1.    "The Fundamental Things" (David Batteau, John Cody, Lawrence Klein) – 3:45
2.    "Cure for Love" (David Hidalgo, Louie Pérez) – 4:11
3.    "Round and Round" (Willie Dixon, J. Lenoir) – 3:16
4.    "Spit of Love" (Raitt) – 4:44
5.    "Lover's Will" (John Hiatt) – 4:30
6.    "Blue for No Reason" (Paul Brady, Raitt) – 4:13
7.    "Meet Me Half Way" (Beth Nielsen Chapman, Raitt, Annie Roboff) – 4:16
8.    "I'm on Your Side" (Raitt) – 3:44
9.    "Fearless Love" (Dillon O'Brian) – 4:06
10.    "I Need Love" (Joey Spampinato) – 2:41
11.    "One Belief Away" (Paul Brady, Dillon O'Brian, Raitt) – 4:37

    Bonnie Raitt - acoustic guitar, keyboard, vocals, slide guitar
    Terry Adams - keyboard, background vocals
    Rick Braun - trumpet
    Tony Braunagel - tambourine
    Steve Donnelly - rhythm guitar, background vocals
    Terrence Forsythe - background vocals
    Mitchell Froom - accordion, keyboard, Moog bass
    Renée Geyer - background vocals
    Marty Grebb - baritone saxophone, tenor saxophone
    David Hidalgo - bass, guitar, background vocals
    James "Hutch" Hutchinson - bass
    Nick Lane - trombone, euphonium
    Darrell Leonard - trumpet
    Dillon O'Brian - background vocals
    Jimmy Roberts - saxophone
    Mark Shark - harmony vocals
    Joey Spampinato - bass, background vocals
    Joe Sublett - tenor saxophone
    Pete Thomas - percussion, drums
    Scott Thurston - keyboard
    Jeff Young - harmony vocals

Apparently in an attempt to find new sounds that would appeal to a new audience, Bonnie Raitt severed her ties with her comeback producer, Don Was, for Fundamental, hiring those masterminds of experimental adult pop, Mitchell Froom and Tchad Blake. Although Froom and Blake have worked with a number of singer/songwriters and roots musicians -- including Elvis Costello, Suzanne Vega, Richard Thompson, Los Lobos, and Crowded House -- they often emphasize the production over the song, pouring on layers of effects and novelty instruments that tend to obscure the songs and performances. While they don't go overboard on Fundamental like they did on Los Lobos' Colossal Head, they have pushed too much of their own style on Raitt. There are good songs scattered throughout the record, but it's hard to pick them out underneath the gauzy, murky production. Eventually, the album becomes a bit of a chore, since the sounds wear on the ears. That's too bad, because Raitt remains a vital artist -- it's just that Froom and Blake haven't allowed her to rely on her talents here. --- Stephen Thomas Erlewine, Rovi

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01 – Used To Rule The World
02 – Right Down The Line
03 – Million Miles
04 – You Can’t Fail Me Now
05 – Down To You		play
06 – Take My Love With You
07 – Not Cause I Wanted To		play
08 – Ain’t Gonna Let You Go
09 – Marriage Made In Hollywood
10 – Split Decision
11 – Standing In The Doorway
12 – God Only Knows

It’s been seven years since Bonnie Raitt released Souls Alike, and a lot of life has happened. Losing her parents, brother and a best friend has left the veteran blues/soul rocker with plenty to think about—and that pensiveness colors Slipstream with knowing acceptance, nuanced takes on loss and a grace that finds splendor in the raw places.

On the hushed, gut-string “What I Had To Do,” there are amends being made, regret expressed. Her voice a muted ember, she owns her part of it, including the haunted recognition of knowing what’s gone. Seeking tempers Joe Henry’s lovely “God Only Knows,” a piano and voice reckoning of will and power in both large contexts and personal dynamics. With detail upon detail, the conflicted nature of humanity is considered—and finding beauty amongst the wreckage rises as the truth that will save you, or so her claret voice seems to suggest.

That same stoicism in the knowing ignites Bob Dylan’s “Standing In A Doorway,” the conflict between what is, what one wants and how one gets by. With a languid tempo, the pain of rejection ripples as the guitar offers a nonverbal witness to ache and quivering dignity.

Raitt knows about making things work. The quintuple-platinum, triple Grammy-winning Nick of Time arrived after she separated from Warner Brothers Records, her longtime home. With Slipstream, the acolyte of Sippie Wallace and John Lee Hooker takes her music to even more introspective places—and her assessments make this even more adult. “Marriage Made in Hollywood” tackles the hook ’em nature of the sensationalism and tragedy for profit mentality that sacrifices dignity and the indulged on an altar of hubris and entertainment.

Not that Slipstream is somber. There’s “Take My Love With You,” a silken affirmation of the heart that suggests “Nick of Time.” Even in recognizing life and love’s difficulties, there is the desire for abiding love. The same can be said for the staunch raver “Ain’t Gonna Let You Go,” which celebrates romance with an unlikely paramour.

Raitt brings a reggae undertow to the late Gerry Rafferty’s “Right Down The Line.” There’s blazing blues on “Down To You” and “Split Decision,” both bristling with the joy of electric guitar jammage between Raitt, George Marinelli and NRBQ mainstay Al Anderson.

Indeed, Raitt’s musicianship roots are showing. Even Dylan’s “Million Miles” finds a straight-up acoustic blues pocket that feels so good. Buoying the knowing, she takes what is for how it is, while acknowledging “I try to get closer, but I’m still a million miles away from you.”

The gaps and margins are the marks of grown-up life. How you weather those changes makes living fulfilling. In the end, there is blind faith: in self, in love, in perhaps God Almighty as witnessed on “You Can’t Fail Me Now,” a meditation on truly unconditional love in even our most busted places. For Raitt, it seems what’s broken only gets stronger—and wiser. ---Holly Gleason, pastemagazine.com

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01. Bluebird (Stephen Stills) – 3:24
02. Mighty Tight Woman (Sippie Wallace) – 4:17
03. Thank You (Bonnie Raitt) – 2:47
04. Finest Lovin' Man (Bonnie Raitt) – 4:38
05. Any Day Woman (Paul Siebel) – 2:19
06. Big Road (Tommy Johnson) – 3:27
07. Walking Blues (Robert Johnson) – 2:35
08. Danger Heartbreak Dead Ahead (Ivy Hunter, Clarence Paul, William Stevenson) – 2:50
09. Since I Fell For You (Buddy Johnson) – 3:03
10. I Ain't Blue (John Koerner, Willie Murphy) – 3:33
11. Women Be Wise (Sippie Wallace) – 4:10

Personnel:
- Bonnie Raitt - female vocals, acoustic & slide guitar, piano (03)
- Junior Wells - harp
- A.C. Reed - tenor saxophone
- Willie Murphy - piano, guitar (03), vocals (05)
- Freebo - fretless bass, tuba (06)
- Peter Bell - guitars, hambone (07)
- Douglas "Toad" Spurgeon - trombone
+
The Bumblebees:
- Russell Hagen - electric guitar
- Steven Bradley - drums
- Voyle Harris - trumpet
- Maurice Jacox - flute, baritone saxophone
- Eugene Hoffman - tenor saxophone, cowbell (01)
- John Beach - piano
+
- Paul Pena - bass background vocals (01)
- Reeve Little - background vocals (01)
- Chris Rhodes - background vocals (08)
- Steve Raitt - percussion, sound effects, background vocals (10)

The astounding thing about Bonnie Raitt's blues album isn't that it's the work of a preternaturally gifted blues woman, it's that Raitt doesn't choose to stick to the blues. She's decided to blend her love of classic folk blues with folk music, including new folk-rock tunes, along with a slight R&B, New Orleans, and jazz bent and a mellow Californian vibe. Surely, Bonnie Raitt is a record of its times, as much as Jackson Browne's first album is, but with this, she not only sketches out the blueprint for her future recordings, but for the roots music that would later be labeled as Americana. The reason that Bonnie Raitt works is that she is such a warm, subtle singer. She never oversells these songs, she lays back and sings them with heart and wonderfully textured reading. Her singing is complemented by her band, who is equally as warm, relaxed, and engaging. This is music that goes down so easy, it's only on the subsequent plays that you realize how fully realized and textured it is. A terrific debut that has only grown in stature since its release. --- Stephen Thomas Erlewine, allmusic.com

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01. Thing Called Love
02. Nick of Time
03. Love Letter
04. Have a Heart
05. Something to Talk About
06. I Can't Make You Love Me
07. Not the Only One (Radio Edit Version)
08. Love Sneakin' Up on You
09. You
10. Dimming of the Day
11. Love Me Like a Man (Live)
12. Spit of Love
13. One Belief Away (Radio Edit Version)
14. Lover's Will (Radio Edit Version)
15. I Can't Help You Now
16. Gnawin' on It
17. Silver Lining [Radio Edit Version)
18. Hear Me Lord

The Best of Bonnie Raitt on Capitol 1989-2003, its 18 tracks handpicked by the artist herself as a portrait of her renaissance years, are indicative of the high-quality work ethic she has imposed on herself. Sometimes these songs reveal the queen doing a definitive read, such as on John Hiatt's "Lovers Will" (a song that deserves far, far more than it got -- the ache in her voice is the real grain of somebody who has been on both sides of love's hot broken arrow and still has faith enough to sing) or "Thing Called Love." Sometimes she's bringing the songs of Paul Brady ("Not the Only One"), Bonnie Hayes ("Love Letter" and "Have a Heart"), or even David Gray ("Silver Lining") and Richard Thompson ("Dimming of the Day") to the masses in ways that define them for a different audience. And sometimes, it's simply Raitt playing her own songs ("Nick of Time" and "Spit of Love") full of a poetic, sensual ferocity that oozes tenderness and commitment. And throughout it all is her trademark bottleneck slide, coaxing love notes or razored snarls out of her Stratocaster. There aren't any unreleased tracks here, but for the money you get the best of the best and her own comments on each song as well as a short essay about what this music means to her. Given that you don't have that box set (yet), that means this is worth whatever you happen to pay for it -- but don't forget about getting some of those Warner albums (Give It Up is a great place to start). Here is the astonishing range, from deep blue-eyed bluesy soul, sheeny reggae-tinged pop, and adult rock & roll that moves and inspires anyone with an open mind. ---Thom Jurek, allmusic.com

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1. Nick Of Time
2. Thing Called Love
3. Love Letter
4. Cry On My Shoulder
5. Real Man
6. Nobody’s Girl
7. Have A Heart
8. Too Soon Too Tell
9. I Will Not Be Denied
10. I Ain’t Gonna Let You Break My Heart Again
11. The Road’s My Middle Name

Prior to Nick of Time, Bonnie Raitt had been a reliable cult artist, delivering a string of solid records that were moderate successes and usually musically satisfying. From her 1971 debut through 1982's Green Light, she had a solid streak, but 1986's Nine Lives snapped it, falling far short of her usual potential. Therefore, it shouldn't have been a surprise when Raitt decided to craft its follow-up as a major comeback, collaborating with producer Don Was on Nick of Time. At the time, the pairing seemed a little odd, since he was primarily known for the weird hipster funk of Was (Not Was) and the B-52's' quirky eponymous debut, but the match turned out to be inspired. Was used Raitt's classic early-'70s records as a blueprint, choosing to update the sound with a smooth, professional production and a batch of excellent contemporary songs. In this context, Raitt flourishes; she never rocks too hard, but there is grit to her singing and playing, even when the surfaces are clean and inviting. And while she only has two original songs here, Nick of Time plays like autobiography, which is a testament to the power of the songs, performances, and productions. It was a great comeback album that made for a great story, but the record never would have been a blockbuster success if it wasn't for the music, which is among the finest Raitt ever made. She must have realized this, since Nick of Time served as the blueprint for the majority of her '90s albums. --- Stephen Thomas Erlewine, allmusic.com

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