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Description: Joan Baez The Complete A&M Recordings
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[IMG]http://image.allmusic.com/00/amg/cov200/drg000/g039/g03902mejwy.jpg[/IMG]
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Titolo: The Complete A&M Recordings
Anno: Jan 21, 1975-Jan 29, 1975 Release Date Sep 23, 2003
Genere: FolK
Etichetta: A&M
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DISC 1:
1. Prison Trilogy
2. Rainbow Roads
3. Love Song To A Stranger
4. Myths
5. In The Quiet Morning
6. Weary Mothers (People Union #1)
7. To Bobby
8. Song Of Bangladesh
9. Stranger In My Place, A
10. Tumbleweed
11. Partisan, The
12. Imagine
13. Where Are You Now My Son?
14. Only Heaven Knows (Ah, The Sad Wind Blows)
15. Less Than The Song
16. Young Gypsy, A
17. Mary Call
DISC 2:
1. Rider Pass By
2. Best Of Friends
3. Windrose
4. Gracias A La Vida :: Here's To Life
5. Llego Con Tres Heridas :: I Come With Three Wounds
6. La Llorona :: Weeping Woman, The
7. El Preso Numero Nueve
8. Guantanamera
9. Te Recuerdo Amanda
10. Dida
11. Cucurrucucu Paloma
12. Paso Rio :: I Pass A River
13. El Rossinyol :: Nightingale, The
14. De Colores :: In Colores
15. Las Madres Cansadas :: All The Weary Mothers Of The Earth
16. No Nos Moveran :: We Shall Not Be Moved
17. Esquinazo Del Guerrillero :: The Guerilla's Serenade
18. Johnny, I Hardly Knew Ye
19. Where's My Apple Pie
20. Forever Young
21. Diamonds & Rust
22. Fountain Of Sorrow
23. Never Dreamed You'd Leave In Summer
DISC 3:
1. Children And All That Jazz
2. Simple Twist Of Fate
3. Blue Sky
4. Hello In There
5. Jessie
6. Winds Of The Old Days
7. Dida
8. I Dream Of Jeannie / Danny Boy
9. Sweeter For Me
10. Seabirds
11. Caruso
12. Still Waters At Night
13. Kingdom Of Childhood
14. O Brother!
15. Time Is Passing Us By
16. Stephanie's Room
17. Gulf Winds
DISC 4: FROM EVERY STAGE (1976) LIVE:
1. Turn Me Around, (Ain't Gonna Let Nobody)
2. Blessed Are
3. Suzanne
4. Love Song To A Stranger (Part 2)
5. I Shall Be Released
6. Blowin' In The Wind
7. Stewball
8. Natalia
9. Ballad Of Sacco And Vanzetti, The
10. Joe Hill
11. Love Is Just A Four-Letter Word
12. Forever Young
13. Diamonds & Rust
14. Boulder To Birmingham
15. Swing Low, Sweet Chariot
16. Oh, Happy Day
17. Please Come To Boston
18. Lily, Rosemary And The Jack Of Hearts
19. Night They Drove Old Dixie Down, The
20. Amazing Grace
:::->Recensione<-:::
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 Fariņa'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 Fariņa, 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.
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