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£13.99

Rock - Released October 5, 2012 | Mascot Label Group - Provogue

Booklet
Beth Hart received a considerable boost from her collaboration with guitarist Joe Bonamassa, but her 2013 album, Bang Bang Boom Boom, finds the blues-rock belter returning to her comfort zone, working with producer Kevin Shirley and running through a selection of songs that are originals; songs that emphasize Hart's range and power. In some ways, this is the purest record Hart has yet recorded; there is a real sense of what she can sing and how she lays back, waiting for the moment when her wailing would create the strongest disruption. That means Bang Bang Boom Boom feels familiar without being complacent: there is no surprise in style but rather in attack, how Hart waits for the precise moment to unleash her fury. Sometimes, it seems that Hart would be well-served by stretching herself just a bit, but Bang Bang Boom Boom isn't an album that's meant to surprise. It's supposed to hit its mark with precision and minimal flair, and that's exactly what it does. [The American edition contains a bonus track: the stellar live version of "I'd Rather Go Blind," that Hart performed with Jeff Beck at the 2012 Kennedy Center Honors in tribute to Buddy Guy.] ~ Stephen Thomas Erlewine
£6.49

Rock - Released February 3, 2012 | Provogue Records

£13.99

Rock - Released October 8, 2010 | Mascot Records

£10.49

Pop/Rock - Released March 11, 2005 | Columbia

Welcome to the sounds and poetry of recovery and redemption. On Beth Hart's third album in six years, the singer/songwriter has taken her already lean, rootsy approach to writing, scaled it back to skillfully reflect what is essential in a song, and then, as is her trademark, poured the very grain of her being into each performance. On Leave the Light On, Hart speaks through unapologetically classic, mainstream rock music so gritty, edgy, and true (informed by the gospels according to the Rolling Stones, the Faces, and Janis Joplin), it's virtually unlike anything out there at the moment -- the White Stripes not withstanding. "Lifts You Up," the opener, uses one of the finest anthemic R-A-W-K hooks in a chorus since Delaney & Bonnie, employing muddy ringing buzzsaw guitars, upright piano, bass, drums, and hand percussion to celebrate the notion of life on life's terms: "It lifts you up it puts you down/Then it feeds you life, then it lets you drown/While it holds your heart then it slowly tears you/And you know life is what I mean." The title track is the first real power ballad of the new century. It is the most searing cut on the set. Virtually every word is loaded with dark confession and emotion, but unlike some of her peers who also explore the sewers and gutters of human ruination and soul death, Hart is far from content to remain there. Buoyed by her own piano, assorted keyboards emulating strings, Greg Leisz's pedals, strummed guitars, and a rhythm section, Hart's words seek the edges of the cage and bust forth, counting on the possibility of change inherent in every moment. The lyrics, centered around the fear of being alone after a life of pain -- absorbed and meted out -- are scalding in their indomitable hope. These two tracks become the first turns of the wheel of pop culture dharma -- rock & roll is the means to convey the fact that these small truths have become self-evident: that a woman can survive, sometimes in spite of her best efforts. Where more "contemporary" architectures are used, on "Lay Your Hands on Me" with its drum loops, "World Without You" with its beautifully textured keyboards, or the stunning acoustic piano majesty of "Lifetime" backed by a whispering Hammond organ, the effect is the same. Songs that take no prisoners, such as "Bottle of Jesus" or "Broken & Ugly," with fierce melodies and burning guitar crunchiness, are welcome alternatives to the tuneless radio drivel of Limp Bizkit or Korn. Ultimately, Leave the Light On is indeed Hart's crowning achievement thus far. Not many can string three fine albums together, let alone make each better than the last. This too is part of a rock & roll heritage that Hart, one suspects, is proudly a part of: the process of artistic growth realized over time, one that seeks the long road rather than short gain. Ultimately, as Beth Hart continues to allow her muse to inform and transform the ashes of her past, the listener benefits mightily from her journey. No matter what happens commercially or critically, this album will sound necessary and vital a decade from now. Classic rock indeed. ~ Thom Jurek
£13.99

Pop - Released May 17, 1996 | Atlantic Records

£1.99

Rock - Released September 14, 2012 | Mascot Label Group - Provogue

£12.99

Pop/Rock - Released September 3, 2004 | Columbia

£1.99

Rock - Released May 20, 2011 | Mascot Records

£11.99

Blues - To be released April 13, 2018 | Provogue

£1.99

Blues - Released February 13, 2018 | Provogue

£9.59

Blues - Released January 26, 2018 | J&R Adventures

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Blues - Released December 6, 2017 | J&R Adventures

£1.99

Blues - Released March 6, 2017 | Provogue

£1.99

Blues - Released March 6, 2017 | Provogue

£11.99

Blues - Released October 14, 2016 | Provogue

Beth Hart took some risks on 2015's Better Than Home, an ambitious record that sadly saw its co-producer Michael Stevens die from cancer during its recording. Given all this, it's not such a surprise to see Hart loosen up for its 2017 sequel, Fire on the Floor. Feeling the urgent need to exorcize lingering demons, Hart returned to the studio to cut Fire on the Floor before Better Than Home was released, and the record does carry a sense of urgency: It indeed feels fresh, even spontaneous. Certainly, it doesn't feel as weighty as the raw, yearning Better Than Home, not with the humor and swagger that Hart displays throughout the album. Working with producer Oliver Leiber, who helped assemble a selection of studio pros highlighted by the legendary studio guitarist Waddy Wachtel and organist Ivan Neville, Hart seems relaxed and playful -- a sensibility that's evident from the opening "Jazz Man." This song title suggests that she might be headed down a jazzy road, but Fire on the Floor showcases her versatility, bouncing between slinky jazz and grinding blues ("Love Gangster") while finding space for outright rockers ("Fat Man"), Southern soul ("Let's Get Together"), and a gospel-inflected ballad ("No Place Like Home"). None of this feels showy: it flows easily and naturally, the songs connected by their deep Americana roots and the snappy skill of the players. Even if the album is slick and in the pocket, it's soulful; it feels like Hart is reconnecting with the reason why she makes music and that's what gives Fire on the Floor a kick. ~ Stephen Thomas Erlewine