Ryan Hartt – Be About It!
Far-Tone Records
11 tracks; 42 minutes
From its opening shuffle to its slow-burning heartbreak, Be About It! (2025) announces itself as a harmonica-driven blues record with teeth. On his first solo album, New England bluesman Ryan Hartt leans into West Coast swing and Chicago grit, delivering catchy hooks, sharply observed blues storytelling, and a full, sax-like harp tone. At its best, the album crackles with biting harmonica lines, soulful vocals, and a deep feel for groove—even if not every stylistic detour lands cleanly.
Hartt wrote five of the album’s 11 songs and handles harmonica and vocals throughout, pairing clever lyrics with dynamic instrumentation. Be About It! marks his fourth release on his own Far-Tone label, following three albums with his longtime band, The Blue Hearts, dating back to 2002.
Uptempo guitar and shuffling harmonica kick off “Breakin’ Even,” a tune built around a catchy hook and a soulful, forward-driving feel. Hartt sings, “No matter how I try, I can’t get a head / Breaking even’s my new plan,” as Jad Tariq’s infectious guitar riff locks in with Hartt’s powerful harp lines. The result is an ecstatic, upbeat track rooted in resilience and transformation.
Saucy, electrified harmonica launches “Queen of Everything,” a sharp-eyed portrait of a mistreated fool in love. “She’s the queen of everything / I’m the king of what’s left,” Hartt sings, as Jeffrey Berg’s gnarly guitar work and Mike Law’s bass create an off-kilter, jubilant groove. Hartt’s virtuosic harmonica solos cry out repeatedly, bemoaning the imbalance of the relationship with biting blues emotion.
“Lonely Hour” is a slow blues burner from the first note, led by dreary, moaning harmonica and a lingering emotional weight. Hartt’s vocals simmer with pain—“Don’t know what time it is, if it’s day or night / Since my baby left me, nothing feels alright”—as Brooks Milgate’s piano adds subtle jazz textures beneath the surface. Hartt’s harp takes center stage, swinging between raw, emotional solos and heaving bursts that feel like a man wrestling with the blues. It’s one of the album’s most powerful and fully realized tracks.
A torrent of guitar and harmonica blasts open “I Wonder Why,” followed by gritty yet smooth vocals. Hartt sings, “I wonder why, why that girl won’t treat me right,” as Nick Adams unleashes electrifying, dominant guitar solos with rapid-fire note changes and relentless rhythm. The track is soulful, passionate, and driven by sheer momentum.
“All Night Long” rides a steady, rain-like guitar line from Jad Tariq, supported by Nick Toscano’s tight drums and percussion. Exquisitely placed harmonica gives the song a funky edge, while the call-and-response chorus—“All night long”—locks in with a rapid-fire harp hook, making it an undeniable foot-tapper.
“That’s Right, You’re Wrong” delivers jazzy, upbeat West Coast blues, anchored by shuffling harmonica and a mesmerizing mid-song guitar solo from Nick Adams. Hartt croons, “That’s right, you’re wrong, you better go back on home,” as the harmonica howls and growls with triumphant bite. The chorus is a genuine earworm.
“I Can’t Stop Loving You” is a high-tempo blues-rock charge, punctuated by sharp bursts of harmonica. Toscano and Milgate combine fast-paced percussion and rhythmic piano, while Tom Ferraro fires off a barrage of guitar notes. The result is an uptempo, ferocious track.
“Old Habits Die Hard” is the album’s weakest original. It opens with a pop-leaning gloss that immediately undercuts any sense of urgency. The lyrics tread familiar territory—trying and failing to move on—but without the grit or emotional punch that gives blues its weight. Musically, it gestures toward R&B without committing, resulting in a soft-edged track that lacks both soul and conviction.
“Nothing Sweet As You” leans too far into polish, smoothing out any rough edges that might have given it character. The sentimentality feels canned, more mid-century pop than blues, wrapped in a slick veneer that prioritizes sweetness over substance. The track fades quickly beside the album’s stronger cuts.
“Hawaiian War Chant” is a curious inclusion that never quite finds its footing within the album’s blues framework. Driven by heavy, steady drums and melodic harmonica lines, it carries a tribal, almost ceremonial feel, but it sits far outside the Chicago or West Coast idioms the record otherwise embraces. Without vocals or a stronger blues anchor, it feels out of place.
The instrumental take on “You Belong To Me” drifts into ambient, jazz-tinged territory that slows the album’s momentum. Its ethereal textures and unhurried pace create atmosphere, but little tension or payoff. As a closing stretch, it feels detached rather than reflective, lacking the emotional punch that marks the album’s best moments.
With Be About It!, Hartt delivers a strong and confident first solo release that showcases his deep roots in Chicago and West Coast blues. The album is packed with powerful guitar work, tight rhythm, blues-smart songwriting, and, above all, howling harmonica. While a few tracks stray from the core sound, there’s plenty here to sink your teeth into—and ample proof that Hartt knows exactly who he is as a bluesman.
