Slipstream

( 4 )

Editorial Reviews

All Music Guide - Thom Jurek
Slipstream provides ample proof of just how much fans have missed Bonnie Raitt since 2005's Souls Alike. The album was recorded over a period of a year at Ocean Way in Hollywood and at Joe Henry's Garfield House. The four tracks cut at Henry's studio in 2010 and 2011 include two of his own songs, and two covers of Bob Dylan tunes "Million Miles" and "Standing in the Doorway" from the latter's Time Out of Mind. Raitt's voice has never sounded better. She's expanded her lower range with an expressiveness that is soulful, rich, and rings emotionally true -- though she's sacrificed none of her higher register. Her voice can command and reveal a devastating tenderness. Guest Bill...
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Editorial Reviews

All Music Guide - Thom Jurek
Slipstream provides ample proof of just how much fans have missed Bonnie Raitt since 2005's Souls Alike. The album was recorded over a period of a year at Ocean Way in Hollywood and at Joe Henry's Garfield House. The four tracks cut at Henry's studio in 2010 and 2011 include two of his own songs, and two covers of Bob Dylan tunes "Million Miles" and "Standing in the Doorway" from the latter's Time Out of Mind. Raitt's voice has never sounded better. She's expanded her lower range with an expressiveness that is soulful, rich, and rings emotionally true -- though she's sacrificed none of her higher register. Her voice can command and reveal a devastating tenderness. Guest Bill Frisell appears on three tunes here. He's on both Dylan tunes and his lyrical, lovely touch is also heard on her definitive reading of the Henry/Loudon Wainwright III tune "You Can't Fail Me Now." On "Million Miles," the interplay between Frisell's signature tone and Raitt's nasty electric slide work is symbiotic. On the latter, Raitt's voice sounds like it's inside the human heart at its most open and willfully defenseless vulnerability. It reminds us of what made her readings of "Love Has No Pride" and "I Can't Make You Love Me" so important. Henry's stable of players -- Patrick Warren, Jay Bellerose, and Greg Leisz -- are all in tow; they provide the slow, warm spaciousness that's now de rigueur in his work with other artists he reserves his adventurousness for his own records. Raitt says she'll release the complete Garfield House sessions in the future. She produced the rest, offering solid proof of what her live band -- guitarist George Marinelli, drummer Ricky Fataar, keyboardist Mike Finnigan, and bassist James Hutchinson -- is capable of in the studio. The energy is kinetic, immediate, and deep in the rhythmic cut. Her reading of Gerry Rafferty's "Right Down the Line," with its reggae backbeat, rocksteady bassline, funky clavinet, and the interplay between Raitt and Marinelli, adds dimension and texture to the original -- which is just what covers are supposed to do. "Down to You," written by Marinelli, Raitt, and Randall Bramblett, has the feel of Little Feat's "Easy to Slip" but is more urgent and punchy. On another ballad, Al Anderson and Bonnie Bishop's "Not Cause I Wanted To," Raitt expresses her accountability in a relationship's failure with total openness and courage. "Ain't Gonna Let You Go," by Anderson and Bonnie Bramlett, is a lusty, crunchy, uptempo blues driven by Finnigan's B-3 and Wurlitzer, and Raitt's wrangling slide and take-no-prisoners vocal. Though very different from one another, Slipstream's two production styles complement one another well. That said, Raitt's road band is so seasoned and instinctive, it would be interesting to hear her record them live in the studio as she did players on her earliest records -- but that's a wish, not a criticism. There are a few lesser moments, but they don't distract; Slipstream reveals Raitt at another creative peak.
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Product Details

  • Release Date: 4/10/2012
  • Label: Redwing Records
  • UPC: 858362003012
  • Catalog Number: 1
  • Sales rank: 10,841

Album Credits

Performance Credits
Bonnie Raitt Primary Artist, Acoustic Guitar, Tambourine, Vocals
Mike Finnigan Organ, Piano, Background Vocals, Clavinet, Wurlitzer, Hammond B3
Luis Conte Percussion, Guest Appearance
Ricky Fataar Drums, Tambourine, Timbales
Bill Frisell Electric Guitar, Guest Appearance
James "Hutch" Hutchinson Bass, Upright Bass
Greg Leisz Acoustic Guitar, Pedal Steel Guitar
George Marinelli Acoustic Guitar, Mandolin, Electric Guitar, Background Vocals, Vocal Harmony
David Piltch Upright Bass
Johnny Lee Schell Electric Guitar, Guest Appearance
Maia Sharp Background Vocals, Vocal Harmony
Patrick Warren Piano, Keyboards, Pump Organ, Wurlitzer
Jay Bellerose Drums
Al Anderson Acoustic Guitar, Electric Guitar, Soloist, Vocal Harmony, Guest Appearance
Paul Brady Vocal Harmony
Dave Piltch Upright Bass
Technical Credits
Loudon Wainwright III Composer
Al Anderson Composer
Paul Brady Composer
Bob Dylan Composer
Gerry Rafferty Composer
Bonnie Raitt Arranger, Composer, Producer
Bonnie Bramlett Composer
Joe Henry Composer, Producer
Scott Baggett overdub engineer
Randall Bramblett Composer
Gordon Kennedy Composer
Wayne Kirkpatrick Composer
Bob Ludwig Mastering
George Marinelli Composer
Gary Nicholson Composer
Norman Moore Art Direction
Kelly Price Composer
Ryan Freeland Engineer
Al Anderson Composer
Bonnie Bishop Composer
Kathy Kane Management
Annie Heller Gutwillig Management
Chloe Monahan Management
Paul Brady Composer
Michael O'Keefe Composer
Joseph Lee Henry Composer
Chris Soule Photo Assistance
Omar Gaieck Photo Assistance
Mark Skerrett Management
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Customer Reviews

Average Rating 3.5
( 4 )
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Sort by: Showing all of 4 Customer Reviews
  • Posted April 15, 2012

    Bonnie Raitt SLIPSTREAM 2012

    I've been watching for SLIPSTREAM since I heard in January that Bonnie was gearing up for a big tour with a new collection, and on her own record label, Redwing. I knew those of us that have followed her for years and years were in for a treat. Well, the wait is over and Slipstream is out and its a BIG, BLUESY, ROCKING, HEARTBREAKING, SOULFUL FEAST!! Everything that Bonnie has done well over the years is in full display here. Bonnie, for starters has so many outstanding vocals tracks, her slide guitar just explodes and tears it up in their settings, Mike Finnigan on keyboards color many of these tracks nice and eerie in places. This is after all a guitar based collection and working with the likes of bandmate George Marinelli, and guests Bill Frisell, Al Anderson, Johnny Lee Schell adds so much depth to the sound. Bonnie's road band shines, just listen to the 6 min jam on "Ain't gonna let you go", a blues fest romp with so much slide, so much Bonnie! The Bonnie Raitt band just shine all over Slipstream but I think you really must give credit to what seems to be the spark and that is Joe Henry and his bandmates, who have lit a big fire under Bonnie and give Slipstream that extra depth and musicanship that sets this way apart and moves it into classic description. Having Ryan Freeland join forces on both of these "sessions" and bringing them together seamlessly should be noted. The Dylan cuts "Million miles" and "Standing by the doorway" are just outstanding pieces of music, Bonnie(in these settings) is another artist to reckoning with down the road and "You can't fail me now" and "God only knows"(a Henry gem) float above all these cuts with their studio genius and elegant class.
    That's not to mean in any way that what Bonnie has produced is inferior. Bonnie has fashioned a really excellent collection of road songs, "Down to You" and "Split decision" rock(mixing Rolling Stones and NRBQ with a dash of Little Feat) and are fun rollicking songs that grow on you with each listen and will sound so hot on the stage! Two really exciting soulful radio pefections, "Take my love with you"(has really "hit" potential) in the best sense of the word and "Not cause I wanted to" is a perfect update of the strengths of "I can't make you love me", its that strong a vocal and heartbreakingly real sentiments. Bonnie has taken the late Gerry Rafferty's late 70's gem "Right down the line" and given it a nice reggae/skank groove that lifts these beautiful words that everyone can relate to and should be heard on radio. "Use to rule the world", the opener and funky, jazzy rocker starts the set off,a Randall Bramblett penned look at many of us over the years who find their lives passing them by and scratching their heads, a clever song that will sound great on the radio. Its been close to 20 years since Bonnie "peaked" as they call in in the music world but like she did with "NICk OF TIME", she comes out of nowhere, once considered "washed up" back in the mid 80's and "SURPRISE, SURPRISE" as Gomer Pyle once said, she's back around again and she sounds so natual, elegant, classy and rocking harder than ever and that blues side of her combines for one heck of a comeback(if you want to call it that), sure she's done many of these styles but never has she sounded or prepared such a

    2 out of 2 people found this review helpful.

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    Posted April 11, 2012

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    Posted April 12, 2012

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    Posted April 14, 2012

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