text:
Talk:Pea

Cleaned up small side note on dou miao
Dou maio is not the pea sprout. A sprout is something that grows out of the seed; before it really becomes a full grown plant. It's not a sprout if it's a full grown plant. Dou miao is the tips of new growth off of an adult plant. It is the new shoots. People collect the tips and keep doing so through the growing season. So, I fixed that. 192.33.240.95 (talk) 16:53, 17 February 2012 (UTC)

Size?
I don't see anything in the article about the typical size of a pea. There is a statement that they weigh .10 to .36 grams, but nothing on the actual size (diameter) of a pea. 67.220.9.132 (talk) 20:01, 22 October 2011 (UTC)

Peas being fruit
Peas aren't fruits. They are seeds. The fruit is the peapod, which was originally an ovary —Preceding unsigned comment added by 178.167.132.176 (talk) 14:10, 20 June 2010 (UTC)

That's a good point actually. The pea's shell might be a fruit. The pea itself isn't. 192.33.240.95 (talk) 16:54, 17 February 2012 (UTC)

Photo request
A photo of a pea plant would be very nice here. AxelBoldt 04:50, 20 Mar 2005 (UTC)

Request
The fact that peas are a fruit should be mentioned.

 * Done, but I made sure to keep the fact that they're a culinary vegetable. Trimethylxanthine 01:30, 26 May 2007 (UTC)

Request
How about some nutritional information on peas ?

I'm looking for allergies of peas...

Peas (Pisum sativum) do not have any reported major allergen. —Preceding unsigned comment added by 212.234.97.118 (talk) 22:41, 16 January 2009 (UTC)

Reseeding Reference
This page contains the information that peas should be planted once every four years, but I don't know how to set up the reference section in the article. If someone could do that, that'd be great.

 * Done! (It's easy enough to do... just surround the URL with single brackets). SB Johnny 20:52, 28 June 2006 (UTC)

Strange take on economics
"In Chinese cuisine, pea sprouts (豆苗 dou miao) are commonly used in stir-fries and its price is relatively high due to its agreeable taste."

This doesn't sound like a very good reasoning for the 'relatively high' price of peas.Jimjamjak 13:47, 23 March 2007 (UTC)

That does sound weird. Also, it's kind of incorrect. The reason that dou miao is expensive is for two main reasons. 1) It has to be collected by hand, and it is not collected by machine, because it is the tips only, of the plant.  2)  The new leaves and stem are delicate and bruise easily and rot quickly. It's tough to transport them and have them keep fresh, relative to peas which freeze well. The leaves and stem of new growth doesn't freeze well; the cell walls in the leaves break when you freeze it so they become soggy when frozen. They dry sort of ok, but don't rehydrate well and there's not a lot you can do with it dry. It's a bit like baby spinach. It's also got problems with sudden frosts in the springtime.

So...the cost comes from fragility of the new growth, and also because it is a pain in the neck to harvest. 192.33.240.95 (talk) 17:00, 17 February 2012 (UTC) I dont like peas, so it doesnt cost me anything. — Preceding unsigned comment added by 82.25.199.172 (talk) 10:21, 29 June 2012 (UTC)

merge of Sugar snap pea
Someone should put a on this to get the sugar snap pea included in this article. As I understand it they're grown in much the same way and since they're the same type of plant it makes sense to include it here rather than continuing to have its own article stub.

 * Can I just make Sugar snap pea redirect to Snap pea (which already mentions the Sugar Snap)? There doesn't seem to be any content at Sugar snap pea which needs merging. Kingdon 21:22, 27 June 2007 (UTC)

 * Hearing no objection, I have done this. Kingdon 21:09, 1 July 2007 (UTC)

Request
I miss some information about the producing regions of peas.

Toxicity of raw peas
Does the consumption of raw peas pose any dangers (as with the lectins found in the raw common bean)? Badagnani (talk) 08:04, 19 December 2007 (UTC)

 * I'm not a doctor or anything but it doesn't sound like it causes any really major problems (but I tend to veg cooked until water changes colour, because it improves bioavailability of nutrients by breaking down the cell wall as well as reducing lectins): - (User) WolfKeeper (Talk) 14:03, 19 December 2007 (UTC)

I don't think raw pea harms Dipakskit (talk) 03:05, 6 March 2016 (UTC)

In contrast to beans, some raw peas do not contain lectin and are save to eat raw. However this is not true of all peas or produce we call peas. Lectin in food so a warning is apt.Theking2 (talk) 11:03, 5 September 2021 (UTC)

Contradiction
"Both of these are eaten whole and are therefore known as 'mange tout.' Both are eaten before the pod reaches maturity. In the snow pea (often erroneously called 'mange tout') the pod is eaten flat."

The first "both" refers to snow peas and sugar snap peas, so it implies that snow peas are known as "mange tout." However, two sentences later we are told that calling snow peas "mange tout" is erroneous. Which is true?

69.146.162.225 (talk) 20:26, 20 May 2008 (UTC)

 * Bump. I see no cite for the "erroneous" label, so I'm going to dike that out and note that the French name can apply to both.  (FWIW, fr-wiki describes a mangetout as "un haricot contenant des petits pois dont on mange la cosse verte avec le grain", which can be either.) Jpatokal (talk) 01:15, 7 January 2010 (UTC)

Mushy peas
Mushy peas have nothing to do with guacamole and while there may be obscure references in british culture, they do not deserve mention in an encyclopedia article about either guacamole or peas. Similarly, guacamole should not be mentioned in the article on peas. I have removed the following section from guacamole and am parking it here in good faith. Please don't return it to either article without consensus. {{quotation|

Mushy Peas
Differentiating between guacamole and mushy peas, which have a similar appearance, is considered to be a significant class distinction in Britain. In an apocryphal story Labour Party minister Peter Mandelson was said to have committed a faux pas when he mistook the two in a fish and chip shop in his constituency of Hartlepool. The Labour Party was subsequently thought to have successfully merged these middle class and working class tastes but the metaphor was used to indicate that they no longer did so. Recapturing this recipe is held to be essential to their success. }} This has been cross-posted from talk:guacamole. Toddst1 (talk) 00:03, 11 November 2008 (UTC)

 * Mushy peas have become somewhat emblematic of British cuisine, but I'd have a hard time figuring out how to write about it in an encyclopedic way (the requisite tongue in cheek style doesn't really work here). The comparison with guacamole, though it seems to be referenced in sources, seems even more obscure/forced/short-lived. Kingdon (talk) 23:49, 11 November 2008 (UTC)

Request
As the article redirects here from 'petit pois' I feel they should have a mention of some sort. Yellowlolly (talk) 22:57, 18 November 2008 (UTC)

 * Do you have a source which discusses these peas, how they are used in cooking, etc? There is a wiktionary entry at petit pois (I don't know whether it would be a good idea to link to that somehow).  Ideally we'd have a much more extensive discussion of peas in lots of different cuisines, and the lack of that is making it a bit harder to figure out where to put things like petit pois.  Welcome to wikipedia, and sorry that the first issue you raised seems to be somewhat thorny, rather than something more straightforward. Kingdon (talk) 13:42, 19 November 2008 (UTC)

Swedish pea soup
I want to point out that the word “ärtsoppa”is Swedish. But the longer version of the name contains a gramatical error: it should be “ärtsoppa med fläsk” (“pea soup with pork”) instead of “ärtsoppa och fläsk” (“pea soup and pork”). The article on pea soup lists the names in the other Nordic languages. However, the name in Danish seams to mean “yellow peas” instead of “pea soup”.

2009-02-11 Lena Synnerholm, Märsta, Sweden.

Beans
Are peas beans ? If so, clarify article —Preceding unsigned comment added by 81.245.185.158 (talk) 14:18, 2 March 2009 (UTC)

They are different species. The word “pea” may refer to this plant or to its seeds. More loosely it can also mean the chickpea plant or its seeds. The word “bean” may refer to the common bean plant, the closely related Lima bean and runner bean plants, the more distantly related mung bean plant, or to their seeds. It may also refer to the seeds from soy. Related plants of similar use are the peanut and lentil plants. This is how they are related:

¤ Family of leguminous plants (Fabaceae) ¤ Genus of beans (Phaseolus) ¤ The species common bean (Phaseolus vulgaris) ¤ The species lima bean (Phaseolus lunatus) ¤ The species runner bean (Phaseolus coccineus) ¤ Genus of chickpeas (Cicer) ¤ The species chickpea (Cicer arietinum) ¤ Genus of lentils (Lens) ¤ The species lentil (Lens culinaris) ¤ Genus of Vigna ¤ The species mung bean (Vigna radiata) ¤ Genus of peas (Pisum) ¤ The species pea (Pisum sativum) ¤ Genus of peanuts (Arachis) ¤ The species peanut (Arachis hypogaea) ¤ Genus of glycine plants (Glycine) ¤ The species soy (Glycine max)

The genus of Vigna appear to have no English name. (In Swedish it is are called “vignabönsläktet” which literary means “the Vigna bean genus”) Please note that the family of leguminous plants includes many more plants such as the liquorice plant, clovers and acacias.

2009-03-21 Lena Synnerholm, Märsta, Sweden.

Culinary Use query- Dried/raw?
In the introduction to this section it states that we used to store peas dry and now we cook them. Surely whether we stored them dry or not, we still cooked them before eating them? Are you really saying people ate dried peas raw? Do we know anything more about this, it surprises me. IceDragon64 (talk) 01:25, 9 November 2009 (UTC)
 * Peas can be eaten raw (see, for example, this recipe). --4wajzkd02 (talk) 01:38, 9 November 2009 (UTC)

 * No, thats young mange tout, not old dried peas, as the article might imply

IceDragon64 (talk) 00:20, 11 November 2009 (UTC)

Peas as a use for soapmaking?
I would like to know if the statement is true, and if there is some research made already (I heard this from a children's program I watched:
 * "Peas have saponin in them, which is one of the main ingreidients in making soap."

The one thing that I will want to question also is if extracting saponin from this plant is done commercially, and if there is such thing as pea soap. Anyone willing to do?130.65.109.104 (talk) 21:15, 1 February 2011 (UTC)

Peascod
Peascod is redirected here, but the article does not mention it. What is peascod (or peascods)? I found the sentence "Your eyes are like peascods" in the 1959 novel Eating People is Wrong by Malcolm Bradbury, and wondered what they are. HairyWombat 22:19, 22 January 2013 (UTC)

 * My understanding (although unreferenced at present) is that it is an old word for Pea pod and also used to describe other things that open like a pea-pod with a seam along the unopened edge - as for example in some forms of armour such as breastplates that hinged at the front.  Velella  Velella Talk  22:27, 22 January 2013 (UTC)

 * This seems wrong. "Your eyes look like pea pods" doesn't make any sense, however, as it was said by a young woman biting the narrator's leg at a student party, it is possible it was not meant to make sense. HairyWombat 07:23, 23 January 2013 (UTC)

J'ay pois en cosse touz noviaux
Interesting, but it begs a question. What does it mean? "I have all new Scottish peas"? --Elliskev 21:14, 31 January 2013 (UTC)

-- From what I was able to discern via a ROUGH Google Translation, "I pod peas in Touz Noviaux", if the above poster is right with 'cosse' referencing the Scots, I was unable to find anything beyond "écossais" as a translation. --Devon 10:12, 23 June 2014 (EST) — Preceding unsigned comment added by 167.164.3.140 (talk)

Harvesting
There needs to be a section on how peas are harvested. What, if any, machines are used, for example. --HuskyHuskie (talk) 20:02, 27 May 2013 (UTC)

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Scientific Name
When did the scientific name change from Pisum sativum to Lathyrus oleraceus? Tajjc (talk) 01:04, 18 June 2024 (UTC)
 * It derives from a 2012 paper (right now ref. 2) which showed that the genus Pisum is embedded within Lathyrus. There needs to be a Taxonomy section with an explanation and discussion of this. Peter coxhead (talk) 13:33, 18 June 2024 (UTC)

title: Talk:Pea


text:
Orleans (band)

Orleans is an American pop rock band formed in 1972 in Woodstock, New York by John Hall, Larry Hoppen and Wells Kelly. Larry's younger brother, bassist Lance Hoppen and drummer Jerry Marotta joined the band in 1972 and 1976 respectively. The band is best known for its hits "Dance with Me" (No. 6 in 1975); "Still the One" (No. 5 in 1976), from the album Waking and Dreaming; and "Love Takes Time" (No. 11 in 1979). The group's name evolved from the music it was playing when it formed; their music is inspired in part by Louisiana artists, including Allen Toussaint and the Neville Brothers.

1960s
Drummer Wells Kelly, the son of Cornell University's dean of Architecture, Burnham Kelly, first met John Hall, an in-demand session player and member of the group Kangaroo, in the late 1960s when he played with him in a group called Thunderfrog and later appeared on John's first solo album, Action, released in 1970.

In 1969 Wells joined the first incarnation of King Harvest who would have a hit four years later, in 1973, with the song "Dancing in the Moonlight"; a song written by Wells' brother, Sherman Kelly, and first recorded by Boffalongo, an Ithaca-based group Wells joined in 1970 after leaving King Harvest.

Hall and his wife, Johanna, gained some notability when their song "Half Moon" appeared on Janis Joplin's posthumous album Pearl. Hall had recorded and toured with Taj Mahal and Seals and Crofts and decided to relocate from New York City to Woodstock, New York, at the request of producer and pianist John Simon, to be close to Bearsville Studios and the musical scene there.

Larry Hoppen grew up in Bay Shore on Long Island and relocated to Ithaca, New York to attend college there in the late 1960s. He was a founding member of Boffalongo, who had two albums released by United Artists. Sherman Kelly and "Dancin' in the Moonlight" appeared on the second album. Wells Kelly joined the band after that.

1970s
After a swing through Europe playing guitar behind Karen Dalton on a Santana tour, Hall decided to start his own band in Woodstock, New York. After months of playing the Café Expresso with different rhythm sections, Hall called his old friend Wells Kelly in Ithaca in December 1971 and asked him to join his group. Multi-instrumentalist Kelly accepted the offer on the condition that he play piano.

The group initially included Hall on guitar, Roy Markowitz on drums, Bill Gelber on bass and Kelly on electric piano. When Markowitz and Gelber left the band, Wells told John about his former bandmate from the Ithaca-based Boffalongo. Hall, who had once jammed with him before, encouraged Kelly to call Larry Hoppen, who accepted the invitation to join the new group, christened "Orleans" by Wells in late January 1972. For months they played as a trio, often switching instruments throughout the show.

Larry's 18-year-old brother, Lance Hoppen, was brought into Orleans around Halloween 1972 to play bass, freeing up Larry to play more guitar and keyboards.

Orleans found its core audience touring the clubs and college circuit of the Northeastern United States, crossing paths with other up-and-comers such as Bonnie Raitt, Tom Waits and Hall & Oates. Rolling Stone magazine called Orleans "the best unrecorded band in America". Showcase performances in New York led to a recording contract with ABC Dunhill Records and the release of the self-titled debut album in the fall of 1973, which had been recorded in Muscle Shoals, Alabama with producers Roger Hawkins and Barry Beckett at the helm.

The group's second record, Orleans II, recorded at Bearsville Studios, was originally released in Europe in 1974 but ABC declined to release it in the US since management felt there were "no hit singles" on the album (despite the fact that it contained the first-version recordings of both "Let There Be Music" and "Dance With Me") and dropped the group from the label. After the band's later successes, Orleans II was finally put out in America in 1978, combined with the first album, as a double LP called Before the Dance. It was also released as a CD in Japan later on in the 1990s under its originally slated title Dance With Me.

In the meantime, the group was back to showcasing for a new record deal. When Orleans was heard at Max's Kansas City, they were signed and produced by Chuck Plotkin, then head of A&R for Asylum Records. The band then scored its first Billboard Hot 100 charting single "Let There Be Music" (No. 55), taken from their third album, Let There Be Music, released in March 1975.

The follow-up single, "Dance With Me" (reshaped and re-recorded from Orleans II with Plotkin at the helm), went to No. 6 on the pop charts and the band became part of mainstream of American pop music. Atypical of the high-energy, earthy, R&B and Rock n' Roll mix of styles they had been previously identified with, "Dance With Me" cast the band in a more "soft-rock" light and landed them a tour with Melissa Manchester.

While recording their next album, Waking and Dreaming, in early 1976, the group was joined by second drummer Jerry Marotta, freeing Wells Kelly to sing more and play keyboards.

"Still the One" (released in July 1976), from Waking and Dreaming, cemented Orleans' relationship with the American public. While the single peaked eventually at No. 5, the band was on a major cross-country ten-week tour with label-mate Jackson Browne, ending in November 1976.

In January 1977 the single was chosen as the theme song for the ABC television network (the parent of ABC Records) and has since been used for an endless number of commercials and movie soundtracks.

John Hall departs
The follow-up, "Reach", with John Hall on lead, peaked at No. 51 in March 1977. Around then, however, internal stresses and disagreements over material and musical direction prompted guitarist and songwriter Hall to announce his intention to leave the band in search of a solo career, which he did in June 1977 after touring commitments were satisfied. Marotta departed not long afterwards to join Hall & Oates and eventually moved to Peter Gabriel's band.

After several months of mulling things over and working with other musicians (Lance and Larry joined Marotta in the backing band for Garland Jeffreys while Kelly worked with the Beach Boys), the Hoppen brothers and Kelly decided to continue the band in late 1977, bringing in new members Robert Martin (vocals, keyboards, sax, horns) and Connecticut musician Bob Leinbach (vocals, keyboards, trombone), who had played with Larry Hoppen and the Kellys in Boffalongo during the Ithaca years and had completed a stint with the group the Fabulous Rhinestones. The new lineup signed a contract with the Infinity Records label and their debut there, Forever (April 1979), produced the No. 11 hit "Love Takes Time". Collectively, the three Hot 100 top 20 Orleans hits have been aired over 10 million times.

1980s
In 1980, Infinity went bankrupt after an album with performances by Pope John Paul II (who was on a tour of the U.S. in the fall of 1979) failed to sell. Infinity was absorbed into MCA Records, who failed to promote their follow-up album, simply titled Orleans. This last, recorded in Woodstock, featured only the Hoppens and Wells Kelly as Orleans proper, since the others had left earlier in the year. Nonetheless, the album featured guest appearances from all past members, including John Hall, who was in the process of forming the John Hall Band with Leinbach as a member. Orleans was produced by Englishman Robin Lumley, mixed at Trident Studios in London and featured Lumley's friend, Phil Collins, contributing backing vocals to one track.

Just after recording that 1980 release, the group added Dennis "Fly" Amero (guitars, vocals) to replace Leinbach. The live lineup still featured Robert (R.A.) Martin and the band completed a tour of amusement parks that summer, only to learn that their accountant had misappropriated funds, leaving them in debt. Martin left, "Fly" stayed, Larry and Lance recruited their younger brother, Lane Hoppen, to play keyboards and drummer Charlie Shew, at that time performing under the pseudonym Eric Charles, was brought aboard to play alongside Wells Kelly. Charlie then replaced Wells when he left by early 1981 to relocate to New York City.

Reviewing Orleans in Christgau's Record Guide: Rock Albums of the Seventies (1981), Robert Christgau said, "In case you're interested, this band is mucho hot among Eastern rock cognoscenti (read, know-it-alls). Very pleasant, too, although John Hall doesn't sing as tasty as he plays. The only impressive song is 'Half Moon.' Anything Janis Joplin used to sing is impressive, so that may not mean much."

Orleans then signed with the fledgling Radio Records and recorded their next album, One of a Kind, in Fort Lauderdale, Florida in the summer of 1982. The album (released in September 1982) put forth a more "early 80s style" Pop keyboard driven sound and included brand new band member Michael Mugrage, replacing "Fly" Amero on guitar at the request of the album's producers, Don Silver and Ben Wisch. Jerry Marotta briefly rejoined the band to play on the album but was soon replaced by drummer Nicholas Parker after its release. But Radio Records, likewise, went bankrupt just as One of a Kind was hitting the record store shelves.

Without a record label, Orleans struggled in the early 1980s, playing mostly small clubs in the Northeast. At the same time, Larry and Lance formed a side group, Mood Ring, with Bob Leinbach, Nicholas Parker, singer/songwriter Robbie Dupree (of "Steal Away" fame) and various other Woodstockers who drifted in and out to play for fun, mostly at parties and clubs. Mood Ring played some club dates in 1984 & 1985 billed as Robbie Dupree and Orleans (In the late 2000s, Mood Ring reconvened to do occasional concert dates).

After a couple of years touring the Northeast club circuit, during a two-week stint in Bermuda in September 1984, Larry lost his voice just one day into the gig due to a combination of air-conditioning and high humidity. After this, he returned to his home in Woodstock and decided to take some time off to allow his voice to heal. At that low point, both Larry and Lance felt that was the likely end of Orleans.

Kelly went on to join Steve Forbert's Flying Squirrels in 1981 and did a few shows in the Central New York area with Mick Ronson. He also played with Clarence Clemons and the Red Bank Rockers before joining Meat Loaf's Neverland Express in 1983. On October 29, 1984, Wells died while on tour in England with Meat Loaf. After a night of partying, his body was found on the front stairs of a London flat at which he was staying. According to pathologist Dr. Ian West, a post mortem examination revealed "high levels of morphine and cocaine" in Kelly's body. "Death came from the drummer inhaling his own vomit 'induced by snorting a mixture of heroin and cocaine'."

Wells Kelly's untimely death was the catalyst for a reunion of Hall and the Hoppen brothers. John Hall and Bob Leinbach joined Larry in Ithaca, New York, to play at a memorial for Wells (Lance was unable to make the wake due to another commitment). Here, John and Larry decided to continue with Orleans.

In 1985, through the Halls' connections in Nashville, the reunited lineup of John Hall, Larry Hoppen, Lance Hoppen and Bob Leinbach cut the album Grown Up Children (June 1986), with guest appearances from heavyweights like Chet Atkins, Ricky Skaggs, Steve Wariner and Bela Fleck, under the direction of Nashville producer/MCA label chief Tony Brown. Although this album had some playing by John and Larry, most of the instrumental tracks were played by session players, including guitarist Richard Bennett, drummer Larrie London and bassist David Hungate, with the Orleans members providing mostly vocals.

During their Nashville period, the band added bassist Glen Worf and drummer Paul Cook (who was eventually replaced by Tommy Wells) for concert dates, as Lance switched to acoustic guitar.

By late 1987, John and Larry began to realize that, while Nashville was a great place for them as songwriters, it was not so accommodating to Orleans' career as a band. For the next 2 plus years, Orleans was in a fairly dormant state, again basing their activities back in Woodstock, New York. In early 1989, Lance was offered an opportunity to move to Nashville to work with old friends Kathie Baillie and Michael Bonagura as part of the then-hit RCA act Baillie & the Boys. For a while, he was no longer available for all Orleans' gigs, so bassist Jim Curtin became Lance's sub, as needed, between 1989 and 1994. Meanwhile New York native Peter O'Brien had been brought in on drums.

Orleans slowly re-established their presence in the Northeast over the next couple of years.

1990s
In 1990, Robbie Dupree approached them to make a live album for their growing fan base in Japan. Two shows at Woodstock's Bearsville Theater were recorded on October 6 and 7, 1990, as John, Larry and Lance were joined by Bob Leinbach, Paul Branin (sax, guitar) and special guests: Rob Leon, John Sebastian, Jonell Mosser, Artie Traum, Jim Curtin and Lane Hoppen.

The double Orleans Live CD set, culled from the two Bearsville Theater shows, came out in Japan in February 1991, followed in April by their first trip to perform in Japan with a lineup of John, Larry, Lance, Leinbach, O'Brien and Paul Branin.

In 1993, Orleans Live: Volume 1, a single disc CD version was released; it was the first release on the band's own Major Records label. Live Volume 2, featuring the rest of the show, was released later.

Still without a traditional label in the U.S., Orleans recorded a new album, Analog Men, for the Japanese label Pioneer. It came out there in 1994 and was followed by a return to Japan for more shows.

Later that year, Orleans played at Woodstock 94, which was practically in their backyard, in Saugerties, New York. Bob Leinbach once again rejoined the group for this show and continued to make occasional guest appearances with them throughout the 1990s.

The following year, they toured as an acoustic trio (John, Larry and Lance). While most of the venues were small listening clubs, the real highlight of 1995 was being the opening act on the Can't Stop Rockin tour with Fleetwood Mac, REO Speedwagon and Pat Benatar.

Yet another new album, Ride, was recorded at John's Saugerties studio and released through an independent label, Dinosaur Entertainment, out of New Orleans. Ride emerged in the summer of 1996 and included just a couple of reworkings of the best and still unheard-in-the-US tunes from Analog Men. The single "I Am on Your Side" even began to make its way up the charts, but the label proved inexperienced and it folded shortly afterward, killing the song's chances for more radio play.

Orleans continued on but, in late 1997, decided to take another break. By this time, John was spending more and more time writing in Nashville.

2000s
In the early 2000s, Lance was touring with various Nashville-based artists and Larry, who had remarried and started a family, and relocated to Florida in 2000, formed his own Larry Hoppen Band. Since 1997, Larry had also been involved with Voices of Classic Rock, who in 2003 became known as RPM (Rock & Pop Masters) This was a "supergroup" of lead singers of popular 1970s and '80s groups (Toto, Survivor, Santana, Rainbow, etc.), backed by a single world-class touring band.

In the summer of 2001, nearly four years after their last gig, Orleans (John Hall, Larry, Lance, Peter O'Brien and Bob Leinbach) reunited on Labor Day weekend to play the Opus 40 Amphitheatre in Saugerties. The band decided to remain together and continue performing. For some shows the band included Peter and Bob. For others, Charlie Morgan (ex-Elton John) became the drummer and Lane Hoppen rejoined the band on keyboards in 2003. By 2005, Charlie and Lane had become permanent in their positions.

The band then picked up Jake Hooker, from Malibu, California, as their new manager.

Orleans continued to play live and record. A studio album, Dancin' in the Moonlight, was recorded in May and June 2004 at Charlie Morgan's Thynne Man Studios and first released in October 2005 on the CD Baby label. After that the band's lineup was Larry, Lance and Lane Hoppen, Charlie Morgan and the returning Dennis "Fly" Amero (who replaced John Hall as he began his campaign for Congress in 2006) on guitar.

In 2007, Orleans released a live DVD/CD, We're Still Havin' Fun, recorded in August 2006 in Pittsfield, Massachusetts, which included both John Hall and "Fly" Amero, as well as the three Hoppen Brothers and drummer Charlie Morgan. Also appearing at this show were special guests: percussionist Manuel Quintana and Charles DeChant (from Hall & Oates) on sax.

During his 2006 bid for a U.S. Congressional seat, Hall appeared with the group on only a few occasions.

On November 7, 2006, Hall was elected as a Democrat to the United States House of Representatives from the state of New York. He was reelected in 2008. During the 2010 midterm elections, a political ad parody supporting John Hall's opponent, Nan Hayworth, promoted the fictitious organization "Young Voters for an Orleans Reunion Tour" as a means of voting Hall from Congress. Hayworth defeated Hall in the election. He had served four years (two terms) representing District 19 in the Hudson Valley, between New York City and Albany, New York.

Orleans continued to write, record and perform. In 2010, they had repeat performances in both Washington, DC (in support of DCCC), and in Saint Thomas, U.S. Virgin Islands (fundraising for the Nana Baby Home, the orphanage there).

2010s
On July 24, 2012, founding band member Larry Hoppen took his own life. Shows planned for the rest of the year were suddenly in jeopardy. But Lance quickly announced that, although the band was in deep mourning for Larry, they had decided to finish the year's remaining dates (about 8) as best they could. It was at this point that John Hall returned to the live lineup and other alumni joined them on various shows. The first of those was 30 days later, in Deadwood, South Dakota, on August 24, 2012.

The group then played a free show at SteelStacks in Bethlehem, Pennsylvania, on September 2 in memoriam and continued on from there. On September 16, 2012, a memorial gathering of friends and family was held at the Bearsville Theater in Woodstock. Bob Leinbach, among the performers, sang "Forever", a song he had written with Larry about undying friendship.

Orleans carried on to November 11, 2012, with a lineup consisting of John Hall, Dennis "Fly" Amero, Charlie Morgan, and Lance and Lane Hoppen, ending the year with a memorial show at Mercy Lounge in Nashville, joined by many artist supporters including Jimi Jamison, John Ford Coley, Henry Paul, Jonell Mosser, Kathie Baillie & Michael Bonagura, Pete Huttlinger and Bill Lloyd. Again, it seemed to Lance that this would be the natural ending of Orleans' 40-year run. But that was not to be.

In the summer of 2013, supported by new manager Len Fico, the band appeared as part of the "Sail Rock Tour", not only playing a set of their own hits, but providing back up for headliner Christopher Cross and contemporaries Firefall, Gary Wright, John Ford Coley, Robbie Dupree, Player and Al Stewart. The Last Band Standing DVD was released in 2013 as well as the double-disc compilation CD, No More Than You Can Handle: A 40 Year Musical Journey, featuring several previously unreleased recordings Among them is the title cut, which was the last in which Larry participated as co-writer, singer and player.

In the years following, Orleans continued to tour the US. Charlie Morgan departed in April 2018 and was replaced by drummer Brady Spencer.

In July 2019, John Hall announced his retirement from performing. Daniel "Chip" Martin, a Nashville musician friend of Lance and Brady, then joined Orleans on guitar and vocals. But John's "retirement" turned out to be a temporary sabbatical. In March 2020 he was just about to return to touring when everything came to a halt due to the COVID-19 pandemic.

2020s
In 2020, the band released an in isolation video performance of "No More Than You Can Handle" in memory of Larry Hoppen and as an aid for those who are struggling with the challenges of these most difficult of times.

During the summer of 2021, Orleans resumed in person appearances and in August of that year, vocalist/guitarist Tom Lane came to fill in for an ill "Fly" Amero, then ended up taking his place permanently.

In March 2022, the band toured as a quartet of Lance, Lane, Brady Spencer and Tom Lane after John Hall retired from the road once again. But shortly afterwards, they were again a quintet when "Fly" Amero rejoined them. Currently Lance is the only original member still active in the band.

Members
Bold denotes members of the "classic lineup".
 * Current

 * Lance Hoppen - bass, backing and lead vocals (1972–1989, 1990, 1991, 1994–1997, 2001–present)
 * Lane Hoppen - keyboards, backing and lead vocals (1980–1984, 2003–present)
 * Dennis "Fly" Amero - vocals, guitar (1980–1982, 2006–2021, 2022–present)
 * Brady Spencer - drums, backing vocals (2018–present)
 * Tom Lane - vocals, guitar (2021–present)

 * Former
 * John Hall - guitar, mandolin, keyboards, lead and backing vocals (1972–1977, 1985–1997, 2001–2006, 2012–2019, 2020–2022)
 * Larry Hoppen - keyboards, guitar, bass, trumpet, melodica, lead and backing vocals (1972–1997, 2001–2012; his death)
 * Wells Kelly - drums, keyboards, backing and lead vocals (1972–1981, died 1984)
 * Jerry Marotta - drums (1976–1977, 1982)
 * Bob Leinbach - keyboards, trombone, lead and backing vocals (1977–1980, 1985–1987, 1990, 1991, 1994, 2001–2003)
 * Robert Martin - keyboards, sax, horns, backing vocals (1977–1980)
 * Charlie Shew - drums, backing vocals (1981–1982)
 * Nicholas Parker - drums (1982–1984)
 * Michael Mugrage - guitar, lead and backing vocals (1982–1984)
 * Glen Worf - bass (1985–1987)
 * Paul Cook - drums (1985–1986)
 * Tommy Wells - drums (1986–1987)
 * Peter O'Brien - drums (1988–1997, 2001–2003)
 * Charlie Morgan - drums (2003–2018)
 * Jim Curtin - bass, backing vocals (1989–1994)
 * Paul Branin – saxophone, guitar (1990, 1991)
 * Chip Martin - guitar, lead and backing vocals (2019–2020)

Live albums

 * Live (1991)
 * Live Volume 2 (1993)
 * Still the One, Live (2002)
 * We're Still Havin' Fun (2007)

Compilations

 * The ABC Collection (1976)
 * Before the Dance (1978)
 * Love Takes Time (1986)
 * Dance with Me  – The Best of Orleans (1997)
 * No More Than You Can Handle: A 40 Year Musical Journey (2013)
 * Playlist: The Very Best of Orleans (2017)
 * No More Than You Can Handle: A 46-Year Journey (2018)
 * Love Takes Time: 10 Authorized Hits by Orleans (2019)
 * Work at Home with Orleans (2020)

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Orleans (band)


text:
Dwight Yoakam

Dwight David Yoakam (born October 23, 1956) is an American country singer-songwriter, actor, and filmmaker. He first achieved mainstream attention in 1986 with the release of his debut album Guitars, Cadillacs, Etc., Etc.. Yoakam had considerable success throughout the late 1980s onward, with a total of ten studio albums for Reprise Records. Later projects have been released on Audium (now MNRK Music Group), New West, Warner, and Sugar Hill Records.

His first three albums—Guitars, Cadillacs, Etc., Etc., Hillbilly Deluxe, and Buenas Noches from a Lonely Room—all reached number one on the Billboard Top Country Albums chart. Yoakam also has two number-one singles on Hot Country Songs with "Streets of Bakersfield" (a duet with Buck Owens) and "I Sang Dixie", and twelve additional top-ten hits. He has won two Grammy Awards and one Academy of Country Music award. 1993's This Time is his most commercially successful album, having been certified triple-platinum by the Recording Industry Association of America (RIAA).

Yoakam's musical style draws from a wide variety of influences including neotraditional country, honky-tonk, Bakersfield sound, bluegrass music, country rock, and rockabilly. He is known for his distinctive tenor singing voice, unconventional musical image, and the lead guitar work of his longtime producer and bandleader Pete Anderson. Yoakam writes most of his own songs but has recorded many successful cover songs by a wide range of artists including Johnny Horton, Elvis Presley, Cheap Trick, The Blasters, Lefty Frizzell, and Queen. He has collaborated with Beck, John Mellencamp, k.d. lang, Ralph Stanley, and members of Alison Krauss & Union Station.

As an actor, Yoakam has appeared in the movies Red Rock West, Sling Blade, Panic Room, The Minus Man, and Wedding Crashers, as well as South of Heaven, West of Hell, which he wrote and directed. He also appeared in the TV series P.S. I Luv U and Under the Dome, as well as the Amazon Prime Video original series Goliath.

Biography
Dwight David Yoakam was born October 23, 1956, in Pikeville, Kentucky. He is the oldest of three children to David Yoakam and his wife, Ruth Ann Tibbs Yoakam. At the time of Yoakam's birth, his father was serving in the United States Army. After David Yoakam was discharged from the Army, the Yoakams moved to Columbus, Ohio. By this point the couple had a second son named Ronald and a daughter named Kimberly. Meanwhile, David supported his family by working at a Westinghouse Electric Corporation factory and later by ownership of a Texaco gas station. Yoakam's father had acquired a guitar manufactured by the Kay Musical Instrument Company while in the Army, and gave it to Yoakam after being unable to learn to play it himself. Although Yoakam later broke this guitar, he received another one as a Christmas present while he was in the fourth grade. He also wrote his first song around this point. As a child, Yoakam took influence from the music that his parents listened to on records as well as WMNI, then an AM country music radio station in Columbus. Among these records were compilations by Johnny Cash and Johnny Horton. According to his mother, the family would also sing songs to each other when on road trips to visit Yoakam's maternal grandparents. Yoakam himself also stated that he was influenced by rock and roll acts he had seen on television, such as Elvis Presley.

The Yoakam family moved to another neighborhood of Columbus in 1968, where Yoakam attended Northland High School. His mother encouraged all three of her children to join the school's band, in which Yoakam played drums. He also attended drama class at Northland High School, which led to him playing the role of Charlie in a production of Flowers for Algernon. Yoakam later attributed this performance as giving him more confidence performing in front of others. In his senior year of high school, Yoakam and some classmates formed a rock and roll band to compete in the school's talent show. The band became popular enough that they began performing at a number of private parties throughout Columbus as The Greaser Band. Yoakam attended Ohio State University, but quickly dropped out in order to focus on his musical career. While playing at a club in Gahanna, Ohio, Yoakam was approached by a man who promised a musical contract but later turned out to be a con artist. Despite this, Yoakam chose to move to Nashville, Tennessee, to continue pursuing a career in country music. He faced difficulty in the Nashville music scene, as his style was more indebted to honky-tonk and bluegrass music at a time when such sounds were not popular compared to country pop and Nashville sound.

Yoakam then moved to Los Angeles, California, at the encouragement of Billy Alves, a former member of the Greaser Band. While he was initially unsuccessful there as well, he met guitarist and record producer Pete Anderson at a Los Angeles bar in 1982. The two became friends when they realized they had common interest in musicians such as Merle Haggard. Anderson also observed that cowpunk and alternative country were popular in California through acts such as The Knitters, Joe Ely, Rank and File, and Lone Justice. By performing at clubs where these acts also performed, Yoakam was thus able to gain further exposure.

1984–1986: Guitars, Cadillacs, Etc., Etc.
By 1984, Yoakam had written a large number of songs. Anderson then encouraged him to record some of them on an extended play. He also served as producer and lead guitarist on the project, roles he would serve throughout most of Yoakam's career. The EP was titled Guitars, Cadillacs, Etc., Etc. and was released through the Oak Records label. It consisted of five of Yoakam's original compositions, plus a cover of Johnny Cash's "Ring of Fire". Songs from the extended play received airplay on independent radio stations throughout Los Angeles. Later in the year Yoakam was chosen to serve as an opening act for The Blasters. This led to him being discovered by Reprise Records executive Paige Levy, who helped Yoakam sign with the label in 1986. Reprise re-issued Guitars, Cadillacs, Etc., Etc. that year with four more tracks, thus making it his debut album. One of the added tracks was "Bury Me", a duet with Maria McKee. The first single off the album was a cover of Johnny Horton's 1956 single "Honky Tonk Man". Yoakam's rendition of the song charted at number three on Billboard Hot Country Songs in mid-1986. The song was even more successful in Canada, reaching the number one position on that nation's country music charts then published by RPM. "Honky Tonk Man" also received a music video, which in 1986 became the first by a country artist to air on MTV. The album itself reached the number one position on Billboard Top Country Albums.

Two more singles followed, both of which Yoakam wrote himself. These were "Guitars, Cadillacs" and "It Won't Hurt", both of which made Hot Country Songs. Thirteen years after its release, Guitars, Cadillacs, Etc., Etc. was certified double platinum by the Recording Industry Association of America (RIAA), honoring shipments of two million copies in the United States. At the 29th Annual Grammy Awards in 1987, the album was nominated for Grammy Award for Best Male Country Vocal Performance and "Guitars, Cadillacs" was nominated for Best Country Song. The Country Music Association (CMA) also nominated Yoakam for the Horizon Award (now called Best New Artist) and "Honky Tonk Man" for Music Video of the Year. Yoakam also won Top New Male Vocalist at the 1986 Academy of Country Music (ACM) awards.

The album was reviewed favorably. Thom Jurek of AllMusic wrote of the album that it contained influences of Bob Dylan and Bakersfield sound. His review also noted the number of personal songs written by Yoakam himself, as well as the cover versions of "Ring of Fire" and Ray Price's "Heartaches by the Number". Ron Fell of Gavin Report compared Yoakam's musical image favorably to Buddy Holly and Bruce Springsteen while also stating that Yoakam had "an authenticity to his persona". Writing for the Rapid City Journal, Leonard Running noted the use of fiddle, steel guitar, and Dobro in the production.

1987: Hillbilly Deluxe
Yoakam's second Reprise album Hillbilly Deluxe was released in 1987. The album was also led off by a cover song; specifically, Elvis Presley's "Little Sister". After this were Yoakam's original compositions "Little Ways" and "Please, Please Baby", followed by a cover of Lefty Frizzell's "Always Late with Your Kisses". All four of these cuts made top ten on the country music charts between 1987 and early 1988. "Little Ways" was a number one single on the Canadian RPM country charts. Also covered on the album was Stonewall Jackson's "Smoke Along the Track". One of the other tracks on the album was "Readin', Rightin', Rt. 23", an autobiographical song which Yoakam wrote about the towns along U.S. Route 23 in Kentucky near his grandparents' houses. Hillbilly Deluxe was certified platinum for shipments of one million copies, and earned Yoakam another Grammy Award nomination in the category Best Male Country Vocal Performance. It also reached number one on Top Country Albums. Jurek praised the cover songs in his review for AllMusic, where he compared Yoakam's vocal phrasing favorably to Merle Haggard. He also noted the use of lap steel guitar and fiddle in Anderson's production, as well as Yoakam's lyrics on "Readin', Rightin', Rt. 23". An uncredited review in Music & Media magazine stated, "The album features sophisticated, yet fresh country music with rollicking C&W guitar lines, supplemented with Yoakam's straight, yearning vocals."

1988–1989: Buenas Noches from a Lonely Room and Just Lookin' for a Hit
His third Reprise album was 1988's Buenas Noches from a Lonely Room. The album was his third and final to top the Billboard country albums chart. Its first two singles were also his only number one entries on Hot Country Songs, both peaking there in 1988. These were a cover of Buck Owens' "Streets of Bakersfield" which featured Owens on duet vocals, and "I Sang Dixie". Before "Streets of Bakersfield" was recorded for the album, Yoakam had contacted Owens (who was retired from performing at the time) and convinced him to sing the song on a television special for CBS. The commercial success of the studio version also led to Owens ending his retirement and re-signing with Capitol Records later in the decade. The third single from Buenas Noches from a Lonely Room was "I Got You"; while this song reached number five on the country charts, the album's title track failed to enter top 40. This album once again featured Maria McKee on backing vocals, along with accompaniment by Tejano accordionist Flaco Jiménez. Also covered on the album were Hank Locklin's "Send Me the Pillow You Dream On" and Johnny Cash's "Home of the Blues". Jurek thought that the album "shows the first signs of beginning to stretch out and be comfortable with his unique approach to hard honky tonk music, Bakersfield-style". Buenas Noches from a Lonely Room and "Streets of Bakersfield" were respectively nominated for Best Male Country Vocal Performance and Best Country Collaboration with Vocals at the 31st Annual Grammy Awards. The latter also received a CMA nomination for Vocal Event of the Year.

Yoakam ended the 1980s with his first greatest hits album, Just Lookin' for a Hit. The album consisted of eight previously released singles and two newly recorded cover songs. These were of The Blasters' "Long White Cadillac" and The Flying Burrito Brothers' "Sin City", the latter of which Yoakam recorded as a duet with k.d. lang. "Long White Cadillac" was issued as a single, reaching number 35 on the country music charts. The "Sin City" cover received a Grammy nomination for Best Country Vocal Collaboration.

1990–1992: If There Was a Way
In 1990, Yoakam entered the Billboard country charts for the thirteenth time with "Turn It On, Turn It Up, Turn Me Loose", which peaked at number eleven. This song led off his fourth studio album If There Was a Way. The album would account for five more singles between 1990 and 1992: "You're the One", "Nothing's Changed Here", "It Only Hurts When I Cry", "The Heart That You Own", and the Patty Loveless duet "Send a Message to My Heart". Of these, all except "Send a Message to My Heart" were top-20 country hits. "Turn It On, Turn It Up, Turn Me Loose" was also nominated for a Grammy Award for Best Male Country Vocal Performance, Yoakam's fourth nomination in that category.

Unlike his previous albums, Yoakam co-wrote several tracks on If There Was a Way with other writers. He wrote with Roger Miller on "It Only Hurts When I Cry", a song to which Miller also contributed backing vocals. Yoakam had met Miller at the Grammy Awards and presented him with the title, and Miller agreed to co-write the song after Yoakam stated he was a fan of Miller's music. "Turn It On, Turn It Up, Turn Me Loose" was one of the first successful cuts for Greek-American songwriter Kostas. Record producer Tony Brown had sent Kostas' demo of the song to Pete Anderson because he thought the song sounded like Yoakam had written it. Because of this, Anderson suggested that Yoakam begin writing songs with Kostas. The two co-wrote both "Nothing's Changed Here" and "Send a Message to My Heart" on If There Was a Way, leading to further collaborations on subsequent albums. Yoakam had written "You're the One" in 1978 about a woman with whom he had ended a relationship. In addition to Roger Miller, backing vocals on the album included Amy Ray (of the Indigo Girls) and bluegrass musician Tim O'Brien. Alanna Nash of Entertainment Weekly rated the album "A", stating that it continued on the "hillbilly" themes of his previous albums while also containing more rock and roll influence than its predecessors. Jurek praised the album for rock influences as well, particularly the cover of "Let's Work Together".

Yoakam contributed to two movie soundtracks in 1992. First, he cut two songs for Falling from Grace, the 1992 directorial debut of rock singer John Mellencamp. Yoakam performed Mellencamp's composition "Common Day Man"; the two also joined Joe Ely, John Prine, and James McMurtry on the track "Sweet Suzanne". Credited to Buzzin' Cousins, this song charted on Hot Country Songs for five weeks in early 1992. It also accounted for Yoakam's second CMA nomination in the category of Vocal Event of the Year. Later in the year, Yoakam covered Elvis Presley's "Suspicious Minds" for the soundtrack of Honeymoon in Vegas. This rendition charted on Hot Country Songs by year's end. In addition to these, he re-recorded "Miner's Prayer", a track from Guitars, Cadillacs, Etc., Etc., as a duet with bluegrass singer Ralph Stanley on the latter's 1992 album  Saturday Night & Sunday Morning. This track was nominated for a Grammy award for Best Country Vocal Collaboration. Finally, Yoakam released an album titled La Croix d'Amour for the European market in 1992. This consisted mainly of selections from other albums, as well as previously unreleased cover songs.

1993–1996: This Time, Dwight Live, and Gone
For his next studio album, 1993's This Time, Yoakam wrote either by himself or in collaboration with Kostas. The only exception was the album's lead single "Ain't That Lonely Yet", which Kostas co-wrote with James House. This song peaked at number two on the Billboard country charts, while also topping the American Radio & Records country music charts and Canadian RPM country charts. It won Yoakam the Grammy Award for Best Male Country Vocal Performance in 1993, his first win from that association. This Time charted four more singles between 1993 and 1994. First were "A Thousand Miles from Nowhere" and "Fast as You", which both achieved peaks of number two as well. The latter also became Yoakam's first entry on the Billboard Hot 100, peaking at 70. After these were "Try Not to Look So Pretty" and "Pocket of a Clown", which were less successful on the charts. Of the album, Anderson told Gavin Report that "It's really the first record we've made where we just took all the boundaries down", while Yoakam himself said that "I felt that my musical statements on the preceding albums were valid, but that they were complete statements and there was no need to further articulate them. It was time to allow my music latitude." He cited the track "Home for Sale" as an example, describing it as a "stone country" lyric backed by a Hammond organ, an instrument not commonly used in country. Jurek noted influences of doo-wop in "Pocket of a Clown" and of Roy Orbison in "Ain't That Lonely Yet". In July 1994, Yoakam began the This Time Tour, a 75-city tour which featured Alison Krauss and Union Station as an opening act. The Country Music Association nominated "Ain't That Lonely Yet" for Single of the Year in 1993, and Yoakam himself in the category Male Vocalist of the Year in 1994. The album achieved his highest RIAA certification, for triple-platinum in 1996.

Yoakam released two albums in 1995. The first was Dwight Live, a live album recorded in July 1994 in San Francisco. Stephen Thomas Erlewine wrote of this album that "nothing on the album improves on the original recorded versions", while Tony Scherman of Entertainment Weekly thought the album was "beautifully paced" and showed Yoakam's strengths as a vocalist. The album was certified gold in 1996. His other release for 1995 was the studio album Gone. Yoakam wrote the entire album, collaborating with Kostas on two songs. Among the backing vocalists were Carl Jackson, Jim Lauderdale, Joy Lynn White, and The Rembrandts. "Nothing", one of the collaborations with Kostas, was selected as the lead single and charted at number 20 on Hot Country Songs in 1995. The song's B-side "Gone (That'll Be Me)" and "Sorry You Asked?" were released as singles as well, though neither reached top 40. Jurek thought that individual tracks displayed influences of rhythm and blues, mariachi, Tejano music, and psychedelic rock. Jeffrey B. Remz of Country Standard Time wrote that Gone was "a critically received album, which did not do boffo numbers because Yoakam received very little airplay for what was probably his most musically diverse album. And in some parts of the country, his tour did not draw crowds either."

1997–1998: Under the Covers, Come On Christmas, A Long Way Home
Yoakam's next release for Reprise was 1997's Under the Covers, an album composed entirely of cover songs. Yoakam and Anderson had begun recording songs for this project prior to Gone, while other selections previously appeared on La Croix d'Amour. The project accounted for only one single in a rendition of The Everly Brothers' "Claudette". Bluegrass musician Ralph Stanley played banjo on a cover of The Clash's "Train in Vain", while Sheryl Crow sang duet vocals on a cover of Sonny & Cher's "Baby Don't Go". Jurek wrote of this album, "While this set is not perfect, it's still damn fine and warrants repeated listens to come to grips with Yoakam's visionary ambition." Remz praised the covers of Glen Campbell's "Wichita Lineman" and "Train in Vain" in particular, but criticized the cover of The Beatles' "Things We Said Today". After this was an album of Christmas music titled Come On Christmas, released later in the year. Yoakam wrote the title track and "Santa Can't Stay", while the rest of the album largely consisted of traditional Christmas songs such as "Away in a Manger" and "Silver Bells". Thom Owens of AllMusic wrote that the album contained "high-spirited, entertaining country-rockers that may not add anything new to Yoakam's catalog, but they make the record an enjoyable holiday album."

Between 1995 and 1997, Yoakam received three consecutive Grammy nominations in the category of Best Male Country Vocal Performance. The songs nominated in this category were "Pocket of a Clown", "A Thousand Miles from Nowhere", and "Nothing". He also received three consecutive nominations for Best Country Album between 1996 and 1998, with the nominations going to Dwight Live, Gone, and Under the Covers. After these was his next studio album of original content, 1998's A Long Way Home. Yoakam wrote the entire project by himself, making it his first not to have any co-writers or cover songs. The album charted two singles in "Things Change" and "These Arms". This album also featured Ralph Stanley, this time as a duet partner on "Traveler's Lantern". Brian Steinberg of Country Standard Time thought that the album was "back to basics" and comparable to Yoakam's releases in the 1980s, stating that "This isn't Yoakam's most innovative work, but it contains enough moments to make it worth attention." Also in 1998, Yoakam funded a charity album for release on Little Dog Records, a label which his then-producer and guitarist Pete Anderson owned. This album was titled Will Sing for Food and featured other artists recording renditions of Yoakam's songs. Among the artists contributing were Sara Evans, Mandy Barnett, Kim Richey, Gillian Welch, and David Ball. Nash contrasted these two albums in a double review, calling A Long Way Home "a fresh, dynamic set, updating his trademark Bakersfield-does-L.A. sound without sacrificing his honky-tonk roots" while stating that Will Sing for Food had "stunningly original interpretations". Steinberg gave the latter a mixed review, praising the contributions of Bonnie Bramlett and Scott Joss while considering other cuts on the album too similar in sound to Yoakam's originals.

1998–1999: Last Chance for a Thousand Years: Dwight Yoakam's Greatest Hits from the 90's
In 1998, Columbia Records released A Tribute to Tradition, a multi-artist tribute album to 1960s and 1970s country music. Yoakam was one of several artists featured on the album's closing track "Same Old Train", an original composition by Marty Stuart. The track featured twelve other country musicians, including Earl Scruggs, Merle Haggard, Clint Black, and Randy Travis. It charted for five weeks on Hot Country Songs in late 1998. The song won Grammy Award for Best Country Collaboration with Vocals at the 41st Annual Grammy Awards, thus giving Yoakam his second win from the organization. It was also nominated for CMA Vocal Event of the Year.

Yoakam ended the decade with his second greatest-hits package, Last Chance for a Thousand Years: Dwight Yoakam's Greatest Hits from the 90's. In addition to tracks from his 1990s Reprise albums, the compilation included three new songs. These were covers of Queen's "Crazy Little Thing Called Love" and Waylon Jennings' "I'll Go Back to Her" and the new song "Thinking About Leaving", which Yoakam wrote with Rodney Crowell. The cover of "Crazy Little Thing Called Love" served as the album's lead single, peaking at 12 on the country charts and 64 on the Hot 100. It was also his final number one on the Canadian country music charts published by RPM before that publication closed in 2000. "Thinking About Leaving" was also issued as a single, but did not enter the country music top 40. In 2000, "Crazy Little Thing Called Love" was nominated for a Grammy Award for Best Male Country Vocal Performance.

2000–01: dwightyoakamacoustic.net and Tomorrow's Sounds Today
Yoakam's tenure with Reprise Records ended with a pair of albums both released in 2000. The first was dwightyoakamacoustic.net, composed entirely of acoustic recordings with just Yoakam's vocal and acoustic guitar. The only exception was a re-recording of "Guitars, Cadillacs", which Yoakam performed a cappella. Yoakam said that he was inspired to do such an album due to the success of similar acoustic renditions in his concerts. He had originally planned to release the album through his website until representatives of Reprise Records thought the album had sales potential. The album itself had minimalistic packaging as well, consisting solely of a sticker with the album's name on the front of an otherwise-clear CD case. Steve Huey of AllMusic thought that the album's minimalism allowed a greater focus on Yoakam's vocal interpretation than previous albums.

His other release in 2000 was Tomorrow's Sounds Today. The album accounted for two charted singles in "What Do You Know About Love" and a cover of Cheap Trick's "I Want You to Want Me". Yoakam co-wrote with Buck Owens on three tracks: "The Sad Side of Town", "Alright, I'm Wrong", and "I Was There", the latter two of which were also recorded as duets with him. Although the two had previously sung together on "Streets of Bakersfield", Owens rejected further collaborations throughout the 1990s as he considered Yoakam "too young", but ultimately agreed to collaborate again when the two met at a concert in 1999. Writing for AllMusic, Hal Horowitz thought the Owens collaborations showed Yoakam's continued influence of the Bakersfield sound of which Owens was a part. He also praised the guitar work of Pete Anderson and compared Yoakam's lyrical style to that of Hank Williams. Scherman was less favorable, considering the material "forgettable" despite describing Anderson's guitar work with favor. Yoakam received his final CMA nomination in 2001, when that institution nominated "Alright, I'm Wrong" for Vocal Event of the Year. At the end of his contract with Reprise, parent company Warner Records issued a box set album titled Reprise Please Baby: The Warner Bros. Years. The package consisted of 89 tracks from Yoakam's Reprise catalog, including previously unreleased songs and early demos. Also included was a duet with Kelly Willis on a cover of George Jones and Tammy Wynette's "Golden Ring".

2002–04: Population Me and compilations
Yoakam spent much of 2001 and 2002 touring with Brooks & Dunn. He also founded a new record label called Electrodisc after his contract with Reprise expired. The label partnered with Audium Records (now MNRK Music Group) for distribution. His first Audium release was 2003's Population Me. This album charted two singles, both of which were covers: Gregg Henry's "The Back of Your Hand" and Mike Stinson's "The Late Great Golden State". Also covered on this album was Burt Bacharach's "Trains and Boats and Planes". Timothy B. Schmit provided backing vocals on "The Late Great Golden State", while Willie Nelson sang duet vocals on "If Teardrops Were Diamonds". Jurek found influences of Jackson Browne, the Eagles, and Chuck Berry in the album's sound. Messinger wrote of the album that "the complex, innovative sound he and Anderson have developed certainly merits repeated exploration."

Between 2003 and 2004, Yoakam released three more compilations of covers albums to fulfill contractual obligations with his labels. The first was 2003's In Others' Words on Reprise. This consisted entirely of cover songs mostly from movie soundtracks and tribute albums to which Yoakam contributed. The oldest track was a cover of the Grateful Dead's "Truckin'", which Yoakam cut in 1991. Jurek wrote that the compilation was "far from a stellar set but does fill in the gaps nicely." Rhino Records released a greatest-hits package titled The Very Best of Dwight Yoakam in 2004. This compilation was certified gold after its release. Erlewine thought that while the album did not contain many of his earlier songs, it otherwise showed the range of his styles and would have potential appeal to fans who preferred his more rock-influenced cuts such as the covers of "Crazy Little Thing Called Love" and "I Want You to Want Me". His third and final compilation was Dwight's Used Records on Audium also in 2004. Among the collaborators on this project were Heather Myles, Deana Carter, and the Nitty Gritty Dirt Band. Artists covered included John Prine's "Paradise", ZZ Top's "I'm Bad, I'm Nationwide", and Johnny Cash's "Understand Your Man". Country Standard Time writer Eli Messinger thought that, by drawing from a decade's worth of material, the album showed new variety in Yoakam's style over his traditional studio albums.

2005–2007: Blame the Vain and Dwight Sings Buck
In 2005, Yoakam signed with New West Records, an Americana music label based out of California. His first release for the label was 2005's Blame the Vain. It was also Yoakam's first credit as a producer, as he had ended his relationship with Pete Anderson in 2004. At the time, former RCA Records artist Keith Gattis had taken over as Yoakam's guitarist and bandleader. Yoakam said that he had contacted a number of producers until Gattis encouraged him to produce by himself. New West partnered with Columbia Records to release two singles to radio. These were "Intentional Heartache" and the title track, which both made the lower regions of the country charts in 2005 and accounted for Yoakam's last appearance there. In the book Dwight Yoakam: A Thousand Miles from Nowhere, Don McLeese thought that Anderson's absence gave the album "an unbridled lack of restraint", citing the hard rock sound and spoken-word coda of "Intentional Heartache" as examples. Ray Waddell of Billboard also noted a "hard-charging" sound to the album, comparing various tracks to Elvis Presley. Rhino Records re-issued Guitars, Cadillacs, Etc, Etc. in 2006 to honor the album's 20th anniversary. This re-issue included previously unreleased demos and live tracks, along with liner notes written by Yoakam.

After Buck Owens' death in 2006, Yoakam began performing covers of his songs in concert. This culminated in his 2007 album Dwight Sings Buck, composed entirely of Owens covers. Yoakam recorded the project with his touring band, which at the time included then-former Mavericks member Eddie Perez on lead guitar. Yoakam stated that he and the band listened to Owens' originals to draw inspiration from the recordings. Among the songs chosen were "Act Naturally", "Crying Time", and "Close Up the Honky Tonks", the last of which served as the lead single. A review in AllMusic was favorable, stating that "He doesn't set out to imitate Owens' style or delivery, but he does capture the essence of each song, playing them as Buck intended: no frills, no foolin' around".

2008–present: 3 Pears, Second Hand Heart, and Swimmin' Pools, Movie Stars...
Yoakam performed at the CMA Music Festival in Nashville, Tennessee, in 2008, where he was joined by Faith Hill. This was Yoakam's first appearance at the event in over 20 years. He otherwise performed very few concerts in 2009 and 2010, citing the Great Recession and the rise of digital music distribution as a reason behind the slower pace of his career at the time. Despite this, he still stated that he planned to continue releasing albums. In July 2011, he re-signed with Warner for his next album, 2012's 3 Pears. The album included production from rock musician Beck on two tracks. Upon release it became his highest entry on the Billboard 200 albums chart, reaching number 18. Mikael Wood of the Los Angeles Times thought the album displayed a "softer side" than Yoakam's previous efforts. Stephen Thomas Erlewine wrote of the album, "Yoakam has surprised by digging deeper into every one of his obsessions, creating a record that captures the careening, adventurous spirit of the '60s without ever feeling doggedly retro. It's as fresh as any music he's ever made, and one of his very best albums."

His next Warner album was 2015's Second Hand Heart. It reached the number two position on Top Country Albums after its release, his highest peak on that chart since Buenas Noches from a Lonely Room in 1988. It consisted almost entirely of original songs written by Yoakam, except a cover of the standard "Man of Constant Sorrow" and Anthony Crawford's "V's of Birds". Erlewine found influences of The Beatles, Buck Owens, and cowpunk in the album's arrangements. Ann Powers of NPR's First Listen shared a similar opinion of the album, also praising the "brightness" of its sound.

In 2016 Yoakam was contacted by a label executive of Sugar Hill Records, who wanted him to record a bluegrass music album for them. This album, Swimmin' Pools, Movie Stars..., was released that same year. It mostly comprises re-recordings of previous songs in his career, including "Guitars, Cadillacs" and "Please, Please Baby". Yoakam co-produced with Jon Randall and Gary Paczosa. The album included musical accompaniment by Alison Krauss & Union Station members Adam Steffey and Barry Bales on mandolin and upright bass respectively. Also contributing were guitarist Bryan Sutton, fiddler Stuart Duncan, and banjoist Scott Vestal. In addition to his own material, Yoakam covered Prince's "Purple Rain". Yoakam chose to cover the song the day Prince died, as he had seen the news of the musician's death on television prior to recording. Chuck Dauphin of Sounds Like Nashville thought the album brought out the bluegrass influences already present in such songs as "What I Don't Know". Deming called the album "a stylistic detour for Dwight Yoakam, but its execution sums up many of his greatest strengths as an artist". Also in 2016, Yoakam released covers of The Monkees' "Tomorrow's Gonna Be Another Day" and Johnny Rivers' "Mountain of Love" on limited edition vinyl through Third Man Records, a label owned by Jack White.

Although he has not released any albums since 2016, Yoakam has continued to tour and perform. In 2017, Yoakam covered "Wichita Lineman" at a tribute ceremony to songwriter Jimmy Webb held at Carnegie Hall. In 2018, Yoakam was selected by SiriusXM satellite radio to curate his own show, Bakersfield Beat, on that company's Prime Country channel. The success of this led to Yoakam receiving his own channel also named Bakersfield Beat, in which he plays his own songs as well as those in the genres of Bakersfield sound, cowpunk, and country rock.

In 2022, he started the LSD Tour with Lucinda Williams and Steve Earle. He also performed a concert with Old Crow Medicine Show in 2022 to honor the 30th anniversary of Hillbilly Deluxe.

Acting
Yoakam holds several acting roles in both film and television. One of his first was a recurring role in the 1991 CBS crime drama P.S. I Luv U. He also had a role in the 1993 movie Red Rock West. In 1994 Yoakum portrayed rancher Mac Brazel in the made-for-TV movie Roswell. In 1996, actor-director Billy Bob Thornton cast Yoakam as the character Doyle Hargraves in the film Sling Blade. Yoakam had been recommended the role by his manager, and told the website Country Daily in 2016 that Sling Blade was the first role in his acting career which he thought would have a lasting impact. Yoakam and the rest of the film's cast were nominated in 1997 for a Screen Actors Guild Award for Outstanding Performance by a Cast in a Motion Picture. He appeared in the 1998 Richard Linklater film The Newton Boys, and wrote most of the songs for his album A Long Way Home at this film's shooting locations throughout Austin, Texas. In 1999, Yoakam and Sheryl Crow appeared in the thriller The Minus Man.

A year later he co-wrote, directed, and starred in a Western film titled South of Heaven, West of Hell. He also composed a soundtrack of the same name. The movie was a financial failure, leading to many of its crew members filing claims against Yoakam in small claims court. In addition, Yoakam fired Pete Anderson from his touring band in 2002 as a means of recouping the finances lost by this movie. Zac Johnson of AllMusic criticized the soundtrack for including snippets of film dialogue between tracks, although he praised the individual songs and their inclusion of collaborators such as Bekka Bramlett, Mick Jagger, and Billy Gibbons.

In 2002, Yoakam had a role in the David Fincher movie Panic Room. Before the movie's release, he told the Associated Press that he did not consider acting significantly different from recording music because both roles were "fragmented" and required "repetition of performance". Between 2005 and 2006, he also appeared in the movies Bandidas, The Three Burials of Melquiades Estrada, and Wedding Crashers. In 2014, Yoakam had a recurring role in season two of the CBS science fiction series Under the Dome. He also reunited with Thornton for season one of the Amazon Prime Video original series Goliath.

Musical styles and influences
Yoakam's style is defined by a variety of influences both inside and outside country music. These influences include rockabilly, honky-tonk, neotraditional country, Bakersfield sound, and country rock. Colin Larkin wrote in The Virgin Encyclopedia of Country Music that Yoakam's music showed influences of "the honky-tonk country music of Buck Owens and Lefty Frizzell" and "a distinct antipathy toward the Nashville pop/country scene." Stephen Thomas Erlewine of AllMusic stated that "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." Erlewine also noted that Yoakam's fanbase typically consisted of people who listened to roots rock and rock and roll. Thom Jurek of AllMusic thought that Pete Anderson's electric guitar work was also an important part of his sound, comparing such work to Don Rich of Buck Owens' backing band The Buckaroos. Jurek also thought that the prominent uses of electric guitar and Hammond organ were examples of Yoakam's rock influences.

Yoakam describes his own songwriting style as "fragmented". He told Al Caudell of American Songwriter that he usually wrote songs by coming up with a melody and then determining the intended mood. From there, he said he would come up with a "thesis" for the song. He also stated that he preferred not to write in a linear fashion, as he thought writing a song in one sitting would cause him to feel creatively burnt out. He also said that memories of his childhood were influential in his songwriting style, particularly in the bluegrass music to which he listened; he told American Songwriter that he enjoyed the "irony that's always been part of bluegrass in that it sets melodic, lilting melodies and upbeat tempos with the most tragic lyrics."

Cyndi Hoelzle of Gavin Report noted Yoakam's appeal outside traditional country music, stating in 1993 that "[h]is records sold across the board-to middle-aged Stonewall Jackson fans and to young punk rockers who'd seen Dwight do his thing in L.A., opening shows for Los Lobos and the Violent Femmes." Richard Cromelin of The Los Angeles Times noted that Yoakam's musical image was that of a "brooding, intensely private figure driven by restless ambition and an edgy intellectuality more commonly found in rock stars." In the same article, Yoakam stated that "I found out early that one of the ways I was able to make contact was through musical expression." Similarly, he told Gavin Report in 1993 that "My nature is to be absolutely dissectively analytic. But with songwriting I have to leave it in a place that's not." Al Caudell of American Songwriter called Yoakam "a bluntly outspoken advocate of hardcore honky-tonk music". Yoakam received negative attention from the Nashville music scene early in his career due to his constant criticism of the genre. Among his criticisms were Columbia Records dropping Johnny Cash and MTV refusing to play country music videos. Of these criticisms, he later stated that "I learned a couple albums in... that my opinions and observations on the industry were not pertinent to what I needed to do as an artist, so I just really began to focus solely on what I was doing at the time."

Yoakam's musical image is also defined by his typical outfits when onstage. Colin Larkin of The Virgin Encyclopedia of Country Music wrote that "like Don Williams and others, he retains the traditional Stetson hat." Alanna Nash wrote in a review of If There Was a Way that "When Dwight Yoakam first came on the scene, with his hip retro-attitude, concha-studded jeans, and music that often grazed the edge of rock & roll, it was hard to tell whether the California cowboy was for real. The verdict was clear by his third album, Buenas Noches from a Lonely Room, whose key cycle of songs is a classic murder tale that echoes the pride, heartbreak, betrayal, and vengeance of the age-old hillbilly experience." Al Caudell of American Songwriter noted that Yoakam frequently wore "ripped jeans". Darryl Smyers of the Dallas Observer wrote that "With his absurdly large hat and Flying Burrito Brothers fashion sense, Yoakam was championed by a surprising mix of punks, rockabilly hounds, and hard-core honky-tonkers."

Leonard Running of the Rapid City Journal referred to Yoakam's singing style as a "plaintive, yodel-edged voice". An uncredited review of Gone in No Depression stated, "His voice is pure and sweet, but a precise tool. Only rarely, like on 'Try Not to Look So Pretty'...does it really fall down into an emotional fit." J. D. Considine of The Baltimore Sun wrote of Yoakam's singing voice that it was a "high, lonesome twang" and a "sweetly nasal tenor". Similarly, the editors of The Encyclopedia of Country Music described Yoakam as having a "twangy tenor... simply too spellbinding for country radio to ignore." These editors also thought that Yoakam was more able to break through into mainstream country music than contemporaries such as Lyle Lovett and Steve Earle because "mainstream country has found it easier to digest distorted guitars than ironic lyrics".

Personal life
In 1992, Yoakam began dating actress Sharon Stone. He appeared alongside her at that year's Academy Awards ceremony. This encounter led to both of them receiving media attention from tabloids, along with rumors from fans that songs on This Time were about Stone. Yoakam denied these rumors and stated that the two only dated for five weeks. Yoakam met MTV personality Karen Duffy at a party in 1994 and began dating soon afterward. The two ended their relationship in 1996. Yoakam married Emily Joyce on May 4, 2020, in Santa Monica, California. Because their wedding occurred during the COVID-19 pandemic, only ten guests were in attendance. The couple had their first child on August 16, 2020.

Legal issues
Longtime producer and guitarist Pete Anderson filed a lawsuit against him in 2004, stating that he had breached an oral contract by failing to perform a number of concert dates in mid-2002. The lawsuit claimed that by failing to perform these concerts, Yoakam had cost Anderson over $44,000 in salary. Yoakam and Anderson settled the lawsuit out of court, with the former stating that some of the financial issues stemming from these concerts were due to money lost in the commercial failure of South of Heaven, West of Hell. This financial dispute also ended the two's musical partnership, with Anderson saying that Yoakam "didn't want [him] around anymore". Anderson told Style Weekly in 2011 that he still respected Yoakam's artistry but had no intention of working with him again.

Yoakam filed a lawsuit against Warner Music in 2021 when the label withdrew several of his songs from streaming services due to expiration of contract. He claimed that the label was denying his reclamation of copyright toward the songs. The dispute was resolved in February 2022 and the songs re-appeared on streaming services soon afterward.

Studio albums

 * Guitars, Cadillacs, Etc., Etc. (1986)
 * Hillbilly Deluxe (1987)
 * Buenas Noches from a Lonely Room (1988)
 * If There Was a Way (1990)
 * This Time (1993)
 * Gone (1995)
 * A Long Way Home (1998)
 * dwightyoakamacoustic.net (2000)
 * Tomorrow's Sounds Today (2000)
 * South of Heaven, West of Hell (2001, soundtrack)
 * Population Me (2003)
 * Blame the Vain (2005)
 * 3 Pears (2012)
 * Second Hand Heart (2015)
 * Swimmin' Pools, Movie Stars... (2016)

Cover albums

 * Come On Christmas (1997)
 * Under the Covers (1997)
 * In Others' Words (2003)
 * Dwight's Used Records (2004)
 * Dwight Sings Buck (2007)

Compilation albums

 * Just Lookin' for a Hit (1989)
 * Dwight Live (1995)
 * Last Chance for a Thousand Years (1999)
 * Reprise Please Baby: The Warner Bros. Years (2002)
 * The Very Best of Dwight Yoakam (2004)

Awards and nominations
Yoakam has won two Grammy Awards and one Academy of Country Music award.

title: Dwight Yoakam


text:
Tax Avoiders

Tax Avoiders is a single-player video game for the Atari 2600 released in 1982. It was conceived by Darrell Wagner at Dunhill Electronics; he was billed on the packaging as a "Licensed Tax Consultant and former IRS Revenue Agent". The game was developed by Todd Clark Holm, "an independant [sic] investment advisor, registered with the S.E.C." The game was designed by John Simonds and published by American Videogame.

Gameplay
The object of Tax Avoiders is to help "John Q" become a millionaire within one game year by collecting income and avoiding taxes. There are two alternating game phases. In one, the player moves around the screen, collecting dollar bills and avoiding red tape; this represents maximizing income for the quarter. At the end of the quarter, the other phase has the player move around to manage his investments while another sprite oscillates between an Internal Revenue Service (IRS) agent, a certified public accountant (CPA), and an investment advisor. If the player is caught by the IRS agent, he is audited, and always loses the audit, which takes 50% of his income. If he encounters the CPA, he is charged a fee but gains new tax-sheltered investment options. If he encounters the investment advisor, he can maximize his tax-sheltered investment returns.

title: Tax Avoiders