Bonnie Raitt didn't want to record it. Honestly, that's the part people usually miss when they think about the blues-rock powerhouse that redefined her career in 1991. She thought it was "clever" but maybe a little too poppy for her slide-guitar soul. But then she played it with her band. The groove clicked. Suddenly, Lets Give Em Something to Talk About became more than just a catchy chorus—it became an anthem for small-town gossip and the tension of unspoken attraction.
It’s a vibe. You know it the second those opening guitar licks hit. It’s got that specific, mid-tempo swagger that makes you want to lean back and smirk. Whether you’re hearing it in a grocery store aisle or watching a nervous contestant belt it out on a singing competition, the song has this weirdly permanent grip on American culture.
The Song That Saved a Career (and Defined an Era)
By the late eighties, Bonnie Raitt was basically a veteran who had been dropped by her label. She was sober, she was working hard, and she had just come off the massive success of Nick of Time. The pressure for a follow-up was intense. When she released the album Luck of the Draw, featuring Lets Give Em Something to Talk About, it wasn't just a hit. It was a cultural shift.
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The track was written by Shirley Eikhard. Eikhard had originally offered the song to Anne Murray, who actually recorded a version but ultimately decided not to release it because her producers weren't feeling it. Can you imagine? Anne Murray's loss became one of the most recognizable blues-pop crossovers in history. Raitt took that Canadian songwriter’s demo and infused it with a grit that only someone who had spent decades in smoky blues clubs could provide.
It’s not just a love song. It’s a song about the rumor of love.
People love to talk. In the lyrics, the narrator is dealing with the "hush-hush" whispers of a small town or a tight-knit social circle. Instead of hiding from the scandal, the song suggests leaning into it. It’s a power move. "Let’s give ‘em something to talk about / How about love, love, love?" It’s a defiant shrug toward the critics and the busybodies.
Why the Production Still Holds Up
Listen to the snare sound. It’s crisp. It doesn’t have that over-processed, gated reverb that killed so many other songs from the early 90s. Don Was, the producer, knew exactly what he was doing. He kept the focus on Raitt’s vocal delivery and her signature slide guitar work.
Most people don't realize how technical that guitar part is while sounding so effortless. Bonnie Raitt is one of the greatest slide players to ever pick up a Fender Stratocaster. She wears the slide on her middle finger, which is a bit unusual, and her intonation is basically perfect. In Lets Give Em Something to Talk About, the guitar fills act like a second voice, answering her vocal lines with a sassy, brassy tone that mimics the human voice.
The Karaoke Phenomenon
Go to any bar on a Tuesday night. You'll hear it.
It’s the "Goldilocks" of karaoke songs. It’s not so high that you’ll crack your voice (unlike anything by Whitney Houston), but it’s not so low that it feels boring. It allows for a lot of "acting." You can point at a friend in the crowd. You can do the little shoulder shimmy. It invites the audience to participate because everyone knows that "Love, love, love" refrain.
But there’s a trap. The phrasing is trickier than it sounds. Raitt has this way of laying back behind the beat—a classic blues technique—that amateur singers often struggle with. They rush it. They get ahead of the groove. To sing Lets Give Em Something to Talk About correctly, you have to be comfortable with silence and space.
What Most People Get Wrong About the Lyrics
There is a common misconception that the song is about two people who are already in a committed relationship. If you look closely at the verses, it’s actually about two friends who have been the subject of rumors for a long time.
"I feel it too, baby, that's for sure."
The narrator is acknowledging that the "gossip" might actually be based on a truth they haven't admitted to themselves yet. It’s a "will-they-won't-they" story condensed into three and a half minutes. The genius of the song is that it turns the annoyance of being talked about into a catalyst for a romantic breakthrough.
It's meta. The song itself became something to talk about, winning the Grammy for Best Pop Vocal Performance, Female, in 1992. It stayed on the Billboard Hot 100 for 20 weeks. That’s a long time for a song that doesn’t have a flashy synth hook or a rap bridge.
Impact on the "New Blue" Movement
Raitt, along with artists like Robert Cray and Stevie Ray Vaughan, helped bring a polished version of the blues to the mainstream in the early 90s. Lets Give Em Something to Talk About was the spearhead. It proved that you could have a massive radio hit that still used authentic blues structures.
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Think about the landscape of 1991. You had grunge exploding in Seattle with Nirvana. You had the height of "hair metal" fading away. You had New Jack Swing dominating the R&B charts. And right in the middle of it all was this 41-year-old woman with a streak of white hair and a slide guitar, singing a song about small-town rumors.
It shouldn't have worked. But it did.
- The Narrative: It’s relatable. Everyone has been the subject of a rumor.
- The Accessibility: It crosses genres. Country fans like it. Blues fans respect it. Pop fans can dance to it.
- The Swagger: It’s a "cool" song. It doesn't beg for your attention; it commands it.
The Visual Legacy
The music video played a huge role in its Discover-ability back in the MTV days. Directed by Matt Mahurin, it featured a mix of black-and-white and sepia tones, focusing on Raitt’s expressive face and the communal atmosphere of a bar. It didn't need a high-concept plot. It just needed to capture the feeling of people watching other people.
Even today, the song pops up in movies and TV shows whenever a director needs to signify a "spunky" female lead or a moment of romantic tension in a public place. It’s shorthand for "something is about to happen."
Actionable Takeaways for Musicians and Fans
If you're a musician looking to cover this or a fan trying to understand its staying power, here are a few things to keep in mind:
- Focus on the Pocket: The "pocket" is that sweet spot in the rhythm. Don't rush the chorus. Let the beat breathe. If you're playing it, the bass and drums need to be locked in a tight, slightly "behind-the-beat" feel.
- Study the Slide: If you're a guitar player, listen to the solo. It’s not about speed. It’s about the "vocal" quality of the slides and the vibrato. Bonnie Raitt uses a glass slide and high action on her guitar to get that clear, bell-like tone.
- Embrace the Story: When singing, treat the verses like you're telling a secret. The shift in energy from the conspiratorial verses to the "let's go for it" chorus is where the emotional payoff lives.
- Acknowledge the Songwriter: Give credit to Shirley Eikhard. Without her sharp writing, Raitt wouldn't have had the canvas to paint this masterpiece.
Lets Give Em Something to Talk About isn't just a relic of the 90s. It’s a masterclass in how to blend genre, attitude, and storytelling into a single, radio-friendly package. It reminds us that sometimes, the best way to handle a scandal is to turn it into a celebration. Next time you hear those opening notes, don't just listen—pay attention to the construction of a perfect pop-blues crossover. It really is that good.