In pretty much every defining aspect, "Life Ain't That Long" is a moving target. Stylistically, thematically, lyrically, tonally--Rich Krueger can't be (won't be?) locked down. Instead of being exhausting or irrelevant, the vagaries of Krueger's performing styles work ... for the most part.

It's hard to tell if this album's musical approach is intentionally random or erratically planned. Beyond "singer-songwriter," Krueger doesn't want to limit his musical options. We get a doo-wop pastiche in "Then Jessica Smiled," a blues mix in "The Wednesday Boys" and a piano bar styling for "What We Are." And for a really random connection, "Can't See Me In This Light" seems like a riff/variation of "Perfect Blue Buildings" by Counting Crows. (That's meant in an interesting and complimentary manner, but it's unpredictable how people will take being compared to a '90s band.)

In "'77-17," Krueger shows he's truly fearless in his lyrics, sharing his intimate experiences and baring his raw emotions in a personal and cultural context. Krueger's raw honesty and earnestness are the successful elements that make "'77-17" work. The guy rips his own heart out and passes it around, while the instrumentation merely acts as connective tissue for his storytelling session. For a similar sharing/venting of honesty mixed with frustration, check out "Ain't It So Nice Outside Today."

When a song is bookended with an instrumental riff of "Amazing Grace" and has a background chorus throughout, you figure you're going to get something really interesting in "The Gospel According to Carl." After listening to the track multiple times, it's still hard to tell who Carl is and what the song is about. (And honestly, the track could have -- should have? -- been titled "The Church at the End of the Road.") Thing is, it doesn't matter. Despite a bit of confusion, every time this reviewer has re-listened to the track, I remain intrigued and have enjoyed the experience.

It's the first track of the album, "A Stoopid Broken Heart," that is the most straightforward and definable song. It seems to be the only track that employs intention, especially in its placement/order. But that's actually a boon to the album, as it a more logical introduction to Krueger's storytelling and musical style. Starting off with "77-17" or "Ain't It So Nice Outside Today" might scare a few folks off.

The bonus track, "It's That Time Again (A Christmas Song)," is an apt end to the album as it inherently defines Krueger's erratic direction/theme. He switches around from a deeply detailed narrative to vaguely observational lyrics and back again, then about two-thirds through the song it's suddenly a general well-wishing holiday carol. It's disappointing due to the inherent promise and approach of another story that never gets told. It's as if Krueger tells the listeners to gather around for a story then starts reading from a phone book.

Hmmm ... is Krueger a musical version of Andy Kaufman? He definitely keeps you wondering where he's going next. Life Ain't That Long certainly keeps your ears not knowing what to expect.