ARE THERE ANY active old-school divas that we can still look up to? Cher? Retired. Tina Turner? Retired. Barbara Streisand? Her too. Joni Mitchell? Yep. Linda Ronstadt? Almost M.I.A. Diana Ross? A sad joke by now. Carly Simon or Carole King? Debatable.
Well, there is one big exception. Other than mid-’80s and mid-’90s lulls, Bonnie Raitt has been proudly engaged in her craft since her 1971 debut. Rather than letting age slow her down, her last two decades have proved her to be a provocative late bloomer, racking up Grammys, best-selling albums and hit singles. Not too shabby for a woman pushing 60.
So what’s Bonnie Raitt’s secret to staying in the music game so long? Call it spunk, chutzpah, guts… But it’s more than sheer determination. Raitt’s managed to carve herself out a singular niche as a performer.
It helped that Raitt had a strong background in music. Not only was her father a Broadway showman, but she also spent part of the ’60s playing alongside blues legends like Muddy Waters and John Lee Hooker. All of which doubtless rubbed off on her, something especially apparent on her first album. Tellingly, she took up a languid, relaxed approach to the blues that recalled Jimmy Reed rather than gruff Chicago shouters like Howlin’ Wolf. That same style would carry over to her next album, 1972’s Give It Up, where she would apply that same ease and laidback style to create quintessential California rock. Unlike peers such as James Taylor or Jackson Browne, though, Raitt knew the difference between easy-rolling fun and catatonic depression. As such, she also created a template for adult contemporary rock a few decades before it was ready to be fully exploited as a market. And mind you, Raitt was accomplishing this when she herself was still in her early 20s.
For the rest of the ’70s, she shored up her critical, if not commercial, support by maintaining a run of quality albums and creating a distinct persona for herself. Records like 1973’s Takin’ My Time, 1975’s Home Plate and 1977’s Sweet Forgiveness weren’t exactly out-on-a-limb risk-taking exercises but solidified her reputation as a prime song interpreter. While Ronstadt was tearing up the charts, Raitt was her rootsy counterpart, also plucking quality material from lesser known singer-songwriters, including Eric Kaz, Chris Smithers – not to mention Browne and Taylor, whose songs improved with her care. Though Ronstadt had a better voice (despite overusing her range sometimes), Raitt was a good singer in her own right (a touch of gospel inflection here and there) and played a mean slide guitar to boot.
After debuting in ’71, it took years for Bonnie Raitt to gain mass acclaim, despite alcoholism and a bitter split with her first label, she’s now the elder stateswoman of rock and blues
“You should have spoken to me when I was in my twenties,” Bonnie Raitt giggles, running her hand through a shock of red hair, before adding coquettishly: “talk about a Cinderella story.”
I’m talking to her on the eve of an all too rare visit to the UK that will see the rootsy rocker play a string of live dates, including an appearance at this year’s Glastonbury Festival. What better time to cast an eye back over an intriguing career that stretches back well over 30 years? Raitt’s career is steeped in the very history of contemporary American rock music, and is as unique as it is enduring.
Long before Raitt released her debut album, the self-titled Bonnie Raitt, in 1971, she had already become involved in the kind of vibrant music scene that most would-be musicians could only dream about. Typically for someone who has enjoyed, and continues to enjoy, such a lengthy career, Raitt has had her fair share of highs and lows. The lows include alcohol abuse, as well as a messy, soul-destroying split with original label Warner Brothers in the 80s. But those lows have been more than offset by many positive moments, most notably the new sense of artistic freedom and commercial wealth that Raitt achieved when she signed to Capitol Records for 1989’s Nick Of Time. It marked the beginning of a second, rewarding, phase of her career that has earned her an armful of richly deserved Grammy awards.
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In the past she has worked with the likes of Taj Mahal, John Lee Hooker, Little Feat, Tony Bennett, Willie Nelson and Prince. In the near future she is set to link up with Toots (from reggae stars Toots & The Maytals) and soul legend Al Green. It’s not difficult to see why Raitt remains an artist with whom many others wish to collaborate.
It’s a far cry from the early 50s – Bonnie was born in Los Angeles on November 8, 1949 – when the young Raitt first found music infiltrating her life.
“I was raised in a musical family; my folks were part of the Broadway music scene,” she begins. “My dad [John] was the original leading man in Carousel, and he was in a show called The Pajama Game, which was big in the fifties. I had a musician mom who played great piano, and a father who became a musical director; he sang all the time. My two brothers and I grew up in a musical household. My grandparents were also musical, which set me off in that direction.
“And then I used to go off to summer camp when my dad would be on tour; this would have been in the late fifties or early sixties, when I was nine or ten. A lot of the camp counsellors were caught up in the folk music revival that was sweeping the East Coast, things like the Kingston Trio and Peter, Paul & Mary, plus The Weavers and Pete Seeger. Also, we were Quakers, and were involved in civil rights and in the folk music ban-the-bomb protest movement. That tweaked my interest in playing the guitar. I wanted to be like Joan Baez. But I had no designs on being a professional musician, it was just a hobby while I was in college. I was always musical and I loved lots of musical styles – rhythm and blues, rock’n’roll and ballads. The same mix that you’ll find on my albums is what I was into back then.”
The flaming redhead with the saucy mouth logs more time at San Francisco City Hall than your average citizen. She doesn’t draw a government paycheck. But now and then, she takes the stage in front of the Civic Center Plaza and lets it rip.
You might say it’s her day job.
For 33 years, Bonnie Raitt has pursued a career in political activism as passionately as her longtime gig as a recording artist. Lady Six String has thrown hundreds of fund-raisers for environmental, social justice and peace groups.
Raitt, a fixture in the Bay Area counterculture, has lived on and off in Marin County and the North Coast for the past decade while touring the world, recording and overseeing her business interests in Los Angeles.
The singer carefully safeguards her privacy and security, having lived in various houses in southern Marin and Mendocino County. She is often sighted in Mill Valley dropping by the Sweetwater nightclub and Village Music record shop.
She also volunteers her services for Bread & Roses, a Corte Madera nonprofit that presents free concerts in prisons, hospitals and rehabilitation centers.
When the folk-blues rocker speaks out, she chooses her words with the precision and pedantic air of a precinct captain. Her heated words have lit fires under elected officials, bureaucrats and corporate power brokers.
“It’s an ongoing fight,” said Raitt, a self-styled ambassador for that curious nexus between blues and politics. “Roe vs. Wade is not secure. The environment. . . . For the issues I care about, this is the worst time that’s ever occurred since I’ve been alive. So I wouldn’t say it’s too positive a time.”
Citizen Bonnie has performed for inmates at San Quentin State Prison, fought to save the ancient Headwaters Forest, promoted the use of solar power, sponsored a program to help inner-city kids learn to play guitar, helped persuade major record labels to raise their royalty rates to 10 percent, and awarded grants to America’s aging blues pioneers.
So it was no surprise at the Grammy Awards show last month that Raitt took advantage of her momentary pulpit to sling a sharply honed, politically inspired arrow at CBS’ huge, worldwide television audience.
“Enough about building a mystery; let’s build some peace,” she said, eyeballing the camera in a brief aside. Then she went about her business, awarding the Record of the Year award to Norah Jones.
Raitt has avoided the firestorm of criticism that engulfed other anti-war celebrities who spoke out. Natalie Maines, the lead singer for the Dixie Chicks, has drawn flak for telling a London concert audience last week that she was ashamed that President Bush was from Texas. Maines apologized for her remark, but dozens of country radio stations, as well as Top 40 (KEZR-FM in San Jose) and adult contemporary stations have dropped the Chicks’ new single, “Landslide,” from their play lists. The record has lost some 10,000 spins nationwide in the last few days.
True to form, Raitt joined Hollywood actor Danny Glover, author Alice Walker and folksinger Joan Baez at the front lines of a recent peace march in San Francisco to hold a banner that read, “The World Says No To War On Iraq!”
“I feel that we should not be acting unilaterally, that we need support of the international community,” Raitt said after the war had begun. “To act unilaterally is folly and will only increase the suffering and terrorism in the world.”
The singer has been arrested twice in recent years for anti-logging protests, but she disagrees with anti-war protesters who blocked traffic last week in San Francisco. Raitt said that she supports nonviolent disobedience in certain instances when there is a clear purpose, but not when these tactics are used indiscriminately. She said that tying up traffic probably just infuriated motorists.
Raitt has sold more than 15 million albums and won nine Grammy awards. She has a place in the Rock ‘n’ Roll Hall of Fame and her own star on the Hollywood Walk of Fame. But she eschews the trappings of a superstar. She doesn’t live in mansions. She refuses to do TV commercials, buys shade-grown coffee to help save rain forests, and at times gives her frequent-flier miles to activists so they can attend meetings.
Raitt’s activism can be traced to her Quaker upbringing and her coming of age in the 1960s. But she has other sides. We’re talking here about a Radcliffe graduate, a shrewd businesswoman, a maverick recording artist with 16 albums under her belt. In short: a salty, middle-aged vamp who swaggers onto the stage with supreme confidence.
Raitt’s latest album, “Silver Lining,” sports a frisky photograph of her on the cover and a rowdy, salacious tune called “Gnawin’ On it.”
A longtime activist
Her longevity as a political activist is indisputable. Other celebrity activists have come and gone, but Raitt has stayed true to her causes. Only a handful can match her track record of sustained involvement.
So what drives this fiery soul to stick her neck out on issues of the day? Why can’t she just march along silently?
“Healthy debate is what America and what democracy is about,” Raitt said in an interview. “All sides need to be represented and the discussion over the dinner table should extend to the classrooms and the workplace and the water cooler. We have lives at stake here and our planet at stake and our civil liberties at stake. And our health care, our future and our economy. Everything is at stake.
“And in order to have democracy, you have to have an informed, participating populace. And for 30 or 40 percent to vote because they are so disenchanted that they can’t make a difference is a travesty and a misuse of why this country was established in the first place. So I’m for anything that increases information, education, debate and participation, so that people control their own future instead of letting other people and corporations decide what their policies are going to be.”
Along the way, Raitt has inspired others to take a stand.
“I tell Bonnie to point me in the right direction: where I should send money and where to volunteer my concerts,” blues singer Maria Muldaur said. “My heart’s in the right direction, but she’s more actively engaged.”
Some pundits insist that celebrities should confine their remarks to nonpolitical matters. Jewish Press editor Jason Maos accused Raitt and others of ignorance and hypocrisy.
“On the one hand, you have the absolute silence of the Hollywood left on all manner of atrocities committed by any brutal despot who considers himself an enemy of America,” Maos said. “On the other hand, you see the Hollywood left’s fierce and aggressive outspokenness whenever the U.S. takes any measure of military action – an outspokenness magnified a hundred-fold when the president taking such action is a Republican.”
Bandana Blues is and will always be a labor of love. Please help Spinner deal with the costs of hosting & bandwidth. Visit www.bandanablues.com and hit the tipjar. Any amount is much appreciated, no matter how small. Thank you.
Bonnie has contributed a new recording of "Prison Bound Blues" written by Leroy Carr to a project called Better Than Jail, an extraordinary new album benefiting Free Hearts and Equal Justice USA. Better Than Jail is available everywhere today and features covers of iconic prison songs from Steve Earle, Taj Mahal,Margo Price, The War and Treaty and many more. The album seeks to raise awareness and support for the urgent need to reduce the harm of the criminal justice system. https://found.ee/BetterThanJail. I'm so proud to have joined in with so many illustrious artists in creating this very special album in support of rural prison reform. Overlooked for far too long, this issue cuts across all cultural and political divides and deserves all our focused attention to finally bring about some swift and meaningful action. Better Than Jail is one of the most inspired and heartfelt albums I've been blessed to be a part of and I hope it sets a fire in hearts far and wide to join in our efforts." ~ Bonnie Raitt
Released on: 2024-10-04 Executive Producer: Brian Hunt Producer: Kenny Greenberg Producer: Wally Wilson Producer: Bonnie Raitt Recording Engineer: Jason Lehning at Sound Emporium Mastering Engineer: Alex McCollough at True East Mastering Production Assistant: Shannon Finnegan Mixer: Justin Niebank at Hounds Ear Music Publisher: Universal Music Corp. Composer, Lyricist: Leroy Carr ℗ Believe Entertainment Group and Wyatt Road Records
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The Fabulous Thunderbirds - Nothing in Rambling Ft. Bonnie Raitt, Taj Mahal, Keb' Mo' & Mick Fleetwood
In celebration of the band’s 50th Anniversary, The Fabulous Thunderbirds have just released Struck Down, their first studio album in eight years on Stony Plain Records. The ten-track album includes a wonderful cover of Memphis Minnie’s “Nothing in Rambling,” featuring longtime friends, T-Birds founding member Kim Wilson, along with Bonnie, Keb’ Mo’, Taj Mahal and Mick Fleetwood. — BRHQ
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Little Feat - Long Distance Call
“I’ve always loved Little Feat and this new incarnation of the band is bringing some serious heat, cred and new blood to their enduring legacy. Every Feat fan loves us some Sam. I’m so glad he’s now gotten a chance to step out front and center and put his spin on these wonderful blues songs. I loved singing "Long Distance Call" with him, always one of my favorites, and Scott slayed on slide. Know you’ll enjoy hanging out with us at Sam’s Place!" -- Bonnie Raitt
“Long Distance Call” was written by blues legend, Muddy Waters. It has Sam Clayton and Bonnie Raitt on vocals, Scott Sharrard on Dobro, Fred Tackett on acoustic guitar, Tony Leone on drums, and Michael “The Bull” LoBue on harmonica. The album also features Bill Payne on piano and Kenny Gradney on bass.
Little Feat have composed an album that’s their love letter to the blues entitled, ‘Sam’s Place.’ “Long Distance Call” plus many other blues classics are on this album. You can stream and order ‘Sam’s Place’ here: https://orcd.co/samsplace
Broken Hearts & Dirty Windows: Songs of John Prine, Vol. 2, the anticipated new John Prine tribute record from Oh Boy Records, is out today. Stream/purchase HERE.
Created as a celebration of Prine’s life and career, the album features new renditions of some of Prine’s most beloved songs performed by Brandi Carlile (“I Remember Everything”), Tyler Childers (“Yes I Guess They Oughta Name A Drink After You”), Iris DeMent (“One Red Rose”), Emmylou Harris (“Hello In There”), Jason Isbell (“Souvenirs”), Valerie June (“Summer’s End”), Margo Price (“Sweet Revenge”), Bonnie Raitt (“Angel From Montgomery”), Nathaniel Rateliff & The Night Sweats (“Pretty Good”), Amanda Shires (“Saddle in the Rain”), Sturgill Simpson(“Paradise”) and John Paul White (“Sam Stone”). Proceeds from the album will benefit twelve different non-profit organizations, one selected by each of the featured artists.
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Bonnie Raitt - Write Me a Few of Your Lines/Kokomo Blues
60 years anniversary celebration of Arhoolie
December 10, 2020
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Arhoolie Foundation celebrates it's 60th anniversary (1960-2020) with an online broadcast.
Bonnie Raitt - Shadow of Doubt
Hardly Strictly Bluegrass Festival
October 3, 2020
Hardly Strictly Bluegrass celebrates it's 20th anniversary with an online broadcast titled “Let The Music Play On”.
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Bonnie Raitt & Boz Scaggs - You Don't Know Like I Know
Farm Aid 2020 On the Road
Sam & Dave classic written by Isaac Hayes and David Porter.
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Sheryl Crow & Bonnie Raitt - Everything Is Broken
[Eric Clapton’s Crossroads 2019]
Eric Clapton, one of the world’s pre-eminent blues/rock guitarists, once again summoned an all-star team of six-string heroes for his fifth Crossroads Guitar Festival in 2019. Held at the American Airlines Center in Dallas, Texas, the two-day concert event raised funds for the Crossroads Centre in Antigua, the chemical dependency treatment and education facility that Clapton founded in 1998.
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'A Tribute To Mose Allison'
Celebrates The Music Of An Exciting Jazz Master
Raitt contributed to a new album, If You're Going To The City: A Tribute To Mose Allison, which celebrates the late singer and pianist, who famously blended the rough-edged blues of the Mississippi Delta with the 1950s jazz of New York City.
NPR's Lulu Garcia-Navarro talks to Bonnie Raitt about her friendship with the Mose Allison. They're also joined by Amy Allison — his daughter, who executive produced the album — about selecting an unexpected list of artists to contribute songs to the album.
Recorded on tour June 3, 2017 - Centennial Hall, London - Ontario Canada