Posts tagged Joan Baez

(Review from allmusic)

Having recorded Steve Earle’s “Christmas in Washington” on her last studio album and his “Jerusalem” on her 2005 live album and toured with him in between, Joan Baez has turned to Earle as the producer of her new studio album.

The goal seems to be creating a modern Joan Baez album that is in the tradition of her great albums of the 1960s. A group of acoustic musicians in Nashville, anchored by multi-instrumental string players Tim O’Brien and Darrell Scott (a rhythm section of Viktor Krauss and Kenny Malone is sometimes present also) backs her up. The song selection is in the folk spirit of those Baez covered earlier in her career; including Elvis Costello, Eliza Gilkyson, Patty Griffin, and Tom Waits.

As Baez herself says of Gilkyson’s “Rose of Sharon,” “If I didn’t know otherwise, I would have just assumed that it was an old English folk song”. “Scarlet Tide,” written by Costello and T Bone Burnett for the soundtrack to the 2003 Civil War film Cold Mountain, in which it was sung by Alison Krauss, naturally sounds like a 19th century American folk song. True to Baez’s longtime political commitments, it addresses war, as does Waits’ and wife Kathleen Brennan’s “Day After Tomorrow”, which Baez sings with only her own guitar accompaniment, while Diana Jones’ “Henry Russell’s Last Words” tells the true story of a mining disaster. Earle’s own “Jericho Road,” first heard on his Washington Square Serenade album, is presented a cappella with handclaps and background vocals by Earle, Scott, and O’Brien, sounding just like the sort of spiritual Baez used to adapt back in the 60s.

At the age of 67, Baez betrays some vocal aging, but she uses it wisely to impart extra feeling into what is often a downbeat collection of quality songs, and Earle has succeeded in his attempt not to reinvent her, but to re-create her sound and message in contemporary terms.

Line-up:
- Joan Baez / vocals, guitar
- Steve Earle / guitar, harmonium, background vocals, tamboura
- Viktor Krauss / bass
- Kenny Malone / drums, percussion
- Tim O’Brien / fiddle, mandolin, bouzouki, back vocals
- Darrell Scott / guitar, dobro, bouzouki, Hawaiian guitar, banjolin, resonator guitar, back vocals
- Thea Gilmore / harmony vocals
- Siobhan Maher-Kennedy / harmony vocals

Track List:
01. God Is God – 3:29
02. Rose of Sharon – 3:34
03. Scarlet Tide – 2:25
04. Day After Tomorrow – 5:31
05. Henry Russell’s Last Words – 3:37
06. I Am a Wanderer – 2:30
07. Mary – 3:54
08. Requiem – 3:55
09. The Lower Road – 4:11
10. Jericho Road – 3:29

Link in comments.

(Info from wikipedia)

On her 1997 album, rather than relying on her own songwriting, Baez instead selected work by younger folk and rock artists to perform. She included Dar Williams’ “If I Wrote You”, Richard Shindell’s “Reunion Hill”, and Betty Elders’ “Crack in the Mirror”. Around the time of the album’s release, Baez confessed that she no longer found herself able to write songs, and felt more comfortable reverting back to her original role, as an interpreter. The one track for which she receives credit, “Lily” (about a girlhood friend), is a poem written by Baez, to which Greenberg and Wilson added music.

The songs provide her with a host of new social issues to tackle as well, among them pedophilia (Elders’ heartbreaking “Crack in the Mirror”) and immigration (Shindell’s caustic “Fishing”). As usual, she proves herself a superior interpreter, intelligently presenting the complex, mature concerns of the songwriters, whether the subjects have political or emotional resonance (or both).

In addition giving the young songwriters a career boost by recording their songs, Baez took two of them —Shindell and Williams — on tour with her to support this album.

This “Collector’s Edition” of the album includes a whole bonus disc featuring 11 tracks recorded live at Mountain Stage in August 1997, with the album’s songwriters joining Baez on stage.

Track List:
CD1
01. No Mermaid – 4:23
02. Reunion Hill – 4:08
03. Crack In The Mirror – 5:48
04. February – 4:11
05. Fishing – 4:46
06. If I Wrote You – 3:28
07. Lily – 3:52
08. Who Do You Think I Am – 4:02
09. Mercy Bound – 4:51
10. Money For Floods – 3:35
CD2 (Live)
01. If I Wrote You – 3:48
02. No Mermaid – 4:33
03. Reunion Hill – 4:52
04. Crack in the Mirror – 5:40
05. Long Bed From Kenya – 5:20
06. February – 3:58
07. You’re Aging Well – 4:15
08. Fishing – 4:48
09. Money For Floods – 3:21
10. Who Do You Think I Am – 5:54
11. To Ramona – 4:18

Link in comments.

(Review from allmusic)

On 1992′s “Play Me Backwards”, the smooth production of Wally Wilson and Kenny Greenberg frames Baez’s voice beautifully, with a contemporary, yet undated sound. And, with songs courtesy of Mary-Chapin Carpenter, John Hiatt, and Janis Ian, how can you go wrong? Although it’s not a ground-breaking artistic achievement, it’s Joan Baez, and it’s definitely an enjoyable way to pass 40 minutes.

Getting things started, the bouncy groove of the percussive title track belies its tale of a stolen childhood. The images drawn are vivid, and the pain recalled in the reclaiming is tangible, but forgiving. The wistful melancholy of Ian’s “Amsterdam” is gorgeously handled with a delicate maturity, as is Hiatt’s triumphantly hopeful “Through Your Hands”. In another upbeat swing, “I’m With You” is one of the main highlights of the record. Dedicated to her son Gabe, Baez vows her steadfast support and presence as he makes his way into a life of his own. Any kid would be proud to have such a tribute showcasing their parent’s unconditional love. The album closes with another loving family honor. Written for her father, “Edge of Glory” is the opposite bookend to “I’m With You,” as it contemplates the attempts of pleasing and healing in the father-daughter relationship.

From child to mother and all stops in between, Play Me Backwards details an emotional journey as seen through the eyes of Baez. It’s a lovely trip.

Track List:
01. Play Me Backwards – 4:08
02. Amsterdam – 3:13
03. Isaac & Abraham – 1:51
04. Stones In The Road – 4:41
05. Steal Across The Border – 2:56
06. I’m With You – 2:51
07. I’m With You (Reprise) – 0:57
08. Strange Rivers – 3:49
09. Through Your Hands – 4:27
10. The Dream Song – 3:20
11. Edge Of Glory – 4:16

Link in comments.

(Review from wikipedia, allmusic)

As she had done during the 1960s for Bob Dylan, Tim Hardin and Richard Farina; Baez lent her voice to the songwriters of the day, in this case Mark Knopfler, U2 and Peter Gabriel, and found herself straddling a line between attempting to further connect with young audiences, while reintroducing herself to her established listeners, after a long absence.

The title track, a stunning original, she boldly answered ex-husband David Harris’ downbeat memoir of the 60s, “Dreams Die Hard”, as well as other 80s revisionists.

Track List:
01. Brothers in Arms – 5:05
02. Recently – 3:06
03. Asimbonanga – 4:49
04. The Moon is a Harsh Mistress – 3:08
05. James & the Gang – 4:32
06. Let Us Break Bread Together,Freedom – 8:47
07. MLK – 2:55
08. Do Right Woman, Do Right Man – 3:22
09. Biko – 5:17

Link in comments.

(Review from amazon)

Although she lamented and mocked an early description of her voice as “the achingly pure soprano”, it serves her well on this mostly acoustic live recording.

Her facility for language renders her music a gift to the entire planet as she reaches into the lives and people of many cultures. Whether it is a song she has written, or that of another, her heartfelt presentation makes it hers to share with her audience.

From Paul Simon’s lament “The Boxer” to the Broadway favorite “Don’t Cry for Me, Argentina” to the 60′s protest “Blowin’in the Wind” she entertains and enlightens. The raw feeling allowed by the live recording adds an intimacy and connection with Baez and her audiences around the world.

Track List:
01. The Boxer – 4:15
02. Don’t Cry for Me Argentina – 3:13
03. Gracias a la Vida (Here’s to Life) – 4:18
04. The Rose – 2:53
05. For Sasha – 4:55
06. Diamonds and Rust – 4:36
07. Soyuz Druzyei (Circle of Friends) – 2:00
08. Cambodia – 4:21
09. Kinder (Sind so kleine Hande) – 1:48
10. Here’s to You – 2:26
11. Blowin’ in the Wind – 3:04

Link in comments.

(Review from amazon, wikipedia, allmusic)

Baez’s 1977 album was her first after switching from A&M Records to CBS Records. Like many artists, Baez used the new label as an opportunity to begin a new musical direction. The album veered more toward mainstream pop than any album Baez had recorded up to that point, though many critics at the time pointed out that she seemed not entirely comfortable with her “new sound”.

The album, despite its eclecticism, highlights the simple beauty of a singer-songwriter who’s got a soul to bare and the honest, courageous voice to back it up.

“Miracles” is a mellow jazzy piece that is explained to be a Stevie Wonder tribute in the album’s original liner notes. “Time Rag” and “A Heartfelt Line Or Two” both reveal the singer’s perspective on her career but from vastly different angles and settings.

The highlight of the album comes in Side 2, with “Luba The Baroness”, a song about a fallen aristocrat French family and her own intertwining relationship with each member. It is followed by “Alter Boy & The Thief”, Baez’s sympathetic portrayal of the gay community, a nod to her considerable gay fanbase.

Rod Stewart’s “Sailing” is the best known cover on the album, but it suits Joan like a glove. Others by Steve Goodman and Stevie Winwood were all given a typically earnest reading. “Cry Me A River” offers a suitably torchy ending after Alter Boy’s gay tribute.

In her autobiography, Baez described Blowin’ Away as “a good album with a terrible cover”.

Track List:
01. Sailing – 4:22
02. Many a Mile To Freedom – 2:58
03. Miracles – 5:24
04. Yellow Coat – 3:37
05. Time Rag – 5:25
06. A Heartfelt Line Or Two – 3:23
07. I’m Blowin’ Away – 3:18
08. Luba The Baroness – 7:06
09. Alter Boy And The Thief – 3:28
10. Cry Me A River – 3:00

(Review from rateyourmusic.com, allmusic, wikipedia)

Baez’s 13th studio album was released in March 1973.

Side one is on par with his previous recordings of early 70s. It contains one of Baez’s best original songs, “A Young Gypsy” and two by her sister, “Mary Call” and “Best of Friends”.

The side-long title track on the other hand may be a bit challenging for the casual fan. It is a twenty minutes plus collage of sounds, words and -all the same- a sung chorus (They say that the war is done/But where are you now my son?) recorded duringen a week-long Christmas bombing campaign Baez and the peace delegation survived in Vietnam. Included on the recording are the voices of her companions; Barry Romo, Michael Allen and human rights attorney Telford Taylor.

Track List:
01. Only Heaven Knows (Ah, The Sad Wind Blows) – 2:36
02. Less Than A Song – 3:29
03. A Young Gypsy – 3:37
04. Mary Call – 3:34
05. Rider Pass By – 4:14
06. Best Of Friends – 3:05
07. Windrose – 3:43
08. Where Are You Now, My Son? – 21:44

Link in comments.

(Review from allmusic)

One of the often overlooked aspects of Joan Baez’s career in the 1960s is that after the first four albums, she never did the same thing twice.

“One Day at a Time” was also startlingly new and daring at the time. Today it seems like no big deal, but in 1970 very few singers coming out of the folk scene as Baez did were reaching out to Willie Nelson (“One Day at a Time”) and even the Rolling Stones (“No Expectations”) for repertory, much less putting them on the same album with music by old leftist composers like Earl Robinson (“Joe Hill”), and then interspersing those songs with traditional country numbers. Even better, she was also writing her own songs, one of which, “Sweet Sir Galahad,” ranks among the best songs that she ever recorded.

She was in the middle of her country phase, mostly working with the best players in Nashville (who are a pleasure to hear as well), but One Day at a TIme has a freer, looser feel than David’s Album or Blessed Are, both of which came out of the same orbit.

Her version of “Long Black Veil” could’ve passed muster at The Grand Ol’ Opry, and she could’ve cut these sessions with Dolly Parton, June Carter Cash, or any other female country singer of the era and not been out of place. The sheer, understated power of her voice on Delaney & Bonnie’s “Ghetto” and on “Carry It On” is also something to behold, and makes one wonder what kind of a gospel singer Baez might have made in another reality. Yet she could also loosen up enough to do a pure piece of sentimental traditional country music like “Take Me Back to the Sweet Sunny South” and make it work, too.

Amid these multi-tiered, widely spaced superlatives, “One Day at a Time” also had (and still has) an additional facet that should make it essential listening on another level, to yet another audience — three of the cuts here feature her working with Jeffrey Shurtleff, who was her accompanist at the Woodstock festival as well.

This edition of the album contains two outtakes from the One Day at a Time sessions as bonus tracks: “Sing Me Back Home” and “Mama Tried”, both duets with Shurtleff, and both Merle Haggard covers.

Track List:
01. Sweet Sir Galahad – 3:42
02. No Expectations – 3:49
03. Long Black Veil – 3:24
04. Ghetto – 4:33
05. Carry It On – 2:21
06. Take Me Back to the Sweet Sunny South – 2:48
07. Seven Bridges Road – 3:41
08. Jolie Blonde – 2:01
09. Joe Hill – 3:24
10. A Song for David – 4:57
11. I Live One Day at a Time – 3:32
12. Sing Me Back Home (Bonus) – 4:00
13. Mama Tried (Bonus) – 3:08

Link in comments.

(Review from rollingstone.com, allmusic)

Joan Baez’s most unusual album, Baptism is of a piece with the “concept” albums of the late 60s, but more ambitious than most and different from all of them.

Baez by this time was immersed in various causes, concerning the Vietnam War, the human condition, and the general state of the world, and it seemed as though every note of music that she sang was treated as important — sometimes in a negative way by her opponents; additionally, popular music was changing rapidly, and even rock groups that had seldom worried in their music about too much beyond the singer’s next sexual conquest were getting serious.

Baptism was Baez getting more serious than she already was, right down to the settings of her music, and redirecting her talent from folk song to art song, complete with orchestral accompaniment. Selections from early and modern poets of Europe, Asia and America, including poems by William Blake, Federico Garcia Lorca, Jacques Prevert and Yevgeny Yevtushenko. Together with an old Welsh song and a Negro lullaby, the collection has a remarkable unity and striking impact. The net result is a fascinating, if disparaging, journey through our time spanning several centuries.

Side one is a magnificent and impassioned out-cry against the ravages of war, violence and the insanity of spilled blood. In a pure, prose voice, Miss Baez evokes the indignity and horror in the pleas of those who protest to the dynastic Chinese minister of War. In Jacques Prevert’s “Song In The Blood,” she intones the rhythmic cycle of spilled blood and death as the earth turns with immutable regularity. She is truly a woman who has seen too much slaughter, her voice sounding detached, matter-of-fact, foretelling only blood and more death.

Blake’s “London” and Norman Rosten’s “In Guernica” on the same side are provocative and very effective, the net effect being an uncompromising and brutal vision of war and death evoked by a gentle woman’s voice and orchestration in a somber, minor key.

Side two is clearly a spiritual chronology revealing the multiple baptisms accompanying the loss of innocence. The happy nonsense of the opening passages of Joyce’s “Portrait Of the Artist As A Young Man” are supplanted by the sinister fantasies of Rimbaud, the desperate hope of love in Yevtushenko’s “Colours” and finally, lamentation and grief.

Taken as a whole, the album is a very personal statement about the nature of man and the ghastly paradoxes of life and death. While some passages are very moving and beautiful Baptism is inescapably depressing — as it should be.

Track List:
01. Old Welsh Song – 1:16
02. I Saw The Vision Of Armies – 1:16
03. Minister Of War – 1:10
04. Song In The Blood 4:28
05. Casida Of The Lament – 1:01
06. Of The Dark Past – 1:59
07. London – 1:19
08. In Guernica – 1:00
09. Who Murdered The Minutes 3:21
10. Oh, Little Child – 1:25
11. No Man Is An Island – 0:56
12. From Portrait Of The Artist As A Young Man – 2:14
13. All The Pretty Little Horses – 1:14
14. Childhood III – 1:08
15. The Magic Wood – 2:27
16. Poems From The Japanese – 2:21
17. Colours – 1:13
18. All In Green Went My Love Riding 3:24
19. Gacela Of The Dark Death – 2:09
20. The Parable Of The Old Man And The Young – 0:51
21. Evil – 1:30
22. Epitaph For A Poet – 1:15
23. Old Welsh Song – 1:20
24. Mystic Numbers- 36. Wedding Song (Unreleased Bonus) – 1:06
25. When The Shy Star Goes Forth In Heaven (Bonus) – 1:24
26. The Angel (Bonus) – 1:32

Link in comments.

(Review from allmusic)

When Joan Baez began recording and performing during the late 50s and early 60s, she carved out a niche for herself as a remarkable singer of traditional music. In 1966 she released Noel, an album of seasonal songs notable for its variety and the fact that she sung two selections in German.

One would expect to see “O Come, O Come, Emmanuel” and “Deck the Halls” but Baez adds lesser-known gems like “Ave Maria” and “Coventry Carol”, along with instrumental versions of “Bring a Torch, Jeannette, Isabella” and “Adeste Fideles”.

The arrangements, while not unusual for a Christmas album, were something new for a Baez album. Lutes, violas, harpsichord, strings, and wind instruments provide a classical setting for Baez’s lovely soprano. In this setting, her voice becomes more formal and mannered.

Baez’s fans will probably be split on the quality of the album. Fans of her early traditional albums will find these arrangements and stylized vocals miles away from folk music; fans of Baez’s pure soprano who never concerned themselves with genre purity will find Noel a must-have album.

Track List:
01. O Come, O Come, Emmanuel (French traditional, sung in English) – 3:01
02. Coventry Carol (English traditional) – 1:59
03. Good King Wenceslas (English traditional, instrumental) – 0:26
04. The Little Drummer Boy (Davis, Onorati, Simeone) – 3:02
05. I Wonder As I Wander (John Jacob Niles) – 3:52
06. Bring a Torch, Jeanette, Isabella (instrumental) – 0:38
07. Down In Yon Forrest (English traditional) – 1:40
08. The Carol of the Birds (Catalan traditional, dedicated to Pablo Casals) – 3:31
09. Angels We Have Heard On High (French traditional, instrumental) – 1:20
10. Ave Maria (Franz Schubert, sung in German) – 4:05
11. Mary’s Wandering (German traditional, sung in German) – 3:17
12. Deck the Halls (Welsh traditional, instrumental) – 0:20
13. Away in a Manger (Martin Luther, sung in English) – 1:54
14. Adeste Fidelis (Latin traditional, instrumental) – 0:49
15. Cantique de Noel (Adolphe Adam, sung in French) – 3:48
16. What Child Is This (English traditional) – 3:01
17. Silent Night (Franz Gruber, sung in English) – 2:25

Link in comments.

(Review from allmusic)

Joan Baez 5 was where the singer’s music experienced its first major blossoming. Having exhausted most of the best traditional songs in her repertory on her four prior albums, Baez had to broaden the range of her music, and she opened up some promising new territory in the process. She must also have recognized by 1964 that the folk audience was changing and, in fact, was no longer just the “folk” audience — they were expecting current compositions in a folk vein, especially topical material, and also a certain degree of eclecticism, and Joan Baez 5 runs the gamut from classical to country.

The album opens with a rendition of Phil Ochs’ “There but for Fortune” that was so alluring that it was released a single and it actually saw some modest chart action; Baez nearly pulled off a Peter, Paul & Mary, masking the song’s piercing, topical lyrics (which addressed more hot-button issues in three minutes than most radio stations preferred to acknowledge in a week’s worth of editorials) in a falsetto so lovely that they simply eased past most of the censors, right-wingers, and anyone else who might’ve objected. Her recording of Dylan’s “It Ain’t Me Babe” was the latest in a small but growing list of her excellent covers of his songs. Even the Dylan cover pales, however, next to her rendition of Richard Farina’s “Birmingham Sunday,” a recollection of the school bombing that’s still a raw nerve in the state of Alabama, four decades later — her performance is as beautiful as the song itself is quietly dark and ominous.

She still found room for material drawn from traditional English folk songs and settings by Richard Dyer-Bennett and John Jacob Niles, and Baez’s version of “Stewball” was perhaps the prettiest of a brace of covers of the song (there was even one by the Hollies) from around this period; her performance of “When You Hear Them Cuckoos Hollerin’,” accompanied by Gino Foreman on guitar, was one of the most haunting recordings in her output.

Her attempt at Heitor Villa-Lobos’ “Bachianas Brasileiras No. 5 – Aria,” accompanied by an ensemble of eight cellos led by Utah Symphony Orchestra conductor Maurice Abravanel (who was also on Vanguard), is a valiant effort.

Equally unexpected but far more successful is her version of Johnny Cash’s “I Still Miss Someone,” which was probably the prettiest cover any of the country giant’s songs had been treated to up to that time. It was Baez’s first brush up against country music, which would prove a rich and vital vein for her in the decades to come.

Track List:
01. There But For Fortune – 3:14
02. Stewball – 2:59
03. It Ain’t Me Babe – 3:21
04. The Death Of Queen Jane – 3:51
05. Bachianas Brasileiras No. 5 – 6:17
06. Go ‘Way From My Window – 2:13
07. I Still Miss Someone – 3:14
08. When You Hear Them Cuckoos Hollerin’ – 2:50
09. Birmingham Sunday – 4:02
10. So We’ll Go No More A-Roving – 1:44
11. O’ Cangaceiro – 2:20
12. The Unquiet Grave – 4:22
13. Tramp On The Street – 3:59
14. Long Black Veil – 2:41

Link in comments.

(Review from amazon.com)

Joan Baez recorded this album as a gift to her then husband, David Harris, a country music fan, was about to be imprisoned for draft resistance.

Although it was recorded in Nashville, this lovely album does not have an authentic country sound overall. The sound is more like her typical 1960s folk, with a country infusion here and there. The songs include traditionals and gospel songs like Just A Closer Walk With Thee and Poor Wayfaring Stranger (a duet with her sister Mimi Farina), plus pop hits of the time like Green Green Grass Of Home and the work of contemporary songwriters like the Gram Parsons masterpiece Hickory Wind.

There is a melancholy thread running through the album and all the songs are melodious and memorable. The arrangements stick close to the originals but the fiddle, dobro and viola make some of the tracks quite special. The Jordannaires lend beautiful male backing vocals to Will The Circle Be Unbroken, whilst The Tramp On The Street has an additional verse co-written by Baez and Maynard Solomon. One of my favorites is the aforementioned duet with Mimi, where there is a graceful harmonic interweaving of the vocals in the chorus.

The lovely organ renders Just A Closer Walk With Thee quite soulful, as is her version of Hickory Wind. The most country-sounding of the tracks is the uptempo My Home’s Across The Blue Ridge Mountains.

Track List:
01. If I Knew (Nina Dusheck/Pauline Marden)
02. Rock Salt And Nails (Bruce Phillips)
03. Glad Bluebird Of Happiness (Darryl Skrabak)
04. Green, Green Grass Of Home (Curly Putnam)
05. Will the Circle be Unbroken (traditional)
06. The Tramp On The Street (traditional)
07. Poor Wayfaring Stranger (traditional)
08. Just A Closer Walk With Thee (traditional)
09. Hickory Wind (Gram Parsons)
10. My Home’s Across The Blue Ridge Mountains (A.P. Carter/Tom Ashley)

Link in comments.

Sorry for the not so good quality. Better rips are welcome.

(Review from allmusic.com)

In the late ’50s, prior to signing with Vanguard, Joan Baez recorded this album in a basement, sometimes performing with Bill Wood and Ted Alevizos. It wasn’t wholly Baez’ album, as only six of the 13 tracks were Baez solo performances. On two she performed with Wood, and on one she performed with Wood and Alevizos; two of the tracks featured Wood solo, and two Alevizos solo. Baez was already handling traditional material such as “Black Is the Color,” and her voice was a little less strident than it would become when she rose to national visibility. It’s a basic recording that is primarily of historical interest, although — as those things go — it has definite value. In 1963, it was issued by Squire Records as The Best of Joan Baez, but was withdrawn after it had made the Top 50, when Baez took legal action against it.

Track List:
01. Banks Of The Ohio
02. What A Beautiful City
03. Sail Away Ladies
04. Black Is The Color
05. Lowlands
06. What You Gonna Call Your Pretty Little Baby
07. Kitty
08. So Soon In The Morning
09. Careless Love
10. Le Cheval Dans La Baignoire (Horse In The Bathtub)
11. John Henry
12. Travelin’ Shoes
13. Bold Soldier
14. Walie Walie
15. Rejected Lover
16. Astrapsen (The Sun Is Risen)
17. Lass From The Low Country
18. Don’t Weep After Me

Link in comments.

(Review from allmusic.com)

The most accomplished interpretive folksinger of the 1960s, Joan Baez has influenced nearly every aspect of popular music in a career still going strong. Baez is possessed of a once-in-a-lifetime soprano, which, since the late ’50s, she has put in the service of folk and pop music as well as a variety of political causes.

After recording for the folk label Vanguard for more than a decade, Baez moved to A&M. On this label debut, she maintained her interest in country music, recording in Nashville with some of the city’s session aces. She also continued to dedicate herself to radical politics, from her set opener “Prison Trilogy,” which pledged, “We’re gonna raze the prisons to the ground,” to the closer, John Lennon’s “Imagine.” In between were her call on Bob Dylan to return to protest music (”To Bobby”) and her sister Mimi Farina’s touching tribute to Janis Joplin, “In the Quiet Morning.”

Track List:
01. Prison Trilogy
02. Rainbow Road
03. Love Song To A Stranger
04. Myths
05. In The Quiet Morning
06. All The Weary Mothers Of The Earth (People’s Union #1)
07. To Bobby
08. Song Of Bangladesh
09. A Stranger In My Place
10. Tumbleweed
11. The Partisan
12. Imagine

Link in comments.