Ryan Hartt
“Be About It”
Far-Tone Records
After three decades of blowing the harp (harmonica) and fronting The Blue Hearts (no, not the Japanese alt-rockers—these are the Connecticut Blue Hearts), Ryan Hartt has finally stepped out on his own with his solo debut album, Be About It. The result? A love letter to the vintage blues genre. This record swings from the smoky 1950s blues clubs to the laid-back West Coast vibes of the 1990s. Hartt doesn’t just play the classics, he has lived them.
Now, let’s address the elephant in the room: the marketing. Or, in this case, the complete lack of it. If Hartt and producer Jeff Berg had a budget for promotion, I think they spent it all on a time machine—because they nailed the production part with five-star sound, bordering on genius. I couldn’t find a trace of this record on Apple Music, Bandcamp, Amazon, or even Hartt’s own website (seriously, Ryan, throw us a bone!). But if you manage to track it down, your ears will thank you. Close your eyes, and you’ll swear you’ve stumbled into a roadside juke joint circa 1953—sawdust on the floor, neon buzzing, and couples swing-dancing.
From the first track, “Breakin’ Even,” I had American Bandstand with Dick Clark flashbacks. That same raw, joyous energy that makes you want to grab a partner and hit the floor. And listen, I’ll be honest—I’ve always considered the harmonica (Harp) more of a garnish than the main course. Something you sprinkle into a song, not build a whole feast around. But after reviewing Charlie Musselwhite earlier this year and now Hartt, I’ll happily stand corrected. These two proved the harp can lead the parade.
Highlights? Oh, plenty. “All Night Long” and “Hawaiian War Chant” bring the big-band swagger, complete with Gene Krupa-style drumming that practically begs for a zoot suit. And the track “That’s Right, You’re Wrong” tips its hat to Count Basie with that sly swing. In “Lonely Hour” Hartt slows things down with smoky vocals and a dreamy mix of guitar, piano, and harp that screams the late-night blues. Then Hartt flips the switch with a fast paced “I Can’t Stop Loving You”—a sock-hop boogie-woogie romp where the harp and guitar go toe-to-toe while the piano fills-in like a sly sidekick.
The closing track, “You Belong to Me,” left me torn. It’s a gorgeous standard that’s been sung by Jo Stafford, Patsy Cline, The Duprees—even Bob Dylan. But here, Hartt keeps it instrumental. And while the harp work is sweet, let’s be real—this tune is screaming to be sung and wants a voice. A guest vocalist would have knocked it out of the park. Instead, it feels like a delicious sundae missing the cherry on top.
Bottom line: despite the poor marketing, Be About It is a gem. The sound, the energy, the respect for the past—it’s all here. And yes, several tracks are already locked into my personal playlist (and longtime readers know that’s my ultimate seal of approval). If you’ve got even a shred of nostalgia in your bones, this album belongs in your collection. If you can find it – Buy it!!
Until Next Time, Adrian Webb

Sound Waves Magazine – October 2025