How the singer-songwriter overcame personal loss and made her first album with new songs in a decade
“I love that double-time shit!” says Bonnie Raitt, grinning behind a piano. The singer-guitarist has just led her longtime band through a furious impromptu take on Ray Charles’ “Mess Around.” Raitt, 66, has a reputation as a tenacious perfectionist, but today at her rehearsal studio in North Hollywood, she’s loose and mischievous. At one point, she sets aside a sheet of lyrics for a new ballad to prove she doesn’t need them – but then breaks up laughing when she can’t remember the first line. “So much for losing the training wheels!” she says.
After practice, Raitt heads down a hallway deeper into the studio; there’s a chore she’s been meaning to get around to. Her guitar tech opens a big, musty locker packed with old instruments. “This is over 30 years of people laying guitars on us,” she says. She opens a case to reveal an acoustic Jackson Browne gave her, and another containing a guitar that belonged to songwriter Stephen Bruton, a close friend who died in 2009. “I’d been meaning to go through these for years and figure out whether to give them to charity, or what,” she says. “But then I moved away and my family got sick.” Raitt is referring to a painful time that began with the deaths of her parents (she lost her mother in 2004, her father a year later); in 2009, her brother died after an eight-year battle with brain cancer.
“I was really depleted,” she says. “You go back and relive your relationships with those people, and when there’s multiple losses and illnesses, it can be almost overwhelming.”
After her brother’s death, Raitt, who tours year-round and plans her career in five-year stretches, told her band she was taking a year off. She started seeing a grief counselor and, for the first time since she hit the road in 1970, watched all four seasons change in her Marin County backyard. “I needed to take some time to sit down and fall apart,” she says. That reflective period – and the joy she found when she returned to the road in 2011 – shaped Raitt’s new album, Dig in Deep, her first LP with newly written songs in more than a decade. “I have always felt so sorry that I couldn’t be a better this or that for my family members,” she says. “And I know they were probably just as sorry I couldn’t be what they would’ve liked me to be.”
Raitt has lived in Northern California since 1991, but she feels at home in L.A. She grew up on Mulholland Drive, not far from her rehearsal space, the daughter of actor John Raitt, who had lead roles in Carousel and Oklahoma! during the golden age of Broadway in the 1940s and 1950s. She fondly recalls hour-and-a-half school bus rides through the San Fernando Valley and attending Quaker meetings with her parents, whose love of music and social justice helped draw her to the blues: “It became an anomaly when I was 18 or 19 – people would say, ‘Isn’t this odd that a little redheaded daughter of a Broadway singer from Los Angeles is playing Robert Johnson songs?'”
“She illuminated the path I could have,” Carlile says as she sits down with her hero for the first time. “She taught me I could lead and not apologize.”
On a recent L.A. afternoon, Brandi Carlile is talking about the moment when everything changed for her. It was the 2019 Grammys, when she played her ballad “The Joke” live and took home three awards. “I was 39, kind of an outlier underdog character,” says Carlile. That week, her sixth album, By the Way, I Forgive You, went to Number 22. She recently sold out Madison Square Garden. “I went on vacation, and never put down my phone,” she says of the award show’s aftermath. “I was obsessed.”
“I’ve been there,” says Bonnie Raitt, sitting across from her. In 1989, Raitt released her 10th album, Nick of Time.
It sold more than 5 million copies and won the Grammy for Album of the
Year, making her a superstar at age 40. “You’re in hyperspace after
that,” Raitt says.
Hard-won success is only the beginning of the similarities between the two artists. In addition to building cult followings, both have used their music as a platform for activism. (Raitt has campaigned for clean energy, Native American rights, and more over the years; Carlile has raised money for kids affected by war and for imprisoned women.) “Bonnie illuminated the path I could have,” says Carlile.
Before the interview is over, Carlile has one request: “If you could just teach me one or two slide-guitar licks.” Raitt responds: “It would be my pleasure. I get so much acclaim for doing stuff that just sounds like ‘whooo,’ ” as she slides up an air guitar. Carlile is ecstatic: “You’ve got to be shitting me.”
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Brandi, how did you first hear Bonnie’s music?
CARLILE I remember singing “Something to Talk About” all the time as a kid. One of my most significant times was when I moved out of the house and in with my first girlfriend, Jessica. I was 17 and we were huge fans, and we wanted to go listen to you play and we couldn’t get a ticket, so we sat outside the fence and listened to your voice reverberate around Washington state. It was a big moment, a beautiful memory.
RAITT That is so sweet. I would have let you in if I had known. I’m gonna be a mess in this interview, because I’ve never been with anyone that talked about me before. I haven’t ever heard anyone say they were influenced by me.
CARLILE We get together and talk about you all the time. Do you ever hear yourself in my voice?
RAITT Well, I hear the attitude. I wish I could have the range and sing like you do. But if I could, I would sing like you.
CARLILE The song that speaks to me the most is “I Can’t Make You Love Me.” The empathy is just unbelievable. I feel really vulnerable when I sing it, in a way I’m not entirely comfortable with.
RAITT Is it because you’ve been through that situation yourself?
CARLILE I think it’s because I am not strong enough to go through that situation myself. So when I put myself there, I almost can’t handle the thought of being that person.
RAITT I’m so grateful for the writers that sent me that song. Every night, I’m reminded of being left when someone was not in love with me anymore. I think it was even worse to have to be the one to break somebody’s heart because you don’t love them anymore. I’ve been through both sides of that. I always dedicate it to someone going through a heartache. I’ve gotten letters from people saying, “I’ve never seen my husband cry except when you sing that song.” Now I’m gonna cry.
We all think we know the story of Bonnie Raitt. Still, it’s hard to slap a label on her. She spent her formative years hanging out in smoky blues clubs, but she also attended Radcliffe College. She has the image of a tireless activist, a woman who would seemingly go to a benefit for dandruff victims; but she also has a bawdy sense of humor (as she proved just prior to the interview, she’s not above the occasional penis joke).
Raitt was more of an enigma at the inception of her career – more specifically, she couldn’t get arrested. Now we can’t shake her. With the release of her fine new album, Longing in Their Hearts, the follow-up to the quintuple-platinum Luck of the Draw (itself a follow-up to the quadruple-platinum Nick of Time), she is, once again, everywhere. Including here.
Your new album almost seems to be the third part of a trilogy. To me, they’re progressive, because it’s my life. So I’m glad if it’s perceived that way.
Why did you choose the song “Longing in Their Hearts,” which your husband, Michael O’Keefe, wrote the lyrics for, as your album’s title? There’s usually only one out of the batch. And then for the next couple of years, everyone will be using that as a pun in the first line of a review. “This came just in the nick of time,” you know, or “It’s more than the luck of the draw.”
When he wrote that tune, were you involved? Did he solicit your opinion? He’s a poet anyway, so he writes poems and lyrics, and then I sort of read what he’s writing. The song he wrote on the last record [“One Part Be My Lover”], he wrote specifically to me, and then I sort of snuck around and put music to it without telling him.
When you were growing up, how much of an influence did musical theater have on you, since your dad was in theater? Are you a fan of show tunes, for instance? I liked my dad’s shows – it was the family business. I didn’t spend a lot of time looking at other people’s shows, because I had a fair amount of loyalty to my dad. I didn’t see the film versions of Oklahoma! and Carousel, because my dad was in those roles – it seemed like being a traitor.
Do you remember the first time you saw a blues artist, when you used to sneak away at school to see them? I saw Brownie McGhee and Sonny Terry at the Ashgrove, the local folk club. I took my dad, because I was only 14, and I couldn’t drive. He wore a turtleneck, and he had sideburns, because he was still playing Billy Bigelow [in Carousel], and it was really cool. I was hoping everybody would think he was my date.
Blues clubs can often be boys’ clubs. When’s the last time you were a victim of sexism in the music biz? I haven’t been, but in 20 years there still aren’t any women executives in the record business to speak of. Men are reviewers and radio people, and women are still in publicity and public relations.
There aren’t a heck of a lot of female pop stars over 40. Why do you think this is? First of all, there’s a lot of them.
Not of your caliber. Let’s face it, with record sales … I don’t know, I don’t like the term pop star. But there’s a ton of famous women in the music business. In the generation before me, there’s Grace Slick, Joni Mitchell, Joan Baez, Judy Collins. Chrissie Hynde, Tina Weymouth, Laurie Anderson. We’re all still doing the same job. If you’re good, you get to keep doing it. If you’re not good, you won’t. I’m hoping I’ll be able to sing and play when I’m in my 80s.
Is there anyone whom you’re surprised to hear you’ve influenced? There’s a mixture of rock and blues and folk and country that’s sort of all over the map, so it wouldn’t surprise me if a jazz singer said, “I really like your records.” Jackson Browne and myself went through eras where everybody’s kids hated us, and now they think we’re cool.
Have you been to the set of Roseanne to see your husband? Well, it’d be pretty rude for me not to go. After all, he does come to my gigs. They’re a really wild group of people.
Have you ever been tapped for a movie role? Yeah, I’ve been asked, but I just don’t have time. I might do it eventually.
You’ve been sober for years. Does it get harder or easier as time goes on? Well, living is difficult, period. Being happy and serene and all that stuff doesn’t get necessarily any easier just ’cause you’re more mature – or sober.
How do you survive bad weddings when you’re sober? I haven’t been to a bad wedding. I’ve only been to a few, but I get really gooey at them.
This year, there has been an inordinate amount of benefit shows. Do you think people are getting benefited out? Every single year of my whole life in music, I’ve been asked the same question. To me, it’s part of the obligation. I personally don’t think there’s enough benefits.
But… but… If a person says, “I’m sick of reading about benefits,” then think about where you’re own head’s at. It probably means you’re guilty because you didn’t give enough money away! I don’t mean you personally.
Sure. What do you wish you had more time to do? I’d like to spend time visiting the sweet little towns in Wyoming and Washington and Oregon. But because of cable and movies and the way society is, there’s very few hicks, you know? Even the teen-agers in those towns watch Beavis and Butt-head.
Last question: What would be your last meal? Thai food. When I got sober seven years ago, I also changed my diet, and it’s really affected my energy. I never get sick. … I’ve been healthy and less than healthy, and healthy’s much better. Less than healthy’s more fun, but healthy is better.
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