Uploaded December 2025 | Updated September 2026, 2 days ago
Track List: 1-3
1. About To Make Me Leave Home (0:00)
2. Runaway (4:14)
3. Two Lives (8:12)
Part 1. youtu.be/typ0imcD69E
Part 2. youtu.be/HFexHxWs_k8
Part 3. youtu.be/uxfC1-WQZA4
Playlist: youtube.com/playlist?list=PLkWvh9BoHZBqEdp9twoodergQ48H76R6D
'Sweet Forgiveness' Allmusic Review by Stephen Thomas Erlewine:
Since Home Plate brought Bonnie Raitt within shooting distance of the Top 40, thereby being the greatest chart success she yet attained, it made sense that she re-teamed with its producer Paul A. Rothchild for its follow-up, Sweet Forgiveness. Rothchild's modus operandi remains slickness, but he has backed away from his fondness for studio musicians, letting Raitt record the majority of the record with her touring band (who only were spotted occasionally throughout Homeplate). All this means is that the near-hit "Runaway" is almost a ringer, largely because it's a poor choice for Raitt's sweetly funky Californian rock that was obviously designed as a bid for a single, therefore it was slicked up more than the rest of the record (which remains slick, but not glossy). Sweet Forgiveness is actually looser than Homeplate, a little less constrained. Then why isn't it quite as successful, artistically? That comes down to a selection of songs that aren't quite as effective as those Raitt usually picks -- and, in that sense, "Runaway" was a good indicator of the album. However, the selection of material isn't bad. If the tunes don't happen to form into a whole, it's still filled with great moments, from Earl Randall's opener "About to Make Me Leave Home" to Karla Bonoff's closer "Home." Sweet Forgiveness may not be one of Raitt's unqualified successes (despite its hit status), it's still a solid record, one that's hard to deny if you're already a Raitt fan.
Personnel:
Bonnie Raitt – acoustic guitar, guitar, electric guitar, vocals, slide guitar
Norton Buffalo – harmonica
Rosemary Butler – vocals
Lester Chambers – vocals
Sam Clayton – conductor, conga
Freebo – bass, guitar, vocals, fretless bass
David Grisman – mandolin, mandocello
Jef Labes – keyboard
Maxayn Lewis – vocals
Michael McDonald – vocals
Will McFarlane – guitar, electric guitar, slide guitar
Bill Payne – organ, synthesizer, piano, keyboard, vocals, Fender Rhodes
JD Souther – vocals
Fred Tackett – acoustic guitar, guitar, keyboard
Dennis Whitted – drums
Carlena Williams – vocals
Production:
Producer: Paul A. Rothchild
Engineers: John Haeny, Roger Mayer
Remastering: Keith Blake, Lee Herschberg
Series producer: Gregg Geller
Project coordinator: Jo Motta
Art direction: John Van Hamersveld
Photography: John Van Hamersveld
Track List: 1-3
1. About To Make Me Leave Home (0:00)
2. Runaway (4:14)
3. Two Lives (8:12)
Part 1. youtu.be/typ0imcD69E
Part 2. youtu.be/HFexHxWs_k8
Part 3. youtu.be/uxfC1-WQZA4
Playlist: youtube.com/playlist?list=PLkWvh9BoHZBqEdp9twoodergQ48H76R6D
'Sweet Forgiveness' Allmusic Review by Stephen Thomas Erlewine:
Since Home Plate brought Bonnie Raitt within shooting distance of the Top 40, thereby being the greatest chart success she yet attained, it made sense that she re-teamed with its producer Paul A. Rothchild for its follow-up, Sweet Forgiveness. Rothchild's modus operandi remains slickness, but he has backed away from his fondness for studio musicians, letting Raitt record the majority of the record with her touring band (who only were spotted occasionally throughout Homeplate). All this means is that the near-hit "Runaway" is almost a ringer, largely because it's a poor choice for Raitt's sweetly funky Californian rock that was obviously designed as a bid for a single, therefore it was slicked up more than the rest of the record (which remains slick, but not glossy). Sweet Forgiveness is actually looser than Homeplate, a little less constrained. Then why isn't it quite as successful, artistically? That comes down to a selection of songs that aren't quite as effective as those Raitt usually picks -- and, in that sense, "Runaway" was a good indicator of the album. However, the selection of material isn't bad. If the tunes don't happen to form into a whole, it's still filled with great moments, from Earl Randall's opener "About to Make Me Leave Home" to Karla Bonoff's closer "Home." Sweet Forgiveness may not be one of Raitt's unqualified successes (despite its hit status), it's still a solid record, one that's hard to deny if you're already a Raitt fan.
Personnel:
Bonnie Raitt – acoustic guitar, guitar, electric guitar, vocals, slide guitar
Norton Buffalo – harmonica
Rosemary Butler – vocals
Lester Chambers – vocals
Sam Clayton – conductor, conga
Freebo – bass, guitar, vocals, fretless bass
David Grisman – mandolin, mandocello
Jef Labes – keyboard
Maxayn Lewis – vocals
Michael McDonald – vocals
Will McFarlane – guitar, electric guitar, slide guitar
Bill Payne – organ, synthesizer, piano, keyboard, vocals, Fender Rhodes
JD Souther – vocals
Fred Tackett – acoustic guitar, guitar, keyboard
Dennis Whitted – drums
Carlena Williams – vocals
Production:
Producer: Paul A. Rothchild
Engineers: John Haeny, Roger Mayer
Remastering: Keith Blake, Lee Herschberg
Series producer: Gregg Geller
Project coordinator: Jo Motta
Art direction: John Van Hamersveld
Photography: John Van Hamersveld




![Jim Croce - Operator (Thats Not The Way It Feels) (1972) Single
Track List:
1. Operator (Thats Not The Way It Feels) (0:00)
2. Rapid Roy (The Stock Car Boy) (3:47)
Playlist: https://www.youtube.com/playlist?list=PL4HEzRFNuOZ42_6W6grS-mgJ2pBYilTn0
From Wikipedia, the free encyclopedia:
Operator (Thats Not the Way It Feels) is a 1972 song written by Jim Croce. Croces record was released on August 23, 1972. It was the second single released from Croces album You Dont Mess Around with Jim. It reached a peak of number 17 on the Billboard Hot 100 in December 1972, spending twelve weeks on the chart.
Cash Box described the lyrics saying that in James Taylor fashion, Jim Croce tries to track down his long lost lover with the help of the operator.
The song relates one side of a conversation with a telephone operator. The speaker is trying to find the phone number of his former lover, who has moved to Los Angeles with his former best friend. He wants to demonstrate to both of them that he is well and over their betrayal, but admits to the operator that he is not. After the operator has given him the number, he is unable to read it, apparently due to the tears in his eyes. He then changes his mind and tells the operator not to place the call, appreciatively adding you can keep the dime (the then-standard toll he had deposited in a payphone).
The story was inspired during Croces military service, during which time he saw lines of soldiers waiting to use the outdoor phone on base, many of them calling their wives or girlfriends to see if their Dear John letter was true.
Record World called the song a strong story-telling tune in the Chuck Berry Memphis vein and said that the single is a near-perfect matching of this singer to the song.
Lyrics:
[Verse 1]
Operator, well could you help me place this call?
See, the number on the match book is old and faded
Shes living in L.A. with my best old ex-friend Ray
A guy she said she knew well and sometimes hated
[Chorus]
But isnt that the way they say it goes?
Well lets forget all that
And give me the number if you can find it
So I can call just to tell em Im fine, and to show
Ive overcome the blow
Ive learned to take it well
I only wish my words could just convince myself
That it just wasnt real
But thats not the way it feels
[Verse 2]
Operator, well could you help me place this call?
Cause I cant read the number that you just gave me
Theres something in my eyes
You know it happens every time
I think about the love that I thought would save me
[Chorus]
But isnt that the way they say it goes?
Well lets forget all that
And give me the number if you can find it
So I can call just to tell em Im fine, and to show
Ive overcome the blow
Ive learned to take it well
I only wish my words could just convince myself
That it just wasnt real
But thats not the way it feels
[Verse 3]
Operator, well lets forget about this call
Theres no one there I really wanted to talk to
Thank you for your time
Ah, youve been so much more than kind
You can keep the dime
[Chorus]
But isnt that the way they say it goes?
Well lets forget all that
And give me the number if you can find it
So I can call just to tell em Im fine, and to show
Ive overcome the blow
Ive learned to take it well
I only wish my words could just convince myself
That it just wasnt real
But thats not the way it feels Jim Croce - Operator (Thats Not The Way It Feels) (1972) Single](https://i.ytimg.com/vi/v5SGNePbsrk/mqdefault.jpg)





