Bonnie Raitt - Nick Of Time - AudioSoundMusic
Bonnie Raitt - Nick Of Time - AudioSoundMusic
Bonnie Raitt - Nick Of Time - AudioSoundMusic
Bonnie Raitt - Nick Of Time - AudioSoundMusic
Bonnie Raitt - Nick Of Time - AudioSoundMusic
Bonnie Raitt - Nick Of Time - AudioSoundMusic
Bonnie Raitt - Nick Of Time - AudioSoundMusic
Bonnie Raitt - Nick Of Time - AudioSoundMusic
Bonnie Raitt - Nick Of Time - AudioSoundMusic
Bonnie Raitt - Nick Of Time - AudioSoundMusic
Bonnie Raitt - Nick Of Time - AudioSoundMusic
Bonnie Raitt - Nick Of Time - AudioSoundMusic
Bonnie Raitt - Nick Of Time - AudioSoundMusic
Bonnie Raitt - Nick Of Time - AudioSoundMusic

Bonnie Raitt - Nick Of Time

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25th anniversary reissue

Bonnie Raitt - Vocals, Piano (A1, B3), Slide Guitar (A2-4), Guitar (A5-6, B5)

Vocals – Johnny Lee Schell (A2)

Backing Vocals – Arnold McCuller (A1, B2, B5), Sir Harry Bowens (A1, A3, B2-3, B5), Sweet Pea Atkinson (A3, B2-3, B5), David Crosby (A4), Graham Nash (A4), Larry John McNally (A5), Arnold McCuller (B1), David Lasley (B1)

Bass – Hutch Hutchinson (A1-3, A5, B1-3), Preston Hubbard (B5)

Congas – Paulinho Da Costa (A1)

Drums – Ricky Fataar (A1-3, A5, B1-3), Tony Braunagel (A4), Fran Christina (B5)

Percussion – Ricky Fataar (A1-2), Tony Braunagel (A2, A5), Paulinho Da Costa (A4, B1), Paulinho Da Costa (B1)

Guitar – Michael Landau (A1, A3), Arthur Adams (A3), Johnny Lee Schell (A3, B3), John Jorgenson (B2),

Acoustic Guitar - Johnny Lee Schell (A2)

Timbales – Tony Braunagel (A2)

Horns – Bill Bergman (A3, B3), Dennis Farias (A3, B3), Greg Smith (A3, B3), John Berry, Jr. (A3, B3), The Heart Attack Horns (A3, B3)

Keyboards – Scott Thurston (A3, B1), Michael Ruff (A4), Don Was (B2)

Tenor Saxophone – Marty Grebb (A3, B3)

Acoustic Bass – Chuck Domanico (A4), Chuck Domanico (A6)

Blues Harp – Kim Wilson (A5, B5)

Piano – Jerry Williams (A5)

Piano – Herbie Hancock (B4) [click here to see more vinyl featuring Herbie Hancock]

Pedal Steel Guitar – J.D. Maness (B2)

Written by Bonnie Raitt (A1, A3, B5), John Haitt (A2), Bonnie Hayes (A3, B1), Michael Ruff (A4), Jerry L. Williams (A5, B3), Larry John McNally (A6), M. Reid (B2), R.M. Bourke (B2), D. Lasley (B4), J. Lasley (B4)

 

1 LP, standard sleeve, includes a voucher to download mp3 version of this album

Original analog Master tape : YES

Heavy Press : 180g

Record color : black

Speed : 33 RPM

Size : 12'’

Stereo

Studio

Record Press : Quality Record Pressings

Label : Capitol

Original Label : Capitol

Recorded in 1988 at Ocean Way (Hollywood), Capitol (Hollywood), Hollywood Sound (Hollywood), Record Plant (Los Angeles)

Recorded and mixed by Ed Cherney

Produced by Don Was

Remastered by Ron McMaster at Capitol Studios Mastering and overseen by original producer Don Was and original recording engineer Ed Cherney

Photography by Deborah Frankel

Originally released in March 1989

Reissued in June 2014




Tracks :

Side A:

  1. Nick of Time
  2. Thing Called Love
  3. Love Letter
  4. Cry On My Shoulder
  5. Real Man
  6. Nobody's Girl

Side B:

  1. Have A Heart
  2. Too Soon To Tell
  3. I Will Not Be Denied
  4. I Ain't Gonna Let You Break My Heart Again
  5. The Road's My Middle Name

Awards:

Rolling Stone magazine 500 greatest albums of all time – Ranked 229 / 500

Colin Larkin's All Time Top 1000 Albums – Ranked 615

Included in the book 1001 Albums You Must Hear Before You Die

Grammy Awards of 1990

  • Album Of The Year
  • Best Female Rock Vocal Performance
  • Best Female Pop Vocal Performance



Reviews :


“Prior to Nick of Time, Bonnie Raitt had been a reliable cult artist, delivering a string of solid records that were moderate successes and usually musically satisfying. From her 1971 debut through 1982's Green Light, she had a solid streak, but 1986's Nine Lives snapped it, falling far short of her usual potential. Therefore, it shouldn't have been a surprise when Raitt decided to craft its follow-up as a major comeback, collaborating with producer Don Was on Nick of Time. At the time, the pairing seemed a little odd, since he was primarily known for the weird hipster funk of Was (Not Was), but the match turned out to be inspired. Was used Raitt's classic early-'70s records as a blueprint, choosing to update the sound with a smooth, professional production and a batch of excellent contemporary songs. In this context, Raitt flourishes; she never rocks too hard, but there is grit to her singing and playing, even when the surfaces are clean and inviting. And while she only has two original songs here, Nick of Time plays like autobiography, which is a testament to the power of the songs, performances, and productions. It was a great comeback album that made for a great story, but the record never would have been a blockbuster success if it wasn't for the music, which is among the finest Raitt ever made. She must have realized this, since Nick of Time served as the blueprint for the majority of her '90s albums.” AllMusic Review by Stephen Thomas Erlewine

“Back in 1949 Guy Lombardo and then Doris Day had hits with a song called “Enjoy Yourself (it’s later than you think)”. The chipper tune composed by Carl Sigman with lyrics by Herb Magidson advised down in the dumpers to get busy enjoying themselves:

Enjoy yourself, it's later than you think

Enjoy yourself, while you're still in the pink

The years go by, as quickly as a wink

Enjoy yourself, enjoy yourself, it's later than you think

Bonnie Raitt’s “Nick of Time” views in a darker, more melancholic light time’s passage. Its release in 1989 struck a morbid, resonating chord with baby boomers then approaching or having hit 40.

To say the song took a generation by surprise and made them contemplate their own mortality would not be overstating its impact. Our time as the “young generation” was over though most of us were too busy having fun to have noticed (and some still are!).

Before the song’s release “Nick of Time” meant “just in time”. Afterwards, the darker double meaning held sway. Despite the downer opener (a gutsy call in my opinion), Raitt’s 10th album was her best seller, topping the Billboard 200 chart and that year winning three GRAMMY® Awards including Album of the Year. Raitt won for both “Best Rock Vocalist” and “Best Pop Vocalist”. With this album Raitt achieved the commercial success that had so long eluded her, though those of us who became fans with 1972’s Give It Up produced by Michael Cuscuna have been with Bonnie all the way through some thin thin and thick thick.

Twenty-five years later the title tune—one of only two songs she wrote for the album— is even weightier. Raitt sings of a friend whose biological clock is running out and she still can’t make up her mind—about choosing a mate or having a baby is left ambiguous. By now that friend could be a grandmother.

Raitt sings of seeing her folks aging and their seeing the same in her. Her father, the Broadway actor/singer John Raitt (“Carousel”, “Oklahoma”, “The Pajama Game”) was 72 at the time. He passed away in 2005 at age 88. Today Bonnie Raitt is 64.

This album, produced by Don Was, who is now president of Blue Note Records, holds up as well today as does Bonnie Raitt. Did you see and hear her at the Linda Ronstadt Rock and Roll Hall of Fame induction?

So yes the opener “Nick of Time” is a “heavy” but it’s followed by a raucous cover of John Hiatt’s “Thing Called Love” and from there, thanks to outstanding A&R work the album flows hitch-free between rockers and worthy ballads. Another terrific musical juxtaposition is the jump from the rocker “I Will Not Be Denied” to the ballad “I Ain’t Gonna Let You Break My Heart Again” with Raitt backed by Herbie Hancock on piano. It’s one of Raitt’s finest recorded vocals and it comes midway on the second side. The album end with Raitt’s hard, bluesy bye bye (gotta go ‘cause) “The Road’s My Middle Name.”

Not to be missed. I could blather on about the great rhythm section but I’ll stop. Either you know the record or you’re now moved to get it. If not, I’ve not done my job.

As for the sonics, it was recorded to analog tape by Ed Cherney at Ocean Way, Capitol, Hollywood Sound and The Record Plant. The sound is honest, full-bodied and for a studio production, satisfyingly three-dimensional and dynamic. It’s minimally processed and is sufficiently post the early 80’s Aural Exciter era to have avoided all of that period’s sonic traps, though there are a few of what sound like Yamaha DX7 tinkles. Just a few.

I compared an original Capitol issue mastered at Artisan Sound by Greg Fulginiti, the 90’s era DCC Compact Classics edition mastered by Steve Hoffman and cut by Kevin Gray and this new edition produced and overseen by original producer Don Was and engineer Ed Cherney and cut at Capitol by Ron McMaster.

This one is the best sounding, the original Artisan cut second best and the “audiophile” pressing third. The DCC is overly bright and hard and surprisingly opaque. It’s “hi-fi” in the worst sense of the word. Steve and Kevin have their hits and misses. This is one of their misses.

This reissue is weightier on bottom compared to the original but it doesn’t scream “bass”. It just adds weight lacking in the original. Better yet, the very top end is far cleaner and airier than the original without sounding as if the EQ was grossly pushed. The amount of inner detail revealed—listen to how clearly and easily you can hear the background singers as individual entities—something neither of the previous releases managed as well.

This is the definitive reissue and it was done by a major label, but considering that the original producer and engineer oversaw it, and considering who they are, I’m not surprised.

Pressed by Quality Record Pressings (QRP). The copy I got was flat and quiet—flawless in every way. Highly recommended.” Michael Fremer, Analog Planet, August 2014


Ratings

AllMusic : 4.5 / 5 ; Discogs : 4.08 / 5 ; Analog Planet : Music 10 / 11 , Sound 9 / 11

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