Raitt began playing guitar at an early age, something not a lot of her high school girlfriends did. "I had played a little at school and at camp," she later recalled in a July 2002 interview. "My parents would drag me out to perform for my family, like all parents do, but it was a hobby—nothing more...I think people must wonder how a white girl like me became a blues guitarist. The truth is, I never intended to do this for a living. I grew up...in a Quaker family, and for me being Quaker was a political calling rather than a religious one."
In 1967 Raitt continued her pursuit in that path when she entered Harvard's Radcliffe College as a freshman, majoring in African Studies. "My plan was to travel to Tanzania, where President Julius Nyerere was creating a government based on democracy and socialism," Raitt recalled. "I wanted to help undo the damage that Western colonialism had done to native cultures around the world. Cambridge was a hotbed of this kind of thinking, and I was thrilled."
One day, Raitt was notified by a friend that blues promoter Dick Waterman was giving an interview at WHRB, Harvard's college radio station. An important figure in the blues revival of the 1960s, Waterman was also a resident of Cambridge. Raitt went to see Waterman, and the two soon became friends, "much to the chagrin of my parents, who didn't expect their freshman daughter to be running around with 65-year-old bluesmen," recalled Raitt. "I was amazed by his passion for the music and the integrity with which he managed the musicians."
During Raitt's sophomore year, Waterman relocated to Philadelphia, and a number of local musicians he counted among his friends went with him. Raitt had become a strong part of that community, recalling that "these people had become my friends, my mentors, and though I had every intention of graduating, I decided to take the semester off and move to Philadelphia...It was an opportunity that young white girls just don't get, and as it turns out, an opportunity that changed everything."
Raitt eventually went back to school, but her time performing in Philadelphia had encouraged her to pursue music as a career. When Waterman contacted her and invited her to tour with The Rolling Stones, she made a second trip to the admissions office at Radcliffe and told them, "I'm going to take a leave of absence, but this is only going to last a year." As Raitt would later recall, "Imagine being 20 in 1970—wouldn't you have gone on tour with the Rolling Stones?"
By now, Raitt was also playing both folk as well as rhythm and blues clubs in the Boston area, performing alongside established blues legends like Howlin' Wolf, Sippie Wallace, and Mississippi Fred McDowell, all of whom she met through Waterman. In the fall of 1970, while opening for Fred McDowell at the Gaslight Cafe in New York, a reporter from Newsweek Magazine saw her and began to spread word of her performance. Scouts from major record companies were soon attending her shows to watch her play. She eventually accepted an offer with Warner Bros. who soon released her eponymously titled debut in 1971. The album was warmly received by the music press, many of which praised her skills as an interpreter and as a bottleneck guitarist; at the time, very few women in popular music had strong reputations as guitarists.
While admired by those who saw her perform, and respected by her peers, Raitt gained little public acclaim for her work. Her critical stature continued to grow but record sales remained modest. Her second album, Give It Up, was released in 1972 to universal acclaim, and though many critics still regard it as her best work, it did not change her commercial fortunes. 1973's Takin' My Time was also met with critical acclaim, but these notices were not matched by the sales.
Raitt was beginning to receive greater press coverage, including a 1975 cover story for Rolling Stone Magazine, but with 1974's Streetlights, reviews for her work were becoming increasingly mixed. By now, Raitt was already experimenting with different producers and different styles, and she began to adopt a more mainstream sound that continued through 1975's Home Plate.
In 1976, Raitt made a notable appearance on Warren Zevon's self-titled album with Warren Zevon's friend Jackson Browne and Fleetwood Mac's Lindsey Buckingham and Stevie Nicks.
1977's Sweet Forgiveness gave Raitt her first commercial breakthrough when it yielded a hit single in her cover of Del Shannon's "Runaway." Recast as a heavy r&b recording based on a rhythmic groove inspired by Al Green, Raitt's version of "Runaway" was disparaged by many critics, but its commercial success prompted a bidding war between Warner Bros. and Columbia Records. "There was this big Columbia – Warner war going on at the time," recalled Raitt in a 1990 interview. "James Taylor had just left Warner Bros. and made a big album for Columbia...And then, Warners signed Paul Simon away from Columbia, and they didn't want me to have a hit record for Columbia — no matter what! So, I renegotiated my contract, and they basically matched Columbia's offer. Frankly the deal was a really big deal."
Warner Bros. held higher expectations for Raitt's next album, 1979's The Glow, but it was released to poor reviews as well as modest sales. Raitt would have one commercial success in 1979 when she helped organize the five MUSE (Musicians United for Safe Energy) concerts at Madison Square Garden. The shows spawned a three-record gold album as well as a Warner Bros. feature film, No Nukes. The shows featured co-founders Jackson Browne, Graham Nash, John Hall, and Raitt as well as Bruce Springsteen, Tom Petty and the Heartbreakers, The Doobie Brothers, James Taylor, Gil Scott-Heron, and numerous others.
For her next record, 1982's Green Light, Raitt made a conscious attempt to revisit the sound of her earlier records, but to her surprise, many of her peers and members of the press would compare her new sound to the burgeoning New Wave movement. The album received her strongest reviews in years, but her sales did not improve and this would have a severe impact on her relationship with Warner Bros.
In 1983, as Raitt was finishing work on her follow-up album, titled Tongue & Groove, Warner Bros. cleaned house, dropping a number of major artists from their roster. Van Morrison and Arlo Guthrie were two of the most high-profile cases, and the day after mastering was completed on Tongue & Groove, Raitt was notified that she was to be dropped too. The album was shelved indefinitely, and Raitt was left without a label. By now, Raitt was also struggling with alcohol and drug abuse.
Despite her personal and professional problems, Raitt continued to tour and participate in political activism. In 1985, she sang and appeared in the video of "Sun City," the anti-apartheid record written a produced by Steven Van Zandt. Along with her participation in Farm Aid and Amnesty International concerts, Raitt would later travel to Moscow in 1987 as part of the first joint Soviet/American Peace Concert later shown on Showtime television. Also in 1987, Raitt would organize a benefit in Los Angeles, for Countdown '87 to Stop Contra Aid, featuring herself, Don Henley, Herbie Hancock, Holly Near and others.
Two years after dropping her from their label, Warner Bros. notified Raitt of their plans to release Tongue & Groove. "I said it wasn't really fair," recalled Raitt. "I think at this point they felt kind of bad. I mean, I was out there touring on my savings to keep my name up, and my ablility to draw was less and less. So they agreed to let me go in and recut half of it, and that's when it came out as Nine Lives." A critical and commercial disappointment, 1986's Nine Lives would be Raitt's last new recording for Warner Bros.
In late 1987 she joined k.d. lang and Jennifer Warnes as female background vocals for Roy Orbison's television special, Roy Orbison and Friends, A Black and White Night. By now, Raitt was clean and sober, having broken her substance abuse — for which she would credit Stevie Ray Vaughan in a Minnesota State Fair concert[1] the night after Vaughan's 1990 death. Following this highly acclaimed broadcast, she began working on new material. During this time, Raitt considered signing with Prince's own label, Paisley Park, but negotiations would ultimately fall through. Instead she began recording a bluesy mix of pop and rock under the production guidance of Don Was at Capitol Records.
Raitt had met Was through Hal Wilner, who was putting together Stay Awake, a tribute album to Disney music for A&M. Was and Wilner both wanted Raitt to sing lead on an adult-contemporary arrangement created by Was for "Baby Mine," the lullaby from Dumbo. Raitt was very pleased with the sessions, and she asked Don to produce her next album.
After more than twenty years of singing and recording popular music, Bonnie Raitt achieved immense success with her 10th album. Released in 1989, Nick of Time went to the top of the U.S. charts and won three Grammy Awards. At the same time, she walked away with a fourth Grammy Award for her duet "In the Mood" with John Lee Hooker on his album "The Healer".
She followed up this success with three more Grammy Awards for her 1991 album, Luck of the Draw, then, in 1994 she added two more Grammy's with her album Longing in Their Hearts. Both of these albums were multiplatinum successes. Raitt's collaboration with Was would amicably come to an end with 1995's live release, Road Tested. Released to solid reviews, it sold well enough to be certified gold.
For her next studio album, Raitt hired Mitchell Froom and Tchad Blake as her producers. "I loved working with Don Was but I wanted to give myself and my fans a stretch and do something different," Raitt said. Her work with Froom and Blake was released on Fundamental in 1998.
In March of 2000, Raitt was inducted into the Rock and Roll Hall of Fame.
Silver Lining was released in 2002 while Souls Alike was released in September of 2005.
All at Once
Bonnie Raitt Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
She flew off in a rage
Third time this week
Don't tell me it's the age
Don't know how I lost her
I only know that it's a shame
Ever since her daddy left
All at once I hear your voice
And time just slips away
Nothing they could say can hold me here
Take me where I only feel
The wind across my face
Let me know there's someplace left for me
Waiting there for me
Ah, who am I kiddin'
I should have known he'd never leave
The time we spend together
Is harder than the time between
You wouldn't think it could hurt so
To see 'em out the other day
If that's what he calls leavin'
I guess I threw it all away
All at once I hear your voice
And time just slips away
Nothing they could say can hold me here
Take me where I only feel
The wind across my face
Let me know there's someplace left for me
Waiting just for me
They say women, we're the stronger
Somehow we always make it through
Hell, that ain't what I feel right now
I don't even think it's true
To me there's lots more broken
Than anyone can really see
Why the angels turn their backs on some
It's a mystery to me
All at once I hear your voice
And time just slips away
Nothing they could say can hold me here
Take me where I only feel
The wind across my face
Let me know there's someplace left for me
The lyrics to Bonnie Raitt's song "All At Once" are deeply emotional and speak to the pain of a woman who's struggling to deal with the absence of her daughter's father. The song starts with her expressing her frustration with her daughter, who has left in a fit of anger, and seems to be struggling with her father's absence. The mother laments that she doesn't know how to fix things with her daughter, and that ever since her father left, the girl hasn't been the same. The underlying theme of the song is the pain of disconnection, and the struggle to find meaning and purpose in life after experiencing a significant loss.
As she sings, "All at once I hear your voice and time just slips away," Raitt is suggesting that there is something elemental and transcendent about the power of love. Despite the struggles and hardships that the mother has gone through, she is still deeply in love with her partner, and even though he seems to be gone, his voice still echoes in her mind, providing her with the strength and inspiration to keep going.
In essence, "All At Once" is a song about holding on to hope in the face of adversity, and the power of the human spirit to overcome even the toughest challenges that life can throw our way.
Line by Line Meaning
Had a fight with my daughter
I had an argument with my daughter, which has left me feeling upset.
She flew off in a rage
My daughter left angrily, suggesting that our argument had affected her deeply.
Third time this week
This is the third argument I’ve had with my daughter this week.
Don't tell me it's the age
I don’t want to hear that my daughter’s behavior is just because of her age – I think there is more to it.
Don't know how I lost her
I am not sure how I have become distant from my daughter and how our relationship has deteriorated.
I only know that it's a shame
It’s a regretful and sad situation that my daughter and I are not getting along.
Ever since her daddy left
My daughter's father left and since then, she has not been herself.
The girl ain't been the same
My daughter’s behavior has changed and she’s not the same person she used to be.
All at once I hear your voice
Suddenly, I am reminded of someone from my past and their voice echoes in my mind.
And time just slips away
In this moment, I feel as if time has stopped or has no meaning, and all that exists is my thoughts and memories.
Nothing they could say can hold me here
No matter what anyone says or does, I am lost in my own thoughts and nothing can bring me back.
Take me where I only feel
I want to escape from my thoughts and be taken to a place where I can only feel my surroundings.
The wind across my face
I want to feel the wind on my face and be in touch with the natural world.
Let me know there's someplace left for me
I need reassurance that there is still a place for me in the world where I can find comfort and security.
Waiting there for me
This place of comfort and security is something that I know is out there, waiting for me.
Ah, who am I kiddin'
I am acknowledging that I am not being honest with myself about something that I know to be true.
I should have known he'd never leave
Despite telling myself otherwise, I knew that a certain person would never leave my life.
The time we spend together
The time that I spend with this person is difficult for me because of my feelings for them.
Is harder than the time between
Spending time with this person is more difficult than the time that we are apart.
You wouldn't think it could hurt so
It may be surprising to others that this situation is causing me so much pain.
To see 'em out the other day
I had a recent encounter with this person, which has brought up old emotions and feelings.
If that's what he calls leavin'
Being aware of this person’s actions and how they define them is causing me emotional distress.
I guess I threw it all away
I am regretting my past actions and am disappointed in myself for making mistakes that have led me to this point.
They say women, we're the stronger
There is a common belief that women are strong and can handle anything.
Somehow we always make it through
Despite any challenges, women are seen as being able to come out stronger and victorious.
Hell, that ain't what I feel right now
However, at this moment, I do not feel strong or capable of overcoming the obstacles in my life.
I don't even think it's true
I am questioning the common belief that women are always strong and resilient.
To me there's lots more broken
From my perspective, there are many things in my life that are broken or not working the way they should be.
Than anyone can really see
Although these issues are not always visible to others, they are causing me pain and suffering.
Why the angels turn their backs on some
I am reflecting on how some people seem to be plagued with problems, despite trying their best to live a good life.
It's a mystery to me
I do not have answers for why some people experience more difficulties and hardships than others.
Take me where I only feel
Once again, I am expressing my desire to escape to a place where I can just feel the natural world around me.
Let me know there's someplace left for me
I am seeking reassurance that there is still hope for me to find peace and happiness in my life.
Waiting just for me
I am hopeful that there is a better future out there for me, and that it is waiting for me to find it.
Lyrics © Sony/ATV Music Publishing LLC
Written by: BONNIE RAITT
Lyrics Licensed & Provided by LyricFind