| Bonnie Raitt - Green Light
(1982)
|
| Album |
| Artist/Composer |
Bonnie Raitt |
| Length |
35:14 |
| Format |
CD |
| Genre |
General Rock |
| Label |
Warner Bros |
| Index |
389 |
| Collection Status |
In Collection |
| Packaging |
Jewel Case |
|
| Musicians |
| Drums and Percussion |
Ricky Fataar |
| Bass Guitar |
Ray Ohara |
| Guitar-Electric |
Bonnie Raitt |
| Guitar-Electric |
Johnny Lee Schell |
| Keyboards-Various |
Ian McLagan |
| Organ |
Johnny Lee Schell |
| Unlisted Instrument |
Bonnie Raitt |
| Vocals |
Bonnie Raitt |
| Vocals |
Johnny Lee Schell |
| Vocals |
Ricky Fataar |
|
| Credits |
| Engineer |
Thom Yuill |
| Engineer |
Terry Becker |
| Engineer |
Tim Kramer |
| Producer |
Rob Fraboni |
|
| Track List |
|
| 01 |
Keep This Heart In Mind |
03:20 |
| 02 |
River Of Tears |
04:53 |
| 03 |
Can't Get Enough |
02:51 |
| 04 |
Willya Wontcha |
03:22 |
| 05 |
Let's Keep It Between Us |
04:43 |
| 06 |
Me And The Boys |
03:38 |
| 07 |
I Can't Help Myself |
03:06 |
| 08 |
Baby Come Back |
02:48 |
| 09 |
Talk To Me |
03:22 |
| 10 |
Green Lights |
03:11 |
|
|
| Details |
| Spars |
DDD |
| Rare |
No |
| Sound |
Stereo |
|
| Notes |
| Review by Stephen Thomas Erlewine Since 1975's Homeplate, Bonnie Raitt has veered closer to the mainstream than she has to the organic, sexy funk of her early-'70s records. This bothered many listeners, who chose to concentrate on the surface instead of the substance, but Raitt retained many of the same special qualities she demonstrated on those records into the '80s - namely, her excellent taste in material, fondness for blurring folk, blues, country, and rock, and her wonderfully subtle, always engaging, interpretations. Green Lights may suffer a bit from a production that clearly pegs it as a 1982 release, but strip away its production and it's yet another satisfying collection of roots-rockers and bluesy ballads from the always reliable Raitt. Producer Rob Fraboni's recording may be a little bit too mainstream, lacking the new wave spark of, say, Dave Edmunds' similar-sounding recordings of this era, but Raitt nevertheless rises above the limitations of the recording and delivers a tight, enjoyable collection of amiable mainstream rockers with just a hint of roots. This isn't nearly as sexy as even Sweet Forgiveness, and it doesn't have much grit, but it has spirit and is fun, and it's a nice, smooth ride for those that like the direction Raitt's going. |
|