Last time we caught up with Damien Jurado, he was cracking that wicked whip they call the pop song. On his 1997 Sub Pop debut, Waters Ave. S., Jurado wrote melodies that resonated with joy and sorrow while keeping things generally upbeat and excessively catchy. But there was one thing keeping the man down: he couldn't sing a lick. His cracking, warbling, off-key tenor was so painfully prevalent that it made the songs a bit difficult to listen to. A serious shame, too, 'cause in every other respect, Waters Ave. S.-- to quote that old legend of insanity, Wesley Willis-- whooped on a llama's ass.

Two years have passed since that pretty excellent offering, and Jurado returns with Rehearsals for Departure, an album that improves on its predecessor in every department. The guy's vocals are the most immediately noticable difference-- he's still no Tony Bennett, but he's sounding great these days. On top of that, he's doing a brand new dance in the songwriting aisle. Jurado's new songs seem far more inspired by the introspective stylings of Springsteen or Neil Young than smiley pop stars.

But Jurado hasn't abandoned the pop song. Tracks like "Honey Baby" and "Letters and Drawings" show he's got a knack for penning unforgettable, upbeat love tunes. But Rehearsals for Departure is, all told, a more personal record, complete with tales of longing and regret. "Ohio" is an elaborate and painfully sad tale of a girl deciding to return home years after being kidnapped by her father. "Curbside" is a surprisingly convincing post- breakup number that recalls those glorious first days of love. And "Love the Same" might be the loneliest number that he'll ever do.

Of course, the thing that makes these tracks truly outstanding are Jurado's romantic and poetic lyrics-- the way he can make the most simple action sound so dramatic. On "Ohio," he sings, "She stands on the sidewalk/ Just waving at taxis/ Like horses and parades in passing." In that line, he recalls the simplicity of childhood while tackling the frustrations of adulthood without even trying. It's lyrics like these, along with the occasional simple flourishes (like female background vocals, maracas, orchestration and simple harmonies) that really make Rehearsals for Departure a really great record.

-Ryan Schreiber