Your basket is empty

Categories :

Similar artists

Albums

HI-RES£18.99
CD£16.99

Blues - Released November 30, 2018 | Provogue

Hi-Res
Beth Hart commands the stage with just one click of her fingers! The Californian tigress is still as feisty as ever without getting caught up in the clichés. In this live performance recorded on May 4th 2018 in London’s most prestigious setting, the Royal Albert Hall, she sets up her very own cabaret mixing blues, jazz and vintage soul. A woman who honours Nina Simone, Howlin’ Wolf, Dinah Washington, Buddy Guy and so many other key personalities of rhythm’n’blues, she shows us the full extent of her talent during this two-hour show. With a microphone to hand or sat behind her piano, what impresses us most is Beth Hart’s ability to mix all her musical influences and produce one very personal cocktail. Her secret? Her voice, of course. A kind of unstoppable magnet that pulls every word, every sentence, every chorus and which is made even more powerful by her contact with the audience. © Clotilde Maréchal/Qobuz
CD£15.49

Blues - Released April 3, 2015 | Provogue

Separating from producer Kevin Shirley for the first time in three records, Beth Hart chose to work with Rob Mathes and Michael Stevens for 2015's Better Than Home. A change in producers helped Hart change direction, letting her depart from the down-and-dirty blues belting she specialized in throughout her time with Shirley, reconnecting slightly to her singer/songwriter beginning while emphasizing deep soul roots. Despite opening with the tight Memphis groove of "Might as Well Smile," most of the album is grandly introspective -- majestic brooding ballads with a clear debt to early Elton John. This cinematic landscape provides a nice contrast to Hart's raw, nervy vocals, accentuating the aching in her delivery. This emotional immediacy compensates for the sometimes elliptical songs, songs that take a little while to settle, but the risks Hart's taken on Better Than Home pay off: this is a distinctive, ambitious record that takes advantage of her natural talents in surprising ways. © Stephen Thomas Erlewine /TiVo
CD£13.99

Pop - Released May 17, 1996 | Atlantic Records

CD£13.99

Rock - Released August 13, 2009 | Provogue

CD£13.99

Blues - Released October 5, 2012 | Provogue

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 /TiVo
CD£11.99

Pop - Released July 12, 1999 | Atlantic Records

L.A.-based rock singer Beth Hart released Screamin' for My Supper in 1999, three years after her debut, Immortal. Producing herself with help from longtime collaborator Tal Herzberg, and playing piano, keyboards, and arranging string sections, Screamin' for My Supper is a mature, fully realized sounding record. She kicks things off with "Just a Little Hole," a midtempo, smoldering cut with organ that gives it a blues/gospel feel. Hart's slightly raspy vocals complement things with a twinge of heartache and regret. "Delicious Surprise" is a punchy, roots-inflected rocker co-written with Glen Burtnik. "L.A. Song," the lead single, explores the darker side of sunny Southern California with gentle piano backing and hushed, understated vocals that make the song thought-provoking and compelling. Other noteworthy cuts include the slinky melody of "Is That Too Much to Ask," with an infectious chorus and smoking harmonica, and the poignant "By Her," which adds strings and accordion to the mix. Screamin' for My Supper is a confident effort that is a bit more rough-hewn than Sheryl Crow but fits comfortably into the same arena. © Tom Demalon /TiVo
CD£11.99

Blues - Released April 3, 2015 | Provogue

Separating from producer Kevin Shirley for the first time in three records, Beth Hart chose to work with Rob Mathes and Michael Stevens for 2015's Better Than Home. A change in producers helped Hart change direction, letting her depart from the down-and-dirty blues belting she specialized in throughout her time with Shirley, reconnecting slightly to her singer/songwriter beginning while emphasizing deep soul roots. Despite opening with the tight Memphis groove of "Might as Well Smile," most of the album is grandly introspective -- majestic brooding ballads with a clear debt to early Elton John. This cinematic landscape provides a nice contrast to Hart's raw, nervy vocals, accentuating the aching in her delivery. This emotional immediacy compensates for the sometimes elliptical songs, songs that take a little while to settle, but the risks Hart's taken on Better Than Home pay off: this is a distinctive, ambitious record that takes advantage of her natural talents in surprising ways. © Stephen Thomas Erlewine /TiVo
HI-RES£13.99
CD£11.99

Blues - Released September 27, 2019 | Provogue

Hi-Res
War on her mind? Whatever Beth Hart’s mind-set was in Autumn 2019, the Californian tigress has long shown her feisty side without ever getting caught up in the clichés. With the album War in My Mind, she adds the finishing garnish to her classic rock’n'blues’n’soul cocktail by looking inwards and confronting her inner demons. “More than any record I’ve ever made, on 2019’s War In My Mind I’m more open to being myself on these songs”, she explains. “I’ve come a long way with healing, and I’m comfortable with my darknesses, weirdnesses and things that I’m ashamed on – as well as all the things that make me feel good.” On songs such as Bad Woman Blues, Let It Grow and Woman Down, Hart pours her heart out – without being overly gushy - and uses her voice as an irresistible magnet that pulls every word, every sentence, every chorus. The cherry on the cake is that we find Rob Cavallo behind the console, crafting a slick yet never rushed production. © Clotilde Maréchal/Qobuz
HI-RES£13.99
CD£11.99

Blues - Released October 14, 2016 | Provogue

Hi-Res
CD£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 /TiVo
CD£11.99

Blues - Released April 13, 2018 | Provogue

Beth Hart is never out of the charts. Working solo or with Joe Bonamassa, the beauty is throwing out albums at an impressive rate. But her live recordings are somewhat rarer. After two live recordings in Amsterdam, the first at the Paradiso in 2005, the second with Bonamassa, her follower since 2010 and a tattooed Californian panther, she has brought out an American release, recorded for the show Front and Center, in the close atmosphere of New York's Iridium. A smoky vocal power sanctified in the intimacy of a jazz club will please the faithful. In it, the beautiful Hart shows off the spirit of her latest solo works Fire On The Floor, Jazz Man, No Place Like Home and Fat Man as well as older numbers like Baddest Blues, recalling the twenty-year stretch of hard happiness she sentenced us to. © Charlotte Saintoin/Qobuz
CD£13.99

Rock - Released October 8, 2010 | Mascot Records

CD£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 /TiVo
CD£9.59

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

Distinctions Preis der deutschen Schallplattenkritik
Fire alert! Gathering in the same room Beth Hart and Joe Bonamassa is the nightmare of every fireman in the world. True pyromaniacs of the blue note, those two have had their field day since their meeting in 2010. The Californian with her soul panther voice and the New Yorker, an epileptic of the electric guitar, join forces that are a perfect match. And their tandem is probably the most inspired thing to happen to blues rock in ages, as is confirmed by this third studio album, after Don’t Explain (2011) and Seesaw (2013). As usual, Beth Hart’s voice is some kind of irresistible magnet that tows every word, every sentence, each chorus… An intense singing which finds in Joe Bonamassa’s playing THE dream partner. As for the repertoire revisited for this Black Coffee, recorded in five days at the Studio at the Palms in Las Vegas in August 2016 (with drummer Anton Fig, saxophonists Ron Dziubla and Paulie Cerra, trumpet player Lee Thornburg, keyboardist Reese Wynans, bass player Michael Rhodes, guitarist Rob McNelley and backing vocalists Mahalia Barnes, Jade Macrae and Juanita Tippins), simply reading those names is enough to gauge the good tastes of the duo: Edgar Winter, Etta James, Ike Turner, Ella Fitzgerald, Lil’ Green, LaVern Baker, Howlin’ Wolf and Lucinda Williams. © CM/Qobuz
CD£10.49

Pop/Rock - Released March 10, 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 /TiVo
CD£12.99

Pop/Rock - Released September 2, 2004 | Columbia

CD£8.99

Rock - Released September 6, 2005 | KOCH RECORDS

CD£8.99

Rock - Released October 21, 2003 | KOCH RECORDS

CD£6.49

Rock - Released February 3, 2012 | Provogue Records

CD£1.99

Rock - Released February 12, 2016 | Provogue

Artist

Beth Hart in the magazine