 | |
List Price: $18.98 | | Label: Rounder
Salesrank: 181
Released: October 23, 2007 |
| Our Price: $6.46 |
| Used Price: $5.19 |
|
| Media: Audio CD |
|
Raising Sand Track Listing:
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 Review:
The musical collaboration of the decade, Raising Sand is the sound of two iconic figures stepping out of their respective comfort zones and letting their instincts lead them across a brave new sonic landscape. Despite hailing from distinctly different backgrounds, Alison Krauss and Robert Plant share a maverick spirit and willingness to extend the boundaries of their respective genres. This spirit, expertly honed by producer T Bone Burnett, has resulted in an album pitched three steps beyond some cosmic collision of early urban blues, spacious West Texas country, and the untapped potential of the folk-rock revolution.
Supported by the unparalleled musicianship of Marc Ribot, Dennis Crouch, Mike Seeger, Jay Bellerose, Norman Blake, Greg Leisz, Patrick Warren, and Riley Baugus, Plant and Krauss -- as both solo and harmony vocalists -- tackle an intriguing selection of songs from such tunesmiths as Tom Waits, Gene Clark, Sam Phillips, Townes Van Zandt, The Everly Broth! ers, and Mel Tillis. Raising Sand finds Robert Plant and Alison Krauss exploring popular music's elemental roots while still sounding effortlessly, breath-takingly contemporary.
The song "Killing the Blues" is featured in the new JC Penney American Living Campaign.
Description of Raising Sand:
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
Raising Sand Reviews:
Bad Production 
2009-11-03 - I have nothing bad to say about either Robert Plant or Alison Krauss, but I think "Raising Sand" was the victim of poor production. Both of these artists have very strong controlled voices, but they seemed to be afraid of trespassing on each other's home genre. The best numbers are done solo. "Gone, Gone, Gone" by the Everly Brothers was outstanding, but all the reverb and other tricks were not necessary. The drums sounded like they were being played by someone who was sleeping with the producer; too loud, too clumsy, too much! I would like to hear a re-release of this CD after a trip to the production lab.
Raising Sand 
2009-10-22 - This turned out to be a very pleasant surprise; the more I listened, the more it grew on me...Highly recommended for "hippie"/new age sorts (not for Zeppelin Rockers).
Would recommend if you are a fan of both artists 
2009-10-22 - I bought this CD with the video. I enjoyed the collaboration effort and really liked both Plant's and Krauss' music separately (being very different styles). I was looking forward to a little more of a variety. It seemed at times that the music was too similar and more like Alison's and not enough like Robert's. In my opinion, I would have liked to see Alison rock a little more. She has a wonderfully beautiful voice and with the violin as accompaniment, it could have been more of a treat. All-in-all I enjoyed it, but thought it could have been better.
weird pair, great music 
2009-10-14 - I got this album because I kept hearing so much about it, even from people who didn't normally buy music. Plus, the pairing was so strange to me that I was curious. :)
Both musicians have a great history in their respective genres. The result of combining them is something that draws from both, but is something totally new. It's one of those albums that sounds familiar, like you've heard it before, but you can't place it.
I think this album has something for fans of either artist. It's "roots" music, but so is Led Zeppelin. It's mellow at some places, but really rocks in others. Definitely an album that you'll enjoy in its entirety, like the old Led Zeppelin albums, rather than something where you'll only listen to one song.
Pounding Sand
2009-10-10 - T-Bone Burnette has that Appalachian blues dirge thing down. Hollow sounding bass, haunting strings and guitars, thudding drums...all atmosphere and no mass. And despite all the critical raves, he's manages to turn one of rock's most massive vocalists and one of bluegrass's most substantive singers into wispy tendrils of folkish fog. "Raising Sand" is a very average album from a pair of people who rarely fall short of greatness, from a producer who has his title listed on some of my all time favorites.
I'm not sure why this trio of people decided to make a CD comprised on mostly down-tempo dirges, but that's what you get. Only on the Everly Brothers' "Gone Gone Gone" does "Raising Sand" give a hint that roots music can be roots rocking. And Krauss' fiddle playing is only used to solid effect on "Sister Rosetta Goes Before Us." "Sister Rosetta" actually haunts in a realistic way, as opposed the Burnette's forced period-production manipulation. I wanted a little Zep roar to appear, instead, Plant coos and moans a lot. Nothing takes flight.
When the songs work, one at a time, they're great. "Rich Woman," "Trampled Rose" and even the Led Zep cover "Please Read The Letter" highlight what "Raising Sand" could have been. But the entire album plods along in dire need of a little moonshine kick. It makes me wish Krauss, Plant and T-Bone had given a listen to T-Bone's work on the likes of King of America, Love & Hope & Sex & Dreams or even How Will the Wolf Survive?. Some adrenaline would have lifted "Raising Sand" to something far better that this mediocre offering.
