I will be going back to the track-by-track format for this review as I feel that it better suites this particular album. I have wanted to listen to Raising Sand since hearing of the acclaim it garnered upon its release. As I scan through the CD jacket, I notice, interestingly enough, that it’s produced by T. Bone Burnett, the same person who worked with Elton John and Leon Russell on The Union. Unlike with The Union however, most of theses songs are re-recordings of tunes penned by a variety of composers in different decades. For example, I notice that almost half of the albums thirteen tracks were originally written in the 1960s.
Raising Sand stars off with “Rich Woman”, a mellower, more subdued sounding track that sets the tone for the album. While this 1950’s tune is pleasant enough, it certainly isn’t remarkable. Number two, “Killing the Blues”, has just a bit more country twang, but it’s in the same laid back, relaxed style. If anything, it’s too tranquil coming off as slow moving and repetitive. The song’s greatest quality is Robert Plant’s vocals. Though he doesn’t typically sing in this style, it suits his voice well. “Sister Rosetta Goes Before Us” is the third track; an Alison Krauss-dominant tune. This song is surprisingly modal sounding. Its sparse nature gives it a folk-like quality. I like this tune because of its more adventurous nature. Its atypicality reminds me a little bit of Kate Bush. Remarkably, the fourth track is even slower than the first three. This might be okay, on a more up-tempo album, but on this one it drags on like a dirge. This album could definitely benefit from some more energy. Once again, the most redeemable quality of the track is Plant’s vocals. As legendary as he has become, he has never before sounded like this. Krauss’s singing is solid also and their two voices work well together. Despite this, the track falls short because its potential is never fully developed.
“Gone Gone Gone” is a rockabilly-type tune originally written in 1964. The Krauss-Plant rendition stays fairly true to this mid sixties sound. Still, it’s mediocre at best. If anything good can be said, at least it’s more up-tempo than the songs that precede it. The next track is “Through the Morning, Through the Night”, another slow ballad (surprise, surprise). Again, nothing about this song is different or remarkable in any way and it doesn’t add anything to the album. The song itself is okay, but it’s one of many slow ballads on this album and should have been cut. “Please Read The Letter” provides a glimmer of interest to this blander work. Plant’s vocals have been consistently good and this track is no exception. He even rocks out a little bit, adlibbing various vocalizations at the end of the song. While it’s not amazing, this song is certainly a step in the right direction for this album. Track eight is “Trampled Rose” another more exotic sounding piece once again sung by Krauss. I love the wailing effect in the background that she produces with her voice. Though it’s a slower number, it is quite unusual in its sound and undoubtedly one of the strongest tracks on the album. By contrast, “Fortune Teller” is a heavier song. While the lyrics aren’t tremendous, I enjoy Plant’s singing and Krauss’ background vocals even more. You can certainly hear the 60’s rock feel of this Allen Toussaint penned tune. There was even a guitar solo, something virtually unheard of on this album!
Track ten is the same bland, filler that is far too pervasive on this album. The chord progression and lyrics are predictable making this track one of the safer ones (which is saying something for this album). “Nothin’” on the other hand, is probably one of my favorite tracks. I’m starting to notice a definite demarcation between the Plant based tracks (such as this one) and the Krauss based ones. This song provides interest with its fusion of multiple styles. Krauss’ violin provides an enjoyable contrast to the track’s crunching guitars. This intriguing number is one of the best on the album. Twelve is a honky-tonk sounding number vaguely reminiscent of The Allman Brothers. This track is with out a doubt the most country sounding. This Krauss sung tune is alright, but nothing extraordinary. The most interesting part about this tune is the fact that Krauss sings it with the male author’s original pronouns. The result is her singing lines like “I once had myself a good woman, but I just didn’t treat her right”. Why she chose to do this, I don’t know. The last track of the album is, “Your Long Journey.” This piece utilizes mandolin giving it a folksy, mountain music effect, which I enjoyed. The vocal harmonies in this piece are pleasant as well. I find it reminiscent of “Down to the River to Prey” from O’ Brother Where Art Thou. This track isn’t the greatest, but it does provide the album with a bit of diversity proving to be an acceptable closer.
I found this album to be somewhere just above mediocrity especially considering the people involved and their respective capabilities. It has far too many slow tracks, which drag it down. Also, it is often times too safe resulting in sound that’s bland and uninteresting. Part of what makes an album great is a certain element of risk is taken: sonically, lyrically, etc. Even though there are times when an artist might try something that fails (Madonna for example), greatness is never achieved without some level of risk taking (Madonna once again). Most of these arrangements take none at all resulting in an album that is flat sounding and boring. With so many better releases in 2007 (In Rainbows, Sound of Silver) I can only assume that Raising Sand won the album of the year because of who was on it. It certainly isn’t because of the music, as it doesn’t even come close. The concept was good however, and with a little more creativity and risk, not to mention energy, it could have been fantastic record. Unfortunately, the only thing this album’s mediocrity has in common with In Rainbows is that they both leave you wanting more.
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