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!

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.

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.

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.

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.

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 ^^

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.

I’m having a bit of an identity crisis as an indie/punk/hiphop and beats lover allergic to folk who it turns out…likes folk?!! Bob Dylan, in particular?! But you have to give it up for quality. His poetry and songcraft show why he’s considered one of the greats. 5 stars

Classic

Iconic, blistering from start to finish, I can never come to terms with this album starting with such a high bar and maintaining that standard throughout. You can make a case for each of the songs on the album being one of his best, Bob was on such a hot streak in the mid-60s.

I really liked this one. I really did. Bob Dylan is one of these names you keep hearing but when you're like me: German and stuck on the same 5 bands since 2018 you never actually had a clue who he was or what music he made. Guess that I won't have to pretend anymore because this album was great. It was really fun to listen to and the lyrics were the exact kind of swaggy countryish story telling that I like. I know (due to Wikipedia) that this is sorta different from his usual style of music, but hey everyone has that experimental phase where they write songs about a very longwinded escape from America. I guess it speaks to me being uncultured that "the funny songs" on this album were the most memorable to me, "On the Road Again" and "Bob Dylan's 115th Dream" are by far my favorites. And maybe they aren't funny at all and I'm missing a meaning of critical importance but I suppose I might figure that out on relistens because these definitely went into the listen to again playlist.

Awesome album. His lyrical genius really comes through and with the band he stands out as a really good frontman. Love it

Bob Dylan has elevated since the last time I saw him on this challenge (1963's Freewheelin' Bob Dylan) through the use of different instrumentation, this album also feels more conceptual and has some of his most long-lasting songs.

My Dad wasn't the best in the world (nothing physical or anything, don't worry) but he did love Bob Dylan and the Rolling Stones. Thanks Dad.

Epic, poetic and mischievous. Fantastic transitional record from folk hero to rock star.

One of Dylan’s greatest albums. Dylan is my favorite artist of all time so that means a lot. Not only one of his best, but one of the greatest albums of all time.

5/10

I’ve Always Loved Dylan’s music He’s a legend

My Dylan resides here

A great mix of acoustic and electric. It’s Alright Ma is such a good song Gotta go 5.

All about the lyrics. A few truly great songs (Subterranean, Maggie's Farm, Mr. Tambourine Man, Baby Blue) and some really good ones not quite at that level. Must have seemed to be a true breakthrough at the time.

It’s wild to me that this was revolutionary at the time it came out, but that’s probably because of how revolutionary it was. “Mr. Tambourine Man” has some of my favorite Dylan lyrics. The imagery he creates in that song is lush and beautiful. Low 5.

Classic

My second favourite album of his. Sits in a really cool transition of his styles between electric blues and classic folk.

Damn, I was going into this expecting to be critical, but this is a 5. Subterranean Homesick Blues and It's Alright, Ma are the biggest standouts, but everything else hits too.

Tambourine Man>Ma (I'm only Bleeding)>Gates of Eden>It's All Over Now, Baby Blue. That's one side of two albums he recorded in 1965 (Highway 61)

some of it hasn't aged well. it feels a little divided on mood: light hearted stoner tunes, next to self-righteous anthems. But possibly his most consistent

Great music from the greatest songwriter

Fuck yeah, this is some of Dylan's best. She Belongs to Me and It's Alright, Ma (I'm Only Bleeding) are my favorites but the entire thing is a masterpiece in songwriting. Every stanza in It's Alright...is incredible as a standalone, but the final lines to sum it all up gives me chills: "And if my thought-dreams could be seen / They’d probably put my head in a guillotine / But it’s alright, Ma, it’s life, and life only".

Just goes to show you that all throughout history people will bitch about anything just to bitch. Imagine gatekeeping this because he used electricity on side A. Genius is genius and people are allowed to get bored. Favorite tracks: Ma, Dream

Stop in the Name of Love and My Girl topped the charts and Goldfinger, My Fair Lady, and The Sound of Music ruled the box office when this sonic fever dream debuted and altered the trajectory of mankind. Obvious desert island disc.

"While one who sings with his tongue on fire, gargles in the rat race choir, bent out of shape from society's pliers, cares not to come up any higher, but rather get you down in the hole that he's in." Listened to B4? Yes Tracks Already Saved on Spotify: All of them Standout Tracks: All of them God made records from 1964 to 1966 and named himself after a Welshman. (100/100)

Favorite Dylan album yet?!

One of his best.

I read what seemed to be an offhand comment in another review: “Bob Dylan basically invented lyrics.” Yes, an exaggeration. But it seems to me this is the key idea. Dylan’s influence was enormous — the Beatles, Byrds, Simon & Garfunkel, even Hendrix for goodness sake, so many others — yet it wasn’t because artists imitated his music or style. Some did. But mainly it was the inspiration of lyrics that told stories, protested, painted pictures, revealed, concealed, and were always ABOUT something. An entire generation followed his lead. This album contains classic tracks alongside lighter fare, which is also alongside heavier fare. It’s transitional for Dylan, who was often in transition. But it’s all wonderful and part of a classic, hugely influential arc.

I love this album. For all the fanfare over his electric performance months after this album is released, the work started here. A brilliant musical step forward for Dylan without disregarding or abandoning his early work. Though the newer style tracks come first, the album ends with really strong, spare folk tracks. I mean, he gives you absolutely everything on this album. Except for Maggie's Farm, the transition is almost appears technical or only on paper, yet it is real. The title is spot on. Even among the varied and progressive (for folk fans) style, Bob Dylan seems absolutely at home in the space. He confronts and reflects with ease and with grand musical effect. He is the perfect troubadour and band headliner. Amazingly, this is an appetizer. The big meal is just around the corner out on Highway 61.

10/10 I don’t mind being shot man but I don’t dig being told about it

This does everything Highway 61 does, but with more warmth and humor; the gradual transition from rock album to the longer folk songs at the end works so well. I think I could listen to this every day and not get bored of it. "Money doesn't talk, it swears" is a killer line. Like, this album basically invented lyrics.

Such an excellent album. Deserves a 5 for Subterranean Homesick Blues alone, but then it has a bunch of other great songs. Also, a supremely cool era of Dylan.

Brilliant. I mean... Dylan!

One of my absolute favourite Dylan albums, firing on all cylinders on this one. Electric, tunes that don’t outstay their welcome, sharp lyrics.

Well, I’m a big Dylan fan so of course this is going to get 5 stars. But really, such a sound if its own. No one sounded like this then or now. Incredible lyrics, catchy rhythmic songs. Who finishes an album with its alright ma and it’s all over now baby blue. That’s insane. 10 stars.

While undoubtly a transitional record, this is still Dylan at his best.

Yeah

He can't sing, his harmonica playing is worse, and his live gig last year was one of the worst concerts I've ever seen. But I love Bob Dylan, his song-writing (music and lyrics) and influence on modern music are immense. And I love him partly _because_ of his imperfections. Some real stunners on this album.

Up the harmonicas

If they keep putting Bob Dylan albums up here I am going to run out of superlatives to use in my reviews. Bringing It All Back Home is a pivotal album for Dylan with the half electric / half acoustic format. It's a lyrical masterpiece with so many quotable lines - even if you only pull them from "It's Alright, Ma (I'm Only Bleeding)" which is just a brilliant song in every way. The fact that it can coexist on the same record with "Mr. Tambourine Man" is just crazy. I get it, some people don't care much for Bob Dylan. If you've read any of my other reviews for this project you can see that I have my own preferences and there is a lot of popular, well rated music that escapes me. If you can just give yourself to the music and the experience and just take it all in, it's astounding though. It's hard to pick out a Dylan record and call it one of the best of all time but that's because he has made so many that qualify.

Possibly my all time favourite Dylan album. Rough, beautiful, melancholy, surreal and caustic in equal measure. Helps that the tunes are bangers too of course.

This is a remarkable album in my opinion. There are some truly classic songs on here and the deeper cuts are still strong. The sound is still vital and Dylan’s limited vocals probably never served the music so well as on this album. You can hear echos of music past (blues, Elvis) and yet to come (alt country rock, indie rock, even some punk overtures) throughout the whole album. It’s great on its own but within the context of its cultural impact and timing it’s even more remarkable.

Goated stuff