him.
Now you at the video around 0:28. This is the scene that corresponds to the line.
If you’ll notice, the woman DOES NOT have a basket of chicken in her hand, nor a jug of sweet tea. So why the the producers of the video leave that out? Their job is to match the video to the lyrics.
The answer is simple…they left out the scene because they did not want to offend the feminist factions of the audience. It’s obvious.
3.) Don’t Blink
This is another great song. It’s about putting value in the present…in your family and children. A wonderful message.
Notice again how the video producers infect the video with their Satanic semen. The video opens with an old man, sharing his life lessons. At around 0:30, he tells us to cherish our parents…”especially mother.”
Once again…the feminism doesn’t end. The video gets destroyed by placing one parent over the other. Essentially, it disrespects the fathers of the world by adhering to the Satanic cult of Abzug/Steinem/Dworkin.
Do you think Kenny Chesney is aware of this? Perhaps…but there might not be anything he can do about it. The music industry is ruled by the dark forces of humanity, a den of adders. So you have to sell your soul along the way.
Remember, country music is “heartland music.” therefore, it’s the enemy of the globalist agenda. By injecting it with feminism, they can poison the lives of innocent Americans.
Such beautiful lyrics and vocals (orignally written and sung by Randy Van Warmar, RIP). Until you think about…then you realize that it’s a painful, blue-pill lament. Clearly, this is a man without game. So he’s forced to pine over a lost woman. He lacks the abundance mindset. An alpha male understands that his stock is always high. If he’s unleashed onto the market, then a line of suitors will await. Clearly, this is not an Alpha male.
You be the judge…
You packed in the morning and I Stared out the window and I Struggled for something to say You left in the rain Without closing the door I didn’t stand in your way
But I miss you more than I Missed you before and now Where I’ll find comfort, God knows ‘Cause you left me Just when I needed you most
(Left me, just when I needed you most)
Now most every morning I Stare out the window and I Think about where you might be I’ve written you letters That I’d like to send If you would just send one to me
‘Cause I need you more than I Needed before and now Where I’ll find comfort, God knows ‘Cause you left me Just when I needed you most
(Left me, just when I needed you most)
You packed in the morning I Stared out the window and I Struggled for something to say You left in the rain Without closing the door I didn’t stand in your way
Now I love you more than I Loved you before and now Where I’ll find comfort, God knows ‘Cause you left me Just when I needed you most Oh, yeah You left me Just when I needed you most
I saw Kenny Rogers on Friday night. He played all the hit songs, of course. But his finale was perfection – a lesser known tune entitled “You Can’t Make Old Friends.” It was dedicated to a 50-year friendship that he had with Dolly Parton.
During the song, I was reminded of Kenny’s genius – how the Gods have blessed him. How a golden voice was put in the body of a common man. How he gave praise to the GIFT. In short, I saw a GREAT MAN.
Do you have somebody special in your life? Somebody that’s been at your side for decades? Do you honor and cherish them?
“Right Back Atcha Babe” is a song by Tim Mcgraw from the album Emotional Traffic . It has a fantastic beat, wonderful vocals, and a beautiful sentiment in the chorus.
“Right back atcha babe/ Just like a boomerang, everything good you threw my way/ Right back atcha babe/ Best that you get ready/ There’s a whole lot of loving that’s gonna be coming/ Right back atcha babe”
I heard the song on a Delta flight from Atlanta to Vegas, and I replayed it fifty times. So I got to wondering…why was it not a hit song? To answer the question, I reflected on the number one rule of songwriting:
The lyrics to a hit song will always make a woman feel good about herself.
As Harlan Howard (author of “Tiger by the Tail”) used to say, “Women buy 90% of music and they make men buy the other 10%.” Very true. So I put the lyrics of “Right Back Atcha Babe” under inspection. Do they make a woman feel good about herself?”
That night in Phoenix when you stole my jeep
Then you brought it home with a new stereo, baby, that was sweet…Oh and how can I forget the day you gave me my red guitar?
We’re off to a bad start. Women want to receive gifts…not give them. So the song has already failed. It’s ignoring the structure of courtship, where men are the pursuer and women are the pursued. The writer probably thought he was being a good-little-feminist. But gender equality only works in the protected hallways of academia: not in the real world.
First things first
I want you to close your eyes
This may not even come close to that first kiss you gave me
But I’m gonna try
Oh and here’s that ring you’ve been waitin for all these years As for the tears, that you’ve cried When we made love the first time
I highlighted the problematic part. Women don’t want to cry after sex…no matter how many romance novels we read. They want to feel exhilarated in the arms of an Alpha king. The only women that cry after sex are addicted to Cymbalta.
We don’t need to go any further with our analysis, the song has already failed. Again, remember the important rules: For a song to be a hit, the lyrics will always make a woman feel good about herself.
The customer is always right…and the customer for music is a woman.
Chris Cornell died a few days ago. The lead singer of Soundgarden was famous for pioneering the “grunge” sound, which rose to popularity in the 1990s. Sadly, Cornell committed suicide. Even sadder is that he now leaves behind two children.
Cornell is the most recent “grunge” musician to committed suicide, or to die from a drug-related overdose: Kurt Cobain, Scott Weiland, etc. Unfortunately, it’s becoming a reoccurring event.
A lot of people are commenting on Cornell’s death. Some are talking about depression, others about about drug abuse. But several points are missing, so let’s take about what nobody is willing to say:
1.) Grunge musicians were only popular because they promoted nihilism
The “angry young man” shtick was purposefully promoted by music executives (most of whom are Jewish). These executives have a specific goal – using music to destroy the edifice of Christian America.
The lyrics are the most important part of grunge. Now some people will disagree, saying that they only listen to the instrumental parts of a song: guitar, drums, etc. This viewpoint is a common for musicians, who tend to focus on the structural elements. But there’s an old saying in Nashville: “They come for the beat; they stay for the lyrics.” This is so true. Remember that the average fan cannot play the drums – but they can sing along. So the average person will “connect” with a song by singing the chorus in the car, in the shower, etc.
The Weltanschauung of grunge is nihilism. And nihilism encourages the destruction of the individual. Just take a look at the titles of the famous grunge hits: i.e “Black Hole Sun,” “Rat in a Cage,” etc. They all encourage a hopeless perspective. How many people have learned to hate life by singing these songs? How many people have overlooked the glory of God in favor of a bleak landscape? Too many I’m afraid.
1.) It Takes Millions of Dollars to “Break” an Artist; Thus, Record Labels Carefully Plan Who They Want to Promote and Why
Do you think that a musician is famous by accident? Of course not. It’s takes millions of dollars to “break” an artist. Here’s a rundown of the funding that a rock band will require:
Money needed for radio payola (funds paid to a radio station to play their songs)
Money needed to record an album
Money needed for touring: hotels, food, gas, etc.
Money needed for promotional materials: print, digital, etc.
This is a short list. As you can see, the charges pile up. Before you know it, a rock band has put a million dollars on the company tab.
Rock bands are a major investment. Therefore, the investors have to approve the message. This would not be a problem, generally speaking. However, today’s record executives are obsessed with the destruction of American youth. So everything they do is aimed at cultural genocide. Everything they do is the fulfillment of their unholy desires. The executives only invested in grunge music because it served a greater aim – to create a culture war against Christianity.
The grunge musician was a puppet for the globalist agenda. He was given the microphone for a specific reason – to pour nihilism into the souls of Christian men and women. To kill the passionate spirit of a generation and replace it with hopelessness.
In the 1960’s, men were encouraged to take LSD and drop out. In the 1970s, men were encouraged to snort cocaine and hang out at Studio 54. In the 1980s, they were encouraged to become aggressive rebels and listen to punk rock. And in the 1990s, men were encouraged to become suicidal depressives. The music changed, but the song remained the same.
Are you starting to see the common denominator? Are you starting to see what we’re up against? All of our musical heroes were useful idiots, serving their diabolical masters. They believed they had “made it to the top.” In reality, they were allowed to be there.
Stanley Jordan is a virtuoso guitar player. He rose to fame in the 1980’s for his unique style, playing two guitars at the same time.
While he’s not the household name of somebody like Paul McCartney, he’s been VERY successful. Jordan was signed to BMI, put out 14 albums, and has played with some of the top musicians in the world: Quincy Jones, Kenny Rogers, Dizzy Gillespie, etc. In addition, he has appeared on a host of television shows, from Johnny Carson to Dick Cavett. He’s also been nominated for 4 Grammy awards. So needless to say, his musical resume is impressive.
Fast forward to today…
Somewhere along the way, Jordan started dressing in women’s clothing. I don’t know the proper term here: transsexual, cross dresser, etc. Nowadays, a litany of names are applied to “gender.” Let’s just say that Jordan went crazy.
The media has remained silent on Jordan’s transformation. Granted, Jordan didn’t have the same kind of celebrity as Bruce Jenner. That being said, he’s a mid-level star and one would expect a little press on the matter (especially considering the media’s obsession with breaking gender rules). But a random google search reveals nothing. By the media ignoring the topic, it shows that something is rotten in the state of Denmark.
Why have we not heard of Jordan’s sex change? The answer is complex, yet terribly simple.
Jordan’s transformation does not serve the goals of Cultural Marxism: i.e. destroying the lives of white Christian males.
The important point here is that Jordan is black. If his story was publicized, many American blacks would become alienated with the liberal cause. They would see that Jordan’s degradation was encouraged by the larger, white society; in particular, by liberal democrats.
In short, Jordan’s sex change is a black eye on the face of white liberals – it shows how their values have denigrated the lives of black Americans. Subsequently, the story has been erased from social media for the benefit of the left-wing agenda.
Richard Wagner is one the greatest classical composers of all time. In terms of music, he was a giant; his compositions have captivated audiences for two hundred years. Of all the great musicians to come out of Europe, perhaps nobody stands taller than Wagner. To listen to Tristan and Isolde is to hear to the greatest height of human emotion.
But Wagner is controversial. First, Hitler was a fan of his. And secondly, Wagner hated Judaism. So I decided to give his most famous essay a read: “Judaism in Music.” How valid were his claims? What point was he trying to make?
These are the major points of the article:
Jews are Ugly People; Therefore, their Art is Ugly
Wagner believes that Jews are unable to make great music because they’re an ugly people.
The Jew — we wish to have nothing in common with a man who looks like that…a man whose appearance we must hold unfitted for artistic treatment — not merely in this or that personality, but according to his kind in general — neither can we hold him capable of any sort of artistic utterance of his [inner] essence.
Are Jewish musicians ugly? Well, two Jewish musicians came to mind immediately:
I’m 50/50 on this one. Some Jews do have unpleasant physical characteristics (like big noses, for example). But I’m not sure it’s universal enough to give 100%. Bob Dylan looks like a coyote, but Adam Levine could be a model. So I’m not sold on this point by Wagner.
Jewish Language is Garbled; Therefore, their Music is Garbled
Wagner argues that the Jewish language is aesthetically distasteful; therefore, it can never produce a high form of music.
In particular does the purely physical aspect of the Jewish mode of speech repel us… The first thing that strikes our ear as quite outlandish and unpleasant, in the Jew’s production of the voice-sounds, is a creaking, squeaking, buzzing snuffle (4)
He goes on to say that the Jewish foundation of music is in the synagogue, and that this music is unappealing on a visceral level:
Who has not been seized with a feeling of the greatest revulsion, of horror mingled with the absurd, at hearing that sense-and-sound-confounding gurgle, yodel and cackle, which no intentional caricature can make more repugnant than as offered here in full, in naive seriousness? (p. 7).
I agree with Wagner’s statement here. I grew up around Jewish people, and Yiddish is an aesthetically distasteful language. Many times, it sounds like somebody is clearing phlegm from their throat: “eck,” “dreck,” and bleck,” etc.
Most Americans have never heard Jews speaking in their native tongue. So they are unaware of how unpleasant Yiddish, in particular, actually sounds. For a listen, click the following link and be the judge: Sounds of Yiddish
Jewish Musicians Must Rearrange the Work of Non-Jews in Order to Receive Fame
Wagner believed that the Jewish composer/musician was not capable of creating original works of high greatness. So instead, they rearrange the work of great Christian composers. He points to Mendelssohn as an example:
Mendelssohn…was obliged quite openly to snatch at every formal detail that had served as characteristic token of the individuality of this or that forerunner whom he chose out for his model…he gave the preference to our old master BACH, as special pattern for his inexpressive modern tongue to copy (p. 8)
I am no expert on classical music. However, I tend to believe in what Wagner was saying here. Jews were always the minority in a European majority. So it only makes sense that they would copy the popular culture in order to gain success.
For a modern example, I thought of Bob Dylan again (Jewish, born Robert Zimmerman). Now I like Dylan’s music, but let’s be real – Dylan is widely known to have stolen his style from Woody Guthrie. So Wagner’s point is true in this regard. The Jewish artist will often reappropriate the style of the native Christians.
“Judaism in Music” is a solid read. Overall, I found most of his points to be true; in particular, that the Jewish languages are not euphonious. And secondly, that Jews tend to copy the works of Christian artists. Wagner deals with these topics in a way that’s heated, direct, and honest. In short, I have a feeling that his words will remain relevant for many years to come.