Dwight Yoakam: Guitars, Cadillacs, Etc., Etc. [Deluxe Edition]

The 20th anniversary reissue of Yoakam's major-label debut includes both his 1981 demos and a live show from the Roxy in L.A.

Dwight Yoakam

Guitars, Cadillacs, Etc., Etc. [Deluxe Edition]

Contributors: Pete Anderson, J.D. Foster
Label: Reprise
US Release Date: 2006-10-17
UK Release Date: 2006-10-16

Since Dwight Yoakam's 1986 major-label debut, Guitars, Cadillacs, Etc., Etc., the state of contemporary country music has bettered or worsened, depending on how you choose to view it. While alt-country bands like Uncle Tupelo have been populating the fringes of rock from the early '90s on (the post-modern cowpunk aesthetic was, consciously or not, a product of the proximity of Yoakam's honky-tonk revitalization in the midst of the L.A. punk scene), the country world has continued to be defined by histrionic pop-star figureheads like Garth Brooks and their unflattering jingoism. On the one hand, you can applaud the now-routine challenge of ornamented complacency by the artists who champion tradition. On the other, more despondent hand, it's obvious that said complacency is a deep-seated axiom of country music's indefinite reality.

Yoakam's hard-angled, traditionalist honky tonk wasn't in step with Nashville's glossy, Sears-studio portraiture in 1986, and it's not likely that things would be any different today -- for decades, it's been nearly impossible to distinguish Nashville's #1s from the latest Aerosmith power ballad. Late '70s/early '80s schmaltz artists like Ronnie Milsap, Kenny Rogers, Conway Twitty, and Don Williams were a far cry from Buck Owens, Merle Haggard, and the driving Bakersfield sound that Yoakam's chiseled music unapologetically evoked. Nashville told him so, too: in 1977, Yoakam, an Ohio-raised Kentucky native, relocated to Los Angeles after Music City deemed his music too rock 'n' roll for its countrypolitan tastes.

In L.A., Yoakam found kindred spirits in rockabilly-inspired punk bands like X, and soon assembled a stellar backing band, the Babylonian Cowboys, which included bassist J.D. Foster (later a producer for Richard Buckner and Calexico) and shit-hot guitarist Pete Anderson, who would serve as Yoakam's closest musical confident and producer for almost two decades. First, Yoakam cut 10 demo tracks in Hollywood with guitarist Jerry McGee, all of which are included on Rhino's deluxe edition reissue of Guitars, Cadillacs, Etc., Etc.. (This is, in fact, the second time these demos have been officially released, following their initial appearance on the 2002 box set Reprise Please Baby: The Warner Bros. Years.) The demos underscore Yoakam's clear-cutting voice, a crystal-clear twang that rings atop the hard-driving music. His original songs, ranging from bouts with broken hearts and bottles ("This Drinkin' Will Kill Me", "It Won't Hurt") to more somber existential reflections ("Miner's Prayer", "Bury Me"), sound like they could have been plucked from old honky-tonk jukeboxes in California, Kentucky, or any place in between. Yoakam was an obvious descendent of a since-forgotten tradition (a still-forgotten tradition in the hallways of the Nashville brass, who rejected the recordings), but fresh too, the sound of a resurrected archetype with zero trace of antiquation.

The Anderson-produced Guitars, Cadillacs, Etc., Etc., an expansion of a six-song EP released by Reprise in March of 1986, only amplifies the booming straightforwardness of Yoakam's voice, and surrounds it with skin-tight, crackling instrumentation. The rollicking covers of Johnny Horton's "Honky Tonk Man" and June Carter's "Ring of Fire" streamroll right alongside originals like "Guitars, Cadillacs", all of it twisted up with scorched emotion and mettle and starched professionalism -- in every way, it is exactly what Yoakam's defiant talent promised. Yoakam's music, in essence, is a manifestation of the cowboy fashion he wears: pronounced but not too ostentatious, tapered but not constrictive. This is the stuff meant to compel a movement back to its utilitarian roots, much in the way Cheap Trick and the Flamin' Groovies had prompted rock 'n' roll to drop its theatrical pretensions in the '70s. The Babylonian Cowboys' strengths are even more pronounced on the reissue's second disc, a live show from the Roxy in L.A. taped during the same month as the album's release that will prove to be the deluxe edition's most coveted extra for fans. If Yoakam exudes humility in his between-song banter, then his band does the exact opposite, tearing into material like Bill Monroe's "Can't You Hear Me Calling", Hank Williams's "My Bucket's Got a Hole in It", and Yoakam's originals with their buttons buttoned and teeth bared.

1986 was a banner year for country music, ushering in debuts by Steve Earle (Guitar Town), Lyle Lovett (Lyle Lovett), Randy Travis (Storms of Life), and Yoakam -- all but one of those artists would buck the slickest demands of country's trends. Upon its release, Guitars, Cadillacs, Etc., Etc. was a hit on the country charts, reaching #1 and spawning three hit singles: "Honky Tonk Man", "Guitars, Cadillacs", and "It Won't Hurt" went to #3, #4, and #31 respectively. Travis's record, however, fared even better, selling in excess of three million copies and becoming country's barometer of style for the remainder of the '80s. If, in fact, the status quo continues to reign supreme in the Nashville machine, then it's all the better for artists like Yoakam. Guitars, Cadillacs, Etc., Etc. is the reason why: a conspicuous record that stands in stark contrast to the anthemic soundtracks of xenophobic suburbia raging around it, a still-modern revisiting of a classic style that can't help but give country a good name.


The year in song reflected the state of the world around us. Here are the 70 songs that spoke to us this year.

70. The Horrors - "Machine"

On their fifth album V, the Horrors expand on the bright, psychedelic territory they explored with Luminous, anchoring the ten new tracks with retro synths and guitar fuzz freakouts. "Machine" is the delicious outlier and the most vitriolic cut on the record, with Faris Badwan belting out accusations to the song's subject, who may even be us. The concept of alienation is nothing new, but here the Brits incorporate a beautiful metaphor of an insect trapped in amber as an illustration of the human caught within modernity. Whether our trappings are technological, psychological, or something else entirely makes the statement all the more chilling. - Tristan Kneschke

Keep reading... Show less

The Best Dance Tracks of 2017

Photo: Murielle Victorine Scherre (Courtesy of Big Beat Press)

From the "shamanic techno" of Parisian duo Pouvoir Magique to Stockholm Noir's brilliant string of darkly foreboding, electro-licked singles, here are ten selections that represent some of the more intriguing dance offerings of 2017.

In June of 2016, prolific producer Diplo lambasted the world of DJ's in an interview with Billboard, stating that EDM was dying. Coincidentally enough, the article's contents went viral and made their way into Vice Media's electronic music and culture channel Thump, which closed its doors after four years this summer amid company-wide layoffs. Months earlier, electronic music giant SFX Entertainment filed bankruptcy and reemerged as Lifestyle, Inc., shunning the term "EDM".

So here we are at the end of 2017, and the internet is still a flurry with articles declaring that Electronic Dance Music is rotting from the inside out and DJ culture is dying on the vine, devoured by corporate greed. That might all well be the case, but electronic music isn't disappearing into the night without a fight as witnessed by the endless parade of emerging artists on the scene, the rise of North America's first Electro Parade in Montréal, and the inaugural Electronic Music Awards in Los Angeles this past September.

For every insipid, automaton disc jockey-producer, there are innovative minds like Anna Lunoe, Four Tet, and the Black Madonna, whose eclectic, infectious sets display impeccable taste, a wealth of knowledge, and boundless creativity. Over the past few years, many underground artists have been thrust into the mainstream spotlight and lost the je ne sais quoi that made them unique. Regardless, there will always be new musicians, producers, singers, and visionaries to replace them, those who bring something novel to the table or tip a hat to their predecessors in a way that steps beyond homage and exhilarates as it did decades before.

As electronic music continues to evolve and its endless sub-genres continue to expand, so do fickle tastes, and preferences become more and more subjective with a seemingly endless list of artists to sift through. With so much music to digest, its no wonder that many artists remain under the radar. This list hopes to remedy that injustice and celebrate tracks both indie and mainstream. From the "shamanic techno" of Parisian duo Pouvoir Magique to Stockholm Noir's brilliant string of darkly foreboding, electro-licked singles, here are ten selections that represent some of the more intriguing dance offerings of 2017.

10. Moullinex - “Work It Out (feat. Fritz Helder)”

Taken from Portuguese producer, DJ, and multi-instrumentalist Luis Clara Gomes' third album Hypersex, "Work It Out" like all of its surrounding companions is a self-proclaimed, "collective love letter to club culture, and a celebration of love, inclusion and difference." Dance music has always seemingly been a safe haven for "misfits" standing on the edge of the mainstream, and while EDM manufactured sheen might have taken the piss out of the scene, Hypersex still revels in that defiant, yet warm and inviting attitude.

Like a cheeky homage to Rick James and the late, great High Priest of Pop, Prince, this delectably filthy, sexually charged track with its nasty, funk-drenched bass line, couldn't have found a more flawless messenger than former Azari & III member Fritz Helder. As the radiant, gender-fluid artist sings, "you better work your shit out", this album highlight becomes an anthem for all those who refuse to bow down to BS. Without any accompanying visuals, the track is electro-funk perfection, but the video, with its ruby-red, penile glitter canon, kicks the whole thing up a notch.

9. Touch Sensitive - “Veronica”

The neon-streaked days of roller rinks and turtlenecks, leg warmers and popped polo collars have come and gone, but you wouldn't think so listening to Michael "Touch Sensitive" Di Francesco's dazzling debut Visions. The Sydney-based DJ/producer's long-awaited LP and its lead single "Lay Down", which shot to the top of the Hype Machine charts, are as retro-gazing as they are distinctly modern, with nods to everything from nu disco to slo-mo house.

Featuring a sample lifted from 90s DJ and producer Paul Johnson's "So Much (So Much Mix)," the New Jack-kissed "Veronica" owns the dance floor. While the conversational interplay between the sexed-up couple is anything but profound, there is no denying its charms, however laughably awkward. While not everything on Visions is as instantly arresting, it is a testament to Di Francesco's talents that everything old sounds so damn fresh again.

8. Gourmet - “Delicious”

Neither Gourmet's defiantly eccentric, nine-track debut Cashmere, nor its subsequent singles, "There You Go" or "Yellow" gave any indication that the South African purveyor of "spaghetti pop" would drop one of the year's sassiest club tracks, but there you have it. The Cape Town-based artist, part of oil-slick, independent label 1991's diminutive roster, flagrantly disregards expectation on his latest outing, channeling the Scissor Sisters at their most gloriously bitchy best, Ratchet-era Shamir, and the shimmering dance-pop of UK singer-producer Joe Flory, aka Amateur Best.

With an amusingly detached delivery that rivals Ben Stein's droning roll call in Ferris Bueller's Day Off , he sings "I just want to dance, and fuck, and fly, and try, and fail, and try again…hold up," against a squelchy bass line and stabbing synths. When the percussive noise of what sounds like a triangle dinner bell appears within the mix, one can't help but think that Gourmet is simply winking at his audience, as if to say, "dinner is served."

7. Pouvoir Magique - “Chalawan”

Like a psychoactive ayahuasca brew, the intoxicating "shamanic techno" of Parisian duo Pouvoir Magique's LP Disparition, is an exhilarating trip into unfamiliar territory. Formed in November of 2011, "Magic Power" is the musical project of Clément Vincent and Bertrand Cerruti, who over the years, have cleverly merged several millennia of songs from around the world with 21st-century beats and widescreen electro textures. Lest ye be worried, this is anything but Deep Forest.

In the spring of 2013, Pouvoir Magique co-founded the "Mawimbi" collective, a project designed to unite African musical heritage with contemporary soundscapes, and released two EPs. Within days of launching their label Musiques de Sphères, the duo's studio was burglarized and a hard drive with six years of painstakingly curated material had vanished. After tracking down demos they shared with friends before their final stages of completion, Clément and Bertrand reconstructed an album of 12 tracks.

Unfinished though they might be, each song is a marvelous thing to behold. Their stunning 2016 single "Eclipse," with its cinematic video, might have been one of the most immediate songs on the record, but it's the pulsing "Chalawan," with its guttural howls, fluttering flute-like passages, and driving, hypnotic beats that truly mesmerizes.

6. Purple Disco Machine - “Body Funk” & “Devil In Me” (TIE)

Whenever a bevy of guest artists appears on a debut record, it's often best to approach the project with caution. 85% of the time, the collaborative partners either overshadow the proceedings or detract from the vision of the musician whose name is emblazoned across the top of the LP. There are, however, pleasant exceptions to the rule and Tino Piontek's Soulmatic is one of the year's most delightfully cohesive offerings. The Dresden-born Deep Funk innovator, aka Purple Disco Machine, has risen to international status since 2009, releasing one spectacular track and remix after another. It should go without saying that this long-awaited collection, featuring everyone from Kool Keith to Faithless and Boris D'lugosch, is ripe with memorable highlights.

The saucy, soaring "Mistress" shines a spotlight on the stellar pipes of "UK soul hurricane" Hannah Williams. While it might be a crowning moment within the set, its the strutting discofied "Body Funk", and the album's first single, "Devil In Me", that linger long after the record has stopped spinning. The former track with its camptastic fusion of '80s Sylvester gone 1940s military march, and the latter anthem, a soulful stunner that samples the 1968 Stax hit "Private Number", and features the vocal talents of Duane Harden and Joe Killington, feels like an unearthed classic. Without a doubt, the German DJ's debut is one of the best dance records of the year.

Next Page
Related Articles Around the Web

Subverting the Romcom: Mercedes Grower on Creating 'Brakes'

Julian Barratt and Oliver Maltman (courtesy Bulldog Film Distribution)

Brakes plunges straight into the brutal and absurd endings of the relationships of nine couples before travelling back to discover the moments of those first sparks of love.

The improvised dark comedy Brakes (2017), a self-described "anti-romcom", is the debut feature of comedienne and writer, director and actress Mercedes Grower. Awarded production completion funding from the BFI Film Fund, Grower now finds herself looking to the future as she develops her second feature film, alongside working with Laura Michalchyshyn from Sundance TV and Wren Arthur from Olive productions on her sitcom, Sailor.

Keep reading... Show less

Under the lens of cultural and historical context, as well as understanding the reflective nature of popular culture, it's hard not to read this film as a cautionary tale about the limitations of isolationism.

I recently spoke to a class full of students about Plato's "Allegory of the Cave". Actually, I mentioned Plato's "Allegory of the Cave" by prefacing that I understood the likelihood that no one had read it. Fortunately, two students had, which brought mild temporary relief. In an effort to close the gap of understanding (perhaps more a canyon or uncanny valley) I made the popular quick comparison between Plato's often cited work and the Wachowski siblings' cinema spectacle, The Matrix. What I didn't anticipate in that moment was complete and utter dissociation observable in collective wide-eyed stares. Example by comparison lost. Not a single student in a class of undergraduates had partaken of The Matrix in all its Dystopic future shock and CGI kung fu technobabble philosophy. My muted response in that moment: Whoa!

Keep reading... Show less

'The Art of Confession' Ties Together Threads of Performance

Allen Ginsberg and Robert Lowell at St. Mark's Church in New York City, 23 February 1977

Scholar Christopher Grobe crafts a series of individually satisfying case studies, then shows the strong threads between confessional poetry, performance art, and reality television, with stops along the way.

Tracing a thread from Robert Lowell to reality TV seems like an ominous task, and it is one that Christopher Grobe tackles by laying out several intertwining threads. The history of an idea, like confession, is only linear when we want to create a sensible structure, the "one damn thing after the next" that is the standing critique of creating historical accounts. The organization Grobe employs helps sensemaking.

Keep reading... Show less
Pop Ten
Mixed Media
PM Picks

© 1999-2017 All rights reserved.
Popmatters is wholly independently owned and operated.