Artist: Joan Baez Album: Bowery Songs AMG Rating: **** Release Date: Sep 6, 2005 Release Date UK: February 6, 2006 Recording Date: Nov 6, 2004 Label: 2006 CD Proper PRPCD029 Barcode: 805520030298 Type: Live Genre: Folk Styles: Traditional Folk, Singer/Songwriter, Political Folk, Contemporary Folk 01 Finlandia Harkness, Sibelius, Stone 2:08 02 Rexroth's Daughter Brown 5:00 03 Deportee (Plane Wreck at los Gatos) Guthrie, Hoffman 5:24 04 Joe Hill Hayes, Robinson 4:18 05 Christmas in Washington Earle 5:17 06 Farewell, Angelina Dylan 3:36 07 Motherland Merchant 5:16 08 Carrickfergus Traditional~Connaught 5:41 09 Jackaroe Traditional 5:07 10 Seven Curses Dylan 5:26 11 Dink's Song Traditional 4:37 12 Silver Dagger Traditional 3:52 13 It's All Over Now, Baby Blue Dylan 4:26 14 Jerusalem Earle 4:17 ------- Amazon.com Product Description: Over four decades after her landmark live album, In Concert, Joan Baez returns with Bowery Songs--a new live album that captures her November 6, 2004, performance at the Bowery Ballroom in New York City. USA Today has called Baez "the matriarch of modern folk music" and Bowery Songs celebrates her career and legacy with both classic and previously unreleased material. It features four previously unrecorded songs: Bob Dylan's "Seven Curses," Steve Earle's "Jerusalem," the hymn-like "Finlandia," and the traditional "Dink's Song." Baez is supported on the album by her recent touring band, George Javori, Duke McVinnie, Erik Della Penna, and Graham Maby. The Washington Post recently said of Baez's live performances, "... still familiar after decades... she commanded newer compositions with grace and agility." ------- Amazon.com Editorial Review by Don McLeese: "Come back, Woody Guthrie," sings Joan Baez in Steve Earle's "Christmas in Washington," a lament for (among other things) the days when music really said and meant something. The song serves as the thematic linchpin of Bowery Songs, a live album that testifies to the power of music to transform, uplift, and heal. Baez not only revisits the spirits of Guthrie (on "Deportee") and "Joe Hill," she finds a renewal of such spirit in the contemporary songwriting of Earle (whose "Jerusalem" closes the album) and Natalie Merchant ("Motherland"). As one might expect from Baez in concert, she also mixes a selection of early Bob Dylan with traditional fare, bringing a lovely lift to the Irish balladry of "Carrickfergus" and soaring vocals to "Dink's Song." After more than four decades of recording, Baez's voice remains more impressive for its purity than expressive in range and depth (her pretty rendition of Dylan's "It's All Over Now, Baby Blue" seems to miss the bitter point). Except for a dedication to Michael Moore and a few thank-yous, the album eliminates all between-song patter, letting the material speak for itself. ------- AMG Review by Thom Jurek: Bowery Songs is a collection of live tracks taken from Joan Baez's performance at the Bowery Ballroom in New York on November 6, 2004. While it is not an entire performance, there is more than enough to satisfy fans. Baez and her band take on material old - "It's All Over Now Baby Blue," "Farewell Angelina," "Joe Hill," "Deportee," etc. - and some fine performances from her last studio outing, Dark Chords on a Big Guitar - including "Christmas in Washington" and "Rexroth's Daughter." But the big news for fans is that there are four unrecorded songs that have been part of Baez's standard stage repertoire and are often requested by fans. The album's bookend pieces are an a cappella read of "Finlandia" and a fine reading of Steve Earle's "Jerusalem." She also does an amazing version of Bob Dylan's "Seven Curses" here, as well as "Dink's Song." This is a deeply satisfying recording, and Baez is at her very best as an interpretive singer. The read of Earle's "Christmas in Washington" is a case in point. Baez brings a much deeper sense of history and social justice struggle to the tune than Earle does, and she brings it to bear in every line. One can hear her heartbreak as she cracks the song open, bringing the tattered banners of labor unions to the listeners' eyes, and as she invokes the ghosts of Emma Goldman, Malcolm X, Martin Luther King, and Woody Guthrie, among others, to the fore, one can feel the sense of hurt, betrayal, and failed promise, but also the trace of rigorous perseverance that the original does not hold. The only song that isn't here but should be is Ryan Adams' "In My Time of Need," which was such a standout on Dark Chords on a Big Guitar. But this is a minor quibble, as Bowery Songs is Baez's edgiest and most darkly seductive live album to date. ------- Reviewer Mark D. Prouse "Dustyart" (Putnam Valley, NY): She's Still Got It! 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. ------- Reviewer H. F CORBIN (ATLANTA, GA USA): Great Music, Awful Packaging 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. ------- Reviewer Bob Rowe (Renaissance Enterprises, USA): Best Album Ever! Joan's arrangements, choice of material, delivery and voice are in fine form and a true example of why great artists should go out with their boots on! This disc also is a good representation of her recent live shows and anyone who has atttended will attest to this. She provides some visits to the past in a stirring way, by offering some "old friends," like "Jackaroe," "Silver Dagger," and "Joe Hill," in fresh new arrangments for a new generation. The new material is priceless. Especially, "Dink's Song," and "Jerusalem." Loved the dedication of "Joe Hill," to Michael Moore! Brava Joan, Brava! Bob ------- Paula Kirman for Suite101.com: Folk Music Bowery Songs (Koch Records) is the latest release by American folk legend Joan Baez. It consists of 14 songs spanning Baez's entire career, performed live in 2004 at New York's Bowery Ballroom. The songs include classic favorites, requests of previously unrecorded material, and offerings from recent albums. Many of the songs will be instantly recognizable to Baez fans as classics. "Farewell Angelina," "Jackaroe," and, of course, "Joe Hill" are interspersed amongst tracks from more recent releases, like "Rexroth's Daughter," and "Christmas in Washington" which were featured on Baez's most recent studio album, 2003's Dark Chords On a Big Guitar. In addition, Baez presents, for the first time, four songs never before recorded but often requested by fans: "Dink's Song," "Seven Curses" (an intriguing Dylan tune), "Finlandia," (performed accapella) and Steve Earle's powerful "Jerusalem," ending the album on an energetic note of social consciousness. Most of the songs are performed with a full band: George Javori (Musical Director, drums and percussion); Erik Della Penna (Guitar, lap steel, banjo and vocals); Graham Maby (Bass and vocals); and, Duke McVinnie (Guitar and vocals). While Baez's voice may have lost some of its youthful elasticity, she is still strong and clear. In fact, Bowery Songs features her strongest vocal performance on record in years. Speaking of years, Bowery Songs is also Baez's first live album in a decade. Always socially conscious and aware of her times, her choice of songs reflect historical significance with contemporary issues. As always, she picks a number of Bob Dylan songs ("Farewell Angelina," "It's All Over Now, Baby Blue," "Seven Curses"), one Woody Guthrie classic -- "Deportee (Plane Wreck at Los Gatos)" -- as well as songs from her 60's recording career like the aforementioned "Joe Hill" (which she performed at Woodstock) and "Silver Dagger." Baez's connection to modern-day singer/songwriters is reflected on recent albums, particularly Steve Earle, Greg Brown, and Richard Shindell (who, alas, is not represented this time around). However, Brown's "Rexroth's Daughter" and Earle's outspoken "Christmas in Washington" and "Jerusalem" more than makes up for that particular oversight. Bowery Songs proves that there is a lot of musical life left in Ms. Baez. Fans still love her live, and their enthusiasm comes across loud and clear. Representing songs from multiple generations presented to fans of equal age disparity, Joan Baez is the common thread linking the decades -- and the songs. You can visit Joan Baez's official website at: www.joanbaez.com. ------- Mike Thomas for Acoustic Guitar: Throughout her 40-plus years as one of America’s premier folk artists, Joan Baez has always approached live recordings as career-spanning and era-defining documents. Bowery Songs, recorded at New York’s Bowery Ballroom on the weekend following the November 2004 election, is no exception. The set list ranges from "Silver Dagger," the opening ballad on the singer’s 1960 debut LP, and "Joe Hill," her legendary 1969 showstopper at Woodstock, to four songs Baez had never previously recorded. Holding their own with the classics, which also include stirring versions of Bob Dylan’s "It’s All Over Now, Baby Blue" and Woody Guthrie’s "Deportee (Plane Wreck at Los Gatos)," are three songs from her most recent studio album, 2003’s Dark Chords on a Big Guitar, including Steve Earle’s "Christmas in Washington." With its evocations of top-level treachery and heroic activists of the past, this song underscores Baez’ longstanding commitment to social justice at a time when many progressives are again storming the barricades. In superb voice and precise, powerful fingerpicking form, as always, and backed by a crack fourpiece band that includes versatile guitarists Erik Della Penna and Duke McVinnie, the first lady of folk clearly reminds us why her statements of passion and purpose still matter.