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From Every Stage

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Editorial Reviews

All Music Guide - Bruce Eder
Listening to this album a quarter century after the fact is an eerie experience; as a Baez fan of the same period and of a politically similar orientation at the time, this reviewer was shocked by the vitriol of the opening number, "Ain't Gonna Let Nobody Turn Me Around," especially given that the shows where this album was recorded dated from 1975. Was anyone except maybe the Reagan-ites ever really that angry at the Ford administration? Otherwise, Baez's trembling falsetto is in beautiful shape on songs ranging from Leonard Cohen's "Suzanne" to "Oh, Happy Day." The album was recorded on the tour supporting the release of Diamonds & Rust, but nothing of that album ...
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Editorial Reviews

All Music Guide - Bruce Eder
Listening to this album a quarter century after the fact is an eerie experience; as a Baez fan of the same period and of a politically similar orientation at the time, this reviewer was shocked by the vitriol of the opening number, "Ain't Gonna Let Nobody Turn Me Around," especially given that the shows where this album was recorded dated from 1975. Was anyone except maybe the Reagan-ites ever really that angry at the Ford administration? Otherwise, Baez's trembling falsetto is in beautiful shape on songs ranging from Leonard Cohen's "Suzanne" to "Oh, Happy Day." The album was recorded on the tour supporting the release of Diamonds & Rust, but nothing of that album except the title track is represented here; rather, Baez performs five Bob Dylan songs which get the most rousing reception, three of her better originals, including "Blessed Are" and "Diamonds and Rust," and a brace of traditional songs and covers of a handful of other composers' work, including "The Night They Drove Old Dixie Down." Apart from the opening outpouring of political venom, there's not too much controversy here -- a pair of songs, "Natalia" and "The Ballad of Sacco and Vanzett," dedicated to political prisoners and an ambitious but ultimately awkward adaptation of "Stewball" are as topical as most of the show gets. Baez is in superb voice and the backing septet, mostly heard on the second disc, has a surprisingly lean sound. Ultimately, From Every Stage is a good, albeit far slicker follow-up to Baez's two early-'60s live albums on Vanguard, though it says something about the nature of her history at A&M Records that five years into her contract with that label, all but a handful of the songs here were associated with her prior record label.
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Product Details

  • Release Date: 10/19/1993
  • Label: A&M
  • UPC: 075021650626
  • Catalog Number: 6506
  • Sales rank: 11,700

Album Credits

Performance Credits
Joan Baez Primary Artist, Guitar, Vocals
Larry Carlton Guitar
Jim Gordon Drums
Dan Ferguson Guitar
James Jamerson Bass
David Briggs Keyboards
Technical Credits
Emmylou Harris Composer
Joan Baez Arranger
Bob Dylan Composer
Robbie Robertson Composer
Dale Ashby Engineer
Bill Danoff Composer
Bernie Grundman Mastering
John Herald Composer
Alex Kazanegras Engineer, Remixing
David Kershenbaum Producer
John Newton Composer
Ralph Rinzler Composer
Bob Yellin Composer
Dinky Dawson Live Mixing
Bernard Gelb Executive Producer
Dawson Engineer
Traditional Composer
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Customer Reviews

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Sort by: Showing 1 Customer Reviews
  • Posted October 1, 2010

    more from this reviewer

    A period Curio

    From Every Stage is a good introduction to Joan Baez. That said, it has some weaknesses. Disc 1's topical songs have dated badly, especially if you don't remember the 70s. I do, but the effect is more nostalgic than effective. Disc 2 is better.The backup combo does a good job and the songs are not stuck in a time warp. It's nice to hear her version of Please Come to Boston, a hit for one-shot folkie Dave Loggins. Her Vangaurd period was her peak, and she fell out of commercial favor shortly after this set came out. All in all, this is a good sampler of Joan Baez when she still meant something to her generation.

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