by Mary Martin Niepold Inquirer Entertainment Writer
The first time I saw Bonnie Raitt she was sitting in Skip and Lorenza James’ dining room in West Philly. She was sitting on the side next to Skip’s upright piano and she was strumming the blues on an old guitar. Softly, all alone. Delta bluesman James had been buried that afternoon.
On Thursday night at Temple University Music Festival in Ambler, Bonnie Raitt was aback in town; but she wasn’t alone and she was still playing the blues she learned from bluesmen like James, the late Mississippi Fred McDowell and Sippie Wallace. She played them softly, sometimes audaciously. And on this visit to Philadelphia (in which she has performed many times in the last three years), she had nearly 4,000 people moving to every beat and earthy nuance of her music.
“She prefers an intimate atmosphere,” according to her standby bass player, Freebo (formerly with Philadelphia’s Edison Electric Band), “but you can’t just play small houses and have them lined up around the block. You have to reach the large houses.” Bonnie Raitt has no trouble reaching large houses. She’s as intimate with thousands as she is with hundreds. Talking, smiling and cracking jokes between numbers, she holds you engagingly.
Not once during the hour or so performance did Ms. Raitt loose her composure. And she did have problems. Her 20-year-old electric Gibson needed tuning between every number. She laughed about it, and perched on a black stool, said she needed “a midget to do my tuning.” The lighting was burning her out, too. “My freckles are melting.”
The biggest problem, and one the audience probably wasn’t aware of, was that Ms. Raitt had a new group Thursday night and it was giving its first performance. And with only three days rehearsal, it showed in the opening numbers particularly.
But on the whole the group came across well. The two new members, after several years with Van Morrison, were John Platania on guitar and Jeff Labes on piano. They each had their moments on stage and played them skillfully.
Freebo on bass (and harmony and kazoo) and Dennis Whitted on drums have been with Bonnie for sometime, and that threesome was as tight, as driving, as it always was.
But the real star was Ms. Raitt and blues isn’t the only thing she’s a star in. Time has only refined Ms. Raitt’s ability to go up and down emotions like scales on a piano. She can slide in and out of a ballad and make it as pure as a solo guitar. A gut-grabbing plea for love can become as painful in its remembrance as it was the first time you felt it. A rhythm and blues number rocks the chairs, one and all.
Bonnie Raitt always comes off as a woman, a little bit wistful, a little bit brazen and all the time soulful. She’s also a consummate musician.
The low down sounds of Bonnie Raitt’s blues and the sophisticated “grease” rock of Bruce Springsteen and his E St. Band, carried on till the wee hours Friday morning.
If the crowd who packed the Harvard Sq. Theater for the Cambridge Blues Queen’s second show had its way, we all would have stayed for breakfast.
At 2:40 a.m. the square wore the effects of a “Blitzkrieg” launched by two thousand weary fans, who shuffled into the morning drizzle like fatigued troops who’d just taken an enemy stronghold.
Four hours earlier a primed regiment waited at the stage entrance where the doorkeeper became the most important person in Cambridge. The pleas began.
“Hey, man, did this dude with shoulder-length hair just go in. I gotta know, man, cuz like he said it was cool for the gig, ya know? I mean like I know Clarence and Springsteen’s cool, too, man.”
And the keeper’s reply never faltered. “Look . . ., don’t keep pounding these doors, because nobody gets in till 10. Nobody!”
Bruce Springsteen, introduced as “the man from Asbury Park,” opened the marathon show with a two-hour opening set.
He began with his musical credo “The E Street Shuffle.” It’s a vivid tale of streetcorner life, complete with gangs, cruising, drinking, fighting, loving and over-all survival.
Springsteen is not a narrator of what he sings, he is a character. His lengthy, Dylanesque numbers become a philosophy of a “greaser” life-style. Their complex, often incoherent images, go way beyond the simple woes told in a “fast rocker.” It works because the orchestration is so good.
Clarence Clemons, a superb tenor sax man, helps fashion numbers like “Jenny’s Back in Town,” “Born to Run,” and “Jackie,” with a lovely jazz bent, or when the talents of Danny Federici, Garry Tallent and David Sancious, merge on “Jenny” it takes on the dimensions of a show tune.
The image fits, for the short, lean figure in the black T shirt and corduroys, white Panama hat and electric guitar looks like a plugged in Sky Masterson. He’s greased , but he’s polished. His voice is raw and gravely enough to be convincing, but his guitar and his music is zestfully imaginative.
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Bonnie Raitt - Intro
Bonnie Raitt - Baby I Love You (Written by Ronnie Shannon)
Bonnie Raitt - I Feel The Same (Written by Chris Smither)
Bonnie Raitt - I Thought I Was A Child (Written by Jackson Browne)
Bonnie Raitt - Write Me A Few Of Your Lines / Kokomo Blues (Written by Fred McDowell)
Bonnie Raitt - Nothing Seems to Matter (Written by Bonnie Raitt)
Bonnie Raitt - Bluebird (Written by Stephen Stills)
Bonnie Raitt - Everybody's Cryin' Mercy (Written by Mose Allison)
Bonnie Raitt - Love Me Like A Man (Written by Chris Smither)
Bonnie Raitt - Don't Fight It (Written by Steve Cropper and Wilson Pickett)
Bonnie Raitt - Don't Talk Now (Written by James Taylor)
Bonnie Raitt - Women Be Wise (Written by Sippie Wallace)
Bonnie Raitt - I Gave My Love A Candle (Written by Joel Zoss)
Bonnie Raitt - Under The Falling Sky (Written by Jackson Browne)
Bonnie Raitt - Guilty (Written by Randy Newman)
Bonnie Raitt - You've Been In Love Too Long (Written by Clarence Paul, William Stevenson and Ivy Hunter)
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Bonnie Raitt – guitar, vocals Freebo – bass John Hall (Orleans) – guitar John Payne – sax Bill Payne (Little Feat) – piano Dennis Whitted – drums
Taping Gear: Sony TC-55 with built in condenser mic and auto level control
JEMS 2013 transfer: SH master cassettes > Nakamichi CR-7A > Sound Devices USBPre2 > Peak 6.0 with iZotope Ozone > .wav (24/96) > resample via iZotope MBIT+ to .wav (16/44) > xACT to FLAC
Thanks yet again to Steve Hopkins for allowing JEMS to present his outstanding audience recordings in a fresh light. BK for JEMS
This recording contains every minute Steve Hopkins recorded that fateful night in Cambridge. Bonnie performed a 10 PM late show as well, but there are no known recordings of that set, because, as Hopkins notes below, he was unsuccessful getting back into the venue.
As Hopkins’ himself wrote in his original post of the show: “This is a new transfer of a recording that has been in circulation for many years. I got in early with a friend who had a press pass. It was a general admission show and the first few rows were roped off for the press, so I sat down front and center and stayed there for the entire early show. Unfortunately, they cleared the house after the early show, and as the crowd was lined up around the block for the late show, I was unable to get back in.
This is the first time Steve’s master tapes have been digitized directly. Hopkins points out a “loud electrical buzz emanating from the stage throughout the show, mostly noticeable during quieter segments.” It is worse in Bonnie’s set than Bruce’s, and you can tune it out, but it is annoying at times.
What’s also gone under appreciated is the wonderful, talkative performance Raitt turns in this night. In hindsight, the Harvard Square Theatre show feels like a major Bruce Springsteen moment, but Raitt was the headliner and her star was rising faster than Bruce’s at the time. Here’s she’s touring in support of her third album, Takin’ My Time, released the previous October. The set is laden with wonderful covers of songs penned by Randy Newman, Jackson Browne, Mississippi Fred McDowell, Chris Smither and Mose Allison to name a few.
But even Bonnie recognized something special had occured. Before her first song she says of Springsteen, “He’s got the most incredible band and he’s one of the most amazing people I’ve ever heard. I just had to say that. He’s a real hard act to follow.” Etree.org
When Bonnie Raitt came out the crowd was loose and ready to be lulled by her blues.
The lusty, bawdy redhead sat down, two cans of beer on an adjoining chair, fixed the large electric guitar across her lap and let out with “Love Me Like a Man.”
Blues is relative to the artist. It can be soulful, raucous or despairing, but it has to be felt. Bonnie Raitt can tear at your insides without leaving her seat. Her voice carries a range of personalities, from the plain rauchiness of Aretha Franklin’s “Baby, I Love You,” the quiet desperation of Eric Kaz’s “Love Has No Pride,” and a lilting tenderness of Jackson Browne’s “I Thought I Was a Child.”
When she draws back from the microphone to pick away at the guitar, her face seemed tired and worn. There’s a toughness about her when she wails out with “Give It Up or Let Me Go.” Yet when she ran her hands through her long red hair and threw it over her shoulder, there was sorrow in the face that filtered through her own song, “Nothing Seems to Matter.”
She was joined on stage by people who knew the message Bonnie Raitt was sending out. John Hall, a strong lead guitar, John Payne kicked in a searing clarinet on “You Got to Know How,” and Freebo on bass, put his foghorn vocal backing on her classic version of Stephen Stills’ “Bluebird.”
Her days in Cambridge are behind her now. She lives in Los Angeles, but the dawn-breakers let her know she was misled.
Ira Gold’s Windowpane Productions originally booked Bonnie Raitt to play Harvard Square Theatre in the spring of 1974 with no opening act. But after listening to the two albums by a young New Jersey up-and-comer, over at photographer Barry Schneier’s apartment, Ira’s plans changed. Windowpane invited Bruce Springsteen and his band onto the bill… and on May 9, 1974, Jon Landau was able to witness Rock and Roll Future. Here, Ira shares his recollections, with images of the night from Schneier’s book ‘Bruce Springsteen: Rock and Roll Future.’
Forty-six years ago, on May 9, 1974, Jon Landau saw “rock and roll future” when Bruce Springsteen & the E Street Band played Harvard Square Theatre in Cambridge, MA. Author Barry Schneier literally wrote the book on that night: ‘Bruce Springsteen: Rock and Roll Future,’ from Backstreets Publishing. To celebrate the anniversary on May 9, 2020 — since these troubled times prevent us from sending Barry back on the road for another book tour right now — we hosted an Instagram Live event with Barry, the only photographer present that night, sharing his unique photos and stories from the legendary concert. Schneier’s ‘Bruce Springsteen: Rock and Roll Future’ (hardcover) can be purchased here: Backstreets.com
Landau’s ’74 Harvard Square Review
It’s four in the morning and raining. I’m 27 today, feeling old, listening to my records, and remembering that things were different a decade ago. In 1964, I was a freshman at Brandeis University, playing guitar and banjo five hours a day, listening to records most of the rest of the time, jamming with friends during the late-night hours, working out the harmonies to Beach Boys’ and Beatles’ songs.
On the anniversary of “I Saw Rock and Roll Future” – May 9, 1974 — Barry Schneier Photography
Production Company: The Women’s Hour – The Red Tape Collective
Presented by: WBCN – Boston
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Bonnie Raitt – Why I Sing the Blues - Produced by Gail Pellett with the Red Tape Collective 1974
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In the first ten minutes of the program we hear cuts from John Lee Hooker, Bonnie Raitt and Arthur Big Boy Cruddup along with Memphis Minnie. We also hear Bonnie talk about where her interest in the blues came from and how she chose music making over finishing university and hear about her thoughts on the blues revival of the late 60’s.
In this music laden half-hour program, a young Bonnie Raitt, at the early stage of her long and consistent career – ready to release her 3rd album under a new label, Warner Bros.– talks about how she became a blues musician and singer, how she turned anger about women’s experiences into a creative force and ruminates on the waxing and waning of the blues revival.
Never Into Judy Collins, but loved John Lee Hooker
“I grew up in California during the Surf music era but I was into Soul music. When I moved East to go to college (Harvard) I arrived in the midst of the folk music revival. I was never into Judy Collins, but I loved MississippiJohn Hurt. I really loved John Hammond and John Lee Hooker even better.” Bonnie began singing in 1969 and 70 while at Harvard playing in the folk clubs around Boston and Cambridge. “Perhaps my initial success came from the fact that there were very few women blues musicians — really no women blues guitarists — so I fit into a slot. Kinda like a gimmick.”
“I didn’t want to go back to school and I didn’t want to become a secretary until I really had to.”
The blues revival was the result of a few white middle class guys from the Northeast driving around the South meeting and recording the old blues guys. “Many of them were unemployed or working at menial jobs and had been ignored and forgotten for years. Some were practically starving. I make a living at playing this music now, but it makes me sick that most of these folks are so underappreciated.” Bonnie has performed with the great Sippie Wallace (“Women Be Wise” at the Ann Arbor Blues Festival; check out the Classic Women Blues radio show on this site) and learnt bottle-neck guitar from many of the old Delta blues musicians. In her live concerts she always gives credit to those musicians and their music.
Bonnie is outspoken about her anger as a woman and talks about the importance of turning that anger outward and putting it into music. This program is rich with both the music that inspired her and her own recordings. We hear John Lee Hooker, Arthur Big Boy Cruddup,Memphis Minnie, Big Mama Thornton and Sippie Wallace among others.
David Dye / Alan Onny? - December 18, 1972 - 93.3 WMMR
David Dye - December 1972 - 93.3 WMMR
Michael Tearson / Paul Messing (OPUS) - March 6, 1972 - 93.3 WMMR
Michael Tearson - March 9, 1972 - 93.3 WMMR
Luke O'Reilly - August 27, 1971 - 93.3 WMMR
Ed Sciaky - March 9, 1972 - 93.3 WMMR
No Nukes - MUSE Battery Park 9-23-1979 - Bonnie Raitt
Bandana Blues #1038
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
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