Sometimes a disc comes along and just hits you in the right place at the right time. In 1997, We’ve Been Had Again by the Philadelphia rock group Huffamoose, was such a disc. Having heard the gorgeous ballad “James,” on AAA radio, and a subsequent acoustic live session a few days after, the urge to pick up We’ve Been Had Again was almost overwhelming.

Vocalist Craig Elkins has an interesting vocal timbre and that originality is what makes We’ve Been Had Again so dynamic and indelible. The group made a splash with lead single and album opener “Wait,” a gorgeous alt-rock cut that rivaled anything released that year. But We’ve Been Had Again was far more than just “James,” and “Wait.”

The swirling and hypnotic “Enigmatic,” picked up on the rock vibe of “Wait,” but went a little deeper and proved that Huffamoose were certainly onto something quite memorable. The dizzying grunge-inspired title track, the hyper-silly and shuffling country-esque “Like a Weed,” and the crunchy “Such a Good Look,” were all further proof that this Philadelphia quartet was truly on the precipice of something special. While songs like “Shattered,” “Speeding Bullet,” and “Snapshot Family,” were also engaging and worth repeated listens, they don’t hold a candle to the delicate valentine “Buy You a Ring,” which later was placed in a jewelry commercial.

The success of We’ve Been Had Again vaulted the band to a spot on the 1998 HORDE Tour, but four years later, the group called it quits. Thankfully, a documentary was released about the group’s attempts at stardom and has been cited by Cameron Crowe as being one of the best rock documentaries out there. In the end, while Huffamoose’s ascent to the limelight never materialized, We’ve Been Had Again still ranks as one of this writer’s most favorite releases of that year, and “James,” remains one of the most gorgeous songs this writer’s ears have ever heard. And it is for that reason that some 15 years after its release, We’ve Been Had Again is still getting some spins.

“Instead of going to heaven, they went to Jacksonville.” - Lyle Lovett

Jacksonville, FL is the last place one would expect to find a first-rate psychedelic pop band. But sure enough, the duo known as Sunbears! are out to buck the stereotype of the North Florida city. On their full-length debut album Love is Everywhere, the band churns out a top-notch, fully absorbing master work that towers above its contemporaries. Whether it’s the buoyant pop gem “Give Love a Try,” or the delicate and tender, “Together Forever,” there’s something potent and fully absorbing about every passing second. Songs like the swirly and ambient “Psychic Numbing is Evil,” and the symphonic and towering “Strung Out! On My Own!,” are veritable proof that Sunbears are indeed something truly special. Much like “Strung Out! On My Own!” “It’s Hard! Be Content Where You Are,” is another grand-scale, arena ready triumph that suggests the Jacksonville duo just might be the torchbearers for psychedelic pop in 2012 and beyond. Fans of Portugal the Man, Dr. Dog and The Beatles will certainly find something to like with Love is Everywhere.

I don’t know much about anything, but I like to think I know when I hear good music. Durham, NC”s Delta Rae has arguably one 2012’s best songs and the band is most assuredly destined for big things. I am going out on a limb and predicting that the band gets nominated for a Best New Artist Grammy at some point in the immediate future. The band was recently signed by Seymour Stein, who helped guide the careers of Talking Heads, The Pretenders, Madonna and the Smiths. Here is a link to the band’s single “Bottom of the River.”

There are few things more inspiring than following your dreams. In the case of California musician Nell Robinson, her dreams started at age 45. After 30 years of singing in the car to herself, the Alabama-raised singer-songwriter finally stepped onto the stage and now, five years removed from that watershed moment, she has released On the Brooklyn Road, an engaging and homespun collection of 12 bluegrass and country gems.

Though a small chunk of the disc are originals, Robinson tackles a slew of covers, including Richard Brandenburg’s “Mayflies,” Loretta Lynn’s “I”m a Honky Tonk Girl,” Hank Williams’ “I Saw the Light,” the timeless “Can’t Help Falling in Love With You,” Albert Brumley’s “Turn Your Radio On,” Jim Scott’s “The Last Old Shovel,” and the traditional “Sweet Sunny South.” Added onto the collection are three extras recorded with Robinson’s friend Cary Sheldon, including the traditional yarn “Crawdad Song,” and J.E. Mainer’s “Big Ball in Texas.”

From a sonic standpoint, On the Brooklyn Road is a fine disc. Robinson has an inviting and amiable voice and her backing band are certainly confident in what they do. The arrangements are fine and some of the songs are even worth repeat listens –––– her version of “Can’t Help Falling in Love With You,” -––– springs to mind. But what sets apart On The Brooklyn Road from the rest of the pack is Robinson’s dedication to her family and their love of music. Throughout the 12-song collection are various interviews with family members and a CD booklet that serves to celebrate both Robinson’s family and her Alabama upbringing.

In an era when digital downloads and YouTube videos are the hallmarks of commercial success, it’s nice to see an under-the-radar artist putting so much of her heart and soul, not only into her music, but also the liner notes.

Final word: On the Brooklyn Road is highly recommended and definitely worth the money.

With all this talk about the year’s best albums, it is time to focus on one album few if any people are talking about, but one that should most certainly be included in the honorable mention discussion. Said disc is the self-titled debut album from Portland, OR indie folk quartet Priory.

The disc opens with the ambient prologue, “Worthy Dreams,” which serves more as an opening salvo or an introductory stanza than a pop song. All that changes though on “Kings of Troy.” Beginning with a gentle acoustic guitar, the song moves into Arcade Fire-Fleet Foxes territory. Quite frankly, it’s as strong a song as any released this year and can easily contend as one of the year’s best. Crazily enough though, this self-titled album has quite a chunk of songs as strong as “Kings of Troy.”

Foremost of those is lead single “Lady of Late,” a synth-splashed opus about newfound love that’s as sweetly affecting and entrancing as anything currently circulating the blogosphere. If “Lady of Late,” doesn’t charm you, then Priory is not the band for you.

The amiable and stirring “Alone,” borrows its strength from some gleeful guitar work and vocalist’s inherent swagger. What often separates good bands from the lot of wannabes is a vocalist’s ability to put power and thought into every utterance and Priory’s Brandon Johnson does exactly that on “Alone.”

Acoustic guitar opens “Coal Mine,” the album’s first glance at filler. It’s not as if the song doesn’t make any major stances or grandiose statements, it just sort of goes nowhere and serves more as a bridge to “Searching,” the album’s first ballad and veritable proof that Priory is in a league all of themselves. Ostensibly a song about family dysfunction and adolescence, it’s the kind of song that only comes along once a decade.

“Devil Vs. Heater,” opens the album’s second half and does little to disappoint. While it’s not the album’s strongest song by any stretch, it’s another positive step forward and a good precursor to the gorgeous and timeless “Red Sun,” a tour-de-force that cements Priory’s status as something truly special.

The funereal “Cold Hands,” spins a narrative about a couple dying in a car crash and also points to the depths to which Priory go to tell a story. Nowhere on the album is there more depth, more clarity and more conviction. That “Cold Hands,” is so strong is actually a good thing because the album’s second piece of filler jumps in with the 4-minute exercise, “Wait,” a song which does very little.

The eponymous album ends with “White Coats,” a sterling and crystalline meditation that revisits the winning moments of “Kings of Troy,” and “Searching.” and “smearD yhtroW,” an epilogue that mirrors “Worthy Dreams,” in both title and sonic ambition. When all is said and done, Priory is a potent collection of first-rate indie folk. Aside from two mistakes (”Wait,” and “Coal Mine,”) there’s very little about the disc that isn’t worth listening to on repeat. That this is just their debut means that this folk collective has something truly special in store going forward.

11. Radiohead – King of Limbs
12. Yuck – Yuck
13. Explosions in the Sky – Take Care, Take Care, Take Care
14. Eisley – The Valley
15. The Drums – Portamento
16. Danger Mouse and Danielle Luppi – Rome
17. Noah and the Whale – Last Night on Earth
18. Okkervil River – I Am Very Far
19. Pepper Rabbit – Red Velvet Snow Ball
20. Scattered Trees – Sympathy

21. City and Colour – Little Hell
22. Sims – Bad Time Zoo
23. Smith Westerns – Dye it Blonde
24. Starfucker – Reptilians
25. The Vaccines – What Did You Expect From the Vaccines?
26. tUnE-yArDs – w h o k i l l
27. Wilco – The Whole Love
28. Laura Marling – A Creature I Don’t Know
29. The Middle East – I Want That You Are Always Happy
30. Coldplay – Mylo Xyloto

1. Tree of Life
2. The Descendants
3. Margin Call
4. Hugo
5. Melancholia
6. Contagion
7. Senna
8. The Debt
9. J. Edgar
10. Bill Cunningham New York

11. Young Adult
12. Project Nim
13, Higher Ground
14. Klitschko
15. The Future
16. Midnight in Paris
17. Tabloid
18. Le Havre
19. Dragonslayer
20. Cedar Rapids

21. 50/50
22. The Company Men
23. Queen of the Sun
24. One Lucky Elephant
25. Queen to Play
26. Little Sparrows
27. Win Win
28. Sarah’s Key
29. Ceremony
30. Rise of the Planet of the Apes

It’s no secret that the Austin, TX music scene is ripe with talent, and the latest example of that is the electro-pop outfit Speak. On their 10-length effort Believe in Everything (Modern Art Records) the group tackles guitar-laden rock (”Wars,” and “Firecracker,”) as well as synth-infected dance gems (”Carrie,” “I’d Rather Lie”) and the falsetto-laden “Stand By Us.” Vocalist Troupe Grammage revisits his youth on the hip-shaking “81,” and gets downright serious on the ruminative “A Little Way,” and the cerebral album closer “Too Afraid.” All in all, it’s an inspiring and heady listen.

Why has jangly guitar pop become so outdated? In the late 90s bands like Dishwalla, Tonic, Toad the Wet Sprocket and GIn Blossoms made a killing from earnest, simple jangly guitar pop. But these days, the genre is nearly as extinct as the cassette tape. But thankfully, there are a few purveyors of the genre still working hard at their craft.

One such example is the Nashville, TN-based Christian band Remedy Drive and their latest EP Light Makes a Way is a compelling listen. Unlike most Christian outfits, the band steers clear of worship and praise, and drives at uplifting and ebullient tunes. Album opener “Light Makes a Way” Second track “Hold On,” offers more of the same, while “Don’t Wait Too Long,” tries to take a stab at radio charts but falters. In truth, “Don’t Wait Too Long,” is the EP’s only real disappointment on the EP. Fourth song “Follow Me” is a lullaby for vocalist David Zach’s son and proof that the band is equally adept at ballads as rockers. The EP closes out with “Disappear,” a combination of “Light Makes a Way,” and “Don’t Wait Too Long,” that closes out the disc nicely.

In the end, this EP is a neat little listen and a strong reminder of why once upon a time this kind of music was dominating airwaves.