why do you act as if you want me NOW?"ĭylan's calls evoke both delightful memories (diamonds) AND awful ones (rust). Part of her thinks it's wonderful to hear from him, but another part is angry and resentful, wondering "What the hell do you want? To reminisce about the good old days? Feeling nostalgic? I mean, you obviously didn't want me when you had me. but from time to time, he calls her up out of the blue, and brings all her complicated emotions rushing out again. They split up, and Joan has spent years trying to move on and put him out of her mind. He was always "keeping things vague," acting one moment as if they were going to get married, then acting as if they were just pals. Visit for social networking safety tips for. but the relationship ended because (in Joan's view), Bob could never make up his mind what he wanted from his relationship with her. COLUMBIA and Walking Eye Design are registered trademarks of Sony Music Entertainment. They had some wonderful moments that Joan still treasures.
That was really a nice little tie-up of that whole experience into Joan Baez’s world of music.This song (which, believe it or not, was covered by Judas Priest!) is about Joan Baez's strained relationship with her former love, Bob Dylan. That just speaks volumes about the humanity of Joan Baez. Of all things, to come and say that to us. And she said, ‘I knew you were playing today, and I just wanted to come over to let you know that my son said to me, “If you see anybody from Judas Priest, will you please tell them that I prefer your version of ‘Diamonds & Rust’ to my mom’s version of ‘Diamonds & Rust’?” ’ And I’m thinking, Oh my God, this giant in the music industry is so self-effacing, so self-deprecating. And she comes waving, ‘Hi, Rob.’ ‘Hey, Joan, it’s lovely to see you.’ And we gave each other a hug.
And I’m thinking, Oh my God, she’s going to give me hell for what we did with ‘Diamonds & Rust.’ And I’ve never met Joan Baez before in my life. I’m just finishing an interview with Martha Quinn of MTV, and Martha’s wrapping up, and she’s leaving, and then we’re all backstage. “We’re down in Nassau in the Bahamas making the ‘Turbo’ album when we get a call from the Live Aid people via Bob Geldof and everybody: Would the band come up and do Live Aid in Philadelphia with all the other performers? So we just dropped everything and caught a flight. When Judas Priest fires up that track, it instantly gets the room rocking.”īut Halford didn’t get to meet Baez until 1985, when both were playing Live Aid in Philadelphia. So then for us it became a real fun, interesting experience of taking this beautiful, very fragile song, and making it into this big metal monster. Because at that moment we understood that a great song, as is the case with Joan Baez, ‘Diamonds & Rust,’ will take any kind of translation, any kind of changing direction, changing sound, however you want to describe it. This isn’t heavy metal! How can this be turned into a heavy metal experience?’ But then as the song moved on, I think it was like a bit of an epiphany for Judas Priest. And the initial gut feeling was, ‘This can’t be right. So when we first hear Joan, simply Joan and her acoustic guitar, singing the opening lines, ‘I’ll be damned, here comes your ghost again,’ we all looked at each other. we have no idea what was going to come through the speakers. We’re all aware she’s a very, very famous lady, famous musician, famous activist. Now bear in mind, we all know who Joan Baez is. We take it out and there it is, a 45 single, Joan Baez, ‘Diamonds & Rust.’ We go in the studio and open an old record player and put the single on the top and press start and watch it drop and the needle go, and then the music starts. This 45 single came in the mail, registered delivery from the label.
“The first time we heard that song, we were in a little studio.
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