A month-and-a-half after the release of her first studio recording in six years, and perhaps her finest recording since 1975's
Diamonds & Rust,
Joan Baez's complete A&M recordings offer a revelatory view of the artist at her most adventurous.
Baez's tenure with A&M lasted from 1972-1976 and yielded five studio albums, a live recording, and three non-album singles. All of them are included here on four CDs with gorgeously remastered sound, a deluxe package with exhaustive, insightful, and unflinching liner notes by Arthur Levy, and a package that should win a Grammy for design and presentation if nothing else.
Baez, regarded in the popular culture at large as a "folk" or "topical" singer (the latter term she would not refute, the former hasn't fit her for some time), has always been a restless artist. This box set offers proof that
Baez's switch to A&M -- then an independent, now swallowed whole by Universal -- from Vanguard, facilitated a virtual renaissance for her not just creatively, but on the charts as well. This reappraisal is necessary, given
Baez's most recent recordings have reflected another shift in her sound and concerns, away from being a songwriter to being an interpreter of fine, edgy, roots songs by a whole slew of younger writers -- and her seeming embrace of the electric guitar. The earliest evidence of
Baez's rambling vision can be heard on her experimental album
Baptism, from 1968. Upon moving to A&M, and recording from her Nashville studio base,
Baez released her self-produced
Come From The Shadows (with help from
Norbert Putnam), featuring -- like her latter day Vanguard recordings -- a host of Nashville's finest musicians, which included
David Paul Briggs,
Pete Drake,
Kenneth A. Buttrey,
Charlie McCoy, and
Grady Martin. It was certainly a political record, but it also included the stunning "Love Song To A Stranger," and her sister
Mimi Fariña's "In The Quiet Morning," written in memory of
Janis Joplin.
The other half of Disc One is comprised of
Where Are You Now, My Son from 1973, co-produced by
Baez and
Henry Lewy. It included a slew of originals by
Baez, including the title track, a pair of songs by
Fariña, and
Hoyt Axton's "Less Than A Song." Most importantly, it was a move toward something outside of the country-rock realm she'd been toying with. That "something" first occurs on Disc Two with her traditional album of Latin folk and topical songs from
Gracias a la Vida, and, of course, 1975's
Diamonds and Rust with
David Kershenbaum helping her out in the production room. The latter album, heard so many years after the fact of its inception and release, has
Baez experimenting with soul --
Stevie Wonder's "Never Dreamed You'd Leave in Summer"; hard country:
Dickey Betts' "Blue Sky,"; and moving around toward
Dylan once again, as she was part of the Rolling Thunder Review, with a stellar version of "Simple Twist Of Fate," as well as the legendary title track. Along with it,
Baez wrote four songs, and recorded others by
John Prine, and
Jackson Browne, and offered a deeply moving rendition of
Stephen Foster's "I Dream of Jeannie" melded with "Danny Boy." It was the masterpiece that both critics and fans knew she was capable of delivering and had been leading up to since
Blessed Are.., her final album for Vanguard. It, along with most everything here, has aged well and endures. Disc Three features the second half of
Diamonds and Rust, and another fine, if criminally under-appreciated, album
Gulf Winds, released in October of 1976 and comprised entirely of
Baez originals.
Disc Four features one of the best live recordings from the 1970s,
From Every Stage, compiled from a handful of shows and not enhanced in any way. Some of the members of her road band included no less than one of Motown's
Funk Brothers in bassist
James Jamerson, drummer
Jim Gordon, pianist
David Briggs, and guitarist
Larry Carlton. Moving across the space of her entire career, it is a moving, engaging, and utterly transcendent recording, offered in an era when live records sucked -- they were no longer live but edited heavily in the studio. This box features each album's original liner notes, as well as a host of stunning photographs. But besides the elegant package, the music tells the story of an artist who pushed herself beyond the laurels of her living legend, who worked at trying to find, in the swirling winds of change, a complexity outside her accepted norm, and finally, a relevant, constantly evolving place for herself as an artist. The evidence is in: she succeeded in spades. ~ Thom Jurek