Blame the Vain

( 3 )

Editorial Reviews

Barnes & Noble - David McGee
He may have parted ways with his longtime partner in twang, Pete Anderson, but Dwight Yoakam carries on without missing a beat. He produced Blame the Vain himself, largely benching Anderson's occasional Spectorian touches and beloved vocal echo, instead taking his sonic cue strictly from vintage Bakersfield. The disc's lean, taut, and testosterone-rich sound leaves Yoakam's expressive Kentucky twang out front and largely unadorned. It's a muscular sound, well suited for his latest batch of tear-jerkers, wild-eyed romps, and slightly sardonic love letters. New guitarist Keith Gattis makes sure the twang is bold, especially on the rockabilly-fired rouser "I'll Remember." ...
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Editorial Reviews

Barnes & Noble - David McGee
He may have parted ways with his longtime partner in twang, Pete Anderson, but Dwight Yoakam carries on without missing a beat. He produced Blame the Vain himself, largely benching Anderson's occasional Spectorian touches and beloved vocal echo, instead taking his sonic cue strictly from vintage Bakersfield. The disc's lean, taut, and testosterone-rich sound leaves Yoakam's expressive Kentucky twang out front and largely unadorned. It's a muscular sound, well suited for his latest batch of tear-jerkers, wild-eyed romps, and slightly sardonic love letters. New guitarist Keith Gattis makes sure the twang is bold, especially on the rockabilly-fired rouser "I'll Remember." An effective honky-tonk weeper, "Just Passin' Time," announces itself with a somber wave of pedal steel moans and muted, twangy guitar snarls before accommodating an atmospheric, Spanish-flavored acoustic guitar passage, a perfect backdrop for Yoakam's tear-stained tale of a lonely, unfocused man. The steamrolling, hard-country "Intentional Heartache" tells of a flighty, unstable female. In style, structure, and sound, the kiss-off "Three Good Reasons" is most like a classic Yoakam-Anderson collaboration, with an echo resonant of Memphis circa 1954 and an angry, snarling guitar solo. Elsewhere, Yoakam lifts, and then develops, the establishing guitar riff from Lennon-McCartney's "I Got a Feeling" to fuel the churning "When I First Came Here" and rolls out a touching Skip Edwards string arrangement, à la George Martin, in the wrenching "The Last Heart in Line." Blame the Vain isn't as consistent from top to bottom as Yoakam's Anderson-produced monuments, but there's no vanity in calling it a top-drawer slice of rockin' country.
All Music Guide - Mark Deming
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.
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Product Details

  • Release Date: 6/14/2005
  • Label: New West Records
  • UPC: 607396607525
  • Catalog Number: 6075
  • Sales rank: 17,160

Album Credits

Performance Credits
Dwight Yoakam Primary Artist, Acoustic Guitar, Vocals, Background Vocals, Soloist
Bobbye Hall Percussion, Bongos, Tambourine, Shaker, cowbell, Cabasa
Jonathan Clark Background Vocals
Skip Edwards Synthesizer, Piano, Pedal Steel Guitar, Hammond Organ, Hand Clapping, fender rhodes, Wurlitzer, Hammond B3
Mitch Marine Drums, Hand Clapping
Taras Prodaniuk Bass
Timothy B. Schmit Background Vocals
Lee Thornburg French Horn
Gerry McGee Acoustic Guitar, Soloist
Jim Barth Strings
Keith Gattis Bass, Electric Guitar, Hand Clapping
Al Bonhomme Acoustic Guitar
Gary Ebbins Hand Clapping
Eric Gaenslen Cello
Thomas Dienner Viola
David Roe Background Vocals
Jessica Bolter Oboe
Phillip Vaiman Violin
Dave Roe Background Vocals
Technical Credits
Dwight Yoakam Composer, Producer, Art Direction, Audio Production
Michael Dumas Engineer
Skip Edwards String Arrangements
Stephen Marcussen Mastering
Katherine Delaney Graphic Design
Steve Moore Engineer
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Customer Reviews

Average Rating 5
( 3 )
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Sort by: Showing all of 3 Customer Reviews
  • Anonymous

    Posted October 1, 2010

    Dwight Is The Best There Is

    Dwight is great as always, and he and Keith Gattis are just perfect together "on this and in concert"! "Intentional Heartache" is fun and the instrumental really grows on you. But for Dwight's incredible pure voice, listen to "Last Heart in Line".

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  • Anonymous

    Posted October 1, 2010

    Still the King of Cool

    BLAME THE VAIN shows that Dwight Yoakam hasn't lost his touch. He remains the King of Cool. Trends change is country music, but is nice that some things stay the same.

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  • Anonymous

    Posted October 1, 2010

    GOOD OL'E COUNTRY SERVED UP AS USUAL

    Let me just say it's as good as everything else he does. It's the good old country sound. He doesn't sell out, what he has delivered from the late 80's up to now remains timeless, and unchanged. Dwight has always been one of my faves. I love the new stuff, but his stuff is the real deal, and thats what keeps me going back for more.

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Sort by: Showing all of 3 Customer Reviews