Released: April 9, 2002
Produced by Bonnie Raitt, Mitchell Froom and Tchad Blake
(P)(C) 2002 Capitol Records, Inc.

1. Fool's Game (4:08)
2. I Can't Help You Now (3:13)
3. Silver Lining (6:19)
4. Time Of Our Lives (4:00)
5. Gnawin' On It (4:44)
6. Monkey Business (3:36)
7. Wherever You May Be (5:31)
8. Valley Of Pain (4:27)
9. Hear Me Lord (5:09)
10. No Gettin' Over You (4:45)
11. Back Around (5:15)
12. Wounded Heart (4:13)

CDP 7243 5 31816 2 8 (P)(C) 2002 Capitol Records, Inc. Manufactured by Capitol Records, Inc., 1750 N. Vine Street, Hollywood, California 90028. All Rights Reserved. Unauthorized Duplication is a Violation of Applicable Laws. Printed in U.S.A.

1. Fool's Game Written by Jon Cleary © 1999 FHQ Entertainment, Inc. (BMI) Administered by Bug Music, Inc. All rights reserved. Used by permission.

2. I Can't Help You Now Written by Tommy Sims, Gordon Kennedy and Wayne Kirkpatrick © 2001 Universal Music Corp./Bo Cut Songs/Bases Loaded Music/Tommy Sims Music/BMG Songs, Inc. (ASCAP)/Sell The Cow Music/Warner-Tamerlane Publishing Corp. (BMI). All rights on behalf of Bo Cut Songs administered and controlled by Universal Music Corp. All rights on behalf of Sell The Cow Music administered by Warner-Tamerlane Publishing Corp. All rights reserved. Used by permission.

3. Silver Lining Written by David Gray © 1999 Chrysalis Music Ltd. All rights in the U.S. and Canada administered by Chrysalis Music (ASCAP). International copyright secured. All rights reserved. Used by permission.

4. Time Of Our Lives Written by Tommy Sims and Teron Beal © 2001 Bases Loaded Music/Tommy Sims Music/Teron Beal Songs/BMG Songs, Inc. (ASCAP) All rights reserved. Used by permission.

5. Gnawin' On It Music by Bonnie Raitt and Roy Rogers Lyrics by Bonnie Raitt © 2002 Open Secret Music (ASCAP)/Chops Not Chaps Music (BMI) All rights reserved. Used by permission. All rights of Chops Not Chaps Music administered by Bug Music, Inc.

6. Monkey Business Written by Jon Cleary © 2002 FHQ Entertainment, Inc. (BMI) Administered by Bug Music, Inc. All rights reserved. Used by permission.

7. Wherever You May Be Written by Alan Darby and Gavin Hodgson © 2001 Alan Darby (PRS) and Gavin Hodgson (GEMA) All rights administered by Open Secret Music (ASCAP) All rights reserved. Used by permission.

8. Valley Of Pain Written by Allen Shamblin and Rob Mathes © 2001 River Oaks Music Co./Maybe I Can Music (BMI)/Rollywood Music/Built On Rock Music (ASCAP) All rights on behalf of River Oaks Music Co. and Maybe I Can Music administered by EMI Christian Music Publishing. All rights reserved. Used by permission.

9. Hear Me Lord Written by Oliver Mtukudzi © 2001 Tuku Music (PRS) All rights of Tuku Music administered by Open Secret Music (ASCAP) All rights reserved. Used by permission.

10. No Gettin' Over You Written by Bonnie Raitt © 2001 Open Secret Music (ASCAP) All rights reserved. Used by permission.

11. Back Around Music by Bonnie Raitt and Habib Koite Lyrics by Bonnie Raitt © 2001 Open Secret Music (ASCAP) All rights reserved. Used by permission.

12. Wounded Heart Written by Jude Johnstone © 2000 Mad Jack Music/Sajak Music (BMI) All rights reserved. Used by permission.

Bonnie Raitt: vocals, electric and 'National' slide guitar, bg. vocal on Fool's Game, horn arr. on Gnawin' On It, organ arr. on Silver Lining James "Hutch" Hutchinson: bass, acoustic on Back Around Ricky Fataar: drums, percussion, bg. vocals on Hear Me Lord George Marinelli: electric and acoustic guitars, mandolin on No Gettin' Over You, harmony vocal on Silver Lining, bg. vocal on Hear Me Lord Jon Cleary: keyboards (piano, wurly, B3, clavinet, moog, synth), duet vocal on Monkey Business, bg. vocals on Fool's Game, Hear Me Lord, I Can't Help You Now.

Additional musicians: Mitchell Froom: moog synth and clavinet on I Can't Help You Now, organ and synth on Wherever You May Be, marxophone, reed organ and additional piano on Silver Lining, organ on Valley Of Pain, organ and wurlitzer on Time Of Our Lives, organ on Wounded Heart Roy Rogers: the 'other' slide guitar (left speaker!) on Gnawin' On It Steve Berlin: baritone sax on Gnawin' On It and Monkey Business Habib Koite: gut string guitar on Back Around Tommy Sims: 2nd electric guitar (right side!) on Time Of Our Lives Gary Gold: additional sloppy snare and cross stick on Gnawin' On It, drum loops on I Can't Help You Now, Time Of Our Lives, Wherever You May Be, Silver Lining Freebo: tuba on No Gettin' Over You Benmont Tench: piano on Wounded Heart Andy Abad: lead guitar on Hear Me Lord Alex Acuña: congas, talking drum on Hear Me Lord Pete Thomas: percussion on Valley Of Pain Andy Scheps: additional drum loops on I Can't Help You Now Members of Bamada (Habib Koite's Band) on Back Around: Souleymane Ann: Calabash Keletigui Diabate: Balafon Nahamadou Kone': Talking Drum

Additional Background Vocals: Steve Raitt: Fool's Game Tommy Sims: I Can't Help You Now, Time Of Our Lives, Hear Me Lord Bernard Fowler: I Can't Help You Now, Time Of Our Lives Arnold McCuller: Wherever You May Be Fred White: Wherever You May Be

Produced by Bonnie Raitt, Mitchell Froom and Tchad Blake
Recorded and Mixed by Tchad Blake Assisted by Jacquie Blake, also ProTools engineer
Back Around Recorded by John Paterno, Assisted by Adam Samuels
Additional overdubs on I Can't Help You Now Recorded by John Paterno, Assisted by Craig Conard
Recorded at The Sound Factory, Hollywood, California, USA, 2001

I Can't Help You Now mixed by Tchad Blake at Real World Studios, Box, Wiltshire, England
Assisted by Claire Lewis
ProTools: Jacquie Blake
Pre-production assistance and engineering, SF: Tom Corwin
Production Coordinator: Kathy Kane

Mastered by Bob Ludwig at Gateway Mastering, Portland, Maine, USA

Art Direction: Norman Moore
Photography: Ann Cutting, Tchad Blake, Henry Diltz, René Goiffon, Pat Johnson
Make Up: Lucienne Zammit
Styling: Kate Lindsay

Steve Berlin appears courtesy of Mammoth Records
Habib Koite and Bamada appear courtesy of Contre-Jour Records, Belgium
Roy Rogers appears courtesy of Evidence Music
Tommy Sims appears courtesy of Positive Movement, Inc.

Management: Ron Stone and Kathy Kane for Gold Mountain Entertainment
With Special Assistance by Melissa Masi and Annie Heller-Gutwillig
Publishing Administration: Lisa Thomas
Booking: Paul Goldman, Monterey Peninsula Artists
Correspondence: P.O. Box 626, Los Angeles, CA 90078

Production/Tour Manager: Ky Cabot
Assistant Tour Manager: Mindi Pelletier
Live Sound Mixer: Paul Middleton Live
Monitor Mixer: Doug Gherna
Tour crew: John Cregar (drums), Mike Dean (guitars, keys), Bobby Huck (guitars), Steve Nider (keys)

Bonnie and Mike Dean would like to thank Larry Pogreba for her purple custom 'National' guitar, Jim Dunlop for making her picks, Guild, the staff at Westwood Music, Larry Dalton at Fishman Transducers, and Lloyd Baggs. Ricky would like to thank the folks at DW Drums, Zildjian, Vic Firth, and Remo for their support over the years. Hutch would like to thank Ted Kornblum at AMPEG Amps, Steve Rabe at SWR, John Ferrante at D'Addario Strings, Joey Brasler at Line 6, and Dave and Alex at Aguilar Amplification. George Marinelli would like to thank Elixir strings. Jon Cleary would like to thank Mark Jefferys at Digidesign, Erik Hanson at Roland USA, Tim Godwin at Line 6, Jim Mona at RSPE, Jack Kontney at SHURE mics, Ted Burger at Korg, Arthur Guinness, and Johnny Guitar Watson. Tchad Blake would like to thank Tech 21, Anthony DeMaria Labs, Little Labs, and Empirical Labs.

Bonnie's Special Thanks: This is, above all, a band record. Although Hutch has been with me nearly 20 years, Ricky off and on since '81 and George on Longing In Their Hearts and Road Tested, this particular unit has been together nearly two years. A lot of what makes this record so special is the trench we've dug out on the road.... deep and wide. Thank you guys, so much. For MVP, definitely, Kathy Kane. Without her and my excellent staff at Gold Mountain, I doubt we could have been allowed to burn this hot and still make it through. So thanks to her, Ron Stone, Melissa Masi and Annie Heller-Gutwillig at Gold Mountain, for keeping the torch lit. To Norman, Kate and Lucienne for their help with this beautiful package. To Ann, Tchad, Henry, Rene' and Pat for these wonderful photos. To Lisa Thomas, Mary Katherine Aldin, Tom Corwin, David Kipper, Susann McMahon, Tim Bernett, Renata Kanclerz and always Jeffrey Hersh for their ongoing care and support. To Phil MacConnell, Craig Conard and Nate Burden at The Sound Factory, Andy Slater, Tommy Steele, Judi Kerr, Ambrosia Healy, Doneen Lombardi, Mark Di Dia, Larry Jacobson, Dan Hubbert and Richard Morales at Capitol, and Paul Goldman at Monterey. Tom Campbell, Debbie and Carol at Avocado for helping with my political work. Jerry Rosen, Bill Tannenbaum and Vanessa Longmire for minding the till… For their crucial support on the road: Ky Cabot (tour Dad), Sheba Posnansky (queen travel), Paul Middleton for 20 years of our great live sound, Doug on monitors for nearly as long, and all my crew, drivers and tech support who make it happen. To Schubert Systems Group, Compact Monitor Systems, Third Encore, Jim Bodenheimer and EgoTrips. To Mitchell, Tchad, Jaquie, Bob Ludwig, Tommy Sims, Steve Berlin, Gary Gold, Roy and Gaynell, Habib and the band, Oliver and Debbie, all the songwriters and additional musicians who added so much to the making of this album, my love and thanks. And finally, I'd like to dedicate this album to my most extraordinary older brother, Steve, who continues to be my hero and inspiration. Thank you for always being here for me. My love is forever true. - Bonnie

Silver Lining Bio
There's no mistaking the sound of Bonnie Raitt on her sixteenth album. But there's also no missing the fact that this disc expands on that classic sound with some surprising new twists.

Some thirty years after her recording debut, Bonnie's performance on Silver Lining is rock-solid. There's nothing trendy in the energies that define this album, where her broadening search for universal elements in diverse musical cultures runs parallel to her deepening mastery of the blues.

Just as important is her decision to feature her touring band on this record. Where her previous album, Fundamental, tapped the possibilities of working with new musicians and co-producers, Silver Lining is Bonnie and her touring band in all their glory. The seasoned lineup of George Marinelli, formerly of Bruce Hornsby and the Range, on guitar, ex-Neville Brothers bassist James "Hutch" Hutchinson, Beach Boys alumnus Ricky Fataar on drums -- all studio mainstays -- has developed uncanny empathy through years of playing with Bonnie. With the more recent addition of budding New Orleans legend and solo artist Jon Cleary on keyboards, the group turns up the heat even more, onstage and in the studio.

"The thing that most excites me about Silver Lining is that we finally get all the punch and the funk into the studio that we've gotten live," Bonnie explains. "The band and I have toured together so much, and we have so much combined versatility under our belts, that doing this album was more like play than work."

One of the hallmarks of Bonnie's style is her ability to find terrific material. Rather than let some concept or commercial considerations guide her, she has always followed her muse and musical curiosity, only going into the studio when she feels she has the perfect combination of songs that express where she's at at the time. On Silver Lining two such songs, "I Can't Help You Now" and "Time Of Our Lives," were co-authored by Tommy Sims, Gordon Kennedy and Wayne Kirkpatrick, who wrote "Change the World" for Eric Clapton. There's also a stunning interpretation of rising star David Gray's beautiful title song, "Silver Lining," one of the most ambitious and innovative works Bonnie has ever recorded.

Another gem literally popped out of nowhere in L.A. traffic. "In '99 we were opening for Eric Clapton in Europe," Bonnie remembers, "and his guitar player, Alan Darby, played me a tape of some things he had written for his solo album. 'Wherever You May Be,' which he wrote with Gavin Hodgson, was on that tape -- as aching and beautiful a marriage of music and lyric as I've heard. But I didn't really think about doing it myself until one day about a year later when I stopped at a red light, and this tape skidded out toward my feet from under the driver's seat, where it had been lodged probably all that time. I slipped it into the player, and although I'd already picked most all of the songs for Silver Lining, I knew immediately that I should cut this song. Sometimes so-called coincidences are to be paid attention to."

Cleary's addition to the band gave Bonnie another valuable source of material. On his two contributions, the opening cut "Fool's Game" and the funk-drenched "Monkey Business," he shares the spotlight with Bonnie, doubling or backing the street-chant vocals and jabbing out almost unbearably hot piano and organ. "He is such a terrific adjunct to my band," she smiles. "It's great to showcase someone who also knocks me out as an artist himself."

Silver Lining also captures examples of Bonnie's growing fascination with African music. It's apparent in the jump up, skimming rhythms of "Hear Me, Lord," written by Zimbabwean world-beat master Oliver Mtukudzi. It's also woven into the fabric of "Back Around," a complex fusion of traditions explored by Bonnie and Malian innovator Habib Koité. "There's an interesting twist to this one," she says, "because as someone from Los Angeles who loves Delta blues, which is rooted in the same West African soil Habib is from, I ended up showing him and his band a blues feel they were totally unfamiliar with. I don't think there's ever been any music quite like what we came up with."

Along with "Back Around," Bonnie contributed several original songs to the rich material mix of Silver Lining. She came up with "No Getting Over You" while playing guitar one day, then set playfully modern lyrics to a vintage blues groove laid down with Cleary tinkling on a dusty old upright piano and guest artist Freebo huffing and puffing on tuba.

Another song was born from a friendship that Bonnie, a virtuoso slide guitarist, has long enjoyed with a colleague in that tradition. "Roy Rogers has got one of the most incendiary styles of slide guitar I've ever heard, and I've always wanted to work with him, either onstage or on a record. I felt that this was the time to do it, so I called him up and went to his house, and we jammed on different feels that afternoon." What they came up with was "Gnawin' On It," a rowdy, risqué celebration of long relationships -- specifically, in Bonnie's words, "how you can still have the hots for each other even though your kids would shake their heads and go, 'No way!'"

Music from trusted friends, from unprecedented cultural encounters, and from under the brake pedal, alive with passions profane and profound: Silver Lining is driven by the talents of its participants but unified by one woman's vision.

"There's nothing like living a long time to create a depth and soulfulness in your music," she reflects. "Where I am at this point in my life is really reflected in this record -- all the fire and wisdom, humor and wounds, laid out in all their beauty. I've watched my peers get better with age and hoped that would happen with me. That's up to the public to decide … but I feel that with Silver Lining I've made one of the most important records of my career."