Considering the profound impact Joan Baez has had on the convergence of American music and social justice, it’s challenging to envision what this intersection would be without her influential presence. Music, while not innately political, can serve as a powerful catalyst for change, and Baez, a pivotal figure in the counterculture movement of the 1960s, understood this potential. In her own words, she expressed in a 2019 interview with The Guardian, “Songs change a lot. Music lifts the spirits, crosses boundaries, and can move people to do things they would not otherwise have done.” Her insights highlight how music can inspire action and transform lives.

From her remarkable debut at the 1959 Newport Folk Festival, one of her earliest major public performances, it became evident that Baez was not only gifted with a breathtakingly smooth soprano voice but also possessed a powerful message advocating for peace, justice, and integrity. At just 18 years old, she captivated audiences with her passionate performances. Within a few short years, she gained the title of the Queen of Folk and graced the cover of Time magazine, cementing her status as a significant cultural icon.

Throughout the following decades, Joan Baez evolved as a performer, a dedicated activist, and an exceptional interpreter of songs, while also showcasing her talents as a songwriter. Over her illustrious career, she has released more than 30 albums, received nine Grammy nominations, and garnered numerous accolades for her unwavering commitment to human rights. Baez’s influence extends beyond just her music; she has served as a beacon of hope and inspiration for countless individuals fighting for social change.

If you’re just beginning to explore Joan Baez’s extensive catalog, the following list highlights 10 essential songs that span various themes and eras. And for the long-time aficionados, revisiting these timeless classics is always a rewarding experience.

1. “We Shall Overcome”
From: Joan Baez in Concert, Part 2 (1963)

When discussing Baez’s legacy, it’s important to acknowledge her unwavering dedication to amplifying the voices of the marginalized. As a prominent performer at rallies and marches, “We Shall Overcome” became a cornerstone of her repertoire during the early years of her career. This powerful gospel song quickly became synonymous with the struggle for racial equality in America. Below, you can witness the 22-year-old Baez delivering this iconic performance at the March on Washington for Jobs and Freedom on August 28, 1963.

2. “There but for Fortune”
From: Joan Baez/5 (1964)

The narrative of American folk music would be incomplete without mentioning Phil Ochs, a prolific songwriter and political activist. Although Ochs struggled to achieve commercial success, several of his songs resonated deeply with audiences. In 1964, Baez recorded “There but for Fortune,” which ultimately became a Top 10 hit in the U.K. and earned a Grammy nomination for Best Folk Recording. Baez’s rendition brought widespread recognition to Ochs’s poignant lyrics and heartfelt messages.

3. “Birmingham Sunday”
From: Joan Baez/5 (1964)

One of the essential aspects of Baez’s artistry is her unparalleled ability to interpret songs written by others. In fact, much of her early career revolved around performing and recording the works of fellow musicians. “Birmingham Sunday,” a haunting song about the tragic 1963 bombing of a church in Alabama that took the lives of four innocent children, was penned by Baez’s brother-in-law and fellow folk musician, Richard Farina. While Farina’s original version is commendable, Baez’s interpretation is transcendent and ethereal, showcasing her extraordinary vocal talent.

4. “It Ain’t Me Babe” With Bob Dylan
From: 1964 Newport Folk Festival

When discussing the art of musical interpretation, it’s impossible to overlook the contributions of Bob Dylan. The relationship between Baez and Dylan has been the subject of extensive discussion, encompassing their roles as friends, lovers, and collaborators. Fans of both artists often agree that their chemistry during performances is truly unique. Baez’s ability to harmonize with Dylan’s distinctive voice and delivery surprised even him. Their iconic duet of “It Ain’t Me Babe” at the 1964 Newport Folk Festival serves as a perfect example of this remarkable synergy. (Stay tuned for more on Baez’s captivating covers of Dylan’s work later.)

5. “Where Have All the Flowers Gone?”
From: Farewell Angelina (1965)

This track is another stellar example of Baez’s gift for taking existing material and making it uniquely her own. Originally written by Pete Seeger, “Where Have All the Flowers Gone?” showcases Baez’s remarkable ability to transform a song with minimal musical variation into a captivating experience. The song consists of five verses that echo one another with lyrical variations, yet Baez’s sweet, persistent vocals and skillful guitar work compel listeners to remain engaged throughout the entire piece. While the English rendition is featured here, Baez also performed it in German for her 1965 album Farewell Angelina.

6. “Love Is Just a Four-Letter Word”
From: Any Day Now (1968)

Numerous artists have put their spin on Bob Dylan’s compositions over the years, but few have done so as effectively as Baez. She possesses an extraordinary ability to reinterpret Dylan’s songs, infusing them with her unique perspective. In fact, Baez began performing “Love Is Just a Four-Letter Word” even before Dylan completed the writing process, ultimately recording it in 1968. As of this writing in January 2025, Dylan has yet to release his own version or perform it live, underscoring Baez’s distinctive take on his work.

7. “The Night They Drove Old Dixie Down”
From: Blessed Are… (1971)

Levon Helm’s rendition of “The Night They Drove Old Dixie Down” is a classic, yet Baez’s interpretation released in 1971 garnered significant commercial success, even surpassing the original. Her version climbed to No. 3 on the charts in both the U.S. and Canada, showcasing her ability to connect with a wide audience while maintaining the song’s emotional depth and resonance.

8. “Dida”
From: Gracias a la Vida (1974)

By the mid-1970s, Baez began to infuse her music with more original material, reflecting her personal experiences and cultural heritage. In 1974, she released the album Gracias a la Vida, which featured songs primarily sung in Spanish as a tribute to her Mexican roots. The track “Dida” exemplifies this exploration of identity, as Baez sought to embrace her heritage after years of grappling with her mixed-race background. In a 2023 interview with Interview magazine, she shared her struggles with acceptance in both the Mexican and white communities, revealing how her upbringing shaped her artistic journey.

9. “Diamonds & Rust”
From: Diamonds & Rust (1975)

In a candid admission, Baez revealed that her 1975 hit “Diamonds & Rust” serves as a reflection of her relationship with Bob Dylan. Initially, the song was not intended to be about him, but a spontaneous phone call from Dylan changed its trajectory. As she recounted in a 2017 interview with The Huffington Post, the unexpected conversation transformed her writing process. The haunting line, “Well I’ll be damned, here comes your ghost again,” encapsulates the lingering influence Dylan had on her life and music.

10. “The Altar Boy and the Thief”
From: Blowin’ Away (1977)

Even after the Civil Rights Act was enacted in 1964, Baez’s commitment to activism persisted, evident in her performances and songwriting. The 1977 song “The Altar Boy and the Thief” was written in solidarity with the LGBTQ community, capturing the essence of acceptance and love with the line, “To me they will always remain unshamed, untamed and unblamed.” Baez’s own journey of self-discovery led her to publicly come out as bisexual in 1973, further solidifying her role as an advocate for equality and justice.