Dwight Yoakam

Sie haben nur die Blaster gesignet. Die Americana-Ding.

Ja. Bevor es einen Term gibt. Und er drückt Dave Alvin raus, um mich bei Palomino zu sehen. Ja. Und Dave Alvin sagte... He walked in and looked at Bill Bentley and went, this kid's got limousines in his future. And Dave took me under his wing. Great guy. Yeah. He allowed us to go to New York and open for the Blasters. He let us go to Houston, Texas and Austin.

Ja. Bevor es einen Term gibt. Und er drückt Dave Alvin raus, um mich bei Palomino zu sehen. Ja. Und Dave Alvin sagte... He walked in and looked at Bill Bentley and went, this kid's got limousines in his future. And Dave took me under his wing. Great guy. Yeah. He allowed us to go to New York and open for the Blasters. He let us go to Houston, Texas and Austin.

Ja. Bevor es einen Term gibt. Und er drückt Dave Alvin raus, um mich bei Palomino zu sehen. Ja. Und Dave Alvin sagte... He walked in and looked at Bill Bentley and went, this kid's got limousines in his future. And Dave took me under his wing. Great guy. Yeah. He allowed us to go to New York and open for the Blasters. He let us go to Houston, Texas and Austin.

And that's actually where I got signed by Warner. The folks out of Nashville came there, saw me open for the Blasters in Austin and signed us. But Bill Bentley... championed me, wrote a gatefold piece in the fall of 84 on that album in the LA Weekly that helped launch me to the Sun Times, the East Village.

And that's actually where I got signed by Warner. The folks out of Nashville came there, saw me open for the Blasters in Austin and signed us. But Bill Bentley... championed me, wrote a gatefold piece in the fall of 84 on that album in the LA Weekly that helped launch me to the Sun Times, the East Village.

And that's actually where I got signed by Warner. The folks out of Nashville came there, saw me open for the Blasters in Austin and signed us. But Bill Bentley... championed me, wrote a gatefold piece in the fall of 84 on that album in the LA Weekly that helped launch me to the Sun Times, the East Village.

I then picked up that LP, the six-song version, the independent record, and that led to my being signed to Warner. But in the middle of all that, the scene had started happening, the cow-punk quote-unquote scene, with the knitters, the offshoot of the ex, but Maria McKee und Lone Justice. Los Cruzados, die als Punkband die Plugs waren. All diese Bands, die da waren. Und wir waren auf der Bühne.

I then picked up that LP, the six-song version, the independent record, and that led to my being signed to Warner. But in the middle of all that, the scene had started happening, the cow-punk quote-unquote scene, with the knitters, the offshoot of the ex, but Maria McKee und Lone Justice. Los Cruzados, die als Punkband die Plugs waren. All diese Bands, die da waren. Und wir waren auf der Bühne.

I then picked up that LP, the six-song version, the independent record, and that led to my being signed to Warner. But in the middle of all that, the scene had started happening, the cow-punk quote-unquote scene, with the knitters, the offshoot of the ex, but Maria McKee und Lone Justice. Los Cruzados, die als Punkband die Plugs waren. All diese Bands, die da waren. Und wir waren auf der Bühne.

Was war das? Ranking File? Ranking File. Tony und Chip. Die Dills wurden Ranking File. Das geht los. Wir teilen Bälle mit all diesen Bands. Ich bin dieses Hillbilly-Ding. Cowboy hat me and them, you know, and it was this moment. In fact, Michael Gilmore wrote about it in, I think he wrote a piece in the Herald Examiner about it, and Todd Everett wrote about it.

Was war das? Ranking File? Ranking File. Tony und Chip. Die Dills wurden Ranking File. Das geht los. Wir teilen Bälle mit all diesen Bands. Ich bin dieses Hillbilly-Ding. Cowboy hat me and them, you know, and it was this moment. In fact, Michael Gilmore wrote about it in, I think he wrote a piece in the Herald Examiner about it, and Todd Everett wrote about it.

Was war das? Ranking File? Ranking File. Tony und Chip. Die Dills wurden Ranking File. Das geht los. Wir teilen Bälle mit all diesen Bands. Ich bin dieses Hillbilly-Ding. Cowboy hat me and them, you know, and it was this moment. In fact, Michael Gilmore wrote about it in, I think he wrote a piece in the Herald Examiner about it, and Todd Everett wrote about it.

1983.

1983.

1983.

George Strait. Und ein anderer Typ, der in diesem Moment passiert ist, Neotraditionalismus, John Anderson. Und But it doesn't really, you know, have that moment until 86 with myself and then Steve Earle. Right. But... Guitar Town? He did Guitar Town on the heels of guitars. Cadillacs had been out as an indie record. Right. And then we get signed and then Steve puts his out.

George Strait. Und ein anderer Typ, der in diesem Moment passiert ist, Neotraditionalismus, John Anderson. Und But it doesn't really, you know, have that moment until 86 with myself and then Steve Earle. Right. But... Guitar Town? He did Guitar Town on the heels of guitars. Cadillacs had been out as an indie record. Right. And then we get signed and then Steve puts his out.

George Strait. Und ein anderer Typ, der in diesem Moment passiert ist, Neotraditionalismus, John Anderson. Und But it doesn't really, you know, have that moment until 86 with myself and then Steve Earle. Right. But... Guitar Town? He did Guitar Town on the heels of guitars. Cadillacs had been out as an indie record. Right. And then we get signed and then Steve puts his out.

But you have like solid country hits on all three records. Well, yeah, it starts. Yeah. That begins. And that separated me, you know, again then from... die Erinnerungen der Szene hier, weil es mich auf einen anderen Weg gebracht hat. Witzig genug, ich wurde auf MTV gespielt, bis ich einen Country-Hit hatte.