A Long Way Home (Remastered) Dwight Yoakam

• 1 Same Fool 03:01
• 2 The Curse 02:34
• 3 Things Change 03:44
• 4 Yet To Suceed 03:18
• 5 I Wouldn't Put It Past Me 02:58
• 6 These Arms 03:32
• 7 That's Okay 02:24
• 8 Only Want You More 03:22
• 9 I'll Just Take These 02:50
• 10 A Long Way Home 02:53
• 11 Listen 03:46
• 12 Traveler's Lantern 03:25
• 13 Maybe You Like It, Maybe You Don't 04:19
• Total Runtime 42:06

Info zu A Long Way Home (Remastered)

Early in his career, Yoakam might have come off as modern-day Buck Owens (a tag he certainly did nothing to discourage), practicing a contemporary variant on the Bakersfield sound. As he released album after album of classic country tunes full of the kind of barnstormers and ballads that would've made Uncle Buck proud, though, it became plain that Yoakam was an institution unto himself. On „A Long Way Home“, he continues to do what he's done for years; make eloquent, intelligent, exciting country music, with the help of longtime producer/right-hand man Pete Anderson.

Yoakam can deliver a bitterly clever lyric like no one else, a fact borne out by "The Curse" and "Things Change." He can also inject some foot-stomping rock & roll into the proceedings, as on the closing rave-up "Maybe You Like It, Maybe You Don't." „A Long Way Home“ serves to prove that the Yoakam name is the equivalent of a stamp that reads, "aesthetic quality guaranteed."

"...Yoakam repledges his troth to the classic country & western that originally fueled his fire....more eloquent and personal than any of his previous efforts....a blue-ribbon hybrid of honky-tonk pastiche and reflective country soul." (Rolling Stone)

"...Yoakam turns in a fresh, dynamic set, updating his trademark Bakersfield-does-L.A. sound without sacrificing his honky-tonk roots..." (Entertainment Weekly)

Dwight Yoakam, lead vocals, acoustic guitar
Pete Anderson, electric guitar, acoustic guitar, lap steel guitar
Jim Christie, drums
Chuck Domanico, upright bass
Skip Edwards, keyboards, piano, Hammond B-3 organ, Wurlitzer
Scott Joss, fiddle
Dean Parks, acoustic guitar
Taras Prodaniuk, bass
Marty Rifkin, Dobro, pedal steel guitar
Ralph Stanley, banjo, background vocals
"Tempo“, percussion
Bonnie Bramlett Sheridan, background vocals
Tommy Funderburk, background vocals
Beth Andersen, background vocals
Carl Jackson, background vocals
Jim Lauderdale, 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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