http://assets-s3.rollingstone.com/assets/images/album_review/7feeb35fa23e8bedd1fe3a8627b9c0507be4b6ee.jpg Fundamental

Bonnie Raitt


Rolling Stone: star rating
Community: star rating
5 4 0
April 8, 1998

In 1971, on her very first album — with Minneapolis folkies and Chicago bluesmen threading hand claps, shuttlecock shakers, tubas and tenor saxophones through the mix — twenty-one-year-old vocalist and slide guitarist Bonnie Raitt announced her resistance to both folk gentility and studio antisepsis. Admittedly, the comeback that began with 1989's Grammy-winning Nick of Time did exploit Don Was' humanized variation on the same control-freak production values she couldn't deal with in the Seventies. But now she seems to have had enough, and her first studio album in four years enlists producers Mitchell Froom and Tchad Blake on a quest for the fundamental things.

"The Fundamental Things" announces the album's intentions — "Let's run naked through these city streets" — and then illustrates the metaphor with gobs of slide, lazy horn parts that Raitt wrote herself and dimly moaned vocal interjections. Blake doesn't unloose as many noises here as on the aural archive he crafted for Los Lobos' Latin Playboys project. But throughout, he assures that Raitt's usual complement of felt, well-crafted songs will sound more homemade and overheard than the well-meaning Was could tolerate. Standouts: "Cure for Love," which multi-instrumentalist, backup vocalist and erstwhile Latin Playboy David Hidalgo would own if Raitt hadn't left her voiceprints all over it, and the J.B. Lenoir blues "Round and Round," antiqued to a fare-thee-well over percussion that could be some exotic drum or an empty box of Havanas.

The material flattens slightly about halfway through, and the production gets straighter as well. But in a musical world where "everything's carefully prearranged," Raitt has thrown a Birkenstock in the works, and the clatter sounds like life itself. After twenty-seven years, fifteen albums and nine Grammys, we should all be impressed — and grateful — that she felt the need.

Album Review Main Next


Community Guidelines »
loading comments

loading comments...


Sort by:
    Read More
    Around the Web
    Powered By ZergNet
    Daily Newsletter

    Get the latest RS news in your inbox.

    Sign up to receive the Rolling Stone newsletter and special offers from RS and its
    marketing partners.


    We may use your e-mail address to send you the newsletter and offers that may interest you, on behalf of Rolling Stone and its partners. For more information please read our Privacy Policy.

    Song Stories

    “You Oughta Know”

    Alanis Morissette | 1995

    This blunt, bitter breakup song -- famous for its line "Would she go down on you in a theater?" -- was long rumored to be about Alanis Morissette getting dumped by Full House actor Dave Coulier. But while she never confirmed it was about him (Coulier himself says it is, however), she insisted the song wasn't all about scorn. "By no means is this record just a sexual, angry record," she told Rolling Stone. "The song wasn't written for the sake of revenge. It was written for the sake of release. I'm actually a pretty rational, calm person."

    More Song Stories entries »