Customer Reviews

Bowery Songs

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There was disagreement among Amazon reviewers over the last studio album, Dark Chords On A Big Guitar (I loved it, some loathed it, without too many listeners feeling something in between). Bowery Songs should bring older and newer Joan Baez fans closer together, although I, personally, did not need yet another recording of "Joe Hill" or "Deportee," whose tunes I find tired and uninteresting (I'm one of those older Baez fans who happens to appreciate Joan's experimentations with more modern sounds). That having been said, I saw one of the shows from the tour that resulted in the recording of this CD, and it was one of JB's finest hours, combining the old and the new with grace, style, and wit; Joan's latest band is arguably the best group she has ever performed in concert with. Yes, there are some songs from Dark Chords..., but Greg Brown's "Rexroth's Daughter" may be even better than the studio version, and ditto Natalie Merchant's "Motherland" (with some fine electric guitar work). The sound is crystal clear and the band seems enthusiastically engaged, as Joan rises to the occasion. Steve Earle's "Christmas In Washington" is reprised as well.

The rest of the album includes songs spanning Joan's entire career. A reworking of the old folk chestnut "Jackaroe" is fun (nice bass work by Graham Maby, as on much of this album). "Carrickfergus," first heard on Joan's 1989 Speaking of Dreams album, is gorgeous, although more subdued here. I would have expected yet another recording of "Silver Dagger" to bore me, but wait -- there's a twist: the added banjo and the slowed tempo give the thing a new dimension (I wonder if Joan took a cue from Dolly Parton's spectacular, although much faster, bluegrass version on her The Grass Is Blue CD). Dylan fans may be annoyed by Joan's prettified rendition of "It's All Over Now Baby Blue," but I've always liked much of the Dylan catalog as performed by Joan, because whatever she lacks in grit she makes up for in the revelation of Dylan's beautiful tunes (revisit the JB album Any Day Now, if you haven't, recently) -- I admire Dylan's lyrics, but his own singing often obscures the fact that he has written some great melodies. This is emphasized, as well, in a refreshed arrangement of "Farewell Angelina," one of Joan's most oft-recorded numbers.

Finally, the two stand out tracks on Bowery Songs are among four never before recorded by Joan: Dylan's "Seven Curses," an adaptation of a much older folk song, and the traditional "Dink's Song." The former is performed with only Joan's own, superb guitar picking, and she sounds great singing this memorable melody. The latter also has a simple acoustic guitar arrangement but also features a chilling electric slide guitar noodling around behind, which gives the piece added atmosphere. Joan's voice may have aged, but here it is like a fine, vintage wine, full of flavor, and an echo of sunnier days. These two songs are, alone, worth the price of the CD, especially if you are already a Joan Baez fan.

In what has to be Ms. Baez' best CD musically in years, she proves as always that she has what it takes. Although she's been singing beautifully for over 40 years, Ms. Baez' voice is still magnificent, particularly in her upper register when she does that overworldly vibrato. On this live album recorded in November of last year at the Bowery Ballroom in New York, she includes a lot of traditional music which she has arranged as well as songs from composers as diverse as Jean Sibelius ("Finlandia"), Woody Guthrie, Steve Earle and Bob Dylan. Of course this CD provides for the listener the electricity that goes from performer to the live audience. The spontaneous enthusiasm by both Ms. Baez and her audience is catching. Two of my favorite selections are both the songs by Steve Earle: Christmas in Washington" and "Jerusalem," where the composer "believes" that one day "all the children of Abraham will lay down their swords forever." One can only hope. Ms. Baez also does a beautiful job on the traditional "Silver Dagger" with a perfect banjo accompaniment. But if I had to select the high point of this recording, it would have to be the tribute to the union organizer martyr, "Joe Hill," a song that has long been a staple of protest singers and was sung at the funeral of Vice President Hubert Humphrey, a great supporter of unions before he was given the unpleasant task of selling the Vietnam War to the American public by President Johnson. Hearing Ms. Baez sing this song live-- which, by the way she dedicates to Michael Moore-- alone is is worth the price of the CD.

So how could a CD of such magnificent music sung by such a fine singer as Joan Baez be packaged so poorly? I suspect it has to do with money. Where to begin? First, the sticker on the cellophane wrap informs the buyer that Ms. Baez records 4 of these songs for the first time. I wonder what they are. Secondly, there are no words to any of the songs included. Thirdly, there is no indication of who is accompanying Ms. Baez on what song (although the accompaniment is quite well done.) Additionally, although there are photos of several performers here, we have no idea who they are since they are not identified. There are no biographical notes to speak of. Finally, In order to read what little information we are provided about this CD, we have to strain at tiny red letters on a black background. I for one am unwilling to go blind in an attempt to read them.

On this live recording (New York City at the Bowery Ballroom 11/06/04) Joan Baez sings Greg Brown's composition "Rexroth's Daughter", a song full of a lifetime's worth of insightful lyrics. One phrase that stood out specifically to me as I listened to it on this particular recording was:

"If you try to swallow what they shove at us
you run out of tears to cry
I heard a man speak quietly
I listened for awhile
He spoke from his heart to my woe
then he bowed and smiled
What is real but compassion
as we move from birth to death?"

Compassion is woven throughout Joan's performance here, as she sings quietly, sweetly, sadly, and strongly, of age-old woes, dreams, hopes, and the desire for peace, both personal and political.

This is a record that exemplifies (while updating) the best of the folk music tradition:

Joan has chosen to record top-notch material from her vast repertoire; from old traditional ballads (such as "Silver Dagger" and "Dink's Song") to contemporary commentary (Natalie Merchant's "Motherland" and Steve Earle's "Christmas in Washington"), along with songs destined to become classics to future generations (Woody Guthrie's "Deportee" and Bob Dylan's "Seven Curses").

The musicians provide great accompaniment, having already toured extensively with Joan. There is a wide variety of arrangements in the music, from an a capella opening of "Finlandia" (with its incredibly timely lyrics) to the closing number; a rocking version of Steve Earle's moving (touching both the heart and mind) plea for peace "Jerusalem". In between we are treated to banjo, lap steel, percussion, drums, electric guitar, and a surprising amount of electric bass in various combinations. And yes, there is Joan finger picking her acoustic guitar on quite a few of the numbers. [Note: One drawback that I found with the (very minimal) liner notes is that while the band members are listed, the individuals who played on each particular song are not specified. This includes no mention of which songs Joan played on, although it is obvious that she did so on most of them.]

But what is most central to the success of this record is Joan's voice. It is up front & center in the mix, where it rightfully belongs. Joan has now lived 64 of those years "from birth to death", and her vast amount of experiences (personal and musical) is reflected in her knowing interpretations of these achingly beautiful songs.

It is amazing to listen to Bob Dylan's "Farewell Angelina" on this record, while closing my eyes, and to hear Joan's voice of today just a shade or two off from her studio recording of 1965, from 40 years ago! What is even more amazing about this record is that many of these live recordings are even better renditions than the previous studio recordings, the traditional Irish ballad "Carrickfergus" being an example of this.

As Greg Brown also writes in "Rexroth's Daughter"; "...pray that we will find a way to get with all this amazing grace." Listen to Joan Baez's "Bowery Songs" awhile, and you'll find that a lot of that amazing grace is in this performance.

I found Bowery Songs to be the best JB album since Dia-
monds and Rust. I saw her perform the songs in concert and liked them then. However, I did not really get to listen
in depth until I got the CD. Rexroth's Daughter is my favorite
song. I just wish I hand more information of what it's about.
Christmas in Washington is classic Joan vs. the Nazis. De-
portee strikes quite a chord with what's happening with this
Minuteman crap. I think Jerusalem is so relevant with what
is happening there now and with the release of the movie,
Munich. I love any Dylan songs she sings and this one has
three. Yeah, she's older now, but so am I and most of the
rest of her fan base. I'm not just a 10 year old kid now, in love with a beautiful young lady and the voice of a generation
but a middle aged grandfather, in love with a beautiful voice
and the lady of a compassionate and caring generation.

Joan Baez's latest release, "Bowery Songs" covers her last tour for her release of "Dark Chords on Big Guitar". This wonderful, placid, beautiful album defines Ms. Baez's career and legacy with classic and unreleased material and shows Ms. Baez's roots through the 60's through today. The woman's music is so graceful and elegant. Please do yourself a favor if you are a fan of Joan and support her continued legacy in purchasing Bowery Songs, this is truly one of my top 3 of 2005.

Now into her fifth decade as a recording artist and performer Baez's voice is not what it once was, but remains far better than most around. Here the ballads like 'Seven Curses' and 'Carrikfergus' show it off at it stunning best. Fresh arrangements on 'It's All Over Now Baby Blue' and 'Joe Hill' make these highlights of her repetoire worth a new listening while the politically loaded 'Deportee' prove her as unafraid as ever to challenge her audience to think beyond themselves. Perhaps the most telling thing about the CD however is the absence of her classic chart hits 'There But For Fortune' 'The Night They Drove Old Dixie Down' and 'Diamonds and Rust'. It is as if Ms. Baez is showing her large and enduring audience that there are more important matters at the moment than a trip down the memory lane of success. The search for peace, social justice and fairness reflected in what was included reminding us that the issues she championed long ago are all to new again in this old world of ours.

Joan Baez's new live CD "Bowery Songs" is an excellent collection that stirs the soul and fuels a righteous indignation. Baez looks and sounds vibrant on the disc. Although we've heard "Joe Hill" from Joan on "One Day at a Time" (1970), "Carry It On" (1971), & live on "From Every Stage" (1976), this version dedicated to "Fahrenheit 9/11" director Michael Moore has a great punch, "'The copper bosses killed you Joe, they shot you, Joe,' says I; 'It takes more than guns to kill a man,' Says Joe, 'I didn't die.'" I greatly enjoyed "Dink's Song" on a Roger McGuinn set called "Treasures from the Folk Den." Joan's first recorded version is slow & stately, highlighting the melody, "If I had wings like Noah's dove, I'd fly up the river to the man I love." The set closes with her first recorded version of Steve Earle's "Jerusalem" with her band giving lively support, "I believe that one fine day the children of Abraham will lay down their swords forever in Jerusalem." Bob Dylan's recording of "Seven Curses" was on his "Bootleg Series." Joan's first recording of this song is an aching ballad about judicial corruption, "When Reilly's daughter got a message that her father was a-going to hang, she rode by night and came by morning with gold & silver in her hand." Joan provides another excellent set with "Rexroth's Daughter" and "Christmas in Washington" from her recent studio CD "Dark Chords on a Big Guitar." This is a moving statement from one of our best master musicians. Enjoy!

Without a doubt, Joan Baez can still sing, yes, beautifully so. And "Bowery Songs," her latest CD, shows that this folk music icon is still relevant, fresh and true to her art. "Bowery Songs," recorded live in NYC in November 2004 is a wonderful compilation of classic and modern folk songs; songs that tell stories; songs that touch your heart and make you think; songs that entertain. Joan's voice is stellar and golden on this recording. The band is a tight, talented team. On this record you will find songs from her last CD, "Dark Chords on a Big Guitar"-"Rexroth's Daughter," "Christmas in Washington"--and, amazingly, you will find a marvelous rendition of "Silver Dagger," originally included on Joan's very first album over 40 years ago. And for those of us who have long craved for Joan to record a few concert favorites we can celebrate the inclusion of "Seven Curses," "Finlandia," "Dink's Song," and "Jerusalem." There is so much depth and heart on this CD that you will want to listen to it over and over again. For all Joan Baez fans, this album is a must have. And more than that, it is a must have for all music lovers.
--Diane Meholick, author, [...]

How can a first rate performer who's been in the business for forty five years continue to improve the sound of her voice, her musicianship and the still have the ability to surprise and mezmerise, even with a song she recorded on her first album? I guess the answer must be "talent". When Joan became an international star at the age of eighteen, she was posessed of a magical and spine chilling voice. Even those who were not fans admitted it was one of the most beautiful in the world. Well, believe it or not, it has improved. The high notes are still there and the lower range has broadened. Her voice has a much warmer and "lived in" sound, which enhances her ability to express a broad range of emotion. Joan has matured as a musician and the selection of songs on this CD are proof that her sterling integrity is intact. Every song on this collection is timeless and very timely. Her entire career is represented here. There is "Silver Dagger", released in 1960 by Vanguard on her self-titled debut album,several other classics from the sixties and seventies, and even a few songs from her most current studio release. The newest songs from "Dark Chords on a Big Guitar" even outshine the wonderful studio tracks relased just two years ago! The CD captures Miss Baez at her best, in front of an audience, singing A Cappella, accompanying herself on a six string guitar and fronting a very tight band complete with electric guitar. Whether you are a new fan, old fan or have never heard of Joan Baez,do yourself a favor. Buy Bowery Songs and take a listen,you will not be disappointed.

Even though I was aware of her [as a child in the 60's], it wasn't the voice, but public persona that engaged my formative years. I, for one, thought the early voice was grating. Not until the late 60's [Dixie, Four Letter], early 70's [A&M years on] could I be pursuaded to adore her talents. When she returned to the industry in the 80's, her voice was darker, deeper, much, much improved.

It wasn't until the 90's that I was able to see her live. There is nothing like the experience of a Joan Baez concert. Whether an outdoor amphitheatre, indoor concert hall, under a bridge for a memorial service [as for Dave Carter in 2002] or festival [sister Mimi's Bread & Roses], she is engaging, after all the years & miles. She discards the protection of the studio & becomes lighthearted, even hilarious at times [her visualization of a chicken leg is to die for], forever tuning & re-tuning her guitar between songs [as caught on this cover], communicating, listening. The Bowery may be an intimate venue, this does fail to convey what could have been captured in a visual medium, still it is a terrific summation of where she has been of late.

What needs to be released or realized for the marketplace is a DVD or DualDisc that gives some light to this side of her ageless talent. What also needs to happen is the official release of her version of Dave Carter's "The Mountain," but "Jerusalem" will do almost as well.