This has been around as a bootleg for some time, a great radio broadcast from February 1972 featuring mainly Bonnie with Freebo on bass but also T. J. Tindle on lead guitar and John Davis playing harp on a couple of tracks. The sound quality isn't perfect but it's pretty good and it captures Bonnie doing material from her first two albums as well as some songs that have never been officially released - Steve Winwood's 'Can't Find My Way Home', John Hurt's 'Richland Woman Blues' and her own song 'Blender Blues'. Although Bonnie sounds young (she was only 22) she also sounds very confident and relaxed, her voice is perfectly controlled and her guitar playing is particularly good on blues like Robert Johnson's 'Walking blues' and 'Richland Woman Blues'.

The 1996 concert video A Tribute to Stevie Ray Vaughan gathers Eric Clapton, Buddy Guy, Robert Cray, B.B. King, Art Neville, Dr. John, and brother Jimmie Vaughan to celebrate the talent and life of the modern electric blues guitar virtuoso. Double Trouble and the Tilt-a-Whirl Band support these stars as they interpret Vaughan's songbook in an 80-minute concert; brief interviews with the featured artists enrich the proceedings with even more respect and affection. Highlights of Vaughan's performance on the PBS series Austin City Limits hit home just how great a talent was lost when he was killed in 1990. Ultimately, though, A Tribute to Stevie Ray Vaughan focuses on the uplifting memory of his warmth and musical gifts, keeping them alive with the help of his very able friends.

Original Album Series album by Bonnie Raitt was released Aug 23, 2011 on the Warner Bros. label. UK-only five CD set containing a quintet of albums from the American singer/songwriter. Original Album Series songs Each album comes in a mini-LP sleeve with all housed in attractive slipcase. Original Album Series album Includes the albums Streetlights, Home Plate, Sweet Forgiveness, The Glow and Green Light…

Slipstream is the sixteenth studio album by Bonnie Raitt, released in April 2012. American Songwriter Magazine praised it as "her best album in years and one of the best of her 40-year career." The album was listed at #22 on Rolling Stone's list of the top 50 albums of 2012, saying "As young stars like Adele and Katy Perry cover her songs, Raitt continues what she’s been doing, more or less, for 40-plus years." The album won for the Grammy Award for Best Americana Album at the 2013 Grammy Awards.

Eric Clapton, one of the world's outstanding blues/rock guitarists, once again assembled an all-star team of six-string heroes for his fifth Crossroads Guitar Festival in 2019. Organized at the American Airlines Center in Dallas, Texas, the two-day concert event raised funds for the Crossroads Centre in Antigua, the therapy facility for alcohol and drug addicts founded by Clapton in 1998. After a six-year hiatus, the festival returned with new energy and outstanding performances, including performances by James Bay, Jeff Beck, Doyle Bramhall II, Gary Clark Jr, Robert Cray, Sheryl Crow, Andy Fairweather Low, Peter Frampton, Vince Gill, Buddy Guy, Sonny Landreth, Lianne La Havas, Los Lobos, John Mayer, Keb' Mo', Bonnie Raitt, Robert Randolph, Tedeschi Trucks Band, Jimmie Vaughan and others…

Nick of Time not only was an artistic comeback for Bonnie Raitt; it brought her largest audience yet, so there was no reason to mess with success for its sequel, Luck of the Draw. And sequel is the appropriate word, since Luck of the Draw is nothing if it isn't Nick of Time, Pt. 2. True, there's a heavier reliance on original material this time around, but the sound and feel of the record is identical to its predecessor…

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.

Solid, soulful blues, often with humorous, self-deprecating lyrics, comes from the well-respected vocalist, tenor player, composer, and veteran of the bands of Albert Collins, Buddy Guy, Magic Sam, and Son Seals. Reed has been called "the definitive Chicago blues sax player." This album features Reed's band, with guests Bonnie Raitt and Stevie Ray Vaughan

There are a number of arguments to be made for and against Maria Muldaur's 2008 antiwar statement Yes We Can! on Telarc (before actually listening to it; remember, we live in a cynical culture). The "perceived" negatives all relate to the intent of the recording and who it's supposed to reach (no doubt an expression of the same set of beliefs rooted in Muldaur's 1960s music), and the fact that it's loaded with guests (in all fairness, these star-studded affairs seldom work). On Yes We Can!, her guests include Muldaur's old friends (Joan Baez, Bonnie Raitt, Phoebe Snow, Jane Fonda, and Holly Near) and influences (Odetta) and new pals (writers/spiritual gurus Anne Lamott and Marianne Williamson, and Indian spiritual teacher Amma). Does it read as if it is yet another exercise in self-referential backslapping? Yep. But don't believe everything you read on the back of a CD jacket. The positives are all musical.

This soundtrack to the movie features an astonishing array of blues artists from three generations. Recorded during one long night at NYC's Radio City Music Hall on Feb. 7, 2003, the electricity is in the air and on stage. While it may not have been the finest blues show in history, the collection of founding fathers such as David "Honeyboy" Edwards, Buddy Guy, Clarence "Gatemouth" Brown, Larry Johnson, Hubert Sumlin, Solomon Burke, and the ubiquitous B.B. King along with their spiritual offspring (Gregg Allman, John Fogerty, and Steven Tyler) and some usual suspects like Bonnie Raitt, Robert Cray, and Keb' Mo', makes it arguably the most significant blues session ever captured on film. Beginning acoustic, the double disc builds momentum and volume as we hear the blues mutate to electric and finally hip-hop with Chuck D. exploding on a rap version of John Lee Hooker's "Boom Boom".