When Bonnie Raitt received the Grammy Award for Song of the Year for “Just Like That” in February, her band’s longtime bass player, James “Hutch” Hutchinson, was watching on TV in Los Angeles. Raitt had earlier won Grammys for Best American Roots Song for “Just Like That” and Best Americana Performance for “Made Up Mind,” which meant her band all shared in the award.
“We were all shocked,” said Hutchinson, who has played with Raitt for 40 years and has made Maui his home for 20 years. “We were up for four awards, three of them in the Americana category. We won the first two and then the third one, Americana Album of the Year, Brandi Carlile won and she got up and said, ‘I can’t believe I won this. I thought Bonnie was going to sweep again.’
“We were thrilled to win two out of three,” Hutchinson continued. “The performance award is a band award. Then, of course, the icing on the cake was when she won for Song of the Year, which is the award she really wanted because she’s the sole composer of the tune. So it was big, a big deal.”
Heading to the Maui Arts and Cultural Center for a concert on Friday, Raitt has now won 13 Grammys, including some for her multimillion-selling albums, “Nick of Time” and “Luck of the Draw.”
The title song of Raitt’s latest album, “Just Like That” is an emotionally wrenching song that has touched so many people. She based it on a news story about a mother who donated her deceased son’s organs. It was the first song written by a solo composer to win the award since Amy Winehouse’s “Rehab.”
“‘Just Like That’ is about a woman who loses a son and organ donation, and the trials and tribulations, and the redemption that sometimes comes along with it,” said Hutchinson. “Many a night on stage, I’ve had an emotional reaction to it. She was broken up, as she is every time she sings anything that means something to her.”
The song was especially heartbreaking for Hutchinson as he lost his sister, Ann Hutchinson Tower, the week of the awards, and “she ended up saving two women. Her kidneys went to two younger, fit women in their 50s. Organ donation is important, but I didn’t think I’d be living that song the week we won Song of the Year for it. It was one of the more bizarre, surreal moments of my entire life. There’s been extreme highs and extreme lows.”
In a tough couple of months, he also lost a handful of musician friends, including David Lindley and David Crosby. Hutchinson had been getting ready to head out on tour with Crosby, and had previously recorded with him, and Crosby with Graham Nash, and with Crosby, Stills, Nash and Young.
“I’ve known David for 50 years,” he explained. “I met him when I was 19. He was always in my life, a sort of a mentor and friend and a bandmate many times. The rehearsals in December sounded great. I’d never seen him happier. He was ready to go out and do a final tour. I just loved working with him. My proudest musical moments are anything with David Crosby. I miss him so much.”
Talk with Hutchinson and he will regale you with 50 years of encounters with a myriad array of famous musicians, from recording with the Rolling Stones in Ireland to rock ‘n’ roll legend Jerry Lee Lewis. His remarkable list of recording credits includes Ringo Starr, B.B. King, Elton John, Brian Wilson, Al Green, Willie Nelson, Stevie Nicks, Ziggy Marley, Jackson Browne, the Doobie Brothers, Joe Cocker, Roy Orbison, Garth Brooks and Neil Diamond.
What was it like playing with the Beatles’ legendary drummer?
“Ringo is great. He’s funny, and he’s great to be around,” Hutchinson said. “He’s just a fantastic musician, and he loves music and he loves people. I worked with Ringo a number of times. I love people who are easy and fun to work with.”
Proclaimed “The Groove King” by Bass Musician magazine, Hutchinson can comfortably fit into any genre.
His local collaborations include recording with other musicians on Maui like Grammy winner Peter Kater, Pat Simmons Jr. and Gail Swanson. He toured the Mainland with Hapa and was also a regular at Shep Gordon’s Wailea benefit shows. Teaming with John Cruz, he played on a star-studded “Playing for Change” video of “The Weight,” and was filmed in Haiku with Pat Simmons in a marvelous updating of Cat Stevens’ “Peace Train.”
Back on the road with the “Just Like That Tour 2023,” Hutchinson said the Maui show will include “at least four songs” from the latest album.
“The set list changes,” he said. “We know a lot of tunes and you can only play so many per night, and there’s some we have to play. People expect ‘Something to Talk About’ and ‘I Can’t Make You Love Me.’ People want to hear those songs.”
The Maui leg of Raitt’s Just Like That Tour 2023 takes place on Friday at the MACC’s A&B Amphitheater. John Cruz will open. The show begins at 7 p.m. and gates open at 5 p.m. Tickets are $60, $80, $100 and $140 Gold Circle, plus applicable fees, at MauiArts.org.
A Special Benefit for the GRAMMY Museum’s Music Education Programs
To celebrate her incredible wins at this year’s GRAMMY Awards, including Song Of The Year, Best American Roots Song and Best Americana Performance, the GRAMMY Museum is thrilled to welcome 13-time GRAMMY-winner and Recording Academy Lifetime Achievement Award honoree Bonnie Raitt for a special benefit program at the GRAMMY Museum. The program will be moderated by GRAMMY telecast writer and producer David Wild, an Emmy Award and Peabody Award winning writer who worked with Bonnie Raitt going back to his days at Rolling Stone magazine. Proceeds from this event will benefit the music education initiatives of the GRAMMY Museum.
Bonnie Raitt is a singer, songwriter, and guitarist whose unique style blends blues, R&B, rock, and pop. After 20 years as a cult favorite, she broke through to the top in the early 90s with her GRAMMY-award-winning albums, Nick of Time and Luck of the Draw, which featured hits, “Something To Talk About” and “I Can’t Make You Love Me” among others. The thirteen-time GRAMMY winner was inducted into the Rock & Roll Hall of Fame in 2000 and Rolling Stone named the slide guitar ace one of the “100 Greatest Guitarists of All Time” and one of the “100 Greatest Singers of All Time.”
2022 was an incredible year for Raitt with a 75-date headlining U.S. tour; the release of her critically acclaimed 21st album ‘Just Like That…,’ on her independent label, Redwing Records; receiving the Icon Award at this 2022’s Billboard Women In Music Awards and seeing her breakthrough album, ‘Nick of Time’ added to the Library of Congress’ National Recording Registry. ‘Just Like That…’ was #1 on six Billboard charts the week of release and was perched at #1 on the Americana Radio Album Chart for ten consecutive weeks. The album’s first single, “Made Up Mind” remained in the top three spots on the Americana Radio Singles Chart for 17 weeks. Raitt will be on tour for most of 2023 with stops in the U.S., Australia, the UK, Ireland, and Canada. View all concert dates here.
As known for her lifelong commitment to social activism as she is for her music, Raitt has long been involved with the environmental movement, performing concerts around oil, nuclear power, mining, water, and forest protection since the mid-‘70s. She was a founding member of MUSE (Musicians United for Safe Energy), which produced the historic concerts, album, and movie NO NUKES, and continues to work on safe energy issues in addition to environmental protection, social justice, and human rights, as well as creator’s rights and music education.
During “A Conversation With Bonnie Raitt” at the GRAMMY Museum, 13-time GRAMMY winner detailed her career trajectory, history of big-name collaborations, and how her win for Song Of The Year at this year’s GRAMMY Awards was “a total surprise.”
For the uninitiated, Bonnie Raitt is just an “unknown blues singer” — albeit one who managed to nab the Song Of The Year award at the 2023 GRAMMYs, plus two other trophies. But to the millions in the know, and the choice few in attendance for a chat with Raitt at the Grammy Museum on March 5, she is a living legend.
Over the course of her decades-long career, Raitt has earned 30 GRAMMY nominations, taking home 13 golden gramophones for tracks like “Nick Of Time,” “Something To Talk About,” and “SRV Shuffle,” as well as albums such as Luck Of The Draw and Longing In The Hearts. Last year, Raitt was awarded the GRAMMY Lifetime Achievement Award, and at this year’s ceremony, she snagged GRAMMYs for Best American Roots Song, Best Americana Performance and the coveted Song Of The Year.
Before she heads out on a tour of the western United States and Australia, Raitt sat down to chat with moderator David Wild for about two hours, musing not only about her “total surprise” about snagging the Song trophy, but also about her experience at the ceremony. It was an illuminating and downright charming experience — as well as an educational one. Here are six things we learned at “A Conversation With Bonnie Raitt.”
Taylor Swift Is A Fan — And A Humble One At That
Raitt recounted being chatted up by Taylor Swift during the GRAMMYs, with Swift telling Raitt backstage that she felt okay losing Song Of The Year to her. Swift’s “All Too Well (10 Minute Version)” was in competition, alongside works by Lizzo, Adele and Harry Styles.
Swift also introduced herself to Raitt, whom she’d never met, saying,”Hi, I’m Taylor.” Raitt said she responded, “Ya think?” — which made the audience in the Clive Davis Theater crack up.
She’s A Master Collaborator, With More On The Way
“No one commands more respect” amongst their musical peers than Bonnie Raitt, said Wild, who’s worked on the GRAMMY Awards as a writer since 2001. Whenever the show’s team has struggled to think of who could best pay tribute to someone like John Prine, Ray Charles, or Christine McVie, “the answer is always Bonnie Raitt.”
That’s probably why, as Raitt noted, she’s recorded duets with more than 100 different musical acts — from Bryan Adams to B.B. King. Raitt added that she’d still love to work with Keith Richards, Bob Dylan, and H.E.R., and that fans can anticipate new collaborative work coming from work she’s done with Brandi Carlile and Sheryl Crow.
Raitt added that she’s gotten really into Unknown Mortal Orchestra lately, who she heard about through Bruce Hornsby.
She’s Learned From And Befriended Musical Masters
Raitt was effusive about her love for King, among others, saying that one of the great joys of her career has been sitting at the feet of blues greats like Sippie Wallace and Son House. The singer/songwriter expressed her gratitude for being able to help get so many of these once-forgotten masters both the attention and the pay they deserved. She cited her work with the Rhythm And Blues Foundation as being of great importance to her personally, saying that it’s vital that the roots of blues and jazz are taught in schools today.
Wild also got Raitt to open up about her friendship with legendary gospel-soul singer Mavis Staples, who toured with Raitt just last year. Calling Staples, “all the preacher I’ll ever need,” Raitt said she thinks she and Staples bonded over being the daughters of famous fathers. “It’s a great honor of my life being friends with her,” Raitt said of her “mutual sister.”
Later, Raitt also waxed rhapsodic about another famous daughter, Natalie Cole, who she said she’d been thinking about all day.
Raitt’s Got An Independent Spirit And An Independent Label
A good portion of Wild and Raitt’s chat was devoted to the star’s career trajectory. The two detailed how, as a 21-year-old college student, Raitt signed to Warner Bros. only after they promised her complete creative control and nowadays has her own indie label, Redwing.
Raitt said it was only with the help of a”team of mighty women” that she was able to go independent. She cited lessons from friends like Prine, Staples, and Jackson Browne, from whom she learned going it alone could be done successfully.
Bonnie Raitt Almost Missed Out On “I Can’t Make You Love Me”
Raitt also talked a bit about her previous GRAMMY triumphs, including her run of nominations and wins around 1989’s Nick Of Time. Her popular single, “I Can’t Make You Love Me,” was originally written for Ricky Skaggs, who intended to make it a lively bluegrass record.
Raitt added that she thinks the song “Nick Of Time” struck a chord because she opened up about what it means to be getting older.
She’s Not Planning On Retiring (Or Dying) Any Time Soon
After joking that COVID lockdown felt like “house arrest” and “hibernation,” Raitt said that her recent tours have been a blessing. “It feels like I was under the earth without any sunshine,” Raitt says, reassuring attendees that she’s “never retiring.” She said that while she’s lost eight friends in the past three or four weeks, including the great David Lindley, the 73-year-old is optimistic that she can “be here and celebrate for another couple of decades.”
Raitt capped off the event doing what she loves best, teaming with long-time bassist Hutch Hutchinson for an intimate four-song set that included “Angel From Montgomery,” “Shadow Of Doubt,” “Nick Of Time,” and the GRAMMY-winning “Just Like That.” Raitt ended the evening by thanking the Recording Academy for inviting her out, joking, “I can’t believe I get to do this for a living.”
Bonnie Raitt Essentials: 11 Songs That Showcase The Breadth And Depth Of The 2023 GRAMMYs Song Of The Year Winner
Following Bonnie Raitt’s big night at the 2023 GRAMMYs — where she won three golden gramophones, including the coveted Song Of The Year — GRAMMY.com looks at 11 tracks that showcase the blues icon’s talent.
Yes, Bonnie Raitt has won another Grammy, and she talked to Goldmine about the album ‘Just Like That,’ reflecting on love and loss in the 21st century.
My little girl, pink and white as peaches and cream is she
My little girl is half again as bright as girls are meant to be
Dozens of boys pursue her, many a likely lad
Does what he can to woo her from her faithful dad
John Raitt was a legend of Broadway. The passionate tenor had a warmth in his golden voice that was perfect for the theater, perfect for the music that required a singer to occupy a song as the character in the musical play unfolding onstage, like that of carousel barker Billy Bigelow in Carousel as he anticipates becoming a father to “My boy Bill, I’ll see that he’s named after me,” before realizing that his unborn child may turn out to be a daughter instead of a son. The song was called “Soliloquy,” and I’ll bet Raitt thought of his only daughter in real life each of the thousands of times he sang it. Bonnie Raitt would go into the family business, too, taking an equally passionate but decidedly different path.
Young Bonnie didn’t choose the family business simply because her famous father had wowed audiences for decades, but had it not been for John Raitt taking The Pajama Game, Oklahoma! and Carousel on the road each summer, she and her brothers wouldn’t have traveled to summer camp in the early 1960s. That’s where and when she discovered music of conscience in the worlds of folk, blues and rock music, which she’s been making now for half a century, with more than 10 Grammy awards (“Just Like That” being the latest for Song of the Year), more than 20 albums and more than a handful of songs you know by heart. Throughout it all, the road has been her middle name, just as it was for her father doing summer stock. She made Billy Bigelow proud.
I had the great pleasure of speaking with Bonnie about Just Like That …, her excellent newest release, of which she is as excited as she must’ve been at the time of her first album in 1971. She has every right to be, as Just Like That … slides right into her canon as a perfect fit in the soulful singing and slide guitar playing musical life of Bonnie Raitt. The album finds Bonnie reflecting on the pandemic and other topical matters while ultimately uplifting us just as her blues heroes did.
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Bonnie had much to tell Goldmine of her journey, and she did so with genuine kindness and enthusiasm. We talked about the latest record, her first record, her sobriety, her musical friends and the father who first gave her the love of song.
GOLDMINE: Recording artist Sara Hickman told me just yesterday that she once heard you on a panel being asked if you had any regrets. She said that your answer was that you had none, because if not for your mistakes, you wouldn’t have been sitting there at that moment. Do you still feel this way?
BONNIE RAITT: Oh, wow! There you go. I think what I mean is whatever I went through got me where I am today, including bad romantic decisions, all that stuff. We wouldn’t be who we are sitting here right now so lucky to be alive.
GM: The record Just Like That … is outstanding, Bonnie! The record feels like you’re going through a lot of reflection. The whole thing is a reflective piece throughout, in a great way. Do you see it that way? Was there a life-and-death theme?
BR: I get asked that often, and I have to be honest and say it’s just a stringing together of my 10 favorite songs. I don’t have any concept or unifying force. I mean, sometimes there’s something I went through. I wrote a song about my dad called “Circle Dance,” and I wrote a song on my last record called “The Ones We Couldn’t Be.” That’s just one song, but it means a lot to me. The ones that I write are usually related to something I’ve been going through personally, although on this record I really wanted to stretch and do something that wasn’t mining my personal life. That’s why those two story songs ended up there, but some of the other songs, I really had for a long time. It was just a question of when it was their turn to put them on a record where they sound good together.
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That Al Anderson (of NRBQ) song, “Something’s Got a Hold of My Heart,” I’ve had that song for 30 years, and he never believed I was ever going to record it, and I still haven’t picked up the phone and told him that I actually made the record. My favorite part of the cycle of five years every record is the moment when I know I can call the songwriter who has no idea that I cut their song. And that is such a great phone call!
GM: Both of those songs fit your canon. You can’t tell that Al’s song was 30 years in the queue, because “Something’s Got a Hold of My Heart” could slide into any Bonnie record.
BR: Well, thank you. I could not shake it. It hadn’t fit or other songs bumped it out, so I’m so glad you like it. It reminds me of “Can We Still Be Friends,” that simple piano part, you know that Todd Rundgren song. There’s a certain kind of a Bill Withers, very primitive simple piano playing style. I’ll bet Al just sort of moved his hands around while he was singing that song. It’s so innocent and so cool. It’s got a great groove to it. I’m still like a mother that just had kids. I’m so excited about my album. I can’t wait to play these songs live!
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GM: “Livin’ for the Ones” by you and your guitarist George Marinelli is all about loss, but it has such hope in it. Tell me what that one means to you.
BR: I wanted one song about what we’ve just been through in the last few years. I wanted specifically to write a song about how the hell any of us could make it through, and I thought about it, and I used a title from something that I adopted when my brother passed away from brain cancer, followed a month later by my friend (singer-songwriter) Stephen Bruton, and I just was devastated. I just said, “Man, I don’t know how I can make it through,” but then I realized everything I wrote about on that song, for all the chances they didn’t get. My brother went blind at the end. He couldn’t open his eyes and just look out the window.
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Whenever I’m gonna bitch and moan, I think about people that lost their life early. And so many of my friends I lost this last couple of years to cancer and suicide and accidents, but Toots Hibbert and I were gonna cut this song together. I’ve been wanting to do “Love So Strong” since Taj (Mahal), and I did it on our BonTaj Roulet tour in 2009. I was so surprised; he was in such great health after coming back from having had his head injury. Somebody threw a bottle up from the audience and cracked it into his skull. He had to retire for five years so he could be better enough to come back on the road. He was just back on the road, and he was cut down by COVID. And then John Prine was one of the most tragic losses of my life, so I really was holding those guys in my heart.
Fourteen people I dedicated the record to that I’ve lost the last couple of years. I really feel strongly about “Livin’ for the Ones.” That’s the third song I worked on with my longtime guitar player George Marinelli. He sent me these rocking tracks. That’s how to get me to write, is if the song is so badass, the track is so great and I can’t wait to play it, then I have to come up with some lyrics for it. So that was the inspiration for what I think is the most reflective song on the record, in terms of reflecting what we’ve been through lately.
“I said, ‘Oh man, if I quit partying, I’ll just play real wussy and write stupid songs about how everything’s so much better now,’ and that’s not the case. You can be sober and be a badass, so there you go!
— Bonnie Raitt
GM: In one respect, it reminds me of Elton John’s “Sad Songs (Say So Much),” as it has more serious lyrics but a track that jumps. I wondered if the lyrics came first Bernie Taupin-style, but I guess they didn’t!
BR: Yeah, I knew that I was gonna write a song about what we went through, and I didn’t know what music it was gonna have, but when he sent the track, I went, “That’s it!” The catharsis of playing a rocker with words that you mean that much gets all the juices flowing to the point where sometimes I have to recover after I finish the song because it taps such a deep vein in me. What better song to come out after a pandemic? The next time you wanna bitch and moan, think about everybody that didn’t even make it.
GM: I love the joyous attitude of that song. I just turned 60 and have realized how lucky I am to be here.
BR: It’s been a real reckoning: this COVID pandemic, the election, Black Lives Matter, the climate crisis, all of these things coming, pile-driving on while you don’t even have the outlet of seeing your friends and playing music, in our case, and you just have to re-prioritize. You know what? I’m just damn lucky I can go sit on the porch and have a cup of coffee and not have a bomb fall on my head or that my lungs don’t work or that I’m sick and I’m on an oxygen tank. I am not gonna complain again, you know what I mean? This pandemic has kicked my ass and reprioritized everything that’s important.
GM: Amen to that, but I still manage to complain about things!
BR: I know, me too! (laughs) The other song I’m really proud of is “Waitin’ for You to Blow.” I wanted to stretch musically and do something. I’ve always loved Les McCann and Eddie Harris and I love funk music, and I wanted to mix The Crusaders and Stuff. Some of my favorite bands do that kind of jazz/funk combo. I created that whole drum track and keyboard parts with the kind of jazzy chords that you normally wouldn’t expect in a funk tune and all the little horn parts that we played on guitar and organ. I wanted to stretch and do something that I’ve never done before and put a shuffle in the bridge. I’m really proud of the band for going with me on that. And then to write a song about the devil on your shoulder that’s trying to urge you to slip up.
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GM: I know that one is about your sobriety. How many years sober?
BR: Thirty-five for alcohol and drugs, but as anybody that’s in recovery knows, the work comes from all the character defects of slipping into behaviors that are just not the way you’re supposed to be operating. You get away with a little bit, give yourself a little leeway, nobody’s perfect, but all those things itemized in those verses are so real to me, including you get love close enough, what if they find out there’s nobody in there, that nobody’s worth loving in there? That’s as serious a topic I ever sang about, but because it’s in a funk tune, you don’t notice it.
GM: On the subject of “Waitin’ for You to Blow,” I read that you’ve credited Stevie Ray Vaughan as being instrumental in your sobriety. I want to ask about Stevie’s influence both ways, with regard to recovery and his blues guitar impact on you.
BR: There was a bunch of people who got sober before me. Mike Finnigan was in my band, and we just lost him. He and his wife were crucial friends of mine. Paul Barrere from Little Feat, who passed away from cancer (in 2019), John Hiatt, Mike Finnigan, Barrere, and Stevie Ray, who I’d just toured with earlier. He came out of rehab, and the first time he played guitar, we were playing at Center Stage in Atlanta, and his mom and him came to the show, and I said, “Do you want to sit in?” He said, “Well, I don’t know.” He was just so newly sober. Not that we played completely hammered all the time. He got up onstage, and that’s what was inspirational to me. The last excuse I had for not getting sober was watching how he played that night and what changes had come over him. I felt the same way about the other people I just mentioned. They just were funnier, happier, healthier and didn’t lose any of their edge. If anything, they were playing better than ever. That was my last excuse. I said, “Oh man, if I quit partying, I’ll just play real wussy and write stupid songs about how everything’s so much better now,” and that’s not the case. You can be sober and be a badass, so there you go!
GM: I want to ask about “Just Like That” and “Down the Hall.” These are both written by you, they’re both story songs, they’re both true, and they both just leveled me. They’re both about appreciating life in the end.
BR: Oh, thank you! I mean, I’m sorry to upset you! (laughs) They upset me, too. I had really mined my own personal life for a lot of the songs I wrote for the last bunch of albums. I covered a lot of topics, “Tangled and Dark,” “Spit of Love,” “The Ones We Couldn’t Be,” “One Part Be My Lover” — there’s a lot of songs. I just didn’t want to go over territory I had already covered. I was so inspired by Jackson Browne’s early records and Bob Dylan’s first two albums, and then my friend John Prine, the way he crawled into that woman’s life and heart in “Angel from Montgomery” and “Donald and Lydia” and “Hello in There,” there’s nobody better.
I wrote the lyrics for both those songs in 2019. I didn’t put them to music until right before I recorded in June (2021). I just wanted the songs to write themselves. I just sat there with my guitar. “Just Like That” was completely inspired by John Prine. I tuned to open tuning for “Down the Hall.” Paul Brady, I love that Celtic music. You know, Bob Dylan credits Paul Brady’s “Arthur McBride” in a lot of his work, where he gets his ideas on “Masters of War.” Four or five of his songs on his early records are inspired by the Irish Celtic tradition. Open-tuning songs just kind of write themselves that way. They have that melody built in.
GM: I interviewed Spider John Koerner just before the pandemic. You recorded one of his songs on your first album. What do you have to say about Spider John or Koerner, Ray & Glover and their impact on your work?
BR: You mean that song “I Ain’t Blue,” right? I love that song. It’s very uncharacteristic of John’s music. I was always a Koerner, Ray & Glover fan and John’s solo albums as well. We ran into each other in (Greenwich) Village (New York City), and I got to meet one of my heroes. And then he moved to Cambridge (Massachusetts), where I was living and had a regular gig at Jack’s Bar on Monday nights where all the musicians in town, folkies and stuff, would come and hang out and listen to John play. He made a record on Elektra called Running, Jumping, Standing Still with Willie Murphy, who I had never heard of. Willie had a band called Willie and the Bees. Minneapolis had this incredible scene like New Orleans where black and white musicians were all intermingled. There wasn’t any segregated soul music scene or jazz scene or rock and roll scene or country scene. It was just a great music scene with everybody playing with each other. That’s why Prince knew all my early records. I went, “How did you know that?” He went, “We’re from Minneapolis!” My friend Peter Bell from Cambridge said, “You should make your first album with Willie and the Bees, because they’ll play all your music perfectly.” Then I had the idea of bringing Junior Wells in and A.C. Reed from Chicago who I knew, and we went to a remedial reading summer camp and Snaker Dave Ray from Koerner, Ray & Glover did the recording. So the first album, I loved doing “I Ain’t Blue.” It fit my voice so well, and I have been a John Koerner fan (since) I was 15 or 16 when I heard Koerner, Ray & Glover. Like Dave Van Ronk and John Hammond, I just couldn’t believe white guys were authentic singing the blues, and they were. I felt like it was OK for me to do what I did because they could do what they did.
GM: That leads to the other person I wanted to talk about: I want to know how you were led to the blues after the influence of that other person, your father. My mother turned me on to his music, and I had a hand in turning her onto yours.
BR: Oh, I’m so glad when I find someone who knew my dad! You sound like you’re 25, but if you’re 60, she probably hipped you to some of those Broadway shows. I’m so grateful to talk about him because he was such an influence on me. After he passed away, we put up a website, and there’s some really great videos of him performing on TheEd Sullivan Show, from Annie Get Your Gun, I recorded three tracks from his Grammy-nominated album in ’95. I helped out so many R&B legends when I got famous: I took Ruth Brown and Charles Brown on tour, I worked in the Rhythm and Blues Foundation for 20 years, and in the middle of the ’90s, I went, “Hell, I got like a legend right in my family! I’m gonna make a record with him!” There’s a lot of stuff on johnraitt.com that are just treasures, the story of his career, a list of his records.
GM: You took a different musical path from that of your father, but it’s the same line of work. How did you find your way over to the blues?
BR: I was at summer camp. My dad was on tour. Every summer, he spent three months in summer stock taking his hit shows in regional theaters, a lot of times outdoors in pants with no air conditioning. And that was the circuit of summer stock theater. He’d alternate in Carousel, Oklahoma! and Pajama Game from 1958 until ’66. Our family friends had a summer camp at the Adirondacks up by Saranac Lake, which is like a half hour from Lake Placid (in New York). So every summer from L.A,. we would all fly across and go to this camp while my folks were on tour. The camp counselors were all swept up in the folk revival: Kingston Trio, Joan Baez, Odetta, Pete Seeger. In ’59, ’60, everybody was getting a guitar. Everybody was learning folk songs, and I was enamored of my counselors that would sing these beautiful songs around the campfire. Then I discovered Joan Baez, who like us was Quaker, and she lived in California, and she was Scottish like we were. I begged for a guitar when I was eight, and I got it for Christmas. My grandpa taught me how to play a couple of chords, and I was off and running.
GM: Your avenue into music was so different from your father’s.
BR: My folks would trot me out when I was nine and 10 and play protest songs in the living room. They thought it was cute. I led the campfire songs. I was a really serious folkie and wanted to go change the world. Because we were Quaker, we were very involved in civil rights, social justice and the peace movement, so all my heroes were like eight years older than me, and I was racing to get old enough to go to Greenwich Village. The best I could do is I made it to Cambridge while the Vietnam War rallies were going on, the feminist movement, the pill came in. I chose to go to school in Cambridge because it was just a hotbed of folk music and political activism as well as just being a great school. I just got in on the tail end of the folk music scene with no intention of doing it for a living. It kind of just fell in my lap. My hobby turned out to be a career because there was not that many women who could play good blues guitar.
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