From her younger days as an early trumpeter of Bob Dylan's genius to her subsequent championing of great, under-recognized songwriters like Richard Shindell, Joan Baez has always known how to pick material. DAY AFTER TOMORROW shows that 50 years into her recording career she retains that ability. Aided by an appealingly sparse, acoustic-based Steve Earle production, she tackles tunes by great contemporary tunesmiths like Thea Gilmore, Elvis Costello, Patty Griffin, Tom Waits, and Earle himself. As with Joni Mitchell in latter years, time has done Baez a service by bringing her once-birdlike tone down to a throatier, more intimate area that only adds to her interpretive abilities, and whatever the source, she manages to make every song her own.

Rolling Stone (p.115) - 3 stars out of 5 -- "Baez has teamed up with Steve Earle....It's a fruitful partnership: Earle's hard-won earthiness acts as a counterweight to Baez's ethereal tendencies, and DAY AFTER TOMORROW leans toward tough-minded material with blues and Appalachian overtones."

Dirty Linen (p.51) - "DAY AFTER TOMORROW veritably shines dues to Steve Earle's fine production skills. There is an immediately obvious gentle flow to the song selection and placement."

Mojo (Publisher) (p.106) - 4 stars out of 5 -- "Baez sounds natural and unforced throughout, and the virtuosity of the musicians on mandolin, bouzouki and harmonium fashions a sound of understated elegance."

Record Collector (magazine) (p.82) - 5 stars out of 5 -- "Baez has made a reflective album littered with religious imagery and biblical allusions. She sings as convincingly as when she intoned 'We shall overcome' nearly 50 years ago."