Yahoo! Music Album Review

Released on 29/10/07
Label: Rounder

Until now, you had to hand it to the ex-members of Led Zeppelin. Aside from a handful of occasions (Live Aid, an Atlantic Records anniversary), they have remained in that exclusive bracket of "heritage artists" still resisting the temptation to reform. OK, there was the Page & Plant double act about ten years back, but ever since the band went "In Through The Out Door" in 1979, the original members have contented themselves with various solo pursuits: John Paul Jones as a producer and arranger, Jimmy Page as guitar-slinger for hire, and Robert Plant with his various Moroccan-themed obsessions. John Bonham, understandably, has been otherwise indisposed.

This must be considered a good thing. Even more so than The Rolling Stones, Zep were defined by the wild orgasmic spirit of youth - whether banging out unhinged rock'n'roll on doubled-phallused guitars or mystical weird-beard folk in the spirit of Aleister Crowley and Roy Harper. Their legend was not about three ageing men shuffling onto the O2 Arena to sing about squeezing lemons until the juice runs down your leg. Sure, it's a tribute to the legendary Ahmet Ertegun, but anyone hoping for some Hammer Of The God-style Valhalla is likely to return home sorely disappointed. Not to mention £125 poorer.

Thankfully then, we've got this fantastic album - an inspired collaboration between Plant and latter day bluegrass legend Alison Krauss - to remind us that rock gods can grow old with grace and panache. Bringing to mind Johnny Cash's final works, or Bob Dylan's recent releases, the chemistry on these thirteen starkly-arranged cover versions is raw and beautiful - Krauss emoting like a golden bell, and acting a joyous counterpoint to Plant's West Midland's growl. In tandem, they frequently reach moments of true transcendence.

Indeed, as with Plant's recent Strange Sensation project, the actual choice of songs proves well-judged and perfectly-pitched. Gene Clark's "Polly Come Home", for instance, is reduced to a slow tortured crawl; while another cut of the late-Byrd, "Through The Morning, Through The Night" is reminiscent of Gram Parsons and Emmylou Harris. This is country music for those who appreciate the outlaw exponents of the genre, like Merle Haggard, Steve Earle and Townes Van Zandt. The latter is even commemorated by "Nothin'", where the original melody is reduced to ashes and Plant digs deep on some sorrowful lines, a miserable song wrought even more miserable.

Elsewhere, there are inspired takes on Tom Waits' "Trampled Rose", while The Everley Brothers "Gone Gone Gone (Done Moved On)" is infused with the one-take spirit of Sun Records. As before, Plant's voice hangs still in the air, while Krauss takes flight like a particularly exotic songbird. And these are just moments. The thought of Plant seeing out his days performing this kind of psychedelic country is a truly exciting prospect, especially if the alternative is straining for "Whole Lotta Love"'s high notes. All of which makes "Raising Sand" a deeply special album, and one you hope enough people will allow to get under their skin.

    by Adam Webb