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DISCID=1212bb14
DTITLE=Joan Baez / The Complete A&M Recordings - Disc 4 of 4
DYEAR=2003
DGENRE=Folk
TTITLE0=(Ain't Gonna Let Nobody) Turn Me Around
TTITLE1=Blessed Are
TTITLE2=Suzanne
TTITLE3=Love Song To A Stranger (Part II)
TTITLE4=I Shall Be Released
TTITLE5=Blowin' In The Wind
TTITLE6=Stewball
TTITLE7=Natalia
TTITLE8=The Ballad Of Sacco & Vanzetti
TTITLE9=Joe Hill
TTITLE10=Love Is Just A Four Letter Word
TTITLE11=Forever Young
TTITLE12=Diamonds & Rust
TTITLE13=Boulder To Birmingham
TTITLE14=Swing Low, Sweet Chariot
TTITLE15=Oh, Happy Day
TTITLE16=Please Come To Boston
TTITLE17=Lily, Rosemary And The Jack Of Hearts
TTITLE18=The Night They Drove Old Dixie Down
TTITLE19=Amazing Grace
EXTD=The Complete A&M Recordings - Disc 4 of 4\n2003 A&M Records, Inc.
EXTD=\n\n'Come From The Shadows' LP Originally Released 1972\n'Where A
EXTD=re You Now, My Son?' LP Originally Released 1973\n'Gracias A La V
EXTD=ida' LP Originally Released 1974\n'Diamonds & Rust' LP Originally
EXTD= Released 1975\n'From Every Stage' LP Originally Released 1976\n'
EXTD=Gulf Winds' LP Originally Released October 1976\n\nCompilation Re
EXTD=leased September 23, 2003\n\nAMG EXPERT REVIEW:  A month-and-a-ha
EXTD=lf after the release of her first studio recording in six years, 
EXTD=and perhaps her finest recording since 1975's Diamonds & Rust, Jo
EXTD=an Baez's complete A&M recordings offer a revelatory view of the 
EXTD=artist at her most adventurous. Baez's tenure with A&M lasted fro
EXTD=m 1972-1976 and yielded five studio albums, a live recording, and
EXTD= three non-album singles. All of them are included here on four C
EXTD=Ds with gorgeously remastered sound, a deluxe package with exhaus
EXTD=tive, insightful, and unflinching liner notes by Arthur Levy, and
EXTD= a package that should win a Grammy for design and presentation i
EXTD=f nothing else. \n\nBaez, regarded in the popular culture at larg
EXTD=e as a "folk" or "topical" singer (the latter term she would not 
EXTD=refute, the former hasn't fit her for some time), has always been
EXTD= a restless artist. This box set offers proof that Baez's switch 
EXTD=to A&M -- then an independent, now swallowed whole by Universal -
EXTD=- from Vanguard, facilitated a virtual renaissance for her not ju
EXTD=st creatively, but on the charts as well. This reappraisal is nec
EXTD=essary, given Baez's most recent recordings have reflected anothe
EXTD=r shift in her sound and concerns, away from being a songwriter t
EXTD=o being an interpreter of fine, edgy, roots songs by a whole slew
EXTD= of younger writers -- and her seeming embrace of the electric gu
EXTD=itar. The earliest evidence of Baez's rambling vision can be hear
EXTD=d on her experimental album Baptism, from 1968. Upon moving to A&
EXTD=M, and recording from her Nashville studio base, Baez released he
EXTD=r self-produced Come From The Shadows (with help from Norbert Put
EXTD=nam), featuring -- like her latter day Vanguard recordings -- a h
EXTD=ost of Nashville's finest musicians, which included David Paul Br
EXTD=iggs, Pete Drake, Kenneth A. Buttrey, Charlie McCoy, and Grady Ma
EXTD=rtin. It was certainly a political record, but it also included t
EXTD=he stunning "Love Song To A Stranger," and her sister Mimi Faria
EXTD='s "In The Quiet Morning," written in memory of Janis Joplin. \n\n
EXTD=The other half of Disc One is comprised of Where Are You Now, My 
EXTD=Son from 1973, co-produced by Baez and Henry Lewy. It included a 
EXTD=slew of originals by Baez, including the title track, a pair of s
EXTD=ongs by Faria, and Hoyt Axton's "Less Than A Song." Most importa
EXTD=ntly, it was a move toward something outside of the country-rock 
EXTD=realm she'd been toying with. That "something" first occurs on Di
EXTD=sc Two with her traditional album of Latin folk and topical songs
EXTD= from Gracias a la Vida, and, of course, 1975's Diamonds and Rust
EXTD= with David Kershenbaum helping her out in the production room. T
EXTD=he latter album, heard so many years after the fact of its incept
EXTD=ion and release, has Baez experimenting with soul -- Stevie Wonde
EXTD=r's "Never Dreamed You'd Leave in Summer"; hard country: Dickey B
EXTD=etts' "Blue Sky,"; and moving around toward Dylan once again, as 
EXTD=she was part of the Rolling Thunder Review, with a stellar versio
EXTD=n of "Simple Twist Of Fate," as well as the legendary title track
EXTD=. Along with it, Baez wrote four songs, and recorded others by Jo
EXTD=hn Prine, and Jackson Browne, and offered a deeply moving renditi
EXTD=on of Stephen Foster's "I Dream of Jeannie" melded with "Danny Bo
EXTD=y." It was the masterpiece that both critics and fans knew she wa
EXTD=s capable of delivering and had been leading up to since Blessed 
EXTD=Are.., her final album for Vanguard. It, along with most everythi
EXTD=ng here, has aged well and endures. Disc Three features the secon
EXTD=d half of Diamonds and Rust, and another fine, if criminally unde
EXTD=r-appreciated, album Gulf Winds, released in October of 1976 and 
EXTD=comprised entirely of Baez originals. \n\nDisc Four features one 
EXTD=of the best live recordings from the 1970s, From Every Stage, com
EXTD=piled from a handful of shows and not enhanced in any way. Some o
EXTD=f the members of her road band included no less than one of Motow
EXTD=n's Funk Brothers in bassist James Jamerson, drummer Jim Gordon, 
EXTD=pianist David Briggs, and guitarist Larry Carlton. Moving across 
EXTD=the space of her entire career, it is a moving, engaging, and utt
EXTD=erly transcendent recording, offered in an era when live records 
EXTD=sucked -- they were no longer live but edited heavily in the stud
EXTD=io. This box features each album's original liner notes, as well 
EXTD=as a host of stunning photographs. But besides the elegant packag
EXTD=e, the music tells the story of an artist who pushed herself beyo
EXTD=nd the laurels of her living legend, who worked at trying to find
EXTD=, in the swirling winds of change, a complexity outside her accep
EXTD=ted norm, and finally, a relevant, constantly evolving place for 
EXTD=herself as an artist. The evidence is in: she succeeded in spades
EXTD=.  -- Thom Jurek\n\nAMG EXPERT REVIEW: (Come From The Shadows)  A
EXTD=fter recording for the folk label Vanguard for more than a decade
EXTD=, Baez moved to A&M. On this label debut, she maintained her inte
EXTD=rest in country music, recording in Nashville with some of the ci
EXTD=ty's session aces. She also continued to dedicate herself to radi
EXTD=cal politics, from her set opener "Prison Trilogy," which pledged
EXTD=, "We're gonna raze the prisons to the ground," to the closer, Jo
EXTD=hn Lennon's "Imagine." In between were her call on Bob Dylan to r
EXTD=eturn to protest music ("To Bobby") and her sister Mimi Farina's 
EXTD=touching tribute to Janis Joplin, "In the Quiet Morning."  -- Wil
EXTD=liam Ruhlmann\n\nAMG EXPERT REVIEW: (Where Are You Now, My Son?) 
EXTD= This isn't only not the place to start listening to Joan Baez, i
EXTD=t's the album that separates the true fans from the, um, fellow t
EXTD=ravelers. Side two is taken up by the title song, a musical accou
EXTD=nt of Baez's trip to Hanoi over Christmas of 1972, complete with 
EXTD=the sound of U.S. bombs falling on the city. Side one, on the oth
EXTD=er hand, contains one of Baez's best original songs, "A Young Gyp
EXTD=sy," and two by her sister, "Mary Call" and "Best of Friends."  -
EXTD=- William Ruhlmann\n\n\nAMG EXPERT REVIEW: ('Gracias A La Vida') 
EXTD= N/A\n\nAMG EXPERT REVIEW: (Diamonds & Rust)  With the Vietnam Wa
EXTD=r winding down, Joan Baez, who had devoted one side of her last a
EXTD=lbum to her trip to Hanoi, delivered the kind of commercial album
EXTD= A&M Records must have wanted when it signed her three years earl
EXTD=ier. But she did it on her own terms, putting together a session 
EXTD=band of contemporary jazz veterans like Larry Carlton, Wilton Fel
EXTD=der, and Joe Sample, and mixing a wise selection from the work of
EXTD= current singer-songwriters like Jackson Browne and John Prine wi
EXTD=th pop covers of Stevie Wonder and the Allman Brothers Band, and 
EXTD=an unusually high complement of her own writing. A&M, no doubt re
EXTD=calling the success of her cover of the Band's "The Night They Dr
EXTD=ove Old Dixie Down," released her version of the Allmans' "Blue S
EXTD=ky" as a single, and it got halfway up the charts. But the real h
EXTD=it was the title track, a self-penned masterpiece on the singer's
EXTD= favorite subject, her relationship with Bob Dylan. Outdoing the 
EXTD=current crop of confessional singer/songwriters at soul baring, B
EXTD=aez sang to Dylan, reminiscing about her '60s love affair with hi
EXTD=m intensely, affectionately, and unsentimentally. It was her fine
EXTD=st moment as a songwriter and one of her finest performances, per
EXTD=iod, and when A&M finally released it on 45, it made the Top 40, 
EXTD=propelling the album to gold status. But those who bought the dis
EXTD=c for "Diamonds & Rust" also got to hear "Winds of the Old Days,"
EXTD= in which Baez forgave Dylan for abandoning the protest movement,
EXTD= as well as the jazzy "Children and All That Jazz," a delightful 
EXTD=song about motherhood, and the wordless vocals of "Dida," a duet 
EXTD=with Joni Mitchell accompanied by Mitchell's backup band, Tom Sco
EXTD=tt and the L.A. Express. The cover songs were typically accomplis
EXTD=hed, making this the strongest album of Baez's post-folk career. 
EXTD= -- William Ruhlmann\n\n\nAMG EXPERT REVIEW: (From Every Stage)  
EXTD=Listening to this album a quarter century after the fact is an ee
EXTD=rie experience; as a Baez fan of the same period and of a politic
EXTD=ally similar orientation at the time, this reviewer was shocked b
EXTD=y the vitriol of the opening number, "(Ain't Gonna Let Nobody) Tu
EXTD=rn Me Around," especially given that the shows where this album w
EXTD=as recorded dated from 1975. Was anyone (except maybe the Reagan-
EXTD=ites) ever really that angry at the Ford administration? Otherwis
EXTD=e, Baez's trembling falsetto is in beautiful shape on songs rangi
EXTD=ng from Leonard Cohen's "Suzanne" to "Oh, Happy Day." The album w
EXTD=as recorded on the tour supporting the release of Diamonds & Rust
EXTD=, but nothing of that album except the title track is represented
EXTD= here; rather, Baez performs five Bob Dylan songs (which get the 
EXTD=most rousing reception), three of her better originals, including
EXTD= "Blessed Are" and "Diamonds and Rust," and a brace of traditiona
EXTD=l songs and covers of a handful of other composers' work, includi
EXTD=ng "The Night They Drove Old Dixie Down." Apart from the opening 
EXTD=outpouring of political venom, there's not too much controversy h
EXTD=ere -- a pair of songs, "Natalia" and "The Ballad of Sacco and Va
EXTD=nzett," dedicated to political prisoners and an ambitious but ult
EXTD=imately awkward adaptation of "Stewball" are as topical as most o
EXTD=f the show gets. Baez is in superb voice and the backing septet, 
EXTD=mostly heard on the second disc, has a surprisingly lean sound. U
EXTD=ltimately, From Every Stage is a good, albeit far slicker follow-
EXTD=up to Baez's two early-'60s live albums on Vanguard, though it sa
EXTD=ys something about the nature of her history at A&M Records that 
EXTD=five years into her contract with that label, all but a handful o
EXTD=f the songs here were associated with her prior record label.  --
EXTD= Bruce Eder\n\n\nAMG EXPERT REVIEW: (Gulf Winds)  Joan Baez's lan
EXTD=dmark Diamonds & Rust found her at the peak of her singer/songwri
EXTD=ter skills, seemingly capable of transitioning out of '60s protes
EXTD=t mode into a more contemporary and commercially viable position.
EXTD= It was also around this time that she toured with Bob Dylan's Ro
EXTD=lling Thunder Revue, and according to Baez's memoirs, she wrote t
EXTD=he songs for Gulf Winds during that tour. But Gulf Winds, her las
EXTD=t A&M album, was a significant drop off and marked the beginning 
EXTD=of what would be a steep commercial decline. Produced by David Ke
EXTD=rshenbaum, the album tries its best to bolster Baez with a timely
EXTD= '70s studio sound, but for the most part it misses the mark. The
EXTD= songs just aren't up to the task. "Sweeter for Me" sports a nice
EXTD= arppegiated piano by Baez and faintly harks to the melancholy br
EXTD=illiance of Diamonds & Rust, but, lyrically, most of the material
EXTD= is overwritten. The more stinging, faster-paced "O Brother!" is 
EXTD=a more successful stab at a commercial sound, and Baez sings it w
EXTD=ith a bitter venom (you can't help but speculate that the song re
EXTD=fers to Dylan himself). The standout track on an otherwise forget
EXTD=table album, though, is surely the title track, "Gulf Winds," a t
EXTD=en-and-a-half-minute solo epic in the mold of her early work, jus
EXTD=t Joan and her acoustic guitar, brilliantly picked and sung, iron
EXTD=ically demonstrating that, although Baez still had the talent, sh
EXTD=e couldn't capitalize on the success of Diamonds and Rust and the
EXTD= times were passing her by.  -- Jim Esch\n\n\nAMAZON.COM CUSTOMER
EXTD= REVIEW (This Compilation)\nJoan Baez is timeless, June 24, 2004 
EXTD=\nBy  dree85 (Cambridge, MA United States)  \nI must admit I have
EXTD=n't even listened to every song on this 4-disc set yet. It just a
EXTD=rrived today and I had to get on here and write a review right aw
EXTD=ay. I grew up listening to Joan's tapes and records with my mothe
EXTD=r and her parents (and I'm only 19, which proves that her music h
EXTD=as and surely will continue to span generations). I bought this C
EXTD=D in order to have the songs from the album Gulf Winds (previousl
EXTD=y unreleased in the US) on CD. I had it on a record and a tape, b
EXTD=ut both were obviously worn, and I'm absolutely delighted to now 
EXTD=have it to keep for all time, and digitally remastered no less. F
EXTD=ew people in the world have such a beautiful voice that you could
EXTD= listen to it forever and never get tired of it. Another select f
EXTD=ew have the ability to write lyrics that have all the eloquence a
EXTD=nd imagery of poetry, but with a down to earth message that make 
EXTD=you feel as if she read your mind. Joan Baez is blessed with both
EXTD= gifts, as self-penned songs "Diamonds and Rust", "Time Is Passin
EXTD=g Us By", and "Gulf Winds" indicate. As several other reviewers h
EXTD=ave pointed out, the packaging is a bit poor, but this is vastly 
EXTD=overshadowed by the insightful liner notes (and of course the son
EXTD=gs themselves). I would give this amazing album 6 stars out of 5 
EXTD=if I could, but for now I'm satisfied just to be able to listen t
EXTD=o it every night. \n\n\nAMAZON.COM CUSTOMER REVIEW (This Compilat
EXTD=ion)\nThe best of the best of Baez, January 24, 2007 \nBy  J. L. 
EXTD=Hodges "Since I gave up hope, I feel a ... (Tulsa, OK United Stat
EXTD=es)\nAfter pleading and cajoling with A&M records for years, they
EXTD= finally remastered the recordings Joan Baez made while with thei
EXTD=r label and released them in one package. Her most politically so
EXTD=und and vigorous recordings were during this turbulent time in US
EXTD= history. \n\n"Where Are You Now, My Son?" contains an audio reco
EXTD=rding of Baez' visit to Hanoi during Christmas of 1972 which incl
EXTD=uded some of the worst of the US bombing raids. The plaintive voi
EXTD=ces of parents whose children have been killed by American bombs 
EXTD=dropped from the sky is heartbreaking all these decades later. \n
EXTD=\nThe A&M collection also includes "Gulf Winds", of which the aut
EXTD=obiographical song of the same name is worth the price of the ent
EXTD=ire set. It is Baez, a guitar and her voice telling her childhood
EXTD= in her own words. It is hauntingly beautiful as it explores conc
EXTD=erns that are still of interest as she describes what it was like
EXTD= to grow up a brown-skinned girl in a world that values only whit
EXTD=e. "From Every Stage" is a live recording featuring Joan acoustic
EXTD=ally and with a band. One of the show stoppers on this album is h
EXTD=er rendering of "Lily, Rosemary and the Jack of Hearts" from the 
EXTD=recently released "Tangled up in Blue" by Bob Dylan. This CD incl
EXTD=udes two pieces never released before to sweeten the deal. This r
EXTD=eally is a wealthy of goodies for Joan's fans. \n\n\nAMAZON.COM C
EXTD=USTOMER REVIEW (This Compilation)\nA Welcome Addition to the Baez
EXTD= Catalog, October 1, 2003 \nBy A Customer\nAt last, the albums "W
EXTD=here Are You Now, My Son?" and "Gulf Winds" on CD. The deleted "C
EXTD=ome from the Shadows" is also included. Unfortunately, all six of
EXTD= Joan Baez's A&M albums are crammed onto 4 CDs. It is convenient 
EXTD=to have "From Every Stage," previously released as a double set, 
EXTD=on one disc; but the combination of fragments of other albums is 
EXTD=less than ideal. Song titles and track numbers are not listed on 
EXTD=the discs, only in the booklet. The package seems designed for an
EXTD= epic listening session. The presumably-reduced price can be cons
EXTD=idered a plus for this configuration.\nThe sound is much improved
EXTD= from the earlier CD releases. Baez's voice is captured in all it
EXTD=s middle-period shimmering richness and still-soaring purity. The
EXTD= instrumental details sound bright and clear. The liner notes are
EXTD= informative, and accurate (not always the case with A&M's Baez c
EXTD=ompilations). The author may make too much of Baez's re-connectio
EXTD=n to Bob Dylan during this time. The over-riding theme of her A&M
EXTD= years was political activism--from protest of the Vietnam war to
EXTD= involvement in the human rights movement. This was much more exp
EXTD=licit than in her Vanguard years. As for continued relevance, the
EXTD= title song of "Where Are You Now, My Son?" can sadly apply to th
EXTD=e current Iraq situation. This is not to ignore Baez's increasing
EXTD= skills as a writer and interpreter of non-political songs during
EXTD= this period. "Gulf Winds" is comprised of solely self-written ma
EXTD=terial. New interviews with Baez and her producers were conducted
EXTD=. It would have been interesting to get Herb Alpert's take as a l
EXTD=abel founder on these years of her career. Most of the booklet ph
EXTD=otographs a fan will have already seen, but they are attractively
EXTD= presented. The original credits and liner notes are also include
EXTD=d, but not the song lyrics.\n\nOne disappointment is the lack of 
EXTD=previously-unreleased material. Of the three non-album singles: t
EXTD=wo are already available on other compilations. "Where's My Apple
EXTD= Pie?" is the only unheard song a die-hard fan will find here. I 
EXTD=guess I'm spoiled by the Vanguard reissues with their--so far--ge
EXTD=nerous bonus tracks. Were there no unreleased songs from the "Fro
EXTD=m Every Stage" concerts? Combined with the new "Dark Chords on a 
EXTD=Big Guitar" CD, this box set showcases the talent of a singer and
EXTD= songwriter not only engaged with the world, but willing to try i
EXTD=n her way to make it better for others. \n\n\nAMAZON.COM CUSTOMER
EXTD= REVIEW (This Compilation)\nSome of her best work, April 13, 2006
EXTD= \nBy  Jay L. Rudko (Pembroke Pines, FL USA) \nI don't think anyo
EXTD=ne can argue that "Diamonds and Rust" was Joan's finest album. I 
EXTD=believe it was also her best selling album since her earliest Van
EXTD=guard recordings. Her work during her tenure with A&M represents 
EXTD=some of the best of her career. And that label gave her the treat
EXTD=ment she deserved. I purchased the "Come from the Shadows" album 
EXTD=first on a QS quad LP, and the sound blew me away. I was already 
EXTD=a JB fan, but this more than cemented my fandom. I somehow missed
EXTD= "Where Are You Now, My Son", but was glad to have it on this set
EXTD=. "Gulf Winds" was another favorite of mine, especially the track
EXTD= "Caruso". I had all of these on vinyl; now, on these remastered 
EXTD=CD's, the music and all the subtleties show through even better t
EXTD=han ever. I have to agree with the reviewers who were less than s
EXTD=atisfied with the packaging. I, too, would have liked to see the 
EXTD=tracks listed on each disc. I would have also liked for these dis
EXTD=cs to be hybrid SACD's. Guess you can't have everything. \n\n\nAM
EXTD=AZON.COM CUSTOMER REVIEW (This Compilation)\nLet's be fair, June 
EXTD=21, 2004 \nBy A Customer\nI do agree with the others about the po
EXTD=or packaging especially the lack of track info. There's not even 
EXTD=a decent reproduction of the original covers unless you use a mag
EXTD=nifying glass. \nNot crazy about the way Side A & B of Where Are 
EXTD=You Now My Son were swapped, or how the first 3 tracks of Diamond
EXTD=s & Rust were awkwardly squeezed into the end of one CD. \n\nStil
EXTD=l I think Universal should receive more praise than scorn for at 
EXTD=least making all these wonderful albums available and at a reason
EXTD=able price. Where Are You Now My Son and Gulf Winds appear first 
EXTD=time on CD and Come From The Shadows is practically unavailable u
EXTD=nless you pay auction prices. All music is carefully remastered a
EXTD=nd that's what really counts. \n\n\nAMAZON.COM CUSTOMER REVIEW (T
EXTD=his Compilation)\nNever mind the depth, feel the quantity!, April
EXTD= 10, 2006 \nBy  SJOxford "SJOxford" (Oxford, England) \nThis box 
EXTD=set gives you the complete A&M Recordings (1972 -- 1976) containi
EXTD=ng Come From The Shadows (1972), Where Are You Now My Son? (1973)
EXTD=, Gracias A La Vida (Here's To Life) (1974), Diamonds And Rust (1
EXTD=975), Gulf Winds (1976) and From Every Stage (1976). Also are a t
EXTD=rio of 45-rpm b-sides making their digital debut on this compendi
EXTD=um, including a cover of Bob Dylan's "Forever Young", and Baez or
EXTD=iginals "Where's My Apple Pie" and "Johnny I Hardly Knew Yeh". \n
EXTD=\nAfter a dozen years on Vanguard Records, her first effort for A
EXTD=&M was the politically-charged Come In From The Shadows. The albu
EXTD=m became notable not only for its' heavy Nashville influence, but
EXTD= also for the bold "Song Of Bangladesh," her open letter to Dylan
EXTD= on "Bobby," as well as the cover of John Lennon's "Imagine". \n\n
EXTD=\nThis was followed by Where Are You Now My Son?, which quickly b
EXTD=ecame controversial due to her strident viewpoints on the continu
EXTD=ing conflicts in Southeast Asia. The title track is a 26-minute s
EXTD=emi-biographical epic, with ambient sounds documented by Baez in 
EXTD=Hanoi, Vietnam during the final weeks of 1972. Its' brutal honest
EXTD=y did not sit well with many, although it re-established her as a
EXTD= key political and musical conduit. \n\n\nThis was followed by Gr
EXTD=acias A La Vida (Here's To Life) which took an artistic detour as
EXTD= it was recorded in Spanish. It became no less of a controversial
EXTD= statement, containing a version of the Pablo Neruda poem "No Nos
EXTD= Moveran (We Shall Not Be Moved)". The government of Spain banned
EXTD= the work and it was deleted from subsequent pressings. \n\nThe b
EXTD=rilliant and mostly non-political Diamonds & Rust became not only
EXTD= a touchstone for Baez, but was also considered essential listeni
EXTD=ng in the mid 1970s. It remains resonant with the Dylan-influence
EXTD=d title composition, and the covers of Janis Ian's "Jessie," Jack
EXTD=son Browne's "Fountain Of Sorrow," the Allman Brothers' "Blue Sky
EXTD=" and John Prine's "Hello In There." \n\n\nHer last studio offeri
EXTD=ng for A&M was Gulf Wind. It yielded considerably lighter fare, r
EXTD=eflecting much of the same escapism and ennui America was concurr
EXTD=ently enduring. One of the most outstanding elements is the pleth
EXTD=ora of strong originals. Chief among them are "Oh Brother!" -- an
EXTD= admitted response to Dylan's "Oh Sister" -- and the picturesque 
EXTD=title song, which Baez claims as having been influenced by an exp
EXTD=erience during Dylan's all-star Rolling Thunder Review tour. \n\n
EXTD=\nAlthough technically From Every Stage was issued before Gulf Wi
EXTD=nds, for the sake of continuity the double-LP live collection con
EXTD=cludes The Complete A&M Recordings (1972 -- 1976). Baez is spotli
EXTD=ghted in both acoustic as well as band settings. Her repertoire a
EXTD=t the time included tunes dating back to her days on Vanguard -- 
EXTD=such as "Stewball" and "Blessed Are .." as well as a few that had
EXTD= yet to be recorded by Baez before. Among them were the civil rig
EXTD=hts anthem "(Ain't Gonna Let Nobody) Turn Me Around," and a readi
EXTD=ng of "Blowin' In The Wind" which would be used in the film Forre
EXTD=st Gump during the March On Washington scene. \n\n\nThe sound is 
EXTD=spectacular as all 80 tracks have been thoroughly remastered. The
EXTD= accompanying 32-page booklet is replete with rarely publish phot
EXTD=os, as well as reminiscences from the artist herself and faithful
EXTD= reproductions of the LP liner notes. \n\n\nHalf.com Album Notes\n
EXTD=Personnel includes: Joan Baez (vocals, acoustic guitar, guitar, p
EXTD=iano); Mimi Farina (vocals, guitar); Larry Carlton (acoustic & el
EXTD=ectric guitars); Dean Parks (acoustic guitar, banjo); Charlie McC
EXTD=oy (guitar, harp); Grady Martin, Pete Wade, John Buck Wilkin, Reg
EXTD=gie Young (guitar); Stuart Bosore, Welldon Myrick (steel guitar);
EXTD= Sid Sharp (violin); Tom Scott (flute); Mike Leech (brass); Larry
EXTD= Knechtel (piano, organ); David Biggs (piano, keyboards); Glenn S
EXTD=preen (keyboards); Norbert Putnam, Wilton Felder, Duck Dunn (bass
EXTD=); Kenneth Buttrey, Jerry Carrigan, John Guerrin (drums); Farris 
EXTD=Morris, Mucho Gordo (percussion).\n\nProducers: Joan Baez, Henry 
EXTD=Lewy, David Kershenbaum.\nCompilation producer: Mike Ragogna.\nRe
EXTD=corded between 1972 & 1976. \nIncludes liner notes by Arthur Levy
EXTD=.\nAll tracks have been digitally remastered using 96K/24-bit tec
EXTD=hnology.\n\nIndustry Reviews\n3 stars out of 5 - [S]he remains on
EXTD=e of the truest voices in music and, to this day, a huge inspirat
EXTD=ion to any performer with a conscience.\nUncut (02/01/2004)
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