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Day After Tomorrow | 
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| Artist: Joan Baez
Label: Proper Records
Category: Music
List Price: £13.99
Buy New: £8.78
You Save: £5.21 (37%)
New (22) Used (3) from £8.50
Avg. Customer Rating:  4 reviews
Sales Rank: 554
Media: Audio CD
Discs: 1
Shipping Weight (lbs): 0.2
Dimensions (in): 5.6 x 4.7 x 0.4
UPC: 805520030342
EAN: 0805520030342
ASIN: B001AX69A6
Release Date: September 8, 2008
Availability: Usually dispatched within 24 hours
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| Tracks:
| • | God Is God | | • | Rose Of Sharon | | • | Scarlet Tide | | • | Day After Tomorrow | | • | Henry Russell's Last Words | | • | I Am A Wanderer | | • | Mary | | • | Requiem | | • | The Lower Road | | • | Jericho Road |
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| Editorial Reviews:
Amazon.co.uk Review
Joan Baez, whose career spans five super-impressive decades, proves she is still a force to be reckoned with on this 24th studio album. Focusing on major topics like wartime, religion and death, Baez has teamed up with Steve Earle, who has not only produced the album but contributed three songs (two new compositions, and an a cappella version of his "Jericho Road"). As on previous collections, what makes this particular record a resounding success is the choice of songs. Baez covers tunes by Eliza Gilkyson, Diana Jones, Elvis Costello, T-Bone Burnett, as well as British songwriter Thea Gilmore. Though the compositions are generally upbeat, the mood is reflective as Baez's famed soprano--shorn of some of its top notes by now--weaves its spell over these largely acoustic numbers. The standout song is perhaps the title track, an affecting Iraq War ballad originally penned by Tom Waits. Where Waits typically performs it in his inimitably grizzled manner, Baez plays it gently, accompanied by insouciant acoustic guitar, subsequently transforming it into an even more human and fragile moment. A dazzling collection. --Danny McKenna
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| Customer Reviews:
 (a word in edgeways) September 23, 2008
That cover pic: the radiance in those eyes, and that smile! Wow, Joan: so glad to have you back, dear friend.
The flowers on the cd, the warm heart of a kindred spirit, that never-aging how-could-one-forget soprano. The deep humanity and universality, too.
By the time the first spin of this cd was through, a 6 or 7 lyric file had been compiled.
Here, amidst all the useless political squabble over our handkerchief-sized Belgium, we've never ceased to find truth in your words ever since the sixties, driving 'the Old Dixie down', strumming along to your Dylan tunes or 'putting the load right on me myself and I'.
An ode to that fragile planet and that precious inner peace that our kind has been craving for for so long, a wistful homecoming, keeping the dream alive that perhaps, the day after tomorrow we might have learnt and found the dignity and divinity at the core of all creation.
At the end of the day, what Joan's cd adds up to is the value of that gentle fight to cherish what is best about ourselves. Home, where the heart is.
Yes, MS Baez, this is hats off to you, GRANDE DAME of any music. Along with you we hope we SHALL overcome and , people willing, rise up and beyond that scarlet tide of bloodshed, of pain and war. Let us search that pot of gold at the end of the rainbow and sing, if not pray, your wistful tunes. Let us hit the Jericho Road and embark again on Dr Martin L. King's pilgrimage.
Who could, cross his heart, say he does not believe in that God, who, ain't, though your cd proves that very statement wrong, me or us. Period.
Goodness in a grain of sand, as William Blake or Patti Smith had it, and tuned to the humble perfection Tim Hardin's 'simple song of freedom'.
And what a line-up, too!
Dear Joan, our beloved late mom's last sister just turned 101 last June. What your songs achieve amounts to the very thing that she succeeded in doing. Having lived a self-effacing life of braving the hardships that flesh is heir to without giving in, going thus from strength to inner strength.
Ans that soprano of yours remains as crystal clear as it ever was. Your message excels in that same humility, not claiming to right the wrongs of this world (in our college days way back then we set out to improve the world, but walked up behind the banners of Chairman Mao's Red Booklet, which, come to think of it, was but a bunch of lies). Then came Vietnam and Woodstock and Altamont and Palestine and all the rest, and the world basically remained unchanged. Like any passer-by you are looking to find the path towards the innermost of truths and the perennial belief in a better world. I cherish these thoughts as much as I do your personality and vision.
You know what? Over here, "WOW" used to stand for "Waardig Ouder Worden" a tiny political party claiming respect and dignity for the aging.
How very much you embody that conservative, or rather, conservationist idea.
Sometimes one comes across the odd occasion on which a poetry volume or a piece of music finds one's way as if it had been meant to be found before it was made. This is one such occasion. Life 'ain't heavy' when we are brothers and sisters.
Thank you, Joan. You are not just 'any' tunesmith. You're one of the purest water.
 The Original versions are much better September 19, 2008
3 out of 12 found this review helpful
It wrankles with me that Ms Baez is put on a pedestal as one of folks great artist yet to my knowledge she has never written a song of her own but gets all the credit for these wonderful songs! I urge listeners to check out the original tracks by the artists who penned them, they are much better versions, esp' Thea Gilmore, Eliza Gilkyson & Patty Griffin.
Stupendous September 7, 2008
8 out of 8 found this review helpful
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.
Joan Baez heads home on the "DAY AFTER TOMORROW". August 31, 2008
16 out of 16 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.
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