Two-thousand-and-eight is a landmark year for Joan Baez marking 50 years since she began her legendary residency at Boston's famed Club 47. She remains a musical force of nature whose influence is incalculable—marching on the front line of the civil rights movement with Martin Luther King, inspiring Vaclav Havel in his fight for a Czech Republic, singing on the first Amnesty Interna¬tional tour and just this year, standing alongside Nelson Mandela when the world celebrated his 90th birthday in London’s Hyde Park. She brought the Free Speech Movement into the spotlight, took to the fields with Cesar Chavez, organized resistance to the war in Southeast Asia, then forty years later saluted the Dixie Chicks for their courage to protest war. Her earliest recordings fed a host of traditional ballads into the rock vernacular before she unselfconsciously introduced Bob Dylan to the world in 1963 and focused aware¬ness on songwriters ranging from Woody Guthrie, Dylan, Phil Ochs, Richard Fariña, and Tim Hardin, to Kris Kristofferson and Mickey Newbury, Dar Williams, Richard Shindell, Steve Earle and many more. If ever a new collection of songs reflects the momentous times in which Joan finds herself these days, and in her own words, "speaks to the essence of who I am in the same way as the songs that have been the enduring backbone of my repertoire for the past 50 years," Day After Tomorrow is that record, her first new studio album in five years (released September 9, 2008).
