Dwight Yoakam Albums (18)
What The Critics Say
Is there any singer better suited to record an album of Buck Owens covers than Dwight Yoakam? Yoakam first came onto the country scene in the 1980s as the new face and voice of Bakersfield country, a subgenre Owens and Merle Haggard had put on the map. Yoakam not only sang the praises of Owens, he sang with the West Coast legend, and their duet on a cover of Owens' "Streets of Bakersfield" reached number one on the country charts in 1988, despite Yoakam's refusal to play by the rules of the Nashville-based industry. With Owens' death in 2006, it was only a matter of time before Yoakam honored his idol, but even if Dwight Sings Buck was inevitable, that doesn't make it any less of a welcomed event. Yoakam's love for these anthems is palpable in every track. 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 (even if that's the title of one of the songs Yoakam takes on). Yoakam even takes care to absorb the instrumental backings provided for Owens by his great Buckaroos, particularly the guitarist Don Rich. That doesn't mean the album is an exercise in retro: Yoakam does put a contemporary sheen on classics like "Act Naturally," "Close Up the Honky Tonks," "Together Again," "Cryin' Time," and "Under Your Spell Again" -- they sound natural coming from his mouth rather than Owens' yet there is no mistaking whose songs these are. If there is one disappointment it's that Yoakam didn't include "I've Got a Tiger by the Tail," one of Owens' best-known hits. Still, despite that one glaring omission this is a tribute in the purest sense of the word, and an album no fan of either artist should miss. ~ Jeff Tamarkin, All Music Guide
'Live from Austin TX'
Release Date 11/1/2005
Tracks 14
Label New West
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What The Critics Say
The man who brought the Bakersfield sound back to the country charts, Dwight Yoakam, was on the road supporting his third album (and one of his best), 1988's Buenas Noches from a Lonely Room, when he and his band made a stop in Austin, TX, to appear on one of television's best showcases for quality roots music, PBS' Austin City Limits. Yoakam was at once a staunch traditionalist and a nervy Young Turk when he played his ACL gig, and both sides shine through in the performance, which has been issued on compact disc as Live from Austin, TX. Yoakam and his band (including guitarist Pete Anderson) burn though these songs with plenty of spark, and demonstrate that the best sort of respect to show this music is to play it with the same swagger and confidence that Buck Owens, Johnny Horton, and Merle Haggard showed back in the day. While Yoakam is still doing that today, there's something fresh and emphatic here that shines brighter than on some of his later work, and if this disc isn't as ambitious as the later Dwight Live, on its own modest terms it's the more satisfying listen. Added value: Buck Owens and Flaco Jimenez stop by to re-create their cameo spots on "Streets of Bakersfield," with Owens in particularly feisty form. ~ Mark Deming, All Music Guide
What The Critics Say
When Dwight Yoakam burst onto the charts with his first album in 1986, he was the young honky tonk firebrand who set out to remind Nashville of its noble past and celebrate the accomplishments of Bakersfield heroes such as Buck Owens and Merle Haggard. The irony is that nearly 20 years later, Yoakam is in pretty much the same boat as the artists he championed in the 1980s -- he's a respected veteran of the country scene who still has a loyal audience but lost the interest of the major labels and isn't drawing the attention he used to get. But if any of this troubles him, you'd never guess to listen to 2005's Blame the Vain, which is his sharpest and liveliest set in some time. With Yoakam producing himself for a change without the help of longtime studio partner Pete Anderson, Blame the Vain also finds him fronting a new band anchored by guitarist Keith Gattis, and the new blood seems to have done wonders for Yoakam -- while he wasn't exactly in a slump, Blame the Vain boasts a sharper and more energetic approach than his last several efforts, with "Just Passin' Time," "Three Good Reasons," and the title cut revealing that Yoakam is still a honky tonk man supreme. Elsewhere, the whacked-out intro to "She'll Remember" and the ad-libbed final rant on "Intentional Heartache" show Yoakam's firmly in touch with his inner goofball weirdo, the songwriting is both literate and down-home in the manner of his best work, and he sings up a storm from front to back. Two decades into his career, Dwight Yoakam is still the man who is too country for Nashville, and on Blame the Vain he shows he's got too much strength and soul to let anyone hold him down -- this is inspired stuff from a rebel who still has plenty to offer. ~ Mark Deming, All Music Guide
What The Critics Say
Dwight Yoakam returns on a new label with his first album proper in three years -- the soundtrack to his directorial film debut, South of Heaven, West of Hell is just that, not an album of songs. And while one might wonder if Population Me is more of the same brand of Bakersfield-styled honky tonk blues from Yoakam and be right, there are two arguments as to why it's a necessary purchase. First and foremost, the quality of Yoakam's material is the most consistent in country music since the outlaws of the mid-'70s. Arguably, Yoakam has never released a shoddy album, and this one is no exception. Most importantly are the surprises, of which there are plenty. On the opener, "The Late Great Golden State," written by Mike Stinson, Yoakam does his best Jackson Browne-Eagles -- and actually reveals why the L.A. drugstore cowboy sound is timeless when done right. Eagles bassist Timothy B. Schmidt lends a hand on the backing vocals and gives it a solid "take it easy" rollicking roll. Elsewhere, as on the title track driven by guitar ace Pete Anderson and pedal steel, banjo, and dobro king Gary Morse, Yoakam weaves a perfect blend of driving rockabilly, Chuck Berry, and honky tonk. On a banjo-drenched cover of Burt Bacharach's "Trains and Boats and Planes," Yoakam sings his skinny butt off, while Anderson rides the mandolin down into the lost wail of Scott Joss' fiddle. They transform the pop song into a traditional country shuffle graced with the high lonesome sound of Earl Scruggs' electrifying banjo work, punching the fills and turnarounds with grease and grit. "If Teardrops Were Diamonds" is one of Yoakam's most beautiful ballads. Willie Nelson performs a duet with him, adding a gorgeous pop sensibility to Yoakam's hillbilly moan. Through the rest, Yoakam's songwriting continues to grow and transform itself into an accurate reflection of American culture as felt through the poetic heart of a country musician. The songs are right there: lean, tough, raw, and drenched with hooks as well as emotions -- check out the honky tonk stroll of "I'd Avoid Me Too." This is stellar, kickin' impure country. ~ Thom Jurek, All Music Guide
'South of Heaven, West of Hell'
Release Date 10/2/2001
Tracks 20
Label Warner Bros.
See Album Tracklist and Review
What The Critics Say
Dwight Yoakam's soundtrack for the gritty Western South of Heaven, West of Hell will only partially satisfy his fans. Although the album is nearly an hour long, half of the tracks are spoken segments from the film, and while this tactic has worked well for Quentin Tarantino's pop culture-brimming soundtracks, South of Heaven only serves to lose the listener with its ill-placed breaks and uninteresting dialogue. Aside from that rather major flaw, there are a handful of really good Yoakam tunes on hand including the loose, ambling opening track "Words" and a soulful version of "The Darkest Hour." The album also features a duet with Bekka Bramlett (Bekka & Billy), as well as the bluesy "The First Thing Smokin'" co-written with Billy Gibbons of ZZ Top and the pleading "What's Left of Me" co-written with Mick Jagger. While the album certainly has its strong points, it is no substitute for a complete Dwight Yoakam record. With the film release of South of Heaven, West of Hell, Yoakam has proven himself to be a fine actor and a fair director, but there are legions of country fans who will be happier when he steps out from behind the camera and back into the studio. ~ Zac Johnson, All Music Guide
'Tomorrow's Sounds Today'
Release Date 10/31/2000
Tracks 14
Label Reprise
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What The Critics Say
The title has to be a goof because this album, as well as Dwight Yoakam's entire catalog, should be dubbed "Yesterday's Sounds Today." The only connection Yoakam retains to the slick, crossover, big-hat crowd is the big hat, and these 14 tracks prove that even as country music continually evolves into glossy pop, this artist has entrenched himself in all things retro. The crying steel guitars, jaunty mandolins, and plaintive fiddles that drive this rootsy country & western could have been recorded in the 1950s, and only the tasty electric guitar licks of longtime producer/cohort Pete Anderson bring the music up to date. Further cementing his connection with the classic Bakersfield sound, Yoakam invites founding father Buck Owens to join the fold once more (their 1988 collaboration produced a number one C&W hit with "The Streets of Bakersfield") and the resulting three tracks yield results just as winning. Yoakam goes the Hank Williams Sr. route on "A Promise You Can't Keep" and especially "The Heartaches Are Free," which sounds so similar to a Hank Sr. tune in melody and vocal inflection, you'll find yourself double checking the liner notes to be sure it's a Yoakam original. The singer dips into his '70s classic rock roots again too, as he follows up his wildly successful Queen remake with a cover of Cheap Trick's "I Want You to Want Me." Like his interpretation of "Crazy Little Thing Called Love," he makes it sound like an obscure barnstorming country track instead of the power pop nugget it is. Ten of the album's 14 tunes are self-penned and song titles like "A World of Blue," "A Place to Cry," "The Sad Side of Town," and "Time Spent Missing You" show that Yoakam is still drenched in the spilt tears, heartbroken brand of country that has proven to be so lucrative, artistically and commercially, in the past. Best of all, he makes it seems easy. Even though there's little stylistic maturation in his approach since his first release in 1986, Yoakam's songwriting craft keeps improving, and any track from this album could be a hit single. With Tomorrow's Sounds Today, Dwight Yoakam has fashioned a contemporary roots-conscious country album whose qualities, like the artist's distinctive style, are timeless. ~ Hal Horowitz, All Music Guide
'dwightyoakamacoustic.net'
Release Date 5/30/2000
Tracks 25
Label Reprise
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What The Critics Say
At first glance, dwightyoakamacoustic.net might look like a simple re-recorded greatest-hits album that's pleasant but unnecessary. However, the spontaneity and depth of these performances should give any Yoakam fan pause before dismissing it out of hand. Other than the fact that it has no discernible connection to the Internet, the album is exactly what the title promises: aside from one electric-guitar overdub, it's nothing but Yoakam and an acoustic guitar the whole way through. This ultra-stripped-down setting gives Yoakam a chance to establish an intimacy of performance that relies simply on the expressiveness of his voice and his ability to fill up space with compelling guitar work. To a certain extent, Yoakam could be handicapped by the familiarity of most of these songs, but revisiting one's back catalog is certainly not without precedent; outlaw country's biggest stars frequently re-recorded old favorites to reflect their changing sounds. Besides, he's generally successful at reinventing this selection of hits and top-notch album tracks for the album's solo format. Without much to concentrate on other than emotive power in Yoakam's voice, the heartbreaking ballads are that much more affecting, culminating in the a cappella, album-closing rendition of the once uptempo "Guitars, Cadillacs." The approach also helps evoke the wide-open spaces of songs like "Bury Me" and "A Thousand Miles From Nowhere." Not everything here is revelatory -- in the end, some songs are merely pleasant -- but overall, dwightyoakamacoustic.net is a left-field success, a testament to the richness of Yoakam's back catalog and his skill as an interpreter. ~ Steve Huey, All Music Guide
'La Croix d'Amour'
Release Date 12/28/1999
Tracks 12
Label Wea International
See Album Tracklist and Review
What The Critics Say
This WEA International release is a curious mix of Dwight Yoakam originals and quirky covers, and while it is hardly essential stuff, serious Yoakam fans will definitely want to check it out, particularly for the covers of the Beatles' "Things We Said Today," Them's "Here Comes the Night," Elvis Presley's "Suspicious Minds," and the Blasters' "Long White Cadillac." ~ Steve Leggett, All Music Guide
What The Critics Say
As he entered his second decade of recording, Dwight Yoakam began to take more time between records. A three-year gap separated A Long Way Home from Gone -- the last time he went that long between albums of new material was 1990's If There Was a Way and 1993's This Time. As it happened, This Time was a masterpiece, a breakthrough of sorts in that it expanded Yoakam's already large stylistic trickbag. A Long Way Home doesn't rank with This Time, probably because it is an outgrowth of that leap forward instead of the leap itself, but like Gone, it is a rich, diverse, continually impressive collection of timeless songs. Yoakam and his producer/guitarist Pete Anderson keep things interesting by never following conventions -- "These Arms" has a Bakersfield foundation, but it's graced by sweeping Nashville strings that bring the song into new territory. That's just one of many unexpected touches that make A Long Way Home a rewarding listen, even if it doesn't consistently reach the heights of such previous masterstrokes as Guitars, Cadillacs, Etc., Etc., Buenos Noches From a Lonely Room, and This Time. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
Given how easily Dwight Yoakam makes the songs of others his own, including classics like "Sin City" and "Streets of Bakersfield" as well as the Doc Pomus nugget "Little Sister," it's a wonder it took him 11 years to record an album of covers. Yoakam had nothing left to prove as a songwriter, penning hit after hit and album after album of constantly evolving country music that remained true to the honky tonk tradition while stretching it sonically -- without revisionism. Here, Yoakam interprets everyone from Roy Orbison to the Clash to the Beatles to Danny O'Keefe, often radically reworking these genuine enduring classics of popular music to bring out the hidden meanings rather than remake them in his own image, the near bluegrass version of "Train in Vain" being a prime example. The Orbison tune that opens the album, "Claudette," rocks with a country swagger the original never had and feels like more of a celebratory tome to a third party than it does a love song. The Kinks tune "Tired of Waiting for You" is as far from a country song as can be with a full horn section -- and this cut works the least -- and is an oddity but entertaining when heard once. O'Keefe's "Good Time Charlie's Got the Blues" is less melodic than the writer's version, but it is far more desolate and haunting. The duet on Sonny Bono's "Baby Don't Go" with Sheryl Crow doesn't really work either, because Crow is not a country singer and there's enough countrypolitan in Yoakam's read that the two singers seem cold and at odds with each other. The lush, funky version of Jimmy Webb's "Wichita Lineman" may not replace Glen Campbell's, but it is a credible, even fine read with all of its textural embellishments (Pete Anderson, Yoakam's guitarist and producer is a genius), a B-3, layers of guitars, double-timed drums...awesome. "Here Comes the Night," with its ringing electric 12-string guitars and faux Caribbean rhythm is stunningly beautiful, and the Beatles' "Things We Said Today" is a psychedelic country jewel. While this set is not perfect, it's still damn fine and warrants repeated listens to come to grips with Yoakam's visionary ambition. ~ Thom Jurek, All Music Guide
