Hillbilly Deluxe (Remastered) Dwight Yoakam

• 1Little Ways03:21
• 2Smoke Along The Track03:13
• 3Johnson's Love04:31
• 4Please, Please Baby03:35
• 5Readin', Rightin', Rt. 2303:34
• 6Always Late With Your Kisses02:13
• 71000 Miles04:12
• 8Throughout All Time03:54
• 9Little Sister03:05
• 10This Drinkin' Will Kill Me02:34
• Total Runtime34:12

Info zu Hillbilly Deluxe (Remastered)

This follow-up to Yoakam's sensational debut Guitars, Cadillacs... is an equally compelling dose of his straight-ahead, irresistible Bakersfield country. In the mould of his heroes Buck Owens and Merle Haggard, Yoakam works a no-frills, traditional honky tonk sound, yet brings to the form a touch of twang guitar rockabilly and his own spin on convention. Yoakam's stripped down aesthetic, wiry guitar leads, and laid-back but stylized vocals (not to mention back-ups that occasionally sound like they're sung with tongue in cheek) hint that the singer likes to tweak the sacred cow of country, even as he rides it.

The album includes four hit singles: "Please, Please Baby," a cover of Lefty Frizell's "Always Late (With Your Kisses), the true blue honky tonk gem "Little Ways," and a superlative, country-rockified reading of Elvis Presley's "Little Sister." Though these are more than enough to carry the record, the remaining tracks, including the cowboy boogie of "Smoke Along the Track" and country ballads like "Johnson's Love" (complete with weeping steel guitar, of course), round out the package nicely. An excellent sophomore installment from one of contemporary country music's brightest lights.

„Hillbilly Deluxe proves beyond the shadow of a doubt that Dwight Yoakam's Guitars, Cadillacs, Etc., Etc. was no fluke. There's no sophomore slump here, and while Hillbilly Deluxe may be seen as an extension of his debut, repetition 'taint necessarily a bad thing. In fact, it can be heard and viewed as Yokam and producer/guitarist Pete Anderson cementing the commitment to Bakersfield-styled honky tonk music. Yoakam's voice is a dead cross of Merle Haggard's early voice and Lefty Frizzell's -- a fine cover of the latter's "Always Late (With Your Kisses)" is included here -- and as such, it is one of the purest, most soulful voices in the music of this era. But as displayed on his debut, Yoakam is one hell of a songwriter as well. Cuts like "Little Ways," the album's first single, "Readin' Writin," "Rt. 23," and the amazing "Throughout All Time," with its dancing fiddles and lap steel guitars entwined with Anderson's lead, are worthy of serious consideration as among the finest country songs written in the preceding five years. An added bonus is a killer version of Doc Pomus's classic "Little Sister" that rivals Elvis Presley's -- yeah, that's right -- and blows Ry Cooder's tepid cover of it away. The only other cover here is the classic "Smoke Along the Track" by Alan Rose and Dan Helms, and in true hardcore troubadour fashion, Yoakam makes it his own, swinging it in the best Johnny Cash and Tennessee Three fashion rhythmically and with Haggard's winsome railroad vocal that he took from Jimmie Rodgers. While there can be no doubt about Yoakam's "hillbilly" roots in Kentucky, this disc is deluxe in virtually every way.“ (Thom Jurek, AMG)

Dwight Yoakam, lead vocals, background vocals, acoustic guitar
Pete Anderson, electric guitar, 6-string bass guitar, background vocals
Tom Brumley, pedal steel guitar, background vocals
Greg Leisz, lap steel guitar
JD Foster, bass, background vocals
Jeff Donavan, drums
Brantley Kearns, fiddle, background vocals
Skip Edwards, piano
Herb Pedersen, background vocals
Dusty Wakeman, background vocals

Produced by Pete Anderson

Digitally remastered

Dwight Yoakam
With his stripped-down approach to traditional honky tonk and Bakersfield country, Dwight Yoakam helped return country music to its roots in the late '80s. Like his idols Buck Owens, Merle Haggard, and Hank Williams, Yoakam never played by Nashville's rules; consequently, he never dominated the charts like his contemporary Randy Travis. Then again, Travis never played around with the sound and style of country music like Yoakam. On each of his records, he twists around the form enough to make it seem like he doesn't respect all of country's traditions. Appropriately, his core audience was composed mainly of roots rock and rock & roll fans, not the mainstream country audience. Nevertheless, he was frequently able to chart in the country Top Ten, and he remained one of the most respected and adventurous recording country artists well into the '90s.

Born in Kentucky but raised in Ohio, Yoakam learned how to play guitar at the age of six. As a child, he listened to his mother's record collection, honing in on the traditional country of Hank Williams and Johnny Cash, as well as the Bakersfield honky tonk of Buck Owens. When he was in high school, Yoakam played with a variety of bands, playing everything from country to rock & roll. After completing high school, Yoakam briefly attended Ohio State University, but he dropped out and moved to Nashville in the late '70s with the intent of becoming a recording artist.

At the time he moved to Nashville, the town was in the throes of the pop-oriented urban cowboy movement and had no interest in his updated honky tonk. While in Nashville, he met guitarist Pete Anderson, who shared a similar taste in music. The pair moved out to Los Angeles, where they found a more appreciative audience than they did in Nashville. In L.A., Yoakam and Anderson didn't just play country clubs, they played the same nightclubs that punk and post-punk rock bands like X, the Dead Kennedys, Los Lobos, the Blasters, and the Butthole Surfers did. What Yoakam had in common with rock bands like X, the Blasters, and Los Angeles was similar musical influences; they all drew from '50s rock & roll and country. In comparison to the polished music coming out of Nashville, Yoakam's stripped-down, direct revivalism seemed radical. The cowpunks, as they were called, that attended Yoakam's shows provided an invaluable support for his fledgling career.

Yoakam released an independent EP, A Town South of Bakersfield, in 1984, which received substantial airplay on Los Angeles college and alternative radio stations. The EP also helped him land a record contract with Reprise Records. Dwight's full-length debut album, Guitars, Cadillacs, Etc., Etc., was released in 1986 and was an instant sensation. Rock and country critics praised it and it earned airplay on college stations across America. More importantly, it was a hit on the country charts, as its first single, a cover of Johnny Horton's "Honky Tonk Man," climbed to number three in the spring, followed by the number four "Guitars, Cadillacs" in the summer. The album would eventually go platinum.

Hillbilly Deluxe, Dwight's 1987 follow-up, was equally successful, spawning four Top Ten hits: "Little Sister," "Little Ways," "Please, Please Baby," and "Always Late with Your Kisses." In 1988, Yoakam had his first number one hit with "Streets of Bakersfield," a cover of a Buck Owens song recorded with Owens himself. It was the first single off his third album, Buenos Noches from a Lonely Room, which continued his streak of Top Ten hits. "I Sang Dixie," the album's second single, went to number one, and "I Got You" reached number five. In 1989, Yoakam released a compilation album, Just Lookin' for a Hit, which went gold. "Long White Cadillac," taken from the collection, stalled at number 35 in the fall of 1989.

Although his 1990 album If There Was a Way didn't have as many Top Ten hits, it was a major success; it was his first album since his debut to go platinum. This Time, released in the spring of 1993, was an even bigger hit, spawning three number two singles — "Ain't That Lonely Yet," "A Thousand Miles from Nowhere," and "Fast as You" — and going platinum. After its release, Yoakam was silent for two years, returning in the summer of 1995 with Dwight Live, which didn't set the charts on fire. In the fall of that year, he released his sixth album, Gone, which went gold by the spring of 1996, although it didn't produce any major country hits. After 1997's Under the Covers, a collection of cover songs, Yoakam returned with the all-new A Long Way Home in 1998. Another compilation, Last Chance for a Thousand Years: Greatest Hits from the '90s, was released in 1999; its newly recorded version of Queen's "Crazy Little Thing Called Love" became Yoakam's biggest hit in six years, even hitting the lower reaches of the pop charts thanks to its exposure in a khakis commercial. Two albums followed in 2000: dwightyoakamacoustic.net, a bare-bones, all-acoustic revisitation of Yoakam's back catalog; and the more standard studio project Tomorrow's Sounds Today, which featured further collaborations with Buck Owens and a cover of Cheap Trick's "I Want You to Want Me."

In 2001, Yoakam debuted as a writer and director, also issuing the soundtrack South of Heaven, West of Hell to accompany it. Two years later, he debuted on a new label (Audium) with Population Me, while Reprise issued the compilation In Others' Words to compete with it. In 2004 he released Dwight's Used Records, a 14-track anthology of duets that appeared on other artists' albums, unreleased covers, and cuts Yoakam contributed to various tribute compilations. An album of all new material, the self-produced Blame the Vain, followed in 2005 along with the live album Live from Austin, TX. An album of Buck Owens covers, Dwight Sings Buck, appeared in 2007. 2012's 3 Pears, Yoakam's first album since returning to Warner Bros. Records after a trio of releases for New West Records, and his first album of original material since 2005's Blame the Vain, featured a pair of Beck productions, "A Heart Like Mine" and "Missing Heart," recorded at Beck's home studio in California.

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