When Sheryl Crow and Bonnie Raitt performed at Eric Clapton’s Crossroads Festival in 2019, they unleashed a Bob Dylan cover that was so outstanding, many viewers have since said it was better than the original recording! The song they covered was ‘Everything is Broken’ from Dylan’s 1989 album ‘Oh Mercy,’ and it is a joy to watch these two talented ladies put their own stamp on it.
Sheryl starts off the rendition by proudly introducing Bonnie Raitt as the first woman she ever saw to rock an electric guitar. When Bonnie comes on stage she really does look like an absolute rockstar, and before too long the two ladies are ripping up the stage with their fiery guitar licks and powerful vocals.
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Of course, the YouTube comment section is packed full of love for the two performers, with many viewers finding themselves particularly blown away by Bonnie’s talent. “Bonnie Raitt is super gutsy…she sounds better every year,” praised one fan, while another described her as having “that syrup and soul in her voice like nobody else.
If you’re after more knockout performances from Bonnie and Sheryl, Music Man readers, then you need to check out their incredible live rendition of the track ‘Live Wire’ alongside singing legend Mavis Staples. With country, pop, and rock ’n’ roll vibes, it’s a song with a little bit of everything that really showcases the musical talents of these three inspirational ladies.
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Of all the performances Bonnie and Sheryl have given together, however, it’s always their rendition of ‘Everything is Broken’ from the Crossroads music festival in 2019 that we end up going back to. Let’s hope these ladies get back together for another live performance like this very soon!
Sheryl Crow and Bonnie Raitt delivered a performance that truly raised the bar, captivating audiences with a rendition that rivaled even the original. Their collaboration at Eric Clapton’s Crossroads Festival showcased not only their remarkable talent but also their enduring influence in the music world. Want to experience more about these iconic artists and the unforgettable night they created? Explore the links below to dive deeper into their electrifying performance and musical journey.
Hi there, I’m Imogen Bebb. I’ve been a music journalist since I was 16 years old, and have written for wide range of publications including Shindig!, Electronic Sound, Blitzed and The Electricity Club. In November 2022 I published my first book, which documented a tour undertaken by my favourite band, Orchestral Manoeuvres in the Dark (OMD). Some of my other favourite artists include Duran Duran, Blur, Genesis, 10cc, the 1975 and The Police, although it was discovering The Beatles at age 12 that started me on my journey to becoming a full-blown music obsessive. See more of my work on Electronic Sound.
Joan Baez’s protest music is front and center in star-studded tribute
By Zack Ruskin
In an evening devoted to her music, activist and artist Joan Baez shared the contents of a message she’d just received with a sold-out crowd at San Francisco’s Masonic Auditorium.
“I just got a text from one of my friends saying this is the best f—king rally I’ve been to in 65 years,” Baez proudly exclaimed on Saturday, Feb. 8. “Tonight, we’re celebrating our strengths in this hall because music, joy, and laughter have suddenly become acts of resistance.”
It was, all things considered, a bittersweet and beautiful stroke of timing to honor the 84-year-old Baez, who lives in Woodside, at a moment when her lifelong specialty — protest music — could not be needed more.
Indirectly acknowledging the tumultuous actions of President Donald Trump over the first month of his second term in office, Rage Against the Machine guitarist Tom Morello welcomed the audience to “the last big party before they cart us all off to jail.”
“This is a reminder,” he continued, “that while dark clouds are gathering, this land is your land” before launching into a cover of Woody Guthrie’s seminal folk protest ballad of the same name.
The evening also doubled as a benefit and 30th anniversary party for the Sweet Relief Musicians Fund, which has provided ample support to musicians affected by last month’s devastating wildfires in Los Angeles.
From bandleader Joe Henry calling upon Raitt, Cash, Harris and Price to provide backing vocals on a spirited cover of the Band’s “The Night They Drove Old Dixie Down” to a surprise appearance from Zoe Ellis and Glide Memorial Church’s Glide Ensemble, the night’s unpredictable nature was buoyed by a consistent stream of lofty praise for Baez from each new artist who appeared.
Harris credited Baez with “being the reason I picked up a guitar and learned three chords,” while Cash lauded Baez for teaching her that it was OK to cover songs without changing the pronouns.
“When I was 14, the first record I ever bought with my own money was a Joan Baez record,” acknowledged Browne before launching into a gorgeous, jam-filled rendition of his song “The Barricades of Heaven.”
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By contrast, Morello admitted that he originally thought one of Baez’s songs was by British heavy metal band Judas Priest before learning that it was actually a cover (“Diamonds and Rust”). But Morello also gave a fitting nod to Baez’s lifelong support of immigrants by revealing a “F**K ICE” sign taped to the back of his guitar while singing a ferocious, decidedly electrified take on “The Ghost of Tom Joad.”
Baez was herself more than up for the occasion, frequently popping into sets without any formal announcement.
During Morello’s cover of “This Land Is Your Land,” she emerged slapping a tambourine. Later, she lent her vocal talents to a performance of “Farewell, Angelina” with Cash and a duet of “Before the Deluge” while seated at a piano alongside Browne. Finally, to close out the nearly-three-hour jubilee, the night’s subject of honor delivered a breathtaking performance of “Diamonds and Rust” with a house band that included her son, Gabe Harris, on percussion.
“I’m still waiting on the diamonds,” Baez quipped after the final note of a song based on her difficult relationship with Bob Dylan, portrayed in the current Oscar-nominated film “A Complete Unknown.”
The woman who played Baez opposite Timothée Chalamet’s Dylan, Mill Valley-raised Monica Barbaro — both actors are nominated for Academy Awards — attended Saturday’s event as a guest of Baez.
Rarely does a concert provide so many memories as to make the prospect of ensuring you don’t forget a single second feel like such a necessity, but that was absolutely the case on Saturday night.
On a bus home following the concert, Arlo Boyle, 73, of San Francisco echoed familiar sentiments heard by departing attendees.
“My biggest takeaway is that Joan is truly a voice for the ages,” Boyle said. “Everything seems new again. With the current political climate, we need this dedication to resistance once again. We are all in this together and it feels exciting, not hopeless.”
From Raitt and Taj Mahal teaming up to perform as a formidable duo to Ramblin’ Jack Elliott spinning yarns about “meeting a kid named Bob (Dylan)” while Price sweetly attempted to help the 93-year-old legend with his Stetson hat, an abundance of joy, resilience and resolve seemed to seep from every pore at the Masonic, offering arguably the most fitting tribute possible to Baez’s ongoing, enduring legacy.
That’s why the crowd cheered so loud when Price and her husband, musician Jeremy Ivey, sang the lines “Come senators, congressmen / Please heed the call” in “The Times They Are a-Changin’” and why seeing Williams — now thankfully five years recovered from a massive stroke — power through a spine-tingling take on “Forever Young” were more than mere moments of music.
Instead, they represented the power and community beautiful songs and sharp minds can create when there’s a worthy cause to focus on. And while Baez was humble in acknowledging her role as the evening’s honoree (“I’m happy to be the excuse that’s brought these people together”), she didn’t waste her chance to rally her troops with an urgent call to action.
“Tomorrow, go out and find one thing you can do,” she advised. “Maybe that’s protecting your local library, or supporting your Latino gardener, but this is not the time to be comfortable.”
Perhaps the great Taj Mahal said it best.
Asked by Raitt for his thoughts on Baez as they settled onto the stage, the recent Lifetime Grammy winner and longtime Berkeley resident kept it simple while getting it exactly right: “She is part ‘dear lord’ and part ‘thank you Jesus.’”
Setlist from Joan Baez Tribute Show, Jackson and Joan also performed ‘Before The Deluge’ as a duet – Masonic Auditorium, San Francisco – February 8, 2025
Zack Ruskin is an award-winning reporter living in San Francisco. His bylines on music, books, sports and more can be found at San Francisco Chronicle, Variety, Rolling Stone, Vanity Fair, Washington Post, and numerous other publications. He also works as a copywriter for clients like Vogue, Glass House Brands, and the Presidio Trust of San Francisco.
Joan Baez, and Many Friends, Show Her Enduring Resonance at Tribute Concert
February 9, 2025 by Caroline Smith
Before the three-hour, all-star Joan Baez tribute concert in San Francisco on Saturday, I conducted an informal survey of Gen Z about the singer.
Some knew her through A Complete Unknown, the new Bob Dylan flick starring Timothée Chalamet. Others knew her through the Joan Didion essay featured in Slouching Towards Bethlehem, “Where the Kissing Never Stops.”
For most, their mothers had shown them “Diamonds and Rust.” The song “slays,” said Anna Reagan, 24, who first heard it in college.
A TikTok about Baez and Bob Dylan’s “biblical situationship” captioned “I will never forgive him,” screenshotted with the caption “brb catching up on 60 year old drama,” has thousands of reposts. Presenting their discography as call-and-response, it interlaces Dylan’s alleged pseudonyms for Baez with Baez’s direct “To Bobby.”
It’s Baez’s perceived victimhood, at her caliber, that seems to endear her to the women “catching up.” She’s like them: she’s been led on, she met a man at her level and then he “went off and got married.” “She is in a sense the hapless victim of what others have seen in her, written about her, wanted her to be and not to be,” wrote Didion of a 25-year-old Baez in 1966. “Above all, she is the girl who ‘feels’ things, who has hung on to the freshness and pain of adolescence, the girl ever wounded, ever young.”
In A Complete Unknown, Monica Barbaro’s Oscar-nominated performance refutes the narrative of Baez as the woman forever reeling from Dylan’s scorn. The film, for all its flaws, makes clear: She’s the one who’s famous first. He wants her, but he might just want her fame. And in small ways, she retains her agency — at one point privately flipping him off onstage at the Newport Folk Festival.
(L–R) Margo Price, Bonnie Raitt, Linda Ronstadt, Joan Baez, Rosanne Cash, Lucinda Williams and Emmylou Harris, backstage at the Masonic in San Francisco for a benefit concert for Sweet Relief on Feb. 9, 2025. (Jay Blakesberg)
At a benefit concert for the Sweet Relief Musicians Fund at the Masonic on Saturday, titled “A Night to Honor Joan Baez,” the local legend, now 84, began her closing ceremony for the three-hour evening with a performance of “Diamonds and Rust.” After singing “my poetry was lousy, you said,” she interjected a “Ha!” intended for Dylan, to laughter.
“I’m still waiting on those diamonds,” she deadpanned. But if the hurt Dylan caused her still appears here and there, Baez’s life far exceeds one heartbreak. She followed the song with a rendition of “Gracias a la vida,” dancing while Margo Price, Bonnie Raitt and Tom Morello played maracas, invoking Baez’s own Spanish-language repertoire and activism and conveying gratitude for her life as a whole.
Baez’s son Gabriel Harris, serving as percussion for the house band, described trying to keep back tears while looking at the audience. Baez’s 1964 performance of “Birmingham Sunday,” according to Birmingham-born Emmylou Harris, “changed the heart of this country” — and in her own family. Along with that track, Harris covered “Deportee” with Price, who nodded to its renewed relevance.
Lucinda Williams hailed the union organizing-centered “Joe Hill” before covering it in Baez’s style. Two Progress Pride flags — the rainbow flag with a triangle indent of black, brown and trans pride stripes — hung on stage throughout the night. The audience clapped in rhythm to the GLIDE Ensemble’s two gospel tracks.
Morello, from Rage Against the Machine, flipped his guitar during a performance of “The Ghost of Tom Joad” to reveal “FUCK ICE” taped to its back. Bemoaning the censored version of “This Land is Your Land” he learned in third grade, Morello resurfaced the original verses from Woody Guthrie’s manuscript. When he asked the audience to rise for “America’s alternative national anthem,” Baez made her first appearance on stage, silently dancing along.
Joan Baez and Jackson Browne on stage at the Masonic in San Francisco on Feb. 9, 2025. (Jay Blakesberg)
“I got a text from one of my friends that said, ‘This is the best fucking rally I’ve been to in the past 60 years,’” said Baez at the end of the night, before encouraging the audience to undertake one act of resistance the next day.
“Whether it’s defending your local library, defending your Latino gardener” — some audience members paid more than $3,000 for tickets — or “standing on a busy street corner, alone if necessary, wearing a T-shirt that says ‘We are all illegal immigrants on stolen land.’ This is not the time to be comfortable. But we can take comfort in our decision to be counted among the ones who care,” Baez said.
After the show, Lexie McNinch, 26, remarked that the singers on stage were much more openly political than younger artists she sees today in concert. McNinch first learned about Baez when Lana Del Rey, she of famously fuzzy politics, brought her onstage at Berkeley’s Greek Theatre in 2019. (Taylor Swift also brought Baez onstage in Santa Clara in 2015.)
(L–R, foreground) Margo Price, Jackson Browne, Emmylou Harris, Joan Baez and Rosanne Cash on stage at the Masonic in San Francisco on Feb. 9, 2025. (Jay Blakesburg)
Matthew Gilbert, 26, learned about Baez from his mother, but had a similar experience when Maggie Rogers sang “Don’t Think Twice, It’s All Right” with Baez during Rogers’ San Francisco show last fall. Looking around, he realized his friends didn’t know the special guest or her significance.
“Joan Baez has been instrumental in fighting against the idea of folk music as a tool for nativism and nationalism and instead forging a connection between folk music and social movements,” said Gilbert, a Stanford PhD candidate in ethnomusicology researching California folk music, over text. “Baez is one of those people who not only stood up for what she believed in and fought for justice her entire life, but also shaped how so many of us think about popular culture (and counterculture) in the United States.”
The name Baez works like a spell for many above a certain age. It conjures images of either her youth or their own. Surprise guest Jackson Browne recounted how the first record he bought as a teen was one of Baez’s. Ron Artis II, one of the youngest artists on stage, admitted learning about Baez from a video game. But for the Gen Z attendees on Saturday, Baez functioned less as a symbol of nostalgia, and more as an example for what a single life can achieve through art and activism, despite occasional heartbreak.
Maya Klein, 20, said the concert impressed upon her the power of music, especially in confusing and lost times. Many of her friends learned about Baez from the Chalamet movie. She’s glad they did.
Baez is, in her words, “the voice of a generation.”
Caroline Smith is a producer for Forum. Smith joined the team in 2019 as an intern and became an on-call producer later that year. From the Bay Area, Smith graduated with a B.A. in Rhetoric from UC Berkeley and is an alumnus of The Daily Californian.
Bonnie Raitt, Emmylou Harris, Ramblin’ Jack Elliott and More Honor Joan Baez with Retrospective Concert in San Francisco
February 11, 2025
On Saturday, Feb. 8, an elite lineup of artists turned up at the Masonic Auditorium in San Francisco for the Sweet Relief Musicians Fund’s celebration of folk icon Joan Baez. The occasion featured homages to the singer/ activist, including guests and admirers Emmylou Harris, Rosanne Cash, Margo Price, Bonnie Raitt, Tom Morello, Joe Henry, Lucinda Williams, Taj Mahal, and surprise addition Jackson Browne, the honoree’s longtime friend.
The concert harkened back to Baez’s historic career and web of influence, culminating in associated covers and originals that permeated from her supporters and peers, supported by a house band led by Joe Henry and featuring Jason Crosby, Greg Leisz, Gabe Harris, and David Piltch.
The show featured 27 songs that began at the helm of Margo Price, who offered the folk ballad/ Baez covered “Silver Dagger,” followed by Dylan’s “Time They Are a-Changin’,” a song the honoree often performed as a duet with her then-boyfriend in the mid-60s.
In time, Harris took the stage and led the house band through Baez’s 2008 Steve Earle-produced track, “God is God,” before all the ladies on the bill, including Roseanne Cash, Lucinda Williams, Bonnie Raitt, Price, and others, gave wings to “Birmingham Sunday.” Williams stuck around and offered a song that spoke to Baez’s spirit on “Forever Young” and “Joe Hill,” Baez’s Woodstock performed folk commentary on the labor activist.
Ramblin’ Jack Elliott’s arrival yielded a nod to his Greenwich days with Dylan and Baez. The 93-year-old sang “Don’t Think Twice” before another leading lady, Cash, took the stage and played “Long Black Veil” and “Farewell, Angelina.” Henry, Harris, and Price performed the aptly chosen “Deportees,” considering the current political climate.
Browne surprised his old friend, Baez, by playing his “Barricades of Heaven” before Baez’s son, Gabriel Harris, performed a hand pan medley. Fellow surprise guests, The Glide Ensemble, played through “Oh Freedom” and “Feel Your Spirit.” Henry took the stage and joined Glide on the folk song “The Water is Wide” before Henry and the ladies played through “The Night They Drove Old Dixie Down.”
Taj Mahal and Bonnie Raitt teamed up on “Twelve Gates” and “(Ain’t Gonna Let Nobody) Turn Me Around.” Raitt saluted her sister in music during the Speaking of Dreams feature, “El Salvador,” ahead of the honoree’s delivery of her Top 40 hit, “Diamonds & Rust.” Everyone took the stage, joining Baez for the final song, with a fitting choice from her repertoire: “Gracias a la Vida.”
Following the event, Aric Steinberg, Executive Director at Sweet Relief Musicians Fund, remarked: “We’re thrilled to celebrate 30 years of Sweet Relief while honoring the great Joan Baez and her amazing career. Joan has supported our charity for many years, and it was a privilege to honor her alongside so many incredible artists. It was a night to remember and I’m so grateful to Joan and all of the performers who will help ensure that our music community continues to have Sweet Relief as a resource for emergency financial assistance.”
Sweet Relief Musicians Fund “Provides services and financial assistance for career musicians and music industry professionals. Grants are earmarked for medical and vital living expenses, including insurance premiums, prescriptions, medical treatment and operative procedures, housing costs, food costs, utilities, and other basic necessities.”
Watch Joan Baez Perform an Emotional ‘Diamonds and Rust’ at All-Star Tribute Show
February 11, 2025 by Andy GreeneJoan Baez performs onstage during the 37th Annual Tibet House US Benefit Concert at Carnegie Hall on February 26, 2024 in New York City. (Photo by Noam Galai/Getty Images for Tibet House US)
It was the culmination of a San Francisco charity concert that featured appearances by Tom Morello, Bonnie Raitt, Jackson Browne, Emmylou Harris, and Margo Price
Monica Barbaro’s Academy Award-nominated portrayal of Joan Baez in the Bob Dylan biopic A Complete Unknown has introduced an entirely new generation of fans to the folk icon, even though Baez retired from the road following a 2019 farewell tour and rarely performs live these days. She made an exception Saturday night when she took the stage at a tribute concert held in her honor at San Francis’s Masonic, with all proceeds going to Sweet Relief Musicians Fund.
The roster for the show included Jackson Browne, Emmylou Harris, Roseanne Cash, Margo Price, Bonnie Raitt, and Tom Morello. Near the end of the night, Baez delivered a spellbinding rendition of her 1975 classic “Diamonds and Rust,” which chronicles her tumultuous relationship with Bob Dylan a decade prior. As she’s often done over the years, Baez updated the lyrics by singing, “60 years ago you bought my cufflinks.” She was unable to hold back a laugh that such an absurd amount of time has passed since the events of the songs took place. (Click here for a much better video than the one below.)
The studio version of “Diamonds and Rust” ends with the bitter line, “If you’re offering me diamonds and rust/I’ve already paid.” She’s often altered them in concert to “If you’re offering me diamonds and rust/I’ll take the Grammy.” At this show, however, she went with, “If you’re offering me diamonds and rust/I’ll take the diamonds.” After the audience erupted with applause, she returned to the mic and deadpanned, “I’m still waiting for the diamonds.” The night wrapped up with all of the performers of the night joining Baez on the Latin American standard “Gracias A La Vida,” which was the title track of her 1974 album.
Baez’s voice remains in extraordinary shape, considering that she recently celebrated her 84th birthday. When she walked away from the road in 2019, however, she said the state of her voice was one of the key considerations. “I don’t want to try and use it forever,” she told Rolling Stone. “I know some people strain to sing until they’re 100 and then drop dead on the stage, but that’s never been my vision of how I’d end the career. I like this voice. It’s nothing to do with the one I had 50 years ago, nothing at all, but I’m enjoying it and it’s also, at the same time, quite difficult to keep up.”
Barbaro worked extremely hard to sing like Baez while prepping for her role in A Complete Unknown. She even got a chance to speak with Baez on the phone. “I felt emotional hearing her voice on the phone because I had been studying her voice in her twenties so intensely,” Barbaro said. “And I felt like I had so much respect for her. But she was like, ‘Oh, I’m just in my garden listening to the birds.’ And I was like, oh, yeah, you don’t live or die by what we say about you in this movie. She’s lived her life…She was like, ‘I’m here, I’m open and available for any question you have.’ I was really appreciative that she was so generous with me.”
In a recent interview with the Marin Independent Journal, Baez shared her thoughts after seeing the movie with her granddaughter. “I loved what [Barbaro] did in the film,” Baez said. “If I didn’t think she was good at it, I probably wouldn’t have enjoyed it in general. But she looked enough like me and she had my gestures down. You could tell who it was. She worked so hard. Kudos to her for taking the role on.”
That doesn’t mean it wasn’t strange to watch a fictionalized version of herself make out with Timothée Chalamet’s Bob Dylan character. [The scene] was pleasantly brief,” Baez said. “[My granddaughter] said, ‘I don’t want to see my grandmother making out in a film.’”
Andy Greene is a Senior Writer that has been on staff at Rolling Stone since 2004. He writes about music, movies, and television, and runs the Unknown Legends and King For a Day interview franchises. He is also the author of the New York Times bestselling book “The Office: The Untold Story of the Greatest Sitcom of the 2000s.” Prior to Rolling Stone, he worked at the Rock and Roll Hall of Fame and Museum in Cleveland, Ohio
“I am an old woman named after my mother”—this wasn’t the kind of opening line you heard very often from a male vocalist in the 1970s or any other period in pop music. Taking the perspective of another gender was rare enough, but choosing to do so through the eyes of a character who was also past their prime and embittered took the guts and imagination of one of the great songwriters of his era.
That man was John Prine, and the song was ‘Angel From Montgomery’, a country-folk classic from Prine’s self-titled debut album in 1971. He was just 24 years old when he recorded it and still reliant on his day job as a postal worker in Chicago, but Prine’s heartfelt portrayal of a frustrated woman in a dead-end marriage made a lasting impression on a new audience.
Within a few years of its release, several artists, including Carly Simon and John Denver, had already covered’ Angel From Montgomery’. The song found its ideal pairing, however, in 1974, when Bonnie Raitt recorded her fourth studio album, Streetlights.
“As a young feminist,” Raitt later told Uncut, “The idea that this young man [Prine] could inhabit the world of a middle-aged woman in a thankless marriage really resonated with me.”
Raitt, like Prine, was just 24 when she first sang ‘Angel From Montgomery’, but her voice always carried a maturity and world-weariness well beyond its years. Though the song’s opening line identifies the speaker as an “old woman,” Prine explained that this was more of a commentary on how the woman—someone more likely in her 40s or 50s—had come to see herself.
“I had this really vivid picture of this woman standing over the dishwater with soap in her hands and just walking away from it all,” Prine said, as quoted in the book More Songwriters On Songwriting. “I just kept that whole idea image in mind when I was writing the song, and I just let it pour out of that character’s heart.”
There’s flies in the kitchen, I can hear ’em there buzzing And I ain’t done nothing since I woke up today How the hell can a person go to work in the morning And come home in the evening and have nothing to say?
As decades passed, ‘Angel’ remained a regular part of the performing repertoire for both Prine and Raitt. And even though Raitt enjoyed an unlikely breakthrough into mainstream pop stardom in the late ‘80s, she had also grown into the age of the character in the song, making it all the more meaningful to perform for her now expanding fan base.
“‘Angel From Montgomery’ has probably meant more to me and my fans than any song I’ve ever done,” Raitt said before inducting Prine into the Songwriters Hall of Fame in 2019. “It’s a masterpiece. And I’ve dedicated it to you, as you have to me, and to so many women working to try and get lives that have more choices than the woman in that song. As we get older, the grey areas are what come to the fore, and that’s what you write about, the complexities, in such a beautiful, simple way.”
John Prine died less than a year after that induction ceremony in April of 2020, one of the early victims of the Covid pandemic. He was 73.
Andrew Clayman is an ageing music writer, amateur shortstop, and semi-pro historian who left his sweet home Chicago to chase the dream in Leeds. Quite conceivably the only person to have interviewed Henry Rollins and Zooey Deschanel on the same day (not together), his other interests include birdwatching, car boot sales, and asking people if they’ve ever listened to the band Close Lobsters.
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