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The classroom rang with children's voices under teacher's watchful eye
We learned about the world around us at our desks and at dinnertime
Reminded of the starving children, we cleaned our plates with guilty minds
And the stones in the road we played like marbles in the dust
Until a voice called for us to make our way back home
When I was ten, my father held me on his shoulders above the crowd
To see a train draped in mourning pass slowly through our town
His widow kneeled with all her children at the sacred burial ground
The TV glowed that long hot summer with all the cities burning down
And the stones in the road flew out from our bicycle tires
Worlds removed from all those fires as we raced each other home
And now we drink our coffee on the run and climb that ladder rung by rung
We are the daughters and the sons and here's the line that's missing...
The starving children have been replaced by souls out on the street
We give a dollar when we pass and hope our eyes don't meet
We pencil in, we cancel out, we crave the corner suite
We kiss your ass, we make you hold, we doctor the receipt
And the stones in the road leave a mark from whence they came
A thousand points of light or shame, baby, I don't know
Stones in the road
I heard the refrain and realized that I'd heard this song about a million years ago and fell in love with it but never knew who did it because the DJ never announced it... So I've had this chorus echoing in my head for decades, and now I know with certainty that I love it - and I know why. Talk about closure - or perhaps a new beginning...
DJs: always back announce please!
Ah, never mind. There ARE no more DJs, in the original sense of the word:
"The term 'disc jockey' was ostensibly coined by radio gossip commentator Walter Winchell in 1935, and the phrase first appeared in print in a 1941 Variety magazine. Originally, the word "disc" in "disc jockey" referred to phonograph or gramophone records and was used to describe radio personalities who introduced them on the air." ~ Wikipedia
Of course, none of that matters now because the world has Radio Paradise!
Miss you Cynaera!
Every track is a standout
All lyrics, no melody. Not my cup of tea.
I assume you are using hyperbole, because this song certainly has a very distinct melody.
This is what I think Natalie Merchant should aspire to - very pleasing to the ear! Much wider dynamics.
Neither of those sentences make any sense to me.
How about playing some Mary Chaplin Carpenter? Her original is so much better than this.
I agree!
Did Mary Chaipan Carpenter write this or Joan Baez?
Mary Chapin Carpenter.
Well I'm impressed. I haven't heard Joan Baez from this angle. Sounds pretty darn good.
Yes - I found her music/politics tedious in short order and stopped listening. Had to look to verify that it was JB and read the lyrics. Simple and effective.
Joan Baez as Dar Williams
No matter. I like 'em both. Their music and their activism - I like to think Dar Williams makes Joan Baez proud.
c.
Joan Baez as Dar Williams
I'm pretty sure Ms Baez isn't trying to 'do' anybody else.
I've never thought that Joan mattered much.. does she? Who cares what I think.
Even if you don't like her music, she's worthy of deep respect. Here's a bit from Dylan about her.
The 22-minute piece, "Where Are You Now, My Son?" (one side of the album of the same name) is a unique depiction of the Vietnam War, a collage of sounds, conversations and singing accompanying the lament of a mother who has lost her son.
The sounds were recorded in Hanoi, where Joan Baez was stuck with a delegation of the peace movement around Christmas 1972. While the bombs were falling, Joan Baez was singing "Silent Night" with the people around her.
The "Christmas Bombings" were the heaviest bombardments by the US Air Force since the Second World War. Baez later wrote in her memoir, And a Voice to Sing With, that the album "is my gift to the Vietnamese people, and my prayer of thanks for being alive."
When the album was released in 1973, Joan Baez was 31 and a world star. Her performance at the Newport Folk Festival in 1959 had launched her meteoric career. Many of her records went gold. She was onstage at the legendary Woodstock Festival in 1969 and also made Bob Dylan and his songs world famous. Those were just a few of her musical achievements.
Inseparable from Joan Baez' music was her political activism: In 1963, she marched side by side with Martin Luther King against racial segregation. She was later arrested during protests against the Vietnam War.
In 1966, right in the middle of the Cold War, she was invited to perform in East Germany on May 1, International Workers' Day. Rather than serving as the poster child of Communist authorities, she had dissident songwriter Wolf Biermann join her unannounced onstage at the East Berlin cabaret, Distel.
The state had already blacklisted and banned Biermann from performing publicly. But Baez wouldn't toe any ideological line: She opposed oppression, whether from the right or the left. The concert was filmed for East German television but never broadcast.
Highlow
American Net'Zen
She has quite a catalog of great songs, but I agree this one stands alone.
Although I'm used to MCC version which I just prefer.
No one resembles her.
Me, too. This one seems "too happy"...
Mary Chapin Carpenter's version is WAY superior!
Me, too. This one seems "too happy"...
Sounds like her a little - i know i know it Joan Baez
I sort of like the phrasing Mary does a little better
I don't think I've heard this song before, and I liked it better that way.
Without knowing this, I thought it really sounded like MCC's style. I'll have to see if I can find MCC singing it.
"toujours un plaisir d'ecouter une pareille voix on a pas oublie"
"I wonder why few of today's modern singers are unable to sing with this kind of emotion"
"But try to hear portuguese singers like Amalia, Teresa Salgueiro, Mariza, among others"
I agree. Like Joni, she abandoned that shrill sound of her earlier work (yay).
I agree. But this is still good. I like the way Joan Baez' voice has matured.
Sweet irony, since it's a song about childhood.
This is not really a cover version, but the first recorded release of this song, written by Mary.
I like them both, Mary Chapin Carpenter and Joan Baez.