Joan Baez’s fifth album, released in October 1964 and simply called “Joan Baez/5”, was among her most commercially successful, charting at #12 in the USA and #3 in the UK. Its title track, “There But For Fortune”, was released as a single and became a hit in the UK singles chart at #8, although it only charted in the USA at #50 (where it probably suffered due to its political message). It was written by the contemporary folk singer Phil Ochs, and was one of a number of contemporary songs on the album including Bob Dylan’s “It Ain’t Me, Babe”, Johnny Cash’s “I Still Miss Someone” and Richard Fariña’s “Birmingham Sunday”. The other 8 songs on the album were the traditional folk tunes that people were used to hearing from Baez, but as her career progressed, she gradually moved away from such songs and towards more contemporary songs—so this album was the first step on the path. This album is a great introduction to Baez, since it shows both of those sides. If I was going to recommend someone an album, I’d go for “Farewell, Angelina”, the album released after this one, but the two are very close in quality.
“There But For Fortune” is clearly the most successful of the contemporary covers here, and it deserved its success. The idea of the song is to get you to empathise with the unfortunate and downtrodden people of the world—prisoners, drunkards and so on, and to realise that “but for fortune”, you could be one of those people. Even if you don’t approve of this message, you have to admit that musically, this is a pretty good song. I really like way the guitar sounds here, in particular.
The next song is a light-hearted 19th-century ballad about a horse called “Stewball”. This one has a nice melody, so nice that John Lennon used it for “So This is Christmas”. So if it sounds familiar to you… that’s where you heard it. The last line might make you laugh. After this is “It Ain’t Me, Babe”, a Bob Dylan song which seems to have been quite popular to cover at that time. Johnny Cash and The Turtles both released well-known versions. Joan Baez’s version isn’t really anything special; I don’t think it really works as well as most of her Dylan covers. But if you’re not comparing it to other versions, you’ll probably like it—it’s one of the catchier Bob Dylan songs and like many of his songs and regrettably few of Joan Baez’s, it has a touch of humour to it.
“The Death of Queen Jane” is a stone-cold serious traditional folk song about Jane Seymour, Henry VIII’s third wife. It’s one of the Child ballads, collected by folklorist Francis James Child during the 19th century. These are generally high quality: “Silkie” and “Barbara Allen” on “Joan Baez, Vol. 2” were Child ballads as well. I don’t think “The Death of Queen Jane” is quite as good as those two—after all, they’re pretty amazing—but it continues the run of good songs which begins this album.
The next one is something different: it’s called “Bachianas Brasileiras”, it was written by the Brazilian composer Heitor Villa-Lobos. For the first three minutes it’s basically an instrumental, with Joan Baez using her voice to accompany the instruments. Then there’s a kind of break in the music and she starts singing very strikingly in Portugese. She sounds a lot like an opera singer to my uninformed ear (though take note that I have never intentionally listened to opera, so I’m not sure if I know what opera singing actually sounds like). It’s definitely a skilled performance, and not unpleasant to listen to between “The Death of Queen Jane” and “Go ‘Way From My Window”, but it’s not like I’m ever going to listen to this song in isolation. But if you’re more interested in classical music than me, you might like it.
“Go ‘Way From My Window” is a nice traditional song with some great high-pitched singing. The following song, a cover of Johnny Cash’s “I Still Miss Someone”, is mostly sung at a much lower pitch, but Baez can sing both kinds of songs really well. Baez’s version is very similar to and just as good as the original; it’s just in a different voice. Next is “When You Hear Them Cuckoos Hollerin'”, a more guitar-driven traditional song; this one is a bit forgettable. The final contemporary cover on the album is Richard Fariña’s “Birmingham Sunday”. I’ve never heard the original version of this song—it doesn’t seem to be on Spotify—but I’d certainly like to, because it has a wonderful sort of mysterious-sounding melody. Joan Baez’s voice is very good at singing that kind of melody, so this is one of the best songs on the album.
Another good song follows called “So We’ll Go No More a-Roving”; this was actually originally a poem by Lord Byron, so the lyrics are excellent. The words are set to a pretty good melody too. However, it’s very brief at just 1 minute 45 seconds. The next song is in Spanish, so I can’t judge the lyrics; unfortunately, unlike “El Preso Numero Nueve” on the debut album, the singing here isn’t interesting enough to compensate.
The album finishes with another Child ballad called “The Unquiet Grave”. It was wise to choose this as the closing track, because it’s probably the best song on this album, although it may not stand out to you at first. It simply has a great melody and wonderful lyrics. Many people have interpreted this song—it’s deservedly popular—but I don’t think anyone sings it more beautifully than Joan Baez.
Of course, if you get the reissued version there are two more bonus tracks for you: “Tramp on the Street” and “Long Black Veil”. But these are probably the worst bonus tracks so far; it’s not really essential that you get them. I don’t mean to say they’re bad songs, but they’re simply mediocre. “The Tramp on the Street” is probably most well-known from the version by Hank Williams; it compares a tramp on the street to Jesus. Hank William’s whining voice makes the song, and without it, Joan Baez’s version just isn’t interesting enough. “Long Black Veil” is also most famous for a version sung by a country legend, Johnny Cash in this case. It’s better than “The Tramp on the Street”, but again, Baez’s version isn’t particularly appealing to me.