Joan Baez

薰衣草

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　[B]无论是流行还是乡村的榜首歌曲里，都找不到琼·巴埃兹的名字。然而她的名声却实很大。有这么一种说法："如果说鲍勃·迪伦－Bob Dylan是民歌之皇，她即是后"。[/B]

琼·巴埃兹1941年出生于纽约的斯坦顿岛。声线属女高音。1959年曾在纽波特的民俗音乐节上有上佳表现。她的前四张专辑都是英美的传统叙事曲。在美国的人权运动（主要是女权）兴起时，她几乎全力介入，并唱出了带有赞歌气质的歌曲《我们能克服-We Will Overcome》。当她和迪伦为运动作巡徊演出时，曾有一段罗曼史。在60年代她建立了一个研究"非暴力"的研究所。她写的歌中也充满了非暴力倾向。她曾两次因参于反战集会而入狱。1968年与和平运动积极分子David Harris结婚，1972年离婚。虽然1971年她有过一曲《他们将老迪克西拖倒的那夜-The Night They Drove Old Dixie Down》榜上有名，但并不能维持其商业价值。1975年她的歌曲《钻石与铁锈-Diamonds And Rust》是她最成功的一页，也陈述了她和迪伦的感情，并为他们十年后的复合埋下了伏笔。
　　
她的写作方向总是变幻无常。1989年她发行了祝贺30年演出生涯的专辑。其中有她和老朋友保罗·西蒙-Paul Simon等的二重唱。不过她更重视的不是录音而是人权运动。1979年时她发现人权问题是世界性的。（一些人权团体第一次说服美总统卡特，派遣第七舰队去援救越南船民。）她曾以她热情的工作得过数个奖项。80-90年代，她主要的三项工作还是社会活动（笔者就曾在纽约亲眼见她在街头参加一次波兰移民的活动），接受治疗以及唱歌。她组建了一个以欧洲儿童为成员的合唱团''''80年代的孩子''''。1992年发行的专辑《装怕-Play Me Backwards》得全球好评。这张乡村摇滚唱片把她带到和Mary-Chapin Carpenter（著名乡村女歌手获91年葛莱梅等多项大奖）齐名的地位。

　　90年代中期，她开始在非洲声韵中蹉跎。不管怎样，她终是六十年代民歌界的一位巨人。

[此贴子已经被作者于2003-12-13 4:39:58编辑过]

薰衣草

One of the most distinctive Voice of the folk song singers.

i would like to introduce you with this "Voice"!

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[B]
Joan Baez[/B]

[B]Biography[/B]

It''''s been told that some artists live in history - and the lives of other artists are history. From the very beginning of her musical career, Joan Baez has never sought to draw lines between real world, real time events and her own artistic vision. Her instincts have often been that of a journalist - or an incurable romantic. There is plenty of both to be found on Dark Chords on a Big Guitar, Joan''''s first new album of studio recordings in six years.

In the tradition of many of her classic albums, Dark Chords on a Big Guitar is a fresh collection from contemporary songwriters whose work resonates with Joan Baez. The songs are drawn from the pens of Ryan Adams ("In My Time Of Need"), Greg Brown ("Sleeper" and "Rexroth''''s Daughter," whose lyric gives the album its title), Caitlin Cary ("Rosemary Moore"), Steve Earle ("Christmas In Washington"), Joe Henry ("King''''s Highway"), Natalie Merchant ("Motherland"), Josh Ritter ("Wings"), and Gillian Welch and David Rawlings ("Elvis Presley Blues" and "Caleb Meyer").

[此贴子已经被作者于2003-12-13 2:25:51编辑过]

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Joan's appreciation of distinctive songwriting - a hallmark of her recordings and performances ever since she first stepped on a stage - has been heightened over the past decade as a result of collaborative mentoring with an impressive roster of younger artists and songwriters. After attending an early Indigo Girls concert in 1990 (the year after their major label album debut) and then playing concerts together, Joan reinforced her belief in the current generation of songwriters' ability to speak to her. When Joan's album Play Me Backwards came out in 1992, it featured songs by Mary Chapin Carpenter, John Hiatt, John Stewart, and others. Each new album since then has incorporated its share of exciting material, often juxtaposed with songs that reflect Joan's rich folk music heritage.

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Every song chosen by Joan for Dark Chords on a Big Guitar speaks to the times in which we live - could Joan Baez have recorded an album that did anything less? From her earliest LPs, when she introduced a wider audience to songs written by Bob Dylan (whose career has intertwined with Joan's since 1961), Pete Seeger, Woody Guthrie, Phil Ochs, Richard Farina, Johnny Cash, Donovan, Malvina Reynolds, Tim Hardin, and others, Joan was charting new waters. She was among the singers who rejected the hit parade and established a precedent whereby the music of a new generation became the conscience for an emerging era of social activism.

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Living in an age today when musicians of every description routinely (and publicly) participate in social causes (popular as well as unpopular ones, at that), enlist in benefit concerts, and donate their energy and income for a myriad of reasons dictated by conscience and commitment, it's useful to remember the role that Joan Baez played in this evolution more than four decades ago.

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At a time in our country's history when it was neither safe nor fashionable, Joan put herself on the line countless times, and her life's work was mirrored in her music. She sang about freedom and Civil Rights everywhere, from the backs of flatbed trucks to the steps of the Lincoln Memorial at Rev. Dr. Martin Luther King's March on Washington in 1963. In 1964, she withheld 60% of her income tax from the IRS to protest miltary spending, and participated in the birth of the Free Speech movement at UC Berkeley. A year later she co-founded the Institute For The Study of Nonviolence near her home in Carmel Valley. In 1966, Joan Baez stood in the fields alongside Cesar Chavez and migrant farm workers striking for fair wages, and opposed capital punishment at San Quentin during a Christmas vigil. The following year she turned her attention to the draft resistance movement. As the war in Vietnam escalated in the late '60s and early '70s, she traveled to Hanoi with the U.S.-based Liaison Committee and helped establish Amnesty International on the West Coast.

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The soundtrack to those times was provided by a stunning soprano whose natural vibrato lent a taut, nervous tension to everything she sang. Yet even as an 18-year-old, introduced onstage at the first annual Newport Folk Festival in 1959, and during her apprenticeship on the Boston-Cambridge coffeehouse folk music circuit leading up to the recording of her first solo album for Vanguard Records in the summer of 1960, Joan's repertoire reflected a different sensibility from her peers. In the traditional songs she mastered, there was an acknowledgment of the human condition - underdogs in the first, inequity among the races, the desperation of poverty, the futility of war, romantic betrayal, unrequited love, spiritual redemption, and grace.

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Hidden within the traditional ballads and blues, lullabies, Carter Family songs, cowboy tunes, and ethnic folk staples were messages that won Joan strong followings here and abroad. Among the songs she introduced on her earliest albums that would find their ways into the rock vernacular were "House Of The Rising Sun" (The Animals), "John Riley" (The Byrds), "Babe, I'm Gonna Leave You" (Led Zeppelin), "What Have They Done To The Rain" (the Searchers), "Jackaroe" (Grateful Dead), and "Long Black Veil" (The Band), to name but a few. "Geordie," "House Carpenter," and "Matty Groves" became staples for a multitude of British artists whose origins are traced to three seminal groups: Fairport Convention, Pentangle, and Steeleye Span.

In the wake of the Beatles, the definition of what constituted folk music - a solo performer with an acoustic guitar - broadened significantly and liberated many artists. Rather than following the pack into amplified folk-rock, Joan recorded three remarkable LPs with classical instrumentation. Later, when the time was right, as the '60s turned into the '70s, she began recording in Nashville. It provided the backdrop for her last four albums on Vanguard Records (including her biggest career single, a cover of The Band's "The Night They Drove Old Dixie Down") and her first two releases on A&M.

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Within the context of those albums and the approaching end of hostilities in Southeast Asia, Joan decided to cast light on the suffering of those living in Chile under the rule of Augusto Pinochet. To those people she dedicated her first album sung entirely in Spanish, a record that inspired Linda Ronstadt, later in the '80s, to begin recording the Spanish songs of her heritage. One of the songs Joan sang on that album, "No Nos Moveran" (We Shall Not Be Moved), had been banned from public singing in Spain for more than forty years under Generalissimo Franco's rule, and was excised from copies of the album sold there. Joan became the first major artist to sing the song publicly when she performed it on a controversial television appearance in Madrid in 1977, three years after the dictator's death.