Uploaded December 2025 | Updated September 2026, 2 days ago
Track List: 4-6
4. Louise (0:00)
5. Gamblin' Man (2:45)
6. Sweet Forgiveness (6:13)
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: 4-6
4. Louise (0:00)
5. Gamblin' Man (2:45)
6. Sweet Forgiveness (6:13)
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






![The Hollies - Bus Stop / Dont Run And Hide (1966) Single
Track List:
1. Bus Stop (0:00)
2. Dont Run And Hide (2:53)
From Wikipedia, the free encyclopedia:
Bus Stop is a song recorded and released as a single by the British rock band the Hollies in 1966. It reached No. 5 in the UK Singles Chart. It was the Hollies first US top ten hit, reaching No. 5 on the Billboard charts in September 1966. In Canada the song reached No. 1 and was their second top ten hit there.
Bus Stop was written by Graham Gouldman, who also penned major hits for the Yardbirds (For Your Love) and Hermans Hermits (No Milk Today), as well as the Hollies first venture into the US top 40 with Look Through Any Window. With the release of Bus Stop as a single in June 1966, the Hollies joined the trend known as raga rock, a subgenre first popularised by the Beatles, the Byrds and the Kinks. Musicologist William Echard highlights the guitar solo and its sitar-like sound as an indicator of the Indian musical element evident in the song. Billboard said of the single that there was a good group vocal on this teen-aimed, easy-rocker with more commercial potential than their [earlier single] I Cant Let Go. Cash Box described the song as a rollicking, hard-driving bluesy weeper with a plaintive, melodic undercurrent.
In a 1976 interview Gouldman said the idea for Bus Stop had come while he was riding home from work on a bus. The opening lines were written by his father, playwright Hyme Gouldman. Graham Gouldman continued with the rest of the song in his bedroom, apart from the middle-eight, which he finished while riding to work – a mens outfitters – on the bus the next day.
Thirty years later he elaborated on the songs beginnings: Bus Stop, I had the title and I came home one day and he (Hyme) said Ive started something on that Bus Stop idea you had, and Im going to play it for you. Hed written Bus stop, wet day, shes there, I say please share my umbrella and its like when you get a really great part of a lyric or, I also had this nice riff as well, and when you have such a great start to a song its kind of like the rest is easy. Its like finding your way onto a road and when you get onto the right route, you just follow it. My late father was a writer. He was great to have around. I would write something and always show him the lyric and he would fix it for me. You know, hed say Theres a better word than this – he was kind of like a walking thesaurus as well and quite often, sometimes, he came up with titles for songs as well. No Milk Today is one of his titles, and also the 10cc song Art for Arts Sake. The Hollies - Bus Stop / Dont Run And Hide (1966) Single](https://i.ytimg.com/vi/K0V-4fcypTw/mqdefault.jpg)



