Review: Bette Smith ‘Goodthing’

Review: Bette Smith ‘Goodthing’

By Hal Horowitz

We all know not to judge a book by its cover. But, just glancing at the front photo of Bette Smith’s new album Goodthing (released July 12), it’s clear this woman means business. Her oversized 70s afro tops a facial expression that practically shouts “I’m in charge here,” providing a mirror into the contents without hearing a note.

Push play and a terse guitar riff leaps out, soon joined by funky clavinet, confirming everything that cover shot implies. And once Smith growls “Give me all your attention,” you’ll be locked-in for the next 40 minutes as she runs through 13 slices of soul, rock, funk and gospel-laced material sung with the emotion exhibited by icons like Tina Turner, Mavis Staples and Betty Davis.

She’s as tough as she seems, torching tracks like the raw, stripped-down funk of “Beautiful Mess” (describing a relationship as “This love is sweet and sour”) that slithers and skids with the danger of an alligator loaded swamp. There’s a strong Memphis/New Jersey vibe to the punchy “Whup ‘Em Good” with horns influenced by Southside Johnny and the Asbury Jukes along with churchy backing vocals.

The funk gets deep on “M.O.N.E.Y.” with Smith admitting “Wasting all of my time chasing something that just ain’t real” as she shifts to a higher register for the bridge, while the music’s bottom end boils and churns, showing her vocal range. Returning to the financial theme, “More Than a Billionaire” whips up a throbbing atmosphere while she describes the intensity of her attraction to a romantic partner with “Don’t need no Vegas no, or Monaco/When I’m with you baby/I got it all” exploding with hurricane force.

There’s more to Smith than just sassy vocals and crafty words though. Ballads such as the bluesy “Neptune” and the slow heart-pounding beat, enhanced by a stark cowbell, that underpins “Time Goes Slower” display her tender yet no less forceful side. On the latter she sings “The nights are long but I lie in this bed alone,” pining for a love who has left. When she digs into a blues ballad such as “Darkest Hour” with her husky voice, there’s little doubt she’s emoting from the heart when singing “No one has ever touched a part of innocence/That’s what set me free.”

Still, it’s on the thumping “Lived and Died a Thousand Times” where Smith’s gutsy voice and the music converge into a confluence of rock and soul that drives straight into your brain as she sings the title of the song with visceral force.

Closing with just voice and jazz strummed guitar on “No More Love Songs” displays how Smith can keep her fire on low-burn while still igniting a tune.

There just isn’t enough of this retro inspired, fresh and powerful rocking R&B being made these days. Credit also goes to producer Jimmy Hogarth (Amy Winehouse) for keeping the sonic approach rugged and real.

But Bette Smith has this sound nailed on the potent and appropriately titled Goodthing, strutting her stuff and daring anyone to come along to challenge her.

Pre-order the album here

“Goodthing”