Dwight Yoakam: Guitars, Cadillacs, Etc., Etc. (20th Anniversary Edition) - CD2 CD Track Listing

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Dwight Yoakam Guitars, Cadillacs, Etc., Etc. (20th Anniversary Edition) - CD2 (1986)
Guitars, Cadillacs, Etc., Etc. (Remastered + Expanded) - Disc 2 of 2\n2006 Reprise Records/Rhino\n\nOriginally Released 1986\nCD Edition Released July 1987\nRemastered + Expanded 2CD Edition Released October 17, 2006\n\nAMG EXPERT REVIEW: Dwight Yoakam's Guitars, Cadillacs, Etc., Etc. began as an EP issued on the California Oak label. When Reprise signed him, they added four more tracks to the mix to round it out as an album. Yoakam, a Kentuckian, brought country music back into its own medium by reviving the classic Bakersfield sound with the help of his producer and lead guitarist, former Detroiter Pete Anderson. As a result, the "new traditionalist" movement was born, but Yoakam was always a cut or three above the rest, as this album displays in spades. Guitars, Cadillacs, Etc., Etc. kicks off with a smoking cover of Johnny Horton's "Honky Tonk Man," a song now so closely associated with Yoakam, the original has all but been forgotten. But this is only the beginning. Yoakam's own songs such as "Bury Me," a duet with Maria McKee, and "South of Cincinnati" reference both the pastoral and dark sides of his native state. "South of Cincinnati" is a paean to those who left Kentucky for Ohio in search of jobs, and "Bury Me" celebrates the land itself. In addition, the title track, with Anderson's Don Rich-influenced guitar style, walks the Buck Owens line until the line extends to Yoakam. With fiddles and backing vocals, Yoakam's street poetry is both poignant and profound, built into a barroom anthem. In addition to this there is the gorgeous "Miner's Prayer," an acoustic number powered by dobro (courtesy of David Mansfield), flat-picked guitar, and Yoakam's singing of his grandfather and generations like him who lived and died in the mines of Kentucky. Here Bill Monroe meets Ralph Stanley meets Bob Dylan. In the grain of Yoakam's voice there isn't one hint of irony, only empathy and raw emotion. Yoakam also does a more than acceptable version of June Carter's "Ring of Fire," the "Cherokee" of country music -- meaning that if you can play it and pull it off, you're taken seriously by the veterans. The album closes with the Harlan Howard classic "Heartaches by the Number." Because of Ed Black's steel playing, Brantley Kearns' fiddle, and Anderson's guitar, the accompaniment is stronger and far edgier than the Ray Price version, but from Yoakam's throat comes an entirely different story than Price's. In Price's case the song was a plea; in Yoakam's it's a statement of fact. An astonishing debut, Guitars, Cadillacs, Etc., Etc. changed the face of country music single-handedly and remains one hell of a party record.\n\n[In 2006, Rhino Records released an expanded and remastered two-disc edition of Guitars, Cadillacs, Etc., Etc. Disc one features the complete original album along with ten demos Yoakam recorded in 1981. The demos show that Yoakam already had a killer voice, enviable songwriting chops, and some idea of how to bring them across in the studio, but despite the presence of some terrific musicians -- including David Mansfield on mandolin and fiddle, Jay Dee Maness on pedal steel, Glen D. Hardin on piano, and Jerry McGee on lead guitar -- the results are too tidy and polished, and lack the fire and honky tonk swagger Pete Anderson and his crew would bring to the sessions for the later album. Disc two preserves a cracking live show Yoakam and his band played at the Roxy in Los Angeles in March 1986. While Yoakam overplays his fake hillbilly bit just a little in the between-song patter (though not when he name-checks Bill Monroe), he sounds great and the band is on fire, playing Bakersfield barrelhouse music with the insouciance of punk rock and the reverence of the true believers they were. Given how strong Guitars, Cadillacs, Etc., Etc. was to begin with, it's almost gilding the lily to add this much bonus material, but the demos and live tracks add historical perspective to this package and are good to great listening as well, and this remains an album that's as fun as it was influential.] -- Thom Jurek & Mark Deming\n\nAmazon.com Editorial Review\nThough most of these recordings have previously been anthologized, this two-disc set puts Dwight Yoakam's emergence and progression from the roots-punk circuit to the country mainstream in context. It begins with the 1981 demos that earned him a recording contract, showing that his artistry as a retro-hillbilly honky-tonker was already in full bloom, with both his singing and his songwriting conjuring an era that otherwise seemed long gone. Yet it was his pairing with guitarist/producer Pete Anderson for his debut album, Guitars, Cadillacs, Etc., Etc.--here remastered and reissued in its entirety--that gave Yoakam's music that hard-twanging edge that found him sharing fans on the L.A. circuit with the Blasters, Los Lobos, and X. For Yoakam completists, the real treat here is disc two, a 1986 performance in the wake of that album at Hollywood's Roxy (not exactly your typical honky-tonk). With nine of the twelve tracks previously unreleased, Yoakam acknowledges a debt to Buck Owens, Merle Haggard, and the Bakersfield sound on "Guitars, Cadillacs"; pays tribute to the influence of John Fogerty and Emmylou Harris, apparently both in the audience, before "Mystery Train"; and then barely stops for breath before blazing into Johnny Cash's "Ring of Fire." The urgency of the live-wire performance makes it easy to see why the rock crowd embraced him first, but he ultimately compromised little as he conquered the country airwaves as well. --Don McLeese \n\nProduct Description\nProduced by Pete Anderson, the disc's sinewy mix of traditional honky-tonk, red-hot Bakersfield twang and rock n' roll attitude spawned a trio of hits including a cover of Johnny Horton's "Honky Tonk Man", "It Won't Hurt", and the title track. In the bigger picture, its stripped-down sound twisted together strains of Hank Williams, Merle Haggard, Buck Owens, Elvis Presley, and more--with a roots driven rawness, it changed and revitalized country music. \n\nAmazon.com essential recording\nBoth the introduction to hard country for a generation of college kids and a key entry in what became the neotraditionalist movement, Dwight Yoakam's debut was a near-perfect re-creation of Buck Owens's Bakersfield sound. "Bury Me" and "Miner's Prayer" are heartfelt homages to Yoakam's real Kentucky roots, while honky-tonkers like "South of Cincinnati" remind how many Kentuckians eventually headed to Ohio for good jobs. Most immediately striking, though, are Yoakam's covers--particularly versions of Johnny Horton's "Honky Tonk Man" and Johnny Cash's "Ring of Fire"--which subtly tune up the Bakersfield sound with a rock & roll super-charge. --David Cantwell \n\nAMAZON.COM CUSTOMER REVIEW\nA Classic Album Gets the 'Deluxe Edition' Treatment, January 30, 2007\nReviewer: Steve Vrana (Aurora, NE)\n\nIf Dwight Yoakam had never released another album after 1986's GUITARS, CADILLACS, ETC., Etc., he would still be considered a savior of traditional country music. When this album first came out twenty years ago in 1986, it was the swift kick in the ass that country music had needed. While the first single was a remake of Johnny Horton's 1956 hit, "Honky Tonk Man," Yoakam proved he was no slouch as a songwriter. Songs like "It Won't Hurt," "Miner's Prayer" and "South of Cincinnati" proved Yoakam was an artist to be reckoned with. \n\nThis deluxe edition includes the original 10-track Warner Bros. album recorded in 1986. In addition, disc 1 includes the original 6-song EP issued on the Oak label in 1984 along with four other tracks recorded at the same time. These tracks featured a different lineup of musicians, including Jay Dee Maness on pedal steel. [All 10 tracks first appeared on the 2002 box set REPRISE, PLEASE BABY.] \n\nThe real bonus is disc 2, a 1986 live set performed at the Roxy the same month the album was released nationally. Yoakam is backed by the Babylonian Cowboys, featuring producer/guitarist Pete Anderson. This is a killer live set. After performing a rousing version of Bill Monroe's "Can't You Hear Me Calling," Yoakam jokes with the crowd saying, "Well...it's just ol' hillbilly stuff." Don't believe it. This is powerful stuff. Nine of these tracks are previously unreleased. [Only "Can't You Hear Me Calling," "Heartaches by the Number" and "My Bucket's Got a Hole in It" were previously issued (on REPRISE, PLEASE BABY).] Yoakam and his crack band rip through originals like "Guitars, Cadillacs" and "I'll Be Gone," and in between do respectful covers of Bill Monroe's "Rocky Road Blues," Junior Parker's "Mystery Train" and June Carter and Merle Kilgore's "Ring of Fire." This live disc alone is worth the price of admission. \n\nFor fans of Dwight Yoakam and honest country music this rerelease is an essential purchase. \n\n\nAMAZON.COM CUSTOMER REVIEW\nA Piece of History Just Got Better, November 29, 2006\nReviewer: Thomas D. Ryan "American Hit Network" (New York)\n\nDwight Yoakam has probably done more to revitalize good ol' honky-tonk Country music than anyone, and this album serves as proof. My radio show, "How Music Changed," is dedicated to explaining how various facets of our musical culture change, continue to develop, or simply waste away. By the mid-eighties, Texas Swing, Hillbilly Country, and Honky Tonk music had fallen on hard times. It is possible that it could have faded away entirely. The only thing that keeps music styles alive is when an artist understands the genre and is talented enough to contemporize the style for a new audience. That is exactly what Yoakam does on "Guitars, Cadillacs, Etc., Etc." \nThe 'Deluxe Edition' of this disk contains the entire original album as it appeared in 1986, plus the original demos which were recorded back in 1981. Five years is a long time to wait for your vision to take hold, but Yoakam must have been dead set on realizing his without compromise. The demo recordings are fully realized songs that only benefited from the spit and polish of the album versions. Best of all is the absolutely incredible live show that takes up the second disk, recorded at Los Angeles' Roxy soon after the album was released. If it weren't for the stage patter and the rock and roll infusion of electric energy, this could have been a long lost document from a Texas roadhouse circa 1956. Yoakam's voice is a natural wonder. His band is stunning, too, sounding for all the world like they are ready and able to break out and reinvent Country music in the image of its heroes, rather than the pabulum that has been passed off as 'new' country. Even if you already own the original disk, this edition is a must if only for the live disk; this is some of the best live country music I have ever heard in my life. \nThe best way to appreciate this album is to simply listen to it, but it wouldn't hurt if you compared it against its contemporary competition, either - If you ever listened to a radio show that focuses on music from the '80s, you can be sure that they aren't going to play anything from this album. Instead, you may hear Huey Lewis, or the Human League, or Phil Collins, or Wham! - only a few of the best-selling artists from 1986 - which proves all the more the miracle that is "Guitars, Cadillacs, Etc., Etc." Today, those artists are about as fresh as a bowl of soggy corn flakes, while Dwight Yoakam's statement lives on, and may have even grown in stature. If you already loved it, then this copy will blow your mind, If your new to this, then prepare yourself, because this disk will stay crunchy for decades. A Tom Ryan \n\n\nAMAZON.COM CUSTOMER REVIEW\nHillbilly music is the only thing that keeps me hanging on., October 13, 2006\nReviewer: Johnny Heering "trivia buff" (Bethel, CT United States)\nThis was Dwight Yoakam's major label debut album. He previously had released an independent label album, which had several of the same songs that are on this one. (Good luck finding a copy of THAT album.) Dwight wrote seven of the ten songs himself. The remaining three songs are covers of Johnny Cash's "Ring of Fire", Ray Price's "Heartaches By the Number" and Johnny Horton's "Honky Tonk Man" (which became Yoakam's first hit). Out of Dwight's original songs, "Guitars, Cadillacs" was a big hit and "It Won't Hurt" was a minor hit. Yoakam was a breath of fresh air at the time this album came out, playing a more traditional "honky tonk" sound, at a time when Nashville was embracing a slick "urban cowboy" sound. This is a solid debut album by an important artist. One peculiar thing about the album is that it ends with Marlon Brando asking "What Indian reservation is this?"\n\n\nAMAZON.COM CUSTOMER REVIEW\nEt Cetera, Et Cetera, February 22, 2002\nReviewer: A music fan\nFor sentimental reasons, lots of people point to this album as one of Yoakam's best. In retrospect, it's really lacking the artistry and groundbreaking sounds of his recent albums. This album collected the six tracks from his California Oak label EP and added four new ones. The world learned roughly all they needed to know about Dwight Yoakam in the opening line of his first hit song: 'Well, I'm a honkytonk man, and I can't seem to stop!' Well, of course he's quite a bit more sophistcated mind than that, but this old 50s song illustrates his unadorned and famboyant maverick spirit. The next five tracks are great as well, with the light-hearted torch song "Guitars, Cadillacs" being the climax. By comparison, side two of the album is quite a let down. Be advised to avoid Yoakam's butchering of Johnny Cash's "Ring of Fire" and a deadpan remaking of "Heartaches by the Number". Nonetheless, GC is a fun, upbeat album that sounds like it was recorded in a back-street warehouse(Yoakam once said that this record was "off the street"). The songwriting may have faded from memory a bit, but the rawness of the performances is riveting. If this album had a subtitle/aka, it would be 'hillbilly music live from the streets of L.A.'! Dwight's second record, "Hillbilly Deluxe", would rehash this formula and it wouldn't be until "Buenas Noches From a Lonely Room" before we'd start to see Yoakam the artist, not just Yoakam the stylist. If you want to see the more creative and timeless Yoakam we've come to know, you'd probably be better off to invest in his later albums. Still, the first 6 songs here are worth the price!\n\n\nHalf.com Details \nContributing artists: Gene Taylor, Maria McKee, Pete Anderson \nProducer: Pete Anderson \n\nAlbum Notes\nGUITARS, CADILLACS, ETC., ETC. is an expanded version of an EP of the same title released on Oak Records in 1984.\n\nPersonnel: Dwight Yoakam (vocals, acoustic guitar, background vocals); Maria McKee (vocals); Pete Anderson (electric guitar, 6-string bass); Jay Dee Maness, Ed Black (pedal steel); David Mansfield (mandolin, dobro); Brantley Kearns (fiddle, background vocals); Glen D. Hardin, Gene Taylor (piano); J.D. Foster (bass, background vocals); Jeff Donavan (drums).\n\nEngineers: Dusty Wakeman (tracks 1, 5-6, 10); Brian Levi (tracks 2-4, 7-9).\nRecorded at Excalibur Studio, Studio City, California and Capitol Studio B, Hollywood, California.\nIncludes a bonus disc.\n\nPersonnel: Dwight Yoakam (vocals, guitar); Jerry McGee (guitar); Jay Dee Maness (pedal steel guitar); David Mansfield (mandolin); Glen D. Hardin (piano); Robert Wilson (bass guitar); Stu Perry (drums).\nRecording information: 1981 - 1986.\n\n\nROLLING STONE REVIEW\nKentucky-bred singer and song-writer Dwight Yoakam makes his Los Angeles country music get up and go. As he boasts on the Johnny Horton cover that launches Guitars, Cadillacs, Etc., Etc., Yoakam's a honky-tonk man; it's the only thing that keeps him hanging on. He doesn't cut up much about it, but his dedication to hard country has yielded a focused debut that is lively enough to overcome his own solemnity.\n\nYoakam isn't exactly the purist he sometimes resembles. His 1984 Oak Records independent EP -- all six tracks appear intact here -- grew out of his work in Los Angeles's roots-rock club scene, and some of the revisionist attitudes he encountered there rubbed off. The songs from the EP, especially his "It Won't Hurt" and "South of Cincinnati," are accomplished, history-minded winners put across by Yoakam with a shivering Appalachian accent. His band is purposely raw, but if you doubt its ability to cook, just try Yoakam's version of Johnny Cash's "Ring of Fire," where his voice lassoes the heat that rises off Jeff Donavan's drums.\n\nThree of the four new cuts expand on what's good about the EP tracks because they're more relaxed. Yoakam taps the great country standard "Heartaches by the Number" and, with a deep, steady tone, leans into the pain in all the right places. His own "Guitars, Cadillacs" works its fiddles and drum shuffles into an outgoing stride. Only "Bury Me," a duet with Lone Justice's usually terrific Maria McKee, offers cowpoke hiccups -- a syndrome Yoakam should avoid as if it were a string section; it's a far graver threat to his authenticity and future growth than any cool Nashville sheen. (RS 475 - Jun 5, 1986) -- JAMES HUNTER
This country cd contains 12 tracks and runs 46min 51sec.
Freedb: 9f0af90c

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