The Best of Bonnie Raitt on Capitol 1989-2003

Performer: Bonnie Raitt
Engineer: Ed Cherney; Tchad Blake...
Distributor: EMI Music Distribution

Notes: Personnel includes: Bonnie Raitt (vocals, acoustic, electric & slide guitar, piano); Johnny Lee Schell (vocals, acoustic guitar); Arthur Adams, Michael Landau (guitar); Benmont Tench (Hammond C-3 organ); Bruce Hornsby, Scott Thurston (keyboards); James "Hutch" Hutchinson, Roy Rogers (bass); Ricky Fataar, Curt Bisquera (drums); Tony Braunagel (timbales, percussion); Paulinho Da Costa (congas); Debra Dobkin (percussion); Arnold McCuller, Sir Harry Bowens, David Lasley, Sweet Pea Atkinson (background vocals). The Heart Attack Horns: Bill Bergman (alto saxophone); Marty Grebb (tenor saxophone); Greg Smith (baritone saxophone); John Berry Jr., Dennis Farias (trumpet). Producers: Bonnie Raitt, Don Was, Mitchell Froom, Tchad Blake. Includes liner notes by Alan Light. Personnel: Bonnie Raitt (vocals, acoustic guitar, electric guitar, slide guitar, piano, background vocals); Johnny Lee Schell (vocals, acoustic guitar); Michael Landau, Andy Abad, Arthur Adams (guitar); Mark Goldenberg (acoustic guitar, electric guitar, oud); Richard Thompson (acoustic guitar, electric guitar); Stephen Bruton (acoustic guitar); George Marinelli (electric guitar, background vocals); Roy Rogers (slide guitar); Paul Brady (gut-string guitar, background vocals); Jeff Scott Young (gut-string guitar); Jimmy Roberts (saxophone); Bill Bergman (alto saxophone); Marty Grebb (tenor saxophone, baritone saxophone); Joe Sublett (tenor saxophone); Greg "Frosty" Smith, Steve Berlin (baritone saxophone); Darrell Leonard, B.S. Bull, Dennis Farias, John Berry, Jr. (trumpet); Nick Lane (trombone, euphonium); Mitchell Froom (piano, harmonium, Clavinet, reed organ, keyboards, Moog synthesizer); Benmont Tench (piano); Jon Cleary (keyboards, background vocals); Scott Thurston, Bruce Hornsby (keyboards); Buell Neidlinger (acoustic bass); Tony Braunagel (drums, timbales, percussion); Ricky Fataar (drums, percussion, background vocals); Pete Thomas (drums, percussion); Curt Bisquera (drums); Gary Gold (snare drum); Alex Acu�a (congas, talking drum); Paulinho Da Costa (congas, percussion); Debra Dobkin (percussion); David Lasley, Ren�e Geyer, Arnold McCuller, Sir Harry Bowens, Sweet Pea Atkinson, Tommy Sims, Bernard Fowler (background vocals). Audio Mixers: Ed Cherney ; Tchad Blake. Liner Note Author: Alan Licht. Photographers: Ann Cutting; Dana Tynan; Marlene Rosenberg. Unknown Contributor Roles: The Heart Attack Horns; Texicali Horns. Arranger: Bob Thiele Jr. THE BEST OF BONNIE RAITT ON CAPITOL 1989-2003 features Raitt's handpicked selections drawn from the era representing her greatest commercial success, kicking off with the three Grammy-winners from her Capitol debut, NICK OF TIME. Always an astute judge of other songwriters, this crimson-haired chanteuse cast a wide net and found chart success and airplay with covers of John Hiatt (the sassy shuffle "Thing Called Love"), Paul Brady (the Fleetwood Mac-like "Not the Only One"), and the little-known Bonnie Hayes (a simmering "Love Letter" and reggae-soaked "Have a Heart"). Other composers given the Raitt touch include Richard Thompson (a gorgeous "Dimming of the Day"), David Gray (the equally heartfelt "Silver Lining"), and Chris Smither (a live and acoustic "Love Me Like a Man"). Throughout, Raitt's amazing dexterity on electric and slide guitar are inescapable, particularly on the sizzling Roy Rogers duet "Gnawin' on It," which makes it all the more puzzling that Rolling Stone deigned to include Raitt on their list of "100 Greatest Guitarists of All Time." Most impressive is "Hear Me Lord," on which this itinerant blues icon successfully switches gears into Afro-pop mode and delivers a bubbly and bright reading of Zimbabwean legend Oliver Mtukudzi's "Help Me Lord."

Singer/guitarist Bonnie Raitt emerged from the Cambridge, MA, coffeehouse scene with a soulful and sexy sound that mixed blues, folk, and rock. After almost two decades in near-obscurity, her impassioned breakthrough into the pop world--1989's NICK OF TIME--was well-deserved and uncompromisingly tasteful, and it led to a decade of artistic and commercial success.

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