We were actually making the backend of the 'Sin After Sin' sessions when it was suggested to us that we cover this track. I think the label believed that we could write radio songs, but they probably thought that this would be a little bit of a way to make a possibly, slightly faster connection. The big challenge even now is to get you through the door to get you played on the radio. "Radio in 1978, when we released that, was a different hybrid, it was before all of the beat things started to happen and I think the label sensed that we've got something in us and that there was a chance, and I think they thought, well if we go this route and the radio stations hear that PRIEST is covering a Joan Baez song, then at least it gets you through the door. "Well, the simple story is that our label could see that there was a buzz happening here in America and we were looking for an opportunity to get some kind of radio play," he said. Speaking to KNAC.COM in June 2010, JUDAS PRIEST singer Rob Halford explained how the band came to record its version of the Joan Baez track. And I think maybe it's because I've already sung them, and who wants to compete with that? But it's always flattering when somebody does." One is they're personal - they don't have a universal quality to them. It's very rare for people to cover my songs. To appreciate Joan Baez, this is the place to start.In a recent interview with QMI Agency, folk icon Joan Baez was asked what she thought of JUDAS PRIEST's classic cover of her song "Diamonds And Rust", which can be found on the band's 1977 album "Sin After Sin". To understand Joan Baez, any of her early albums will do. It was a rare release where she took a break from her political agenda and the results were some of the best of her career. She reaches back in time for a wonderful medley of “ I Dream Of Jeannie/Danny Boy.” She even manages to pull off the Allman Brothers tune “Blue Sky.”ĭiamonds & Rust is an album of depth and conviction. She mimics Dylan perfectly on “Simple Twist Of Fate.” Her own compositions, “Children and All That Jazz” and “Winds Of Old Days,” continue to demonstrate just how good a songwriter she can be when she puts her mind to it.
Her take of Jackson Browne’s “Fountain Of Sorrow” is impeccable. There are a number of other delights to be found here. Her poignant imagery is so clear I can virtually see her cold breath hanging in the air. It revolves around a phone call from an old lover which takes her ten years back in time. Her title track is practically worth the price of the album alone. Joan Baez was mainly an interpreter of other artists' compositions but here she stepped forward and wrote four of the tracks herself. Its beauty and intimacy makes it an album I still play with a degree of regularity. None of these releases would be as good as the 1975 album which preceded them.ĭiamonds & Rust is not only the best album in her vast catalogue but remains one of the better folk-oriented releases of the decade. The live From Every Stage, Gulf Winds, Blowin’ Away, and Honest Lullaby all had strong points as they fused pop and folk music.
DIAMONDS AND RUST SERIES
The mid to late '70s would find her releasing a series of excellent and well received albums. Her angelic and clear soprano vocals remained a formidable instrument. What did remain was one of the purest voices in music. As the '70s progressed her sound became slicker and more polished. Her '60s material revolved around traditional folk songs. She has constantly crisscrossed the nation in support of civil rights, her anti-war beliefs, and environmental issues. Today she is also known for her relentless social activism. She performed at Woodstock and is still active over a half century into her career.
She would help introduce Bob Dylan to the world through the interpretation of many of his songs. 2, and Joan Baez In Concert all received gold record awards for sales. Her first three albums, Joan Baez, Joan Baez Vol. She burst upon the national scene as a result of her performance at the 1959 Newport Folk Festival.
Joan Baez was a seminal figure during the early '60s folk revival movement in the United States.
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