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Raising Sand
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Raising Sand
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MP3 Music, October 23, 2007
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From the brand
Track Listings
1 | Rich Woman |
2 | Killing the Blues |
3 | Sister Rosetta Goes Before Us |
4 | Polly Come Home |
5 | Gone Gone Gone (Done Moved On) |
6 | Through the Morning, Through the Night |
7 | Please Read the Letter |
8 | Trampled Rose |
9 | Fortune Teller |
10 | Stick with Me Baby |
11 | Nothin' |
12 | Let Your Loss Be Your Lesson |
13 | Your Long Journey |
Editorial Reviews
Product Description
Robert Plant and Alison Krauss - RAISING SAND - This is the first recorded collaborative effort between two of the most distinctive vocalists in modern music. RAISING SAND features a stellar cast of supporting musicians, including guitarists T Bone Burnett, Mare Ribot, and Norman Blake, Multi-instrument-talist Mike Seeger, drummer Jay Bellerose, and bassist Dennis Crouch.
Amazon.com
Perhaps only the fantasy duo of King Kong and Bambi could be a more bizarre pairing than Robert Plant and Alison Krauss. Yet on Raising Sand, their haunting and brilliant collaboration, the Led Zeppelin screamer and Nashville's most hypnotic song whisperer seem made for each other. This, however, is not the howling Plant of "Whole Lotta Love," but a far more precise and softer singer than even the one who emerged with Dreamland (2002). No matter that Plant seems so subdued as to be on downers, for that's one of the keys to this most improbable meeting of musical galaxies--almost all of it seems slowed down, out of time, otherworldly, and at times downright David Lynch-ian, the product of an altered consciousness. Yet probably the main reason it all works so well is the choice of producer T Bone Burnette, the third star of the album, who culled mostly lesser-known material from some of the great writers of blues, country, folk, gospel, and R&B, including Tom Waits, Townes Van Zandt, Milt Campbell, the Everly Brothers, Sam Phillips, and A.D. and Rosa Lee Watson. At times, Burnette's spare and deliberate soundscape--incisively crafted by guitarists Marc Ribot and Norman Blake, bassist Dennis Crouch, drummer Jay Bellerose, and multi-instrumentalist Mike Seeger, among others--is nearly as dreamy and subterranean as Daniel Lanois's work with Emmylou Harris (Wrecking Ball). Occasionally, Burnette opts for a fairly straightforward production while still reworking the original song (Plant's own "Please Read the Letter," Mel Tillis's "Stick with Me, Baby"). But much of the new flesh on these old bones is oddly unsettling, if not nightmarish. On the opening track of "Rich Woman," the soft-as-clouds vocals strike an optimistic mood, while the instrumental backing--loose snare, ominous bass line, and insinuating electric guitar lines--create a spooky, sinister undertow. Plant and Krauss trade out the solo and harmony vocals, and while they both venture into new waters here (Krauss as a mainstream blues mama, Plant as a gospel singer and honkytonker), she steals the show in Sam Phillips' new "Sister Rosetta Goes Before Us," where a dramatic violin and tremulous banjo strike a foreboding gypsy tone. When Krauss begins this strange, seductive song in a voice so ethereal that angels will take note, you may stop breathing. That, among other reasons, makes Raising Sand an album to die for. --Alanna Nash
Product details
- Is Discontinued By Manufacturer : No
- Language : English
- Product Dimensions : 4.92 x 5.59 x 0.47 inches; 3.25 ounces
- Manufacturer : Concord Music Group
- Item model number : 0619075
- Original Release Date : 2007
- Date First Available : August 2, 2007
- Label : Concord Music Group
- ASIN : B000UMQDHC
- Country of Origin : USA
- Number of discs : 1
- Best Sellers Rank: #1,906 in CDs & Vinyl (See Top 100 in CDs & Vinyl)
- Customer Reviews:
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Again, Alison the Perfectionist does not disappoint with her ethereal vocals and fiddle skills. Robert Plant's toned-down lyrical singing is beautiful here, and only a couple of classic vocal wails would give away his true identity to casual fans. On some songs the collaboration is indistinct, but I don't mind that. The album's mood doesn't call for show-stopping performances and showboating artistry.
My favorite songs by both Alison Krauss and Robert Plant pre-Raising Sand, are the moody, darker ones, so it's no surprise those are my favorites on this album.
Raising Sand opens with Rich Woman, a nice combo of an upbeat, pop-flavored number with a hint of the haunting numbers to come thanks to a tenor guitar and sparse arrangement.
I'm an Everly Brothers fan, but Gone Gone Gone is one of the few missteps on the album. It's a little too happy and upbeat. Though I do appreciate the vintage-sounding production.
While the country-tinged Killing the Blues is also more upbeat, it somehow works, as does Stick With Me Baby.
Through the Morning Through the Night could easily be a track on an Alison Krauss and Union Station album, but it fits nicely with the subtle mood of this CD.
Please Read the Letter is one of the standouts on the album, showing a true collaboration of Plant's and Krauss's vocals and supported beautifully with that cool tenor guitar and warm fiddle. It is probably one of the more pop-accessible tracks on the CD.
I am on the fence with Fortune Teller. It just seems like too much of a novelty song to be a good fit with this album.
My favorites here are the moodiest of all: Trampled Rose, Polly Come Home, Nothin',and Sister Rosetta Goes Before Us. These are the songs that make the album truly special. If I picked my favorite song from this album, it would be Trampled Rose. The melody is haunting and sung by Alison with perfection, with the supporting music adding just the right touch of drama and mystique.
Let Your Loss be Your Lesson's arrangement is off-putting to me (think bad Elvis). I also find it an odd choice for Alison to sing. With most of the other songs on this album having such uncomplicated depth, this sticks out as amateurish. I think all the artists playing on Raising Sand are better than this. Gotta dock Burnett for that one.
Your Long Journey is a pretty, old-timey spiritual that is a soft finish to the album. You'd be hard-pressed to recognize Plant as the background singer if you didn't know it was him. The album doesn't start or end with a bang, so it's a fitting final song.
Some people can't hang with moody music and find it depressing. Those folks might not have the patience for this work. But I don't think this album is a downer at all. I find it fresh and inspiring.
That's nonsense (except the part about it working _ it doesn't "seem,'' it's real.) That's because the "critics'' and others put music in boxes and can't understand a pairing of "bluegrass,'' (the quotes are intentional) and heavy metal. This is Americana, but Americana as interpreted by Plant, Krauss and T-Bone Burnett that transcends category in a way that few albums do. Look on top. How many different categories does it rank No. 1. _ Rock, pop, folk, international. That's what music should be but too often isn't because the folks who run record companies and radio stations want to put music in the narrowest possible category.
It's also a breakthrough for all three artists, including Burnett, but especially Krauss, who in her last few albums has boxed herself in with very nice listenable material that's too often predictable. A couple of the albums won Grammys(she has 20)and they're incredibly well produced and performed, but after a while one Robert Lee Castleman song turns into another and the effect is underwhelming.
On this one, she uses all her talents, even, perhaps even as the excellent producer she is _ Burnett clearly took her advice and Plant's on some of the songs. Her country/bluegrass fiddle turns into gypsy violin on "Sister Rosetta,'' producing a haunting effect that's rarely heard in this kind of music.
Beyond that, I've never heard an album where the voices blend so well that it's hard to tell where one stops and the other picks up _ Tom Waits' "Trampled Rose'' is the exemplar of that and the most fascinating and haunting song on the album.
But it's almost all wonderful and it ends with what sounds very much like a little game being played by Burnett and Krauss in particular. The last number begins with Mike Seeger on autoharp leading into a Doc Watson gospel tune. Seeger discovered Elizabeth Cotten, who was his family's housekepper, and he was one of the pioneers who convinced record labels to record roots artists, Watson among them. It's also the most Krauss-like _ it's closest to what she does, right down to using a gospel number to close her albums (and her shows.)
But most of this is totally new territory for both artists. Maybe Krauss should have gone there a decade ago or maybe the timing is perfect. It's one of the few albums _ Luncinda Williams' "Essence'' is another _ that can get away with slow tempos and minor keys on two-thirds of the songs and not sound repetitious or boring.
Again, it's most important because it defies category. Other artists are trying _ Ben Harper and Norah Jones, with whom Krauss guested on a Bonnie Raitt show/CD/DVD are mingling pop, rock, country, gospel and reggae (in Harper's case.) The more the younger generation goes beyong genre and into "just music,'' the better off we'll all be. (Uh, no, Plant, at 59, isn't exactly the younger generation, but he's been looking for new frontiers for a decade or more.)
He's also a Brit and Brits tend to understand American music better than most Americans. In any case, people like Mark Knopfler, Steve Winwood, Van Morrison and even Jagger/Richard stay away from boxes. (And, by the way, I just heard Krauss do a wonderful version of Winwood/Traffic's "I Can't Find My Way Home'' on XM) It was issued three years ago as part of a TV Soundtrack. So yes, she's known for a long time that there's a big wide world of music out there.
This landmark album makes that point even more strongly.