People remember the red hair. They remember the slide guitar. But mostly, they remember that specific, bluesy strut of a groove that kicks off Something to Talk About. It’s one of those rare songs that feels like it has always existed, a permanent fixture of FM radio and karaoke nights, yet it almost didn't happen for Bonnie Raitt. By the time 1991 rolled around, Raitt wasn't exactly a "new" artist. She’d been grinding since the early 70s, respected by blues purists but often ignored by the massive Top 40 machine.
Then came Luck of the Draw.
This wasn't just another album. It was a career-defining moment that proved you could be middle-aged, deeply soulful, and still dominate MTV. The song Something to Talk About became the centerpiece of that era. It’s a track about small-town gossip, the kind of "are they or aren't they" whispering that happens when two friends spend just a little too much time together. It’s relatable because everyone has been the subject of a rumor they secretly wished was true.
The Shirley Eikhard Connection
The song wasn't actually written by Raitt. It came from the pen of Shirley Eikhard, a Canadian singer-songwriter who had a bit of a rough go trying to get the track recorded. Here’s the crazy part: Eikhard originally offered the song to Anne Murray. You know, the "Snowbird" singer? Murray wanted to record it, but her producers reportedly weren't feeling it. They passed.
Imagine that. One of the biggest hits of the 90s almost ended up as a forgotten album track for a country-pop star.
Eikhard didn't give up. She sent a demo to Raitt’s camp. Bonnie heard it and immediately recognized the "hit" potential, but more importantly, she felt the grease in the groove. She knew she could make it swing. When you listen to the original demo compared to the final version, the DNA is there, but Raitt added that grit. She turned a clever pop song into a masterclass in rhythm and blues-inflected pop.
Why the Groove Still Works
The technical brilliance of Something to Talk About lies in its restraint. It doesn't scream. It saunters.
👉 See also: When Was Kai Cenat Born? What You Didn't Know About His Early Life
A lot of 90s production was getting very loud and very digital. But Don Was, who produced the track along with Bonnie, kept things earthy. The drums have air around them. The bass isn't fighting for space. And that slide guitar solo? It’s short. Concise. Punchy. It’s exactly what a pop-rock solo should be—it serves the melody rather than the player’s ego.
Raitt’s vocal performance is equally disciplined. She’s teasing the listener. When she sings about how "the rumors are flying," she’s got this smirk in her voice. You can hear the grin. It’s a song about the tension between friendship and romance, and she plays that line perfectly. She doesn't sound like a teenager with a crush; she sounds like a woman who knows exactly what she’s doing.
Breaking the Age Barrier in the 90s
In 1991, the charts were getting younger. Grunge was about to explode. Mariah Carey was hitting her stride. Boyz II Men were harmonizing their way to the top. Into this mix comes Bonnie Raitt, a 41-year-old woman singing a bluesy rock song.
It shouldn't have worked.
But it did because of the sheer authenticity. Something to Talk About spent 20 weeks on the Billboard Hot 100, peaking at number 5. It won the Grammy for Best Female Pop Vocal Performance. It turned Bonnie Raitt from a "critics' darling" into a household name. It’s an important lesson in the music industry: quality actually matters. You don't always have to chase the latest synth sound or the youngest demographic to find a massive audience. Sometimes, a great hook and a solid groove are enough.
The Lyrics: A Study in "Will They, Won't They"
The narrative of the song is its secret weapon. We’ve all seen it. Two people at the office, or in a friend group, who clearly have chemistry but are playing it cool. The town starts talking. The neighbors start wondering.
✨ Don't miss: Anjelica Huston in The Addams Family: What You Didn't Know About Morticia
"People are lookin' at us a little too close," she sings.
Instead of being offended by the gossip, the narrator decides to lean into it. Why not give them something to talk about? It’s a pivot from defensive to aggressive interest. It’s a proposal disguised as a reaction to rumors. That’s clever songwriting. It turns the "villain" of the story—the gossiping public—into the catalyst for a romance. Without the rumors, the two protagonists might have stayed just friends forever.
The Visual Impact of the Music Video
MTV was the gatekeeper back then. If you didn't have a video, you didn't exist. The video for Something to Talk About was simple but effective. It featured Bonnie in her element—performing. It showcased her guitar skills, which was vital.
Seeing a woman lead a band with a Fender Stratocaster in her hands was a powerful image for a lot of young musicians. She wasn't just a "singer." She was a player. She was the boss. The video didn't need a high-concept plot or expensive CGI. It just needed Bonnie’s charisma and that signature streak of white in her hair.
Common Misconceptions About the Track
Sometimes people think this was Bonnie's debut hit. It wasn't. She had been around for twenty years before this exploded. Others think it’s a country song. While it has some crossover appeal, it’s firmly rooted in the Memphis soul and California rock traditions. It’s "Adult Contemporary" only in the sense that it’s sophisticated, but it has way too much "stank" on it to be boring elevator music.
Also, some listeners confuse the title. They call it "Let’s Give Them Something to Talk About." While that’s the main hook, the official title is just Something to Talk About.
🔗 Read more: Isaiah Washington Movies and Shows: Why the Star Still Matters
What We Can Learn From the Song’s Success
If you're a creator or a musician, Bonnie’s journey with this track is basically a blueprint for late-blooming success.
- Patience is a virtue: Raitt was dropped by Warner Bros. in the 80s. She was essentially "over" in the eyes of the industry. She stayed true to her sound, got sober, signed with Capitol, and had the biggest hits of her life in her 40s.
- Song selection is everything: You don't have to write every single word yourself. Knowing how to pick a song that fits your "skin" is a talent in itself. Raitt knew Shirley Eikhard’s song was her song.
- The "Groove" is timeless: Trends die. Synthesizers get dated. But a well-played rhythm section and a soulful vocal never go out of style.
Making the Most of the Bonnie Raitt Catalog
If you love Something to Talk About, don't stop there. The entire Luck of the Draw album is a masterclass in production. Track down "I Can't Make You Love Me" for a total emotional 180—it’s one of the most heartbreaking ballads ever recorded. Then go backward. Check out Nick of Time. Go even further back to her 70s stuff like Give It Up.
You'll see a consistent thread of a woman who refused to compromise her blues roots for a quick paycheck, and ironically, that’s exactly what eventually led to the biggest paycheck of her career.
Next Steps for Music Lovers:
To really appreciate the craft of this era, listen to the track on a decent pair of headphones. Notice how the slide guitar isn't just "there"—it acts like a second voice, answering Bonnie’s vocal lines. Try to find the Shirley Eikhard version on streaming platforms to see how a songwriter's vision evolves when it hits a major label artist. Finally, look up Bonnie’s live performances of the song from the early 90s versus her recent tours; her voice has aged like fine wine, adding even more weight to the lyrics.
Actionable Insight: If you’re building a playlist of 90s essentials, place this song between Sheryl Crow’s "All I Wanna Do" and Marc Cohn’s "Walking in Memphis." It bridges the gap between the blues-revival and the pop-rock explosion of the decade perfectly.