Bonnie Raitt playing at the New Orleans Jazz Fest,1977 | Don’s Tunes

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Bonnie Raitt playing at the New Orleans Jazz Fest,1977

For many people, the eclectic nature of Raitt’s music over the years remains one of her major attractions. Although primarily an interpreter of other people’s music, it is her desire to dabble in different styles – blues, country, soul, rock’n’roll, you name it – that has made her such an engaging artist. And it all began way back in the early 70s when she released her debut album.

“In the early days a lot of people said it was a problem because you couldn’t pigeon-hole me,” she laughs. “They said I should stick to one kind of music. I appreciate that people do get like that. It took a while. Nick Of Time features the same kind of material as I had on my first album, but after twenty years people thought it was a worthwhile thing to be eclectic, so I’m proud to have people like it. I would get bored doing just one style.

“I always thought it was a strong point, myself,” she adds. “And I couldn’t change it even if I tried. So I just make records for my peers, my fans and me. Sometimes the critics get it, sometimes they don’t.”

Despite Raitt’s wide-ranging interests, there are common musical themes running through her music,

“Rhythm and blues, and the blues itself,” she notes. “I tend to like the funkier aspect of it. Even Ray Charles’s interpretation of country music always appealed to me. That’s my first love.”

Raitt was also attracted to the rebellious aspect of the early days of rock’n’roll.

“I suppose I was too young to admit that I knew what sex was, but that’s the reason people across the world fell in love with Elvis Presley and Chuck Berry,” she smiles. “And it’s why, in the early part of the twentieth century, my grandparents were angry with my folks for liking big-band and swing.

“My piano player told me that hundreds of years ago the raised fifth was the Devil’s note. The seventh chord was illegal and religious leaders outlawed it in church music. I had no idea that the Devil’s music went back that far. But then I got to know about all those pentatonic [consisting of five notes] Arabic scales that float through flamenco and gypsy music and Celtic music, and all of that stuff that came from India and Africa. That kind of music is so soulful, mournful, lonely, sexy and erotic. So all of the darker, exciting, juicy emotions come out from the emotions that the blues is calling back.

Jerry Ewing / Classic rock 

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