Whenever Beth Hart releases a new album, one thing is certain: it will be an epic musical experience. What is less certain is what she is going to deliver. This unpredictability is what makes her so exciting as an artist. Her latest release takes the same recipe and goes all out. It’s not only musically volatile, it’s a masterful piece of work that stretches Beth as an artist in ways we’ve not heard before.
Her distinctive vibrato (which gets its namesake) has always been emotive and mailable. In this album, she cuts loose and uses her voice as an instrument. There are high notes, trills, breathy punctuations and primal screams all used percussively. It’s helped by Kevin Shirley’s stripped-back production. Even the heavier tracks are percussive with just the right space for drums and guitars and vocals.
‘Saviour with a Razor’ ft Slash kicks us off in familiar bluesy territory. Its gritty, dirty blues with distinctive Beth Hart growling vocal is complimented by Slash’s throaty guitar. ‘SugaN my Bowl’ with Eric Gales continues the raunchy blues vibe but by track three she’s veered course with a sprechgesang cabaret feel.
The late-night jazz bar track, ate-night jazz ‘ Drunk of Valentine’ has Beth on piano with some gloriously placed synths and trumpet. She pulls the rug again with ‘ Big Bad Johnny Cash’, an Americana track with bags of humour.
While we have more twists than a corkscrew, there are some traditional big production ballads too. 'Wonderful World' is a classic big band number while 'Little Heartbreak Girl' is an inspirational anthem, with a rousing, yet simple chorus.
It’s pretty clear by now that Beth is most definitely in the driving seat. Nothing can prepare us for the opus 'Don't Call the Police'. It's a brutal political and social commentary that just commands attention. Given the weight of the subject matter, it could have made a chilling album closer, but the title track follows on, offering hope. It's a song filled with raw emotion, inspired by the love of her husband, but could easily be a friend, relative, or even a pet who offers emotional support in the darkest of times.
'You Still Got Me' is a slow-burn, yet sophisticated album that will stay with you long after it ends. As it darts around from 50s jazz, to blues, jazz it's impossible to second guess where Beth Hart will take us next. Like the song says 'never underestimate a girl' - we wouldn't dream of it!
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