I’m a huge music fan. The past couple weeks, I’ve had more people ask about this CD than probably any disc that has come out in years. They want to know what I think about the new Robert Plant/Alison Krauss CD. Prior to hearing the disc I would have said, “I hope it’s not some kind of gimmick!”This disc is in no way a gimmick! What we have here is a full-fledged band, and a darn good one to boot. Who would have thought?

Too many times these collaborations are just a re-hash of something that has gone on before. That in no way is the case of what has been captured on this disc.

The first tribute needs to be paid for the unique and beautiful production abilities on this disc, by T-Bone Burnett. For those of you who might not remember, he was the guy in charge of the production duties of the music to, O Brother Where Art Thou? Virtually everyone knows the success of that wonderful soundtrack and disc. He’s a fine guitar player to boot.

First off, I was never a huge Led Zeppelin fan. Am I allowed to say that without fear of repercussions? I had respect for them, especially Jimmy Page’s guitar work and Robert Plant’s vocals, but was never totally captivated by their whole catalog.

In high school, a friend loaned me Led Zeppelin II and hounded me to listen to it. After repeated listening and secretly loving the “Whole Lotta Love” single, it just didn’t zing me.

Forward to a couple years later and in the winter of 1972. I was riding around in Florida, listening to Led Zeppelin IV in a buddy’s 8-track player and found myself totally captivated by it. For the first and really only time with them, I loved and respected what they were doing.

So, when Robert Plant comes out with something new, it never has zinged me that much, with the exception of his EP with the Honeydrippers where he visited a 50s kind of sound. That was until now. It’s as if everything Plant was doing was leading to this CD.

The same goes with Alison Krauss. I have appreciated her music for several years. Here, she seems to have found a perfect partner in Plant.

The more I hear this disc, the more I find it irresistible. There are certain tracks I thought sounded odd upon first listening, but after repeated listenings, I find everything quite charming. I believe the allure of this disc is the subtlety of the production, vocals, song choices and the musicianship.

This is not some rehashed material. This is full of a unique sound.

The choices of songs are great! The first is a song written back in the Fifties, covered by Canned Heat and Fabulous Thunderbirds, as well as other acts. It starts with nice harmonies much like those of the Everly Brothers.

The next song is a nice, soft vocal track. Plant’s and Krauss’ vocals are a striking blend, that is reminiscent of Simon and Garfunkel at places, especially on this track..

Enough of the comparisons. By comparing it to anything you or I may have heard takes away from this CD standing on its own. This is without a doubt something special and unique, a one of a kind blend.

The choices of songs are absolutely unbelievable. I’m sure T-Bone Burnett had a big choice in what was to be recorded. This is obvious by the inclusion of the third track, “Sister Rosetta Goes Before Us”, which was written by Burnett’s wife, Sam Phillips. Sam used to record on Christian labels under the name of Leslie Phillips prior to being married to T-Bone. Her song is a fine one with Alison Kraus handling the lead vocals.

Two of the songs I find especially thrilling were written by the late Gene Clark, who is one of my favorite songwriters. After leaving the Byrds and a brief stint with the Gosdin Brothers, he formed a duo with Doug Dillard who had, at that point, left the Dillards. They recorded two great albums.

Clark’s two songs that appear on this disc were both on the Dillard and Clark’s second album, “Through the Morning, Through the Night.” Alison Krauss handles lead vocals on this great title track, quite exquisite. Robert Plant’s vocals on Clark’s “Polly Come Home” are superb and very haunting. It’s great to see, 16 years after Gene Clark’s death, he is finally getting some much deserved recognition on this major work.

My favorite song on the disc is “Gone, Gone, Gone (Done Moved On).” This is a lesser known Phil and Don Everly song from 1964. It’s an entirely different song than the Everly’s version. The harmonies are outstanding. The rhythms of the instruments are almost primitive in nature, which enhances the primal yowls of Plant throughout the song.

“Please Read the Letter” is a song from 1998’s effort from Page and Plants, Walking Into Clarksdale. The more I hear this song, the more I find it irresistible. It finishes off with some pleasant violin licks from Krauss, and some commanding music from the musicians assembled.

Alison Krauss’ voice is quite evocative on the song written by Tom Waits and his wife Kathleen Brennan, “Trampled Rose”. The instrumentation is very rhythmic, very much in the same way Waits explores various patterns in his music.

“Fortune Teller” was written in 1962 by Naomi Neville. This song has an old feel, with a Daniel Lanois type of production, big very cadenced sound.

Plant and Krauss create a stunning sound on an old Mel Tillis song. The song from 1960 is titled, “Stick With Me Baby.”

You find your self thinking, “Where in the heck did they come up with these great songs?” What is so grand about these tunes is they work so well with this duo and the musicians assembled here.

The song “Nothin”, is an old Townes Van Zandt song that Plant handles lead duties on, very soft, pleasant vocals. Alison Krauss cuts loose with some intense violin licks with an almost dirge approach to the song. Burnett, Norman Blake and Marc Ribot handle guitar duties on this track with a fierce intensity.

The only problem I had with this disc comes with the next song, “Let Your Loss Be Your Lesson.” This was written by Milt Campbell and was clearly written to a woman. Alison Krauss handles more than adequate vocals and it’s quite a lively song. However, she is singing lines like, “Once I had myself a good woman.”, “Heaven knows I miss her loving”, these lines I find distracting, sung from a woman. Call me old-fashioned if you want. I’m not sure why they left it this way, it makes me cringe a little each time I hear it.

They finish the CD off with a spiritual, “Your Long Journey”. The harmonies are chilling, simply breathtaking. Mike Seeger plays some very appealing autoharp that would make Mother Maybelle proud. Norman Blake plays some more than adequate acoustic guitar on the track.

In summary, what can I possibly say about this disc that many reviewers haven’t said the last couple weeks? Possibly nothing, however it has touched my heart in quite a unique way, which few discs attempt.

I have one fear, I hope this is not just a one-time deal. This entire group of artists needs to be together several times and make more of this great music. This is certainly a one-of-a-kind charmer. This is unlike anything else you may have heard, that’s a large part of what makes it outstanding. It’s not bluegrass, rock, country or blues. It fits somewhere in the middle of all that. In the case of “Raising Sand,” the sum is truly greater than its individual parts.

By Rickey Lamb

Share This