Bringing It All Back Home

Fuck me what an annoying cunt

I try and try but I just can’t do Bob Dylan 🤷‍♂️ His voice is annoying and that damned harmonica, sheesh

Day 41 of Albums You Must Hear.. Each day I receive a random album from the 1001 must hear collection, and so far it been pretty fun. One of the cool things about the randomness is that I could be having a conversation about an artist and the very next day receive an album from them. I am far from a music expert, and these assessments are merely my response to hearing albums that are, although very different at times, all held in high regard. Yesterday, I spoke about Jimi Hendrix covering a Bob Dylan song and stated it as ‘yet another Dylan song made better by another artist’. While I still stand behind the gist of that statement, in all fairness, I know very little about Bob Dylan, aside from the very basics. Yes, I know that Dylan is considered one of the greatest American songwriters of all time. I recognize pictures of Dylan with his wild, wavy hair, harmonica, and Wayfarers. I know that he was mainly considered a Folk music artists and when he switched from acoustic music to adding in electric guitar, his fans were pissed. Lastly, I know that when He and The Beatles met in the 60’s that something clicked in music forever. Dylan showed up with a nicely rolled marijuana cigarette to share with The Fab Four as he had mistakenly confused the lyrics from I Want To Hold Your Hand as “I Get High”. (The lyric was actually “I Can’t Hide”) Dylan is the second most covered artist of all time, so it’s no surprise that he has been monumentally influential on music culture for the greater part of a century. In 1965, Dylan released Bringing It All Back Home. Side one has Dylan backed by an electric band, while side two has him with his well familiar acoustic guitar. I was warmed up by the electric blues guitar on the hip rock opener Subterranean Homesick Blues, a fantastic song. She Belongs to Me is beautifully written and familiar. On the Road Again is cool and harmonica driven, which I’m a sucker for. The final track of the electric side, Bob Dylan’s 115th Dream is satirical and witty, and has a false start outtake that has a young Dylan giggling and is endearing. I’m glad they kept that part in, as it humanizes the poet. Side two, the acoustic side, starts off with Mr. Tambourine man, one of Dylan’s best and well known compositions. It’s Alright, Ma (I’m Only Bleeding) is the deepest and maybe most personal song on the album, and because of that, it’s one of my favorites. It’s All Over Now, Baby Blue, the final song Bringing It All Back Home is a simple, yet powerful ballad with only a harmonica, acoustic and bass guitar. It’s been covered many, many times. This album was never, ever on my radar before yesterday, and thanks to this project, I now understand why it’s so important and I agree that it’s a must hear, without doubt. I have a new appreciation for Bob Dylan now, and that’s one of the greatest aspects of absorbing the records each day. Please share your thoughts, memories, and opinions!!

Bob takes a wild leap out of Woodie Guthrie's overalls, expanding to new jangling, hallicinating, electric territory. The folk rock cooks. The folk folk is some of his best (It's Alright, Ma). It's early 1965 and Bob is far ahead of the pack with a machete, and the Rolling Stones still have bowl cuts. A+

I must be missing something here. At least I can say I listened to it. Good thing I didn’t pay for it.

Although The Basement Tapes was the first Dylan record I heard, Bringing It All Back Home was my real introduction to *Bob Dylan*, that guy with the unique singing voice who writes the mind-blowing lyrics. Perhaps a lot of other younger children would have been turned off, but I was instantly hooked. It was the beginning of a lifelong listening journey that has brought me immeasurable joy and enthrallment. I considered this record my favorite of Bob’s for a long time, no doubt due to my nostalgic attachment. As the years have passed, two albums have overtaken it in my personal rankings, but that holds no bearing on how highly I think of it. Some days, it’s still my favorite, and how could it not be? We finally get the emergence of rock and roll Bob, who nails it right out of the gate with “Subterranean Homesick Blues”, a relentless beat-poet cultural commentary with a Chuck Berry-esque groove and proto-hip-hop vocal delivery. It’s followed up two songs later with “Maggie’s Farm”, an equally quotable and breakneck critique of societal expectations. The combination of Bob’s pointed vocals and the band’s rickety drive create a sound unlike anything that came before it, a sound that still aids these two major compositions after all these years. Their urgency is also crucial to the spirited “Outlaw Blues” and the persistent boogie of “Bob Dylan’s 115th Dream”, two additional rocking highlights. For all of the attention this album receives as the introduction to electric Dylan, the ballads on Bringing It All Back Home are responsible for so much of its greatness. The studio band is wonderfully tasteful on “She Belongs to Me” and “Love Minus Zero/No Limit”, two remarkable celebrations of love that rank among my top 25 Dylan tracks. Then, of course, we’re treated to the acoustic second side of the record, beginning with the psychedelic masterpiece of “Mr. Tambourine Man”: Yes, to dance beneath the diamond sky with one hand waving free Silhouetted by the sea Circled by the circus sands With all memory and fate driven deep beneath the waves Let me forget about today until tomorrow The glorious lyrical imagery combined with Bob’s top-notch vocal is sheer brilliance. Bruce Langhorne’s electric guitar work acts as a nice textural feature as well, ensuring that the recording is as good as the song itself. Dylan also receives accompaniment on the album’s closer, “It’s All Over Now, Baby Blue”, joined by William E. Lee on bass as he delivers one of the grandest melodies he’s ever written. The lyrics and soundscape are as mournful as “Mr. Tambourine Man” is joyous, marking an arresting end to the record. Sandwiched in between these two giants are two completely virtuosic lyrical exercises. “Gates of Eden” and “It’s Alright, Ma (I’m Only Bleeding)” are not only the two most evocative songs he’d written up until this point; they remain two of his most engrossing songs to this day. The latter in particular is still one of the most quotable tracks in his catalog (“He not busy being born is busy dying”; “Even the President of the United States sometimes must have to stand naked”), and its criticism of American consumerism and political hypocrisy, among other things, is as relevant today as it ever was. Whenever I take time away from Bringing It All Back Home, I’m always shocked when I return to it and remember how loaded it is. I know the track listing front-to-back, but to actually hear this group of songs in sequence is an experience I always treasure. I’d venture to say nine of the 11 tracks are in or close to my top 100 Dylan songs, and six - “Subterranean Homesick Blues”, “She Belongs to Me”, “Love Minus Zero”, “Mr. Tambourine Man”, “It’s Alright, Ma”, and “Baby Blue” - are probably in my top 30 alone. The fact that it works so well as a cohesive whole solidifies it as a top 3 Dylan record in my book, and one that I’ll always be grateful for. Least favorite track: “On the Road Again”. Super fun musically, and some memorable lyrics (“Your grandpa’s cane, it turns into a sword/Your grandma prays to pictures that are pasted on a board”). It’s just surrounded by so many titanic compositions, and it’s the one I return to least. Favorite track: “It’s Alright, Ma (I’m Only Bleeding)”. In addition to my aforementioned points, I’m totally in love with Bob’s focused, intense vocals and propulsive guitar work. It’s absolutely phenomenal; my third favorite Dylan track. 5+/5

This is peak 60’s Dylan. The actual album is split down the middle between electric and acoustic songs, reflecting the fissure that was taking place in western culture (culminating in the ‘Judas’ moment one year later). The whole album is an expression of Dylan’s out with the old and in with the new sensibility (that’s what upset the folk community so much who sought solace in the past traditions) I listened to a radio 4 play at weekend where Richard Curtis and other media types re-enacted the night where they were supposed to meet Dylan at a restaurant in London only for him to stand them up. It was awful, and I learnt that there is nothing more annoying than some middle aged and middle class bores regurgitating well known Dylan myths to prove their fandom. So I’ll spare you the essay but this is top 5 Dylan for me. P. S. Van Morrison's Them do a beautiful cover of 'it's all over now baby blue' that is worth checking out if you're interested.

You can see why he’s the voice of a generation. Some of the songs are just relentless poetry, Subterranean Homesick Blues, Maggie’s Farm, Outlaw Blues; wild, fun, sounds like a chase scene describing the 60s. Multiple softer classics in Baby Blue, Tambourine Man, It’s Alright Ma. Lots of great melodies, insanely good lyrics. Fun album, Lovely album. Easy 5.

It’s another f@ckin Bob Dylan song!…so it’s another 1 Star!

There's too damn much Bob Dylan on this project. His music does nothing for me and his voice drives me up a wall. I'm tired of finding different ways to say these things in my reviews.

Classic. I know this album as well as I know any. Genius. Any song on here could pretty much be the best track. The best "fuck you" to folk and rock. And he had two more to follow...and then the other genius albums. One of the most important albums ever made. No wonder he's His Bobness. Best Tracks: Subterranean Homesick Blues, Mr Tambourine Man, It's Alright Ma (I'm Only Bleeding).

A lyrical masterpiece despite approx 25% being ripped from the bible.

This is the best Dylan album so far. Every single one of these is a hit. If someone was like "I don't get why Bob Dylan", you'd play this for them.

Far and away my favorite Dylan I've gotten on this list. The opening track might be my favorite song of his. Another classic. 5 stars all day.

Incredible stuff - never gets old. Awesome songwriting

Brilliant song after brilliantly written song. There usn't a bad track on here. Saw a writer say Dylan left the protest songs behind - not sure he got what was being protested.

This is a 10. Incredible. An all time great

Before this album, Dylan was known as THE modern songwriter and folk artist, being named the voice of his generation and a major part of early 60's counter- and youth culture. He introduced thousands of people into Folk music and made the genre pretty much his own. But when this album released with the electric guitar and rock music influences, people were disappointed in him and his way of changing his sound. Looking back, that was stupid as he pretty much made his best albums with that sound. But he didn't go Folk Rock right away as only the first half of the album is the typical Folk Rock fashion. 'Subterranean Homesick Blues' opens the album with fast lyrics and dense instruments that can only make one interested in this album. The lyrics are weird but incredible (like most of Dylans) and there is an argument to be made that this is one of his best songs. I just wished the song was a little longer with a more extended harmonica solo. A change of pace is 'She Belongs to Me' with a more sombre but still interesting approach that buts the electric guitar more into the background and let the acoustic work shine a bit more. It's a great song and the electric guitar adds a lot even if not that present. Another big highlight is the countlessly covered 'Maggie's Farm'. Dylan's voice gets a bit weirder again and I have to say that I absolutely love it even if I had my struggles the first times listening to his music. The little bits of Country and Rockabilly sprinkled throughout are gorgeous and the chorus is incredibly catchy. With 'Love Minus Zero / No Limit' we get a hint of what some songs on his future albums will mostly sound like and while he definitely hasn't perfected the sound yet, it is still great. For me this song just screams 'Blonde on Blonde' Side 3. The song is still incredible and I absolutely love his delivery of the lyrics. But, like 'Subterranean Homesick Blues', he should've made it longer. 'Outlaw Blues' goes a lot more into the fast paced Blues influence from the first track and while it isn't as incredible as that one, this is still catchy and groovy. Just a prefect blend of his styles and influences. In comparison 'On the Road Again' falls a little short. Still a great song, it's just not as dynamic with its sounds as most other songs so far. Although I love it still, this is the "worst" song on the first half. The funny false start intro of 'Bob Dylan's 115th Dream' might sound weird at the beginning but once the song does start, it is really solid. More than solid actually. The song is the second longest on the album but feels not that much longer compared to the mostly 3 minute rest. The build-up is done fabulous. My only slight criticism is that around the halfway mark, the song gets a little unfocused which does slightly harm its consistency and overall flow. The non-rock influenced Folk side starts with the legendary 'Mr. Tambourine Man' that mainly earned that title with "The Byrds" cover version released only a couple months later. And I do think that this original version feels less spot on. The start is great and so is the lyricism throughout but I just get uninterested after a while with the repeating chorus and verses that don't feel like they are going anywhere. He should've cut the song after 4 minutes. That may all sound negative but I think its still a really good song all throughout. 'Gates of Eden' is what an acoustic Dylan is supposed to be: more ominous performance performance, familiar yet weird lyricism and a slight anger in the quirky vocal performance. Oh, and a randomly appearing harmonica. I absolutely adore this song and Dylan's performance and I wish that this is what he would've done with 'Mr. Tambourine Man' but like that song, this song is also a little bit too long although I don't mind it as much. I'm a little conflicted on 'It's Alright, Ma (I'm Only Bleeding)'. It is in the eyes of a lot of Dylan fans one of his best songs of all time. It is really innovated with the Beat Poetry style vocal delivery and the lyrics are among his best on the album. The slight Blues influences on the guitar work are catchy and drive the song throughout with a kind of flow that is really one of a kind. But all through the whole song, I don't really fall in love with it. It's great, perfect even if viewed on a pure songwriting and skill level but it doesn't really light the spark that other of his songs did. The album closes on 'It's All Over Now, Baby Blue' that I think is the best song on this half of the album. It's a very emotional outro to the album that is very memorable with the chorus. I absolutely love this song. It is so gorgeous. favourites: It's All Over Now, Baby Blue, Subterranean Homesick Blues, Maggie's Farm, Outlaw Blues, Love Minus Zero / No Limit, She Belongs to Me least favourites: Mr. Tambourine Man Rating: strong 9 https://rateyourmusic.com/~Emil_ph for more ratings, reviews and takes

When “Mr Tambourine Man” started, I thought, hey, they’re playing this cover pretty straight and then I remembered. Same happened with “It’s All Over Now, Baby Blue”. A classic I never got round to. Of the records from the list I’ve heard so far, maybe only this and ‘Rubber Soul’ have that spookiness peculiar to the best recordings: immersed, the old is new, with the sensation of witnessing something entirely novel coming into being. Not my usual stuff, but obviously brilliant. I’ll get myself a copy.

I fucking LOVE this album! This might be my favourite iteration of Dylan, I just love him going electric. I know it caused such a stir back in the day when he shifted his style, but it was a bold ballsy move that works for him. He's always challenged his listeners to keep up with him or fuck off. He goes where his artistry guides him and does what he wants, a total maverick. "Don't ask me nothing about nothing, I just might tell you the truth.” Subterranean Homesick Blues is an incredible opening track, Maggie's Farm is such a fun bop (I love cranking that one and singing along loudly in the car), and Mr. Tambourine Man is a high watermark of Dylan's songwriting. It's all solid, the whole way through. It's a great fucking album. It is irresistibly fun and cheeky and it will always hold up. Well done, Bob. Well done!

One of my new favorite albums. Feels like I jacked up caffeine intravenously while dripping rainbow-colored vials into both eyeballs. Such a trip.

Whether you like Bob Dylan's nasal voice or not, many of his songs are still very listenable, intense and timeless - It's NOT all over Baby Blue

Just splendid - can't fault it.

Starts off strong, and stays steady from there.

The first of likely many Dylan albums here. The only debate is whether it gets a 4 or 5 from me. Good God, the music released in 1965 is just insane. I don't see how anyone can give this anything less than a 4. I count Subterranean Homesick Blues, Maggie's Farm, Love Minus Zero, Bob Dylan's 115th Dream, Mr. Tambourine Man, It's Alright, Ma (I'm Only Bleeding) and It's All over Now, Baby Blue as classics. So it's a 5 from those seven gems alone. Don't fight it.

I can’t really stand Bob Dylan, but even I can admit this is a pretty great record.

This was my second Dylan album but the first I felt I’d doped out. Of course it was—I was 19 when I heard it, Dylan 23 when he made it. Like your garden variety young man, he’s preoccupied with truth and power. Like your garden variety song writing genius, he transforms his preoccupations into phrases, aphorisms and gags that shine a light on society, politics, romance, received wisdom and his mind-blowing talent. It’s an exhilarating game of cat and mouse, Dylan sometimes following the musicality of the previous word to complete his line (“the motorcycle black Madonna two wheeled gypsy queen”; “I was the editor of a famous etiquette book”), sometimes cramming the words in to make his point (“Human gods aim for their mark / Make everything from toy guns that spark / To flesh-coloured Christs that glow in the dark / […] not much is really sacred”). To generalise more than I can defend, rock ‘n’ roll side A takes on power, folk-poetry side B examines truth. R’n’R is all about staking your claim to exist, questioning authority, being misunderstood. There’s plenty of that on Subterranean, Maggie’s Farm and 115th Dream: “They asked me for some collateral and I pulled down my pants”; “Don’t follow leaders / Watch the parkin’ meters”; “She’s a hypnotist collector / You are a walking antique”; “I ain’t gonna work on Maggie’s farm no more”; “I said, ‘You know they refused Jesus, too’ / He said, ‘You’re not Him’”. When it comes to rating this, I’m splitting hairs between a 4 and 5. I’ll go low because this sounds like Dylan figuring out his next move. As a result, a couple of these lean towards sketches. I’m also being a little unfair by considering the quality of what came next, which is even better. Maybe I wouldn’t be so harsh with someone else but, you know, it’s Dylan; he’ll get more 5’s from me than maybe anyone else. Delighted to hear this again. I send my praises to the gods of art that one person was able to give us so many indelible phrases, explosions of intellect, and unforgettable tunes. Go on, give it a 5. I’m only gonna shake your hand if you do.

La série noire du générateur se poursuivant jour après jour, et ce malgré la promesse de Robert de ne la faire durér que 5 jours, je commençais à me trouver de plus en plus excédé. Cet enervement a dépassé la limite du raisonnable à l'écoute de cet album absolument minable de Bob Dylan, et j'ai donc pris une décision: j'allai me rendre au domicile de Robert pour lui toucher deux mots sur ses manières peu orthodoxes. Je me présentais sur son parvis, et poussais la porte menant dans son entrée. A ma grande surprise, je ne suis pas accueilli par un chaleureux "Ah eltrapèze, ça faisait longtemps, installe toi !" comme Robert en a l'habitude, lui qui me considère comme la prunelle de ses yeux. Un silence pesant régnait dans l'habitacle. Je trouvais cela un peu étrange, Robert ayant pour habitude à cette heure de la journée de coordonner différentes actions policières aux quatre coins du monde depuis son bureau, donnant sur la porte d'entrée. Je me dis qu'il s'était peut-être eabsenté pour quelques minutes, et décidait de passer le temps en rendant visite à Ray Charles, dans sa gêole présente au sous-sol. Une fois la vingtaine de marches avalées, ce fut le choc: la cellule de Ray Charles avait été forcée, et le pauvre soulman n'était plus à l'intérieur ! Qu'avait-il bien pu se passer ? Devant ma mine effarée, les New York Dolls m'invectivèrent de leur voix de crecelles: "Hiiiiiiiiiiihihihi tu cherches Ray Charles?" "Oui, que lui est t'il arrivé ?! Vous êtes ses voisins de celulles depuis des années, vous savez forcément ce qu'il s'est passé ?!" "Monte au premier étage hiiiihi, mais tu risques d'être surpris hihihiiiii" Les New York Dolls se mirent à éclater de rire de leurs voix aigües sur cette dernière phrase. Il faut savoir que je n'ai normalement pas le droit de me rendre au premier étage de la maison de Robert, puisque cet étage renferme ses immenses quartiers, qui sont interdits d'accès à quiconque ne fait pas partie de la famille Dimery (Robert et Mike Ladd en l'occurence). C'est le pas tremblotant que j'entamais l'escalade des pas moins de 230 escaliers menant à ce lieu secret. Alors que je m'approchais de la dernière marche, j'entendis les bribes d'un dialogue. "Tu vas payer pour tes actes" [...] "Mais c'est la faute des Stephen Stills..." [...] "Je vais te faire vivre un calvaire". Je décidais alors de faire irruption dans la salle pour en avoir le coeur net. "Mais qu'est-ce qui se passe ici ?!" Ce que je découvrit me fait encore frissonner à l'heure où j'écris ces lignes. Robert était ligoté au sol, la semelle d'un homme sur le visage. Cet homme, c'était Ray Charles, complétement métamorphosé. Il était equipé d'une longue cape noire, et d'habits eux aussi entièrement noirs. Son visage était obscur et renfermé, ses yeux enflammés de haine. Le Dark Ray Charles se retourna vers moi brusquement: "Déguerpis si tu veux avoir la vie sauve, rien ne m'arrêtera, Robert doit payer:" Terrifié, je courrus en sens inverse les 250 marches précedemment avalées, comprennant soudainement ce qu'il s'était passé: les albums de la liste n'étaient plus générés par Robet mais par le Dark Ray Charles. Il fallait absolument intervenir pour rétablir l'ordre générateurien.

You can write 1,000 words, or you can just say...Early Dylan.

Classic singer-songwriter stuff. One of the best. The 60's wouldn't have been the same without him. Social commentary with wry humor all bundled up in a lose poetic wrapper. Right up my alley.

Great album that’s full of piss and vinegar. It’s inconceivable how “going electric” could be such blasphemy these days. 5/ 5

I don't want to give every important Bob Dylan album a 5 stars, but that may be impossible - they're just too important. Pretty much every track is a classic; they can stand on their own and function together even better. The idea of an electric and acoustic side to the record is a stroke of genius. Sure, there are nit-picky issues with some of the performances, and obviously Dylan's voice isn't for everyone. However, great music is seldom if ever free of 'imperfections', which often are a huge part of the appeal anyways (the idea of these songs being introduced to the world by a polished band and vocalist is actually pretty repugnant). Some of these songs are likely going to be with us until we stop making music, it's worth getting to know them from the source.

Oh Bobby

Great album. Very political.

Hearing this album is like being revisited by an old friend. An annoyingly talented, smart, quick witted friend. It's a record that explains why he won the Novel prize; he developed a new form of lyrical/poetic expression, but he did so while creating great tunes, that's the most important part.

I thoroughly enjoyed this album all the way through. The only weird part was the transition between Bob Dylan's 115th Dream and Mr Tambourine Man, but it's also the end of a side on the actual vinyl so it makes more sense ig. I also started to get a tiny bit sick of the harmonica around Gates of Eden but it kinda calmed down after that so it was all good. It’s very fun to listen to as someone who really likes folk because I feel like I can hear the sounds of different artists like On the Beach era Neil Young and Woody Guthrie show up at different times. I probably like the first electric side more, but both are really fun. Bob Dylan’s kinda weird voice also fits very well with everything. Standout Tracks: Subterranean Homesick Blues, She Belongs to Me, Love Minus Zero, Mr Tambourine Man 5/5 deserves to be on this list

On this,he talks more about home than politics,and it has a wholesome and emotional feel to it as a result.His vocals are really good and simple,idk why i always expect to hate em.I think thats also why i love this,its the simplicity of it.Hes not trynna do anything hes not capable of 9.5

Brilliant. My favorite 60s Bob Dylan album. His transition into rock n roll is rather seamless to my ears. I think he might have invented rap music on the opening track. 😆 4.5/5 #180

Fuck yeah, a record I own for historical appreciation that also has an immediate and engaging sound, I use this to test speakers haha. This is during the beginning of the "electric Dylan" stylistic shift, so the second half is acoustic but still has excellent energy. I don't listen to a lot of Dylan, but when I do, it's usually this record.

Obviously great. Slightly addicted to the Maggie's Farm on No Direction Home lately.

I could listen to this several times in a month and it would still be fresh and relevant.

Bringing it all Back Home In Anthology I always disagreed when George says Rubber Soul and Revolver are Part 1 and Part 2 of the same album. As great as Rubber Soul is, Revolver always seemed like a significant leap forward in songwriting eclecticism, sound, scope and vision and the two are very distinct in my mind. This however always felt like Part 1 to Highway 61’s Part 2. Even if it does nod to his previous albums with the acoustic 2nd side, it feels like they could be a double album, particularly as Highway 61 was released only 4(!) months after this. Despite hearing the 3 ‘big’ songs that kick off the first side thousands of times they remain fantastic bits of rock’n’rolled up folk music, the caustic political allusions of SHB and Maggie’s Farm forming a great duo with the romantic and lilting She Belongs to Me squashed in between. And the the remainder of the first side are brilliant too, romantic yearning on the sublime Love Minus Zero and scratching rock’n’roll stomping on Outlaw Blues, pulsing driving bluesiness of On the Road Again and the fantastic image laden Bob Dylan’s 115th Dream. I often think Mr Tambourine Man feels slightly out of time on this album but in a good way. It feels much more like something off The Times or Another Side, but as a collection of internal rhymes and lyrical imagery it is, obviously, superb, surely one of his best no matter how many times you’ve heard it. I think I often overlook Gates of Eden, but it’s another fantastically evocative dream-like set of lyrics, with a slightly foreboding musical feel. It’s All Over Now Baby Blue is of course a classic too, a fantastic melodic bass line and tone and a wearied but emotionally detached lyric. It’s Alright Ma is possibly my favourite Dylan songs, almost satirically Dylan-esque lyrics, full of grim anger and resigned frustration, highlighted by the almost bluegrass-folk guitar and the proto-rapped word filled delivery. As with the version on the Live 66 album, it is amazing how he can hold your attention with just guitar and voice. Fantastic. Of course a straightforward 5. 🩸🩸🩸🩸🩸 Playlist submission: It’s Alright Ma (I’m Only Bleeding)

Dylan is an acquired taste. But few artists provide quite the rewards of making the effort to acquire it as Dylan. This album stands out as it is the bridge between folk and electric Dylan, and you can still hear how side one of this record must have had the same impact as early punk rock. It’s got great tunes - both blues rockers and folk - but the added context of how it shaped music make it an essential album IMO.

A timeless classic from Bob, from his era when he could do no wrong. Electric half is fantastic, the acoustic half is fantastic, struggling to find a weak point on the entire thing. Hard not to get engrossed in his lyrics.

One of the greatest. The second half it’s beautiful.

First Dylan album I love, perfect for spring

Classic Bob Dylan album. Possibly the most important to him as an artist and one of the most influential albums of the 60’s. Dylan going electric is just iconic. “Subterranean homesick blues” is one of the best Dylan songs in my opinion and an electrifying way to open the album. Brilliant folk-rock infused with an almost rap energy with some of Dylan’s catchiest lyrics. The electric side of the album continues to deliver with some of Dylan’s best blues tracks including “she belongs to me”, “outlaw blues” and the best of the bunch “maggies farm”. The latter being a brilliant electric blues track with a simple but great structure and almost punk lyrics. Found amongst these is “love minus zero” which is a good love song. “On the road again” and “Bob Dylan’s 115th dream” close out the electric side. Both are pretty good, but the latter is the highlight for me with its interestingly surreal lyrics and the start being interrupted by laughter before going into the song is a nice touch. Side two begins with “Mr tambourine man” and not much needs to be said about this song - it’s one of Dylan’s best, most iconic tracks ever and one of the best of the 60’s. The surreal nature of the songs continues with the great “gates of Eden” before going into “it’s alright ma (I’m only bleeding)”. A masterpiece from Dylan and one of his best songs, with some of his best lyrics. Most notably “He not busy being born is busy dying”. The album closes with a nice acoustic track “It’s all over now, baby blue”. Whilst this album is probably my least favourite from Bob Dylan’s rock trilogy, it’s still an incredible listen. There are no skips here, and some of Dylan’s best ever songs, lyrics and a great transition into electric songs. Side one is probably better overall for me, although side two has the best individual songs with “mr tambourine man” and “it’s alright ma (I’m only bleeding)”. At first, I thought of rating this album as a 4/5 as it didn’t stand out to me as much as “highway 61 revisited” and “blonde on blonde” but after re-listens my appreciation has grown for the album. Paired with the fact that it is essentially one of the most essential and influential rock albums ever made, there is no reason to give this fantastic record anything other than 5/5. 5/5.

Probably the best Bob Dylan album I've heard.

There are a few songs I don't necessary love, but I have to appreciate that this was Dylan shocking his audience by going electric. Then the last few songs are back to his acoustic style, but with songwriting elevated so much beyond his earlier work. It's almost like he was challenging them to complain that he had changed. This is when Dylan became Dylan.

I find it funny how incredibly transgressive this was to folk fans at the time, which is a testament to how deeply embedded Dylan is into the cultural consciousness that this just sounds like “normal” music. Loads of good songs and excellent wordplay. One of Dylan’s most fun albums, I think

Dylan's transition from folk. Side 1 is stream of consciousness Bob blowing his harp and spitting lines with a ramshackle jalopy of a band chugging along behind him. Side 2 more traditional acoustic folk songs. Subterranean Homesick Blues and Mr Tambourine Man are worth the price of admission

Y

Some great songs on this one.

It's nice to hear Dylan from back before the songs I knew about. It feels smaller and lighter, more tender somehow. I like it.

Folksy.

This is the first of the Bob Dylan albums on this list I've got. Honestly, I've been slightly dreading these: I know it's blasphemous to say, but I've just never really got Dylan. But that said... I enjoyed this, a lot. I knew the most famous songs (Subterranean Homesick Blues, Maggie's Farm, Mr Tambourine Man), but hearing them in the context of the album made them work a lot better for me - on the whole, I still don't like Mr Tambourine Man, won't lie - and some of the unknown-to-me songs were pure pleasures, I particularly enjoyed She Belongs To Me and Outlaw Blues. One thing that I have found about this journey so far - and I'm still very early in it - is that it's giving me the tools to understand albums like this in context a little better. I feel like I'm slowly piecing together bits of a jigsaw and noticing how parts fit together that I'd never noticed before.

The more I hear of his albums, the more I enjoy the poetic style of his songs.

A slippery voice Gliding through stories in prose With a folksy flair

Guy: "JUDAS!" Bob: "I don't believe you. You're a LIAR! [To the band] PLAY IT FUCKING LOUD!" https://www.youtube.com/watch?v=znrlLDG0ynU Very hard to grasp how, from today's standpoint (and especially coming fresh off yesterday's The Downward Spiral), a tame folk-rock album was able to evoke such raw emotions, but there you have it: Bob Dylan, the Judas, the complete and utter sell-out, had gone electric. ⚡😱 Do I like it? It's familiar, it's cozy. Some really great tracks. As a whole, a bit retro-derivative to my millennial ears, which is a ridiculous thing to say of course, but you probably had to be there to fully grasp its significance. Not my favourite Dylan record, but more than happy to have given it a few rotations today.

Really enjoyed this. Feel like I missed Bob Dylan in my earlier years even though he was well before my time. Seems like I connect with the older stuff but I think that the same for everyone ; ) Love Hurricane even though not on this album

its bob dylan bro

Took a few listens to get into, but I’ve come to think it’s great. I really love Robert’s vocal phrasing here; actually, I think his vocal performances in general on this album are quite good. The blending of the folk and rock elements on this LP provides wonderful texture.

Better than the previous Bob Dylan album we listened to.

If I were only going to include one Dylan album on this list (and if I were writing it, I would be greatly tempted to), it would probably be this one. A few of his best-known songs, and a bunch of others which all sound the same: guitars, harmonica, and obscure lyrics. Some people love Dylan, I am not one of them.

No more Dylan!

Imagine being Bob Dylan’s harmonica getting abused more then my favourite kbbq spot

Sometimes I find Bob to be a profound and engaging artist, and at other times I find him to be annoying and a bit of a rambler. This album highlights Bob's more irksome qualities.

More like Bof Dylan ^^

If you asked the most pretentious person in the world to free associate to shitty folk music, this is the record you'd get. I present the definitive poet of the led-poisoning generation: "I went into a restaurant lookin' for the cook I told him I was the editor of a famous etiquette book The waitress he was handsome, he wore a powder blue cape I ordered up some Suzette, I said, "Could you please make that crêpe" Just then, the whole kitchen exploded from boiling fat Food was flyin' everywhere I left without my hat" Absolutely grotesque. The lyrics aren't always this frivolous, but even the less offensive lyrics are still sung by Bob Dylan, who as ever sounds like a kazoo being played into a barrel of oil. Empty ramblings scraped across elementary-level rhyme schemes. 1 star.

Next time we get a Dylan album someone please, please for the love of God shoot me. I just CANT DEAL ANYMORE. I will reiterate: his stupid, whiny, nasally voice is nails on chalkboard for me. ALMOST EVERY SONG HAS A HARMONICA IN IT. WTF DYLAN YOURE ALREADY ANNOYING WHY DOUBLE DOWN??!! And then there’s the lyrics which are just fever dream rambles. Also the fact that the songs get progressively longer on this album really pisses me off. Also listening to this while waiting in line at the DMV just makes it worse. I think I’ve talked myself into giving this a 1 even though it shouldn’t be I’m just so mad at ole Bob right now I don’t care.

I don’t know if it’s because that fucking movie is coming out but getting two of this guys albums in a week is brutal and not giving me a decent amount of space between the two is why this gets a 1. I know I’m supposed to care more about what he’s saying, but his voice is so fucking annoying that it makes me pro-Vietnam purely out of spite. Dylan is a whiny shit with a superiority complex and a harmonica. I’m sure his whole fucking discography is on this list I just hope I’m not going to continue getting them all at once. P.S. Mr Tambourine Man and Subterranean Homesick Blues are yet MORE examples of how Dylan’s songs are in much better hands when he has anyone else perform them. What a shithead.

ANOTHER Bob Dylan album!! What an insufferable, smug little cunt. Thinks he's Telling Stories, but really he's just carrying on with childish, wannabe-intellectual garbage. No wonder he's so popular with the generation that thought everything short of white picket fences was fucking extreme rebellion. Similarly, no wonder Frank Zappa went to town on this sort of deadset shit-tier lyrics/sentiment. Pathetic. 1/5.

Awesome!! Fantastic.

God album. If you're familiar with Dylan you'll be right at home with this. Guitar and harmonica Favorite song: On the road again & Mr. Tambourine Man

Full of hits. 5/5

Primer álbum de Bob que escucho completo, altibajos en el mood perfectamente balanceado Muy cozy pero triste al mismo tiempo, igual que las letras. Muy poético y así, vivan los vaqueros raperos

Legendary

This is an amazing album. Look I understand the controversy around this shift for Dylan at the time but I think it was the right move, as much as I love those early Dylan albums this is better. There’s not one bad track here, but particular highlights include “Subterranean Homesick Blues”, “She Belongs To Me”, “Outlaw Blues”, “It’s Alright Ma (I’m Only Bleeding)” and of course the transcendent “Mr. Tambourine Man” in (I don’t know if this is a hot take) the best version of that song

This is a five from beginning (Subterranean Homesick Blues) to end (It’s All Over Now Baby Blue). With classics like Mr Tambourine Man and Maggie’s Farm mixed in, this album is clearly one of the most important of the last century. Listening to it, I was amazed again at how creative and varied Dylan’s story telling and song construction are. He can sing a thousand songs and they’re all unique and none of them are simplistic or trivial. Dylan is truly in a class by himself. A 5.

Hard to 'hear in context' but still sounds like a collection of bangers. Every song has been heavily polished. It's just a great record. Almost underrated 😂

Classic folkie Dylan great songs

Bob firmly in his do-no-wrong phase. King Midas in fourth gear.

Lots has been said about the best opening lines in a song but if there’s any discussion around the best closing lines, “The pump don’t work, coz the vandals took the handles” gets my vote. I have to admit, I let out an audible groan when another Dylan album cropped up and I nearly didn’t bother listening. Glad I did though, this is great. Subterranean Homesick Blues is a monumental opener that really sets the pace for the rest of the record. Bursting with sharp, entertaining wordplay throughout, this was a great listen. Next time I find myself thinking Dylan is massively overrated (it happens a lot) I’m going to listen to this album.

Off the cuff remark: as a kid of about 10 I still remember hearing "It's All Over Now, Baby Blue" and being almost haunted by it - something that seemed so yearning and somehow mysterious at the same time. It was a decade or more until I heard this album but that song still strikes a chord, but it is one amongst a slew of wonderful songs. Very possibly my favourite Dylan album, although it doesn't have some of my favourite songs. Electric / folk debacle aside he is at the height of his powers here. Standout track: apart from the aforementioned this has Subterranean Homesick Blues AND Mr Tambourine Man on. Masterful. Revisit?: Oh I do and suspect I always will.

So good, obviously influential on some of my favorite artists today

five stars no notes

Classic Dylan. One of his best.

An album on heavy rotation. Both sides are classic and timeless. SPUN

So hard to imagine that this stuff made Pete Seeger so mad he was running around with an axe. Sad, because Seeger seems to have been such a good guy. But maybe the tragedy is that the happy anarcho-syndicalism of the folk scene is about to get swept away by a cult of personality. Anyway, I can never tell whether Dylan's lyrics are great poetry, or just rhymes delivered with maximum conviction. It's okay either way, of course.

This is album that made me love Bob Dylan. It's a tour de force. There are so many interesting things in every song, there are so many things he does that other people would shy away from False starts in songs, no choruses, words that hardly fit into their lines, songs that are essentially nonsense alongside song really deep emotional lyrics. It is all over the place and held together by his genius and the great backing band. An easy 5/5.

9/10 Favourite: Subterranean Homesick Blues Least Favourite: On the Road Again

If we all strove for something unattainable like Bob Dylan for those high notes the world would be a better place. Alas we don't and all I can do is sit here and give him the stars he deserves.

The great Dylan “bridge” album that eased his fan base (minus the idiot that yelled “Judas!” at him in Manchester) between his early acoustic goodness and the electric period that made him absolute godhead.

Great later album. He incorporates more instruments and cleans things up but still remains Dylan

fantastic

Classic album with strong songs

Dylan goes electric! Love this album, Bob Dylan never lets down

Showing off the songwriting skills. Pretty great, everyone should hear this

Great album.

Imagine listening to "It's All Over Now, Baby Blue" and thinking, yep 1*, this album is devoid of any merit