One of the strongest voices of the New Traditionalist movement, Dwight Yoakam revitalized the Bakersfield sound as he shot to stardom in 1986.
Yoakam was born in Kentucky and raised in Ohio. Growing up, he pursued both music and acting, putting greater emphasis on the former after graduating from high school. He moved to Nashville in the late seventies, but did not fit in well with the pop-flavored country music scene.
However, he did meet guitarist Pete Anderson while there, and the two headed off to Los Angeles, where Yoakam became popular in both rock and country clubs, thanks to his contemporary take on classic country and rockabilly sounds.
An independent EP caught the attention of Reprise Records, and Yoakam landed a deal with the label. His debut LP, Guitars, Cadillacs, Etc., Etc., shot to the top of the charts upon its release in 1986. It established Yoakam as a significant leader among the New Traditionalists, updating the classic sounds of California country legend Buck Owens, among others.
Yoakam would spend the next decade selling platinum and beyond, despite having less consistent radio support than contemporaries like Randy Travis and Ricky Van Shelton. In addition to writing his own material, he smartly chose covers that worked for his style, including one that partnered him with idol Owens. Their collaboration “Streets of Bakersfield” was Yoakam’s first #1 hit, and it brought Owens back to the top slot for the first time in sixteen years.
Yoakam reached his critical and commercial peak in 1993 with This Time, an album that featured three huge hits, sold more than three million copies, and earned him a Grammy for Best Male Country Vocal Performance. While riding high on the success of the album, he began to pursue acting in Hollywood. From this point on, he would split his attention between music and film.
As the nineties progressed, his album sales slowed but continued to earn him critical acclaim. He had his last major hit with a cover of the Queen classic “Crazy Little Thing Called Love” in 1999. Since then, he’s released well-received albums on independent labels, most recently his stellar tribute album, Dwight Sings Buck. In 2007, the CMA honored Yoakam with its award side effects from diflucan for International Touring Artist, and in 2012, he received the prestigious Cliffie Stone Pioneer Award from the Academy of Country Music.
Yoakam has not released a new studio album since 2005, but he has re-signed with his former label home of Warner Bros., and is scheduled to release an album of new material this year.
As a tribute of sorts to her father who loved traditional country music, Tanya Tucker has compiled a set of twelve songs that pays homage to country music’s past. While not an example of traditionalism herself as a recording artist, Tucker ably demonstrates that she is more than capable of stepping into the role on this project, but also shows that this is not her most comfortable position as an artist.
Produced by accomplished and respected producer, Pete Anderson (Dwight Yoakam), Tucker’s new covers album, My Turn, is full of both oft sung and lesser known gems. Tucker shines on up-tempo fare such as Buck Owens’ “Love’s Gonna Live Here” with guest help from Jim Lauderdale, Don Gibson’s “Oh, Lonesome Me”, Charley Pride’s “Is Anybody Goin’ to San Antone” and the album’s best track, Merle Haggard’s “Ramblin’ Fever.” With the support of snappy productions to match Tucker’s assured vocals, these interpretations aptly showcase Tucker’s spunk and are where she seems to fully connect, both vocally and emotionally, to the songs and their lyrics, which is likely why the straightforward “Ramblin’ Fever” works so well for her. “If someone said I ever gave a damn/Well, the damn sure told you wrong/’Cause I’ve had ramblin’ fever all along”, she growls with utmost believability.
The more inferior songs, admittedly, tend to be the slower tracks. While they are sung very well, there seems to be a palpable disconnect between the singer and the songs. Tucker’s version of Lefty Frizzell’s “I Love You A Thousand Ways” is, however, a welcome exception. It sticks close to the original, but Tucker’s relaxed vocal manages to help it stand out from the other slow compositions on the album.
As is naturally common on covers projects such as this, Pete Anderson applies a warm quality to the production, which is sonically pleasant, but perhaps not quite the fit that Tanya Tucker’s uniquely rough voice calls for. Instead of seamlessly blending with Anderson’s productions, Tucker’s vocals often seem to be muted, as if her voice needed to be turned up a bit in the mixes. Likewise, the choices for some of the guest vocalists (The Grascals and Rhonda Vincent) did not work especially well. Their rootsy vocals were more of a distraction than a compliment to the songs on which they appeared.
While it is likely unreasonable to compare this project to other albums of its ilk, it’s impossible not to hold it up to previous efforts that have been recently offered by her peers (Patty Loveless, Martina McBride, etc), especially since some of the same ground has been covered here. Tucker’s husky, and even flirtatious vocal style naturally sets this project apart from those of her fellow artists, but it is not as strong or cohesive as the others. Despite its few shortcomings, however, it is still a solid effort and deserves a high-profile spot in one’s collection of covers albums.
Anyone who reads Bob Lefsetz' “The Lefsetz Letter” knows that Lefsetz is a fairly new country music fan, but a passionate one all the same. I frequently disagree with his current assessment of country music, particularly country radio (although recently he has clued in to its frequent vapidness and monotony), but he's a fantastic voice out there championing country music.
In a recent letter, he made some interesting statements about his desired role for the future of country music (i.e. the classic rock of the future). After approvingly citing the recent Newsweek article which bemoaned the current state of country music, Lefsetz stated:
blockquote>Country used to have an edge. My buddy Pete Anderson would love to bring it back. But I’m thinking we’ve just got to move the needle a little bit, and suddenly we’ve got the rock business we used to have, the one that triumphed in the seventies.
He went on to state:
If they just took off the cowboy hats and lost the banjos they’d be closer to Lynyrd Skynyrd than Dolly Parton or George Jones. When are the country acts going to go after their rightful audience, boomers who lived through the seventies and younger people who want melody!
The future is in country, or something quite like it.
It’s not the final resting place for has-beens like Bon Jovi or wannabes like Jessica Simpson, but a phoenix ready to rise if it’s taken seriously, adds a bit of true cred, emphasizes electric guitars and is willing to have an edge.
As fans of country, new and old, how do you feel about this assessment of the future of country music?