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.
Feeling Of Falling
Bonnie Raitt Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Fallin' on over the ledge
You know I miss that feelin' of fallin'
Fallin' on over the ledge
And when my mind it gets to worryin'
And I just can't get no rest, oh baby oh
That's when I call you up instead
After midnight baby
Sittin' here all alone
I tried to call your number baby
But you weren't at home
I've been a good girl baby
I'm through with all that mess
But the way I'm feeling right now, darlin'
You know it scares me half to death
That I miss that feelin' of
Fallin' on over the ledge
The summer night in Texas, baby
It's too hot and wet to sleep
I heard you pull up in the distance
You're comin' to give me relief
We went screamin' down the highway, baby
So much faster than we should
You pulled me over in the moonlight, darlin'
Man, I still can feel that hood
And I miss that feelin'
Oh, I wanna fall on over the ledge
When that rain start fallin', I wanna call baby
I wanna take a real good look at that ledge
It ain't something you get over
You might think you made it through
You can turn your head and walk away, baby
But it never takes its eyes off of you and
It'll push your foot right through the floor board, baby
Make you cut them streamers down and back
You waste what's precious and you can't afford, baby
It runs your life right off the track
It'll keep you boilin' in that poison
Only the truly twisted know so well
You don't need drugs to show you heaven, baby
'Cause there's plenty clean in hell
I'd miss that feelin' of fallin'
Oh, on over the ledge
Yeah, the blues start callin'
[Incomprehensible]
Break it down
[Incomprehensible] baby
Oh baby I'm gonna crawl
Crawl into your arm now
Into your arm now
"Feeling of Falling" is a song by Bonnie Raitt which explores the idea of being so lost in one's own emotions that falling into them feels like an escape. The lyrics speak of missing the feeling of falling over the ledge, which represents the release of control and giving in to vulnerability. The singer finds solace in calling her lover when she can't find peace in her mind, indicating that her emotions have taken over and she needs help to navigate them. The song also touches upon the idea that this feeling can be dangerous and addictive, and one needs to be careful not to let it take control of their life.
The lyrics of "Feeling of Falling" are open to interpretation, as they can be seen as a metaphor for addiction, depression or any other emotional struggle. Through the song, Raitt emphasizes the importance of finding healthy ways to cope with difficult emotions and not relying on unhealthy coping mechanisms like drugs or alcohol. The lyrics "You don't need drugs to show you heaven, baby/ 'Cause there's plenty clean in hell" suggest that even though it can be tempting to numb oneself to difficult emotions, it is ultimately a dangerous path.
Overall, "Feeling of Falling" is a complex song that explores the difficulty of navigating complex emotions and how easy it is to get lost in them. It emphasizes the importance of finding healthy ways to cope and the danger of unhealthy coping mechanisms.
Line by Line Meaning
Sometimes I miss that feelin' of fallin'
Occasionally longing for the rush of falling
Fallin' on over the ledge
Experience of uncontrollably plummeting down from a height
You know I miss that feelin' of fallin'
Acknowledging the desire for the thrill of falling
Fallin' on over the ledge
The physical sensation of uncontrolled plunging
And when my mind it gets to worryin'
When anxious thoughts consume my mind
And I just can't get no rest, oh baby oh
Unable to find peace, seeking solace from a loved one
That's when I call you up instead
Turning to someone for comfort during restlessness
After midnight baby
Late at night when the world is asleep
Sittin' here all alone
Being by oneself in solitude
I tried to call your number baby
Attempting to reach out to a loved one for support
But you weren't at home
Finding the person unreachable at the moment
I've been a good girl baby
Having been well-behaved and responsible
I'm through with all that mess
No longer dwelling in past troubles and chaos
But the way I'm feeling right now, darlin'
The current emotions are overwhelming and terrifying
You know it scares me half to death
The emotions are causing immense fear and unease
That I miss that feelin' of
The longing for the thrilling experience of
Fallin' on over the ledge
Uncontrollable freefalling
The summer night in Texas, baby
Recalling a summer night in Texas with a romantic partner
It's too hot and wet to sleep
The heat and humidity making it difficult to sleep
I heard you pull up in the distance
Hearing the sound of the partner arriving
You're comin' to give me relief
The partner coming to provide comfort
We went screamin' down the highway, baby
Driving recklessly at high speed
So much faster than we should
Going beyond a safe speed limit
You pulled me over in the moonlight, darlin'
The partner taking control and stopping the car in the moonlight
Man, I still can feel that hood
The adrenaline rush has left a lasting memory
And I miss that feelin'
The desire for the thrilling sensation
Oh, I wanna fall on over the ledge
The yearning for extreme falling
When that rain start fallin', I wanna call baby
Craving comfort and support during emotional storms
I wanna take a real good look at that ledge
Being curious about the danger of falling
It ain't something you get over
The traumatic emotions are something that don't fade easily
You might think you made it through
The idea that one has moved on from the past
You can turn your head and walk away, baby
Trying to forget traumatic emotions
But it never takes its eyes off of you and
The memories will always linger
It'll push your foot right through the floor board, baby
The memories can be overwhelming and all-consuming
Make you cut them streamers down and back
Reminding you of things you've done to forget the past
You waste what's precious and you can't afford, baby
Wasting valuable memories and experiences that can never be regained
It runs your life right off the track
Derailing your life and plans for the future
It'll keep you boilin' in that poison
The constant lingering of trauma and negative emotions
Only the truly twisted know so well
Only those who have experienced trauma can truly understand
You don't need drugs to show you heaven, baby
Finding happiness and comfort in someone dear to you
'Cause there's plenty clean in hell
Even when things seem bad, there can always be positivity amid negativity
I'd miss that feelin' of fallin'
Acknowledging the desire to experience thrilling falling again
Oh, on over the ledge
An intense and uncontrollable falling
Yeah, the blues start callin'
Sinking into a state of sadness and sorrow
[Incomprehensible] baby
An utterance of pure emotion and desire
Oh baby I'm gonna crawl
Being persistent in seeking comfort and assurance
Crawl into your arm now
Seeking protection and comfort in the warm embrace of a loved one
Into your arm now
Finding a sense of safety and peace in someone else's embrace
Lyrics © Sony/ATV Music Publishing LLC
Written by: BONNIE RAITT
Lyrics Licensed & Provided by LyricFind