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DISCID=360f0c14
DTITLE=Dwight Yoakam / Guitars, Cadillacs, Etc., Etc. (Remastered + Ex
DTITLE=panded) - Disc 1 of 2
DYEAR=1986
DGENRE=Country
TTITLE0=This Drinkin' Will Kill Me (Demo - 1981)
TTITLE1=It Won't Hurt (Demo - 1981)
TTITLE2=I'll Be Gone (Demo - 1981)
TTITLE3=Floyd County (Demo - 1981)
TTITLE4=You're The One (Demo - 1981)
TTITLE5=Twenty Years (Demo - 1981)
TTITLE6=Please Daddy (Demo - 1981)
TTITLE7=Miner's Prayer (Demo - 1981)
TTITLE8=I Sang Dixie (Demo - 1981)
TTITLE9=Bury Me (Demo - 1981)
TTITLE10=Honky Tonk Man
TTITLE11=It Won't Hurt
TTITLE12=I'll Be Gone
TTITLE13=South Of Cincinnati
TTITLE14=Bury Me
TTITLE15=Guitars, Cadillacs
TTITLE16=Twenty Years
TTITLE17=Ring Of Fire
TTITLE18=Miner's Prayer
TTITLE19=Heartaches By The Number
EXTD=Guitars, Cadillacs, Etc., Etc. (Remastered + Expanded) - Disc 1 o
EXTD=f 2\n2006 Reprise Records/Rhino\n\nOriginally Released 1986\nCD E
EXTD=dition Released July 1987\nRemastered + Expanded 2CD Edition Rele
EXTD=ased October 17, 2006\n\nAMG EXPERT REVIEW: Dwight Yoakam's Guita
EXTD=rs, Cadillacs, Etc., Etc. began as an EP issued on the California
EXTD= Oak label. When Reprise signed him, they added four more tracks 
EXTD=to the mix to round it out as an album. Yoakam, a Kentuckian, bro
EXTD=ught country music back into its own medium by reviving the class
EXTD=ic Bakersfield sound with the help of his producer and lead guita
EXTD=rist, former Detroiter Pete Anderson. As a result, the "new tradi
EXTD=tionalist" movement was born, but Yoakam was always a cut or thre
EXTD=e above the rest, as this album displays in spades. Guitars, Cadi
EXTD=llacs, Etc., Etc. kicks off with a smoking cover of Johnny Horton
EXTD='s "Honky Tonk Man," a song now so closely associated with Yoakam
EXTD=, the original has all but been forgotten. But this is only the b
EXTD=eginning. Yoakam's own songs such as "Bury Me," a duet with Maria
EXTD= McKee, and "South of Cincinnati" reference both the pastoral and
EXTD= dark sides of his native state. "South of Cincinnati" is a paean
EXTD= to those who left Kentucky for Ohio in search of jobs, and "Bury
EXTD= Me" celebrates the land itself. In addition, the title track, wi
EXTD=th Anderson's Don Rich-influenced guitar style, walks the Buck Ow
EXTD=ens line until the line extends to Yoakam. With fiddles and backi
EXTD=ng vocals, Yoakam's street poetry is both poignant and profound, 
EXTD=built into a barroom anthem. In addition to this there is the gor
EXTD=geous "Miner's Prayer," an acoustic number powered by dobro (cour
EXTD=tesy of David Mansfield), flat-picked guitar, and Yoakam's singin
EXTD=g of his grandfather and generations like him who lived and died 
EXTD=in the mines of Kentucky. Here Bill Monroe meets Ralph Stanley me
EXTD=ets Bob Dylan. In the grain of Yoakam's voice there isn't one hin
EXTD=t of irony, only empathy and raw emotion. Yoakam also does a more
EXTD= than acceptable version of June Carter's "Ring of Fire," the "Ch
EXTD=erokee" of country music -- meaning that if you can play it and p
EXTD=ull it off, you're taken seriously by the veterans. The album clo
EXTD=ses with the Harlan Howard classic "Heartaches by the Number." Be
EXTD=cause of Ed Black's steel playing, Brantley Kearns' fiddle, and A
EXTD=nderson's guitar, the accompaniment is stronger and far edgier th
EXTD=an the Ray Price version, but from Yoakam's throat comes an entir
EXTD=ely different story than Price's. In Price's case the song was a 
EXTD=plea; in Yoakam's it's a statement of fact. An astonishing debut,
EXTD= Guitars, Cadillacs, Etc., Etc. changed the face of country music
EXTD= single-handedly and remains one hell of a party record.\n\n[In 2
EXTD=006, Rhino Records released an expanded and remastered two-disc e
EXTD=dition of Guitars, Cadillacs, Etc., Etc. Disc one features the co
EXTD=mplete original album along with ten demos Yoakam recorded in 198
EXTD=1. The demos show that Yoakam already had a killer voice, enviabl
EXTD=e songwriting chops, and some idea of how to bring them across in
EXTD= the studio, but despite the presence of some terrific musicians 
EXTD=-- including David Mansfield on mandolin and fiddle, Jay Dee Mane
EXTD=ss on pedal steel, Glen D. Hardin on piano, and Jerry McGee on le
EXTD=ad guitar -- the results are too tidy and polished, and lack the 
EXTD=fire and honky tonk swagger Pete Anderson and his crew would brin
EXTD=g to the sessions for the later album. Disc two preserves a crack
EXTD=ing live show Yoakam and his band played at the Roxy in Los Angel
EXTD=es in March 1986. While Yoakam overplays his fake hillbilly bit j
EXTD=ust a little in the between-song patter (though not when he name-
EXTD=checks Bill Monroe), he sounds great and the band is on fire, pla
EXTD=ying Bakersfield barrelhouse music with the insouciance of punk r
EXTD=ock and the reverence of the true believers they were. Given how 
EXTD=strong Guitars, Cadillacs, Etc., Etc. was to begin with, it's alm
EXTD=ost gilding the lily to add this much bonus material, but the dem
EXTD=os and live tracks add historical perspective to this package and
EXTD= are good to great listening as well, and this remains an album t
EXTD=hat's as fun as it was influential.]  -- Thom Jurek & Mark Deming
EXTD=\n\nAmazon.com Editorial Review\nThough most of these recordings 
EXTD=have previously been anthologized, this two-disc set puts Dwight 
EXTD=Yoakam's emergence and progression from the roots-punk circuit to
EXTD= the country mainstream in context. It begins with the 1981 demos
EXTD= that earned him a recording contract, showing that his artistry 
EXTD=as a retro-hillbilly honky-tonker was already in full bloom, with
EXTD= both his singing and his songwriting conjuring an era that other
EXTD=wise seemed long gone. Yet it was his pairing with guitarist/prod
EXTD=ucer Pete Anderson for his debut album, Guitars, Cadillacs, Etc.,
EXTD= Etc.--here remastered and reissued in its entirety--that gave Yo
EXTD=akam's music that hard-twanging edge that found him sharing fans 
EXTD=on the L.A. circuit with the Blasters, Los Lobos, and X. For Yoak
EXTD=am completists, the real treat here is disc two, a 1986 performan
EXTD=ce in the wake of that album at Hollywood's Roxy (not exactly you
EXTD=r typical honky-tonk). With nine of the twelve tracks previously 
EXTD=unreleased, Yoakam acknowledges a debt to Buck Owens, Merle Hagga
EXTD=rd, and the Bakersfield sound on "Guitars, Cadillacs"; pays tribu
EXTD=te to the influence of John Fogerty and Emmylou Harris, apparentl
EXTD=y both in the audience, before "Mystery Train"; and then barely s
EXTD=tops for breath before blazing into Johnny Cash's "Ring of Fire."
EXTD= The urgency of the live-wire performance makes it easy to see wh
EXTD=y the rock crowd embraced him first, but he ultimately compromise
EXTD=d little as he conquered the country airwaves as well. --Don McLe
EXTD=ese \n\nProduct Description\nProduced by Pete Anderson, the disc'
EXTD=s sinewy mix of traditional honky-tonk, red-hot Bakersfield twang
EXTD= and rock n' roll attitude spawned a trio of hits including a cov
EXTD=er of Johnny Horton's "Honky Tonk Man", "It Won't Hurt", and the 
EXTD=title track. In the bigger picture, its stripped-down sound twist
EXTD=ed together strains of Hank Williams, Merle Haggard, Buck Owens, 
EXTD=Elvis Presley, and more--with a roots driven rawness, it changed 
EXTD=and revitalized country music. \n\nAmazon.com essential recording
EXTD=\nBoth the introduction to hard country for a generation of colle
EXTD=ge kids and a key entry in what became the neotraditionalist move
EXTD=ment, Dwight Yoakam's debut was a near-perfect re-creation of Buc
EXTD=k Owens's Bakersfield sound. "Bury Me" and "Miner's Prayer" are h
EXTD=eartfelt homages to Yoakam's real Kentucky roots, while honky-ton
EXTD=kers like "South of Cincinnati" remind how many Kentuckians event
EXTD=ually headed to Ohio for good jobs. Most immediately striking, th
EXTD=ough, are Yoakam's covers--particularly versions of Johnny Horton
EXTD='s "Honky Tonk Man" and Johnny Cash's "Ring of Fire"--which subtl
EXTD=y tune up the Bakersfield sound with a rock & roll super-charge. 
EXTD=--David Cantwell \n\nAMAZON.COM CUSTOMER REVIEW\nA Classic Album 
EXTD=Gets the 'Deluxe Edition' Treatment, January 30, 2007\nReviewer: 
EXTD=Steve Vrana (Aurora, NE)\n\nIf Dwight Yoakam had never released a
EXTD=nother album after 1986's GUITARS, CADILLACS, ETC., Etc., he woul
EXTD=d still be considered a savior of traditional country music. When
EXTD= this album first came out twenty years ago in 1986, it was the s
EXTD=wift kick in the ass that country music had needed. While the fir
EXTD=st single was a remake of Johnny Horton's 1956 hit, "Honky Tonk M
EXTD=an," Yoakam proved he was no slouch as a songwriter. Songs like "
EXTD=It Won't Hurt," "Miner's Prayer" and "South of Cincinnati" proved
EXTD= Yoakam was an artist to be reckoned with. \n\nThis deluxe editio
EXTD=n includes the original 10-track Warner Bros. album recorded in 1
EXTD=986. In addition, disc 1 includes the original 6-song EP issued o
EXTD=n the Oak label in 1984 along with four other tracks recorded at 
EXTD=the same time. These tracks featured a different lineup of musici
EXTD=ans, including Jay Dee Maness on pedal steel. [All 10 tracks firs
EXTD=t appeared on the 2002 box set REPRISE, PLEASE BABY.] \n\nThe rea
EXTD=l bonus is disc 2, a 1986 live set performed at the Roxy the same
EXTD= month the album was released nationally. Yoakam is backed by the
EXTD= Babylonian Cowboys, featuring producer/guitarist Pete Anderson. 
EXTD=This is a killer live set. After performing a rousing version of 
EXTD=Bill Monroe's "Can't You Hear Me Calling," Yoakam jokes with the 
EXTD=crowd saying, "Well...it's just ol' hillbilly stuff." Don't belie
EXTD=ve it. This is powerful stuff. Nine of these tracks are previousl
EXTD=y unreleased. [Only "Can't You Hear Me Calling," "Heartaches by t
EXTD=he Number" and "My Bucket's Got a Hole in It" were previously iss
EXTD=ued (on REPRISE, PLEASE BABY).] Yoakam and his crack band rip thr
EXTD=ough originals like "Guitars, Cadillacs" and "I'll Be Gone," and 
EXTD=in between do respectful covers of Bill Monroe's "Rocky Road Blue
EXTD=s," Junior Parker's "Mystery Train" and June Carter and Merle Kil
EXTD=gore's "Ring of Fire." This live disc alone is worth the price of
EXTD= admission. \n\nFor fans of Dwight Yoakam and honest country musi
EXTD=c this rerelease is an essential purchase. \n\n\nAMAZON.COM CUSTO
EXTD=MER REVIEW\nA Piece of History Just Got Better, November 29, 2006
EXTD=\nReviewer: Thomas D. Ryan "American Hit Network" (New York)\n\nD
EXTD=wight Yoakam has probably done more to revitalize good ol' honky-
EXTD=tonk Country music than anyone, and this album serves as proof. M
EXTD=y radio show, "How Music Changed," is dedicated to explaining how
EXTD= various facets of our musical culture change, continue to develo
EXTD=p, or simply waste away. By the mid-eighties, Texas Swing, Hillbi
EXTD=lly Country, and Honky Tonk music had fallen on hard times. It is
EXTD= possible that it could have faded away entirely. The only thing 
EXTD=that keeps music styles alive is when an artist understands the g
EXTD=enre and is talented enough to contemporize the style for a new a
EXTD=udience. That is exactly what Yoakam does on "Guitars, Cadillacs,
EXTD= Etc., Etc." \nThe 'Deluxe Edition' of this disk contains the ent
EXTD=ire original album as it appeared in 1986, plus the original demo
EXTD=s which were recorded back in 1981. Five years is a long time to 
EXTD=wait for your vision to take hold, but Yoakam must have been dead
EXTD= set on realizing his without compromise. The demo recordings are
EXTD= fully realized songs that only benefited from the spit and polis
EXTD=h of the album versions. Best of all is the absolutely incredible
EXTD= live show that takes up the second disk, recorded at Los Angeles
EXTD=' Roxy soon after the album was released. If it weren't for the s
EXTD=tage patter and the rock and roll infusion of electric energy, th
EXTD=is could have been a long lost document from a Texas roadhouse ci
EXTD=rca 1956. Yoakam's voice is a natural wonder. His band is stunnin
EXTD=g, too, sounding for all the world like they are ready and able t
EXTD=o break out and reinvent Country music in the image of its heroes
EXTD=, rather than the pabulum that has been passed off as 'new' count
EXTD=ry. Even if you already own the original disk, this edition is a 
EXTD=must if only for the live disk; this is some of the best live cou
EXTD=ntry music I have ever heard in my life. \nThe best way to apprec
EXTD=iate this album is to simply listen to it, but it wouldn't hurt i
EXTD=f you compared it against its contemporary competition, either - 
EXTD=If you ever listened to a radio show that focuses on music from t
EXTD=he '80s, you can be sure that they aren't going to play anything 
EXTD=from this album. Instead, you may hear Huey Lewis, or the Human L
EXTD=eague, or Phil Collins, or Wham! - only a few of the best-selling
EXTD= artists from 1986 - which proves all the more the miracle that i
EXTD=s "Guitars, Cadillacs, Etc., Etc." Today, those artists are about
EXTD= as fresh as a bowl of soggy corn flakes, while Dwight Yoakam's s
EXTD=tatement lives on, and may have even grown in stature. If you alr
EXTD=eady loved it, then this copy will blow your mind, If your new to
EXTD= this, then prepare yourself, because this disk will stay crunchy
EXTD= for decades. A Tom Ryan \n\n\nAMAZON.COM CUSTOMER REVIEW\nHillbi
EXTD=lly music is the only thing that keeps me hanging on., October 13
EXTD=, 2006\nReviewer: Johnny Heering "trivia buff" (Bethel, CT United
EXTD= States)\nThis was Dwight Yoakam's major label debut album. He pr
EXTD=eviously had released an independent label album, which had sever
EXTD=al of the same songs that are on this one. (Good luck finding a c
EXTD=opy of THAT album.) Dwight wrote seven of the ten songs himself. 
EXTD=The remaining three songs are covers of Johnny Cash's "Ring of Fi
EXTD=re", Ray Price's "Heartaches By the Number" and Johnny Horton's "
EXTD=Honky Tonk Man" (which became Yoakam's first hit). Out of Dwight'
EXTD=s original songs, "Guitars, Cadillacs" was a big hit and "It Won'
EXTD=t Hurt" was a minor hit. Yoakam was a breath of fresh air at the 
EXTD=time this album came out, playing a more traditional "honky tonk"
EXTD= sound, at a time when Nashville was embracing a slick "urban cow
EXTD=boy" sound. This is a solid debut album by an important artist. O
EXTD=ne peculiar thing about the album is that it ends with Marlon Bra
EXTD=ndo asking "What Indian reservation is this?"\n\n\nAMAZON.COM CUS
EXTD=TOMER REVIEW\nEt Cetera, Et Cetera, February 22, 2002\nReviewer: 
EXTD=A music fan\nFor sentimental reasons, lots of people point to thi
EXTD=s album as one of Yoakam's best. In retrospect, it's really lacki
EXTD=ng the artistry and groundbreaking sounds of his recent albums. T
EXTD=his album collected the six tracks from his California Oak label 
EXTD=EP and added four new ones. The world learned roughly all they ne
EXTD=eded to know about Dwight Yoakam in the opening line of his first
EXTD= hit song: 'Well, I'm a honkytonk man, and I can't seem to stop!'
EXTD= Well, of course he's quite a bit more sophistcated mind than tha
EXTD=t, but this old 50s song illustrates his unadorned and famboyant 
EXTD=maverick spirit. The next five tracks are great as well, with the
EXTD= light-hearted torch song "Guitars, Cadillacs" being the climax. 
EXTD=By comparison, side two of the album is quite a let down. Be advi
EXTD=sed to avoid Yoakam's butchering of Johnny Cash's "Ring of Fire" 
EXTD=and a deadpan remaking of "Heartaches by the Number". Nonetheless
EXTD=, GC is a fun, upbeat album that sounds like it was recorded in a
EXTD= back-street warehouse(Yoakam once said that this record was "off
EXTD= the street"). The songwriting may have faded from memory a bit, 
EXTD=but the rawness of the performances is riveting. If this album ha
EXTD=d a subtitle/aka, it would be 'hillbilly music live from the stre
EXTD=ets of L.A.'! Dwight's second record, "Hillbilly Deluxe", would r
EXTD=ehash this formula and it wouldn't be until "Buenas Noches From a
EXTD= Lonely Room" before we'd start to see Yoakam the artist, not jus
EXTD=t Yoakam the stylist. If you want to see the more creative and ti
EXTD=meless Yoakam we've come to know, you'd probably be better off to
EXTD= invest in his later albums. Still, the first 6 songs here are wo
EXTD=rth the price!\n\n\nHalf.com Details \nContributing artists: Gene
EXTD= Taylor, Maria McKee, Pete Anderson \nProducer: Pete Anderson \n\n
EXTD=Album Notes\nGUITARS, CADILLACS, ETC., ETC. is an expanded versio
EXTD=n of an EP of the same title released on Oak Records in 1984.\n\n
EXTD=Personnel: Dwight Yoakam (vocals, acoustic guitar, background voc
EXTD=als); Maria McKee (vocals); Pete Anderson (electric guitar, 6-str
EXTD=ing bass); Jay Dee Maness, Ed Black (pedal steel); David Mansfiel
EXTD=d (mandolin, dobro); Brantley Kearns (fiddle, background vocals);
EXTD= Glen D. Hardin, Gene Taylor (piano); J.D. Foster (bass, backgrou
EXTD=nd vocals); Jeff Donavan (drums).\n\nEngineers: Dusty Wakeman (tr
EXTD=acks 1, 5-6, 10); Brian Levi (tracks 2-4, 7-9).\nRecorded at Exca
EXTD=libur Studio, Studio City, California and Capitol Studio B, Holly
EXTD=wood, California.\nIncludes a bonus disc.\n\nPersonnel: Dwight Yo
EXTD=akam (vocals, guitar); Jerry McGee (guitar); Jay Dee Maness (peda
EXTD=l steel guitar); David Mansfield (mandolin); Glen D. Hardin (pian
EXTD=o); Robert Wilson (bass guitar); Stu Perry (drums).\nRecording in
EXTD=formation: 1981 - 1986.\n\n\nROLLING STONE REVIEW\nKentucky-bred 
EXTD=singer and song-writer Dwight Yoakam makes his Los Angeles countr
EXTD=y music get up and go. As he boasts on the Johnny Horton cover th
EXTD=at launches Guitars, Cadillacs, Etc., Etc., Yoakam's a honky-tonk
EXTD= man; it's the only thing that keeps him hanging on. He doesn't c
EXTD=ut up much about it, but his dedication to hard country has yield
EXTD=ed a focused debut that is lively enough to overcome his own sole
EXTD=mnity.\n\nYoakam isn't exactly the purist he sometimes resembles.
EXTD= His 1984 Oak Records independent EP -- all six tracks appear int
EXTD=act here -- grew out of his work in Los Angeles's roots-rock club
EXTD= scene, and some of the revisionist attitudes he encountered ther
EXTD=e rubbed off. The songs from the EP, especially his "It Won't Hur
EXTD=t" and "South of Cincinnati," are accomplished, history-minded wi
EXTD=nners put across by Yoakam with a shivering Appalachian accent. H
EXTD=is band is purposely raw, but if you doubt its ability to cook, j
EXTD=ust try Yoakam's version of Johnny Cash's "Ring of Fire," where h
EXTD=is voice lassoes the heat that rises off Jeff Donavan's drums.\n\n
EXTD=Three of the four new cuts expand on what's good about the EP tra
EXTD=cks because they're more relaxed. Yoakam taps the great country s
EXTD=tandard "Heartaches by the Number" and, with a deep, steady tone,
EXTD= leans into the pain in all the right places. His own "Guitars, C
EXTD=adillacs" works its fiddles and drum shuffles into an outgoing st
EXTD=ride. Only "Bury Me," a duet with Lone Justice's usually terrific
EXTD= Maria McKee, offers cowpoke hiccups -- a syndrome Yoakam should 
EXTD=avoid as if it were a string section; it's a far graver threat to
EXTD= his authenticity and future growth than any cool Nashville sheen
EXTD=. (RS 475 - Jun 5, 1986)  -- JAMES HUNTER
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