Joan Baez: Diamonds & Rust—Analogue Productions 45 RPM All-Analog Vinyl Reissue [2025]

Originally released in 1975 on A&M Records, Diamonds & Rust marked a major evolution in Joan Baez’s career. Known throughout the 1960s as the conscience of American folk—armed with an acoustic guitar and a soaring soprano—Baez embraced a more contemporary, textured sound on this album. Lush arrangements, polished studio production, and the support of top-tier Los Angeles session players helped bridge the gap between the folk revival and mid-’70s folk-rock.

The result was both a critical and commercial breakthrough. Diamonds & Rust introduced Baez to a broader audience while offering longtime fans a deeper, more musically expansive view of her artistry. The title track—an autobiographical reflection on her relationship with Bob Dylan—became an instant classic and remains one of her most enduring songs.

⸻

A Longtime Audiophile Favorite

Diamonds & Rust has enjoyed a loyal following among audiophiles for decades, bolstered by its appearance on Harry Pearson’s “Super Disc” list in The Absolute Sound. Original U.S. pressings are still sought after, and several high-profile reissues have attempted to capture the magic: a 1980 half-speed master from Nautilus, a 1995 Mobile Fidelity Anadisq 200 edition, and now, its most ambitious incarnation—a 45 RPM, all-analog reissue from Analogue Productions. Cut by Matt Lutthans at The Mastering Lab from the original tapes, this new edition is pressed on two 180-gram LPs at QRP and housed in a deluxe Stoughton tip-on gatefold jacket.

⸻

The Music

What gives Diamonds & Rust its lasting power is its graceful balance of intimacy and sophistication. Baez contributes four originals and curates a thoughtful selection of covers from Bob Dylan, Stevie Wonder, Jackson Browne, Janis Ian, and John Prine.

Highlights include:

• “Diamonds & Rust” – The emotional core of the album. Synth textures and subtly layered instrumentation enhance the song’s vulnerability and grandeur.

• “Never Dreamed You’d Leave in Summer” (Stevie Wonder) – Stripped down to acoustic piano and guitar, this performance delivers heartbreaking simplicity, letting Baez’s voice shine.

• “Jesse” (Janis Ian) – A slow-burning arrangement builds toward a poignant horn solo. Baez’s interpretation is restrained yet deeply affecting—among the finest versions of this much-covered track.

The studio band includes an all-star lineup of West Coast session greats: Larry Carlton, Dean Parks, Joe Sample, Larry Knechtel, Wilton Felder, Jim Gordon, and more. Their contributions are nuanced and supportive—enhancing the songs without ever overpowering Baez’s vocal presence.

Joan Baez and Bob Dylan

⸻

Comparing the Pressings

To evaluate each version, I focused primarily on the title track, with additional spot checks across the album, using my reference system (now upgraded with the Phasemation PP-500 cartridge—review forthcoming—and EA-350 phono preamp). This level of resolution proved crucial in appreciating each mastering’s unique character.

⸻

Original U.S. Monarch Pressing (1975)

Surprisingly, the original emerged as the most transparent of the group. Baez’s voice soars with clarity and presence, acoustic guitars shimmer, and subtle textures—string squeaks, ambient cues—are vividly rendered. The mix feels natural and open, with a beautifully layered midrange and tight, tuneful bass. Once thought slightly bright, it now plays with a remarkable poise on a revealing modern system.

⸻

Nautilus SuperDisc (1980)

This half-speed master subtly tames the vocal edge of the original while maintaining its spirit. Baez’s voice remains expressive and clear. Bass is a bit more pronounced but remains musical, and the overall tonal balance is warm and inviting. A tasteful remaster—refined but faithful.

⸻

Mobile Fidelity Anadisq 200 (1995)

A disappointment. Top-end sparkle is dulled, acoustic detail is veiled, and the bass lacks definition. Baez’s voice sounds oddly distant, lacking its trademark purity. Whether due to source tape condition or mastering choices, this pressing feels flat and disengaged—a misstep from MFSL.

⸻

Analogue Productions 45 RPM (2025)

Matt Lutthans’ mastering takes a more interpretive path. Instead of recreating the original’s forward vocal presence, he opts for a smoother, more integrated presentation—much like his approach on Billie Holiday’s All or Nothing at All. The results are lush, immersive, and emotionally resonant. While top-end sparkle is slightly reduced, tonal warmth and dimensionality are enhanced. Piano is rounder and fuller, guitars more harmonically complete, and the overall soundstage spacious and consistent across all four sides. Rather than aiming for analytical precision, this mastering emphasizes musical flow and emotional impact.

⸻

Final Thoughts

So—what’s the “best” version? That depends entirely on your system and your sonic priorities:

• For transparency and immediacy: The original U.S. pressing remains remarkably compelling, especially on modern gear.

• For tasteful refinement: The Nautilus is a gentle update that preserves the album’s core strengths.

• For rich tone and emotional depth: The Analogue Productions 45 RPM reissue offers a deeply engaging, luxurious listening experience.

Each of these three top choices represents a valid and rewarding mastering approach. None is strictly better—each reveals a different side of Diamonds & Rust. And that variety, for collectors and dedicated listeners, is a gift.

Personally, the arrival of the Analogue Productions reissue rekindled my interest in this record. It led me to revisit and re-evaluate Diamonds & Rust in ways I hadn’t before. It’s a version I’ll return to often—not to replace the original, but to sit proudly alongside it. Highly recommended.

[Audiophilia provided its own record sample for this review—Ed]