Sometimes the rhythms skitter and stutter; sometimes they throb, or soothe. More often than anything, they surprise and intrigue.

While doubters might see this as a quirky, flash in the pan, Tiny Tim styled anomaly, there is no denying the goofy delight and enthusiasm that jumps out of the speakers on every track of this immensely enjoyable, if decidedly unconventional, album.

It’s a cohesive and complete statement, one of Calexico’s best yet.

Rouse uses his recent psychoanalysis sessions to question universal questions of our place in life as we age. That he does so with such beautifully crafted, hummable pop songs is a testament to his long established talents as one of America’s more overlooked singer/songwriters.

He sounds completely rejuvenated here. It makes Modern Blues one of his most compelling releases and a potent example of how a change of scenery can unexpectedly yet effectively revitalize a career.

Hubbard has always been a lyricist of gritty honesty. Here though, with help from an infusion of blues, his music is equally as taut, dynamic and compelling.

Existing Wilson fans will find this an enjoyable enough diversion, but even they will have to admit, it’s a little flimsy and simply not up to the high water mark Wilson has set for himself.

Thankfully the somewhat imposing concept never gets in the way of moving, often raw, always organic rock and roll as Malin adds another impressive entry into his already inspiring resume.

Whitmore might only occasionally let that rock ‘n’ roll animal out from time to time, but that scarcity--coupled with excellent pacing--is exactly what makes it so exciting.

His calm, ageless voice is perfect for this material and it’s clear he’s in his element on 13 songs that capture and condense the essence of his Americana blues, soul and country influences.

It’s another pretty great Ron Sexsmith album.

Carrie & Lowell demonstrates, brilliantly and harrowingly, over and over again, how life’s most valuable lessons can only be gleaned by enduring its worst circumstances.

The Nashville by way of Texas singer-songwriter ups his game for this self-assured sweetly melodic sophomore release.

His singing partners, all of whom bring their “A” game. They help make what could have been a forgettable, tossed off, commercially driven, contract fulfilling item into one of the singer’s more memorable projects. And with a catalog as rich and deep as Van Morrison’s, that’s high praise indeed.

What Sometimes I Sit And Think And Sometimes I Just Sit reflects is that Courtney Barnett is a burgeoning talent whose future likely holds great improvement from this already-impressive starting point.

Touches of Celtic, jazz, country and folk, but seldom rock, inform these lovely tunes that take their time as if on a leisurely stroll.

Her eighth studio release flows with remarkable continuity. Notwithstanding the melancholy circumstances, Moorer is rocking out forcefully on chugging, swampy gems.

These songs are as trippy, wonderfully produced and well-written as anything in his catalog.

It’s quietly hypnotizing music, unconcerned with commercial trends and miles away from the more hoedown revival of Old Crow.

There is always room in the world for another well written, classy pop-rock gem, and with Chasing Yesterdays Noel Gallagher proudly delivers 10 of them.

Grey and his band’s drive, energy and enthusiasm go a long way to selling this music but at nearly an hour the effect is diluted. Leaving a handful of the weakest cuts in the vaults and honing the best parts from some of the others would have resulted in a stronger outing.

Archive Series, Vol. 1 is a collection of 16 pop prayers and private whispers that offer a striking alternate version of Iron & Wine’s mythic inaugural release.

Its title seems clichéd but there is nothing predictable about the exuberance or the obvious attention to detail McPherson applied to his rolling good times.

It’s an album that shows again and again that very few songwriters on this planet illuminate the oft-unfair rules of this game or the inner workings of the players quite like he can.

There is a vibrant exuberance to these performances that, like its old-school audio, feels alive and fresh making the Mavericks one of the few bands better in their second act than in their first.

Despite the adept lyrical approach, Gonzalez’ guitar virtuosity is still one of the main draws here.

Earle is far too musically adventurous to linger too long in any one genre, and kudos to him for that, but Terraplane is such a standout that we can only hope he makes his way back around to the blues relatively soon.

shed. It’s beautiful, intense, occasionally relaxing but most of all challenging music that borrows from a myriad of influences and never feels derivative.