01. Might As Well Smile
02. Caught Out In the Rain
03. Swing My Thing Back Around
04. St. Teresa
05. Thru the Window of My Mind
06. The Mood I'm In
07. As Long As I Have A Song
08. The Ugliest House On the Block
09. Everything Must Change
10. Learning To Live
11. Bottle Of Jesus
12. Crashing Down
13. Delicious Surprise
14. Easy
15. Favorite Things
16. Get Your Shit Together (live at Paradiso)
17. Girls Say
18. Guilty (live at Paradiso)
19. Heaven Look Down
20. I'll Stay With You
21. If God Only Knew
22. L.A. Song (live at Paradiso)
23. Lay Your Hands On Me
24. Missing You
25. Monkey Bac
26. Burn Chile
27. God Bless You
28. Hold Me Through The Night
29. Spiders In My Bed
30. Summer Is Gone 

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01. Baddest Blues
02. Tell 'Em To Hold On
03. Tell Her You Belong To Me
04. Better Man
05. Trouble
06. With You Everyday
07. We're Still Living In The City
08. Spirit of God
09. Mechanical Heart
10. There In Your Heart
11. Ringing
12. Forever Young
13. G.O.P.
14. House Of Sin
15. Jealousy
16. Just a Little Hole
17. Lifetime
18. Lifts You Up
19. Mama (live at Paradiso)
20. Mama
21. Skin
22. Sky Full Of Clover
23. Stay
24. Waterfalls
25. Whole Lotta Love (live at Paradiso)
26. World Without You (live at Paradiso)
27. World Without You
28. Am I The One
29. Blame The Moon
30. Isolation 

Los Angeles-based blues-rocker Beth Hart began playing piano at age four, later attending L.A.'s High School for the Performing Arts as a vocal and cello major. By 1993, she was a regular fixture on the local club circuit, collaborating with bassist Tal Herzberg and guitarist Jimmy Khoury. With the addition of drummer Sergio Gonzalez early the following year, the Beth Hart Band was complete, and after signing to Atlantic's Lava imprint, the group issued its debut album, Immortal, in 1996. Screamin' for My Supper followed three years later. In 2003, Hart released Leave the Light On, followed by both audio and DVD versions of Live at Paradiso in 2005. In 2007, she released 37 Days, which was only released in Europe and Japan. It was followed by Beth Hart & the Ocean of Souls in 2009 on Razz Records. In 2010, Hart released My California in Europe, followed by its release in the United States in early 2011. Hart emerged later in the year in collaboration with blues guitar superstar Joe Bonamassa on a searing collection of soul covers titled Don't Explain. The year 2012 saw the release of Hart's eighth studio album, Bang Bang Boom Boom. In 2013, Hart paired up once again with Bonamassa for another set of cover versions on Seesaw, and the pair followed it up with Live in Amsterdam, issued in March of 2014. Hart once again went solo in 2015 with Better Than Home. In the fall of 2016, she delivered the more upbeat and direct album Fire on the Floor; the album saw American release in February 2017. Hart re-teamed with Bonamassa for Black Coffee, an album of covers that was released in January 2018. Later that year came the release of Hart's first live record in 13 years. Front and Center: Live in New York City was recorded on March 7, 2017 during an intimate concert at N.Y.C.'s Iridium jazz club. The performance and subsequent album featured songs from Fire on the Floor alongside a selection of tracks from throughout her career. 2018 found Hart teaming up once again with Bonamassa for another collection of covers with the release of Black Coffee before delivering her fourth live album, Live at the Royal Albert Hall, performed in front of a sold-out crowd at the legendary London venue. ---Jason Ankeny, allmusic.com

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 1. Give It Everything You Got - 4:37
 2. Dam Your Eyes - 4:31
 3. Black Coffee - 4:12
 4. Lullaby of the Leaves - 5:41
 5. Why Don't You do Right - 4:34
 6. Saved - 3:47
 7. Sitting on Top of the World - 3:55
 8. Joy - 4:21
 9. Soul on Fire - 5:00
10. Addicted - 3:38

Arranged By [Horn], Trumpet, Trombone – Lee Thornburg
Backing Vocals – Jade Macrae, Juanita Tippins, Mahalia Barnes
Bass – Michael Rhodes
Drums, Percussion – Anton Fig  
Guitar – Joe Bonamassa
Keyboards – Reese Wynans
Rhythm Guitar – Rob McNelley
Tenor Saxophone, Baritone Saxophone – Paulie Cerra, Ron Dziubla
Vocals – Beth Hart 

Beth Hart first teamed up with guitarist Joe Bonamassa in 2011 and the partnership proved to be mutually beneficial. Hart gave the rock-edged Bonamassa some blues bona fides while the guitarist brought the vocalist to a wider audience. Plus, it was evident from their two studio albums and live set that the two had an easy chemistry: They shared a similar vernacular in Chicago blues and classic soul. The pair rely on that effortless interplay on Black Coffee, their third studio collaboration. Working with producer Kevin Shirley -- a veteran of Black Crowes records who has been in the Bonamassa orbit since 2006 -- the pair eschew straight traditionalism for a clean, colorful, retro vibe. Sometimes, the duo make choices that are perhaps a little too obvious -- the covers of LaVern Baker's "Saved" and Howlin' Wolf's "Sittin' on Top of the World" are a bit on the nose -- but they also know how to kick up the intensity on these chestnuts while avoiding sounding like they're on steroids. Still, the highlights of Black Coffee are the originals and lesser-known songs, as they reveal that there is plenty of common ground between Hart's testifying and Bonamassa's shredding. Interestingly, that common ground feels formal in a way their individual solo albums don't -- respectively, Hart will delve into the personal spins on roots music while Bonamassa will indulge in blues myths -- but that's the appeal: They're working on keeping the flame burning, and Black Coffee may be their most effective testament in that effort to date. ---Stephen Thomas Erlewine, AllMusic Review

Beth Hart, Joe Bonamassa i ich dziesięć premierowych utworów zgromadzonych na nowym albumie – Black Coffee, to nie tylko porządna dawka pobudzającej muzyki, ale przede wszystkim najlepsza z możliwych lekcja historii. Po muzykach tej klasy nie można było się spodziewać niczego innego.

Black Coffe to album, na którym obdarzona niesamowitym wokalem Beth Hart oraz niezwykle uzdolniony gitarzysta, na co dzień grający w Black Country Communion – Joe Bonamassa, wykonują covery bluesowych i rockowych utworów, w dużej mierze już zapomnianych. Część z nich, to muzyczne standardy, a część to po prostu świetne kompozycje, które wspomniani Hart i Bonamassa starają się przybliżyć współczesnemu odbiorcy poprzez odświeżenie aranżacji i wykorzystanie najnowszych metod produkcji muzycznej. ---Konrad Pruszyński, allaboutmusic.pl

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01. Jazz Man 03:52
02. Love Gangster 04:09
03. Coca Cola 03:38
04. Let's Get Together 03:39
05. Love Is A Lie 03:15
06. Fat Man 03:51
07. Fire On The Floor 05:12
08. Woman You've Been Dreaming Of 04:22
09. Baby Shot Me Down 03:22
10. Good Day To Cry 04:32
11. Picture In A Frame 04:39
12. No Place Like Home 03:53

Beth Hart (vocals)
Michael Landau (guitar)
Waddy Wachtel (guitar)
Brian Allen (bass)
Rick Marotta (drums)
Jim Cox (keyboard)
Dean Parks (acoustic guitar) 
Ivan Neville (organ)

Beth Hart is on fire. Right now, the Grammy-nominated singer/songwriter is riding a creative tidal wave, firing out acclaimed albums, hooking up with the biggest names in music and rocking the house each night with that celebrated burnt-honey voice. In 2016, the headline news is Beth’s latest album, Fire On The Floor (out 14 October on Provogue/Mascot Label Group): a release that even this fiercely self-critical artist describes as “pretty frickin’ good”.

Fire On The Floor is sure to build on her breakneck momentum. As the singer explains, this latest record gave her an emotional release following the bitter-sweet sessions for Better Than Home. If there’s a theme that ties these twelve songs together, it’s a sense of escapism following the hardest of times. “We were still in the mixing stages for that album and I knew I had to make another record. Making Better Than Home was so painful, because one of the producers, Michael Stevens, was dying of cancer. It was a very emotional record to write and to make. I wanted the songs for Fire On The Floor to get born real quick.”

Take a spin of Fire On The Floor and you’ll see exactly why. These twelve new songs run the gamut of genre, reflecting Beth’s eclectic teenage influences, which took in everything from gospel, soul and classical to the seismic rock of Soundgarden. “As a writer,” she nods, “I feel really stifled if I’m trying to write in the same style. I just can’t do that. Growing up as a kid, I was raised all over the place stylistically, loving so many different genres.”

Fire On The Floor is the album that Beth Hart needed to make. Likewise, it’s a record that you need to hear. “I’m so pleased with it,” she concludes. “I recently had to organise the sequence of the record, and while I was doing that, I was thinking to myself, ‘Y’know, this is pretty frickin’ good…!’” ---bluesmagazine.nl

To już trzynasty album artystki, która chyba genetycznie nie jest w stanie wydać czegoś słabego. I nawet jeśli jest to rzecz niemożliwie wręcz klasyczna, to synkretyzm i jakość wykonawcza czyni z "Fire on the Floor" jeden z najlepszych bluesowych albumów tego roku. Serio. Dlaczego? Bo jest zaśpiewana z taką siłą, werwą, a jednocześnie feelingiem, że nawet w oceanie wokalnych talentów Ameryki, czy nawet samej Kaliforni z której Hart pochodzi jest to perełka? Tak, ale nie tylko dlatego. Również z takiego powodu, że poza śpiewaniem, Beth potrafi też naprawdę dobrze pisać.

Do świadomości szerszej publiczności przebiła się za sprawą swoich dwóch mecenasów. I to nie byle jakich, bo Joego Bonamassy i Jeffa Becka. A jeśli tacy muzyczni bonzowie kogoś promują, jasnym jest, że coś musi być na rzeczy. Od tego czasu ze zobowiązania wobec nich Hart wywiązuje się doskonale. Jej muzyka skupia w sobie praktycznie wszystko, co ważne w okołobluesowej tradycji i wszystko, co z tej tradycji wyrasta. Mamy więc (a jakże) rocka, country, jazz, gospel i funk. Weźmy sobie takiego "Fat Mana". Piękna fraza wokalna otulona riffem, którego nie powstydziliby się w najlepszych latach brodacze z ZZ Top.

"Picture in a Frame" to już delikatna Beth oparta tylko i wyłącznie o brzmienie fortepianu z takimi wykończeniami fraz, że wszystkie popowe wokalistki znane z pierwszych stron gazet i szczytów list sprzedaży dałyby się zgwałcić płetwą rekina (Google: "Led Zeppelin rekin"), żeby tylko mieć takie balladki. Podobnie z "No Place Like Home", brzmiącą jak coś z okolic "Mule Variations" Toma Waitsa, gdzie artystka skarży się na trudy życia w trasie i epatuje tęsknotą za domem. "Jazz Man" to samotne upijanie się w noirowej knajpie. Barman wie, że szklaneczkę ma uzupełniać za każdym razem, kiedy ją osuszymy, obok nas leży nasz podniszczony kapelusz, a motyle w brzuchu zapowiadają pojawienie się femme fatale w długim boa. Oczywiście nie będzie miała zapałek, co stanie się podstawą do nawiązania dialogu. ---Paweł Waliński, muzyka.interia.pl

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1. Amsterdam, Amsterdam! 
2. Them There Eyes 
3. Sinner's Prayer 
4. Can't Let Go 
5. For My Friends 
6. Close To My Fire 
7. Rhymes 
8. Something's Got A Hold On Me 
9. Your Heart Is As Black As Night
10. Chocolate Jesus 
11. Baddest Blues 
12. Someday After Awhile (You ll Be Sorry)
13. Beth introduces the band 
14. Well, well 
15. If I Tell You I Love You 
16. See Saw 
17. Strange Fruit 
18. Miss Lady
19. I Love You More Than You'll Ever Know 
20. Nutbush City Limits 
21. I'd Rather Go Blind 
22. Antwerp Jam (Credits) --J&R Adventures

Beth Hart - Piano, Vocals
Joe Bonamassa 	- Guitar, Vocals
Carlos Perez Alfonso - Percussion, Trombone
Blondie Chaplin - Guitar (Rhythm), Vocals (Background)
Ron Dziubla - Percussion, Saxophone
Anton Fig – Drums
Carmine Rojas - Bass
Arlan Schierbaum – Keyboards
Lee Thornburg - Horn Arrangements, Percussion, Trumpet

This double disc is an exact replication of a concert vocalist Beth Hart and guitarist Joe Bonamassa performed in Amsterdam in support of their studio album Seesaw. What you hear is what was played: there are no overdubs or digital studio fixes. They replicate all but one track from the studio album ("Sunday Kind of Love") and five more from their 2011 offering Don't Explain, and play some other covers and a long band jam called "Antwerp Jam" as a finale. Hart and Bonamassa are backed by a killer band to boot, including a full horn section, drummer Anton Fig, bassist Carmine Rojas, rhythm guitarist Blondie Chaplin, and keyboardist Arlan Schierbaum. Highlights include their reading of Delaney Bramlett's "Well, Well," Ike Turner's "Nutbush City Limits," "Sinner's Prayer," "Something's Got a Hold on Me," "Chocolate Jesus," "I Love You More Than You'll Ever Know," and, of course, Ms. Hart's devastating reading of Etta James' "I'd Rather Go Blind." Given her considerable power and ability to convey a wide range of emotions, this is not merely a set for guitar god worshipers -- though there's plenty for them here, too. [There are also packages that pair these discs with Blu-ray and DVD.] ---Thom Jurek, Rovi

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01. Might As Well Smile
02. Tell 'Em To Hold On
03. Tell Her You Belong To Me
04. Trouble
05. Better Than Home
06. St. Teresa
07. We're Still Living In The City
08. The Mood That I'm In
09. Mechanical Heart
10. As Long As I Have A Song
11. Mama This One’s for You
12. St. Teresa (acoustic)
13. As Long as I Have a Song (acoustic)

Beth Hart - Piano, Vocals, Vocals (Background)
Larry Campbell 	- Guitar (Acoustic), Guitar (Electric), Mandolin, Pedal Steel
Angela Clemmons - Vocals (Background)
Mike Davis - Trombone
Charley Drayton - Drums, Percussion
Aaron Heick - Sax (Alto), Sax (Baritone)
Zev Katz - Bass (Electric), Bass (Upright)
Jeff Kievit - Trumpet
Peter Lale - Viola
Martin Loveday - Cello
Rob Mathes - Guitar (Acoustic), Guitar (Electric), Keyboards, Piano,  String Conductor
Perry Montague-Mason - Violin
Nikki Richards - Vocals (Background)
Andy Snitzer - Sax (Tenor)
Vaneese Thomas - Vocals (Background)
James "D-Train" Williams - Vocals (Background)

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, Rovi

What’s Better than Home? Nothing, as L.A. chanteuse Beth Hart proves on her relaxing twelfth album. Blues purists and idealists be warned: Only two songs, “Might As Well Smile” and “Trouble”, might be up to the genre’s exacting standards. The rest are low-key, soul-influenced songs, with all eleven tracks being originals. This CD is nothing like recent claims to fame on her collaborations with blues rocker Joe Bonamassa. Here, she’s squarely found a niche in mellow ballads. Sadly, in the liner notes of the promotional copy of Better than Home, there is zero mention of Hart’s studio musicians on the album.

Beth possesses a robust alto voice that’s one part Sheryl Crow, one part Natalie Merchant of 10,000 Maniacs, and one part Tracy Chapman (even though Hart herself is Caucasian). She frequently employs a Chapman-style vibrato, rougher than most, with a breathy touch. No one can accuse her of sounding like every other female pop or blues artist out there, and that’s fantastic. In Beth’s career so far, she has had hit after hit on chart after chart. She has had iconic guitar legends performing with her, top music producers and musicians eager to work with her, ever-growing audiences flocking to her shows in the US and Europe as well as newer ventures into Australia, New Zealand, Russia, Armenia, and several other countries. --- bluesblastmagazine.com

Kariera Beth Hart to trochę dziwny przypadek. Mam wrażenie, że wielu osobom wciąż kojarzy się w pierwszej kolejności z dwoma świetnymi płytami coverowymi nagranymi z Bonamassą, a przecież Beth jest na scenie już od niemal ćwierć wieku i właśnie nagrała swoją siódmą solową płytę. I to jaką! Trzy kwadranse, które wypełniają krążek Better Than Home, to zupełnie inna muzyczna bajka, niż przepełnione rockandrollowym czadem wspomniane albumy Don’t Explain i See Saw, które przyniosły jej sporą popularność. Na nowym solowym krążku nawiązania muzyczne prowadzą nas także do epoki późnych lat 60., ale tym razem zamiast pełnych energii klimatów rockandrollowych dostajemy bardziej stonowane, oparte głównie na brzmieniu fortepianu kompozycje osadzone w rejonach R&B i soulu oraz delikatnego bluesa.

Niby chciałoby się czasem usłyszeć na tym albumie coś bardziej żywiołowego, numer, w którym Beth pokazałaby, że rockandrollowa z niej babka. Ale z drugiej strony – to przecież i tak dostajemy co jakiś czas na krążkach nagrywanych w duecie z Bonamassą. Better Than Home to płyta nieco nostalgiczna, bardzo nastrojowa i spokojna. Ale na pewno nie nudna! Beth jest niezwykle prawdziwa w tym, co robi. Chyba przede wszystkim za to cenią ją fani. Daje całą siebie czy to na koncertach, czy na płytach. Zero sztuczności, zero udawania, zero kalkulacji. To czuć – takich płyt zawsze słucha się niezwykle przyjemnie. Jestem przekonany, że to wydawnictwo spodoba się w naszym kraju. Tu wokalistki o charakterystycznym, chropowatym głosie, w których muzyce dominuje fortepian, zawsze miały wzięcie. A Beth z roku na rok jakby u nas popularniejsza. Trudno się dziwić – ma babka talent! ---Bizon, muzycznyzbawicielswiata.blogspot.com

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01. Them There Eyes (2:32)
02. Close to My Fire (5:14)
03. Nutbush City Limits (3:36)
04. I Love You More Than You'll Ever Know (7:04)
05. Can't Let You Go (4:03)
06. Miss Lady (4:56)
07. If I Tell You I Love You (3:38)
08. Rhymes (5:05)
09. A Sunday Kind of Love (3:57)
10. See Saw (3:26)
11. Strange Fruit (5:47)

Musicians:
Beth Hart – vocals
Joe Bonamassa – guitar
Anton Fig - drums, percussion 
Carmine Rojas - bass 
Blondie Chaplin - rhythm guitar, backing vocals and percussion 
Arlan Schierbaum - organ, piano

Seesaw reunites force-of-nature blues-rock vocalist Beth Hart and guitar hero Joe Bonamassa for a second album of choice covers from various musical eras. For Hart and Bonamassa, making music together grew out of the friendship and mutual artistic appreciation they developed after crossing paths on the road numerous times, particularly on the festival circuit in Europe. Bonamassa wanted to do a project with her, and came up with the idea for a soul covers record. Shirley, who s produced 12 of Bonamassa's albums, was enthusiastic, and Bonamassa contacted Hart. The chemistry clicked, and Don't Explain was released in 2011, followed now by 2013 s Seesaw in between, both Hart and Bonamassa have toured, recorded solo albums, and reached new career highs.

Fittingly, Seesaw opens with a joyous horn reveille to kick off Them There Eyes, first a hit for Billie Holiday in 1939. Hart's version is flirtatious and sophisticated. The classic American songbook is tapped for other cuts on Seesaw, including the closing number, Strange Fruit, which strikes the album s most serious note, addressing racism, slavery, and lynching. Billie Holiday and Nina Simone both did great recordings, but Nina's is the one that Kevin had me listen to, says Hart. I don't have any personal relationship to slavery in my family, but I can at least sing it from a place of compassion. It was important to me to do this.

On Nutbush City Limits, first released in 1973, Hart wails with an intensity that would make Tina Turner proud. Kevin sprung it on me the last day of recording. I remembered that in What's Love Got To Do With It, Ike is being abusive to Tina, telling her to sing it like a man, to sing it hard. I adore Tina, and this was a big challenge. It ended up feeling incredible to sing, and the band killed it. Equally fierce is Hart's vocal and Bonamassa's blistering solo on Miss Lady, the Buddy Miles song originally produced by Jimi Hendrix. Kevin played it for me when we did Don t Explain, and I didn't want to do it. He suggested it again this time, and I still didn t want to do it. It wasn't that I didn't think it was a great song, it was just so vocally demanding, she says. At the end of a long day, he said, Let's do a quick pass. My throat was so tired, I just screamed it out, and he kept it. It was a nice surprise. --- Editorial Reviews

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1. Just A Little Hole 	
2. Delicious Surprise 	
3. LA Song 	
4. Is That Too Much To Ask 	
5. By Her 	
6. Get Your Shit Together 	
7. Stay 	
8. Good Old People 	
9. Skin 	
10. Girls Say 	
11. The Sky Is Falling 	
12. Mama 	
13. Favorite Things

Personnel includes: 
Beth Hart (vocals, acoustic & Fender Rhodes pianos, keyboards); 
Oliver Lieber (guitar, programming); 
Jimmy Khoury, John Shanks, Tristan Avakian (guitar); 
Kirsten Fife, Gina Kronstadt, Novi Novog, Stephanie Fife (strings); 
Chris Smith (harmonica); 
Patrick Warren (accordion, harmonium, chamberlain); 
Benmont Tench (piano, Hammond B-3 Organ, keyboards);
Jeff Lorber (keyboards); 
Luis Conte (percussion).

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, Rovi

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01. My California
02. Life Is Callin
03. Happiness ... Any Day Now
04. Love Is The hardest
05. Bad Love Is Good Enough
06. Drive							play
07. Sister Heroine
08. Take It Easy On Me
09. Like You (And Everyone Else)	play
10. Everybody So Sober
11. Weight Og The World
12. Oh Me Oh My (Bonus)

Musicians:
Beth Hart - Vocals, keys, acoustic guitar.
Jon Nichols - Electric and acoustic guitars, background vocals.
Tom Lilly - Electric and acoustic bass guitars, background vocals.
Todd Wolf - Drums, percussion.

Beth Hart is a brilliant talent and has the ability to write very personal material about her life and struggles. As a recovering addict/alcoholic and as someone who suffers from bipolar disorder, she has put it all in her songs and still manages to leave a positive and uplifting impact. I heard her explain in an interview that her producer wanted her to make an album that is based on storytelling. Beth has done that very well. This album is not as rocking as her previous works, yet the content of the writing is strong. Her song Sister Heroine about her sister who died of addiction is one of her best songs to date. The song in which she thanks her parents for what they have done for her (Weight of the World) is also among her best. Other tracks that stand out are Love is the Hardest, Like You and Everybody is Sober.

The core of the album is openness, honesty and sharing things that will help others know they are not alone. Someone did go a little crazy with the "studio magic" on this album. I say next time save the money. 24 karat gold does not need a veneer. If you listen to Live at Paradiso or watch the Live at Paradiso dvd you will know what I mean. We do get a reprieve from studio magic on the bonus track thankfully. Regardless I still give the album five stars because of the songwriting and performance. This is a "different" album but another impressive addition to Beth Hart's entire body of work. This woman is a must to see in concert. p.s. the photography and design of the cd is very well done. ---Jeanie (United States), amazon.com

During her rather turbulent career, Beth Hart has been compared to Janis Joplin and Joan Armatrading, but anyone seeing her raucous and powerful live shows would do well to spot those references. As with many singers and bands, her albums have often struggled to capture the ingredients of those live performances, though. But here they have decided to do something different.

Inspired by blues and gospel, Hart has always laid herself bare on record, leaving nothing in the studio. But never has she sounded like she does here. My California moves her firmly into Melissa Etheridge territory in sound and style. Although more commercial sounding, there is still a rawness alongside some thumping tunes and moments of extreme tenderness.

The opening title track will surprise, and may even scare some of her hardcore fans. It is a spacious reflection on missing your home, with guitars and keyboards moving between speakers as Hart's voice trembles soulfully. Piano led ballads 'Life Is Calling' and 'Love Is The Hardest' might be a little too middle of the road for some, but they have infectious hooks, and either one could provide Hart's biggest hit to date.

Producer Rune Westberg challenged the singer to reign in the screaming of her vocals more than ever before, and tell some stories. He wanted an album with one kind of sound, rather than the mix fans are used to. And he has succeeded in finding something new and magical. Many of the songs have a vulnerability and fragility, which draws the listener closer. Such is the intensity captured in the studio, you can almost hear her voice crack on 'Take It Easy On Me' as she pleads "If I gave it up and let the wall come down, would you take my hand, would you show me how."

Hart is someone who has struggled with addiction and the subject is touched on throughout ("the drugs make me sane but don't make me better" on 'Like You') but much here is about her internal emotional struggles and relationships with family. 'Sister Heroine' is about her late sister, but ends up being one of the more positive tracks, while 'Weight of the World' is a tender trip down memory lane to a youth long lost.

Beth Hart has had some success in the States so far but the songs on My California are so strong, it is hard not to think her career has taken a turn. On this form there is very little out there to compete, for raw, yet well-produced emotional rock. ---dailymusicguide.com

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01. Run  04:08
02. Spiders  04:44
03. Isolation  05:17
04. Hold me through the night  04:08
05. State of Mind  02:51				play
06. Burn Chile  04:10
07. Immortal  04:23
08. Summer is gone  04:44
09. Ringing  03:06
10. God bless you  03:10
11. Am I the one  06:39
12. Blame the moon  02:44				play

Personnel:
Beth Hart 	Vocals
Luis Conte 	Percussion
David Foster 	Piano, Producer
Claude Gaudette 	Strings
Noel Golden 	Mixing
Sergio González 	Drums, Percussion
Beth Hart 	Bass, Piano, Strings, Vocals (Background)
Tal Herzberg 	Bass
Jimmy Khoury 	Guitars, Piano, Vocals (Background)

Beth Hart's Immortal tends more toward the soulful vocals of Joan Armatrading than the feminist-rock, you-go-girl screeching of Alanis Morissette. At her best, she displays an emotional, commanding voice. At worst, her songwriting is trite and elementary. She does get points for not wallowing in angst or misusing the word ironic. --- Anya Sacharow, ew.com

You like contemporary rockmusic? You like the dirty blues? You like ballads that take your breath away? Then you should read this. It has been pure destiny that gave this CD to me. I sat in a little cafe in hamburg with my girlfriend when there was this song in the background: Burn Chile from Beth Hart's debut Immortal. It has been the copy of the waitress - she was a exchange student from L.A. and this CD wasn't released in germany at all. Anyway I called a friend in the states to send me a copy and this has been the best decision ever. First I considered her music to be too overloaded by instrumentation, but that opinion changed after I heard it about 30 times. There are so many details in these songs - you have to take some time to take notice. This is music for advanced listeners. Then I had the chance to listen to this CD in a large music hall alone without anyone around. Wow - you need the right venue and the right volume and you will see what music is about. Today I'm absolutely sure - this is the best album of the whole century - even a little better than her latest release - Screaming for my supper. You just have to listen to it. It's getting better every time you do it, even after several hundred times. I recommend to buy not only this CD - buy a second CD player too, or the rest of your collection hasn't got a home anymore. This board has not enough stars to rate this CD right. --- Torven (hamburg, germany), amazon.com

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