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.
Love Has No Pride
Bonnie Raitt Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
To think that they don't mean much any more.
Fine times have gone and left my sad home,
Friends who once cared just walk out my door.
[Chorus]
Love has no pride when I call out your name.
Love has no pride when there's no one left to blame.
I've been alone too many nights
To think that you could come back again.
But I've heard you talk: "she's crazy to stay."
But this love hurts me so, I don't care what you say.
[Chorus]
If I could buy your love, I'd truly try my friend.
And if I could pray, my prayer would never end.
But if you want me to beg, I'll fall down on my knees;
Asking for you to come back
I'd be pleading for you to come back
Beggin' for you to come back to me.
[Chorus]
Yes, I'd give anything to see you again.
The lyrics of Bonnie Raitt's "Love Has No Pride" express the feelings of a person who has been left alone after a failed relationship. The artist reflects on the desolation and despair that followed the end of the good times and the departure of her friends who once offered solace. She talks about the bad dreams that she has experienced and how every time she calls out the name of her ex-lover, love has no pride anymore. It seems like there is no one left to blame, but the love that once brought them together does not care anymore. The singer of the song is struggling to move on and is haunted by thoughts of a time that might never come back.
In the second verse, she talks about being alone too many nights and how she knows it is unlikely for her former partner to return to her life, but she is still holding on to hope. The artist is aware of what others might think of her for fighting for a relationship that has already ended, but the love she had is worth the pain. She is willing to beg, pray or make any sacrifice just to have her former lover back in her life. These lyrics emphasize the vulnerability of love and the toll that failed relationships can have on a person.
Line by Line Meaning
I've had bad dreams too many times,
I've been through a lot of difficult times and it's starting to feel like it's never-ending, like nightmares that don't stop.
To think that they don't mean much any more.
I've experienced so much pain that it's hard to even feel the impact of bad dreams anymore.
Fine times have gone and left my sad home,
I used to have good times and happy memories, but now my home is a place of sadness and loss.
Friends who once cared just walk out my door.
The people who used to support and care about me have all abandoned me and left me alone.
Love has no pride when I call out your name.
Love can make me feel weak and vulnerable, especially when I'm reaching out to you for help.
Love has no pride when there's no one left to blame.
When there's no one else to turn to, love cannot shield me from the pain.
I'd give anything to see you again.
I miss you so much that I would do anything, even the impossible, just to have you back in my life.
I've been alone too many nights
I've spent countless nights totally alone and isolated.
To think that you could come back again.
It's hard for me to believe that you could ever come back into my life after all that's happened.
But I've heard you talk: 'she's crazy to stay.'
I've heard that you think I'm foolish for still caring about you and trying to maintain this relationship.
But this love hurts me so, I don't care what you say.
This love might be painful and difficult, but I can't help how I feel and I'll keep trying no matter what people say or think.
If I could buy your love, I'd truly try my friend.
I would do anything I could, even something as impossible as buying someone's love, to make you feel the same way about me that I feel about you.
And if I could pray, my prayer would never end.
If I could pray for something to happen, I would keep praying and never stop until my wishes come true.
But if you want me to beg, I'll fall down on my knees;
I'm willing to degrade myself and beg for your forgiveness or affection if it means I can have you back in my life.
Asking for you to come back
I'm desperately requesting for you to return to my life.
I'd be pleading for you to come back to me.
I would be begging for you to come back to me with everything I have.
Yes, I'd give anything to see you again.
I'm so desperate to see you again that I would do anything, no matter how impossible it seems.
Lyrics © Wixen Music Publishing, Sony/ATV Music Publishing LLC
Written by: Eric Kaz, Libby Titus
Lyrics Licensed & Provided by LyricFind
Wes Mahan
Musical brilliance. Unmatched. And may David Crosby RIP. I've watched this probably 30 times or more, and it brings tears. Every. Single. Time.
Ann Moore
At the age of 65 I know how lucky we were to grow up with such incredible music
Allan Chalmers
You're so right honey.
katy bassett
I am 75 and feel the same.
Debbie Burke
Especially when people constantly told us music from the 70’s sucked.
Susan F
Amen Sister!
Patricia Martinez
Me too
Mary Reyner
Bonnie so deserved her 2023 Grammy for best song! Still amazing after over 50 years in the business.
Robert Chappell
Overdue for sure.
Thadmotor1044
very deep take on loss...