Somehow, it’s been five years since her Led Zeppelin covers album. Seriously, where does the time go? You Still Got Me has the songstress returning with another album chock-full of her trademark emotional intensity and perhaps the most varied collection of songs she’s put her name to.
Opening salvo “Saviour With a Razor” smoulders with intensity and sees her reunite with Slash to create more magic. The same that was on “Mother Maria”, “Sister Heroine” and “Stormy Monday”. Here, Slash takes it easy, anchoring his infamous tones to Hart’s voice and whilst you want to hear him let rip, if you’re the opening track on a Beth Hart album, you have to let that voice take centre stage. He still gets the chance to kick the door down on its intro with a wailing riff but Hart’s confident and husky tones build up feral roars to let you know that she still sounds as good as she ever has. Much like The Pretty Reckless’ “25”, this should have been a Bond theme. Even its name is perfect for it.
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Elsewhere, the singles of “Wonderful Word” and “Little Heartbreak Girl” are full of optimism. Sonically, the former is bright and waltzy, her vocal trills reminiscent of her earlier work such as “Back to LA” whilst “Little Heartbreak Girl” is one of those songs which could appear on any Hart album. It’s a soft keys-driven ballad but manages to flare into something more tempestuous at moments. It feels like she’s writing a letter to herself, speaking out loud words of affirmation for low times to remind herself of her warrior spirit but it also manages to empower the listener, regardless of gender.
“Never Underestimate a Gal” is bold and bouncy, containing a sultry and coquettish charm to it, reminiscent of “Bang Bang Boom Boom” to the point where it feels like it’s the spiritual successor. But it’s the two following songs which truly elevate the album to be one of Hart’s most eclectic releases to date. “Drunk on Valentine” is made for that smoky 1950s lounge. Indeed, this is her channelling the Rat Pack as she croons over the jazzy strains of horns and smooth keys. Meanwhile “Wanna Be Big Bad Johnny Cash” is full of country twanging as she channels the Man in Black. It’s reverent without turning saccharine, the production on the track evoking the feel of Cash’s biggest hits but still having the polish to be found in 2024.
“Suga N My Bowl” is another collaboration with a guitar legend. This time, it’s Eric Gales. There’s a whole load of swagger and stomp. It’s songs like these where Hart can show the grit she has in her voice, not relying solely on belts and husky tones. She’s able to roar fiercely and it’s easy to see why she chose to cover a bunch of Zeppelin songs and more than do them justice. Elsewhere, “Don’t Call the Police” is perhaps the heaviest song on the album lyrically. Hart may question herself on numbers like the title track but this one is as chilling as the footage which inspired it. Powerful soundscapes swell alongside the raw emotion in her vocals as she gives her own observation of George Floyd’s murder.
You Still Got Me is an album from an artist who has nothing to prove at this stage of their career. Hart’s voice is as majestic as ever and frankly should be considered as the eighth wonder of the world. By continuing her career-long trend of wearing her heart on her sleeve, it allows others to identify with her and find their own meaning in the songs. Whilst she still has the staples you’d expect on an album of hers, branching out suits her.
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Header image by Rocky Roode
You Still Got Me is out now
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