Joan Baez in the 1960s

Chances are, if you liked her debut album, you would like this one as well.

It opens with a capella piece and it follows with a collection of ancient, traditional songs covered with same magic dust, played with only a guitar and sung by THAT voice - the subtle news are bluegrass background by "Greenbriar Boys" that fits perfectly with the whole timeless atmosphere (her "Lily of the West" is one of the highlights of the album). Yes, most of the songs are tragic one way or the other but this is usual subject of this material, besides who was not obsessed with death at that age (Baez was in her early 20-es) and as always, her singing is so graceful that it defies any criticism. Perhaps its a little too similar to previous album, but this is also a good thing and probably what listeners expected from her at that point.

Where the Queen of Folk songs turns her attention to current song writers like Bob Dylan, Johnny Cash, Phil Ochs and Richard Fariña, giving them same respectful treatment as to any of traditional material she had recorded before. The biggest surprise is haunting classical piece by Heitor Villa-Lobos where she is backed by full blown classical orchestra- it is a well known soprano aria and probably most famous composer's work, even my friend who is a singing teacher was deeply impressed saying it was recorded faultlessly, although now in retrospective it seems it has nothing to do with the rest of the album except showing off what Baez can do. However, hat off to choice of material and conscious decision to ignore anything that was banal or commercial.

Title song (poetic, cowboy tune by Bob Dylan) points at Baez's infatuation with young "unwashed phenomenon" - four of the songs were written by him and Dylan's hero Woody Guthrie is also included, along with Dylan's UK imitator Donovan. Opinions are divided between those who think she interpreted Dylan's songs too seriously ("prettify them") and those who appreciate the fact that she brought his songs to wide audience that didn't care for original interpretations. I tend to go for later group, since Dylan's singing has always been acquired taste and does not appeal to everybody, while Baez's soaring soprano was hugely popular, followed and imitated at that time - she helped his career and it can't be ignored.

Music-wise it sounds very much like a pretty folkie album of 1960s - there are very subtle traces of country here and there, occasional traditional song, very simple music accompaniment and even a German version of anti-war song by Pete Seeger. Her version of classic country hit "Satisfied Mind" shows that Baez could have been a great country singer had she been inclined so.

Joan Baez of the 1960s was much more than a singer - she was a symbol of serious, deeply committed young woman who inspired thousands of followers around the world. What she was not, was a "pop singer" and nobody expected from her some bubblegum music (not even that she would consider that option) so this quasi-classical album of Christmas songs is not such a huge departure from her 1960s work that heavily relied on traditional folk songs.

Surroundings are new - everything is arranged by Peter Schickele who places Baez's angelic soprano in the middle of almost medieval orchestration of flutes, lutes, mandolins, harpsichord and such. It sounds like something of "Robin Hood" movie and its not really so far removed from "Come all ye tender ladies" music Baez built her fame on. Under all that cellophane singer is still unmistakably herself and that recognisable voice sound actually very good in this setting, though how much listener likes it depends on his/hers preference for Christmas music or simply to the fact do you find her voice appealing - personally I always found her an exceptional singer (even with admittedly a certain lack of humour back than) and most surprisingly, I actually like short instrumentals that came as a break from her somber tone.