Rating – 3 3/4 stars out of 5
I know most people who have read my music reviews would not necessarily expect a review of Beth Hart’s latest album. Well, I’m full of surprises and actually pretty broad in my music taste despite what seems to be the norm of my reviews. Truth is, Beth Hart was another artist I discovered in my musical renaissance that happened shortly after my second divorce. For years, I had enjoyed Taylor Dayne and her extremely impressive “husky” voice. While Taylor hasn’t done much of note in a while unfortunately, I was looking for someone to fill that ultra strong voice void. Then I found Beth and started to listen. All it really took was listening to her albums: Leave the Light On and My California and I was hooked. Let’s take a look at You Still Got Me.
In 2019, War in My Mind was released by Beth Hart, her ninth studio album. It met some success, especially charting high in the UK and Germany. Beth was really able to be herself through her music. It was a fun album, and Beth’s signature, her strong vocals really shined through. Then in 2022, she released a tribute to Led Zeppelin. While I do not have that particular album, I have listened to the cover of Good Times, Bad Times and it is way more than you would expect from a tribute album.
Enter 2024 and we have a new album, You Still Got Me which is intended to show us the raw power of the singer’s voice and the depth of her talent. As with her recent albums, it’s already charted well in the UK and other parts of Europe. Unfortunately, I have not caught it on Sirius XM here in the US but that doesn’t mean I’m listening on the right channels.
Track 1: Savior with a Razor (4:48) – The lead in is arguably the best song on the album. This one features Slash who lends his legendary guitar chops to this tunes. It’s a splitting hard rock song that puts Beth’s voice immediately at the forefront and never lets go. It has a sick groove that pulls no punches. Oddly enough, this is not one of the released singles on the album. More on that in a little bit.
Track 2: Suga N My Bowl (3:33) – This blues number has another wonderful guitar player in Eric Gales providing the licks here. This is more of a fun tune but it didn’t quite resonate for me. It has nothing to do with Gales or Beth, but the arrangements don’t drive enough, especially when placed right after a song like Savior. I would have loved to see Eric on another tune that could speak better to his amazing talents.
Track 3: Never Underestimate a Gal (3:07) – I used to have a friend who listened to a group named The Dresden Dolls and so this style was instantly recognizable. This song completely reminds me of that type of cabaret rock. It’s delightful, it’s certain to get your toe tapping. “It’s a Big Ole Nasty Dream” followed by some cheerful whistling is a different kind of awesome and a worthwhile listen.
Track 4: Drunk On Valentine (5:23) – Lounge music anyone? The piano is put on focus for this tune which is sure to take you to the crowded smoke filled rooms of some seedy Vegas hotel complete with a noisy trumpet echoing after the particularly deep lyrics. It’s a little long, but Beth’s voice with an extra dose of saucy makes you forget about the duration.
Track 5: Wanna Be Big Bad Johnny Cash (3:21) – This would fit into the country & blues portion of the album. Probably my second favorite tune off this record, this one is written with the help of Glen Burtnik. Glen (originally from the band Styx), has worked with Beth before (Fat Man off the Fire on the Floor album) and gives this the big bad push it needs. I mean who doesn’t want to be like Johnny Cash, male or female complete with the cocktail waitress on their lap. Fantastic melody.
Track 6: Wonderful World (4:39) – A tearful and simple ballad is our next song. The chorus is powerful while the lyrics do their best to keep this slow tune going. Personally, I’m not too big on these kind of songs, but I can appreciate it for what it is. It was also released as a single back in August of this year. A curious choice for sure given what kind of songs we typically get from Beth.
Track 7: Little Heartbreak Girl (4:19) – For those who are not familiar with Beth Hart, she has been through hell with drug addiction and bipolar disorder. It certainly shows up a lot in her music and until she found salvation thru religion and meditation. Many close to her were quite concerned about losing her. Thankfully, she has cleaned up and can provide amazing songs such as this one. This was the opening single teased for the album and delivers completely.
Track 8: Don’t Call the Police (6:31) – I have listened to this song a handful of times now and it’s quite the story driven song. I want to like it, but it sticks out like a sore thumb and does not invite repeat listening. Especially the whole “Mama” followed by heavy breathing bit. I get that it is supposed to be a heavy emotionally charged song but it’s the kind of tune that needs a music video for accompaniment. Without it, it falls flat.
Track 9: You Still Got Me (6:01) – Back on the subject of piano driven singles, this one was put out in June of this year, again prior to the album release. According to what I could find, this is based off a true story where Beth was at a low moment in her life and her husband, Scott Guetzkow asked if she needed a hug. She responded “I’ve got nothing inside left to love” and then he said, “You still got me.” Awww, it’s a sweet one for sure.
Track 10: Pimp Like That (4:52) – A very curious title. It has elements of Drunk on Valentine and Don’t Call the Police but is mostly here as an oddity of sorts. It’s fun to listen to a couple of times through but won’t be placed on many playlists for repeat.
Track 11: Machine Gun Vibrato (3:15) – We get to the end and we get back the Beth we have known and loved with an excellent hard rock listen. We can feel the danger dripping off this song as the bullets rain down in a hail of gunfire. Love, love it and a fine closer to this great hard rock and blues (with a bit of ballad) album.
It’s kinda funny that my three favorite songs of this album, Savior with a Razor, Wanna Be Big Bad Johnny Cash and Machine Gun Vibrato weren’t released as singles. In fact, outside of Little Heartbreak Girl, I’m not even in love with the actual singles that were released prior to the actual album. Certainly, a view on how I’ve seen her career versus the image that the amazing singer wants to portray going forward. There are so many examples in this album of Beth’s amazing and soulful deep voice even if there are some songs like Don’t Call the Police and Pimp Like That that don’t warrant repeat listening.
However, You Still Got Me should be described as a success. Beth Hart might not “conquer the world” with this album as expressed in Little Heartbreak Girl, but it’s a darn good listen. Enjoy.
