[TR24][OF] Joan Baez - Farewell, Angelina [Remastered 2025] - 1965 / 2025 (Folk)
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Joan Baez - Farewell, Angelina [Remastered 2025]
Формат записи / Источник записи: [TR24][OF] Наличие водяных знаков: нет Год издания / переиздания диска: 1965 / 2025 Жанр: Folk Издатель (лейбл): Craft Recordings Продолжительность: 00:42:33 __ Контейнер: FLAC (*.flac) Тип рипа: tracks Разрядность: 24 / 192 Формат: WAV (flac.ape.wv) Количество каналов: 2.0 __ ТреклистЛог проверки качестваОб альбомеhttps://ru.wikipedia.org/wiki/Farewell,_Angelina https://en.wikipedia.org/wiki/Farewell,_Angelina?ysclid=mgkf0mas6u242654893 When Farewell, Angelina appeared in 1965, Joan Baez was already a central figure in the American folk revival, thanks to the stark traditionalism of her first albums. Joan Baez (1960), Vol. 2 (1961) and the In Concert series (1962–63) focused on her crystalline soprano against bare acoustic guitar and were admired for their purity by a scene that often prized purity above all else; these records positioned Baez as a guardian of folk authenticity. However, in a fashion far more gentle and subtle than her compatriot Bob Dylan, Baez began to expand her repertoire and sonic approach and 1964's Joan Baez/5 included some contemporary material, while Farewell, Angelina definitively advanced that shift, marking a turning point in both her sound and her role within the folk world. The title track, written by Dylan, immediately sets the tone, with dreamlike imagery that's quite distinct from the ballads and laments of her early repertoire. Of course, Baez delivers it with a clarity that makes Dylan's surrealism accessible. It's an approach she applies to three more of Dylan's songs—"It's All Over Now, Baby Blue," "A Hard Rain's A-Gonna Fall," and "Daddy, You Been On My Mind"—that anchor the album, while also reinforcing her role as his foremost interpreter. At a time when he was pushing into electrified rock, the audiences who were unsettled by Dylan's new direction found in Baez an acoustic counterpart that preserved the poetic force of his songwriting. Of course, Farewell, Angelina is far more than just a Dylan showcase. Baez's song selections—the French lament "Pauvre Ruteboeuf," "Sagt Mir Wo Die Blumen Sind," the German version of Pete Seeger's antiwar anthem "Where Have All the Flowers Gone," and the Scottish-derived "The Wild Mountain Thyme" reveal her widening vision and testify both to her internationalism and ties to tradition. Even more interesting: the inclusion of "Satisfied Mind," a country-gospel piece by Joe Hayes and Jack Rhodes. Stripped of honky-tonk flourishes, Baez's version is a reflective ballad, and her soaring voice focuses attention on the lyric's moral clarity. This one song—probably more so than any of the Dylan numbers here—underscores Baez's deftness with carrying songs across stylistic boundaries. The sonics here also represent a (slight) break with the past, as Farewell, Angelina finds her moving away from the stark minimalism of her earliest work to include (subtle and tasteful) contributions from guitarist Bruce Langhorne and other accompanists. Baez surrounds her voice with low-mixed guitar, banjo, and percussion, yielding an album that's both fuller and more contemporary while still unmistakably folk. © Jason Ferguson/Qobuz
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