Once rejected by country music in the ’70s for being “too country,” Dwight Yoakam has gone on to become one of the most celebrated country artists of our time. Yoakam’s unique vocal styling is a throwback to the “Bakersfield sound” of the ’60s created by his idol and mentor Buck Owens. The good ole honky-tonk sound with a rock edge allowed those “too country” artists to find their niche and reign-in a fan base which would grow larger and more dedicated with time. Yoakam grew up in Columbus and briefly attended Ohio State studying history and philosophy before pursuing his dream to Nashville. Though his music was considered neo-traditionalist, Nashville soon followed suit with the rest of the world after he proved with his first self-release, “Guitars, Cadillacs, Etc. Etc.” that he was a musician to be reckoned with. Thirteen albums later, Yoakam takes a step back in time. Though the title of Yoakam’s new album may suggest a look into the music of the future, quite the opposite is true. “Tomorrow’s Sounds Today” is classic Yoakam, seemingly regurgitated material from past albums. Yoakam relies on the sounds which brought him fame in the ’80s to usher in what he terms “tomorrow’s sounds.” Not true. Not to say this album is not worth a listen. In fact, quite the opposite. Though the material has a distinctly familiar ring to it, it is a credit to Yoakam that he can produce an album of songs which has the same feel of those 25 years ago, but sound as new and fresh as they did back then. As usual, love seems to be the salient theme for his new album. Romance takes all stages as he croons about the true love portrayed in “For Love’s Sake,” or the love gone wrong in “What Do You Know About Love,” and the inevitable bitter heartbreak in “A Promise You Can’t Keep.”The love tunes along with the slow-paced melodic feel of “Time Spent Missing You” and “A Place to Cry” allow for the instrumentation to have its place in the sun. Headed up as always by producer and lead guitarist Pete Anderson, his band shines on the fiddle, mandolin, steel guitar and various other instruments. Perhaps the best song is a remake of Cheap Trick’s, “I Want You to Want Me.” The pop song shows its longevity as general great music as it withstands a country music interpretation. Yoakam’s rock-a-billy take on the tune is full of swing as Yoakam performs with the lazy style of a man who needs no effort to excel vocally.The song is reminiscent of Yoakam’s venture into rock when he cut Queen’s “Crazy Little Thing Called Love” for a Gap commercial a few years back. The song was one you couldn’t get out of your head if you tried, and obviously, that was the case as Yoakam was nominated for one award after the other for the catchy tune. “I Want You To Want Me” could inspire that same feeling if released as a single.Three songs on the album are a collaboration with Yoakam’s mentor and fellow “Bakersfield” devotee, Buck Owens. The two joined forces back in 1988 with “The Streets of Bakersfield,” which brought Owens out of retirement and rejuvenated the “Bakersfield” sound. The two co-wrote “The Sad Side of Town” for Yoakam’s new album. They also share harmonies on the twangy “Alright, I’m Wrong” and the gospel feel of “I Was There.” It’s a joy to hear the inspiration and his protégé combine their amazing voices in song.Yoakam wrote all the songs on the album, once again proving his prowess as a consummate songwriter. While the album commemorates his music of the past, it demonstrates Yoakam’s sound is something that, while repeated, can never grow old. The album will be a repeat pleasure to Yoakam’s fans of old, while providing a sound perfected over time to the new fans sure to come.