Raising Sand
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Free Music Notes for Raising Sand
Free Music Review: Unlikely But Amazing Duets
Hit: 5 Stars
Raising Sand is a CD that would be worth six stars if you could give a rating that high. When I first heard that Allison Krauss and Robert Plant recorded a CD, I thought that there was no way that it would work. It just sounded like the musical equivalent of Beauty and the Beast. However, I must say that the result is absolutely amazing. While Krauss and Plant have a great chemistry, I credit T-Bone Burnett with being the master mind behind pulling this off. He is well known for his ability to select and arrange music for artists in a way that sets them up for success (see B.B. King's One Kind Favor for another great example). Raising Sand hits a wide variety of styles yet still manages to be cohesive. This is mark of a great producer.
Some songs fit in more of a rock-ish category such as "Rich Woman", "Gone Gone Gone (Done Moved On)", and "Fortune Teller". Others have more of a blues/country sound to them including "Killing The Blues", "Through The Morning, Through The Night", and "Trampled Rose". The overall sound seems more like what you would hear from Krauss than Plant. I think what surprised me the most was his ability to sing with a subtlety and (dare I say) softness that one would not expect from the former Led Zeppelin front man. Plant and Krauss provide plenty of rich harmony on songs like "Rich Woman" and "Killing The Blues". However there are also songs that showcase each individually. Krauss is striking on "Sister Rosetta Goes Before Us" and "Trampled Rose". Both of these songs have a beauty in sadness quality to them. Plant hams it up on "Fortune Teller" - the tale of how a fortune teller tricks him into falling in love with her. The one thing that bothered me on this CD was "Let Your Loss Be Your Lesson". The song itself is great. However, I couldn't help but think that the opening sounded like a Counting Crows song. Sure enough, compare it with "If I Could Give All My Love -Or- Richard Manuel Is Dead" (what a crazy song title, btw). I wasn't sure who copied who so I checked the original by Little Milton. The opening there nothing like the one on Raising Sand so it looks like the Counting Crows win. However, that is really nothing more than fun trivia.
Overall, I can't say enough about how good Raising Sand is. If you have shied away from it, give it a chance. I bet that you will be pleasantly surprised like I was.
Download this: Killing The Blues
Free Music Review: Rock God Seeks Bluegrass Angel
Hit: 5 Stars
Rock God Seeks Bluegrass Angel
"Raising Sand" (Rounder) dwells in the realm of "Sit Up and Listen" to all who hear it -thanks to the unexpected alchemy of Robert Plant and Alison Krauss tripping the light fantastic through the American roots songbook.
The genius of the disc lies in producer T Bone Burnett's sparse rhythmic arrangements and the singers' combined ability to ride the swells and sways with seemingly effortless phrasing and captivating harmonies.
"Killing the Blues" is one highlight: poignant lyrics and stellar harmonies underscored by Greg Leisz's weeping pedal steel guitar. Another standout is the broken-hearted ballad "Polly Come Home," written by ex-Byrd Gene Clark. The dirge-like pace and glorious, spare guitar filagree (provided by guitar chameleon Marc Ribot) lock in with Plant's dreamy delivery to create yet one more musical genre best described as "emo-twang."
It is Alison Krauss's voice that anchors the project throughout. Singing lead or harmony, her high clear soprano is at times delicate and - for want of a better word - ladylike, yet grounded in an undeniable earthiness. She handles the range of material with unwavering confidence and soul - bringing to mind Dusty Springfield's breakthrough sessions with producer Jerry Wexler on the similarly eclectic "Dusty in Memphis" (Atlantic, 1969). Just listen to Krauss swing through Little Milton's southern soul gem "Let Your Loss Be Your Lesson" or her deceptively understated harmony singing that powers "Stick With Me Baby." This is her vocal record - she plays fiddle on only three tracks.
Robert Plant has somehow hung onto a melodic, supple voice despite his early days as a caterwauling rock god shrieking up and down the octaves. He admits he is somewhat new to harmony singing, but he wears it here like an old shoe.
Sadly, on "Nothin," Townes Van Zandt's desolate lyrics get blown out of the water by chainsaw guitars, crashing tambourines and Plant's now fully sleeping delivery. "Please Read the Letter" (written by Plant and Led Zeppelin guitarist Jimmy Page) adds up to the song you'd love to hate but can't stop singing. The word "please" repeated ad nauseam in a love song just sounds whiny - but the hook is indestructible.
Ceci Gilson, www.mainefolkmusic.com
Free Music Review: Silk thread on a rugged leather (4.5 stars)
Hit: 5 Stars
Even in my home country of central Europe this eclectic album full of American rootsy tunes was hailed in the music press -- no wonder, since Robert Plant and his group Led Zeppelin were enormously popular in our part of the world and many people still like him a lot. For me though, this CD is the best thing he's ever done. In the years the popular music suffers from lack of any originality, it is the match Plant/Krauss, made really in musical production heaven, that made this album such a sensational success. And, of course, Mr Burnett (the man behind "O Brother" soundtrack) should never be forgotten.
Robert and Alison's voices sport an amazing chemistry together. Krauss's tender timbre is among the most beautiful voices of our days and on Plant's subdued mumbling it sounds like a silk thread over an old, rugged, ornated, VALUABLE piece of leather.
Arrangements are spare and rich at the same time, some songs are stronger than others. The highlights are tracks two and three, "Killing the Blues" and "Sister Rosetta Goes Before Us", with the otherwordly quality (created by typical american instruments and heard on the entire album) being at the very best. Rockier are "Gone Gone Gone", "Please Read The Letter", "Fortune Teller" and "Nothin", which remotly remind the listener of another great collaboration of recent years, between Jack White of The White Stripes and Loretta Lynn on her 2004 album "Van Lear Rose".
Alison Krauss voice proves really versatile throughout the album. On "Rosetta", best track that it may be here, she sound a bit - believe it or not - like Agnetha of the super Swedish pop group ABBA singing some of her ballads. And the very Americana "Trampled Rose" has Krauss in the similar mood as the "Little Sparrow" reprise track on the Dolly Parton album of that name. Krauss was among the wonderful group of musicians that helped Miss Dolly on her 2001 offering.
The musical marriage of British hard rock tradition carrier and Nashville's biggesst treasures is thus among the most unique and memorable music deeds of 2007. It successfully mixes country and bluegrass with rock, folk and blues. Know what? Just wait for the next Grammies in February 2009 and then count the awards. Till then, listen with open mind and enjoy this exquisite stuff. And believe the hype.
Free Music Review: Another outstanding collaboration between two "disparate" artists
Hit: 5 Stars
We seem to be in an era in music where more interesting collaborations are being recorded. Just in the last couple of years I think of the Mark Knopfler-Emmylou Harris and Ricky Skaggs-Bruce Hornsby pairings as examples. In many cases, these collaborations work. Such is the case with "Raising Sand".
I think much of the pre-release and other early critiques were too simplistic in how the Robert Plant-Alison Krauss pairing would work. These reviews seemed to focus too much on the age difference between these two musicians, as well as over-emphasizing Mr. Plant's days fronting Led Zeppelin. Mr. Plant has evolved as a vocalist over the years, embracing forms of music from all over the world. Similarly, Ms. Krauss is a powerhouse in the bluegrass genre, but seems at ease singing just about anything with anyone.
T. Bone Burnett always manages to coax an interesting sound and collection of songs from those artists he produces. "Raising Sand" is no different. While the songs he chose do take Mr. Plant and Ms. Krauss slightly out of their respective comfort zones, it is not so far out of those zones where the music doesn't really fit. Also, both are equally skilled at adapting their vocal talents to fit the songs being performed, and their voices blend together in amazing, haunting ways throughout the disc.
I particularly enjoy the bluesy rocker "Gone Gone Gone (Done Moved On)" for its up-tempo and vocal interplay. "Sister Rosetta Goes Before Us" is a haunting roots kind of song that highlight Ms. Krauss's angelic vocal range, and also demonstrate Mr. Plant's ability to provide depth in backing vocals. The new take on Mr. Plant's "Please Read The Letter" - an underrated song on his last disc with Jimmy Page - is most welcome and fascinating in this incarnation. Two other highlights for me are the closing tracks, "Let Your Loss Be Your Lesson" and "Your Long Journey", are heart-rending, powerful songs that leave the listener craving more.
As with the aforementioned Knopfler-Harris collaboration, "Raising Sand" is an outstanding work that deserves a wide audience, and will spur further collaboration between these two wonderful musicians. It is a different sound, but is a remarkable and enjoyable listening experience.
Free Music Review: Planted in bluegrass, the Krauss collaboration produces a timeless gem
Hit: 5 Stars
There seems little point in repeating the praise heaped on these landmark recordings already in so many excellent reviews. When I first heard "Raising Sand" in 2007 it was obviously destined not for musical obscurity but for some kind of greatness, and since then I've listened to these songs hundreds of times in the morning, the evening, on lazy summer afternoons and driving through the mountains of Andalusia in an open-topped sports car. It's one of those rare occasions when dedicated professionalism, inspired musicians with a love for the material and first-rate production know-how come together to create something remarkable and hard to categorise.
Robert Plant has always had a deep interest in, and understanding of, the many strands of traditional American folk music. Anyone familiar with his back catalogue over the past 40 years will see evidence of this interest and of his ability to interpret traditional styles like slow blues, R&B and folk-country in new ways. Just listen to "Babe I'm gonna leave you" from Led Zeppelin's first album in 1969 - it goes back that far.
Alison Krauss has spent a career playing bluegrass - she's a great fiddle player too - and in Plant has found what seems to be her perfect musical match. This superficially improbable collaboration has given birth to something truly wonderful. Plant's voice turns out to be perfect for bluegrass and brings a depth of feeling - yet with a light touch - to complement Krauss's serene and beautiful singing in harmonies of such richness and serenity they raise the bar in the same way Simon & Garfunkel did way back in the 1970s (though the analogy is confined to the quality of the harmonies and goes no further). The care and respect they have for the material is obvious in the quality of the resultant product. The album cover carries a MOJO quote: "The musical relationship between Krauss and Plant is so gentle, attentive and respectfully intimate it feels more like a courtship dance" - perfect summary.
It's a great, great album, and something of a benchmark. If you've never heard it, you should. You'll likely listen to it for years and years, and love it more every time - like the rest of us.