That Joan Baez 'new album is the first studio album in five years succeeded so can not simply be explained by the fact that here each position (producer, musician, song, art and of course, that voice) occupied perfect. There's a bit more in the game, a quality that defies any rational definition and adopt only artists who know no boundary between them and what they do. "Day After Tomorrow", dry dust produced by songwriter Steve Earle, who contributes three songs, is Joan Baez in a beautiful pure culture. First there is this voice, full, rich, experienced and very different from the bell-bright soprano of previous years. Baez has lost its pathos and urgency won - which is not least also due to the purely acoustic instrumentation and the same withdrawn as homogeneous gambling strip. Transience, death, faith and salvation are the dominant themes of the album. One does not have to be religious to fall at Eliza Gilkysons "Requiem" on his knees. "Oh Mother Mary, come and carry us in your embrace!" She begs and carries the listener to places that can only achieve great music. This intimate, non-ideological purism folk Joan Baez is perhaps closer to himself than ever. (The Schallplattenmann)
