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A Terrific Starting Point Aug 21, 2009
Like most Dylan fans, I find it hard to pick a favourite among the three masterpieces Dylan recorded in the mid-60s. To be fair, Highway 61, Blonde on Blonde and Bringing it all Back Home can all lay claim to being Dylan's finest release. My special fondness for Bringing it all Back Home likely has to do with the fact that it was the breakthrough to Dylan's electric period coupled with the fact that the album (the first in the series) is something of a hybrid, boasting both electric and acoustic tracks.
By this point in his career, Dylan's song-writing had taken a decisive turn away from the overtly political offerings of his third album: The Times They Are A'Changing. The follow-up to that album, the transitional Another Side of Bob Dylan contains at least two tracks (It Ain't Me Babe & My Back Pages) in which Dylan all but renounces his role as spokesman of his generation. That delightfully quirky album, however, in no way prepared Dylan's fan for the album that shortly followed.
In its original LP form, Bringing it all Back Home was divided between an acoustic side two and an electric side one. It was, of course, the electric side that came as the surprise, gaining Dylan new fans even as it lost Dylan some of his loyal folk-music-following. Call the music on that first side rock, call it folk-rock, call it electric folk: call it what you please, but none of Dylan's previous work could have led anyone to anticipate the sheer power of "Subterranean Homesick Blues" and that of many of the tunes that follow. (Personal favourites include the well-known "Maggie's Farm", the boisterously funny "Bob Dylan's 115th Dream", and the hauntingly beautiful ballad, "She Belongs to Me").
And yet, to this listener's ears, the album's true highlights are found on its second side. Perhaps as a result of his experiments with electrified music, perhaps as a result of his rejection of straightforward "message" songs, Dylan's writing seems to have taken a leap forward, with the four selections on the original side two of this album representing the richest fruit of that forward leap. "Baby Blue," "Tambourine Man," "Gates of Eden" and perhaps especially "It's Alright Ma" represent the young Dylan at his most hauntingly lyrical and musically rich.
It's the juxtaposition of the electric and acoustic Dylan that will always lead me to hold Bringing it all Back Home in especially high esteem. That's why I regard this album as a terrific starting point for those who only know Dylan through one or more of the Greatest Hit packages that have been released over the years. For anyone wanting to take their next step in becoming acquainted with the work of this wonderful American artist, look no further: Bringing it all Back Home is a wonderful place to begin.
Quintessential Apr 26, 2009
The 60's started here. Popular music never heard anything like it, and it very likely never will again. The Beatles had to play catch up after and they did with "Revolver" but they never did catch ol' Bob again.
Another Classic Disk Apr 18, 2009
From the blurry hazy cover photo of the young Dylan and Suze Rotolo this album shows the influences of chemically expanded consciousness and classic blues. The song titles alone show the incredible imagination of Bob Dylan at his creative best. "Subterranian Homesick Blues" features Bob flexing his lyrical command and with the rhyming political commentary. "She Belongs To Me" is a tender ballad, yet another song that makes no reference of the title in the words. "Maggie's Farm" is great ranting song with a cutting harmonica that the band plays like their lives depend upon it. "Love Minus Zero/No Limit" is a love song with unbelievable metaphoric references throughout. Dylan sings, "My love she speaks like silence" in a song that again shows Bob's command of paradoxical word play. "Outlaw Blues" and "On the Road Again" are good tunes. "Bob Dylan's 115th Dream" is a joyous romp where Dylan breaks up in laughter and has to start the song over. The story told reflects a newer version of Captain Ahab, and describes some of the folks he and Bob encounter in Dylan's dream. "Mr Tambourine Man" is the often covered standard which was one of the great hits off the disk. The record takes a darker turn with "Gates of Eden", "It's All Right, Ma (I'm Only Bleeding), and "It's All Over Now, Baby Blue", which were frequently covered by different artists throughout the 60s and 70s. In all, a wonderful release that captures one of the best songwriters at his height of creativity. A must have!
Bringing It All Back Home Oct 13, 2008
Bringing It All Back Home being Dylan's 1965 release and his 5th studio album is without a doubt a grand album. The album is divided into one accoustic and one electric side. Here we have classic tracks such as Mr. Tambourine Man, It's alright ma (I'm only bleeding). The book-let is very nice with a photograph on the cover of Dylan together with some woman. I do not know who it is to be honest. Inside we get poetry penned by Dylan that I find to be very interesting. We also get a plethora of pictures of Dylan recording the album. The back cover photo is a photo of Dylan playing guitar in the studio. 5/5.
Bringing It All Back Home Sep 16, 2008
Bob Dylan-Bringing It All Back Home *****
This is it. Dylan hinted at greatness previous to this but Bringing It All Back Home did just that when originally released in 1965. This set Dylan on a role of classic albums that wouldn't stop for nearly a decade. With minor exceptions of course.
What is most notable about Bringing It All Back Home is that not only did Dylan go electric but he learned the meaning of melody. Songs like graceful wanderer that is 'She Belongs To Me' the almost controversial, and always misunderstood 'Mr. Tambourine Man' and the elegant closer 'Its All Over Now Baby Blue' all carry melodies that would make The Beatles or The Beach Boys blush.
Controversially speaking Dylan plug in his guitar for this album, and thus becoming 'JUDAS' to the folk community. Laughable yes, but these 'peaceful folkies' were serious. The electric guitar took Dylan to new heights and plateaus in his career. Reaching places he would have never reached without it and would have been a fool not to embrace it. A fool Robert Zimmermen is not.
Lyrically this may be his strongest of all time. 'Live Minus Zero/No Limit' is beyond genius. 'Bob Dylan's 115th Dream' is otherworldly. 'Its Alright Ma' is eerie. The Politics of 'Subterranean Homesick Blues' and 'Maggie's Farm' often go over the casual listeners head though are political satire at it's best. Most importantly though is dark 'Gates Of Eden.' An epic to destroy your favorite epic. Without a second thought, 'Eden' is by far Dylan's best.
Bringing It All Back Home did just that, and with force. If it isn't the mans best album it is a very close second. Essential
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