Beth Hart & Joe Bonamassa New Single: Why Don’t You Do Right

Taken From The New Album ‘Black Coffee’ Out January 26th via Provogue/Mascot Label Group

It has been 4 years since Grammy nominated and number 1 Billboard Blues album Seesaw was released by singer-songwriter and blues-rock powerhouse Beth Hart and guitar hero Joe Bonamassa. Since then, they have both been on fire, both in the studio and live. So, the time was perfect to reunite for another collection of ten soul gems that encompass Hart’s breath-taking vocals and Joe’s masterfully expressive playing. Black Coffee will be released on January 26th, 2018.

With producer extraordinaire Kevin ‘The Caveman’ Shirley (Joe Bonamassa, Led Zeppelin, Black Crowes, Aerosmith, Iron Maiden, Rush) back at the helm, the result digs deep into the soul catalogue where they honour and re-imagine classic soul songs, including Steve Marriot’s take of Ike & Tina Turner’s Black Coffee. The inspiration for this track came from his live version on the BBC’s Old Grey Whistle Test in 1973.

Recorded in 5 days at Studio at the Palms, Las Vegas in August 2016 they have once again recalled some familiar names in Anton Fig (Drums/Percussion), Ron Dziubla (Saxophone), Lee Thornburg(Horn Arrangements/Trumpet/Trombone) and welcomed in Reese Wynans (Keyboards), Michael Rhodes (Bass), Rob McNelley (Rhythm Guitar), Paulie Cerra (Saxophone), Mahalia Barnes (Backing Vocals), Jade Macrae (Backing Vocals) and Juanita Tippins (Backing vocals).

“For me I’m able to explore the kind of music I have always admired from afar,” reveals Bonamassa. “But you don’t want to hear me singing Ella Fitzgerald…” he explained as Beth joins in. “I would never do Ella Fitzgerald without being with Joe, the things I get to do with you are things I grew up always wanting to do, but never believed I could.”

“It’s really predicated on the vocals,” Bonamassa explains. “We can’t cut these tunes without Beth singing and once she starts singing, it’s the glue that inspires us to get the extra 10% out of the playing. If we just cut them and sang later, the magic wouldn’t be there.”

“That’s something the two of us stopped doing many years ago,” agrees Hart. “There was all this layering, and then it’s time for you to sing. It’s like you’re not even making music any more. There’s nothing like being able to sit there live and see Joe, seeing the drums, seeing the bass, being able to see Kevin. I can feel the vibrations, it changes the whole thing.”
“Kevin really gets that,” she continues. “It works the best. In the old days, that’s how they did it; bad ass singers and bad ass musicians would have a couple of hours to get a whole record done.”

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