Album Review: Chaser Eight: Chaser Eight

Photo: Phil Hovey of Find Your Lights

Edits: Alberto Torres

For my regular readers, you know I don't really do reviews, but when I do, I break it down song by song. It has to be something special.

This one is special.

Chaser Eight's self-titled debut album Chaser Eight is musical gold. (Yes, I know, it's not their first release, just their first full length record). Released in February of this year, it took me six months to find it, but that's the landscape of independently made records, it may take a while, but if you keep looking you will find the good stuff.

Here's the thing, there is not a bad song on the record. That's hard to do. There are very few albums I can put on and listen to from start to finish without skipping songs. And if you care about music, albums still matter. Songs are great, but to get the full effect of what the artist is about, albums.

To me, the best way to really know how good or bad a record is, is to listen to it by yourself driving in your car. This one passes that test with flying colors.

There is an interesting dynamic within Chaser Eight. Lead vocalist/frontwoman/guitarist *AUDRA* and lead guitarist Pat Walsh write all of the songs independently of each other. But they may be the best male/female songwriting duo this side of Pat Benatar and Neil Giraldo. Or Stevie Nicks and Lindsey Buckingham.

Album Spotlight: Houndmouth: Little Neon Limelight

I first became aware of Houndmouth a little over a year ago when I stumbled upon their album From The Hills Below The City, which had come out sometime in 2013. I fell in love with their songwriting and storytelling.

They have taken it to a new level with their latest release Little Neon Limelight. Each song is so well-crafted. Each song tells a story.

I guess it's a result of the time that I grew up in, but I like to hear an entire album. I grew up in the cassette era, which was probably the least accessible time for singles consumption. Of course there were the "cassingles" which many times cost almost half of what the full cassette would cost. We bought the whole thing, usually. And there was no skip function on cassettes. So we usually listened to the whole album.

All that being said to make this point. Little Neon Limelight is a record best consumed in its entirety. With the different members of Houndmouth taking lead vocals on different songs, and sometimes within the same song, you can't get a full understanding of what they're all about unless you listen to the whole record.

What kind of music does Houndmouth play? I don't know. Americana, country-tinged roots rock, alt-folk, all of the above? Doesn't matter. I'm done with genres. It's just good music. Listen to it. Enjoy it.

Here's a clip of the song "My Cousin Greg" that features all four members singing lead at times.

Album Review: Melissa Etheridge: This Is M.E.

I was a huge fan of Melissa Etheridge in the late 80's/early 90's. Here first three records, Melissa Etheridge, Brave and Crazy, Never Enough, are still some of my favorites. The raw energy and attitude of those albums were great.

Then came the breakthrough Yes I Am followed by Your Little Secret which both contained the biggest hits of Etheridge's career. For me, it became a little too polished. So I kind of checked out.

Since I'm back into music heavily, searching out good stuff, when I noticed Etheridge had a new record out, I had to check out. I'm so glad I did.

Now, I don't know what she's been doing since Your Little Secret, but This Is M.E. is fantastic.

This Is M.E. starts off with a whimper. The first song, "I Won't Be Alone Tonight" is pop schlock. But then things start to pick up. "Take My Number" takes me back to the first album. Instrumentally anyway.

"A Little Hard Hearted" is also reminiscent of Etheridge's earlier stuff. In places.

Then things really start to good and swampy. The next six songs are Melissa Etheridge at her best. Raw, emotional, real and just a little bit different from what I've heard before. Those six songs are the record for me.

"Do It Again" starts out as a country-tinged ballad then Ehteridge channels here inner Janis Joplin in places, especially the pre-chorus, which is kind of unexpected. There's also what sounds like some lap steel in there.

Then she goes really deep into the swamp with "Monster". Sparse instrumentation, gospel choir-like backing vocals and some blues harp. It's all good.

With "Ain't That Bad" we're staying in the swamp. And it's still all good.

"All The Way Home" is just plain double entendre fun. In a good way. No pink umbrellas here.

The next song, "Like A Preacher", leaves the swamp, but it has classic Melissa Etheridge vocals, like the kind found on the first album.

And back to the swamp with "Stranger Road", which may just be my favorite track on the record. The vocals in the verses may be a little forced, but everything else about the song more than makes up for it.

For me, the last two tracks are forgettable.

Here's the official video for "Take My Number"



And then stuff like this is what made me a fan in the first place. Just Melissa and a 12 string Ovation.

Melissa Etheridge on Amazon.

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