Forrest Gump (1994) is one of the most successful films ever made, winning Tom Hanks his second successive Best Actor Oscar (he won the previous year for Philadelphia) as well as claiming the Best Picture Oscar and many other awards and nominations, including several for music. A unique fable of American life from the 1950s to the 80s, the film blends comedy, drama, war, romance and groundbreaking special effects into a social and political portrait of the passing years, all seen through the eyes of the intellectually challenged but immensely likeable Forrest Gump. The soundtrack is a double album featuring 31 classic pop tunes plus a suite from Alan Silvestri's rich orchestral music, represented more completely on the companion score album.

This 1987 best-of compiles the work from A&M efforts that marked a stylistic change from her Vanguard years, yet a pretty consistent level of success. Relying on the work of other artists seemed to be more hit and miss during the A&M era. In Baez's interpretations of songs like Bob Dylan's "Simple Twist of Fate" and "Forever Young" and John Lennon's "Imagine," her pitch-perfect tone might strike some as unemotional, but her singing is engrossing nonetheless. Not surprisingly, Baez sounds the best here with the tracks that deviate from weighty issues. "Gracias a la Vida" (sung in Spanish) and the haunting "Di Da" (with Joni Mitchell) have her giving off more charm and emotion than usual. "Children and All That Jazz," from her best-selling 1975 album Diamonds & Rust, has a gorgeous, heavily produced '70s L.A. pop/rock style that suited her voice. Unlike many greatest-hit sets, Classics, Vol. 8 also offers strong live performances, including "The Night They Drove Old Dixie Down" and the CD closing "Amazing Grace." Classics, Vol. 8 has the strength of a regular release effort and more than captures the time frame and the artist it's spotlighting.

This 1987 best-of compiles the work from A&M efforts that marked a stylistic change from her Vanguard years, yet a pretty consistent level of success. Relying on the work of other artists seemed to be more hit and miss during the A&M era…

Joan Baez's second album, recorded when she was 20 years old, is a hearty helping of folk masterpieces that give ample evidence to exactly how she was established as a leader of the contemporary folk scene of the day. In August of 2001, Joan Baez, Vol. 2 was reissued in an audiophile remastered edition, with new annotation and containing three additional songs from the same sessions – all are a match for anything on the original album, and "I Once Loved a Boy" and "The Longest Train I Ever Saw" count among the saddest, most emotionally enveloping songs of Baez's early career.

Joan Baez is a Mexican-born American citizen born in 1941 in New York. His father is a physics teacher and his mother tells a drama story at university. There were also ministers in the ascending branches of his family. She studied guitar at Boston University and gained a thorough but not virtuoso guitar knowledge. She began to take folk music more seriously around 1958. He accompanied his excellent singing voice with the playing of his acoustic guitar. Her first major performance was in 1959 at the Newport Folk Festival. Her talent was noticed by the Vanguard company and they soon found contact with each other. Shortly after the contract was signed, her first album, named after the singer, was released. On this disc is the song We Shall Overcome, which has become the anthem of left-wing youth because of what she has to say. In 1963, there was a massive demonstration in Vashington; the enthusiastic crowd sang We Shall Overcome. With her current politically charged songs, she became the number one folk protest singer in the US. In the 1960s, she worked with the country’s greatest folk musician, Bob Dylan.

For about a year after the Woodstock Music and Art Fair in 1969, it seemed as though everyone wanted to stage a rock festival. However, The Rolling Stones' disastrous Altamont free concert (documented in the film Gimme Shelter) forever tarnished the image of the rock festival in the U.S., while in Europe, the 1970 Isle of Wight Festival was fortunately less deadly than Altamont, but nearly as controversial. Staged by two men with greater ambitions than practical experience (not unlike Woodstock), the festival was held on a small island off the British coast, where some of the finest rock talent of the day – Jimi Hendrix, The Doors, The Who, Miles Davis, Joni Mitchell, Donovan, Jethro Tull, Joan Baez, Leonard Cohen, and Kris Kristofferson, among many others – were scheduled to play over the course of five days.

Despite her Latin heritage, Joan Baez probably wouldn't have been encouraged by her 1960s record label, the New York-based independent Vanguard, to sing an entire album in Spanish. At A&M Records, the Los Angeles firm co-founded by Herb Alpert that she joined in the early '70s, however, it would have been a different story, and it was A&M that released Gracias a la Vida ("Here's to Life") in 1974. Baez demonstrates an affinity for Mexican folk music on such obvious choices as "Cucurrucucu Paloma," but it's no surprise that, a year after the assassination of leading nueva canción folksinger Victor Jara in a military coup in Chile, an atrocity that shocked the American folk community, she has not backed away from her political commitments. There is "Guantanamera," a song that may have been a Top Ten U.S. hit for the Sandpipers in 1966…

There are a number of arguments to be made for and against Maria Muldaur's 2008 antiwar statement Yes We Can! on Telarc (before actually listening to it; remember, we live in a cynical culture). The "perceived" negatives all relate to the intent of the recording and who it's supposed to reach (no doubt an expression of the same set of beliefs rooted in Muldaur's 1960s music), and the fact that it's loaded with guests (in all fairness, these star-studded affairs seldom work). On Yes We Can!, her guests include Muldaur's old friends (Joan Baez, Bonnie Raitt, Phoebe Snow, Jane Fonda, and Holly Near) and influences (Odetta) and new pals (writers/spiritual gurus Anne Lamott and Marianne Williamson, and Indian spiritual teacher Amma). Does it read as if it is yet another exercise in self-referential backslapping? Yep. But don't believe everything you read on the back of a CD jacket. The positives are all musical.

Joan Chandos Baez is an American singer, songwriter, musician and activist. Her contemporary folk music often includes songs of protest or social justice. Baez has performed publicly for over 60 years, releasing over 30 albums. Fluent in Spanish and English, she has also recorded songs in at least six other languages…

A&M's 1977 collection The Best of Joan Baez doesn't chronicle her most influential work, but that doesn't mean it's not without merit. Far from it, actually. This is a concise recapping of her poppier recordings for A&M, which include such classic Baez moments as her original "Diamonds and Rust" and a definitive reading of Robbie Robertson's "The Night They Drove Old Dixie Down." The rest of the album splits the difference between covers (including Stevie Wonder's lovely "I Never Dreamed You'd Leave in Summer" and Dylan's "Simple Twist of Fate") and originals, providing an entertaining, enlightening encapsulation of her '70s recordings.