Diamonds and rust10/31/2022 ![]() ![]() It’s all come back too clearly, yes, I love you dearlyĪnd if you’re offering me diamonds and rust, I’ve already paid Now you’re telling me you’re not nostalgic Speaking strictly for me we both could’ve died then and there Our breath comes in white clouds, mingles and hangs in the air Now we’re smiling out the window of the crummy hotel over Washington Square Now I see you standing with brown leaves all around and snow in your hair I’ll be damned, here comes your ghost againĪnd you decided to call Joan Baez “Diamonds and Rust” 1975 Joan Baez, Diamonds and Rust - Live, 1975 And I think maybe it’s because I’ve already sung them, and who wants to compete with that? But it’s always flattering when somebody does.” – Joan Baez One is they’re personal – they don’t have a universal quality to them. It’s very rare for people to cover my songs. “I love that! I was so stunned when I first heard it. So, what did Baez think when she heard Priest’s version of the song? In an interview with Darryl Sterdan of QMI Group, she was asked about Judas Priest’s amazing classic cover of her song “Diamonds And Rust” that masterpiece can be found on their 1977 album, Sin After Sin. Whom she introduced to the world at the Newport Folk Festival in 1963. Ever since, she has balanced art and activism, using her name and fame to oppose war and capital punishment while fighting for human rights and the environment. Diamonds & Rust in the Bullring smacks of being a placeholder in Baez's discography, which makes it an odd release for an artist willing to wait so long to return to making records.In the early ’60s, folk music icon Joan Baez often campaigned for peace and civil rights alongside her then-boyfriend – the obscure folksinger named Bob Dylan. Actually, the Spanish side is more moving than the English one, in which Baez seems to be just running through some familiar material or turning in interpretations of such classics as Bob Marley's "No Woman No Cry," Leonard Cohen's "Famous Blue Raincoat," and the Beatles' "Let It Be" that have been done definitively by their originators. Also part of the Spanish side are a translation of Sting's "They Dance Alone (Gueca Solo)," called "Ellas Danzan Solas (Cueca Sola)." (Singing in Spanish always seems to remind Baez of the bloody Chilean military coup and its aftermath.) But the song that most moves the crowd is the pretty "Txoria Txori," a song in Basque with which they sing along. Half of the collection (side two of the LP and cassette, tracks seven through 12 of the CD) consists of songs sung in Spanish, recalling her 1974 all-Spanish album Gracias a la Vida and including that LP's title song, here performed as a duet with Mercedes Sosa, "El Preso Numero Nueve" (which was also on her debut album, Joan Baez, in 1960), "Llego con Tres Heridas," and "No Nos Moveran" (aka "We Shall Not Be Moved"). ![]() The album chronicles a show performed by Baez, in a bullring, naturally, in Bilbao, Spain, in 1988, and it demonstrates what makes her such a draw overseas. ![]() ![]() Diamonds & Rust in the Bullring is not to be confused with her 1975 studio album Diamonds & Rust, of course, and it is not a live recording of the songs from that album, either, even though the song "Diamonds & Rust" itself does lead it off. record stores, Joan Baez continued to be more of a force in Europe than in her homeland, and she followed Recently with what was actually her third live album to be recorded in Europe in the 1980s. Although she released a comeback album, Recently, in 1987 after eight years away from U.S. ![]()
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