Day After Tomorrow - Dark Publications

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Editorial Reviews:

Amazon.com
Fifty years after the start of her career, Joan Baez remains as committed to her twin muses of art and politics as ever. On Day After Tomorrow, her stunning collaboration with Steve Earle, she continues to find and interpret some of the finest contemporary songs of social injustice and spiritual salvation, often showcasing the work of others, much as she did Bob Dylan in his salad days. Earle, who sits in the producer's chair, plays guitar, sings occasional harmony, and contributes three songs (including the stirring "I Am a Wanderer"), has assembled a perfect clutch of players, yet all here, including Earle, stay out of the way and bow to Baez. 67 years old at the time of recording, Baez is always compelling, bringing the weight of her lifetime of activism to each song. She shines brightest on Tom Waits' heartbreaking title tune and on Jones's wrenching "Henry Russell's Last Words," the real-life tragedy of a miner. One of the beauties of this effort is that in keeping Baez utterly modern in the choice of material and the employment of acoustic instruments and simple production values, Earle has also made a record that returns her in spirit and message to her great albums of the '60s. Inspired, and inspiring. -– Alanna Nash

Album Description
2008 marks Joan Baex 50th anniversary as a recording artist. The album was produced by the legendary Steve Earle. Joan gives her distinct interpretations to songs from Tom Waits, Elvis Costello, Steve Earle, Patty Griffin and more. Razor and Tie.

Customer Reviews: Read 34 more reviews...

5 out of 5 stars

Sublime September 9, 2008
82 out of 85 found this review helpful

I put this on my iPod as soon as I was able to lay hands on a review copy and have been listening to it almost every day for weeks, without ever being inclined to skip a single track. Here's the review I wrote for The Australian newspaper in Sydney:

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.

5 out of 5 stars

Joan Baez heads home on the "Day After Tomorrow" September 9, 2008
52 out of 55 found this review helpful

Joan appears to be very much at home in a musical, spiritual, and
political sense on this album, the 24th studio recording of her now
50 year long career. This collection of 10 songs provides much for
the head & heart to think and feel.

With the use of only acoustic instruments, the album provides an echo
of Joan's early folk records. The difference in this record is how
diverse the ensemble of instruments is: guitar, mandolin, Hawaiian
guitar, resonator guitar, bouzouki, harmonium, tamboura, bass, drums,
tambourine, fiddle, Dobro, banjolin, and percussion. The musical
accompaniment provided by Steve Earle (also producer, & harmony
vocals), Tim O'Brien, Darrell Scott, Viktor Krauss, and Kenny Malone,
is one of the many highlights of this album.

The songs' timeless lyrics place it among Joan's most folk /
Americana oriented albums. The album contains a strong spiritual
thread, a topic Joan has touched upon from her earliest recordings.
The songs have been chosen from several different brilliant writers,
including Patty Griffin, Tom Waits / Kathleen Brennan, Thea Gilmore,
Eliza Gilkyson, Elvis Costello / T-Bone Burnett, Diana Jones, and
Steve Earle himself. It is amazing how Joan & company pull the work
of such a diverse group together so beautifully.

There are political themes touched upon in this record, including
anti-war sentiment. The topic is explored quite movingly, less
directly you might say than on Joan's earlier albums, through the
timeless (and timely) masterpiece compositions "Scarlet Tide", and
the album's title song "Day After Tomorrow". [Joan sings this alone,
with just herself on guitar, making the lyrics even more heart-
wrenching;]

Throughout the songs, Joan becomes a cast of personas in search of
hope, happiness, and home. [Joan appears to be quite happy herself in
the stunning CD booklet photos.]

"God is God" has the listener contemplating what it really means to
be a believer.

In "Rose of Sharon" the narrator finds happiness in the arms of a
lover.

In "Scarlet Tide" there is still a hopeful determination that we will
rise above the devastation of war. The young soldier writing home
in "Day After Tomorrow" (who very well may be a female soldier in
this non-gender specific song) yearns for home and the small
pleasures of "shoveling snow and raking leaves", and dreams each
night of holding the loved one being written to. It is a very moving
and empathetic rendition of this song.

A miner facing sure death in "Henry Russell's Last Words" ultimately
finds happiness and peace through love for his spouse & family, and a
saved soul.

In "I am a Wanderer" there is still hope among various characters
facing great obstacles in their lives. But, perhaps they are really
us, and us them, and realizing that may be the genesis of that hope,
and ultimately the action that will actually change their life
circumstances. This song was written the night before one of the
recording sessions. One cannot help but wonder how much of Joan and
Steve's lives are reflected in its caring concern for those less
fortunate.

"Mary" is perhaps the most fascinating song lyric-wise on the album.
I imagine the narrator walking through a museum viewing the various
paintings and sculptures in an exhibit about the biblical "Mary",
leading to a contemplation on her spiritual as well as worldlier
powers.

In "Requiem", a prayerful song, Mary is again addressed, being asked
to bring hope and happiness to those who have lost their homes and
loved ones. It is quite a moving song, originally written about the
Tsunami survivors, taking on new meaning with the Katrina tragedy.
But, it is also quite universal in that many of us, to one degree or
another, have had to face a "dark night of the soul". We may have
found ourselves as those "shattered dreamers", with broken hearts
that needed to be made whole. Joan's voice is especially effective on
this mournful plea of a song.

In "Lower Road" the "peaceful released" protagonist keeps "rolling
on", having had their "part to play" (in life), and now "going home"
(an afterlife perhaps).The song says that "we keep rolling on `cause
for every midnight hour there's always a rising sun".

With the closing song Joan and ensemble use only hand claps as they
walk down "Jericho Road" towards the end of the album's spiritual
journey. It may be describing the way our own life's journey will end
someday.

This well-produced album combines the talents of many into a
beautiful & moving composition. The combination of Joan's versatile &
touching vocal interpretation, well-written songs, and deft
musicianship, provides a soundtrack to help "illuminate the path
where we are going". That place may very well be home.

5 out of 5 stars

Fitting recording for fifty years' worth of work September 17, 2008
17 out of 17 found this review helpful

This is Joan Baez' 50 year anniversary recording music and her 24th studio recording. Yes, her voice has aged and mellowed, but I still love her as an alto as much as I did a soprano.

Joan Baez and Steve Earle are an interesting combination indeed. This wasn't the match I'd have picked, but they work beautifully together. Earle adds an earthy touch to Baez that fits her deeper, lower voice.

Baez and Earle have done a splendid job picking a lineup of songs from the best of today's composers.

"Requiem", which was written and sung originally by the amazingly talented Eliza Gilkyson, was originally written for the tsunami, but the words reflect the pain we've recently experienced from the hurricanes as well.

Of course, there would be a song about Iraq. The title song, "Day After Tomorrow" written by Tom Waits, is one of the strongest narratives of what it's like to be a soldier.

You'd think mining songs wouldn't be that topical anymore. "Henry Russell's Lament" which is the story of a trapped miner, will break your heart.

"Jericho Road" is another winner. It's a minimalist Gospel ballad with a lead and responding chorus that will instill the song in your memory for years to come.

My only gripe is at 37 minutes and 10 songs, this CD ends too soon and feels a bit short for me.

Rebecca Kyle, September 2008

1 out of 5 stars

A big disappointment October 8, 2008
10 out of 21 found this review helpful

I heard this recording discussed on NPR and it sounded like a winner. Of course talking about music is like dancing about architecture. The CD was disappointing from star to finish. Poor choice of material. Misguided production. And alas, Joan just doesn't have the chops anymore. She and Steve Earl were a strange combination that didn't work for me.

3 out of 5 stars

yep, her voice has indeed finally aged September 17, 2008
7 out of 12 found this review helpful

and not a strong song selection, either, in my view. her weaker voice is particularly evident to me on requiem, probably because the standard for that song was already set. on the other hand, there is a pleasing quality to the music overall - joannie seems softer. and the album art underscores that. for any joan baez fan, a must-have.

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