Raising Sand
(cd by Allison Kraus and Robert Plant)
The Grammy Awards have found a new level of credibility – for me anyway. An unconventional, albeit highly deserving, Americana record has won five Grammies, including the two most prestigious awards - “Album of the Year” and “Record of the Year.” Imagine a well-recorded collection of thirteen great songs that have actual melodies from a diverse cast of songwriters (dating back to the early fifties), sung by two great singers and accompanied by extraordinary instrumentalists. That’s a simple description of “Raising Sand.”
Over a year ago when I first noticed the CD display featuring “Raising Sand,” I was in a Starbuck’s in Chicago. My first thought was “how odd that Robert Plant would team with Champaign, IL native Alison Krauss to make music.” I’ve been a fan of both singers for a long time, but I hadn’t considered their styles all that compatible. Always glad to support Starbuck’s efforts to promote music, however, I happily paid to hear what this unconventional pairing could do with a great producer like T Bone Burnett. I’m glad I did.
This is simply a great record, and one that I immediately declared “my new favorite” while preparing to play it for Glenn Poor’s sales associate (and resident musical genius) Justin Walden. I had an idea that Justin would be favorably inclined to give the record an open-minded listen because he’s always been a T Bone Burnett fan. It took Justin one listen to also declare “Raising Sand” his new, “favorite record!” He thought so much of the effort that he immediately phoned his dad, Dana (a very successful song-writer/producer) in LA to tell him to go out immediately, and buy it. Such is the passion that accompanies the discovery of a rare gem like “Raising Sand” – especially amongst music lovers who are always on the hunt for good records.
I’ve known for a long time that Robert Plant is a far better singer than the screaming squealer who’d become the prototype “metal” front man, while defining the genre, as Led Zeppelin’s lead singer. In fact, I’ll always remember my favorable impression of his 1979 version of “Little Sister,” popularized by the great Elvis Presley in 1961. Recorded as one of his early solo efforts, he impressed me with his reading of this simple song. It was a transparent example of the rich tone that Plant could convey when not trying to “reach” beyond the natural range of his high tenor. There was obviously more to Plant than I’d previously thought, and his solo records have established that fact. The man can sing!
Alison Krauss has been a personal favorite of mine who, more than anyone else in her age category, has made the “blue grass” genre a deservingly popular art form. A multi-Grammy winner already, Alison is also a local Champaign girl who has truly “made it.” She’s a remarkable talent as an instrumentalist (fiddle/violin), as well as a singer. Krauss is also a very adept record producer who brought out the best in Nickel Creek’s 2003 album, “Nickel Creek.” Her pure soprano is a thing of lilting beauty. Equally at home as a lead or harmony voice, Alison’s artistry serves the song, not her ego, making all her efforts beautifully refreshing. This is more than obvious on “Raising Sand,” and her purity of expression obviously influenced and inspired Plant’s efforts. I also believe that the artistic experience of working on “Raising Sand,” as well the unexpected commercial success of this collaboration, has had an unintended (in my opinion) consequence on Plant’s professional direction.
There have been credible rumors for several years that Plant would reunite with his remaining Led Zeppelin mates (Jimmy Page and John Paul Jones) to record a new album, followed by a world tour to be kicked off at Madison Square Garden in New York. Of course, the rumors gained credibility after Zeppelin (with John Bonham’s son, Jason, on drums) had an extraordinary reunion concert stand in December, 2007 at Albert Hall in London – receiving critical praise for the performance and over-the-top fan response. Disappointingly, for the legions of Zeppelin fans (including me), Plant quashed expectations when he said he’d rather tour with and make more music with Alison! His decision to concentrate on this new direction, has now paid off with the upset wins at this year’s (2009) Grammy’s. Think of the irony for me. I revel in the fact that “Raising Sand” won top honors over the typical drivel that has dominated the Grammies for years, but I hate to think that we may never have the opportunity to see Led Zeppelin live at the Garden!
It’s rare when one can honestly declare that an album simply has no “filler,” that each song has something for which to recommend it. This is the case with “Raising Sand” as almost each tune is addictive, virtually begging you to “listen again and again.” This being said, I have to admit an unusual attraction for four songs in particular. I actually don’t like admitting that I favor any of these great tunes over any others as that can tend to diminish the near perfection of the album as a whole.
Oh well, I have to single out the following: “Polly Come Home,” “Gone, Gone, Gone (Done Moved On),” “Through The Morning, Through The Night” and “Please Read The Letter” (Grammy “Record of the Year). The late Gene Clark penned both “Polly” and “Through The Morning,” and I have to admit that maybe that fact alone peaked my interest on first listening. Clark, the original lead vocalist of The Byrds (arguably America’s first great “rock” group) had a beautiful voice and an ear for haunting melodies. These two Clark songs are odes to lost loves, and the beauty of the vocals only makes more plain the wanting and pain of the narration. Brothers Don and Phil Everly wrote “Gone, Gone, Gone,” and the rock-a-billy interpretation, arranged by Burnett, is effective and faithful to the original feel of the Everly Brothers’ own styling with Plant and Krauss in close harmony – although Plant reverts to his former wailing self a bit at the end. He was probably enjoying himself so much he just couldn’t help it. Whatever, it worked. “Please Read The Letter” was written post-Zeppelin by Plant and Jimmy Page, although they have shared writing credit with Charlie Jones and Michael Lee. There is no better example of the simple beauty of Plant’s voice than on this song, and Krauss lends a simple, tasty harmony track. She has a great ear for blend, and her support of Plant throughout “Raising Sand” is another example of the whole being greater than the sum of the parts. It’s obvious that her vocal artistry, plainly exhibited while singing lead on “Trampled Rose,” raises the bar for everyone on this project. It’s a temptation to offer lengthy interpretations of every song on this wonderful album, but, really, all you need to do is listen for yourself.
“Raising Sand” is a great collection of real Americana songs, sung and played by talented, passionate musicians. There is no question this record was a labor of love, and one can’t give enough credit to T Bone Burnett for his vision and musicianship throughout the effort. Interestingly, also, the sound quality is faithful to the music. I don’t know the type of mics, mixing board(s), and type of recording machine(s) used to capture and mix the sounds of the project, but I wouldn’t be at all surprised to learn that some vintage, tube-type products were a part of the recording chain. There is a warm, palpable sound that makes me also believe that there may be an analog link to the recording as well. Whatever they used, it worked.
“Raising Sand” is a great record.
Geoffrey Poor
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