Personnel includes: Joan Baez (vocals, acoustic guitar, guitar, piano); Mimi Farina (vocals, guitar); Larry Carlton (acoustic & electric guitars); Dean Parks (acoustic guitar, banjo); Charlie McCoy (guitar, harp); Grady Martin, Pete Wade, John Buck Wilkin, Reggie Young (guitar); Stuart Bosore, Welldon Myrick (steel guitar); Sid Sharp (violin); Tom Scott (flute); Mike Leech (brass); Larry Knechtel (piano, organ); David Biggs (piano, keyboards); Glenn Spreen (keyboards); Norbert Putnam, Wilton Felder, Duck Dunn (bass); Kenneth Buttrey, Jerry Carrigan, John Guerrin (drums); Farris Morris, Mucho Gordo (percussion).
Producers: Joan Baez, Henry Lewy, David Kershenbaum.
Compilation producer: Mike Ragogna.
Recorded between 1972 & 1976. Includes liner notes by Arthur Levy.
All tracks have been digitally remastered using 96K/24-bit technology.
Personnel: Joan Baez (vocals, guitar, piano, ARP synthesizer, Moog synthesizer); Mimi Fari¤a (vocals, guitar); Andra Willis, Jackie Ward, Sally Stevens (vocals); Dan Ferguson, Grady Martin, John "Bucky" Wilkin, Pete Wade, Reggie Young , Tommy Tedesco (guitar); Dean Parks (acoustic guitar, electric guitar, banjo, mandolin); Larry Carlton (acoustic guitar, electric guitar, percussion); Rick Lotempio (electric guitar); Weldon Myrick, Stuart Basore (steel guitar); Lalo Lindgron (harp); James Getzoff, Ronald Folsom, Carl LaMagna, Tibor Zelig, Robert Ostrowsky, Ray Kelly, Sid Sharp, William Hymanson, Robert Konrad, William Kurash (violin); Isabelle Daskoff (viola); Edgar Lustgarten, Jesse Ehrlich (cello); Tom Scott (flute, woodwinds, saxophone); Jim Horn (saxophone); Buck Monari, Ollie Mitchell (trumpet); Larry Knechtel (piano, electric piano, organ); David Paich (piano, electric harpsichord); David Briggs (piano, keyboards); Hampton Hawes (piano); Joe Sample (electric piano, percussion); Glen Spreen (keyboards); Malcolm Cecil (synthesizer, ARP synthesizer, Moog synthesizer); Jim Gordon (drums, percussion); John Guerrin, Kenny Buttrey, Jerry Carrigan (drums); Milt Holland, Wilton Felder, Farrell Morris (percussion).
Audio Mixers: Henry Lewy; Rick Ruggieri; Tommy Vicari.
Audio Remixers: Henry Lewy; Alex Kazanegras.
Liner Note Authors: Joan Baez; Arthur Levy .
Recording information: A&M Studios A, B & D (01/21/1975-01/29/1975); Berkeley Greek Theater (01/21/1975-01/29/1975); Cecil & Margouleff (01/21/1975-01/29/1975); Hollywood Bowl, Los Angeles, CA (01/21/1975-01/29/1975); Monterey Peninsula College (01/21/1975-01/29/1975); Nassau Coliseum (01/21/1975-01/29/1975); Philadelphia Spectrum (01/21/1975-01/29/1975); Quad Studios, Nashville, TN (01/21/1975-01/29/1975); Sacramento Convention Center (01/21/1975-01/29/1975); Sound Labs, Hollywood, CA (01/21/1975-01/29/1975); Tonto Studios, Santa Monica, CA (01/21/1975-01/29/1975); Wally Heider Studio #4 (01/21/1975-01/29/1975).
Photographers: Jim McCrary; Irene Harris; K. Abe.
Arrangers: Dean Parks; Larry Carlton; Joan Baez.
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 Fari¤a'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 Fari¤a, 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. ~ Thom Jurek