Yoakam's eleventh album was his first of all new material in nearly three years. A Christmas set and a mediocre album of cover tunes were released in the meantime, while he
concentrated on acting in films like Sling Blade and The Newton Boys. Just when it seemed that Yoakam might never give music his full attention again, he delightfully surprised us with his
most consistent and personal effort to date.

Yoakam composed all of the thirteen tracks on A Long Way Home without collaboration. The overwhelming theme of these acoustically-driven numbers is romance and its inevitably
negative outcome. This potentially depressing subject matter turns engaging, thanks to the variety of musical styles Yoakam incorporates, be it the shimmering "Things Change," the
honkytonkin' "I Wouldn't Put It Past Me" or the Bakersfield weeper "Yet To Succeed." Amidst the romantic chaos are homages to Johnny Cash ("The Curse"), Roy Orbison ("Listen") and
Elvis Presley ("Maybe You Like It, Maybe You Don't").

The one thematic detour is the mountain ode "Traveler's Lantern," featuring bluegrass legend Ralph Stanley on banjo and backup vocals. Its message of illuminating the path one
walks could also be applied to the music of Dwight Yoakam: when he is at his best, like on A Long Way Home, country music is left a better place.

The first thing that struck me about this fabulous work of Dwight's is that you feel comfortable from the first listen. Often reviewers indicate they weren't in love with a CD on the first play, 'it grew on them'. This one grabs you from the git-go and never lets go. Don't let that statement make you believe this is old material and therefore not worth your interest. 'A Long Way Home' is full of surprises and excellent exhibits of what makes Dwight all that he is. Dwight did indeed 'come home'.

'The Curse' will stir remembrances of the heydays of Johnny Cash. The influence of Buck Owens is, as always, a welcome presence in 'I Wouldn't Put It Past Me'. Still these offerings manage to sound new and fresh.

Newcomers to Bluegrass who fell in love with Ralph Stanley (O Death) on the S/T to 'Oh Brother, Where Art Thou' will instantly recognize his supreme distinct voice and be glad to hear it singing backup on 'Traveler's Lantern' as Dwight travels into the Bluegrass genre.

Dwight's sense of humor and mimicking ability shine in the Elvis Homage introduction and version of the cut 'I Only Want You More'.

No one in music today writes lyrics like Dwight. If you question that statement, listen to 'That's Okay' This song is the perfect example of Dwight's writing ability. Who else in country music could develop the following lyrics then set them 'to tune' and make the result sweet to the ear? 'Voices about us softly mumbling words that trip my heart a stumbling' or 'I embrace small shards of silence to avoid a loss this violent'. Folks, remember this is country music we're talking here! A field built on beers/years, cry/die, and you/and anything that rhymes with it, etc. Dwight writes with the sophistication of a natural modern poet and marries the work with the ultimate 'country sound'.

'Things Change' and 'I'll Just Take These' are pure Dwight and sweet country and should put to rest any belief this is not a 'country' endeavor. It it country at its best.

My first introduction to Dwight Yoakam was his 'This Time' CD and it has always been my favorite. But 'Long Way Home' is tied for second, along with nearly all the others. In my repeated efforts to review his music, I have become repetitive and redundant (see?), and still haven't come even remotely close to describing his tremendous talent. So, instead of sitting there mumbling under your breath about my irritating efforts to describe the indescribable, get busy and obtain yourself a copy of this CD and prepare to listen and listen because you won't want to stop.

At the time Dwight recorded this album, people could be forgiven for thinking that Dwight had run out of ideas - after all, he'd recorded a covers album and a Christmas album, which was predominately covers. With this album, Dwight proved that he could still write and sing brilliant original songs. As ever, Dwight's traditionally based country music has a rock edge that appeals to a wider audience while still appealing to most traditional country fans. Only the most diehard traditionalists could fail to appreciate Dwight's music. The overall feel of this album is very upbeat.

Dwight grabs your attention from the opening Same fool and holds it until the closing Maybe you like it maybe you don't, singing his way through a selection of songs that are incredibly varied yet still sit comfortably together. Dwight's influences are many and varied but fans of Buck Owens, Johnny Cash and Elvis Presley will all hear echoes of their music in this album. Of course, Dwight's hillbilly vocal style combined with Pete Anderson's brilliant producing make his music unmistakeable for any other.

Dwight makes a rare incursion into bluegrass territory on Traveller's lantern, on which Ralph Stanley plays banjo. As Dwight had already appeared as a guest on Ralph's Clinch mountain country album, this was no surprise. Judged on this effort, it would be great to hear Dwight do a whole bluegrass album.

Dwight has recorded many outstanding albums (and one or two duds) but this is certainly one of the best albums Dwight has ever recorded and my may well be the best of the lot.

Dwight Yoakam has been called a very private person when not performing; but when you listen to his music, particularly music as compelling and introspective as what is found in "A Long Way Home," it becomes painfully obvious that he bares his heart and soul, repeatedly, in every song he writes. The searing pain in his music and lyrics--and not the angst-ridden pseudo-soul of teen death ballads or beat-the-puppy country--reaches down one's throat to grip the heart and pull it, bleeding, to the air with a raw intensity that very few writers/performers achieve. Dwight Yoakam doesn't appeal to everyone because some people don't understand that--but if you open your ears, and listen with your whole soul, "you might find yourself somewhere." Doesn't matter if you consider him country, alternative country, rock, soul, or what--he is Dwight, and this is him.

A lot of critics would flog this album because they say it's not evolutionary or unique. Let me tell those pokes something. This *is* country music. This is his most consistent and enjoyable album since This Time. I listen to this without hitting the 'next' button on the CD player. And that is rare, even when you consider that it's packed with 13 well merited songs for your dollars.
"These Arms" and the title track are classic sounding Bakersfield Dwight Yoakam . "Traveler's Lantern" is about as close to quality bluegrass (an homage to his Kentucky roots?) as you will hear with contemporary Country (not to mention with a wonderful lyrical landscape). "That's Okay", "Curse", and "Things Change" will have you singing along unapologetically. And what would a Dwight project be without a weeper such as "I'll Just Take These" and a rocker like "Only You Want More"?

I can't believe how overlooked this album is in his catalog. Dwight and Pete Anderson get all due respect from me whenever they put someting on platter. Great job, guys!