Learn more Download now Shop now Shop now Shop now Shop now Shop now Shop now Shop now Shop now Learn More Shop now Learn more Shop Fire Shop Kindle Learn More Learn more Shop now Learn more

Customer Review

on 7 September 2008
I put this on my iPod as soon as I was able to lay my hands on a review copy a couple of weeks ago. Since then, I have listened to it almost every day, and never felt inclined to skip a single track. I've been a fan of Joan Baez's ever since, as a teenager, I discovered some of her early Vanguard recordings. But I haven't felt this way about a Baez album for at least three decades. The review below was written for The Australian newspaper:

It has been quite a while since the ethereal soprano that thrilled Joan Baez's early audiences made way for an earthier alto, and her voice has mellowed further over the decades. It remains a captivating instrument, but on studio recordings during the past couple of decades it has invariably been mixed too low and, as a result, overwhelmed by the orchestration. Day After Tomorrow demonstrates the folly of that technique: here the vocals are accorded the primacy they deserve and complemented by exquisitely balanced acoustic accompaniment. Add to that the most sublime bunch of songs to have graced a Baez disc since the mid-1970s, and the result is an outstanding addition to her oeuvre. The achievement can be credited in part to Steve Earle, who not only produced the album but contributed 30 per cent of the songs, including the opening and closing tracks, God is God and Jericho Road. They are both formidable songs in the vein of Christmas in Washington, but neither of them is quite as poignant as the gently anti-war title track, penned by Tom Waits, and Baez's take on Elvis Costello and T-Bone Burnett's Scarlet Tide is equally arresting. She has consistently been supportive of younger songwriters (including B. Dylan in the days when he was a complete unknown and she had already graced the cover of Time magazine), and in this instance has included a couple of songs by Eliza Gilkyson (Rose of Sharon and Requiem) that are redolent of the Child ballads that once constituted the core of Baez's repertoire, as well as one by Thea Gilmore (The Lower Road). The Bush administration's outrages have rekindled Baez's activism, and this may be her most socially conscious disc since the `80s, but it takes the path of subtle lamentation rather than strident sloganeering. At barely 37 minutes, the album is arguably too fleeting a pleasure, but its contents unquestionably fall in the category of diamonds, not rust.
0Comment| 26 people found this helpful. Was this review helpful to you? Report abuse| Permalink
What's this?

What are product links?

In the text of your review, you can link directly to any product offered on Amazon.com. To insert a product link, follow these steps:
1. Find the product you want to reference on Amazon.com
2. Copy the web address of the product
3. Click Insert product link
4. Paste the web address in the box
5. Click Select
6. Selecting the item displayed will insert text that looks like this: [[ASIN:014312854XHamlet (The Pelican Shakespeare)]]
7. When your review is displayed on Amazon.com, this text will be transformed into a hyperlink, like this:Hamlet (The Pelican Shakespeare)

You are limited to 10 product links in your review, and your link text may not be longer than 256 characters.

Product Details

4.3 out of 5 stars
£11.69+ Free shipping with Amazon Prime