>> Cuntry is traditional Country & Western filtered through the jew.

>Shorn of traditional attitudes and remade in politically correct,
>multicultural mode. In Cuntry, niggers and mexicans are always welcome,
>and the big woman is never wrong.

>>
>> Cuntry is performed by the same good olÂ’ boys, only now theyÂ’re

>dressed by jews and perfumed by poofters.

>>
>> “Some People Change” by duo Montgomery Gentry is typical of the
>> Cuntry

>genre. ItÂ’s country-against-racism in theme. The proud old ways and
>attitudes are abandoned as “hate,” perfectly in line with the going
>line, as set by the ADL, whose goal is to have the same message coming
>from a thousand different mouths.

>>
>> “Some People Change” was recorded first by Kenny Chesney, so this

>isnÂ’t even its first go-round.

>>
>> Following gives some lyrics and information about the writers.
>>
>>
>> Since the release of Tattoos & Scars in 1999, Eddie Montgomery and

>Troy Gentry have been making consistently fine country-rock records and
>videos (the latter thanks in large part to the wonderful director Trey
>Fanjoy). While their albums translate to CMT and GAC — and of course to
>the Billboard charts — the duo has never been comfortable making one
>kind of recording. They dig deep with their producers — in this case
>Mark Wright is primary — to find the best songs and let them rip.
>Guitars roar, wail, and whisper, and Montgomery GentryÂ’s wonderfully
>contrasting voices and passionate, down-home delivery tie them to the
>great traditions of both rock and country. TheyÂ’ve consistently sent out
>a message of tolerance — but they demanded to be tolerated as well. (Do
>we ever need that message in a nation as deeply divided as the United
>States in 2006.) Each successive album has been a hit, and deservedly
>so. Some People Change, however, is a step above.

>>
>> These two fellas have a way with a song. Kenny Chesney was the first

>to record the wonderful “Some People Change” by Michael Dulaney/Jason
>Sellers/Neil Thrasher. Given that itÂ’s a great song, nobody could do a
>bad job with it, and ChesneyÂ’s was better than decent. But it simply
>turns to gray in lieu of the treatment given it by Montgomery Gentry,
>with a blend of acoustic and electric guitars that wind together before
>Montgomery’s deep baritone lays out the contrast in the lyric: “His ole
>man was a rebel yeller/Bad boy to the bone, heÂ’d say/CanÂ’t trust that
>feller/He’d judge ‘em by the tone/Of their skin….” A wah-wah peddle
>floats atmospherically and a synth slips in gently and Montgomery
>continues: “He was raised to think like his dad/Narrow mind, fulla
>hate/On the road to nowhere fast/Until the grace of God got in the
>way/And he saw the light and hit his knees and cried and said a
>prayer/Rose up a brand new man and left the old one right there….” The
>guitars build to an almost unbearable tension and finally break with a
>B-3 announcing GentryÂ’s arrival on the refrain, which is an anthem:
>“Here’s to the strong/Thanks to the brave/Don’t give up hope/Some people
>change/Against all odds/Against the grain/Love finds a way/Some people
>change….” Simply put, the song addresses race, class, religion, and
>(later) addiction, as well as hope, tolerance, and the willingness to
>believe redemption is possible in any situation. When was the last time
>a country recording addressed topics like this in a single tune that
>opened an album? When a gospel choir enters near the end to join the
>pair on the refrain with soloing guitars and tight, clipped drums, it
>becomes transcendent. ItÂ’s one of those tunes that defines something
>that lies at the heart of what is good about Americans. True to form,
>however, Montgomery Gentry arenÂ’t about to have their music co-opted by
>anybody — left or right — and the very next cut, “Hey Country,” quotes
>from Lynyrd Skynyrd, Hank Jr., Marshall Tucker, funk, and hip-hop, and
>is a true redneck rabble-rouser. Killer metal guitars, banjos, funky
>basslines, and chanted choruses all war with each other and finally come
>to an equal level to make this the best tune thatÂ’s never been on rock &
>roll radio. “Lucky Man” is a pure country song, and it updates “I Ain’t
>Got It All That Bad” from You Do Your Thing. Its protagonist —
>Montgomery in this case — is older, wiser, and even more grateful. Here
>again, itÂ’s a message tune, but one that is poignant no matter what
>color collar you wear, whether or not you support the President of the
>United States, and whatever religion you choose — including none at all.

>>
>> In other words, itÂ’s everything to everybody, and nothing specific,

>nothing demarcated. Just pablum put out by people afraid to take a position.

>>
>> When was the last time a country recording addressed topics like this
>>

>in a single tune that opened an album?

>>
>> Better ask, which Cuntry singer hasnÂ’t rocked against racism? HasnÂ’t

>celebrated “tolerance”? Hasn’t incorporated niggers into its videos?
>DoesnÂ’t pretend we can all just get along?

>>
>> Bit more on the song/writers:
>>
>>
>> Chesney cut Michael Dulaney-Jason Sellers-Neil Thrasher penned Some

>People Change - a new south reflection.

>>
>> Â…
>>
>>
>> Not dramatic as Mark David Manders Klan parody Three Sheets To The

>Wind but likely to be heard by millions more.

>>
>> Gentry and bud claim they donÂ’t try to candy-coat anything.
>>
>> “Redder Than That” cranks the volume a notch or two. It’s a high

>school reunion song. The songÂ’s message is simple: people donÂ’t really
>change much, despite the years. They really are who they really were.
>Marital merriment comes with “A Man’s Job”. Watching a romantic
>dalliance from the losing husbandÂ’s perspective, the tune is comical;
>but you canÂ’t help grasp the truth of familiar suburban secrets of older
>women and keen, younger men.

>>
>> In their world rednecks exist, but niggers donÂ’t. Just how the jews

>see it. You might think that rednecks and jews would see things
>differently, but thatÂ’s just your prejudice doing your thinking for you.

>>
>> I remain unaware of any true country music in which the experience
>> of,

>say, the White humans forcibly integrated with niggers is reflected. Or
>the White man whoÂ’s had his kids stolen from him by an evil woman
>working with a corrupt jewish family court judge.

>>
>> Some people change, and some people donÂ’t.
>>
>> The sellout be with us always.

>
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