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Bonnie Raitt: The Glow

 A l b u m   D e t a i l s


Label: Warner Bros. Records
Released: 1979.09.01
Time:
 36:59
Category: Pop/Rock
Producer(s): Peter Asher
Rating:
Media type: CD
Web address: www.bonnieraitt.com
Appears with:
Purchase date: 2012
Price in €: 1,00





 S o n g s ,   T r a c k s


[1] I Thank You (Isaac Hayes, David Porter) – 2:51
[2] Your Good Thing (Is About to End) (Isaac Hayes, David Porter) – 4:00
[3] Standin' by the Same Old Love (Raitt) – 4:10
[4] Sleep's Dark and Silent Gate (Jackson Browne) – 3:25
[5] The Glow (Veyler Hildebrand) – 4:11
[6] Bye Bye Baby (Mary Wells) – 3:17
[7] The Boy Can't Help It (Bobby Troup) – 3:39
[8] (I Could Have Been Your) Best Old Friend (Andy McMahon, Tracy Nelson) – 2:52
[9] You're Gonna Get What's Coming (Robert Palmer) – 3:32
[10] (Goin') Wild for You Baby (David Batteau, Tom Snow) – 5:25

 A r t i s t s ,   P e r s o n n e l


Bonnie Raitt - Lead Vocal, Slide & National Steel Guitar

Danny Kortchmar - Electric Guitars
Waddy Wachtel - Guitars, Vocal Backing & Harmonies
Paul Butterfield - Harmonica
Bill Payne - Electric & Acoustic Piano, Oberheim Synthesizers
Don Grolnick - Piano
Bob Glaub - Bass
Bob Magnusson - Bass
Freebo - Bass
Rick Marotta - Drums, Percussion
John Guerin - Drums, Percussion
J.D. Souther - Backing Vocal
Kenny Edwards - Backing Vocal
Maxayn Lewis - Backing Vocal
Rosemary Butler - Backing Vocal
Craig Fuller - Backing Vocal
Peter Asher - Backing Vocal
Larry Williams - Saxohphone
Trevor Lawrence - Saxohphone
David Sanborn - Saxophone Solo

Peter Asher - Producer
Val Garay - Recording & Mixing
Niko Bolas - Recording & Mixing
George Ybarra - Recording & Mixing
Doug Sax - Mastering
Ed Cherney - Remastering Supervisor
Kosh - Art Direction, Design
David Alexander - Cover Photo, Photography
Jim Shea - Photography, Sleeve Photo
Gregg Geller - A&R
Jo Motta - Project Coordinator

 C o m m e n t s ,   N o t e s


The Glow is the seventh album by Bonnie Raitt, released in 1979 (see 1979 in music). Recorded in April 26-July 12, 1979.



Bonnie Raitt enjoyed critical success and blues/folk credentials with her self-titled debut, Give It Up, and Takin' My Time. By 1975, Raitt's style began to be defined by producer Paul Rothchild. Home Plate and Sweet Forgiveness were uncomfortable overtures to commercial propositions where Raitt's persona and sense of fun got lost. Produced by Peter Asher, The Glow was released in 1979 and includes great players like Danny Kortchmar, Bill Payne, and Waddy Wachtel. During this time, sales might have been a consideration as well as Raitt's tough image. If anything, Asher accentuated Raitt's rough edges and provided his customary production polish. Like many Asher productions of the period, The Glow gets its strength from its covers. Raitt takes on "I Thank You," "Your Good Thing (Is About to End)," and "Bye Bye Baby," and struts through them all with ease. "The Boy Can't Help It" doesn't fare as well. Robert Palmer's "You're Gonna Get What's Coming" makes for a great fit. Surprisingly, her take on Jackson Browne's "Sleep's Dark and Silent Gate" doesn't dig as deep as the great original. The Glow isn't a perfect album, but it's a great example of the music she was doing during a make-or-break time in her career.

Jason Elias - All Music Guide



Bonnie Raitt is too gifted to make an unlistenable album, but her eagerly awaited collaboration with producer Peter Asher is a solemn bore. Asher has recorded Raitt exactly as he does Linda Ronstadt, mixing R&B oldies with contemporary tunes and turning the singer's voice into an electronic artifact.

By treating classic soul raveups like Sam and Dave's "I Thank You" and Little Richard's "The Boy Can't Help It" as reverently as art songs, Asher and Raitt reduce them to stodgy, joyless museum pieces. "The Glow" and "(Goin') Wild for You Baby," two contemporary torch songs that sport Raitt's warmest vocals, aren't particularly outstanding. The LP's lowest point, however, is an appallingly perfunctory reading of Jackson Browne's "Sleep's Dark and Silent Gate." If ever a composition were too personal to be sung by anyone but its creator, it's this one.

The Glow glaringly illuminates the limitations of Peter Asher's studio perfectionism. He doesn't overproduce in the usual sense by filling tracks with unnecessary sweetening, but rather by turning out gleamingly spare, "official" Los Angeles rock that's as spiritually hollow as it is technically immaculate. Raitt's best record, 1972's Give It Up, doesn't sound half as lustrous as The Glow, but at least it wasn't embalmed.

Stephen Holden - November 29, 1979
RollingStone.com
 

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