“Down at the courthouse people stand in line to see you fall,” proclaims Isaak in “Courthouse,” a song from his new album, Always Got Tonight, the first in four years. In many ways, the public has always been like this for Isaak.

In another decade, Isaak would have been a superstar, with the face and hips of Elvis Presley and the sonorous husky voice of Roy Orbison. But the alternative music of the 1990’s and the burgeoning pop world of this decade have always slighted Isaak, an often overlooked songwriter and performer. For 17 years, classic crooner Chris Isaak has been unabashed in his penchant for traditional 50’s and 60’s rock, singing the song of the deeply broken hearted.

The veteran singer has even dabbled in film acting in many small roles, most of which were critically bashed, including a spot playing an FBI agent in David Lynch’s film version of “Twin Peaks,” “Fire Walk with Me.” Isaak has even managed to get his own comedic show on “Showtime,” featuring a somewhat personal glance at Isaak’s life and his romantic follies. But throughout his stints in show business and bouts with both public and critical disappointment, Isaak, who has always fought to be taken seriously, has never stopped making quality albums, rooted in forsaken love.

On the pretty “Worked it Out Wrong,” Isaak tries to tell us “I don’t have anything I need to say.” But even at the age of 45, Isaak is still tearful and seems to be no closer to that elusive romantic happiness as evidenced on this, his eighth album. In the tender “Life Will Go On,” Isaak almost seems to be chanting to himself, sadly trying to convince himself of something he really doesn’t believe. Not even glossy studio work can obscure Isaak’s hooks, melodies and songwriting, which are once agai n witnessed on songs like “Somebody to Love” with its warm chorus sung the way only Isaak can deliver.

Much like Speak of the Devil, Isaak’s last commercially disappointing album, the singer’s new sound is as slick and polished as his trademark pompadour. Some of this pop preening finds Isaak betraying himself. “Notice the Ring,” one of the weakest tracks, featuring an unconvincing Isaak swinging like a lounge act and sounds like it was written specifically for adult contemporary radio. Isaak’s biggest mistakes have always come from moves from his familiar base of personal songwriting and eclectic influences including country, surf and Mexican music. Isaak appears most impotent when he is trying to be more commercial, restraining the heartache that has been the secret behind his most moving music, especially 1995’s Forever Blue, which ironically, sold very little.

Throughout his career, Isaak has changed his tune very little. The songs on Always Got Tonight fall into his tested model of an innocent boy’s love for a beautiful girl once again going unrequited. Fortunately, it is a story that many have never tired of hearing for the past five decades in popular music. Although not his strongest effort, Always Got Tonight, for the most part, retains the smooth reverb tinged sound that has become synonymous with Chris Isaak. Even if Isaak never returns to the more stark sounding shadowy loneliness of previous work, we’ve always got his early records to reflect upon.