.
http://assets-s3.rollingstone.com/assets/images/album_review/3a280c2f7e3dacb4f083a99a779964dd11015d38.jpg Streetlights

Bonnie Raitt

Streetlights

Rolling Stone: star rating
Community: star rating
5 0 0
November 7, 1974

On her newest album Bonnie Raitt, one of the most gifted contemporary pop interpreters, partially succeeds in coping with uncongenial production by Jerry Ragovoy. The uneven results illustrate an important record industry problem: How are artists to deal with a sophisticated production technology that dictates the creation of flawlessly manufactured commercial "product" and tends to disallow the idiosyncratic, spontaneous and simple? Increasingly, the outcome is a bland MOR slickness that depersonalizes an artist's vocal quality and undermines the character of a song.

Ragovoy's production, while it sets off Raitt's voice as a beautiful artifact, fails to exploit her great strength as a blues singer. Joni Mitchell's "That Song about the Midway" and James Taylor's "Rainy Day Man" emerge as high-quality schlock ballads, either perfect or perfectly boring. More successful are John Prine's "Angel From Montgomery" and Bill Payne's "Streetlights," both of which Raitt animates, despite their overly polished sound settings. Raitt fares best in the bluesier songs — Ragovoy's own "Ain't Nobody Home," Lou Courtney's "You Got To Be Ready for Love" and Allen Toussaint's cynical "What Is Success." The last, one of Raitt's finest recorded performances, is the only cut in which she tears loose and shows her ability as an R&B interpreter.

The apparent intention behind Streetlights is to broaden Raitt's commercial appeal, to make her a superstar a la Roberta Flack. I hope the plan succeeds, so that Raitt will have the option to record her next album in a garage, singing the blues against her own slide guitar and a small rhythm section, and still sell millions. One of the many pleasures of Bonnie Raitt's previous records, a pleasure that can be even more fully appreciated in live performance, is a shared sense of fun. While Raitt demonstrates impressive technical ability on Streetlights, she doesn't sound like she's having a good time.

prev
Album Review Main Next

ADD A COMMENT

Community Guidelines »
loading comments

loading comments...

COMMENTS

Sort by:
    Read More
    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.

    X

    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

    “Santa Monica”

    Everclear | 1996

    After his brother and girlfriend both died of drug overdoses, Art Alexakis -- depressed and hooked on drugs himself -- jumped off the Santa Monica Pier in California, determined to die. "It was really stupid," said the Everclear frontman, who would further explore his personal emotional journey in the song "Father of Mine." "I went under the water. Then I said, 'I don't wanna die.'" The song, declaring "Let's swim out past the breakers/and watch the world die," was intended as a manifesto for change, Alexakis said. "Let the world do what it's gonna do and just live on our own."

    More Song Stories entries »
    www.expandtheroom.com