By late 1965, most members of the folk community were feeling the pressure of a changing music world -- between the presence of folk-rock bands like
the Byrds and newer outfits like
the Beau Brummels and
the Leaves coming up, not to mention
Bob Dylan himself going electric, they were now competing against some high-wattage (in the most literal sense) rivals for the attention of audiences. Most wilted in that environment, but
Baez rose to the occasion, partly because she was able to; her voice was one of the most hauntingly beautiful in the world, and she was no slouch when it came to finding (and later writing) good songs. To be sure, her sixth album is top-heavy with
Bob Dylan songs, including the title track, which he never officially recorded -- on that basis alone, it attracted a lot of attention from his fans -- and her epic rendition of "A Hard Rain's a-Gonna Fall," which can stand up next to
Dylan's own for sheer, sustained power, and her falsetto-driven performance of "It's All Over Now, Baby Blue" didn't hurt in that department. But rather than relying on the
Dylan repertory to sell the album, she made
Farewell, Angelina worthwhile all the way through. Of the two traditional songs here, "The River in the Pines" is a throwback to
Baez's simple, unadorned early sound; but "Wild Mountain Thyme" is something new and special, her understated yet jaunty-tempo rendition almost minimalist in its scoring, yet it sticks with the listener as long (or longer) than, say,
the Byrds' recording. Her version of
Woody Guthrie's "Ranger's Command" should be heard for its sheer lyricism and loveliness, and her recording of
Donovan's "Colours" might even have been a hit single if it had been handled right --
Bruce Langhorne's amplifier turned up one notch, from 3 to 4, might've done it. "A Satisfied Mind" was not only a stunning recording (especially on the final verse), but took her one step closer to the country music sound and repertory that would enrich
Baez's music in the second half of the '60s. And she even managed to give a special nod to
Pete Seeger's universal notions of pacifism by including a German version of "Where Have All the Flowers Gone." Beyond
Baez's singing, the album is also worth hearing for
Langhorne's guitar work and the performance of
Richard Romoff on string bass on "Wild Mountain Thyme" and "A Hard Rain's a-Gonna Fall." This would be the last time that
Baez would work with so small, spare, or deceptively simple an accompaniment -- the next time out, she'd have a full orchestra and then a complement of Nashville musicians backing her.