Dwight Yoakam Blame the Vain
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- Released: June 13, 2005
- Label: New West Records
Uncut - p.993 stars out of 5 - "[T]here's an edge that's been absent in recent years."
Mojo (Publisher) - p.1143 stars out of 5 - "The same amalgam of pure country, rockabilly and Southern rock allied to a hint of British invasion influences are evident, while a few nods to past heroes are provided."
- 1.Blame the Vain
- 2.Lucky That Way
- 3.Intentional Heartache
- 4.Does It Show
- 5.Three Good Reasons
- 6.Just Passin' Time
- 7.I'll Pretend
- 8.She'll Remember
- 9.I Wanna Love Again
- 10.When I First Came Here
- 11.Watch Out
- 12.The Last Heart in Line
Personnel: Dwight Yoakam (vocals, acoustic guitar, background vocals); Dwight Yoakam; Al Bonhomme (acoustic guitar); Skip Edwards (pedal steel guitar, piano, Fender Rhodes piano, Wurlitzer piano, Hammond b-3 organ, Wurlitzer organ, synthesizer, hand claps); Phillip Vaiman (violin); Jim Barth (strings); Jessica Bolter (oboe); Taras Prodaniuk (bass instrument); Gary Ebbins (hand claps); David Roe , Timothy B. Schmit, Dave Roe (background vocals); Gerry McGee (acoustic guitar); Keith Gattis (electric guitar, hand claps); Thomas Dienner (viola); Eric Gaenslen (cello); Lee Thornburg (French horn); Mitch Marine (drums, hand claps); Bobbye Hall (bongos, cowbells, shaker, tambourine, percussion); Jonathan Clark (background vocals).
Audio Mixers: David Leonard ; Mike Houge.
Recording information: Track Record, Studio B, North Hollywood, CA.
Photographer: Randee Saint Nicholas.
Dwight Yoakam is the Baskin-Robbins of heartbreak, turning out more variations on classic lovelorn themes than anyone might have thought possible. As he's done dependably since the mid-1980s, the man who put New Traditionalism on the country music map brings the Buck Owens/Merle Haggard sound into the present, with occasional rock and blues touches. Yoakam reaches even further back on the mournful ballad "Lucky That Way," building on a classic Hank Williams-style template. But he can be unpredictable as well; the anomalous intro to "She'll Remember," awash in synthesizer and jokey British accent, could have slipped off a Blur album, and the wide-screen strings-and-tympani drama of "The Last Heart in Line" finds Yoakam dipping into Roy Orbison territory. In lesser hands, the catalogue of emotional train wrecks that is BLAME THE VAIN might come off monochromatic, but with a master craftsman like Yoakam, the endless stream of subtleties in his multi-hued view of failed romance are consistently involving.
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