Blowin' Away was a 1977 album by Joan Baez, her first after switching from A&M Records to Portrait Records. The album veered more toward mainstream pop than any album Baez had recorded up to that point, though many critics at the time pointed out that she seemed not comfortable with her "new sound". Among the songs covered were the Rod Stewart hit "Sailing", the standard "Cry Me a River", in addition to a number of Baez' own compositions; the sardonic "Time Rag" recounts an aborted attempt at an interview by a Time magazine reporter. Throughout the course of the song, she admits to studio executives wanting to spruce up her image to ensure that she'd once again sell well. "I should tell you that deep in my heart/I don't give a damn where I stand on the charts", she wryly comments toward the song's closing. From "Time Rag": "Curious about his interest, I babbled my way through the worldwide list. Baez wrote "the Thief" as a tribute to her gay fanbase. In her autobiography, "And a Voice to Sing With", Baez described Blowin' Away as "a good album with a terrible cover".
All tracks composed by Joan Baez. 1987. And a Voice to Sing With: A Memoir. Century Hutchinson, London. ISBN 0-7126-1827-9
Swing Low, Sweet Chariot
"Swing Low, Sweet Chariot" is an American negro spiritual. The earliest known recording was by the Fisk Jubilee Singers of Fisk University. In 2002, the Library of Congress honored the song as one of 50 recordings chosen that year to be added to the National Recording Registry, it was included in the list of Songs of the Century, by the Recording Industry Association of America and the National Endowment for the Arts. "Swing Low, Sweet Chariot" was written by Wallis Willis, a Choctaw freedman in the old Indian Territory in what is now Choctaw County, near the County seat of Hugo, Oklahoma sometime after 1865. He may have been inspired by the sight of the Red River, by which he was toiling, which reminded him of the Jordan River and of the Prophet Elijah's being taken to heaven by a chariot; some sources claim that this song and "Steal Away" had lyrics that referred to the Underground Railroad, the freedom movement that helped black people escape from Southern slavery to the North and Canada.
Alexander Reid, a minister at the Old Spencer Academy, a Choctaw boarding school, heard Willis singing these two songs and transcribed the words and melodies. He sent the music to the Jubilee Singers of Fisk University in Tennessee; the Jubilee Singers popularized the songs during a tour of the United States and Europe. In 1939, Nazi Germany's Reich Music Examination Office added the song to a listing of "undesired and harmful" musical works; the song enjoyed a resurgence during the folk revival. The most famous performance during this period was that by Joan Baez during the legendary 1969 Woodstock festival. Oklahoma State Senator Judy Eason McIntyre from Tulsa proposed a bill nominating "Swing Low, Sweet Chariot" as the Oklahoma State official gospel song in 2011; the bill was co-sponsored by the Oklahoma State Black Congressional Caucus. Oklahoma Governor Mary Fallin signed the bill into law on May 5, 2011, at a ceremony at the Oklahoma Cowboy Hall of Fame. Chorus: Chorus: Chorus The song has been used in films and television.
1931 Dirigible - sung by Clarence Muse 1936 Dimples - hummed by the Hall Johnson Choir 1936 The Lonely Trail - sung by a choir 1938 Everybody Sing - swing version sung by Judy Garland in blackface at an audition, with special lyrics. 1938 Room Service - sung by the Marx Brothers 1943 Dixie - sung by Bing Crosby and a chorus 1948 A Date with Judy 1950 Young Man with a Horn - sung by a chorus 1971 The Hard Ride - sung by Bill Medley 1976 The Shaggy D. A. - sung by a dog in the dog pound 1982 Honkytonk Man 1993 Addams Family Values - sung by Gomez Addams on his deathbed 1993 Mister Rogers' Neighborhood Episode 1663 - sung by François Clemmons 2016 The Birth of a Nation A popular early recording was by the Fisk University Jubilee Quartet for Victor Records on December 1, 1909 and two years the Apollo Jubilee Quartette recorded the song on Monday, February 26, 1912, Columbia Records, New York City. Since numerous versions have been recorded including those by Bing Crosby, Kenny Ball and His Jazzmen, Louis Armstrong, Sam Cooke, Vince Hill, Peggy Lee, Paul Robeson (recorded January 7, 1926 for Victor -.
The noted jazz accordionist/composer John Serry Sr. recorded the composition with the jazz guitarist Tony Mottola as members of the Biviano Accordion & Rhythm Sextette in 1947 for Sonora Records on the album Accordion Capers. British rock musician Eric Clapton recorded a reggae version of the song for his 1975 studio album There's One in Every Crowd. RSO Records released it with the B-side "Pretty Blue Eyes" as a seven-inch grammophone single in May the same year, produced by Tom Dowd, his version reached various singles charts, including Japan, the Netherlands, New Zealand and the United Kingdom. "Swing Low, Sweet Chariot" has been sung by rugby players and fans for some decades, there are associated gestures, sometimes used in a drinking game, which requires those who wrongly perform the gestures to buy a round of drinks. It became associated with the English national side, in particular, in 1988. Coming into the last match of the 1988 season, against Ireland at Twickenham, England had lost 15 of their previous 23 matches in the Five Nations Championship.
The Twickenham crowd had only seen one solitary England try in the previous two years and at half time against Ireland they were 0–3 down. However, during the second half England scored six tries to give them a 35–3 win. Three of the tries came in quick succession from black player Chris Oti making his Twickenham debut. A group of boys from the Benedictine school Douai following a tradition at their school games sang "Swing Low, Sweet Chariot" whenever a try was scored; when Oti scored his second try, amused spectators standing close to the boys joined in, when Oti scored his hat-trick the song was heard around the ground. The song is still sung at matches by English supporters; the England national rugby union team returned from the 2003 Rugby World Cup triumph in Australia on a plane dubbed "Sweet Chariot". The song became the England Rugby World Cup theme for 1991, when performed by "Union featuring the England World Cup Squad", it reached number 16 on the UK singles chart. The song was covered in 1995 for that year's tournament by British reggae duo China Black together with South African male choral group, Ladysmith Black Mambazo.
It reached number 15 on the chart, selling 200,000 copies.1999's tournament featured Russell Watson re
One Day at a Time (album)
One Day at a Time is a 1970 album by Joan Baez. Recorded in Nashville, the album was a continuation of Baez' experimentation with country music, begun with the previous year's David's Album, it is significant in that it was the first to include Baez' own compositions, "Sweet Sir Galahad" and "A Song for David", the former song a ballad for her younger sister Mimi Fariña, the latter song being for her husband, David Harris, at the time in prison as a conscientious objector. One Day at a Time included work by The Rolling Stones, Willie Nelson and Pete Seeger; the album contains three of the songs Baez had performed at Woodstock four months earlier: "I Live One Day At A Time","Joe Hill" and "Sweet Sir Galahad". The Vanguard reissue contains two outtakes from the One Day at a Time sessions: "Sing Me Back Home" and "Mama Tried", both duets with Jeffrey Shurtleff, both Merle Haggard covers.. "Sweet Sir Galahad" – 3:43 "No Expectations" – 3:47 "Long Black Veil" – 3:24 "Ghetto" – 4:33 "Carry It On" – 2:22 "Take Me Back to the Sweet Sunny South" – 2:47 "Seven Bridges Road" – 3:42 "Jolie Blonde" – 2:00 "Joe Hill" – 3:25 "A Song for David" – 4:57 "I Live One Day at a Time" – 3:31 "Mama Tried" - 3:13 "Sing Me Back Home" - 2:53 Joan Baez – vocals, guitar Pete Drake – pedal steel guitar Roy Huskey, Jr. – bass guitar Tommy Jackson – fiddle Jerry Shook – guitar Jerry Reed – guitar Harold Bradley – guitar Hargus "Pig" Robbins – piano Harold Rugg – steel guitar, dobro Grady Martin – guitar, sitar Buddy Spicher – fiddle Norbert Putnam – bass guitar Kenny Buttrey – drums David Briggs – piano, harpsichord Richard Festinger – guitar Charlie McCoy – harmonica, organ Henry Strzelecki – bass guitar Pete Wade – guitar Jim Marshall - photography
Speaking of Dreams
Speaking of Dreams is a 1989 album by Joan Baez that mixed personal compositions like the title song with political statements like "China", inspired by the Tiananmen Square protests of 1989. The album featured collaborations with Paul Simon, Jackson Browne and the Gipsy Kings, marked the beginning of a period where Baez notes she put her music ahead of the political activism that had preoccupied her for much of the prior decade. "China" "Warriors of the Sun" "Carrickfergus" "Hand to Mouth" "Speaking of Dreams" "El Salvador" "Rambler Gambler/Whispering Bells" "Fairfax County" "A Mi Manera"
Come from the Shadows
Come from the Shadows was a 1972 album by Joan Baez. After recording for the independent label Vanguard for more than a decade, Baez signed with A&M, attempted to point her career in a more "commercial" direction. In addition to her own compositions such as "Prison Trilogy","Love Song to a Stranger", "Myths", "To Bobby", Baez included John Lennon's "Imagine", Anna Marly's "Song of the Partisan", Mimi Fariña's "In the Quiet Morning". "In the Quiet Morning" and "Love Song to a Stranger" were released as singles. The album was recorded at Quadrophonic Sound Studios in Nashville; the cover photo features an elderly couple being arrested at an anti-war protest, holding hands and flashing peace signs as they are led away. From the album's liner notes: "... In 1972 if you don't fight against a rotten thing you become a part of it" - Joan Baez Noel Coppage from Stereo Review was underwhelmed by the album, finding much of it "merely pleasant" and "poorly constructed". Robert Christgau gave Come from the Shadows a "C+" in Creem magazine.
He mocked Baez's attempt at populist politics and her cultivated vocabulary, singling out the lyrics to "Myths": "I don't know about The People, but just plain people say'scattered upon the four winds,' not'upon the four winds scattered.' They don't say'scattered upon the four winds' either". AllMusic's William Ruhlmann gave it three out of five stars. "Prison Trilogy" - 4:23 "Rainbow Road" - 3:03 "Love Song to a Stranger" - 3:55 "Myths" - 3:19 "In the Quiet Morning" - 2:58 "All the Weary Mothers of the Earth" - 3:34 "To Bobby" - 3:53 "Song of Bangladesh" - 4:49 "A Stranger in My Place" - 3:07 "Tumbleweed" - 3:32 "The Partisan" - 3:17 "Imagine" - 3:27 Joan Baez – Guitar, Vocals Stuart Basore – Steel guitar David Briggs – Keyboard Kenneth Buttrey – Drums Grady Martin – Guitar Charlie McCoy – Harp, Guitar Farrell Morris – Percussion Weldon Myrick – Steel guitar Norbert Putnam – Bass Glen Spreen – Keyboards, String Arrangements Pete Wade – Guitar John "Bucky" Wilkin – Guitar Wikiquote - Quotes from Come From the Shadows
A music genre is a conventional category that identifies some pieces of music as belonging to a shared tradition or set of conventions. It is to be distinguished from musical form and musical style, although in practice these terms are sometimes used interchangeably. Academics have argued that categorizing music by genre is inaccurate and outdated. Music can be divided into different genres in many different ways; the artistic nature of music means that these classifications are subjective and controversial, some genres may overlap. There are varying academic definitions of the term genre itself. In his book Form in Tonal Music, Douglass M. Green distinguishes between form, he lists madrigal, canzona and dance as examples of genres from the Renaissance period. To further clarify the meaning of genre, Green writes, "Beethoven's Op. 61 and Mendelssohn's Op. 64 are identical in genre – both are violin concertos – but different in form. However, Mozart's Rondo for Piano, K. 511, the Agnus Dei from his Mass, K. 317 are quite different in genre but happen to be similar in form."
Some, like Peter van der Merwe, treat the terms genre and style as the same, saying that genre should be defined as pieces of music that share a certain style or "basic musical language." Others, such as Allan F. Moore, state that genre and style are two separate terms, that secondary characteristics such as subject matter can differentiate between genres. A music genre or subgenre may be defined by the musical techniques, the style, the cultural context, the content and spirit of the themes. Geographical origin is sometimes used to identify a music genre, though a single geographical category will include a wide variety of subgenres. Timothy Laurie argues that since the early 1980s, "genre has graduated from being a subset of popular music studies to being an ubiquitous framework for constituting and evaluating musical research objects". Among the criteria used to classify musical genres are the trichotomy of art and traditional musics. Alternatively, music can be divided on three variables: arousal and depth.
Arousal reflects the energy level of the music. These three variables help explain why many people like similar songs from different traditionally segregated genres. Musicologists have sometimes classified music according to a trichotomic distinction such as Philip Tagg's "axiomatic triangle consisting of'folk','art' and'popular' musics", he explains that each of these three is distinguishable from the others according to certain criteria. The term art music refers to classical traditions, including both contemporary and historical classical music forms. Art music exists in many parts of the world, it emphasizes formal styles that invite technical and detailed deconstruction and criticism, demand focused attention from the listener. In Western practice, art music is considered a written musical tradition, preserved in some form of music notation rather than being transmitted orally, by rote, or in recordings, as popular and traditional music are. Most western art music has been written down using the standard forms of music notation that evolved in Europe, beginning well before the Renaissance and reaching its maturity in the Romantic period.
The identity of a "work" or "piece" of art music is defined by the notated version rather than by a particular performance, is associated with the composer rather than the performer. This is so in the case of western classical music. Art music may include certain forms of jazz, though some feel that jazz is a form of popular music. Sacred Christian music forms an important part of the classical music tradition and repertoire, but can be considered to have an identity of its own; the term popular music refers to any musical style accessible to the general public and disseminated by the mass media. Musicologist and popular music specialist Philip Tagg defined the notion in the light of sociocultural and economical aspects: Popular music, unlike art music, is conceived for mass distribution to large and socioculturally heterogeneous groups of listeners and distributed in non-written form, only possible in an industrial monetary economy where it becomes a commodity and in capitalist societies, subject to the laws of'free' enterprise... it should ideally sell as much as possible.
Popular music is found on most commercial and public service radio stations, in most commercial music retailers and department stores, in movie and television soundtracks. It is noted on the Billboard charts and, in addition to singer-songwriters and composers, it involves music producers more than other genres do; the distinction between classical and popular music has sometimes been blurred in marginal areas such as minimalist music and light classics. Background music for films/movies draws on both traditions. In this respect, music is like fiction, which draws a distinction between literary fiction and popular fiction, not always precise. Country music known as country and western, hillbilly music, is a genre of popular music that originated in the southern United States in the early 1920s; the polka is a Czech dance and genre of dance music familiar throughout Europe and the Americas. Rock music is a broad genre of popular music that originated as "rock and roll" in the United States in the early 1950s, developed into a range of different styles in the 1960s and particular
Joan Chandos Baez is an American singer, songwriter and activist whose contemporary folk music includes songs of protest or social justice. Baez has performed publicly for over 60 years, releasing over 30 albums. Fluent in Spanish and English, she has recorded songs in at least six other languages. Although regarded as a folk singer, her music has diversified since the counterculture era of the 1960s, encompasses genres such as folk rock, pop and gospel music. Although a songwriter herself, Baez interprets other composers' work, having recorded songs by Bob Dylan, the Allman Brothers Band, the Beatles, Jackson Browne, Leonard Cohen, Woody Guthrie, Violeta Parra, the Rolling Stones, Pete Seeger, Paul Simon, Stevie Wonder and many others. On her past several albums, she has found success interpreting songs of more recent songwriters, including Ryan Adams, Josh Ritter, Steve Earle, Natalie Merchant and Joe Henry, she achieved immediate success. Her first three albums, Joan Baez, Joan Baez, Vol. 2, Joan Baez in Concert all achieved gold record status.
Songs of acclaim include "Diamonds & Rust" and covers of Phil Ochs's "There but for Fortune" and The Band's "The Night They Drove Old Dixie Down". She is known for "Farewell, Angelina", "Love Is Just a Four-Letter Word", "Forever Young", "Here's to You", "Joe Hill", "Sweet Sir Galahad" and "We Shall Overcome", she was one of the first major artists to record the songs of Bob Dylan in the early 1960s. Baez performed fourteen songs at the 1969 Woodstock Festival and has displayed a lifelong commitment to political and social activism in the fields of nonviolence, civil rights, human rights and the environment. Baez was inducted into the Rock and Roll Hall of Fame on April 7, 2017. Baez was born on Staten Island, New York, on January 9, 1941. Joan's grandfather, the Reverend Alberto Baez, left the Catholic Church to become a Methodist minister and moved to the U. S. when her father was two years old. Her father, Albert Baez, was born in Puebla and grew up in Brooklyn, New York, where his father preached to—and advocated for—a Spanish-speaking congregation.
Albert first considered becoming a minister but instead turned to the study of mathematics and physics and received his PhD degree at Stanford University in 1950. Albert was credited as a co-inventor of the x-ray microscope. Joan's cousin, John C. Baez, is a mathematical physicist, her mother, Joan Baez, referred to as Joan Senior or "Big Joan", was born in Edinburgh, Scotland, in 1913 as the second daughter of an English Anglican priest who claimed to be descended from the Dukes of Chandos. Born in April 1913, she died on days after her one hundredth birthday. Baez had two sisters – Pauline Thalia Baez Bryan, sometimes professionally known as Pauline Marden. To varying degrees, both women were political activists and musicians like their sister, they are notable for having been married to other American artists – Pauline to painter Brice Marden and Mimi to author and musician Richard Fariña with whom she collaborated for several years. The Baez family converted to Quakerism during Joan's early childhood, she has continued to identify with the tradition in her commitment to pacifism and social issues.
While growing up, Baez was subjected to racial slurs and discrimination due to her Mexican heritage. She became involved with a variety of social causes early in her career, she declined to play in any white student venues that were segregated, which meant that when she toured the Southern states, she would play only at black colleges. Joan graduated from Palo Alto High School in 1958. Due to her father's work with UNESCO, their family moved many times, living in towns across the U. S, as well as in England, Switzerland, Spain and the Middle East, including Iraq. Joan Baez became involved with a variety of social causes early in her career, including civil rights and non-violence. Social justice, she stated in the PBS series American Masters, is the true core of her life, "looming larger than music"; the opening line of Baez's memoir And a Voice to Sing With is "I was born gifted". A friend of Joan's father gave her a ukulele, she learned four chords, which enabled her to play rhythm and blues, the music she was listening to at the time.
Her parents, were fearful that the music would lead her into a life of drug addiction. When Baez was 13, her aunt and her aunt's boyfriend took her to a concert by folk musician Pete Seeger, Baez found herself moved by his music, she soon began performing them publicly. One of her earliest public performances was at a retreat in Saratoga, California for a youth group from Temple Beth Jacob, a Redwood City, California Jewish congregation. A few years in 1957, Baez bought her first Gibson acoustic guitar. In 1958, her father accepted a faculty position at MIT, moved his family to Massachusetts. At that time, it was in the center of the up-and-coming folk-music scene, Baez began performing near home in Boston and nearby Cambridge, she performed in clubs, attended Boston University for about six weeks. In 1958, at the Club 47 in Cambridge, she gave her first concert; when designing the poster for the performance, Baez considered changing her performing name to either Rachel Sandperl, the surname of her long-t