Monday After Sunday (2022)
". . . a brooding, almost swampy, sound in which you also encounter influences such as the Sir Douglas Quintet (that organ!) and the "pure pop for now people" of Nick Lowe. " Peter Marinus, Blues Town Music
“A document of refinement and renewal, Monday After Sunday is the best angle from McKee so far and is the monument of a veteran at the top of her game.” Bao Le Huu, Orlando Weekly
Dreamwood Acres (2018)
⭐️⭐️⭐️⭐️ Best Albums of 2018: “She skirts genre conventions to embrace an animated life force that generates crisp, innovative and unclassifiable music and intelligent lyrics on universals like hope, faith and love.” Frank John Hadley (Downbeat)
“Singer/songwriter/multi-instrumentalist Beth McKee will surprise you. Just when you think you’ve got the former singer/keyboardist of Evangeline figured out, she’ll self-release something like dreamwood acres on your thirsty ears. It’s her fifth and best “solo” album and—besides her thought-provoking lyrics—it spans the gamut from psychedelic-swamp-rock and modern folk to soul and roots, which, of course, in today’s parlance, is pure Americana…and she’s a damn master!” — Mike Greenblatt (Goldmine Magazine)
“Beth McKee covers a lot of ground here as she explores the many genre of modern American songs beautifully performed both heartfelt and never less than soulful.” Rick Meek (Blue Suede News)
“The craftsmanship in the album’s songwriting recalls such classic singer-songwriters as Jackson Browne, J.D. Souther and Christine McVie . . . this project’s well-turned songs and McKee’s engagingly understated vocals make it a listening pleasure.” — John Wirt (Offbeat Magazine)
Sugarcane Revival (2015)
⭐️⭐️⭐️⭐️ Best Albums of 2018: “She skirts genre conventions to embrace an animated life force that generates crisp, innovative and unclassifiable music and intelligent lyrics on universals like hope, faith and love.” Frank John Hadley (Downbeat)
“Beth McKee’s “Singer/Sugarcane Revival is sweet balm for the soul and her finiest work to date.” — Melanie Young (Living Blues Magazine)
“McKee’s arrangements and Justin Beckler’s mix conjure up a full, rich NOLA-style sound, led by McKee’s keyboards and/or accordion on every track. — John Conquest (3rd Coast)
“The artist’s journey can be a difficult one, each individual dream subject to a hundred disappointments. McKee demonstrates again and again in her reflective lyrics both an open heart and a strength of character, an ability to keep chasing her dreams while accepting no one’s definition of success but her own.” — Ed Whitelock (PopMatters)
Next to Nowhere (2012)
“While the sounds on Next to Nowhere are rooted in the great musical hallmarks of the past, it’s only because they speak eternally. So do McKee’s songs: they poetically, yet directly, come right at the gristle and grain of life itself — without reservation. They wear their scars as badges of honor; their victories with grace, sass, and swagger. Her protagonists detail our own struggles, failures, celebrations, loves, and losses with honesty, commitment, acceptance, and willingness. All this in an era when we need them most. Tough, tender, and resilient, McKee’s excellent Next to Nowhere comes from a songwriter we need to hear more from. Period.” — Thom Jurek (AllMusic)
I’m That Way (2009)
“Standouts from the Bobby Charles legacy are here, charged with vigor from Ms. McKee’s vocal chops and set ablaze with horns from her band. She succeeds in sidestepping the usual question that accompanies remakes and covers, which is, “What’s the point?” Here, the point is to connect with the spirit of the songwriter and to celebrate the New Orleans, Louisiana, heritage that informs the music.”
— Quentin B. Huff (PopMatters)