01. Diamonds & Rust (Joan Baez) - 4:45
02. Fountain Of Sorrow (Jackson Browne) - 4:28
03. Never Dreamed You'd Leave In Summer (Stevie Wonder, Syreeta Wright) - 2:45
04. Children And All That Jazz (Joan Baez) - 3:06
05. Simple Twist Of Fate (Bob Dylan) - 4:43
06. Blue Sky (Richard Betts) - 2:46
07. Hello In There (John Prine) - 3:05
08. Jesse (Janis Ian) - 4:26
09. Winds Of The Old Days (Joan Baez) - 3:55
10. Dida (Joan Baez) (duet with Joni Mitchell) - 3:25
11. Medley: I Dream of Jeannie (Stephen Foster) / Danny Boy (Frederick Weatherly) - 4:10


- Joan Baez – acoustic guitar (01,05,07,08,09), moog & ARP synthesizers (01),
  horn solo (08), vocals
+
- Joni Mitchell - vocals (10)
- Wilton Felder - bass (01,04,06,08)
- Reinie Press - bass (02,03,05,07,09)
- Jim Gordon - drums (01,02,03,04,05,06,07,08,09)
- Larry Carlton - electric guitar (01,02,03,04,05,06,08,09), acoustic guitar (02,06)
- Dean Parks - electric guitar (01,04,05,06,09), acoustic guitar (02,03,07)
- Joe Sample - electric piano (01,02,03,04,05,09), Hammond organ (06,07)
- David Paich - electric harpsichord (01), acoustic piano (06,08)
- Red Rhodes - pedal steel (02,06,07,09)
- Gordo - percussion (02,04,05,06,07)
- Larry Knechtel - acoustic piano (03,05,09,11), electric piano (07)
- Malcolm Cecil - moog & ARP synthesizers (03)
- Hampton Hawes - acoustic piano (04)
- Tom Scott - flute (04)

With the Vietnam War winding down, Joan Baez, who had devoted one side of her last album to her trip to Hanoi, delivered the kind of commercial album A&M Records must have wanted when it signed her three years earlier. But she did it on her own terms, putting together a session band of contemporary jazz veterans like Larry Carlton, Wilton Felder, and Joe Sample, and mixing a wise selection from the work of current singer-songwriters like Jackson Browne and John Prine with pop covers of Stevie Wonder and the Allman Brothers Band, and an unusually high complement of her own writing. A&M, no doubt recalling the success of her cover of the Band's "The Night They Drove Old Dixie Down," released her version of the Allmans' "Blue Sky" as a single, and it got halfway up the charts. But the real hit was the title track, a self-penned masterpiece on the singer's favorite subject, her relationship with Bob Dylan. Outdoing the current crop of confessional singer/songwriters at soul baring, Baez sang to Dylan, reminiscing about her '60s love affair with him intensely, affectionately, and unsentimentally. It was her finest moment as a songwriter and one of her finest performances, period, and when A&M finally released it on 45, it made the Top 40, propelling the album to gold status. But those who bought the disc for "Diamonds & Rust" also got to hear "Winds of the Old Days," in which Baez forgave Dylan for abandoning the protest movement, as well as the jazzy "Children and All That Jazz," a delightful song about motherhood, and the wordless vocals of "Dida," a duet with Joni Mitchell accompanied by Mitchell's backup band, Tom Scott and the L.A. Express. The cover songs were typically accomplished, making this the strongest album of Baez's post-folk career. ---William Ruhlmann, All Music Guide

download (mp3 @320 kbs):

yandex 4shared mega mediafire uloz.to cloudmailru uptobox ge.tt

back

01. Farewell, Angelina (Bob Dylan) - 3:13
02. Daddy, You Been On My Mind (Dylan) - 2:15
03. It's All Over Now, Baby Blue (Dylan) - 3:21
04. The Wild Mountain Thyme (Traditional) - 4:33
05. Ranger's Command (Woody Guthrie) - 3:12
06. Colours (Donovan) - 3:01
07. A Satisfied Mind (Red Hayes, Jack Rhodes) - 3:23
08. The River In The Pines (Traditional) - 3:33
09. Pauvre Ruteboeuf (Leo Ferre, Ruteboeuf) - 3:33
10. Sagt Mir Wo Die Blumen Sind (Where Have All the Flowers Gone?) 
(Pete Seeger) - 4:00
11. A Hard Rain's A-Gonna Fall (Dylan) - 7:36

Personnel:
- Joan Baez – vocals, guitar
- Bruce Langhorne – electric guitar (2,3,6,7,11)
- Richard Romoff – string bass (4,10)
- Russ Savakus – string bass
- Ralph Rinzler – mandolin (7)

By late 1965, most members of the folk community were feeling the pressure of a changing music world -- between presence of folk-rock bands like the Byrds and newer outfits like the Beau Brummels and the Leaves coming up, not to mention Bob Dylan himself going electric, they were now competing against some high-wattage (in the most literal sense) rivals for the attention of audiences. Most wilted in that environment, but Baez rose to the occasion, partly because she was able to -- her voice was one of the most hauntingly beautiful in the world, and she was no slouch when it came to finding (and later writing) good songs. To be sure, her sixth album is top-heavy with Bob Dylan songs, including the title track, which he never officially recorded -- on that basis alone, it attracted a lot of attention from his fans -- and her epic rendition of "A Hard Rain's a-Gonna Fall," which can stand up next to Dylan's own for sheer, sustained power, and her falsetto-driven performance of "It's All Over Now, Baby Blue" didn't hurt in that department. But rather than relying on the Dylan repertory to sell the album, she made Farewell, Angelina worthwhile all the way through. Of the two traditional songs here, "The River in the Pines" is a throwback to Baez's simple, unadorned early sound; but "Wild Mountain Thyme" is something new and special, her understated yet jaunty-tempo rendition almost minimalist in its scoring, yet it sticks with the listener as long (or longer) than, say, the Byrds' recording. Her version of Woody Guthrie's "Ranger's Command" should be heard for its sheer lyricism and loveliness, and her recording of Donovan's "Colours" might even have been a hit single if it had been handled right -- Bruce Langhorne's amplifier turned up one notch, from 3 to 4, might've done it. "A Satisfied Mind" was not only a stunning recording (especially on the final verse), but took her one step closer to the country music sound and repertory that would enrich Baez's music in the second half of the '60s. And she even managed to give a special nod to Pete Seeger's universal notions of pacifism by including a German version of "Where Have All the Flowers Gone." Beyond Baez's singing, the album is also worth hearing for Langhorne's guitar work and the performance of Richard Romoff on string bass on "Wild Mountain Thyme" and "A Hard Rain's a-Gonna Fall." This would be the last time that Baez would work with so small, spare, or deceptively simple an accompaniment -- the next time out, she'd have a full orchestra and then a complement of Nashville musicians backing her. ---Bruce Eder, allmusic.com

download (mp3 @320 kbs):

yandex 4shared mega mediafire uloz.to cloudmailru uptobox ge.tt

back

A1 	–Joan Baez 	On The Banks Of The Ohio 	
A2 	–Joan Baez 	O What A Beautiful City 	
A3 	–Joan Baez 	Sail Away Ladies 	
A4 	–Joan Baez 	Black Is The Color 	
A5 	–Joan Baez 	Lowlands 	
A6 	–Joan Baez 	What You Gonna Call Your Pretty Little Baby 	
A7 	–Joan Baez & Bill Wood 	Kitty 	
A8 	–Joan Baez & Bill Wood  	So Soon In The Morning 	
A9 	–Joan Baez & Bill Wood  	Careless Love 	
B1 	–Bill Wood 	Le Cheval Dans La Beignoire 	
B2 	–Bill Wood  	John Henry 	
B3 	–Bill Wood  	Travelin' Shoes 	
B4 	–Bill Wood  	The Bold Soldier 	
B5 	–Ted Alevizos 	Walie Walie 	
B6 	–Ted Alevizos 	Rejected Lover 	
B7 	–Ted Alevizos 	Astrapsen 	
B8 	–Ted Alevizos 	Lass From The Low Country 	
B9 	–Joan Baez & Bill Wood & Ted Alevizos 	Don't Weep After Me

Recorded in a basement with Bill Wood and Ted Alevizos, Folksingers Round Harvard Square is technically the first album Joan Baez recorded. Although not a major success at the time of release (although it would chart four years later when re-released illegally) , it proved crucial in enabling Joan to get a major label deal with Vanguard. Hallmark. ---Editorial Reviews, amazon.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. --- Richie Unterberger, AllMusic Review

download (mp3 @320 kbs):

yandex 4shared mega mediafire uloz.to cloudmailru uptobox ge.tt

back

01. Be Not Too Hard (Christopher Logue/Donovan Leitch) - 2:49
02. Eleanor Rigby (Paul McCartney/John Lennon) - 2:16
03. Turquoise (Donovan Leitch) - 3:15
04. La Colombe - The Dove (Jacques Brel/Alasdair Clayre) - 5:17
05. Dangling Conversation (Paul Simon) - 2:44
06. The Lady Came From Baltimore (Tim Hardin) - 2:30
07. North (Nina Dusheck/Joan Baez) - 2:48
08. Children Of Darkness (Richard Farina) - 3:51
09. The Greenwood Side (Traditional) - 7:43
10. If You Were A Carpenter (Tim Hardin) - 2:06
11. Annabel Lee (Edgar Allan Poe/Don Dilworth) - 4:56
12. Saigon Bride (Nina Dusheck/Joan Baez) - 3:12
13. Oh, Had I A Golden Thread (bonus) (Peter Seeger) - 3:43
14. Autumn Leaves (bonus) (Joseph Kozma/John H.Mercer/
Jacques Andre M.Prevert) - 2:32

Personnel:
- Joan Baez - vocals, acoustic guitar
- Richard Romoff, Russ Savakus - bass
- Alvin Rogers - drums
- Bruce Langhorne – guitar

Joan was very much an album of its time in terms of its sound and production, more so than any other album that Joan Baez ever recorded. In 1967, rock, folk, folk-rock, and pop all seemed to be headed in new and ever-more-ornate directions, and Joan was a response to that change and, not coincidentally, is also the most self-consciously beautiful record that Baez ever cut. Arranger/conductor Peter Schickele, who had previously worked with Baez on her Christmas album, provides generally restrained orchestral accompaniment on ten of the 12 songs here. The latter, in sharp contrast to Baez's earlier work, are mostly drawn from a wide range of such popular composers as John Lennon and Paul McCartney, Donovan, Paul Simon, and Jacques Brel, as well as Tim Hardin and Baez's late brother-in-law, Richard Farina. Several of these tracks -- "Turquoise" with its gorgeous parts for the harps and the horns, "Children of Darkness" with its beautiful writing for the reeds, and "Saigon Bride" with its haunting brass part -- are profoundly beautiful. Others, such as "Eleanor Rigby" and "Dangling Conversation," don't come off nearly as well, in part because they're competing against fairly ornate originals and also -- in the case of the Paul Simon song -- because of Baez's decision to alter the words. If Joan has one unfortunate attribute, it lies in the singer's Sinatra-like tendency to alter the lyrics of the songs that she's chosen to cover, if only by a single word ("is the theater really dead" becomes "is the church really dead," for no reason that anyone but the singer has ever been able to fathom); that and her overly strident singing (mated to an overly strident brass-laden arrangement) of Jacques Brel's "La Colombe" constitute the low point of this otherwise very fine album. Additionally, Baez shows off the two earliest-published products of her career as a songwriter, in the form of "North" and "Saigon Bride," the latter a particularly poignant anti-war song that expresses the futility of the Vietnam War about as well as anything this side of Phil Ochs' "White Boots Marching in a Yellow Land." ---Bruce Eder, allmusic.com

download (mp3 @320 kbs):

yandex 4shared mega mediafire uloz.to cloudmailru uptobox ge.tt

back

01. Silver Dagger (traditional) - 2:29
02. East Virginia (traditional) - 3:40
03. Fare Thee Well (traditional) - 3:17
04. House Of The Rising Sun (traditional) - 2:53
05. All My Trials (traditional) - 4:36
06. Wildwood Flower (traditional) - 2:33
07. Donna Donna (music: Sholom Secunda; original Yiddish lyric: Aaron Zeitlin; English translation: Arthur Kevess & Teddi Schwartz) - 3:10
08. John Riley (traditional) - 3:49
09. Rake And Rambling Boy (traditional) - 1:55
10. Little Moses (traditional) - 3:27
11. Mary Hamilton (traditional) - 5:54
12. Henry Martin (traditional) - 4:11
13. El Preso Número Nueve (Los Hermanos Cantoral) - 2:46
Bonuses:
14. Girl Of Constant Sorrow (Previously Unreleased Verse) - 1:42
15. I Know You Rider (Previously Unreleased Verse) - 3:42
16. John Riley(Previously Unreleased Verse) - 4:22

Personnel:
- Joan Baez
+
- Fred Hellerman - guitar on (5,6,7,8,9,10,13)

At the time of its release, Joan Baez's debut album was something of a revelation. The folk music revival was beginning to gather steam, stoked on the popular side by artists such as the Kingston Trio and the Easy Riders, as well as up-and-coming ensembles such as the Highwaymen, and on the more intense and serious side by the Weavers. The female singers on the scene were mostly old-time, veteran activist types like Ronnie Gilbert and Malvina Reynolds, who was in her sixties. And then along comes this album, by a 19-year-old who looked more like the kind of coed every mother dreamt her son would come home with, displaying a voice from heaven, a soprano so pure and beguiling that the mere act of listening to her -- forget what she was singing -- was a pleasure. Baez's first album, made up primarily of traditional songs (including a startling version of "House of the Rising Sun"), was beguiling enough to woo even conservative-leaning listeners. Accompanied by the Weavers' Fred Hellerman and a pair of session singers, Baez gives a fine account of the most reserved and least confrontational aspects of the folk revival, presenting a brace of traditional songs (most notably "East Virginia" and "Mary Hamilton") with an urgency and sincerity that makes the listener feel as though they were being sung for the first time, and opening with a song that was to become her signature piece for many years, "Silver Dagger." The recording was notable at the time for its purity of sound, but, like a lot of Vanguard CDs issued in the 1980s, needed a serious remastering job, which it finally got in 2001, some 41 years after its original release -- gone are most of the hiss and background noise that marred the original CD, and Baez's voice soars with an awesome purity of "Fare Thee Well," "House of the Rising Sun," and "All My Trials," and the guitar accompaniment on " "Wildwood Flower," among other tracks, comes through with greater richness and clarity. The album has also been augmented with the presence of three bonus tracks: "Girl of Constant Sorrow" and "I Know You Rider," which are as good as anything on the original LP, and the uncut version of "John Riley" (which also appears in its original shortened form) with its complete complement of verses. Nicely packaged and annotated, the August 2001 reissue CD is the way to hear and own this album. ---Bruce Eder, AMG

download (mp3 @320 kbs):

yandex 4shared mega mediafire uloz.to cloudmailru uptobox ge.tt

back

01 – Rambler Gambler
02 – There But For Fortune
03 – Copper Kettle
04 – Mary Hamilton
05 – Don’t Think Twice, It’s All Right
06 – Troubled And I Don’t Know Why
07 – We Shall Overcome
08 – With God On Our Side
09 – Silver Dagger
10 – Oh Freedom
11 – She’s A Trouble Maker
12 – The Unquiet Grave
13 – It Ain’t Me Babe
14 – Isn’t It Grand, Boys
15 – 500 Miles
16 – Te Ador; Ate Amanha
17 – Plaisir D’Amour

An intimate early concert from Joan recorded in London at the BBC Television Theatre, June 5, 1965.

download (mp3 @ kbs):

yandex 4shared mega mediafire uloz.to cloudmailru uptobox gett

back

The Debut Album
01 – Silver Dagger
02 – East Virginia
03 – Fare Thee Well (10,000 Miles)
04 – House of the Rising Sun
05 – All My Trials
06 – Wildwood Flower
07 – Donna Donna				play
08 – John Riley
09 – Rake and Rambling Boy
10 – Little Moses
11 – Mary Hamilton
12 – Henry Martin
13 – El Preso Número Nueve

from Folksingers ’Round Harvard Square
14 – The Banks of Ohio
15 – Oh What A Beautiful City
16 – Sail Away Ladies
17 – Black Is The Colour
18 – Lowlands
19 – Virgin Mary (What You Gonna Call)
20 – Kitty
21 – So Soon In The Morning
22 – Careless Love				play
23 – Don’t Weep After Me

Joan Baez's first album was released in 1960 and it was a revelation. Here was an angelic-looking, dark-haired 19-year-old singing ancient songs, most of them drawn from the Child Ballads, a set of 305 numbered ballads from England and Scotland (and several American variants) collected by Francis James Child in the late 19th century, with a soprano voice so pure and mesmerizing that it appeared as timeless as a voice in an elegant and graceful dream. She made ancient love and murder ballads seem like cool and serious business, and without Baez as a virginal-looking poster girl, the commercial end of the urban folk revival of the early '60s might never have gotten off the ground.

This release includes a remastered version of that first album and adds in Folksingers 'Round Harvard Square, Baez's first actual record, which features her singing solo on six songs, as part of a duo with Bill Wood on four songs, and as part of a trio with Wood and Ted Alevizos on another song. The bonus set originally appeared on LP in 1959 from the little Veritas Records label and was intended as an introduction to the Cambridge, Massachusetts folk scene that was just beginning to flourish at the time. Paired like this, one realizes that Baez just didn’t suddenly appear from the heavens after all when her official album came out a year later, but that her approach and stage presence had been artfully formed and nurtured in the Cambridge folk clubs. ---all music guide

First released in 1960, the debut solo album from the legend that is Joan Baez was met with moderate success upon its release but, having ‘knocked ‘em dead’ at the previous year’s Newport Folk Festival, Joan was now accepted by that still very conservative community as one of their own and so began a quite incredible career that continues apace to this day. Presented here in its completion, albeit with digitally remastered sound, the collection of thirteen folk traditionals, where classic standards such as ‘All My Trials’, ‘House Of The Rising Sun’ [a full year before Dylan approached the song] and ‘Silver Dagger’ rub shoulders with lesser known child ballads from the old country, Spanish language laments and Yiddish theatre songs remain very much a delightful listening experience. The record has remained pertinent and sounds anything but dated half a century after it was recorded.

Paired with this masterpiece is Joan’s real first record, ‘Folksingers Round Harvard Square’ a set of songs she recorded with friends from the Cambridge MA folk scene in 1959. Originally released on the tiny Veritas Records with eighteen tracks, the ten cuts featuring Joan [6 solo, 4 duets and 1 three piece] are included on this timely re-issue – the first time they have seen the light of day since the record’s original release. However these historic recordings serve not just as an introduction to Baez’s very earliest work, they also remain fresh, exiting and an enormously enjoyable album all these years on. --- chromedreams.co.uk

download (mp3 @320 kbs):

yandex 4shared mega mediafire uloz.to cloudmailru uptobox ge.tt

back