Joan Baez - Day After Tomorrow reviews
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| Guardian |
It's 50 years since Joan Baez launched her career in a Boston folk club, and she is still a force to be reckoned with - both because of her political stance and her ability to reinterpret new songs by other artists. The process continues on her first studio album in five years, produced by Steve Earle - who makes use of a classy, understated acoustic band, featuring his own guitar and vocal work. But what makes this set successful is the choice of songs. As on earlier Baez albums, there's material by Earle (two new compositions, and a sparse, a cappella treatment of his gutsy Jericho Road) and then there are songs by the Texan Eliza Gilkyson, Elvis Costello and T-Bone Burnett, and the British songwriter Thea Gilmore....full text |
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| Boston |
A half century into her career, folk icon Joan Baez is making a return of sorts - not to vintage material, but to songs that evoke the spirit and message of her defining early work from the 1960s.
Baez has always had a keen ear for quality songwriting (way back when she introduced a kid named Dylan to the world), and for her 24th studio album she's chosen songs by Tom Waits, Elvis Costello, Patty Griffin, Eliza Gilkyson, her producer Steve Earle, as well as relative newcomers Diana Jones and Thea Gilmore, that by and large focus on the toll of war and questions of faith....full text |
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| Courant |
| Joan Baez has been a major presence in socially conscious music circles since the 1960s, most often — and typically most effectively — by filtering other artists' songs through the prism of her unique voice. The 67-year-old folk mainstay selects an interesting cross section of grounded, personal stories for "Day After Tomorrow" and frames them in effectively sparse arrangements that allow their messages to retain power despite the music's delicacy....full text |
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