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专辑名称: Raising Sand
创作艺人: [Robert Plant & Alison Krauss]
音乐流派: COUNTRY|乡村音乐
专辑规格: 1碟13首
出品公司: Craft Recordings
发行时间: 2007/1/1
官方标价: £8.39 （会员免费下载）
域名语言: [en] （AI检测）
曲目介绍：
Rich Woman
Killing the Blues
Sister Rosetta Goes Before Us
Polly Come Home
Gone Gone Gone (Done Moved On)
Through the Morning, Through the Night
Please Read The Letter
Trampled Rose
Fortune Teller
Stick with Me Baby
Nothin'
Let Your Loss Be Your Lesson
Your Long Journey
详细介绍:
What seems to be an unlikely pairing of former Led Zeppelin vocalist Robert Plant and bluegrass superstar Alison Krauss is actually one of the most effortless-sounding duos in modern popular music. The bridge seems to be producer T-Bone Burnett and the band assembled for this outing: drummer Jay Bellerose (who seems to be the session drummer in demand these days), upright bassist Dennis Crouch, guitarists Marc Ribot and Burnett, with Greg Leisz playing steel here and there, and a number of other guest appearances. Krauss, a monster fiddle player, only does so on two songs here. The proceedings are, predictably, very laid-back.
Burnett has only known one speed these last ten years, and so the material chosen by the three is mostly very subdued. This doesn%27t make it boring, despite Burnett%27s production, which has become utterly predictable since he started working with Gillian Welch. He has a sound in the same way Daniel Lanois does: it%27s edges are all rounded, everything is very warm, and it all sounds artificially dated. Sam Phillips%27 Sister Rosetta Goes Before Us is a centerpiece on this set. It has her fingerprints all over it. This tune, with its forlorn, percussion-heavy tarantella backdrop, might have come from a Tom Waits record were it not so intricately melodic — and Krauss%27 gypsy swing fiddle is a gorgeous touch. There is an emptiness at the heart of longing particularly suited to Krauss%27 woodsy voice, and Plant%27s harmony vocal is perfect, understated yet ever-present. It%27s the most organically atmospheric tune on the set — not in terms of production, but for lyric and compositional content. Stellar. Plant%27s own obsession with old rockabilly and blues tunes is satisfied on the set%27s opener, Rich Woman, by Dorothy LaBostrie and McKinley Miller. It%27s all swamp, all past midnight, all gigolo boasting. Krauss%27 harmony vocal underscores Plant%27s low-key crooned boast as a mirror, as the person being used and who can%27t help it. Rollie Salley%27s Killing the Blues is all cough syrup guitars, muffled tom toms, and played-in-bedroom atmospherics. Nonetheless, the two vocalists make a brilliant song come to life with their shared sorrow, and it%27s as if the meaning in the tune actually happens from the bitter irony in the space between the two vocalists as the whine of Leisz%27s steel roots this country song in the earth, not in the white clouds reflected in its refrain.
There are a pair of Gene Clark tunes here as well. Plant is a Clark fan, and so it%27s not a surprise, but the choices are: Polly Come Home and Through the Morning, Through the Night come from the second Dillard & Clark album from 1969 with the same title as the latter track. The first is a haunting ballad done in an old-world folk style that Clark would have been proud of. It reflects the same spirit and character as his own White Light album, but with Plant and Krauss, the spirit of Celtic-cum-Appalachian style that influenced bluegrass, and the Delta blues that influenced rock, are breached. Through the Morning, Through the Night is a wasted country love song told from the point of view of an outlaw. Plant gets his chance to rock — a bit — in the Everly Brothers%27 Gone Gone Gone (Done Moved On). While it sounds nothing like the original, Plant%27s pipes get to croon and drift over the distorted guitars and a clipped snare; he gets to do his trademark blues improv bit between verses. To be honest, it feels like it was tossed off and, therefore, less studied than anything else here: it%27s a refreshing change of pace near the middle of the disc. It rocks in a roots way. Please Read the Letter is written by Plant, Page Charlie Jones, and Michael Lee. Slow, plodding, almost crawling, Krauss%27 harmony vocal takes it to the next step, adds the kind of lonesome depth that makes this a song whispered under a starless sky rather than just another lost love song. Waits and Kathleen Brennan%27s Trampled Rose, done shotgun ballad style, is, with the Phillips tune, the most beautiful thing here. Krauss near the top of her range sighs into the rhythm. Patrick Warren%27s toy piano sounds more like a marimba, and his pump organ adds to the percussive nature of this wary hymn from the depths. When she sings You never pay just once/To get the job done, this skeletal band swells. Ribot%27s dobro sounds like a rickety banjo, and it stutters just ahead of the bass drum and tom toms in Bellerose%27s kit. Naomi Neville%27s Fortune Teller shows Burnett at his best as a producer. He lets Plant%27s voice come falling out of his mouth, staggering and stuttering the rhythms so they feel like a combination of Delta blues, second-line New Orleans, and Congo Square drum walk. The guitar is nasty and distorted, and the brush touches with their metallic sheen are a nice complement to the bass drums. It doesn%27t rock; it struts and staggers on its way. Krauss%27 wordless vocal in the background creates a nice space for that incessant series of rhythms to play to. The next three tunes are cagey, even for this eclectic set: Mel Tillis%27 awesome ballad Stick with Me Baby sounds more like Dion & the Belmonts on the street corner on cough syrup and meaning every word.
There is no doo wop, just the sweet melody falling from the singers%27 mouths like an incantation with an understated but pronounced rhythm section painting them singing together in front of a burning ash can. This little gem is followed by a reading of Townes Van Zandt%27s Nothin%27 done in twilight Led Zeppelin style. It doesn%27t rock either. It plods and drifts, and crawls. Krauss%27 fiddle moans above the tambourine, indistinct and distorted; low-tuned electric guitars and the haunted, echoing banjo are a compelling move and rescue the melody from the sonic clutter — no, sonic clutter is not a bad thing. The weirdest thing is that while it%27s the loudest tune on the set, it features Norman Blake on acoustic guitar with Burnett. This is what singer/songwriter heavy metal must sound like. And it is oh-so-slow. The final part of the trilogy of the weird takes place on Little Milton Campbell%27s Let Your Loss Be Your Lesson, a jangly country rocker in the vein of Neil Young without the weight and creak of age hindering it. Krauss is such a fine singer, and she does her own Plant imitation here. She has his phrasing down, his slippery way of enunciating, and you can hear why this was such a great match-up. The band can play backbone slip rockabilly shuffle with their eyes closed and their hands tied behind their backs, and they do it here. It%27s a great moment before the close. The haunting, old-timey Your Long Journey by A.D. and Rosa Lee Watson, with its autoharp (played by Mike Seeger no less), Riley Baugus%27 banjo, Crouch%27s big wooden bass, and Blake%27s acoustic guitar, is a whispering way to send this set of broken love songs off into the night. These two voices meld together seamlessly; they will not be swallowed even when the production is bigger than the song. They don%27t soar, they don%27t roar, they simply sing songs that offer different shades of meaning as a result of this welcome collaboration.
© Thom Jurek /TiVo
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