Rock & Roll Hall of Fame member and world-renowned Nashville-based keyboardist Reese Wynans will be releasing his first-ever solo album ‘Sweet Release‘, a collection of songs honouring a paramount selection of blues-rock legends, on March 1st via Provogue/Mascot Label Group. The long anticipated album comes following a career that’s spanned over 50 years and literally hundreds of historical collaborations. ‘Sweet Release‘ also serves as Joe Bonamassa’s inaugural credit as a producer. Bonamassa has long been a fan of Wynans’ work, urging him to create a solo album and championing the project as producer.

The fact is Reese Wynans is everywhere. For a full half-century, Wynans has been the engine-room behind America’s greatest roots music. With ‘Sweet Release’, this modest legend has delivered the long-awaited solo album that puts his own name top of the bill and places his world-class talent in the spotlight. “I’ve never had an album out with my name on it before,” he considers, “so I’m very excited. I’d like this record to make people feel happy and celebrate the music. Because that’s what we were doing…”

To celebrate the announcement, the first single ‘Crossfire‘, a tribute to the legacy of Stevie Ray Vaughan and Wynans’ work with Double Trouble, is available today as a free song download on Reese and Joe’s websites (reesewynans.com and jbonamassa.com respectively) and it features the iconic Sam Moore of Sam & Dave on vocals. “Playing music with Stevie Ray Vaughan & Double Trouble for five years was an outrageous experience. I loved every minute of it,” shares Wynans. “It was a real treat getting to play a couple of our old songs with Tommy Shannon and Chris Layton. When we were writing this, someone said it reminded them of a Sam & Dave groove. Joe suggested we ask Sam Moore to sing it.

Now, ‘Sweet Release‘ feels like a musician coming home. Wynans was already a familiar face at Ocean Way: the Nashville studio where he’d previously added fairy-dust to endless tracks for other artists. And when sessions began for his own solo album, it was a joy to reconnect with the Double Trouble rhythm section of Tommy Shannon (bass) and Chris Layton (drums) – plus modern guitar great Kenny Wayne Shepherd. Meanwhile, Bonamassa lent his own famed guitar skills to SRV moments like ‘Riviera Paradise‘.

Throughout his celebrated career, the one omission on Wynans’ résumé was that this fabled keys man had never released a solo record – until now. ‘Sweet Release‘ is a glorious collision of stellar musicianship, classic material given fresh mojo, and a glittering roll-call of star guests that confirms the deep respect Wynans commands on the scene.

Walter Trout’s new album ‘Survivor Blues’ was officially released on January 25th via Provogue/Mascot Label Group.

No ordinary artist. No ordinary covers album. From the day he conceived the project to the moment he counted off the first song in the studio, Walter Trout had a bolder plan for ‘Survivor Blues’. “I’m riding in my car sometimes,” says the US blues titan. “I’ve got a blues station on – and here’s another band doing ‘Got My Mojo Workin‘. And there’s a little voice in me that says, ‘Does the world need another version of that song?’ So I came up with an idea. I didn’t want to do ‘Stormy Monday‘ or ‘Messin’ With The Kid‘. I didn’t want to do the blues greatest hits. I wanted to do old, obscure songs that have hardly been covered. And that’s how Survivor Blues started…

Trout made it his mission to harness the power and spirit of the originals, while stamping his inimitable musical personality onto each new take. “My idea was to do these songs like me, to arrange them for my band and style,” he explains, “not to just copy the originals note-for-note.

It takes a stellar lineup of musicians to reinterpret the greatest sunken treasures in the blues genre. But last September, as recording began at the Los Angeles studio of iconic Doors guitarist Robby Krieger, Trout and long-standing producer Eric Corne shared their vision with the only band who could measure up. The thunder and finesse of drummer Michael Leasure. The muscular groove of bassist Johnny Griparic. The spell-casting fingers of keyboards session god and regular Trout conspirator, Skip Edwards. “I’d play them the original,” remembers Trout, “and then I’d say, ‘Here’s how the song goes, what have you got?’ I’d give these guys a lot of freedom. The record was mostly done live, with us set up in a circle, just to get the feel of us going there together. And you can feel it, y’know?

All they needed was a title. And as Trout surveyed his bloodied-but-unbowed cohorts – and reflected on a collection of blues songs whose raw power remained undimmed – he knew the suggestion of his wife and manager, Marie, couldn’t be topped. “We started thinking about these enduring songs and the guys playing on the album,” he reflects. “Mike is in recovery. Johnny almost didn’t make it. Skip has had a triple bypass. And I almost didn’t make it after my liver disease in 2014. So Marie said to me, ‘You’re a group of survivors. You’ve all been through hell and you’ve come back. These songs are survivors. This album needs to be called ‘Survivor Blues‘. I just looked at her and said: ‘You got it’.

Official Website

Facebook

Eric Gales is back with another new track from his upcoming new album ‘The Bookends’,which is out on February 8th via Provogue/Mascot Label Group.

Three-time Grammy nominated and Emmy Award winning vocalist B. Slade features on the track ‘Somethings Gotta Give‘.Speaking about working with B-Slade, Gales confesses 

“This song came about because something has got to give with all that’s going on in the world today. On vocals features the very talented amazing vocalist B Slade. I love this song, and can’t wait for the world to find out what I’ve been rocking to every since it got recorded. When he came in during pre-production and we were writing, it was so intense. At first I was a little afraid to sing in front of this guy, because this is what this dude does, he’s a phenomenal person and he just brought it out of meI don’t know if he was really aware of who I was before we met, but the day that he walked in and he heard the songs, his mind was blown. That was before he even saw me playing guitar, so when he saw me playing he said ‘in my life I ain’t never seen nobody that can play like this.”

Written over a nine month period, the album was recorded at Recorded at Studio Delux, Van Nuys (CA), The Dog House, Woodland Hills (CA), Blakeslee Recording, North Hollywood (CA) and the day before he was due to fly to LA for pre-production the original producer David Bianco tragically died. It was Bianco’s management who then suggested Matt Wallace. “I heard his work and the kind of people he has produced such as Maroon 5, Faith No More and all these sorta cats. When we met up together it was just perfect. I just trusted the guy and it ended up being great, I love Matt Wallace,” says Gales.

Talking about being in the studio he elaborates; “The whole vocal thing was something I consciously wanted to push and Matt was on the same page, saying, ‘there’s gonna be sometimes you might not like me because I’m gonna push you because I feel that I know what you can do, and its more than just guitar playing’. It was just really powerful and moving.”

Previous album ‘Middle of the Road’, was released in February 2017 and reached #1 on the iTunes Blues chart and #4 on the Billboard Blues chart. It made Classic Rock Magazine and Total Guitar albums of the year with the latter saying it was “the album that should define his career.” Classic Rocksaid “the notes drip from Gales’ fretboard like warm honey”, The Guitar Magazine exclaimed it’s the “the injection of danger and unpredictability that the blues-rock scene desperately needs”, Blues Mattersprofessed “truly the man is blessed”, whilst Powerplay said “the more you listen to it the more the brilliance of Eric Gales becomes apparent.”

Since then he has toured almost non-stop; playing shows with Gary Clark Jr., Beth Hart, Gov’t Mule and called through Australia, Argentina, Chile, US and Europe – including the Rockin’ The Blues run with Gary Hoey, Quinn Sullivan and Lance Lopez. He played his first ever headline tour in the UK and Ireland to sold out crowds, took a starring role as part of Supersonic Blues Machine at the UK’s Ramblin’ Man Fair and also found time to play a one off reunion show as The Eric Gales Band.  This is not to mention his collaborations with funk royalty Bootsy Collins (‘World Wide Funk’), The Apocalypse Blues Revue (Shannon Larkin/Tony Rombola of Godsmack) and Supersonic Blues Machine(‘Californisoul’).

It’s no wonder why he is the guitarists’ favourite guitarist, counting fans in the likes of Carlos Santana, Dave Navarro (Jane’s Addiction, Red Hot Chili Peppers), Mark Tremonti (Alter Bridge), Joe Bonamassa,  Tony Rombola (Godsmack) and Tosin Abasi (Animals as Leaders).

Gales’ story is an incredible one, he was a child prodigy and released his debut album ‘The Eric Gales Band‘ in 1991 as a 16 year old on Elektra Records. It was the first of 10 albums on a major label through a blistering career. He has released 15 studio albums in total ahead of ‘The Bookends’ and a host of other collaborations. He has battled drink and drug issues and spent time in jail in 2009 for possession of drugs and a weapon.

If ‘Middle of the Road’ was the rebirth of Eric Gales, then ‘The Bookends’ is him knocking away his boundaries and taking flight on a voyage of self-discovery asking himself what do you think you can do and pushing that into the stratosphere.

Line up:

Eric Gales (Guitar, Vocals)

Mono Neon (Bass)

Aaron Haggerty (Drums)

LaDonna Gales (Backing vocals, Percussion)

Dylan Wiggins (Organ).

Walter Trout has released a new track, ‘Please Love Me‘, taken from his new album ‘Survivor Blues‘ which is released: 25th January 2019 via Provogue/Mascot Label Group.

No ordinary artist. No ordinary covers album. From the day he conceived the project to the moment he counted off the first song in the studio, Walter Trout had a bolder plan for ‘Survivor Blues’. “I’m riding in my car sometimes,” says the US blues titan. “I’ve got a blues station on – and here’s another band doing ‘Got My Mojo Workin’. And there’s a little voice in me that says, ‘Does the world need another version of that song?’ So I came up with an idea. I didn’t want to do ‘Stormy Monday’ or ‘Messin’ With The Kid’. I didn’t want to do the blues greatest hits. I wanted to do old, obscure songs that have hardly been covered. And that’s how Survivor Blues started…

Trout made it his mission to harness the power and spirit of the originals, while stamping his inimitable musical personality onto each new take. “My idea was to do these songs like me, to arrange them for my band and style,” he explains, “not to just copy the originals note-for-note.

It takes a stellar lineup of musicians to reinterpret the greatest sunken treasures in the blues genre. But last September, as recording began at the Los Angeles studio of iconic Doors guitarist Robby Krieger, Trout and long-standing producer Eric Corne shared their vision with the only band who could measure up. The thunder and finesse of drummer Michael Leasure. The muscular groove of bassist Johnny Griparic. The spell-casting fingers of keyboards session god and regular Trout conspirator, Skip Edwards. “I’d play them the original,” remembers Trout, “and then I’d say, ‘Here’s how the song goes, what have you got?’ I’d give these guys a lot of freedom. The record was mostly done live, with us set up in a circle, just to get the feel of us going there together. And you can feel it, y’know?

All they needed was a title. And as Trout surveyed his bloodied-but-unbowed cohorts – and reflected on a collection of blues songs whose raw power remained undimmed – he knew the suggestion of his wife and manager, Marie, couldn’t be topped. “We started thinking about these enduring songs and the guys playing on the album,” he reflects. “Mike is in recovery. Johnny almost didn’t make it. Skip has had a triple bypass. And I almost didn’t make it after my liver disease in 2014. So Marie said to me, ‘You’re a group of survivors. You’ve all been through hell and you’ve come back. These songs are survivors. This album needs to be called Survivor Blues’. I just looked at her and said: ‘You got it’.

 

 

Mascot Label Group and Gary Hoey have announced a March 15 global release date for ‘Neon Highway Blues’ via Provogue Records. The album’s eleven tracks display Hoey’s confidence and assuredness alongside the freshness of someone who’s still in the process of discovery and refinement.

Hoey self-produced the album at his New Hampshire based home studio, while also enlisting friends Eric Gales, Lance Lopez. Josh Smith and his 17-year-old son Ian for guest appearances.  He shares, “I really wanted to make sure this album had a lot of Blues on it.  I kept sticking to the Blues and listening to the classic players, all the Kings, Albert King, Freddie King, BB King, and finish with some Burger King (laughing)…tried to get that to be a focus of this record — and still put some songs for that my long-time, die-hard fans expect; instrumentals and some rockin’ Zeppelin type stuff. There’s definitely a variety here.”

Hoey’s 21st album Neon Highway Blues kicks off with ‘Under the Rug,’ a funky, Jeff Beck style workout with Eric Gales. Up next is the dynamic 6:29 slow blues ‘Mercy of Love,’ with Josh Smith, with biting guitar solos, Hoey gets his Texas swing on for ‘Still Believe in Love‘ and settles into some roadhouse shuffles on ‘Your Kind of Love,’ and ‘Damned If I Do,’ is a big, stomping Blues rocker with Lance Lopez trading licks. And those majestic instrumentals he mentioned? Check out ‘Almost Heaven,’ ‘Waiting on the Sun‘ and the cinematic title track, all showcases of virtuosity that complement the grittier fare around them.

A very personal highlight for Hoey is ‘Don’t Come Crying,’ an aching blues track that features his son Ian Hoey, then only 16, planting his flag in the family business. “I’m so blown away my son is actually on the record,” Hoey says. “He loves the blues. I said, ‘If it turns out good enough, I’ll have you on the record, and he did a great job. After it was mixed and I listened to it.  I totally forgot where he was playing and where I was playing. It brought tears to my eyes.”

Neon Highway Blues “wasn’t a quick record to make,” nor was it easy, according to Hoey, and displays the care that came with the time spent on it. “I always say that’s why they call it the blues, because it ain’t easy,” he notes. The album took about a year and a half, he estimates, much of it done during gaps in his heavy touring schedule. “I just kept going in and trying to come up with the right licks or the right lyrics, and some days it just wouldn’t come,” Hoey recalls. “It was really about staying in there and trying things, abandoning some ideas, going on to new ideas. There was a lot of that on this record. I’m kind of a stickler for making sure I’m happy with it — even though I had people breathing down my neck to get it done.”

Neon Highway Blues‘ will, of course, take Hoey back on the highways and byways for plenty of touring and playing, well, the blues — and more. He can’t yet predict where the next road will take him, but Hoey is confident it will be an adventure. “My son and I were talking about new music, some new technique I just found on guitar, and he said dad, ‘You’ve been playing 44 years and still get excited.’ I was like, ‘Yeah, man, that’s the amazing thing about music — you never really get there. If you think you’re there, that’s when you’re in trouble because it’s all about the journey.”

Hoey will appear on both the Legendary Rhythm & Blues Cruise (February 3-10) and the Rock Legends Cruise VII (February 14-18), after which he’ll visit Nashville to participate in Rock N Roll Fantasy Camp (February 28 – March 3). Additional confirmed appearances include Bull Run in Shirley, MA (March 8), Mauch Chunk Opera House in Jim Thorpe, PA (March 29), Tupelo Music Hall in Derry, NH (May 3) and the Sellersville Theater in Sellersville, PA (May 24).  A complete itinerary for Spring, Summer and Fall will be announced shortly.

Ahead of their biggest headline tour to date and the Rockin’ The Blues tour, The Kris Barras Band have kicked off 2019 with a bang, with a brilliant live cover of Led Zeppelin’s seminal 1971 classic ‘Rock And Roll‘to shake off the January blues

Speaking about the song, Barras explains “Over the Xmas and New Year period, I got together with some friends to film our own version of the Led Zeppelin classic ‘Rock And Roll.’ It was all recorded completely live, no overdubs….warts ‘n’ all!”

The song features Kris Barras on vocals and lead guitar alongside Josiah J Manning (keys), Will Beavis (drums), Elliott Blackler (bass), James Davies (guitar), Alex Hart (vocals) and Phoebe Jane (vocals).

After an incredible 2018, The Kris Barras Band will be hitting the road in February-March 2019 for their biggest UK headline tour to date, starting at Cardiff’s The Globe on Wednesday 6th February and wrap up at Edinburgh Voodoo Rooms on Friday 15th March. Barras will then be embarking on the Provogue/Mascot Label Group Rockin’ The Blues European tour with Jonny Lang and Walter Trout. The tour covers 9 dates through Germany, The Netherlands, France, Italy and the only UK show at the O2 Kentish Town Forum, London on 4th June.

The band has become one of the hottest rising stars over the past 12 months. Releasing the mesmerising ‘The Divine And Dirty’ in March 2018, they have since supported Beth Hart, Joanne Shaw Taylor, GUN, King King and Therapy?   They played a rapturous set at Ramblin’ Man Fair last summer to the biggest crowd of the second stage all weekend and toured the country to sold-out nights across two headline tours.

Barras has also since become the front-man and guitarist for Supersonic Blues Machine which features the legendary ZZ Top’s Billy F. Gibbons and toured Europe, including playing the prestigious Shepherd’s Bush Empire, London.

Official Website

Facebook

On 8th February 2019, Eric Gales returns with his brand new album ‘The Bookends’ on Provogue/Mascot Label Group and it features collaborations with B. Slade, Doyle Bramhall II and Beth Hart.

The challenge for making ‘The Bookends’ was for Gales to challenge himself. “As a guitar player it’s been established that I can play a little bit, just a little bit,” he smiles. But for this album he not only wanted to push himself as a musician, but also as a vocalist, to build up his vocal discography. “What spearheaded that was the artists that I have on the record,” he says.

Written over a nine month period, the album was recorded at Recorded at Studio Delux, Van Nuys (CA), The Dog House, Woodland Hills (CA), Blakeslee Recording, North Hollywood (CA) and the day before he was due to fly to LA for pre-production the original producer David Bianco tragically died. It was Bianco’s management who then suggested Matt Wallace. “I heard his work and the kind of people he has produced such as Maroon 5, Faith No More and all these sorta cats. When we met up together it was just perfect. I just trusted the guy and it ended up being great, I love Matt Wallace,” says Gales.

Three-time Grammy nominated and Emmy Award winning vocalist B. Slade appears on two songs, ‘Something’s Gotta Give’ and bonus track ‘Pedal to the Metal.’  “When he came in during pre-production and we were writing, it was so intense. At first I was a little afraid to sing in front of this guy, because this is what this dude does, he’s a phenomenal person and he just brought it out of me,” he says before continuing. “I don’t know if he was really aware of who I was before we met, but the day that he walked in and he heard the songs, his mind was blown. That was before he even saw me playing guitar, so when he saw me playing he said ‘in my life I ain’t never seen nobody that can play like this.’”

The notions of change (‘Reaching for a Change’, ‘Somebody Lied’) and love (‘How Do I Get You’, ‘Whatcha Gon’ Do’) are throughout the album. On ‘Something’s Gotta Give’, Slade’s and Gales vocals take turns to yearn “I tell ya people have lost their mind, happy children so hard to find, desolation all in the streets, plenty babies don’t have food to eat, hey, I ain’t preaching, that’s not my thang, I just know we’ve got to make a change.” ‘It Just Beez That Way’ features Gales beatboxing and playing Slide guitar on record for the first time.

Talking about being in the studio he elaborates; “The whole vocal thing was something I consciously wanted to push and Matt was on the same page, saying, ‘there’s gonna be sometimes you might not like me because I’m gonna push you because I feel that I know what you can do, and its more than just guitar playing’. It was just really powerful and moving.”

Doyle Bramhall II and Gales’ friendship dates back to the 1990s and Eric Clapton’s right hand man features on the triumphant ‘Southpaw Serenade’, while powerhouse vocalist Beth Hart joins Gales on a rousing rendition of ‘With A Little Help From My Friends.’ “Why that song? Well we both have similar stories,” he says. “We’re survivors you know, drug addiction and her from depression. If you’ve got the right support and you can have help from your friends it will all be awesome. It is such a powerful piece.”

Previous album ‘Middle of the Road’, was released in February 2017 and reached #1 on the iTunes Blues chart and #4 on the Billboard Blues chart. It made Classic Rock Magazine and Total Guitar albums of the year with the latter saying it was “the album that should define his career.” Classic Rock said “the notes drip from Gales’ fretboard like warm honey”, The Guitar Magazine exclaimed it’s the “the injection of danger and unpredictability that the blues-rock scene desperately needs”, Blues Matters professed “truly the man is blessed”, whilst Powerplay said “the more you listen to it the more the brilliance of Eric Gales becomes apparent.”

Since then he has toured almost non-stop; playing shows with Gary Clark Jr., Beth Hart, Gov’t Mule and called through Australia, Argentina, Chile, US and Europe – including the Rockin’ The Blues run with Gary Hoey, Quinn Sullivan and Lance Lopez. He played his first ever headline tour in the UK and Ireland to sold out crowds, took a starring role as part of Supersonic Blues Machine at the UK’s Ramblin’ Man Fair and also found time to play a one off reunion show as The Eric Gales Band.  This is not to mention his collaborations with funk royalty Bootsy Collins (‘World Wide Funk’), The Apocalypse Blues Revue (Shannon Larkin/Tony Rombola of Godsmack) and Supersonic Blues Machine (‘Californisoul’).

It’s no wonder why he is the guitarists’ favourite guitarist, counting fans in the likes of Carlos Santana, Dave Navarro (Jane’s Addiction, Red Hot Chili Peppers), Mark Tremonti (Alter Bridge), Joe Bonamassa,  Tony Rombola (Godsmack) and Tosin Abasi (Animals as Leaders).

Gales’ story is an incredible one, he was a child prodigy and released his debut album The Eric Gales Band in 1991 as a 16 year old on Elektra Records. It was the first of 10 albums on a major label through a blistering career. He has released 15 studio albums in total ahead of ‘The Bookends’ and a host of other collaborations. He has battled drink and drug issues and spent time in jail in 2009 for possession of drugs and a weapon.

Gales proudly tells his story every night before every show, now over two years sober he is creating some of the most breath-taking music he has ever made. Talking about his approach to song writing in this time he reflects. “I guess the songs would answer the question more or less, I definitely don’t have anything clouding my view and it’s definitely a much more pure place its coming from.”

If ‘Middle of the Road’ was the rebirth of Eric Gales, then ‘The Bookends’ is him knocking away his boundaries and taking flight on a voyage of self-discovery asking himself what do you think you can do and pushing that into the stratosphere.

Track Listing:
1. Intro
2. Something’s Gotta Give (feat. B. Slade)
3. Watcha Gon’ Do
4. It Just Beez That Way
5. How Do I Get You
6. Southpaw Serenade (feat. Doyle Bramhall II)
7. Reaching For A Change
8. Somebody Lied
9. With A Little Help From My Friend (feat. Beth Hart)
10. Resolution
11. Pedal To The Metal (feat. B. Slade) [Bonus Track]

Line up:

Eric Gales (Guitar, Vocals)

Mono Neon (Bass)

Aaron Haggerty (Drums)

LaDonna Gales (Backing vocals, Percussion)

Dylan Wiggins (Organ)

 

Doyle Bramhall II tackles the issue of gun control in the official video for ‘Love & Pain‘, which is taken from his new album ‘Shades’ – released on Provogue/Mascot Label Group on 5th October.

The song was written after the mass shooting in Las Vegas in 2017. Talking about gun control and the shooting, Doyle says; “There have been more than enough mass shootings and gun related tragedies in this country to warrant discussions with intent to establish real solutions and take action. Gun control is not a political issue. It’s a human issue,  and we owe it to all those who have died and lost beloveds unnecessarily to discuss common sense measures that will protect people from these near commonplace tragedies in the future.

Continuing he adds, “Art and music created in reaction to tragedy has always spawned discussion of difficult topics. The more people on both sides of the gun control divide talk about and honestly address America’s gun issues, the sooner we can come to understand one another and find common ground in effective solutions.  I’m Texan. I grew up with guns. My family and friends are gun owners. Gun ownership has always been part of my culture. I do not advocate for banning all guns or abolishing the 2nd amendment, but it is past time to recognize the perpetuated danger of doing nothing. Anti-gun or gun advocate… We can all agree too many have died.  Gun owners, who best understand what responsible ownership means, could share insights and lead the charge in helping survivors and our representatives craft legislation to protect America’s innocents from those who should not have easier access to assault weapons than a driver’s permit. 

“I am moved to ask the question- what do we value, when our freedom to worship, study, dance, congregate, attend concerts and walk the streets is compromised by the ready availability of weapons of war, used against our citizens with regularity, and we do nothing?

Bramhall established himself as one of the most distinctive and sought-after guitarists around, performing with a dizzying array of artists that includes Roger Waters, Elton John, Gregg Allman, Allen Toussaint and T-Bone Burnett, to name a few. More significantly, Bramhall had spent over a decade as Eric Clapton‘s musical right-hand man, collaborating closely with the legendary guitarist both in the studio and on stage. He’s also produced albums and written songs for Sheryl Crow and the Tedeschi Trucks Band, among others.

Performing alongside Bramhall on ‘Shades‘ is an ace group of musicians he’s worked with over the years – bassist Chris Bruce, multi-instrumentalist and string arranger Adam Minkoff, and drummers Carla Azar and Abe Rounds – and there are also notable appearances by friends and luminaries: Eric Clapton, Norah Jones, the Tedeshi Trucks band, and Austin buds the Greyhounds. “Without appearing immodest, I can admit that I’ve led a pretty charmed life,” Bramhall says. “I’m thrilled and honored to have all of these incredible people guest on my record.

Beth Hart will release the stunning ‘Beth Hart – Live At the Royal Albert Hall’ on Blu-Ray/DVD/2CD/3LP/Digital on 30th November 2018 via Provogue/Mascot Label Group.Ahead of the release, Beth has released her beautiful and emotional performance of her 2004 hit single ‘Leave The Light On.

It takes a special talent to command that historic stage. But for the next two hours and 23 songs, ‘Live At the Royal Albert Hall‘ will hold you spellbound, as the singer whispers and hollers her hopes, fears and deepest secrets in your ear, making this massive venue feel like a nose-to-nose club show.  A thousand interviewers have tried to unpick the fascinating enigma that is Beth Hart. But as ‘Live At the Royal Albert Hall‘ reminds us, everything you need to know is right there in her songs – and the intimate off-the-cuff stories she spins before each one.

Stroll through downtown Los Angeles in the early-’90s and you’d have found Hart strumming guitar on 3rd Street Promenade, waiting for the big break that came when she was discovered by her manager, David Wolf, and eased into a record deal with Atlantic that gave us 1996’s ‘Immortal‘ and 1999’s ‘Screamin’ For My Supper‘. It was a bitter-sweet period for Hart, whose un-medicated bipolar disorder and troubled personal life stopped her reaching the heights her music deserved. But to the delight of long-standing fans, she doesn’t flinch from revisiting it at the Royal Albert Hall, switching to acoustic bass and introducing the rootsy ‘Spiders In My Bed‘ that was written in the eye of the storm. “Back then,” she explains, “I could never sleep. I could go three or four days and stay awake, and it was just mania.

The new millennium brought fresh hope and the musical highs returned with revered albums like 2003’s ‘Leave The Light On‘ and 2007’s ‘37 Days‘, Hart treats us to three of her most positive songs from that redemptive era, bolstered by the crack-squad rhythm section of Bob Marinelli (bass) and Bill Ransom (drums).  ‘For My Friend‘, was a highlight of 2011’s ‘Don’t Explain‘: Hart’s first double-header release with Bonamassa and an album that alerted a wider audience to her jaw-dropping talents (while forging her reputation as a go-to muse for A-list guitarists including Slash and Jeff Beck).

She takes to the piano to pound through the title track of 2012’s ‘Bang Bang Boom Boom‘, also cherry picking that album for the poignant, jazz-inflected ‘Baddest Blues.Better Than Home‘ is represented by ‘Trouble‘ and ‘Mama This One’s For You‘. 2016’s ‘Fire On The Floor‘ is mined for moments like the dramatic storm clouds of ‘Love Is A Lie‘, ‘Baby Shot Me Down‘ and ‘Picture In A Frame‘. It all ends with the astonishing slow-burn blues of ‘Caught Out In The Rain‘, Hart sunk to her knees, lost in the moment as her vocal builds from a breathy vocal to a bereft roar of “God, don’t take my man”.

Not even Hart herself can follow that. And so, ‘Live At Royal Albert Hall‘ ends as it began, with an impassioned moment of intimacy from an artist who is setting the pace on the modern scene. It’s been a night of a thousand emotions, for both performer and audience. But as the entire crew take a low bow and Hart is carried off in the loving arms of her husband, her parting shot says it all: “We had a ball, man…

Pre-order now

Beth Hart will release the stunning ‘Beth Hart – Live At the Royal Albert Hall’ on Blu-Ray/DVD/2CD/3LP/Digital on 30th November 2018 via Provogue/Mascot Label Group.

Beth Hart makes one hell of an entrance. It’s May 4th, 2018, and the Royal Albert Hall is in blackout. As a sell-out crowd holds its breath in the darkness, a lone figure appears from the shadows and purrs the opening line of ‘As Long As I Have A Song‘ in that unmistakable burnt-honey voice. Taking her time, followed by the spotlight, the Grammy-nominated singer-songwriter picks her way between the aisles of this iconic London venue, delivering the languid jazz vocal entirely acapella, while shaking the outstretched hands of fans who can’t quite believe what they’re witnessing.

It takes a special talent to command that historic stage. But for the next two hours and 23 songs, ‘Live At Royal Albert Hall‘ will hold you spellbound, as the singer whispers and hollers her hopes, fears and deepest secrets in your ear, making this massive venue feel like a nose-to-nose club show.  A thousand interviewers have tried to unpick the fascinating enigma that is Beth Hart. But as ‘Live At Royal Albert Hall‘ reminds us, everything you need to know is right there in her songs – and the intimate off-the-cuff stories she spins before each one.

Stroll through downtown Los Angeles in the early-’90s and you’d have found Hart strumming guitar on 3rd Street Promenade, waiting for the big break that came when she was discovered by her manager, David Wolf, and eased into a record deal with Atlantic that gave us 1996’s ‘Immortal‘ and 1999’s ‘Screamin’ For My Supper‘. It was a bitter-sweet period for Hart, whose un-medicated bipolar disorder and troubled personal life stopped her reaching the heights her music deserved. But to the delight of long-standing fans, she doesn’t flinch from revisiting it at the Royal Albert Hall, switching to acoustic bass and introducing the rootsy ‘Spiders In My Bed‘ that was written in the eye of the storm. “Back then,” she explains, “I could never sleep. I could go three or four days and stay awake, and it was just mania.

The new millennium brought fresh hope and the musical highs returned with revered albums like 2003’s ‘Leave The Light On‘ and 2007’s ‘37 Days‘, Hart treats us to three of her most positive songs from that redemptive era, bolstered by the crack-squad rhythm section of Bob Marinelli (bass) and Bill Ransom (drums).  ‘For My Friend‘, was a highlight of 2011’s ‘Don’t Explain‘: Hart’s first double-header release with Bonamassa and an album that alerted a wider audience to her jaw-dropping talents (while forging her reputation as a go-to muse for A-list guitarists including Slash and Jeff Beck).

She takes to the piano to pound through the title track of 2012’s ‘Bang Bang Boom Boom‘, also cherry picking that album for the poignant, jazz-inflected ‘Baddest Blues.Better Than Home‘ is represented by ‘Trouble‘ and ‘Mama This One’s For You‘. 2016’s ‘Fire On The Floor‘ is mined for moments like the dramatic storm clouds of ‘Love Is A Lie‘, ‘Baby Shot Me Down‘ and ‘Picture In A Frame‘. It all ends with the astonishing slow-burn blues of ‘Caught Out In The Rain‘, Hart sunk to her knees, lost in the moment as her vocal builds from a breathy vocal to a bereft roar of “God, don’t take my man”.

Not even Hart herself can follow that. And so, ‘Live At Royal Albert Hall‘ ends as it began, with an impassioned moment of intimacy from an artist who is setting the pace on the modern scene. It’s been a night of a thousand emotions, for both performer and audience. But as the entire crew take a low bow and Hart is carried off in the loving arms of her husband, her parting shot says it all: “We had a ball, man…