Gone From Danger - Joan Baez > Reviews > No Danger that you will enjoy this

Author's product rating:   

Originality	Definitely a cut above the rest
Lyrics	Sublime
Quality and consistency of tracks	Flawless
How does it rate alongside the competition	Outstanding
Value for Money	Excellent

Advantages:	Expressive and emotive folk songs .  Sung from the heart .
Disadvantages:	The cover is unispiring and does not reflect the album's intent .  .

Recommend to potential buyers:

yes

Full review

Joan Baez is renowned as an American folk singer and political activist and I have admired both her musical ability and ideals since I first discovered her work in the 1960s. Baez began singing traditional folk songs in the coffee houses of Cambridge, Massachusetts and went on to perform some of her own compositions as her popularity grew. Baez was the first folk singer to take the genre into the best-selling charts. She has continued to champion folk music and in this album, “Gone from Danger” first released in 1997 on the Capitol Artists label, she highlights the work of the newer folk songwriters Dar Williams, Sinead Lohan, Richard Shindell and Betty Elders.

The album was re-released on the Grapevine label (my copy) in 1999 and on the Castle Music label in 2004. The album can be purchased for as little as £4.99 and is available from most record stores as well as online.

Joan Baez voice has not lost any of its clarity. Some of the original softness has been replaced by huskiness that enhances the poignancy of the songs contained on this album. Her voice has matured adding depth and understanding to the vocal richness.

Baez, usually remembered as a solo artiste, the “girl with the guitar”, is here accompanied by a wealth of highly talented musicians from the composers themselves singing background vocals to instrumentalists playing on tradition folk instruments including the mandolin, bazooka, Accordion and Wurlitzer.
Gone From Danger opens with “No Mermaid” by composer Sinead Lohan. A tremolo guitar chord and a dreamy tinkling high-keyed piano played by Kenny Greenberg and Dennis Berrndide respectively introduces the haunting lyrics, “I am no mermaid, no fisherman’s slave” accompanied by a determined drum and pedal steel guitar beat. Joan Baez herself provides the background vocals for this song together with fellow soprano Alison Moorer.

“Reunion Hill” by Richard Shindell is a lament relating a woman’s anguish as she waits and hopes for her husband’s return from the Civil War, “I won’t forget our sad farewell”. Joe Spivey’s mournful fiddle opens and sets the pace. Baez’s yearning tone is augmented by the Bazooka and Mandolin.

“Crack In The Mirror” by Betty Elders is a powerful emotional story about childhood abuse. A soulful saxophone, played by Jim Hoke, adds to the song’s poignancy and creates a “blues” impression. Here Baez demonstrates her still incredible vocal range rising to questioning heights and dropping to the lows of despair. “No one in that big old house heard the baby cry. Hide your guilt in ignorance”. Dar Williams’s child-like background vocals convey the anguish of lyrics perfectly.

“February” written by Dar Williams is a nostalgic love ballad describing how lovers become strangers to each other. Accompanied by piano, Baez voice is at its best, clear and sadly passionate. “ First we forgot where wed planted those bulbs last year, Then we forgot that we’d planted at all, Then we forgot what plants are altogether”. Dar herself adds background vocals.

“Fishing” by Richard Shindell is a reminder of Baez’s political interests, “Make no mistake, this fountain pen could put you on a plane by ten and by the way, your next of kin I know which house she’s hiding in”. The powerful lyrics written from the perspective of an INS interrogator are given an intensity and anxiety by the accompanying lap steel guitar and unrelenting percussion.

“If I Wrote You” by Dar Williams is another nostalgic love ballad accompanied by piano and acoustic guitar with echoing vocals in the chorus by Curtis Young strengthened by accordion. “If I wrote you, you would know me and you will not write me again”

“Lily” is the only song on the album written by Joan Baez herself. It is a tribute to an old school friend with whom Baez was re-united. The song is the most upbeat track of the album. A Dobro resonates over of a steady percussion rhythm as Baez voice soars sweetly with sustained notes holding on to memories. “Same sweet Lily was looking through the eyes of the woman I was talking to now”.

“Who Do You Think I Am” another contribution by Irish composer Sinead Lohan is a powerful vocal statement. “! am not in a shelter from the winter when your head is buried in the sand”.

“Mercy Bound” by Mark Addison is energetic with a pulsating electric guitar and keyboard accompanying Baez's dynamic vocal prowess. “Late last night I awoke in a dream with the sound of a voice that was almost a scream”

“Money For Floods” by Richard Shindell is another political message written from the view of a young single mother struggling for money and watching as the 'unfortunates' get money for flood damaged properties that were built in flood prone areas. The Wurlitzer gives the song a surreal effect. “But the bigger my belly, the faster he ran. Everyone knows that rivers will swell”

And so overall, this is a meaningful album that comprises some commanding folk music composed by contemporary songwriters and performed by a passionate and versatile artiste. Joan Baez has retained all the enthusiasm and wonder of her early years enhanced now by her maturity and experience.

The album has special interest having introduced me to some awesome songwriters and performers whose work I fully intend to pursue.