With the upcoming release of A Complete Unknown, the Bob Dylan biopic featuring Monica Barbaro as Joan Baez, it’s the perfect moment to delve into a unique aspect of Baez’s artistry: her collaborations with Dylan. While their personal relationship often overshadows their musical synergy, it’s undeniable that Joan Baez stands as Bob Dylan’s most exceptional duet partner. Her innate musicality allowed her to navigate Dylan’s famously unpredictable phrasing in a way few others could. As Dylan himself acknowledged in the documentary Joan Baez: How Sweet the Sound, “We could sing just about any kind of thing and make it make sense.”
Their duet history primarily spans two significant periods: the early to mid-1960s and the Rolling Thunder Revue tours, with a few additional performances in the 1980s. To truly appreciate their musical partnership, let’s explore their recorded duets alphabetically, moving beyond biographical narratives to focus purely on the songs themselves. This journey will uncover at least 21 distinct songs they performed together, a testament to their remarkable musical connection. While rumors of other early duets like “Masters of War,” “Farewell,” and “Don’t Think Twice” exist, recordings remain elusive. Interestingly, “Girl from the North Country,” a song their characters famously duet in the biopic, doesn’t appear in their actual duet catalog.
Let’s embark on a song-by-song exploration of the Baez-Dylan duet canon, celebrating Joan Baez Songs and her unparalleled harmony with Bob Dylan.
Blowin’ in the Wind
It feels fitting to begin alphabetically with “Blowin’ in the Wind,” a song they performed together across three decades – the ’60s, ’70s, and ’80s. A 1963 performance at a Joan Baez concert offers a glimpse into their early collaborations. In this recording, Baez seamlessly alternates between singing the lyrics with Dylan and adding wordless, beautiful harmonies in the background. It’s a shame the recording cuts off prematurely, as it captures the magic of their early sound.
Image of Joan Baez and Bob Dylan performing together, early 1960s
Many renditions of “Blowin’ in the Wind” highlight the unique quality of their singing partnership, but the Rolling Thunder Revue performances from 1975 are particularly captivating. They often opened their duo sets with this song, beginning before the curtain even rose. The anticipation and then the reveal of seeing them together again must have been an electrifying experience for the audience. The Scorsese film offers a glimpse into this dramatic reveal.
During the Montreal stop of the tour, they added a special touch to their “Blowin’ in the Wind” duet by singing the chorus in French, showcasing their adaptability and shared musical understanding.
Dark As a Dungeon
“Dark As a Dungeon” is the first of several cover songs they duetted on during the Rolling Thunder Revue era. Some were intimate acoustic performances, while others, like this Merle Travis classic, were backed by the full Rolling Thunder band. Their voices blend powerfully on this tune, delivering each line with shared intensity. However, this performance feels more like a trio than a duo, with Scarlet Rivera’s violin playing a prominent and equally captivating role alongside their vocals.
Deportee (Plane Wreck At Los Gatos)
Another cover from the Rolling Thunder Revue, “Deportee (Plane Wreck At Los Gatos)” comes from the second leg of the tour in 1976. This performance, featured in Hard Rain, is significant as it provides video footage of their duet. Observe at 2:08 when Dylan unexpectedly begins a verse, and Baez instantly adapts and joins him. Throughout the song, Dylan often sings with his eyes closed, while Baez remains watchful, expertly following his every musical move. Her ability to anticipate and harmonize with Dylan’s spontaneous changes is a hallmark of their duet performances and highlights her exceptional musical intuition, making these Joan Baez songs truly special.
Dink’s Song
“Dink’s Song” represents a deep dive into Dylan’s early folk roots. For a single 1976 performance, Dylan revived this tune from his earliest folk days, a song first heard on the “Minnesota Hotel Tape” bootleg from 1961, part of the Great White Wonder collection. It’s highly probable that Joan Baez herself reminded him of this traditional song, popularized by Pete Seeger and others. You can even hear her subtly prompting him with the lyrics off-mic at 1:20, showcasing her deep knowledge of folk music and her influence on Dylan’s repertoire.
Image of Joan Baez playing guitar and singing, folk music era, possibly 1960s
“Dink’s Song” gained renewed attention later, thanks to its prominent inclusion in Inside Llewyn Davis, the Coen brothers’ film often seen as inspired by Dylan’s early days in Greenwich Village. This revival underscores the enduring appeal of these older folk tunes and the depth of Dylan’s and Baez’s shared musical heritage in the realm of Joan Baez songs.
A Hard Rain’s A-Gonna Fall
Duets of “A Hard Rain’s A-Gonna Fall” were rare. This recording, from another unidentified summer 1963 concert, appears to be the only documented instance. In truth, it’s barely a duet. The performance is predominantly a Bob Dylan solo, with Joan Baez joining only for the final phrases of each chorus. However, when she does sing, her voice adds a powerful and resonant layer to the song, demonstrating even in brief moments her capacity to enhance Dylan’s work.
I Dreamed I Saw St. Augustine
“I Dreamed I Saw St. Augustine” is another standout from the Rolling Thunder Revue. Interestingly, they presented this song in two distinct arrangements across the 1975 and 1976 tours. In 1975, a full band provided backing for their duet, creating a richer, more expansive sound. In 1976, they opted for a more stripped-down approach, accompanied only by their acoustic guitars, highlighting the raw intimacy of their voices. While both versions offer unique strengths, the 1975 rendition arguably has a slight edge in terms of overall impact. However, the 1976 performance showcases a remarkable moment at 2:17 where they perfectly sustain the word “head” in harmony, exemplifying Baez’s unparalleled ability to follow Dylan’s nuanced vocal inflections in these Joan Baez songs.
I Pity the Poor Immigrant
Imagine a Rolling Thunder-era Joan and Bob re-recording the entirety of John Wesley Harding as fiery duets – “I Pity the Poor Immigrant” offers a tantalizing glimpse of what that might have sounded like. This powerful rendition, well-known from the Hard Rain movie, became a staple of their 1976 tour setlist. The song’s dramatic stop-start arrangement is incredibly effective, pushing Baez to sing with a more forceful, less traditionally “pretty” vocal style than she often employs on quieter ballads. It also provided a moment for her to showcase her stage presence, incorporating maraca-shaking dance moves during the instrumental breaks, adding another dimension to these dynamic Joan Baez songs.
I Shall Be Released
“I Shall Be Released” marks a return to the first Rolling Thunder tour and is notable as this tour marked the song’s live debut. Bob and Joan included it in their setlist almost every night, and their duet rendition is arguably the definitive version of the song. David Mansfield’s pedal steel guitar work is a highlight of the arrangement, adding a layer of soulful texture. A brief clip from the Scorsese film captures the performance’s energy. The clip also reveals a charming moment where Baez casually drapes her arm around Dylan, highlighting her comfortable and unawed presence alongside him. Where others might be intimidated by Dylan’s iconic status, Baez clearly operates on an equal footing.
This song was also one of the two they performed together during their brief 1984 tour. Unfortunately, this later version sounds somewhat under-rehearsed. However, even in this less polished performance, Joan’s vocals weave beautifully in and out of Dylan’s, demonstrating their enduring vocal compatibility, even if the overall execution is not as strong as their earlier collaborations on Joan Baez songs.
It Ain’t Me Babe
Returning to the 1960s, “It Ain’t Me Babe” stands out as one of their more recognized duets, largely due to its inclusion in the Live 1964 Bootleg Series. Baez had released her own cover of the song in 1964 on her album 5, making it a natural choice for their joint performances. While a significant duet, it may not be a personal favorite for all. At times, her voice blends so seamlessly with his that it almost becomes superfluous, particularly in the Halloween show recording. The Newport Folk Festival performance from earlier in the summer, however, offers a more charming and engaging rendition. In this version, they stumble over the lyrics early on, leading to shared grins and laughter that make it endearing and capture the playful side of their musical partnership within these Joan Baez songs.
