The Complete A&M Recordings

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Editorial Reviews

All Music Guide - Thom Jurek
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 ...
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Editorial Reviews

All Music Guide - Thom Jurek
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.
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Product Details

  • Release Date: 9/23/2003
  • Label: A&M
  • UPC: 602498604793
  • Catalog Number: 000082802
  • Sales rank: 33,367

Tracks

Disc 1
  1. 1 Prison Trilogy (Billy Rose) (4:25)
  2. 2 Rainbow Road (3:07)
  3. 3 Love Song to a Stranger (3:55)
  4. 4 Myths (3:21)
  5. 5 In the Quiet Morning (2:57)
  6. 6 Weary Mothers (People's Union, No. 1) (3:31)
  7. 7 To Bobby (4:02)
  8. 8 Song of Bangladesh (4:53)
  9. 9 A Stranger in My Place (3:06)
  10. 10 Tumbleweed (3:32)
  11. 11 The Partisan (3:17)
  12. 12 Imagine (3:32)
  13. 13 Where Are You Now My Son? (21:44)
  14. 14 Only Heaven Knows (Ah, The Sad Wind Blows) (2:36)
  15. 15 Less Than the Song (3:29)
  16. 16 A Young Gypsy (3:37)
  17. 17 Mary Call (3:34)
Disc 2
  1. 1 Rider Pass By (4:14)
  2. 2 Best of Friends (3:05)
  3. 3 Windrose (3:43)
  4. 4 Gracias a la Vida (Here's to Life) (3:35)
  5. 5 Llego Con Tres Heridas (I Come With Three Wounds) (2:15)
  6. 6 La Llorona (The Weeping Woman) (3:40)
  7. 7 El Preso Numero Nueve (Prisoner Number Nine) (3:25)
  8. 8 Guantanamera (3:53)
  9. 9 Te Recuerdo Amanda (I Remember Amanda) (2:34)
  10. 10 Dida (3:36)
  11. 11 Cucurrucucu Paloma (4:31)
  12. 12 Paso Rio (I Pass a River) (0:56)
  13. 13 El Rossinyol (The Nightingale) (3:04)
  14. 14 De Colores (In Colors) (2:29)
  15. 15 Las Madres Cansadas (All the Weary Mothers of the Earth/People's Union No. (2:57)
  16. 16 No Nos Moveran (We Shall Not Be Moved) (3:42)
  17. 17 Esquinazo del Guerrillero (The Guerilla's Serenade) (2:43)
  18. 18 Johnny, I Hardly Knew Yeh (3:25)
  19. 19 Where's My Apple Pie? (4:01)
  20. 20 Forever Young (3:55)
  21. 21 Diamonds & Rust (4:46)
  22. 22 Fountain of Sorrow (4:30)
  23. 23 Never Dreamed You'd Leave in Summer (2:44)
Disc 3
  1. 1 Children and All That Jazz (3:08)
  2. 2 Simple Twist of Fate (4:46)
  3. 3 Blue Sky (2:46)
  4. 4 Hello in There (3:05)
  5. 5 Jessie (4:26)
  6. 6 Winds of the Old Days (3:56)
  7. 7 Dida (3:26)
  8. 8 I Dream of Jeannie/Danny Boy (4:11)
  9. 9 Sweeter for Me (4:31)
  10. 10 Seabirds (4:32)
  11. 11 Caruso (3:45)
  12. 12 Still Waters at Night (3:04)
  13. 13 Kingdom of Childhood (7:53)
  14. 14 O Brother! (3:20)
  15. 15 Time Is Passing Us By (3:44)
  16. 16 Stephanie's Room (4:07)
  17. 17 Gulf Winds (10:29)
Disc 4
  1. 1 (Ain't Gonna Let Nobody) Turn Me Around (2:50)
  2. 2 Blessed Are (2:51)
  3. 3 Suzanne (4:21)
  4. 4 Love Song to a Stranger, Pt. 2 (4:53)
  5. 5 I Shall Be Released (2:11)
  6. 6 Blowin' in the Wind (2:35)
  7. 7 Stewball (4:36)
  8. 8 Natalia (4:06)
  9. 9 The Ballad of Sacco & Vanzetti (4:26)
  10. 10 Joe Hill (2:59)
  11. 11 Love Is Just a Four-Letter Word (3:28)
  12. 12 Forever Young (3:39)
  13. 13 Diamonds & Rust (4:19)
  14. 14 Boulder to Birmingham (3:59)
  15. 15 Swing Low, Sweet Chariot (3:49)
  16. 16 Oh, Happy Day (3:26)
  17. 17 Please Come to Boston (4:15)
  18. 18 Lily, Rosemary and the Jack of Hearts (8:49)
  19. 19 The Night They Drove Old Dixie Down (3:47)
  20. 20 Amazing Grace (4:27)
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Album Credits

Performance Credits
Joan Baez Primary Artist, Guitar, Piano, Vocals, Moog Synthesizer, ARP
Mimi Fariña Guitar, Vocals
Joni Mitchell Improvisation
Larry Carlton Acoustic Guitar, Percussion, Conductor, Electric Guitar
Joe Sample Percussion, Hammond Organ, Electric Piano
Tom Scott Flute, Saxophone, Woodwind
Red Rhodes Pedal Steel Guitar
Grady Martin Guitar
Jim Gordon Percussion, Drums
Stuart Basore Steel Guitar
Max Bennett Bass
Kenny Buttrey Drums
Jerry Carrigan Drums
Malcolm Cecil Synthesizer, Moog Synthesizer, ARP
Isabelle Daskoff Viola
Donald "Duck" Dunn Bass
Jesse Ehrlich Cello
Wilton Felder Bass, Percussion
Dan Ferguson Guitar
Ronald Folsom Violin
James Getzoff Violin
Hampton Hawes Piano
Milt Holland Percussion
Jim Horn Saxophone
Jim Hughart Bass
William Hymanson Violin
James Jamerson Bass
Larry Knechtel Organ, Piano, Electric Piano
Robert Konrad Violin
William Kurash Violin
Carl LaMagna Violin
Lalo Lindgron Harp
Rick Lotempio Electric Guitar
Edgar Lustgarten Cello
Ollie Mitchell Trumpet
Buck Monari Trumpet
Farrell Morris Percussion
Weldon Myrick Steel Guitar
Robert Ostrowsky Violin
David Paich Piano, Electric Harpsichord
Dean Parks Acoustic Guitar, Banjo, Mandolin, Conductor, Electric Guitar
Reinie Press Bass
Norbert Putnam Bass
Sid Sharp Violin, Leader
Glen Spreen Keyboards
Sally Stevens Vocals
Tommy Tedesco Guitar
Pete Wade Guitar
Jackie Ward Vocals
John "Bucky" Wilkin Guitar
Reggie Young Guitar
Tibor Zelig Violin
Ray Kelly Violin
Andra Willis Vocals
John Guerrin Drums
David Briggs Piano, Keyboards
Technical Credits
Stephen Foster Composer
Hoyt Axton Composer
Emmylou Harris Composer
Joan Baez Arranger, Composer, Producer, Liner Notes
Leonard Cohen Composer
Mimi Fariña Composer
Victor Jara Composer
Pete Seeger Music Adaptations
Dickey Betts Composer
Jackson Browne Composer
Bob Dylan Composer
Janis Ian Composer
John Lennon Composer
Dave Loggins Composer
Paul McCartney Composer
John Prine Composer
Robbie Robertson Composer
Larry Carlton Arranger, String Arrangements
Tom Scott Horn Arrangements, String Arrangements
Earl Robinson Composer
Donnie Fritts Composer
Mary Travers Composer
Joan Manuel Serrat Composer
Rolando Alarcon Composer
Violeta Parra Composer
Dan Penn Composer
Dale Ashby Engineer
Bill Danoff Composer
Edwin Hawkins Composer
Gene Eichelberger Engineer
Winston Foster Composer
Bernie Grundman Mastering
Lee Hazen Engineer
John Herald Composer
Alex Kazanegras Engineer, Remixing
Kenny Rogers Composer
David Kershenbaum Producer
Huddie Ledbetter Composer
Mike Leech String Arrangements, Brass Arrangment
Henry Lewy Producer, Engineer, Remixing
Ennio Morricone Composer
Hugh Martin Composer
John Newton Composer
Dean Parks Arranger, String Arrangements
Norbert Putnam Producer
Ralph Rinzler Composer
Rick Ruggieri Engineer
Glen Spreen String Arrangements
Noel Paul Stookey Composer
Kin Vassy Composer
Tommy Vicari Engineer
Stevie Wonder Composer
Syreeta Wright Composer
Bob Yellin Composer
Hy Zaret Composer
Arthur Levy Liner Notes
Richard Betts Composer
Norman Moore Art Direction
Erick Labson Mastering
Ralph Blane Composer
Bernard Gelb Executive Producer
Los Hermanos Cantoral Composer
Anna Marly Composer
José Martí Composer
Héctor Angulo Music Adaptations
Anthony Hayes Composer
Traditional Composer
Ryan Null Photo Coordination
Haji Engineer
Frederick Edward Weatherly Composer
Alfred Hayes Composer
Miguel Hernández 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

    I Also Recommend:

    I'm So Glad I Bought This!

    As is occasionally the case, an artist gets so much better after the public has lost its interest and that's certainly the case with Joan Baez. She turned out to be a great songwriter and Gulf Winds--included here--is one of the most underrated recordings ever. There are some things only a loyal cult following appreciates.

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