Dwight Yoakam's refusal to "dumb down" or commercialize his music for to meet the demands of country radio are evident on this CD. Each song is a near-perfect gem, wonderfully performed by Yoakam and his great band. The songs reflect and pay homage to various sub-genres of C&W music and individual past masters (Hank Williams, Buddy Holly, Doug Sahm, etc.), while simultaneously carrying Yoakam's unique imprint and continuing his career-long exploration of the many emotions of love. If anything, the songwriting on this CD is more complex and multi-layered than on any other Yoakam album, and Dwight has rarely reached such poetic beauty as he displays in A World of Blue, Time Spent Missing You, and A Promise You Can't Keep. Whether giddy over the promises and pleasures of love, disillusioned about its permanence, embittered by its loss or unattainability, or resolved to pay its emotional price, Yoakam displays his versatility as a songwriter. And in the cover of the Cheap Trick track, I Want You To Want Me, Yoakam displays how he makes another's song his own, just as he did with last year's Crazy Little Thing Called Love. In terms of performance, listeners can only marvel at the beauty of Yoakam's voice and the great sound of his supporting band. Pete Anderson's consistently stunning guitar work is neatly balanced by Gary Morse's wonderful steel sound and Scott Joss's fiddle. Yoakam and his band effortlessly move from upbeat rocker to weepy honky-tonk lament. As was the case with Yoakam's This Time and Gone albums, I listened Tomorrow's Sounds Today thinking that next track could not get any better than the last, and discovered to my delight that I was wrong each time. This album is a masterpiece from beginning to end, and might even be Yoakam's best to date. One more note: a special treat on this album is the presence of Buck Owens. Always an influence on Yoakam's music, here he duets with Yoakam on the last two songs (including the gospel-influenced I Was There) and co-wrote with Yoakam the instant classic, The Sad Side of Town. Years from now, when the names of lesser artists are unknown, we will listen to these two great country musicians on this album, and marvel at their under-appreciated talents. Buy this album, you won't be disappointed.

Dwight Yoakam entered into a crysallis in his creative process within the last few years, and "Tomorrow's Sounds Today" is the emergence. He has spread wings made of pure sound to soar high above the cardboard-cutout sameness that has permeated country music within the last few years. While I have seen a number of reviewers say this is "yesterday's sounds now," or a "return to his roots," I believe that they have missed the point that Yoakam has made. The title is metaphor. These are not yesterday's sounds nor tomorrow's sounds nor even today's sounds. This is music for always. This music is not limited to the past--it is timeless and timely. This pure country outing is fresh and new, and it sparkles in its simple yet somehow impressively complex vision. Dwight's brilliant, swirling lyrics are woven into refreshingly country melodies, with sharp pedal steel by Gary Morse and toe-tapping fiddle by Scott Joss; Dwight's whiskey-and-sugar voice comes straight from the honky-tonks and bars to remind us that country music still does exist, that somewhere hearts are still being broken and still yearn for a sad country song. However, coming right down to brass tacks, Yoakam doesn't worry about commercial trends, and for that alone I'd recommend this album. If you have mourned the death of country music, buy this album, and buy it now. Country music isn't dead--the victim of Music Row survived and went into hiding. Rejoice.

The hat acts on music row must hear a new Yoakam album and say, green with envy, "God, I wish I could do that." Yoakam is one of the few artists in country who is a self contained unit. Writing, singing and playing in ways that lessers aren't even remotely capable of.

With this new album, we are lucky to be around when Dwight is at his most powerful and potent. Even as much as I love Dwight I was dumbstruck at just how good this album is. And how well it holds up to repeated listening. He defiantly stays with the harder edge of country, I don't think Yoakam could sell out if he wanted to. Pedal and lap steel curl around harmonies and melodies that are both elusive and instantly addicting. Yoakam also pulls of what must be a first: a song ("What do you know...") with not one, but two, lap steel solos that are truly the highlights of the song. When Dwight yells "Awwww... truckstop!", anyone who feels the soul of country knows exactly what he means. It sounds very one-off, but it's a two word poem.

There's also a reggae-inflected tune ("For love's sake") that shows that Dwight is capable of writing a positive love song. He just generally chooses not to. "A place to cry" has an impossibly deep groove that showcases the tightness of the band, especially Pete Anderson.

What it comes down to is this: if you don't know why Yoakam is a genius, you probably never will. If John Michael Montgomery and Brad Paisley sound pretty good, Yoakam will be lost on you. Musically and lyrically, Yoakam has never been better. Artistically, he has no equal in country and very few in any genre.

Buy it. Listen. Get hooked. Yoakam is the greatest songwriter and melody maker we have today. He is a master among masters. It's too bad he is not accepted by the mainstream but to his credit, has not sold out to commercial trends. Dwight Yoakam is the W.A.Mozart of modern times. Yoakam is one of the few who can make a sad song and not be depressing about it. Very rare talent. Dwight and his producer Pete Anderson, also lead guitar player in his band, The Babylonian Cowboys,have made an absolute masterpiece. Great to listen to while driving down the highway, this will free your soul. Thanks, guys.

Although the CD's title does nothing for me, Dwight's latest release is outstanding - perhaps his finest in my opinion. Like other Amazon reviewers, I would agree that the CD progresses with one song after another getting better and better. There really is not a bad cut on here. "Alright, I'm Wrong" with Mr. Owens is perhaps the highlight, although "What Do You Know About Love" is terrific too! I saw Mr. Yoakam on tour this summer. He performed some of these tunes - lava lamps all about on stage. He is one cool cowboy. The Garth Brooks of the world cannot hold a candle to Dwight. Some one of these days his musical genius will be discovered by the masses. A wonderful recording! Introduce someone to Dwight and buy them this CD!