I began listening to Bonnie Raitt in late April of 2021. I recommend her albums that are B+ and up.
Bonnie Raitt (1971): B+
Give It Up (1972): A [Originally: A-]
Takin' My Time (1973): B
Streetlights (1974): C+
Home Plate (1975): A-
Sweet Forgiveness (1977): B+
The Glow (1979): B-
Green Light (1982): B
Nine Lives (1986): C+
Nick of Time (1989): B
Luck of the Draw (1991): B+
Road Tested (1995): B
Bonnie Raitt (1971):
At first, I thought this record was too casual for its own good--I almost forgot about it after two listens. But focusing more carefully on the subtlety in her singing as well as her wonderful slide guitar, I'm sure it's only a matter of time before she becomes one of the premier blues artists of her time. The two originals on the album--"Thank You" and "Finest Lovin' Man"--suggest a strong songwriting future and her basic dedication to the blues allows her to tastefully expand the arrangements of the cover songs she has such reverence for. I'm also sure it will be a very pleasant album to return to once her talents are fully realized. B+
Give It Up (1972):
While Raitt's debut was modest and meditative, her sophomore record boasts her confidence and swagger. Though she hasn't become a prolific songwriter, it's much harder this time to tell the difference between the covers and originals, especially as they all work in unison to convey themes of classic femininity and sexual autonomy. Her musical influences have also more seamlessly intertwined into a beautiful tapestry of blues, jazz, R&B, and folk. As great as the fast rockers are though, the highlights of the album are the slower numbers "Nothing Seems to Matter," "Too Long at the Fair," "You Got to Know How," and "Love Has No Pride," where she flexes her magnificent, earthy voice. The guitar continues to be spectacular too. A
Takin' My Time (1973):
Raitt hardly struggles mastering the different genres and styles that the chosen cover songs require and she breezes through the calypso/reggae "Wah She Go Do" with ease and comfort. The multitude of the genres keeps the album feeling fresh but it lacks an overarching theme or direction. It doesn't have the quiet meditation and reverence of her debut or the sharp femininity and confidence of Give It Up and, anyways, the best songs on Takin' My Time are the usual suspects--blues numbers and slow ballads. B
Streetlights (1974):
After the eclectic variety of Takin' My Time, Streetlights focuses Raitt's talents on folk pop, which she has proven to be the worst at so far at. Where blues numbers show off her feminine swagger and ballads show off her incredible ability to convey emotion, folk music restrains her naturally agile voice and makes the arrangements of the covers predictable and unmemorable. Given her immense talent, she's able to provide a few strong moments but rarely does it result in an entire song that is worthwhile--especially not her incredibly popular cover of "Angel from Montgomery." C+
Home Plate (1975):
Not exactly a return to her blues roots and not exactly a departure from Streetlights, Home Plate continues Bonnie Raitt's attempts for commercial success. This time I wouldn't mind if it was her breakthrough. Unlike its predecessor, this album renders Raitt's voice as rich as ever and the songs--even the ones with strings--are tastefully constructed and nicely show off her eclectic influences. No original tracks, Raitt continues proving herself as one of the most substantive cover artists of her generation. At first, its silly cover art might trick you into thinking it's merely a minor comeback but listen more closely and you'll notice each cut is excellent from "Good Enough" to "I'm Blowing Away." A-
Sweet Forgiveness (1977):
Continuing in the vein of Home Plate, Raitt is shooting for commercial success and once again I don't mind. Of course, I would have liked a return to the blues by now but this is perfectly fine--Raitt's main appeals has always been her magnificent voice and her gift for covering other artists, not singing the blues. I don't particularly enjoy "Runaway" but I'm glad she's finally gotten some of the commercial success she has long deserved. The rest of album is quite good though it's not as grabbing as her previous album. B
The Glow (1979):
Raitt's talents are mostly muted behind the production and direction--somewhat disco at times--of the album. I mostly blame producer Peter Asher who takes away the fun and swagger we've come to expect on Bonnie's albums. Still, there are two notably strong tracks "Your Good Thing (Is About to End)" and "Standin' by the Same Old Love," her first original since 1972. B-
Green Light (1982):
Not that I would say this production really suits anyone perfectly, Raitt has a naturally earthy voice that is undercut by the synthetic sound of this album. I have a hard time believing that I'll return to the entirety of this but certainly in isolation it works quite well. It's a strong set of songs with the highlights being "Can't Get Enough," Let's Keep It Between Us," and "Me and the Boys." B
Nine Lives (1986):
I'd be lying if I said there wasn't a few decent hooks but the problem is it all sounds corny. The production is incredibly dated and it's both shocking and disappointing to hear Raitt in such a commercial setting--she only cuts through all the cobweb on "Angel." Why couldn't Home Plate have been a hit? C+
Nick of Time (1989):
I'm glad that Bonnie finally achieved commercial success though this isn't one of my favorites. Once again, the production doesn't fit her earthy voice. However, the song selection is quite strong, Raitt's guitar playing is her best in many years, and the album works overall. But it only becomes brilliant when she plays the blues. B
Luck of the Draw (1991):
It took Raitt long enough to finally give us a real return to the blues and I couldn't be more ecstatic. Her best since Home Plate, Raitt provides a track list as consistently strong as Nick of Time but this time she gives a helping hand in the production, offers four original songs as good as anything she's ever written, and plays her specialty. This could grow on me significantly in the future. B+
Road Tested (1995):
Following her return to the blues, this was a live album I wasn't going to miss. Raitt brings an exceptional band along with her to produce fantastic and energetic renditions of her songs, plus a tribute to Mississippi Fred McDowell! B
