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.

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.

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

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.

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.

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.

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.

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

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.

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.

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.

Starts off strong, and stays steady from there.

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!

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.

Y

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.

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.

More like Bof 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

An album touched by the divine. This is the album that brought me into the Dylan camp. This formalized the "ramble and roll" vamp that would influence many and serve him for years to come whenever he needed to recenter after venturing far and wide. The language and delivery are far beyond anyone else working at the time. He settles into a groove and just goes. Songs like Subterranean HB, 115th dream and Its alright Ma are proto rap. That latter being a song the truly transcends the bounds of what's possible with a voice and guitar. And all that without touching on a defining song of the era. As important as anything release on the 60s.

One of the best albums ever made. I may be PMSing and everything makes me cry right now, but this ALSO made me cry. Love it so much.

I fully appreciate that Bob Dylan is a marmite artist, but what can I say other than I love marmite.

I'm not a huge Bob Dylan connoisseur but I think this is probably my favorite Bob Dylan record. I don't think I know enough to be able to say much but it definitely had some classics on there. I love his take on rock music in this one while still being the poet that he is.

*Bob Dylan discovers weed and then changes music forever* That's how I feel about this record. It doesn't sound like much at first, but it's so different than all of his previous records. This is really where he takes off and starts adding more rock and electric elements. I love how his lyrics kind of go to new levels of darkness. They often don't really rhyme and they're more stream of consciousness Its crazy to me how this album influenced the rest of the decade. The Beatles, Grateful Dead, The Byrds, Neil Young, The Who. It kind of all comes back to this record and the massive swing he takes with it. Personally, Bob Dylan has been one of my favorite artists since I was about 16 years old. This record has some of my favorites. Subterranean Homesick Blues, Maggie's Farm, Mr. Tambourine Man, Gates of Eden, It's Alright Ma, Its All Over Now Baby Blue. I feel like each one of these songs is unique in their own way, but they all really ground this album in what's it's trying to do.

I get it now. This is fantastic. The lyrics are less explicitly political and more stream of consciousness and abstract. The usage of more electric instrumentation on the first half with the longer more acoustic songs on the second really works. His vocal performance on It’s All Over Now, Baby Blue is fantastic.

Great album. Lots of bluesy Dylan

Bob, Dylan had several albums that really changed the way people saw, not just his music but all music in general. That journey all started here. If there was just one album to explain Bob Dylan to someone new to his music, this is the one that I would hand them out of my collection.

Hard to argue with a classic. He's not got the voice. He's far from the greatest guitarist. But damn can he write a song.

It's not quite Bob's best, but it's still a damn fine album. It's definitely a transitional moment in his career, and you can taste the excitement in a lot of moments here. Best Track: It's All Over Now, Baby Blue Worst Track: Outlaw Blues

<3

The first truly great album to come from this list. The pre-accident, post Newport Bob Dylan. I think I have that right. Most people will tell you that Highway 61 and Blonde on Blonde are the best of that period. I would argue that this is the best of the lot. "Even the President of the United States, sometimes must have to stand naked". Harrowing words for this post election day when our country has just bared it's true self to the world.

I love Bob Dylan. This is (one of) his best albums. He had a knack for figuring out when it was time for something different, usually before everyone else. Artists have done this throughout the history of recorded music. Torch-bearers. Dylan decided to have some fun, get loud, and keep his silver tounge. So many classics of resistance, love and spite. Get over his voice, it's part of the bag, and the smallest part there is. Saved Songs: - She Belongs to Me - Love Minus Zero - Bob Dylan's 115th Dream - It's Alright Now Baby Blue - It's Alright Ma (I'm only Bleeding)

Seminal album highlighting Dylan at his creative peak. Along with Highway 61 Revisited this is the work that separates Dylan from everyone else. So many superb songs, but perhaps the closing four tracks from Mr Tambourine Man to It's All Over Now are hard to beat.

I think this is the third Dylan album we’ve gotten. The other two weren’t good, and made me question whether I really liked Dylan. This album was great though. Long live Dylan.

I believe this was Bob Dylan's first "electric" album which caused absolute uproar amongst the folk community at the time, with one punter comparing him to Judas at a gig. I prefer his faster style and think the additional instruments and upbeat music suit his speedy vocals well. Love the acoustic tunes too, but the outlaw sound of this album and his unique voice stand out more than any other artist of his time.

A master class from Bob

Nice.

I'm a huge Dylan fan, and this is one of his best.

Great album from a master storyteller

Dieses Album gehört zum Soundtrack meines Lebens. Gitarre, Mundharmonika und Bobs Stimme. Was braucht es mehr?

++*: Bob Dylan's 115th Dream, It's Alright Ma (I'm Only Bleeding) ++: Subterranean Homesick Blues, She Belongs to Me, Maggie's Farm, Outlaw Blues, It's All Over Now, Baby Blue +: Love Minus Zero, On the Road Again, Mr. Tambourine Man, Gates of Eden 9,7/10

Bob Dylan is such a cool dude. His storytelling is top notch and so is this album. Maybe a little harmonica heavy but definitely a gem.

Timeless classic

Love Bob Dylan. ❤️

Dylan's best and I don't really like him

Thoughts before listening: Dylan's first electric album. This is a huge record with timeless songs. Should be an easy 5-star for me. Review: So while this is the album where Dylan went electric, this is still a bit of a transitional sound for him. While he certainly employs a full band, garage rock sound on half of these songs, there are a number of acoustic, folk songs on this album as well. It wouldn't be until Highway 61 Revisited that Dylan would fully lean into electric rock. While this album tends to get somewhat overlooked in Dylan's discography (at least compared to the heavy hitters), there are still some iconic songs here. "Subterranean Homesick Blues" kicks this off with what must have been a shock to Dylan fans at the time...pure proto-punk garage blues. Other favorites from the rock side of this include "Maggie's Farm" and "Love Minus Zero". The second half of the album brings more of the folk sound Dylan fans were accustomed to, but with still some absolute classics in "Mr. Tambourine Man", "Its Alright Ma", and "Its All Over Now Baby Blue". Easy 5-star album.

Great album!

I love Bob Dylan; he’s been one of my favourite artists for years I truly think he’s a completely unique talent. And bringing it all back home is my favourite Dylan Album! When this came up on the generator I shrieked with joy. I listened to it whilst walking to work at 7am on a windy morning and I felt the season turn to autumn as I walked. The songs are so well done -some make me so emotional and some are just great listens: he pivots from emotional to upbeat so well and never languishes in sadness. He’s a poet and I am so pleased I get to listen to him.

Doing this project has really cemented to me the importance of a good album opener. And is there anything more quintessentially Dylan, and specifically this era of Dylan than Subtarranean Homesick Blues. Barely parsable lyrics, chaotic harmonica solos, and everything we love about him. I adore this album - one of his best Listening: On the way to work - with my mood signifcantly increased because of this record. Favourite Track: She Belong's to Me

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 music (and society). The whole album is an expression of Dylan’s out with the old and in with the new sensibility. One of the first and still one of the best music videos is for Subterranean Homesick Blues. Also, true story - I got kicked out of Sunday School for singing Subterranean Homesick Blues (without the cue cards). 5⭐️

Bob Dylan had a long career but this is defining moment within it. Personally I hardly noticed that one side of the album was acoustic and the other side was electric. Goes to show that the music world has since decided that there is a place for electric guitar in folk music. Subterranean Homesick Blues is a great intro track. Maggie's Farm and the 115th dream are standouts on the electric side. Mr. Tambourine man is a huge refresh for the second half. It's an awesome track, and I prefer Dylan's version to the Byrd's version. The closing tracks are great and emotional and soothing. This album isn't long, but importantly Bob Dylan doens't waste time. Each track adds and there's no filler and breaking the album into two stylistic halves make it feel even more full. This guy was fighting for your attention and that's something I appreciate. Some of my favorite Dylan tracks are on this album and it's a great introduction to the Folky side of Bob Dylan that often gets overshadowed by his rock sound that includes many of his hits.

Subterranean Homesick Blues, often imitated, never duplicated. The Velvet Underground definitely were influenced by Dylan. Maggie's Farm, the song with 1,000 meanings. It always resonates as an anarchist anthem to me: anti-education, anti-business, anti-military, anti-government. A great song that spawned a great Rage Against the Machine cover. He's the best lyricist in popular music history, he can do it all, from allegorical and symbolic to literal storytelling. This is a bluesy album, Dylan is such a chameleon musically. The music from Bob Dylan's 115th Dream sounds like Lay Down Sally by Eric Clapton. Mr. Tambourine Man is the most popular song from the album and probably the worst one as well. Billy Joel's Piano Man borrows something from this even if it is played straight rather than as a metaphor. I like the electric half of the album better than the acoustic but his lyrics are just absolutely amazing. It's All Over Now, Baby Blue is great. Great album, underrated Dylan album.

Funky soul gorgeous horns

I try to live my life in a way that Bob Dylan’s 115th Dream would be an emotionally appropriate credits song for when I die.

Bringing it all Back Home is another of my favorite Bob Dylan records. The A-side famously kicked off his electric period, as far as studio recordings are concerned. And it absolutely rips. It opens with the hilariously irreverent Subterranean Homesick Blues, which also would later become one of the first music videos, when DA Pennebaker filmed Dylan in an alley, indexing through cards displaying many of the song's lyrics, in his seminal documentary film, Don't Look Back. The showpiece of the electric side is Maggie's Farm. It's a raucous blues vamp that sounds like total anarchy. It would have been the closet thing to punk-rock in 1965. It is loud and scathing. And it's not surprising that the sound, if not the content, was offensive to the ears of the people who first got to hear Dylan's electric band at that year's Newport Folk Festival, where he was heartily booed, and where conjecture has it that folk legend Pete Seeger wanted to cut the power cord with an axe during Dylan's set. And as incredible as the electric pleasures of the A-side are, the B-side of Bringing it all Back Home is equally, if not even more amazing. It's a 20-minute set consisting of Mr Tambourine Man, Gates of Eden, It's Alright Ma, and the poignant It's All Over Now Baby Blue, which feels like a final piss-off to the folk music revival, and to anyone who would place expectations on Dylan's art, or who would try to place him into a box. From here on, Dylan would not, and could not, be pinned down. Bringing It All Back Home is a wonderful snapshot of that transition.

Cuando en el 65 Dylan incorporó la guitarra eléctrica a su capacidad portentosa de componer cambió todos los fundamentos del rock y la música popular. Bringing It All Back Home es el primero de un trío de discos editados en 1965 en los que, influido por la invasión británica (y en especial la versión de los Animals de "House of the Rising Sun") y quizás las versiones electrificadas de sus propias composiciones que hicieron los Byrds, Bob Dylan sentó las bases del folk-rock. En él aún conserva parte de material acústico, pero en su conjunto el álbum dejaba claro cuál sería el camino de Dylan a partir de ese momento. Es difícil destacar algún tema, pues todo el disco conforma una obra mayúscula en la que sus partes son en sí mismas pequeñas obras de arte. Me encanta el tema de apertura, "Subterranean Homesick Blues", y el proto-videoclip que grabó D.A. Pennebaker para la apertura de su documental "Don't Look Back", con la inestimable colaboración de Allen Ginsberg. Se trata de lo que más se acerca a canción-protesta en este disco. En ella que Dylan alza la voz contra la corrupción y concluye que, digan lo que digan los gobiernos, lo importante es vivir libremente. Aún así, en este disco Dylan ya ha decidido dejar las composiciones con motivaciones simple y directamente políticas para componer canciones más surrealistas y con letras más introspectivas. "Maggie's Farm" es toda una declaración en este sentido: él no va a trabajar en la granja, él quiere hacer simple y llanamente lo que le dé la gana. En "Outlaw Blues" utiliza una estructura típica de blues para hablar sobre temas cotidianos, "It's Alright, Ma (I'm Only Bleeding)" es una auténtica paranoia surrealista sobre un mundo que marcha inevitablemente mal. "She Belongs to Me" y "Love Minus Zero/No Limit" son dos preciosas canciones de amor. Y "On the Road Again" y "Bob Dylan's 115th Dream" dos alardes compositivos de un lirismo extraordinario abierto a múltiples interpretaciones, pero profundamente emotivos.

Oh man this takes me back to my late teens! You could often find me listening to these songs on my IPod (I'm old but not THAT old). I got a summer job working 7 day shifts on an Island in the Stockholm archipelago (living on the island). Not always happy, I listen a lot to "Maggie's Farm" and made up my own lyrics called "I ain't going to work at Siaröfort no more" (its honestly a cool place, go visit if you get the chance and the people working there were nice). Late nights coming back from clubs by my self "Mr. Tamburine man" encapsulated that sudden loneliness of the night being over, and your friends gone home. I'm saying this because reviewing this album objectively will not be possible for me. If I listened to it for the first time now maybe some songs would stand the test of time but not all. You have so many great tracks though. Except the aforementioned songs there is "Subterran Homesick blues", "Love minus zero", "It's Alright Ma I'm Only Bleeding" and "It's All Over Now, Baby Blue". I think some of the blues tracks are not great but for me this is still a 5.

Own

The randomiser has given me lots of Dylan - fourth in my first 300. I feel like I'm being overly generous giving 5* every time but... Fuck it, the guy's a genius so here's another

Genius.

Thoroughly enjoyed

His long lyrical phrases are amazing.

Bringing It All Back Home is Bob Dylan's fifth album. He had already become known as a prodigy in the folk world. In this album, Dylan went electric; on the first half of the album, he is back by an electric, rock band. This proceeded his electric performance at Newport Folk Festival, which was a milestone in the transformation of Dylan from a folk star into a rock/popular music star. Bringing It All Back Home includes a few of Dylan's many hits, like "Subterranean Homesick Blues" and "Hey Mr. Tambourine Man." This is one of many incredible albums in Dylan's catalogs, and some argue it is his best - but there are a few legitimate candidates.

BL: a fan of Dylan, I specifically loved the first album I had of his on the generator (Blonde on Blonde), so I’ll be excited to hear another offering by him. AL: this album provided a real treat to listen to. While more uptempo than Blonde on Blonde, the first half of the album captures a working class man’s rage as he expresses the anger of the humdrum of everyday life. This transitions into a more psychedelic transitional passage of dreams, leading into a more somber closing half - discussing violence, and lovers leaving. This was just as good as Blonde on Blonde, even though it was incredibly different. Dylan cements himself as one of the best musicians of all time, despite not harbouring a lot of the traditional accolades his counterparts would hold. Highly recommend to anyone. FT: “Subterranean Homesick Blues”, “Maggie’s Farm”, “Bob Dylan’s 155th Dream”, “It’s All Over Now, Baby Blue” 5/5

A top 5 Dylan album.

It's Dylan. I t's a 5.

One of my favorites from Dylan. An absolute classic.

Album 495 of 1001 Bob Dylan - Bringing It All Back Home Rating : 5 / 5 Dylan goes electric - for half the album . Love this album...and it isn't even my favorite from him. Going away from the protest type songs but still his awesome lyrics but a bit surreal and in a stream of consciousness style.

You don't need a weatherman to know which way the wind blows, and you don't need a music critic to tell you how an album sounds.

I love this album. Bob in solid form

One of my favorite Dylan records -- solid all the way through

This album has my favorite Bob Dylan song. I have many but the favorite changes every few years. I love his voice-can’t wait for the movie

One of his best - top 5. Every song hits for me. Incredible folk/blues rock music.

Heart food. Absolute timeless classics mixed with a perfect collection of songs that would be perfect for the end credits of any Arthouse film. This should be played during school lunches everywhere and shopping centres that matter. Five stars. Well done Bob.

Absolute perfection from the master blending folk rock at its finest.

A contender for the best bob. He was of course drawing on tradition for all of this, but it all came out so wholly new. Love the apocalyptic 2nd half, love the angry driving first half. Love the captain arab saga in the middle. Still relevant too re: our good friends the supreme court I walked by a Guernsey cow Who directed me down To the Bowery slums Where people carried signs around Saying, "Ban the bums"

Maggie's Farm og Mr. Tambourine Man er to højdepunkter på denne fremragende plade.

Do I contradict myself? Very well then I contradict myself, (I am large, I contain multitudes.) - Walt Whitman

Liked this one a lot! Lyrics in point, reminded me of my dad’s style / topics on music.

An absolute masterpiece by a skilful craftsman. Probably my favourite Dylan album, but Blonde on Blonde is next up after this, a really prolific period, contested by few to none.

This album and his next are basically the same. They were made the same year and might as well have been a double album, but since they ain’t I’ll just paste my review for Highway 61 Revisited as it fits flawlessly: Even if I didn’t enjoy this album, which I do, the lyrics themselves get it to at least a four out of five as being an album that acts as a voice of a generation. The range of melancholy, to spunky funk, to soft rock, to downright depressing, and so on while always remaining folk makes it possibly the best folk album of all time. I understand peoples complaints with the seemingly endless verses, but the album accomplishes what it set out to to do. Bobby Boy sings everything he wants to sing and I can’t argue with that. 5/5

I never listened to this album before but I know so many of the songs I'm once again blown away by his Nobel-prize-winning genius. What a gift. So many amazing songs, lines, etc. Before, if I listened to an album of his rather than a compilation, I'd listen to Blonde on Blonde but I think I need to switch to this one for a while--beautiful album and there's no need to skip the overplayed Rainy Day Women on this one.

Lots of classics here. Dylan's the songwriter's songwriter. Liked songs added: - Subterranean Homesick Blues - She Belongs to Me - Maggie's Farm - Bob Dylan's 115th Dream - Mr. Tambourine Man - It's Alright, Ma (I'm Only Bleeding) - It's All Over Now, Baby Blue

Personally don’t get how this isn’t some people’s vibes. It’s lyrical and gentle and I love the harmonica! It’s funny how differently we perceive music and that’s what makes this endeavor fun. I find albums I enjoy, only to read the reviews and read about how much people hate them!

Darkness at the break of noon Shadows even the silver spoon The handmade blade, the child’s balloon Eclipses both the sun and moon To understand you know too soon There is no sense in trying Pointed threats, they bluff with scorn Suicide remarks are torn From the fool’s gold mouthpiece the hollow horn Plays wasted words, proves to warn That he not busy being born is busy dying Temptation’s page flies out the door You follow, find yourself at war Watch waterfalls of pity roar You feel to moan but unlike before You discover that you’d just be one more Person crying So don’t fear if you hear A foreign sound to your ear It’s alright, Ma, I’m only sighing As some warn victory, some downfall Private reasons great or small Can be seen in the eyes of those that call To make all that should be killed to crawl While others say don’t hate nothing at all Except hatred Disillusioned words like bullets bark As human gods aim for their mark Make everything from toy guns that spark To flesh-colored Christs that glow in the dark It’s easy to see without looking too far That not much is really sacred While preachers preach of evil fates Teachers teach that knowledge waits Can lead to hundred-dollar plates Goodness hides behind its gates But even the president of the United States Sometimes must have to stand naked An’ though the rules of the road have been lodged It’s only people’s games that you got to dodge And it’s alright, Ma, I can make it Advertising signs they con You into thinking you’re the one That can do what’s never been done That can win what’s never been won Meantime life outside goes on All around you You lose yourself, you reappear You suddenly find you got nothing to fear Alone you stand with nobody near When a trembling distant voice, unclear Startles your sleeping ears to hear That somebody thinks they really found you A question in your nerves is lit Yet you know there is no answer fit To satisfy, insure you not to quit To keep it in your mind and not forget That it is not he or she or them or it That you belong to Although the masters make the rules For the wise men and the fools I got nothing, Ma, to live up to For them that must obey authority That they do not respect in any degree Who despise their jobs, their destinies Speak jealously of them that are free Cultivate their flowers to be Nothing more than something they invest in While some on principles baptized To strict party platform ties Social clubs in drag disguise Outsiders they can freely criticize Tell nothing except who to idolize And then say God bless him 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 But I mean no harm nor put fault On anyone that lives in a vault But it’s alright, Ma, if I can’t please him Old lady judges watch people in pairs Limited in sex, they dare To push fake morals, insult and stare While money doesn’t talk, it swears Obscenity, who really cares Propaganda, all is phony While them that defend what they cannot see With a killer’s pride, security It blows the minds most bitterly For them that think death’s honesty Won’t fall upon them naturally Life sometimes must get lonely My eyes collide head-on with stuffed Graveyards, false gods, I scuff At pettiness which plays so rough Walk upside-down inside handcuffs Kick my legs to crash it off Say okay, I have had enough what else can you show me? 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

classic americana

Dylan met the Beatles in late 1964, decided to turn electric, then proceeded to record this album in the space of 2 days (TWO FUCKING DAYS) in early 1965 and released it months later, to call it a seismic shift in the musical landscape is an understatement. Shame so many people just go "oh shit, another Dylan album" and proceed to downvote each subsequent iteration, but fuck, this has "Subterranean Homesick Blues" with its proto-rap lyrical flow (Dylan was an OG MC not Kurtis Blow) AND "Maggie's Farm" that set Newport aflame, its a great album.

I love the poetry and storytelling of Dylan’s music.

Lyrical Master. Singer?