Bringing It All Back Home

Folk music is nice I like this record

Bra Dylanskiva, mer behöver inte sägas. Kanske blir en 5:a i framtiden?

solid 4, provavelmente no meu top3 dos que escutei do Dylan

Preferred this album over his others, less folksy and more bluesy rock

9 / 10

Bringing It All Back Home ist der Moment, in dem der Interpret die Tür zum Folk hinter sich anlehnt und gleichzeitig die Rockmusik neu definiert. Die elektrische A‑Seite brennt mit Songs wie „Subterranean Homesick Blues“, während die akustische B‑Seite seine lyrische Schärfe bewahrt. Das Album ist nicht durchgehend perfekt, aber es ist mutig, wegweisend und voller Energie vom „ Mr. Tambourine Man“.

Not one of the albums I know best, but every time I listen to it I'm reminded I very much enjoy it.

Harmonica is a pain though

Me hace gracia la polémica que tuvo en su día, porque a oídos profanos, la inclusión de la guitarra eléctrica no suena tan extraña y, de hecho tiene sentido. Y además, para los más talibanes tiene temazos como Mr. tambourine

His good songs are great songs.

Pretty great album, not my favorite Bob Dylan but great nonetheless. Some really classinc songs on this album. That second to last song was a bit too long but other than that I really enjoyed this album.

this must have hit different in 1965. I get it even if Dylan isn’t for me

Love some Dylan.

Some good songs. Some boring.

Hooting and hollering but I am guilty of being a Bob Dylan enjoyer

—Subterranean Homesick Blues…like the attitude —She Belongs to Me…rough title but it’s nice —Maggie’s Farm…fun groove —Love Minus Zero/No Limit…meh —Outlaw Blues…I also wish I were some “Australian mountain range” or something. Solid groove —On the Road Again…Bob’s voice is controversial, to say the least, but I think it all works on this album. Obviously his voice isn’t conventional but he (mostly) sings in tune and his voice demands attention —Bob Dylan’s 115th dream…”the waitress he was handsome”. Oh my. Another fun groove. Too long —Mr. Tambourine Man…the roughness of his voice elevates this. I like the Byrds version, I like this. The world needs both —Gates of Eden…an early look into his weird obsession with Judeo-Christian mythology that he only kind of understands —It’s Alright, Ma (I’m Only Bleeding)…a very listenable protest song but should be half as long as it is. Maybe this was groundbreaking at the time but now it sounds masturbatory —It’s All Over Now, Baby Blue…I get why some people love him and why some people hate him. I’m more the former because, while I don’t like many things about Dylan’s presentation, it always feels authentic. Even if it is just an act

Thoroughly enjoyed this one. Dylan's a strange one because he's a terrible singer, but a phenomenal songwriter. Some great songs here.

loved it, wouldnt say it was Dylan at his best but really enjoyed it.

Dont need no weatherman to know which way the wind blows

Uncle Robert really rolls up his sleeves for this one.

My main criticism of Bob Dylan has always been I just wish someone else was singing his songs. That said, for some reason his voice really works on this album and I honestly don't think someone else would do it justice. Quite possibly the best Bob Dylan album I've listened to so far.

Not as good as desire Favorites: last 4 tracks Starts strong and ends strong but middle tracks are boring Actually like 3.5

Maggies farm and outlaw blues were straight bangers

Now that I've heard a bunch of Dylan albums I can safely say that I too would be part of the crowd booing him for moving away from this music

Ningun skip 3 likes y guardadas

I don't know how people dislike Bob Dylan. This album is especially interesting, the first rock-n-roll part is unusual, but I like that it preserves the poetry of folk music. The second part is classic Bob Dylan, it's touching and honest. "Mr. Tambourine Man" is a great song. All in all, a good, solid album. The sound of harmonica may be too loud sometimes, but that's not a crime.

4.0 (47:21, 11 tracks, 5th album 1965), Folk rock (some consider the first Folk Rock album) Singles from Bringing It All Back Home "Subterranean Homesick Blues" / "She Belongs to Me" Released: March 8, 1965 "Mr. Tambourine Man" Released: March 22, 1965 "Maggie's Farm" / "On the Road Again" Released: June 1965 "Gates of Eden" I know I’m supposed to like Blonde on Blonde more but this is probably my favorite Dylan album. This is what I think of when I think of Dylan. Dylan's first album to incorporate electric instrumentation, it was so different from his earlier work that it caused controversy and divided the contemporary folk scene. On the first half of the album—the songs on side one of the original LP—Dylan is backed by an electric rock and roll band. The second half features mainly acoustic songs. The album abandons the protest music of Dylan's previous records for more surreal, complex lyrics. The album reached No. 6 on Billboard's Pop Albums chart, the first of Dylan's LPs to break into the US Top 10. It topped the UK charts later that spring. The first track, "Subterranean Homesick Blues", became Dylan's first single to chart in the US, peaking at No. 39. Bringing It All Back Home has been described as one of the greatest albums of all time by multiple publications. Ranked number 31 on Rolling Stone's list of the "500 Greatest Albums of All Time"; it was ranked number 181 in the 2020 edition. Dylan spent much of the summer of 1964 in Woodstock, a small town in upstate New York where his manager, Albert Grossman, had a place. When Joan Baez went to see Dylan that August, they stayed at Grossman's house. Baez recalls that "most of the month or so we were there, Bob stood at the typewriter in the corner of his room, drinking red wine and smoking and tapping away relentlessly for hours. And in the dead of night, he would wake up, grunt, grab a cigarette, and stumble over to the typewriter again." Dylan already had one song ready for his next album: "Mr. Tambourine Man" was written in February 1964 but omitted from Another Side of Bob Dylan. Another song, "Gates of Eden", was written earlier that year, appearing in the original manuscripts to Another Side of Bob Dylan; it's unclear whether subsequent lyrical changes were made that August in Woodstock. At least two songs were written that month: "If You Gotta Go, Go Now" and "It's Alright, Ma (I'm Only Bleeding)". Dylan's lyrics became increasingly surreal, and his prose grew more stylistic, often resembling stream-of-consciousness writing. Letters he wrote in 1964 became increasingly intense and dreamlike as the year wore on. Dylan returned to the city, and on August 28, he met the Beatles for the first time in their New York hotel. The meeting influenced Dylan, whose next three albums would invoke a rock sound. Dylan would remain on good terms with the Beatles, and as biographer Clinton Heylin writes, "The evening established a personal dimension to the very real rivalry that would endure for the remainder of a momentous decade." Dylan and producer Tom Wilson were soon experimenting with their own fusion of rock and folk music. The first unsuccessful test involved overdubbing a "Fats Domino early rock & roll thing" over Dylan's earlier, acoustic recording of "House of the Rising Sun", according to Wilson. It was quickly discarded, though Wilson would more famously use the same technique of overdubbing an electric backing track to an existing acoustic recording with Simon & Garfunkel's "The Sound of Silence". In the meantime, Dylan turned his attention to another folk-rock experiment conducted by John P. Hammond, an old friend and musician whose father, John H. Hammond, originally signed Dylan to Columbia. Hammond was planning an electric album around the blues songs that framed his acoustic live performances of the time. To do this, he recruited three members of the Hawks, an American/Canadian bar band he met the previous year: guitarist Robbie Robertson, drummer Levon Helm, and organist Garth Hudson. (The Hawks would go on to become the Band.) Dylan was very aware of the resulting album, So Many Roads; according to his friend, Danny Kalb, "Bob was really excited about what John Hammond was doing with electric blues. I talked to him in the Figaro in 1964 and he was telling me about John and his going to Chicago and playing with a band and so on…" However, when Dylan and Wilson began work on the next album, they temporarily refrained from electric experimentation. The first session, held on January 13, 1965, in Columbia's Studio A in New York, was recorded solo, with Dylan playing piano or acoustic guitar. Ten complete songs and several song sketches were produced, nearly all of which were discarded. Take one of "Bob Dylan's 115th Dream" would be used for the album, but three would eventually be released: "I'll Keep It With Mine" on 1985's Biograph, and "Farewell Angelina" and an acoustic version of "Subterranean Homesick Blues" on 1991's The Bootleg Series Volumes 1–3 (Rare & Unreleased) 1961–1991. Other songs and sketches recorded at this session: "Love Minus Zero/No Limit", "It's All Over Now, Baby Blue", "She Belongs to Me", "On the Road Again", "If You Gotta Go, Go Now", "You Don't Have to Do That", "California," and "Outlaw Blues", all of which were original compositions. Dylan and Wilson held another session at Studio A the following day, this time with a full, electric band. Guitarists Al Gorgoni, Kenny Rankin, and Bruce Langhorne were recruited, as were pianist Paul Griffin, bassists Joseph Macho Jr. and William E. Lee, and drummer Bobby Gregg. The day's work focused on eight songs, all of which had been attempted the previous day. According to Langhorne, there was no rehearsal, "we just did first takes and I remember that, for what it was, it was amazingly intuitive and successful." Few takes were required of each song, and after three and a half hours of recording (lasting from 2:30 pm to 6:00 pm), master takes of "Love Minus Zero/No Limit", "Subterranean Homesick Blues", "Outlaw Blues", "She Belongs to Me", and "Bob Dylan's 115th Dream" were all recorded and selected for the final album. Sometime after dinner, Dylan reportedly continued recording with a different set of musicians, including John P. Hammond and John Sebastian (only Langhorne returned from earlier that day). They recorded six songs, but the results were deemed unsatisfactory and ultimately rejected. Another session was held at Studio A the next day, and it would be the last one needed. Once again, Dylan kept at his disposal the musicians from the previous day (that is, those that participated in the 2:30 to 6:00 pm session); the one exception was pianist Paul Griffin, who was unable to attend and replaced by Frank Owens. Daniel Kramer recalls, “The musicians were enthusiastic. They conferred with one another to work out the problems as they arose. Dylan bounced around from one man to another, explaining what he wanted, often showing them on the piano what was needed until, like a giant puzzle, the pieces would fit and the picture emerged whole … Most of the songs went down easily and needed only three or four takes … In some cases, the first take sounded completely different from the final one because the material was played at a different tempo, perhaps, or a different chord was chosen, or solos may have been rearranged...His method of working, the certainty of what he wanted, kept things moving.” The session began with "Maggie's Farm": only one take was recorded, and it was the only one they'd ever need. From there, Dylan successfully recorded master takes of "On the Road Again", "It's Alright, Ma (I'm Only Bleeding)", "Gates of Eden", "Mr. Tambourine Man", and "It's All Over Now, Baby Blue", all of which were set aside for the album. A master take of "If You Gotta Go, Go Now" was also selected, but it would not be included on the album; instead, it was issued as a single-only release in Europe, but not in the US or the UK. Though Dylan was able to record electric versions of virtually every song included on the final album, he apparently never intended Bringing It All Back Home to be completely electric. As a result, roughly half of the finished album would feature full electric band arrangements while the other half consisted of solo acoustic performances, sometimes accompanied by Langhorne, who would embellish Dylan's acoustic performance with a countermelody on his electric guitar. Bringing It All Back Home consists mainly of blues and folk and, as a result of Dylan's adoption of a more electric sound, is considered to have been instrumental in the birth of folk rock. On his following albums, Highway 61 Revisited and Blonde on Blonde, he would further develop the genre, influencing American folk acts such as Buffalo Springfield and Simon and Garfunkel as well as British Invasion bands like the Beatles and the Rolling Stones to innovate, producing more introspective lyrics and allowing the latter two groups to expand out of the confines of their pop rock roots. According to Pete Townshend of the Who, Dylan's folk style also influenced the writing of one of their most successful songs, the 1965 single "My Generation". In the Beatles' case, the results of this innovation — the albums Help! and Rubber Soul — would help push folk rock into the mainstream. 1) "Subterranean Homesick Blues" The album opens with "Subterranean Homesick Blues", heavily inspired by Chuck Berry's "Too Much Monkey Business". "Subterranean Homesick Blues" became a Top 40 hit for Dylan. "Snagged by a sour, pinched guitar riff, the song has an acerbic tinge … and Dylan sings the title rejoinders in mock self-pity," writes music critic Tim Riley. "It's less an indictment of the system than a coil of imagery that spells out how the system hangs itself with the rope it's so proud of." A dense, rapid-fire commentary on the counterculture and political paranoia of the 1960s. It serves as a survival guide for youth navigate a world of shifting social norms, government surveillance, and the hollow promises of the "American Dream". The song reflects a deep distrust of authority. Lines like "Look out kid, they keep it all hid" suggest that the government and society are concealing harsh truths from the public. "Better stay away from those that carry 'round a fire hose" refers to the police using high-pressure hoses against peaceful protestors during the Civil Rights Movement. The opening line, "Johnny's in the basement mixing up the medicine," is widely interpreted as a reference to the illegal production of drugs like LSD or codeine. Dylan mocks the "square" life of working a "day shift" after "twenty years of schooling," suggesting that following the rules doesn't guarantee a fulfilling life. "You don't need a weatherman to know which way the wind blows," encourages individuals to trust their own instincts rather than relying on "experts" or leaders to tell them what is happening. The title likely references Jack Kerouac's novel The Subterraneans, and the song's stream-of-consciousness style mirrors Beat poetry. Dylan credited the song's rapid-fire rhythmic structure to Chuck Berry's "Too Much Monkey Business". The "outlaw" spirit and specific lines (like "Look out kid...") pay homage to Woody Guthrie. "The pump don't work 'cause the vandals took the handles" is often seen as a metaphor for a broken system where the tools for repair have been stolen or destroyed. This line famously inspired the name of the radical left-wing group, the Weather Underground, though the group formed years after the song was released. The "Subterranean Homesick Blues" cue card video, filmed in May 1965, is widely considered the foundational prototype for the modern music video. Though originally the opening segment of D.A. Pennebaker's documentary Don't Look Back, its minimalist, deadpan style shifted how music was promoted and visualized. Released 16 years before the launch of MTV, the clip is one of the first "modern" promotional films. It moved beyond simple performance footage to create a stylized, conceptual visual that emphasized the song's message over the artist's literal presence. Critics often describe the cue cards as "proto-memes". By combining rapid-fire text with a moving image, Dylan anticipated the way information is consumed in the digital age—fragmented, fast-paced, and layered with visual puns. The video serves as a parody of 1960s advertising and "polished" media. Dylan’s intentional use of misspellings (e.g., "pawking metaws") and mismatching text (writing "20" when the lyric says "11 dollar bills") was a rebellious jab at the era's structured, scripted truth. Filmed in an alley behind London's Savoy Hotel, the presence of Beat poet Allen Ginsberg in the background cemented the song’s status as an anthem for the intellectual and political underground. Layers of London The cue card format has become one of the most parodied and referenced visuals in pop culture: Famous homages include INXS's "Mediate" (1987), which follows the format card-for-card, as well as videos by The Flaming Lips, Belle & Sebastian, and "Weird Al" Yankovic. The romantic cue card scene in the 2003 film Love Actually is a direct, albeit softened, stylistic descendant of Dylan’s original. In 2022, to mark Dylan's 60th anniversary as a recording artist, a new version was released featuring a kinetic collage of visuals from various artists inspired by the original cards 2) "She Belongs to Me" extols the bohemian virtues of an artistic lover whose creativity must be constantly fed ("Bow down to her on Sunday / Salute her when her birthday comes. / For Halloween buy her a trumpet / And for Christmas, give her a drum.") "She Belongs to Me" (1965) is widely viewed as an ironic reversal of a traditional love song. While the title suggests possession, the lyrics describe a woman who is completely independent, powerful, and arguably the one in control of the narrator. Most critics agree the title is ironic; the woman "belongs" to no one. Instead, the narrator is "on his knees" and "proud to steal" for her, suggesting he is the one who belongs to her. A common interpretation is that the "she" is not a person, but Dylan’s artistic muse—unreachable, demanding total devotion, and capable of both enlightening ("take the dark out of the nighttime") and consuming the artist. A "Perfect" Goddess: Religious imagery throughout the song—"Bowing down to her on Sunday," "She never stumbles"—paints her as a divine or saint-like figure who exists above human law and morality. Possible Real-Life Inspirations. Dylan famously kept his subjects vague, but several women from his life are frequently cited as the inspiration for the "artist" who "don't look back": Joan Baez: The strongest candidate for many, as Dylan once gave her a "red Egyptian ring" similar to the one mentioned in the lyrics. The "walking antique" line is sometimes seen as a jab at her preference for traditional folk music. Suze Rotolo: His girlfriend from 1961–1964. Nico: The Velvet Underground singer, known for her "Egyptian" style jewelry and avant-garde persona. Sara Lownds: His future wife, who some believe is the woman "with everything she needs". "Egyptian ring": Represents a mystical, ancient power and unique identity. "Hypnotist collector": Suggests she has an effortless ability to entrance others and "collect" people who fall under her spell. "Nobody's child": Emphasizes her absolute independence from family, law, or social expectations. 3) "Maggie's Farm" contains themes of social, economic and political criticism, with lines such as "Well I try my best to be just like I am/But everybody wants you to be just like them" and "Well, I wake up in the morning, fold my hands and pray for rain/I got a head full of ideas that are drivin' me insane". It follows a straightforward blues structure, with the opening line of each verse ("I ain't gonna work...") sung twice, then repeated at the end of the verse. The third to fifth lines of each verse elaborate on and explain the sentiment expressed in the verse's opening/closing lines. It references working for Maggie, her father, her mother, and her brother on a farm. "Maggie’s Farm" (1965) is widely accepted as Bob Dylan’s declaration of independence from the folk music establishment and the protest movement that had claimed him as its "spokesman." While the lyrics describe a miserable experience working on a literal farm, the song functions as a biting metaphor for artistic and personal exploitation. The "farm" represents the rigid expectations of the folk revival movement. By singing "I ain't gonna work on Maggie's farm no more," Dylan was announcing that he would no longer provide the "finger-pointing" protest songs his audience demanded. The song is a manifesto against conformity. Dylan complains that the people on the farm try to "make you just like them," highlighting his struggle to maintain his own identity against external pressures. On a more literal level, the song satirizes the absurdity of a workplace where the bosses are "slaves" to their own greed and the workers are treated as disposable tools. Maggie: The face of the institution—demanding and superficially polite but ultimately oppressive. The Mother: Represents the media or public relations, "talking about the victory" while hiding the harsh reality. The Father: Represents the enforcement of law and order, putting "his cigar out in your face" and hiding behind "six-shooters." The Newport "Electric" Incident The song is famously tied to the 1965 Newport Folk Festival, where Dylan performed it with a loud, electric blues band. The folk purists in the audience—who felt betrayed by his move away from acoustic music—booed him, making the song's message of "not working on the farm anymore" a literal reality played out on stage. 4) "Love Minus Zero/No Limit" is a love song. Its main musical hook is a series of three descending chords, while its lyrics articulate Dylan's feelings for his lover, and have been interpreted as describing how she brings a needed zen-like calm to his chaotic world. The song uses surreal imagery, which some authors and critics have suggested recalls Edgar Allan Poe's "The Raven" and the biblical Book of Daniel. Critics have also remarked that the style of the lyrics is reminiscent of William Blake's poem "The Sick Rose"." Widely regarded as one of Dylan’s most tender and sophisticated love songs. It serves as a calm, acoustic counterpoint to the more cynical and chaotic tracks on Bringing It All Back Home. The song depicts a woman who is a zen-like figure of stability in a world of pretension and noise. While everyone else is "talking" or "arguing," she simply exists in a state of quiet truth. "Love Minus Zero" is a mathematical paradox. If you subtract zero from love, it remains whole; "No Limit" suggests that this love is infinite. Together, they describe a love that is both absolute and boundless. The lyrics contrast the "clanging" and "screaming" of the outside world with her silence. Dylan suggests that her lack of "fake" conversation is proof of her authenticity ("My love she speaks like silence / Without ideals or violence"). Unlike many of Dylan’s "disdain" songs, this one is about total acceptance. She doesn't judge the narrator or the world; she knows "there’s no success like failure / And that failure’s no success at all." Most Dylan scholars believe the song was written for his future wife, Sara. She was known for her quiet, mystical demeanor, which matches the "silence" described in the lyrics. Following "She Belongs to Me," this song continues Dylan's fascination with a woman who is independent and spiritually superior to the "bankers" and "statues" of conventional society. "The bridge at midnight trembles / The country doctor rambles." This creates a sense of impending doom or fragility in the world, which only makes the woman's internal peace more valuable. "She brings me Spanish Mary / And she brings me gifts and flowers / But she’s not the one who’s sorry." She provides beauty and comfort without the guilt or "apologies" often found in transactional relationships. The song is deeply influenced by Zen Buddhism, particularly the idea that true wisdom doesn't need to be spoken and that contradictions (success/failure) are two sides of the same coin. Would you like to look at the "Success like Failure" lyric more closely, as it's often cited as one of Dylan’s most profound philosophical paradoxes? 5) "Outlaw Blues" is an electric blues song that lyrically follows a fugitive traveling through harsh conditions ("Ain't it hard to stumble and land in some muddy lagoon?/Especially when it's nine below zero and three o'clock in the afternoon") as he resents the life of being on the run. It serves as a defiant manifesto for his transition from a political folk singer to an "outlaw" rock-and-roll persona. The song uses blues imagery and historical references to express a desire for personal and creative freedom. The line "I might look like Robert Ford / But I feel just like a Jesse James" is the song's central image. Robert Ford was the man who betrayed and killed the outlaw Jesse James. Critics suggest Dylan is telling his audience that while he might look like a "traitor" to the folk movement (Robert Ford), he actually feels like the true outlaw being hunted or "shot in the back" by purists (Jesse James). The opening lines about stumbling into a "funny lagoon" and the refusal to "hang no picture frame" represent a rejection of domestic stability and the rigid expectations of the protest-song era. His wish to be on an "Australian mountain range" reflects a simple desire for a "change" and to be somewhere completely different from his current environment. The couplet "Don't ask me nothin' about nothin' / I just might tell you the truth" is often interpreted as a play on the old blues line "Ask me no questions, I'll tell you no lies". It suggests Dylan's weariness with being interviewed and analyzed, implying that the "truth" might be too much for those seeking simple answers. Musically, the song is a high-energy, 12-bar blues number influenced by Robert Johnson’s "When You Got a Good Friend" and the rhythm of "Hi-Heel Sneakers". Analysts often view "Outlaw Blues" as part of a trio of songs (alongside "On the Road Again" and "Bob Dylan’s 115th Dream") that subvert traditional blues forms with surreal, chaotic lyrics, effectively stating that "everything is available for re-writing". 6) "On the Road Again" catalogs the absurd affectations and degenerate living conditions of bohemia. The song concludes: "Then you ask why I don't live here / Honey, how come you don't move?" While Willie Nelson’s 1980 hit of the same name is a celebration of touring life, Bob Dylan’s "On the Road Again" (1965) is a surreal, biting blues track about the absurdity of a dysfunctional relationship and its social surroundings. Dylan described this track as one of his "needling" songs, intended to provoke or poke fun at his friends and the Greenwich Village scene. The lyrics depict a narrator's frantic desire to escape a partner's bizarre family. This "paranoid version of dread" includes surreal imagery like a mother-in-law hiding in a refrigerator ("icebox") and a father-in-law wearing a Napoleon mask. Like other songs from this period, it reflects Dylan's recurring theme of needing to leave a relationship as quickly as possible due to interpersonal conflict or a sense of being trapped. The title likely references Kerouac’s novel On the Road, a major influence on Dylan’s "Beat" sensibility. Musically, it is a traditional 12-bar blues that mirrors the Memphis Jug Band's song of the same title, which dealt with unfaithful women. The song represents Dylan's transition into folk-rock, utilizing a "Dadaist" or absurdist style where non-sequiturs and chaotic imagery (like thieving uncles and disgruntled monkeys) are set against a conventional rock band environment. 7) "Bob Dylan's 115th Dream" narrates a surreal experience involving the discovery of America, "Captain Arab" (a clear reference to Captain Ahab of Moby Dick), and numerous bizarre encounters. It is the longest song in the electric section of the album, starting out as an acoustic ballad before being interrupted by laughter, and then starting back up again with an electric blues rhythm. The music is so similar in places to Another Side of Bob Dylan's "Motorpsycho Nitemare" as to be indistinguishable from it but for the electric instrumentation. The song can be best read as a highly sardonic, non-linear (historically) dreamscape parallel cataloguing of the discovery, creation and merits (or lack thereof) of the United States. "Bob Dylan’s 115th Dream" is a satirical, surrealist romp through American history that lampoons modern society by jumbling together different eras into a single chaotic "dream". The song parodies the voyages of discovery. It begins with the narrator and a crew landing in a "newfound land" on the Mayflower, only to find it already developed and irrational beyond absurdity. Dylan merges various American myths and literary figures. The ship's leader, "Captain Arab," is a direct caricature of Captain Ahab from Herman Melville’s Moby-Dick. Upon landing, the crew is met with hostility, but the "savages" are actually modern-day Americans—specifically bureaucrats and police officers who arrest the narrator for carrying harpoons. The song features a "time-warp" quality where it is simultaneously 1492, 1620, and 1965. This allows Dylan to critique current events through a historical lens, such as the absurdity of "founding" a place that is already full of people. As the narrator flees the chaos and heads back to ship, he passes Christopher Columbus just arriving. He tells him "Good luck," knowing the bizarre world Columbus is about to encounter. The track famously begins with Dylan bursting into laughter after an acoustic start, before the full band kicks in. This sets the tone for the song's "anarchic satire" and gleeful absurdity. The title references his earlier, more nostalgic song "Bob Dylan’s Dream" (1963), but replaces its sentimental folk tone with a manic rock-and-roll landscape. 8) "Mr. Tambourine Man" is the first track on side 2 of the album. It was written and composed in early 1964, at the same approximate time as "Chimes of Freedom", which Dylan recorded later that spring for his album Another Side of Bob Dylan. The lyrics are surrealist and may be influenced by the work of Arthur Rimbaud (most notably for the "magic swirlin' ship" evoked in the lyrics). "Mr. Tambourine Man" is widely viewed as a celebration of artistic inspiration and the transformative power of music, serving as Bob Dylan's "declaration of independence" from his earlier role as a political protest singer. The song follows a narrator who is exhausted yet restless, seeking transcendence and escape from the "weary" reality of the everyday world. Many critics, and Dylan himself in various contexts, describe the character as a personification of the artistic muse. The narrator pleads for this figure to lead him into a realm of pure imagination ("the smoke rings of my mind") to help him find inspiration. The song’s surreal imagery—like dancing beneath a "diamond sky"—suggests a desire for a spiritual or mental journey far from "crazy sorrow". It reflects a longing to reach a higher state of consciousness where "memory and fate" are forgotten. A common interpretation in the 1960s was that the song was a "paean to drugs," specifically LSD, with "Mr. Tambourine Man" acting as a drug dealer offering a "trip". However, Dylan has consistently denied this, stating that "drugs never played a part in that song". Dylan identified his friend and fellow musician Bruce Langhorne as the visual inspiration for the character. Langhorne used to play a "gigantic tambourine"—actually a Turkish frame drum as big as a "wagon wheel"—which created a lasting impression on Dylan. The lyrics were influenced by the surrealist imagery of French poet Arthur Rimbaud and the dreamlike films of Federico Fellini. The song is noted for starting with its chorus, a technique that draws the listener immediately into the narrator's plea. It uses a "jingle-jangle" rhythm that mimics the sound of the instrument itself. 9) "Gates of Eden" is the only song on the album that is mono on the stereo release and all subsequent reissues. Dylan plays the song solo, accompanying himself on acoustic guitar and harmonica. It is considered one of Dylan's most surreal songs. "Gates of Eden" is one of Dylan’s most surreal and complex works, often described as a "sacrilegious lullaby". It explores the stark contrast between a decaying, corrupt human world and an unreachable state of perfect truth or "Eden". Each verse presents a "nightmarish vision" of human society—marked by war, materialism, and false religious promises—then contrasts it with the refrain "inside (or outside) the Gates of Eden". This suggests that true innocence or meaning cannot exist in our flawed reality. Some critics view the song as a critique of the "lie" of heavenly redemption. Dylan implies that waiting for an afterlife to solve life’s ugliness is a form of complacency; instead, "salvation begins right now". A psychological reading suggests that "Eden" is not a literal place but a state of mind or internal sanctuary. Pursuing an external paradise is seen as potentially "deadly to the spirit". The song features a "ghastly world of absurdity" with characters like a "savage soldier" and a "motorcycle black Madonna". Some interpretations argue these are figments of a "fevered imagination" wrestling with matters of justice and conscience. The Cowboy Angel: Appears as a bringer of portentous news, possibly an avatar for the singer himself. Utopian Hermit Monks & The Golden Calf: Represents the failure of organized religion and false idols that offer "promises of paradise". The narrator’s lover tells him her dreams without trying to analyze them. This "glimpse" suggests that truth isn't found in over-analysis but in the raw, unmediated experience of life. The Gray Flannel Dwarf: This character is widely interpreted as a symbol of the conformist, corporate citizen. The "Gray Flannel" Suit: The name likely references the 1950s novel The Man in the Gray Flannel Suit, which satirized the soul-crushing uniformity of American corporate life. The "Dwarf" Stature: His reduced height is often seen as a metaphor for his diminished spiritual or mental state. "Bread-crumb Sins": He is depicted weeping over small, petty transgressions to "wicked birds of prey," suggesting a man trapped by guilt and a judgmental society. The Motorcycle Black Madonna: This figure is a surreal hybrid of sacred and rebellious imagery—part religious icon, part "two-wheeled gypsy queen". The Phantom Lover: Accompanied by a "silver-studded phantom," she represents a fierce, liberated, and perhaps intimidating sexual or creative force. Tormentor: In the song, she and her phantom are the ones who cause the "gray flannel dwarf" to scream, highlighting the clash between wild, unconventional freedom and rigid, fearful conformity. The Cowboy Angel: Appearing in the first verse, this figure rides on "four-legged forest clouds" and carries a candle lit into the sun. The Seeker: He is often viewed as an avatar for the narrator or artist—a messenger or seeker who is searching for truth in a world where the "sun" itself may be blackened or dead. The Savage Soldier and the Shoeless Hunter: These characters illustrate the futility and absurdity of human conflict. The soldier sticks his head in the sand (like an ostrich) while complaining to a deaf hunter, symbolizing a society that is willfully blind and incapable of truly communicating or hearing the truth. Utopian Hermit Monks & The Golden Calf: This verse targets false idols and empty religious promises. By placing "Aladdin and his lamp" alongside monks riding the "Golden Calf" (a biblical symbol of false worship), Dylan mocks those who trade spiritual integrity for "promises of paradise" that only result in laughter once one reaches the real "Eden" 10) "It's Alright Ma (I'm Only Bleeding)" was written in the summer of 1964, first performed live on October 10, 1964, and recorded on January 15, 1965. It is described by Dylan biographer Howard Sounes as a "grim masterpiece". The song features some of Dylan's most memorable lyrical images. Among the well-known lines sung in the song are "He not busy being born is busy dying," "Money doesn't talk, it swears," "Although the masters make the rules, for the wisemen and the fools" and "But even the president of the United States sometimes must have to stand naked." Musically, it is similar to Dylan's cover of "Highway 51 Blues", which he recorded four years earlier and released on his debut album, Bob Dylan. "One of Bob Dylan’s most ambitious and scathing social critiques. Spanning over seven minutes, the song is a relentless "apocalyptic litany" of societal ills, attacking everything from consumerism and hypocrisy to the false realities fed to the public by those in power. The central theme is the manipulation of the individual by established institutions—advertising, religion, and politics—that present a "phony" version of life. Dylan uses the song to declare his freedom from these rules and systems. The famous line "He not busy being born is busy dying" serves as a manifesto for continual growth and renewal. It suggests that if one isn't actively creating their own life, they are effectively decaying under the weight of tradition and societal expectations. (Get busy living or get busy dying, Shawshank) Dylan famously notes that "even the president of the United States / Sometimes must have to stand naked," emphasizing that no one is immune to human vulnerability or truth, regardless of their status. The title itself is often interpreted as a sign of total disillusionment. By telling "Ma" it’s alright because he's "only bleeding," the narrator implies that the world's horrors have become so commonplace that they no longer feel like a major injury. Imagery and Symbolism. Darkness at the Break of Noon: This opening line, possibly referencing Arthur Koestler’s novel Darkness at Noon, suggests a spiritual or moral eclipse where the truth is hidden even at the height of day. Flesh-colored Christs that Glow in the Dark: This image critiques the commodification of religion, turning something sacred into a cheap, mass-produced plastic consumer good. Money Doesn’t Talk, It Swears: One of Dylan's most famous aphorisms, it suggests that money has moved beyond simple commerce to become a force of obscenity and power that corrupts everything it touches. The song is noted for its extremely tight rhyme scheme (AAAAAB) and percussive, rhythmic delivery, which many modern critics compare to the cadence of rap. It remains a staple of his live sets, often receiving the loudest applause for its timeless critiques of power. $100 dollar plates and even presidents must stand naked reminds me of the Trump administration. 11) "It's All Over Now, Baby Blue" is the album's closing song. The song was recorded on January 15, 1965, with Dylan's acoustic guitar and harmonica and William E. Lee's bass guitar the only instrumentation. Widely regarded as Bob Dylan’s final goodbye to his past. Closing out Bringing It All Back Home, it serves as a haunting, poetic dismissal of his former identity as a "protest singer" and the folk community that felt he belonged to them/ The Death of the "Old" Dylan: The most common theory is that "Baby Blue" represents Dylan himself—or at least the acoustic folk version of him. By telling Baby Blue to "leave your stepping stones behind," he is giving himself permission to move into rock and roll and surrealism. A Farewell to the Folk Movement: The "vagabond who’s rapping at your door" is often seen as a symbol of the changing times or the new, electric Dylan knocking to replace the old guard. The song tells the listener (and the folk purists) that the old ways are no longer useful: "Forget the dead you’ve left, they will not follow you". Many believe the song was written for Joan Baez, Dylan's former partner and "Queen of Folk". As Dylan’s music became more abstract and electric, their personal and professional paths diverged; the song may be his way of telling her that their era together had ended. On a broader level, it is an anthem for forced transformation. It captures the moment when a person’s world has collapsed, and they are forced to "strike another match" and start over with nothing but what they can carry. "The carpet, too, is moving under you": A vivid image of instability, suggesting that even the ground the narrator (or listener) thought was solid is being pulled away. "The empty-handed painter from your streets": This figure, drawing "crazy patterns on your sheets," likely represents the surrealist, non-literal art Dylan was beginning to create—art that didn't have a "point" or a political message. "The sky, too, is folding under you": Reinforces the "apocalyptic" feeling of the album's end; the entire universe of the narrator's past is collapsing to make way for something new. The song is famous for its bittersweet melody and has been covered by countless artists, most notably The Animals, Them (featuring Van Morrison), and The Grateful Dead, each emphasizing its themes of departure and rebirth. The album's cover, photographed by Daniel Kramer with an edge-softened lens, features Sally Grossman (wife of Dylan's manager Albert Grossman) lounging in the background. There are also artifacts scattered around the room, including LPs by the Impressions (Keep On Pushing), Robert Johnson (King of the Delta Blues Singers), Ravi Shankar (India's Master Musician), Lotte Lenya (Sings Berlin Theatre Songs by Kurt Weill) and Eric Von Schmidt (The Folk Blues of Eric Von Schmidt). Dylan had "met" Schmidt "one day in the green pastures of Harvard University" and would later mimic his album cover pose (tipping his hat) for his own Nashville Skyline four years later. A further record, Françoise Hardy's EP J'suis D'accord, was on the floor near Dylan's feet but can only be seen in other shots from the same photo session, as well as a copy of the Wilhelm/Baynes version of I Ching. Visible behind Grossman is the top of Dylan's head from the cover of Another Side of Bob Dylan; under her right arm is the magazine Time with President Lyndon B. Johnson as "Man of the Year" on the cover of the January 1, 1965 issue. There is a harmonica resting on a table with a fallout shelter (capacity 80) sign leaning against it. Above the fireplace on the mantle directly to the left of the painting is the Lord Buckley album The Best of Lord Buckley. Next to Lord Buckley is a copy of GNAOUA, a magazine devoted to exorcism and Beat poetry edited by poet Ira Cohen, and a glass collage by Dylan called "The Clown" made for Bernard Paturel from colored glass Bernard was about to discard. Dylan sits forward holding his cat (named Rolling Stone)[23] and has an opened magazine featuring an advertisement on Jean Harlow's Life Story by the columnist Louella Parsons resting on his crossed leg. The cufflinks Dylan wore in the picture were a gift from Joan Baez, as she later referenced in her 1975 song "Diamonds & Rust". Daniel Kramer received a Grammy nomination for best album cover for the photograph. On the back cover (also by Kramer), the woman massaging Dylan's scalp is the filmmaker and performance artist Barbara Rubin. The release of Bringing It All Back Home coincided with the final show of a joint tour with Joan Baez. By this time, Dylan had grown far more popular and acclaimed than Baez, and his music had radically evolved from their former shared folk style in a totally unique direction. It would be the last time they would perform extensively together until 1975. (She would accompany him on another tour in May 1965, but Dylan would not ask her to perform with him.) The timing was appropriate as Bringing It All Back Home signaled a new era. Dylan was backed by an electric rock and roll band—a move that further alienated him from some of his former peers in the folk music community. The album reached No. 6 on Billboard's Pop Albums chart, the first of Dylan's LPs to break into the US top 10. It also topped the UK charts later that spring. The first track, "Subterranean Homesick Blues", became Dylan's first single to chart in the US, peaking at No. 39. Bringing It All Back Home is regarded as one of the greatest albums in rock history. In 1979 Rolling Stone Record Guide critic Dave Marsh wrote: "By fusing the Chuck Berry beat of the Rolling Stones and the Beatles with the leftist, folk tradition of the folk revival, Dylan really had brought it back home, creating a new kind of rock & roll [...] that made every type of artistic tradition available to rock." Clinton Heylin later wrote that Bringing It All Back Home was possibly "the most influential album of its era. Almost everything to come in contemporary popular song can be found therein." In 2003, the album was ranked number 31 on Rolling Stone magazine's list of the "500 Greatest Albums of All Time", maintaining the rating in a 2012 revised list. It moved down to number 181 on the 2020 list. In a 1986 interview, film director John Hughes cited it as so influential on him as an artist that upon its release (while Hughes was still in his teens), "Thursday I was one person, and Friday I was another." It was voted number 189 in the third edition of Colin Larkin's book All Time Top 1000 Albums (2000). Hip-hop group Public Enemy reference it in their 2007 Dylan tribute song "Long and Whining Road": "It's been a long and whining road, even though time keeps a-changin' / I'm a bring it all back home". In the film Dont Look Back, a documentary of Dylan's 1965 tour of the UK, Baez is shown in one scene singing a fragment of the then apparently still unfinished song "Love Is Just A Four Letter Word" in a hotel room late at night. She then tells Dylan, "If you finish it, I'll sing it on a record". Dylan never released a version of the song, and, according to his website, he has never performed the song live. Track listing All tracks are written by Bob Dylan. Side one – Electric Side 1. "Subterranean Homesick Blues" 2:21 2. "She Belongs to Me" 2:47 3. "Maggie's Farm" 3:54 4. "Love Minus Zero/No Limit" 2:51 5. "Outlaw Blues" 3:05 6. "On the Road Again" 2:35 7. "Bob Dylan's 115th Dream" 6:30 Side two – Acoustic Side 8. "Mr. Tambourine Man" 5:30 9. "Gates of Eden" 5:40 10. "It's Alright, Ma (I'm Only Bleeding)" 7:29 11. "It's All Over Now, Baby Blue" 4:12 Personnel Bob Dylan – guitar, harmonica, keyboards, vocals Steve Boone – bass guitar Al Gorgoni – guitar Bobby Gregg – drums Paul Griffin – piano, keyboards John P. Hammond – guitar Bruce Langhorne – guitar Bill Lee – bass guitar on Side 1 and “It's All Over Now, Baby Blue" Joseph Macho Jr. – bass guitar Frank Owens – piano Kenny Rankin – guitar John Sebastian – bass guitar Technical Daniel Kramer – photography Tom Wilson – production

Album No. 0199 on my list. Wow, this is already my fourth Bob Dylan album, and the last remaining of his four iconic 60s records ("The Freewheelin' Bob Dylan", "Highway 61 Revisited", and "Blonde On Blonde" I had already reviewed). Looking at the track list, I recognized about half of the songs on "Bringing It All Back Home". I had never listened to the whole thing though. "Bringing It All Back Home" is certainly deserving of its status and its spot on the 1001 album list. It's a classic Dylan album, really, and clearly bridges his earlier albums with the subsequent "Highway 61 Revisited" and "Blonde On Blonde" albums. Great lyrics, good, powerful songs, a nice folk album and equally as good as its two successors. The album also contains some of my favorite Dylan songs (coincidentally also some of his most famous ones), which I'll add to my playlist: "Subterranean Homesick Blues", "Maggie's Farm", "Mr. Tambourine Man" (better than the The Byrds cover), and "It's All Over, Baby Blue". 4/5 stars!

Good

I have listened to it few times through out the day, and it grows on me every time i listen to it , what a fun album! 4/5 .

I'm on record as not being a fan of BD but I keep giving him high ratings. Maybe I should Know Thy Self more.

Love bob

Muy buen disco, el final decae un poco, pero tiene buenos picos. El trabajo de Bob Dylan con la armónica es bestial, es como parte de su cuerpo. Para no haber escuchado a Dylan en mi vida, y para no ser fan del género, me gustó bastante y lo disfruté.

Like it. Good Bob.

Está bueno para un roadtrip

I've never listened to a full Bob Dylan album before. I always thought it would be too folksy for me, but I understand why people are so attracted to his music now. It's raw and super relatable. I could connect really easily with what he had to say. I'm glad this was my first album generated and I will definitely listen to more Bob Dylan in the future. "She Belongs to Me" and "It's All Over Now, Baby Blue" were an unexpected favorites on this album.

Oh Bob... Why do you do this to me? This is my fifth Dylan album now, and I'm <200 albums in. So far the track record hasn't been great - all 2's and3's with the exceptions of Blood on the Tracks, which surprised me and got a 4. It seems my feelings on Bob Dylan are mixed, but nothing has yet been so good as to get a 5 or so bad as to get a 1. Six tracks in, I find myself genuinely thinking I might have finally found my Bob Dylan album. Every song is fantastic, and I'm starting to feel like this will earn a 5. Oh to reclaim that blissful ignorance... Out of nowhere, Dylan hits you with a 6 1/2 minute song about a weird dream he ostensibly had. Bob. Please. Nobody EVER wants to hear about other people's dreams. It's just the worst. And if I thought in that moment that I could maybe forgive one song, he turns it into a run of four back-to-back songs ranging from 5 1/2 to 7 1/2 minutes long. None of them are close to being as good as the first half of the album, even if they weren't long, repetitive and drawn out. The final track is good, and back to a reasonable length. It feels like Dylan was trying so hard to hold in the long meandering songs and halfway through his creative bladder was full and he just couldn't hold it any longer, pissing out a heavy stream of them directly into my ears. If this analogy upsets you, I invite you to listen to "Bob Dylan's 115th Dream", and by comparison my writings will upset you far less. Despite all of this I'm still going to give this a 4. The first half was phenomenally good - like "some of the greatest music ever written" good. The back half was rough, but not so rough as to completely invalidate the rest. If Bob Dylan doesn't end up my most controversial artist by the end of this I don't know who could be.

Whimsical, fun Dylan.

One of Bob's most lively albums. The blues elements really make this album very fun to listen to. The songs are full of life and very catchy. Bob Dylan is still great, I will not understand why some people call him a bad singer. Whether he is doing his traditional sound or straight up Blues Rock he kills it on this album.

Already have listened to this, a classic folk album that is underrated in his discography but I would say isn’t his best. Definitely a must listen, 4/5

Classic Dylan, a lot of good tracks, but I can usually only handle Dylan in moderation.

An undeniable classic. Maybe Dylan is too Dylan in this one (looking at ¨It's Alright, Ma¨) but that's what we love him for, no?

great introduction to Dylan's work, as i've not been familiar with the music. I enjoy his storytelling a lot on songs like Maggie's Farm or Mr.Tamburine Man. great uses of harmonic and other folk instrumentals with the occasional touches of electric guitar. Subterranean Homesick Blues is a strong opener and gets you immidiatley into the groove of the album. His lyricsm is marked by sharp obervations of people and their surroundings, witty remarks mixed with abstract metaphors. I can see this growing a lot more with each listen as there's a lot to unpack that i didn't catch with just one listen.

Fine.

i don't think i have anything original to say about bob dylan but these are some great songs

Bobby did good

More bob

Nice to listen to this again

Album #98 Bob Dylan: Bringing It All Back Home You could put 20 Bob Dylan albums on this list, and I would gladly listen to them all without concern. As far as music being essential goes, Bob Dylan and The Beatles are the two acts which I feel like anyone who wants to understand modern music needs to listen to (with Bowie not far behind). Every single time I listen to a Bob Dylan song, I feel sad, for a few reasons. The first being that I just feel so inadequate as a person with a brain, the amount of incredible imagery and stories told by Bob Dylan in such a short period of time is insane. Between 1963 and 1966, he released six albums which could be considered amongst the top hundred of all-time without too many complaints, with this album being in the midst of that spell. I will never achieve anything remotely like that in one hundred years, let alone three. But I also feel sad for another reason, one that is far more innate and uncertain. The only signifier I have for identifying the mark of a truly great songwriter is whether or not they speak to my soul. Only a few artists that I have discovered have been capable of this, Bob Dylan and Neil Young, especially. They have some characteristic where I hear one word out of their mouth, and suddenly, I am just overcome with emotion. No matter what they say, it feels so impactful to me, specifically to the point where it feels like I am being read my life at the gates of heaven. Clearly, others feel this way as they are both celebrated as being amongst the greatest songwriters of all-time. I pity those who don’t get Dylan and can’t look past his voice, and I am grateful that he speaks to me. Bringing It All Back Home is one of his finest albums in my opinion, an album which if released by anyone else, would be considered their crowning achievement, yet for Dylan is often overshadowed. The storytelling is on full display here with songs like ‘Bob Dylan’s 115th Dream’, ‘It’s Alright, Ma’, and ‘It’s All Over Now, Baby Blue’ having some of my favourite Dylan lyrics. I feel like I fall victim to the common trap of comparisons when rating Dylan’s work, since by all means this album is a masterpiece, yet I can’t help but nit-pick at flaws when comparing it to his others works that are harder to find moments of inadequacy in. So maybe if this album was released by John Doe instead of Bob Dylan I would give it it’s rightful 10, but in the realms of Dylan albums I can’t say that this is on the level of a Highway 61, so it just misses out. Best Songs: Mr. Tambourine Man, It’s Alright, Ma (I’m Only Bleeding), Subterranean Homesick Blues Worst Song: Outlaw Blues Score out of 10: 9.5

Even though it's clearly the weakest of Dylan's electric era, it's honestly still pretty clear just how revolutionary the first half of this album was for him. It helps, I guess, that he starts it out with his most radical departure, that way you think of electric Dylan as "Subterranean Homesick Blues" and not as one of the later standard blues rock ones that don't really go anywhere. And yet, it's somehow the acoustic side that's the real highlight here! Maybe it's just because I'm a Byrds fan being swayed by "Mr. Tambourine Man", but these songs that all go on way too long are somehow among his most compelling! Simultaneously an album that serves to get you excited for the Dylan to come and one that makes you mourn the Dylan you're losing; it's not quite among his best, but if you called it the most important one, I couldn't argue with you.

een van de leukere bob dylan albums

So much greatness here, but presented all in an album, I was disappointed to hear so many of the midsection songs take almost exactly the same rhythm and cadence. Subterranean, Maggie's Farm, On the Road sound almost repetitive here placed together. The final sequence of 3 songs was wonderful.

Better than expected

Bon - "It's Alright Ma (I'm Only Bleeding)" went to the Pepitos!

Loved it more than I thought I would wow

Tunes once again Simpsons: Yes

An old favourite. Listening to it with more attention, it's hard to believe that the limited and tasteful use of electric instruments was controversial (although that's partly a myth and the anger was more about Dylan shifting away from political songs). But I have to say that some of the lyrics don't quite manage the surreal poetry they're aiming for, and veer dangerously close to the Oasis school of writing down any old nonsense if it fits.

Solid classic

Dylan starts going electric, and starts getting good.

3/13/2026

I wrote a bunch of stuff, analysing and rationalising my thoughts on Bringing It All Back Home, but I deleted it all. My feelings come down to this one simple frustration. Why would someone put It's Alright Ma (I'm Only Bleeding) and Bob Dylan's 115th Dream on the same record? Two harmonically repetitious epics, eating up side length, each comprised of gnomic utterances. One showcases Dylan's immense and obvious talents: the vocal on It's Alright Ma is spectacular; his performance of its simple melody and mastery of its straightforward structure is incantatory; the lyrics, although oblique, threaten insight or, at least, he really sells it. For proof of the clear control he holds over the song, listen to the Byrds' 1970 recording where the awkwardness of the lyrics are too much for these lesser performers. The Terrence Trent D'Arby version is pretty good though. Bob Dylan's 115th Dream showcases Dylan's immense and obvious vices: he lets the band do whatever rinky-dink, scratchband arrangement they want; he uses a harmonic pre-set as foundation for his ramblings; he mistakes obtuse for oblique or he chooses it intentionally. This stream of quirky images isn't clever or witty - wit is brief! It's a shaggy dog story with clunking, first draft end rhymes; an experiment in the studio or a test of the listener; a b-side that closes the a-side of the album. Subterranean Homesick Blues, at a third of the length, is three times the surrealist headfuck. It is a mistake to reduce Dylan to a poet, although he achieves poetry plenty. It is also a mistake to reduce him to a songwriter or a performer, although he excels at those things too. The greatest mistake, I think, was to expand him to a rock star. Poets have editors. Songwriters have the comforting buffer of singers; singers have their choice of the best songs. However, a rock star in 1965, especially one at the peak of their career, has no one standing between them and themselves. No one to contain the ego and sharpen the work. Bands have each other, although they're rarely equally weighted. But a solo artist has no one, especially when the industry wants them to churn out more material and is thrilled that the new album can be recorded in three days. We see it with Prince, most obviously, who loses all sense of quality control, but it can happen to any great pop performer. Especially, if like Dylan, they are a broken fire hydrant of ideas. In six months time, he'll record Highway 61 Revisited. It's a tired bromide that any good double album can be reduced to a brilliant single album. Well, what a great solitary album Bob Dylan could have released in 1965. Mr. Tambourine Man, It's All Over Baby Blue, Desolation Row, you wouldn't even necessarily have to lose the rockers - Subterranean... is on there, Maggie's Farm is on there, Highway 61. We just wouldn't have to endure the chugging dross like 115th Dream, Outlaw Blues, Tombstone Blues, Just Like Tom Thumb Blues... I don't know if Dylan is a victim of success here, being allowed to do what he wants and preferring, like any speed addict, to be spontaneous, record whatever, have fun, stick it out there. Or perhaps he buckled to the pressure to release more and more and recognised that filler was required. Maybe he just couldn't tell. Many of his fans can't. The great betrayal of Bringing It All Back Home is not the split between the electric and the acoustic, but between the ridiculous and the sublime, between the casual and the extraordinary. 3.5 Bringing It All Back Home is a big album, I suppose, but one could also be forgiven for thinking it was hardly an album at all. I have expended many hours arguing with friends (and strangers on the internet) that The Beatles ‘Magical Mystery Tour LP’ (Capitol 1967) is not a ‘real album’. This usually prompts an observation something like ‘of course it is, I have it in my house’. What I mean is that although MMT(LP) is undeniably a collection of songs by a particular artist commercially released by…someone, it isn’t a Proper Beatles Studio Album because the Beatles didn’t themselves choose the LP format as a vehicle for expression and had no intention of the songs on side 2 being slung together with the songs on side 1. The Beatles made a lovely EP with six songs on it. Capitol didn’t even put those songs in the right order on side 1 of the LP release. So MMTLP is a compilation (album/not album). Sure it sounds Album-y since the songs all represent the sound of The Beatles in 1967 (notwithstanding Strawberry Fields and Penny Lane actually having been recorded in 1966) but that doesn’t mean fuck all, and Bringing It All Back Home proves as much by contrapositive. Bob Dylan’s Album/Not Album barely holds together. I dare say even someone whose interest in Dylan and in albums in general extended only to owning ‘Bob Dylan Greatest Hits’ would be puzzled to learn that Subterranean Homesick Blues and It’s All Over Now, Baby Blue are on the same album - even though they sit side by side on the Greatest Hits. Some tracks - Mr. Tambourine Man and Gates of Eden - draw you back into the sound of The Times They Are a Changin’; Dylan’s slightly abrasive nasally vocal as well as the acoustic guitar/harmonica shop window. Some - She Belongs to Me and Love Minus Zero - point towards the breezy, cooing Dylan of Blonde on Blonde. It sounds like a compilation of different Dylans at different times. Different circumstances. Different studios. Different perspectives. Yet it isn’t. Maggie’s Farm and Mr. Tambourine Man aren’t just the same studio and producer - they were recorded on the same day. All of this happened in the same place in 3 days. Baffling. It doesn’t make much sense to me, truthfully, to situate Bob Dylan within the history of Album-as-expression; I think he maybe cared more in the latter half of his career about it than he did in his pomp. Blonde on Blonde might qualify as an exception among his 60s records but generally he just seemed happy to knock out a bunch of songs, sling what he figured were the best takes on a record and stick a cool photo on the front. That’s what has happened here. So if we’re judging BIABH as an Album with a capital A - I think it lacks unity, and I think it lacks a distinctive character of its own - notwithstanding the fact that it is absolutely iconic. If we judge it by the songs that are on it; well…there were giants in the earth in those days. It has awe on its side. 3.5/5

Krass wie viel besser bob dylan als all die andere singer songwriters bis jetzt isch. Müsstet mindestens no 3 anderi albe vo ihm cho

Can’t believe I enjoyed a Bob Dylan album. What’s next? David Bowie? Yeah, most folk-related stuff isn’t for me, but things like folk rock can be a lot less folk and a lot more like something else. I don’t even care that it’s a singer-songwriter album. For me, it’s just a fun, energetic rock album. It’s lively and just enjoyable. A bit too simple, so I can’t say this album is all that impressive, but I still very much liked it.

This album is twofold: the first half contains electric bluesy tunes while the second half finishes out with acoustic folk songs. I much preferred the acoustic songs to the electric ones, but Bob Dylan's storytelling (especially in "Bob Dylan's 115th Dream") captivated me throughout. The melodies and guitar carry the songs well (see "Mr. Tambourine Man"). I felt a sense of wistfulness and calm listening to this album even though the lyrics are far from peaceful (as is Dylan's tradition), and I even laughed at some of the parts of the stories. Another note about the lyrics is that they are very relevant today, and they should not be missed. My favorite song was probably "It's Alright, Ma (I'm Only Bleeding)". Coincidentally, this song happened to have the strongest message, in my opinion. Normally I'm not into blues music and harmonicas, but this felt meaningful enough to me, particularly in the second half, to warrant me to give it a higher rating.

3,5/5

Bob Dylan is an acquired taste. I say this because I listened to Highway 61 Revisited on my own a while ago, and wasn’t thrilled with it. Then, I got Blonde on Blonde through here a few weeks ago, and enjoyed it quite a bit. Then, listening to this, I was having a great time. Musically, Dylan holds his own with his unique blend of folk and rock, and his nasally voice that you either love, hate, or tolerate, but lyrically is where this album really shines. There are moments on this album that are heartfelt, moments that are angry, and moments that are just plain weird. I don’t think I was fully able to appreciate Dylan’s lyrical prowess until listening to this album, but there are some truly captivating songs with fantastic imagery. I really wasn’t expecting this generator to make me a Bob Dylan fan, but I suppose there are worse things to be.

Good album

Bob

*82 Lyrikken trækker i den rigtige retning, og der er nogle absolut fantastiske sange på, men også et par numre, jeg ikke brød mig om.

7/10

Essential transitional album, from increasingly reluctant folkie to rebellious blues-folk rocker

I think this is Dylan's most accessible album (assuming you can handle his voice). Love the contrast between the band backed side one and acoustic side 2. Seems way ahead of his time for 1965.

My original rating was 3, bumping this to a 4 after a re-listen and embracing more of Dylan's discography

One of the best Bob Dylan albums for sure. Has the same thing as all his 60s, albums, top tier songwriting and some pretty solid instrumentation. Very good stuff

Love him or hate him, it’s an undeniable fact that nobody else could pull this off.

3 of 8 bob dylan albums on this list done now. I’m worried that, like a precious natural resource, I’m running out, and will be left in a bob dylan dessert for the last 500 albums. I don’t quite enjoy this as much as some of his other famous albums. But it’s still great.

Not quite fully electric and several songs with the same sound scheme, but a fantastic listen. A couple songs I would’ve left off maybe, and some I felt could’ve been shorter. I challenge Bob Dylan in 1965 to write a shorter song.

Liked but not loved it, 8/10, pretty good, pretty simple, very enjoyable

Very Bob Dylan

Away from home so didn’t have chance to listen closely but it is an album I’m familiar with. Landmark album by virtue that it heralded the beginning of Dylan’s electric stage. I’ve never got what all the fuss was/is about in the acoustic v electric argument. Plugged in Dylan sounds the same to me as his style is so is distinctive. I like other albums in his massive collection more but this is still a very significant in tracing his career landmarks. 4/5 3/3/26

The sweet spot between his "folk troubadour boy genius" era and his "irony poisoned rock 'n' roll surrealist" era

Beautiful Dylan album. I have to be in the mood for his music. The folksy sound and the sad subject matter can be a lot to take on some days.

He's such a good storyteller you almost forget just how deeply unpleasant his voice and his harmonica are to listen to.

Why isn't the harmonica used more. It's fucking dope.

⭐︎4.3 名曲「Mr. tambourine man」を収録。 時代の割に長めの曲が多い印象。特徴的なアコギのリフが頭に残るアルバムだった。

I need to listen to this again to get the full picture of the album, but I very much liked what I heard. The music itself doesn't seem to be the point though, its just a vehicle for the lyricism to shine.

4/5 Definitely need to give this one another listen, but holy shit what lyricism. I didn't think I'd be listening to straight up poetry but here we are. First time I've listened to Bob Dylan and I'm pleased with what I heard. Some could be said about the musicality itself though, I didn't hear anything crazy revolutionary. However, while it's not entirely my genre I still feel very happy that I listened to it.

Spelade den så sent som i söndags av fri vilja och ska förstås spelas i mono allt annat är helgerån. Han var bra här Bob, dom här Judas-åren. Även om han inte har pluggat in här än så överger han i mångt och mycket folkmusikscenen här och hittar nåt friare och mindre dogmatiskt, ja eget kanske t.o.m. Det saknas ju inte direkt kvalitet här. Det är en dryg handfull verkliga kanonlåtar, på gränsen till klassiker faktiskt. Resten är jämnt skägg mellan någorlunda och rena utfyllnadslåtar. Maggie's farm ...baby blue Love minus zero ...115th dream Gates of Eden ...homesick blues ...på samma album det blir omöjligt att överskatta. Klockren fyra

Om texterna i det här vindlande ordflödet är rena skojerierna eller faktiskt betyder något, det får vi nog aldrig veta, och spelar mindre roll. Det är hur det levereras som betyder något. Och att lämna världsförbättrar-ambitionerna och hitta nya lekfulla sätt att uttrycka sig på, samt ta in ett elektrisk kompband, var ett genidrag och ger en ny lätthet till Dylans låtar. Synd bara att han inte går hela vägen utan kompromissar med folkpubliken med akustiska B-sidan. Inledande fyra från Subterranean homesick blues till Love minus zero/ No limit är femstjärniga. Därefter lite mer upp och ner. Men det får åtminstone landa på en fyra.

Det här albumet i sin helhet illustrerar den klassiska schismen då Bob går från akustiskt till elektriskt. Inte alls tokigt skildrat i ”The complete unknown”, med Edward Norton som mysfarbrorn Pete Seeger. Får man tro filmen och de vanligast förekommande berättelserna, var det verkligen en skam inom folkmusikvärlden när Bobban pluggade in. Sen borde vi kanske vara mer källkritiska. Anar ett visst beroende här. Hursomhelst, det var naturligtvis helt rätt att trycka in sladden i gitarren. Det blir inte minst uppenbart då låtarna fram till överskattade Tamburine man är elektriska och ger en då mycket mer komplex och intressant ljudbild. Tänk om It’s all over now, baby blue också hade arrangerats om. Hade antagligen varit albumets bästa spår. För bra låtar finns det gott om. Så det räcker till en stabil fyra.

That is album is noticeably good. I've listened to it in past.

Great songs

Fast Paced and Funny. Straddles the line between serious and straightforward folk and goofy non sequitur songs about who even knowns what, songs that are 2 minutes long and others that are 8 minutes long. Keeping the missed cue in the 115th dream was good, it shows the laid back vibe they must have had recording this, sounds fun. I think the humor is important for Dylan, something about the ability to not take even his own music that seriously is the same quality that let him change his sound over and over and write other songs that see through other things the way he sees through himself. Highlights: Subterranean Homesick Blues, Maggie’s Farm, Mr. Tambourine Man, It’s All Over Now Baby Blue

I mean, I don't really got a ton of things to say about Bob Dylan that I haven't said in other reviews. This one's just hitting really good. Probably on par with Freewheelin' (If not better) for me.

HEY MISTER TAMBOURINE MAN PLAY A SONG FOR ME IM SLEEPY AND THERE IS NO PLACE IM GOING TO HEY MISTER TAMBOURINE MAN PLAY A SONG FOR ME IN THE JINGLE-JANGLE MORNING, I'LL COME FOOOOOOLLOWING YOU

Very political, very good

Have I listened to this album before? No How familiar am I with this album? I know one song 
How do I feel about this artist? Bob Dylan's voice generally annoys me but I like to listen to his lyrics and I love some good harmonica Favorite song(s)? Title Track, Outlaw Blues, Bob Dylan's 115th Dream, Gates of Eden Overall Thoughts: I liked this more than I expected to. I associate Dylan heavily with protest music (nothing wrong with that), but this was just a straight forward blues album. I liked the switchover from electric to acoustic halfway through.

Oooh boy…. BD Probably not in my top 5- maybe Still a great album- 9/10

It Dylan

Typical Dylan, but this one didn’t seem to grate on me like most of his does around the 3/4 mark.

One side electric, one side acoustic, contains Subterranean Homesick Blues, Maggie's Farm, and Mr. Tambourine Man. There are a lot of Dylan albums on this list, and this is I think the 3rd one I've been assigned so far, less than 100 total in. It's about a 3.5, so maybe better than most Dylan.

I actually really liked this album despite never going out of my way to listen to Dylan. Great way to start my morning with some twangy harmonica.

I still prefer him as a songwriter to a singer.

Good Dylan album

Not something I would usually play, but I really enjoyed it.

We get electrified Dylan *and* acoustic Dylan. And “Subterranean Homesick Blues” and “Mr. Tambourine Man.” And that’s not all. Essential.

Mais de quoi tu parles Bob? 4.49 étoiles

Love the electric Dylan....Judas Schmudas. Side 2 though, is tremendous. Damn good album: 4.5

Excellent... the album that propelled a generation and influenced at least one more.

Big fan of this one

Well, this album is just chock full of hits, isn't it?

Excellent

Großartiges Album. Die A-Seite zeigt Dylan von seiner rockigen Seite, mit fantastischen Songs wie den bissigen, energiegeladenen "Subterranean Homesick Blues" und "Maggie's Farm", dem traumhaft schönen "Love Minus Zero / No Limit" sowie herrlich witzigen Geschichten wie "On the Road Again" und "Bob Dylan's 115th Dream". Well, I rapped upon a house With the US flag upon display I said, "Could you help me out I got some friends down the way" "The man says, "Get out of here I'll tear you limb from limb" I said, "You know they refused Jesus, too" He said, "You're not Him Herrlich. :D Ich liebe auch den falschen Start von "Bob Dylan's 115th Dream". Unfassbar, dass die akustische B-Seite dann locker nochmal genauso gut ist, "Mr. Tambourine Man" und "It's Alright, Ma (I'm Only Bleeding)" sind nicht zu Unrecht Highlights. Und noch unglaublicher, dass die zwei Nachfolger noch besser sind.

Loved itttt

- First song: "Subterranean Homesick Blues" "THIS NIGGA FLOWING" - Tenth Song: It's Alright, Ma (I'm Only Bleeding) "MMMMMM" - Favorite Song: "Subterranean Homesick Blues" (8/10) Oldie with a few songs sounding the same but still great listen

Quintessential Bob Dylan

i love that he got criticized for this album being too "rock". you know. the most folksy 60s album i've heard. yeah sure. 4 stars.

j’aime bien bob dylan

This is a hugely influential album, I can see it across so many of my favourite artists. On an individual level I enjoyed it too, a step into more modern music from straight acoustic song writing but with the strong song writing still being the backbone of the music.

I somehow remembered this being the lesser of Dylan's three peak Dylan electric albums, and boy was I stupid. This rules, with a sneer and an edge Highway 61 couldn't fully replicate. The middle is definitely a mess but that last half when he goes back to his folk roots to just utterly annihilate meaning from them - it's pretty great. It's not Blonde on Blonde but it'll do nicely.

Beautiful. That great shaky raw voice with a mix of electronic and acoustic undertones

It was a good folk album. I know it’s his style, but his voice is kind of annoying and the harmonica really takes over, but the lyrics are good and I can understand how this was a very important record when it came out.

One of the better Bob Dylan albums for me (they’ve been surprisingly hit or miss throughout the project). Even the harmonica, which sometimes grates, felt tolerable here. A good mix of more traditional folk, rock, and creative lyricism. Subterranean Homesick Blues, Love Minus Zero, Bob Dylan’s 115th Dream, Gates of Eden 4?

I don't know why I love this nonsense so much but I do.

Ok

Bob er best i små doser.

ah love the incoherent lyrics of subterranean homesick blues she belongs to me--is there a live version of this on self portrait? i think so? or maybe just the intro? "she's an artist" i know, but the rest of the song isn't familiar. maggie's farm--seems like this is gonna be more of a rocking dylan with a slower interlude here & there love minus zero--ooh this one is new. it's more serious in musical tone & lyrics than s.h.b. or maggie's farm, but it still has that lively band going at it outlaw blues--also a new one. ope. on the road again--i think this is new but it sounds so so familiar. lyrics seem a continuation of sub homesick blues, i.e., utterly nonsensical bob dylan's 115th dream--now i'm imagining that every nonsensical dylan song is just a narration of one of his dreams. capt. arab? moby dick is ahab.. arrested for carrying harpoons, waitress he was handsome, lol house with american flag turns him away says i'll tear you limb from limb i said you know they turned away jesus too he said you're not him. this is a ballad of bob dylan getting knocked down hey mr tambourine--an absolute classic gates of eden--hmm this one is new too it's alright, ma (i'm only bleeding)--new one; this is a nice slower one. ok i'm digging this, kinda surprisingly progressive it's all over now, baby blue--another classic do i have the slightest idea what any of that was about? nope. a nonsense album full of nonsense songs. subterranean homesick blues is the most well known of the nonsense songs, but several of the slower songs are also more well know i think (i'm probably a bad judge of how well known a dylan song is...). is it actually nonsense... maybe, maybe not. he definitely addresses some social themes, but he dresses it up in fast paced little nothings. not his best, i'd say it's in the 3.4-3.6/5 range. i'll decide tomorrow. final verdict--3.5/5 rounded to 4/5. presence of classics like subterranean homesick blues, mr tambourine, and it's all over now, baby blue add to the rating. a range of nonsense ballads appear on the album; 115th dream presents a critique of authority and its use of tradition to restrain people; most of the other ballads i could not decipher.

goog

- Bob Dylan i mit hjerte - Mundharmonikaen er jeg fan af, godt og different kendetegn at have - Ikke meget variation, men det er egentlig heller ikke fordi det er nødvendigt, det gør bare at det er 4/5 i stedet for 5/5. Et hvert andet Bob Dylan album ville jeg synes var lige så godt

Still Dylan's voice but you can't deny the songs are great, loved the split album too

enjoyed the first half but got a lil lost in the ending

This is one of my favourites of his, the way it's cut in half between the raw electric stuff and very lovely acoustic stuff. Bob Dylan's been mytholigised so much that he's basically a meme at this point, but I still think the best moments here like Maggie's Farm and Subterranean Homesick Blues and It's All Over Now hold up, and the lyrics are just really really great poetry (even though that's a very lukewarm and cringe take). Sorry I just can't be contrary about this one, I like it a lot.

Bob Dylan has his vocals at the forefront of every song and the lyrics send you into a mental quagmire. Dylan’s voice is very unique and he is one of those artists you know right away when you hear him singing. The music playing behind him, mostly guitar and harmonica, are consistently solid and easy to appreciate. A great addition to this list and I was happy to listen to it. PS - The film about Dylan (A Complete Unknown) was also well done and gives a good glimpse of his start in the music business.

Artists like Bob Dylan are timeless and come once in a generation. I'm not the biggest fan, but a fan none the less. Bringing it all back home is one of his best albums, Subterranean Homesick Blues kicks the album off perfectly. Outlaw Blues, 115th dream, Gates of Eden, and It's all over now Baby Blue are the stand outs for me but this is one of the Dylan albums I don't mind listening to start to finish.

I found that I liked Bringing It All Back Home by Bob Dylan, even though it isn’t the type of music I usually gravitate toward. The album challenged my expectations and made me appreciate its lyricism and influence, even if it sits outside my normal listening preferences.

Never been a huge fan of Dylan, but this record is solid. I can see the appeal.

One of the best openers ever with "Subterranean Homesick Blues"....I love "Maggie's Farm" too, which almost feels like the same song. This is a really good mix of the beat poet influenced, silly caricature of early Dylan and some really nice, simple melodic songs "She Belongs to Me", "Mr. Tambourine Man", etc. If I was trying to get someone into Bob Dylan, I might start here...really torn between 4 and 5 so I am going 4.5 stars but I'll round down because I'm sure my favorite Dylan album is coming later.

Blob Dylan brings it all back home

Favorite Tracks: Subterranean Homesick Blues / Maggie's Farm / Outlaw Blues / It's Alright, Ma Rating: 4.3 Good timing for this one, I just watched the fairly recent biopic "A Complete Unknown" which spent a lot of time on this era of Dylan's transition from traditional folk. Funny to listen to this 60 years later with some understanding of how controversial this was at the time! I used to make fun of Dylan's singing voice -- and probably still will lol -- but I really dig this album.

Classic Bob, I'm here for it.

Big fan of this, thought it was great. Loads of great tunes, funny and interesting lyrics and feels like a tight 45 minutes. I liked the mix of full band and acoustic songs too.

classic iconic

Good early Dylan. Surrealist, scene jumbled over guitar.

I have an odd relationship with Bob, my head acknowledges that he is a supreme songwriter but my heart never seems to care, and so I feel less enthused about him than other singer-songwriters and, as my level of fandom is a lot less than the global population, it seems as if I don’t like him. Having said that I seem to inexplicably have picked up lots of his albums. Such is the power of Bob. This is great “its all right now ma” is fantastic, I have scored it highly. But my heart is still not satisfied. I imagine the generator will give me a fair few more of his to help me get to the bottom of my reaction.

I do like Bob Dylan, his voice doesn't annoy me as much as genpop. I appreciate the history behind it all, too. I don't want to listen to him all day but I can take an album and I can even enjoy it!

8/10 29.01.2026

Great !

So relaxed in the studio!

Heard Before? Only in passing. Notes: - make no mistake. this is a LYRICS ALBUM. thankfully it's endlessly quotable with dizzying variety in theme and content. - the same cannot be said of the music. very repetitive, with very few ideas stretched very far. - the hype over Dylan "going electric" is meaningless, especially now. the band simply chugs away, mashed at the back of the mix, just like the acoustic guitar does in the "folk" numbers. - harsh noise harmonica stabs. love them? hate them? there sure are a lot of them. Verdict: So many words, so many words. Belligerent, grating and glorious. Listen Again? Maybe. I have a feeling this list will put me through a lot more Dylan before I'm done.

Piuttosto buono, da spenderci un po' più di tempo per apprezzare meglio i testi, ma diamo 4 sulla fiducia

This was surprising for me. I’ve never been the biggest Dylan fan, but I enjoyed this album. 4/5

I was expecting to loathe this one and was dreading listening to it. I’ve heard a few Bob songs and his voice had always been irritating to me. That being said, I enjoyed this album. His storytelling is unlike any I’ve ever heard. It’s not my usual cup of tea, but you can’t deny that this guy knows how to tell a story.

The electric stuff's not quite as good as on later albums like highway 61 and blonde on blonde, still great though, but the acoustic side as perfect

Very good.

Je n'écoute jamais de country habituellement, mais cette album est tombé un dimanche matin ou je voulais chiller, donc le contexte à grandement influencé sur mon écoute

Seminal

Good album. Couple of songs I didn't like.

4/5 + Rock and roll Bob Dylan is great + Bob Dylan - Bob Dylan Fav: Subterranean Homesick Blues, Mr Tambourine Man, It's Alright Ma

Bring this album home. You’ll love it. Trust me.

Not a huge Dylan fan, but this album is classically great.

had a really good time!! more upbeat than the other bob dylan album i got, these songs sound more distinct from each other lol.

Need to reconsider this as a potential candidate for my favorite dylan album

harmonica, country, quick witted, beautiful

-1 for ear piercing harmonica

p75. 1965. 4 stars. So this is what all the fuss is about. Lyrically light years ahead of the competition, and packed with great tunes. Point deducted for some of the tracks outstaying their welcome, and for his nasal whine. Note that his songs always sound better when covered by other artists who can sing.

люблю) не знаю чи буду прям слухать реально, но мені подобається, особливо пісні як subterranean homesick blues , she belongs to me і mr . tambourine man. слухаючи цей альбом, відчуваю ся пацанчика в north dakota який займається конями із соломінкою в роті)

8.5/10

Finalmente ouvi um álbum do Bob Dylan e já estava à espera de gostar. Subterranean Homesick Blues (primeira música) marca o ritmo de um álbum com musicas curtas de 2/3 minutos e musicas mais longas 6/7 minutos. Todas elas boas. Destaque também para: Love Minus Zero, Outlaw Blues, Mr Tambourine Man e It's All Over Now, Baby Blue que é a faixa que acaba o álbum e acaba da melhor maneira.

idk

I appreciate a lot of Bob Dylan’s most popular songs and heard 1 or 2 of his albums, but I wasn’t familiar with this one. Since I had already listened to Highway 61 Revisited before, the presence of electric tracks weren’t really a surprise to me but great anyway. The thing to me is that even though his most brilliant and interesting work is centered around the folksy music and storytelling, at times it does really get annoying to listen to his nasal voice for 40-60 minutes straight when there’s not really anything huge happening in the background music but when that magnificent narrative is aligned with some interesting production it’s the perfect combo. Standout tracks to me were Subterranean Homesick Blues, Outlaw Blues and On the Road Again.

Послушал не без удовольствия и заключительная вещь хороша.

One of Bob's many innovative albums transitioning the world into the rock era. Not my usual genre but definitely worth the listen. Favourite Song: Subterranean Homesick Blues

4 stars - 5 stars for the importance and 3.5 stars for the music, This is really good Dylan, just not the absolute best (see Freewheelin, Highway 61, and Blonde on Blonde). However, this broke ground in folk rock. I like Side 2 better.with the folk songs. Best songs: Mr. Tambourine Man, It's All Over Now Baby Blue, Subterranean Homesick Blues, Maggie's Farm. Listened to a mono LP from the Dylan Mono Recordings vinyl box.

This album is a great example of what I think of as classic Bob Dylan lyrics: equal parts wisdom and nonsense. On a lot of these songs, he moves at a 100 miles an hour, tossing out references to pop culture, literature, history, and politics. It feels impossible to hear all of it in any one listen, but you catch what you can, roll it around in your mind, and see if it makes any sense. Sometimes his jokes land like a sucker punch. Other times you go, "Huh?" And sometimes, a dream logic takes over, and you smile without entirely knowing why. "Maggie's Farm" and "On the Road Again" are the two I have the most fun with. The lyrics are packed with one-liners. On "Maggie's Farm," the subject of his mockery is relatively straightforward: authority. The cartoonish characters bossing him around on the farm represent employers, government, and religion, but there's no one neat metaphor. "On the Road Again" is a little less clear about its target, but I get the impression it's more of a social criticism. I know that feeling of being in someone else's house or car and thinking, "This is how you live? This is what you believe in?" And then you can really dive into the deep end with "Bob Dylan's 115th Dream." This one seems to be about history and politics and society, but it's filled with so much dream imagery and so many silly lines that you can never fully wrap your hands around what it's about. But, in a kind of way, I think that's political too. Do you ever look around at what's going on in the world and go, "Huh? How does that make any sense?" I think that's the feeling Dylan is trying to capture. This is actually an interesting hybrid album. The first half is mostly rock and blues, but the second half is acoustic folk. I’ve seen this album described as Dylan at a crossroads in his style, but it’s interesting to hear the sound divided so clearly between Side A and Side B.

Nice Bob Dylan record! I really like the energy of this one, there's almost an undertone of happiness in these songs or at least the ones that I enjoy more, like "Mr. Tambourine Man", and "It's All Over, Baby Blue". I don't know if it's maybe the mixture of the chord strumming with the major keys, but there's a little hint of Bob being happy while performing these, and I dig that. Still I'd say it's a 4/5 for me, leaning towards a 3. He's one of the best songwriters ever, but this isn't particularly one of his best records. I find the lyrics a bit hard to follow on this release, and that's usually one of the facets that I look forward to when listening to him.

Everyone always goes to highway 61 for the immediate dylan goes electric, but I suppose this album is a nice precursor that he was already experimenting with more blues and rock sounds? A great album regardless even if not every track hits as hard as what I consider to be his true classics.

Better than the other one. Still not a huge bob Dylan fan. Subterranean homesick blues and it’s all over now baby blue are my standouts.

This was actually pretty great. I went in expecting homework and walked out enjoying the ride. The lyrics are dense, but they reward you for paying attention. Spins: 1 Playlist Additions - Subterranean Homesick Blues - Maggie's Farm - Mr. Tambourine Man - It's All Over Now, Baby Blue

Bob. Legend. Still.

Some great songs very catchy

Love the blues songs and like the folk songs. Meandering overlong sometimes, but felt more approachable and catchy than Highway 61 Revisited.

Brilliant

Classic, I've heard this album of this is the first time i've listen to it in one sitting. I like the electric bobby. I forgot Outlaw Blues was on here and remembered that there's a timothee chalamet rendition of outlaw blues that is fantastic. You can find it on Youtube. Anyway, love it.

Love this. Love bob Dylan

There's a lot to like about this album. The songs did blend together after a while, but the lyrics made up for it.

Dylan always does it for me. Take it away Bob!!

His voice of course is unmistakable, and the melodies are so unique. The instrumentals are doing so much, but the melody somehow fits right in. Something tells me that he isn't going to work on Maggie's farm anymore. Folky, rocky, bluesy, country; somewhere in the middle there. Either way it's fun, and a cool dense mix of genres but still consistent. Started to fall flat for me by the time it got to Gates of Eden. It's too much of a turn for an almost 6 minute song that doesn't keep my interest. The a-side of this album was so big and dense and it just wasn't able to keep that up. But then It's Alright Ma does that same thing, for an even longer song, and nails it. It's so catchy, and demands my ear. It's lyrically impressive and poignant. And in the end, it sticks the landing. I enjoyed this album much. 3.8/5

Overall rating by me: 7,5/10 Songs added to the playlist: ,,Subterranean Homesick Blues", ,,Outlaw Blues", ,,It's Alright, Ma (I'm Only Bleeding" Notes: Makes me feel like I travelled in time and I'm currently sitting in the 70's in some obscure wild west themed tavern. Definitely will play the whole album on a road trip one day.

I've already listened to this album before, but just once, and I didn't remember much from it. This is Dylan's first album where he makes the switch from acoustic guitar (as seen on his previous albums) to electric guitar. Personally, I like Dylan's music much more on those first few albums where it's just acoustic, but that's a personal preference. That being said, the album is still quite good - the first half is basically the new electric sound, while the second half contains acoustic songs. The electric songs are nice and memorable (Subterranean Homesick Blues, She Belongs to Me, Maggie's Farm), but I enjoyed the electric songs on the following album (Highway 61 Revisited) more. The standout track of the album to me is the most popular song on the album, named Mr. Tambourine Man (another acoustic song). Overall, even though I do like Bob Dylan, I've seen people rave about it, but it's not as spectacular as some describe it. Solid album, but certainly not my favorite of his. Maybe, if I'd revisit it some time later, I'd enjoy it more. But right now, I'd give it a nice 7.5 / 10.

Tambourine man is a classic. Overall great album.

# Album Name: Bringing It All Back Home # Artist: Bob Dylan # Rating: 4/5 # Comments: Nice country/rock/ blues feel to the album. Typical dylan though. # Top Tunes: homesick blues / Maggie’s farm / outlaw blues # Would I listen to it again? Yes

Ultimate Quirky bob Dylan. Love the lyricism especially on “on the road again”

Love Bob Dylan’s vibes and his raggedy ahh voice

Okay, after a relisten I do definitely get the appeal now! His lyric-writing is pretty great all around in here. Admittedly this genre still isn't my thing and the only song I really particularly vibed with was Bob Dylan's 115th Dream on account of it being very amusing, buuuut this is probably close to the best of this style for me!

Our first Bob Dylan album of the challenge (nearly 1/4 of the way through!) and it's a great one. I hadn't heard this one before besides the opener, Subterranean Homesick Blues, but as Dylan's first electric album it absolutely shows off his songwriting chops even with this evolved sound. Songs like Outlaw Blues, Mr. Tambourine Man, It's All Over Now Baby Blue, and especially the 7-minute It's Alright Ma (I'm Only Bleeding) are yet more entries into the pantheon of my favourite Bob Dylan tunes.

Great album but not as magical as his next work, Highway 61. That is where he perfects everything he does here. However, this album is bolstered by having Subterranean Homesick Blues and It's Alright, Ma on it. Even the throwaway songs are pretty good, but I do feel the length on this one a bit.

My favourite of the Bob Dylan albums so far. Great songs.

It make me smile.

His rocky, blues half better than his folky half. He did well to move in that direction ahead of the curve.

Engaging album, easy and enjoyable to listen to. Lyrics were well written and didn't rely on catchy hooks. Simple but pleasant instrumentals paired perfectly with the storytelling nature of the record.

I really enjoyed this album actually. Better than previous Dylan albums I listened to

It's an album that never goes out of style. Bob Dylan's stringed instruments awaken something in me.

Lyrics are incredible, not Bob’s best though! Top 3 Songs: 1. Outlaw Blues 2. Bob Dylan’s 115th Dream 3. Love Minus Zero

Previously heard 03/2018 and 12/2020. Classic Bob album. Not the best but one of his best.

Some real classics

It was definitely something new for my music teast but I really enjoyed

Gotta be honest, never really listened to Bob. Will try and listen to more, though.

I don’t listen to folk rock much but i do be bumping bob dylan sometimes. His songs are just tew good

1st Listened to on 12/9/25 This brings me back to a former life with a former partner (who was not so great but did bring some special music in my life). Looking at the song list Maggie's Farm and It's All Over Now, Baby Blue are familiar....

absolutely amazing! songs like "Mr. Tambourine Man" and "It's All Over Now, Baby Blue" is kind of nostalgic for me; the last one has a brazilian version called "Negro Amor", it's pretty good as well!

Pretty fire

Classic and fresh at its time.

Upbeat, fun, harmonicas and feels very country like. It's got that old timey blues too.

Loved it. Heard it hefore

First Bob Dylan record in this experience and first Dylan record I've ever listened to front to back. I really enjoyed it! Always liked the better known Dylan songs but never dove into the albums until now and it has me looking forward to the other Dylan records on this list.

Love it 4/5

Significantly better than the previous of Dylan (Blood On The Tracks). Bringing It All Back Home is much more melodic.

One of his most influential works, this album marks the moment he started using electric guitar and moving away from the folk singer songwriter style. It also began his trilogy of folky rock with Highway 61 Revisited and Blonde on Blonde. It has some of my favourite Dylan tracks, with Subterranean Homesick Blues being the main one for me. The album explodes into this track, and nothing he had done before sounded like it. The lyrics are delivered fast in an almost rap style. Then there is the most famous track on the album, Mr Tambourine Man. It is beautifully written and really highlights Bob Dylan's ability to write stories and pull you into his imaginative vision. All in all a near perfect album

What is there even to say that hasn’t been said. Groundbreaking, even now.

Good Bob Dylan album, not necessarily top tier for me though Mainly earns its four star rating through Subterranean Somesick Blues alone. Could argue that song makes him to first mainstream rapper (lol)

I especially liked this because I recently watched the biopic A Complete Unknown. IM NOT SLEEPY AND THERE IS NO PLACE IM GOING TO

Classic folksy old-school Bob Dylan. I enjoyed it but wouldn't listen to it on my own time so it's hard to give more than 3 stars, but I really appreciate the musicianship and the interesting lyrics so I'll make an exception. Favorites: Mr. Tambourine Man, It's All Over Now, Baby Blue

I do love Dylan’s early stuff, and have quite a few CDs, not heard this particular album before, really enjoyed it - music’s so pure- so bluesy

Think this may have just became my favorite Dylan album - maybe a hot take?

Great album

7,5

Another banger before the guy is barely older than a teenager. Incredible.

hmmmmm

Always amazed at how good of songwriter this guy is. I know it’s cliche. Also cliche to whine about his annoying voice, but there you have it. A solid album overall.

classic and a great listen to revisit

Quality

This is one of my preferred Dylan albums. All the typical stuff here, meaningful if nit obscure lyrics, music that blends country, folk, electric, and of course that beautiful singing voice. Ok, I made that last one up.

My favorite Bob Dylan album so far, I feel like I'm being picky that his voice puts this from a 5/5 to a 4/5, fits in most songs, but on some of the more serious ones I always chuckled

The album that became mythologised as upsetting the entire folk community, despite selling and reviewing well. As it turned out, adding rock to folk was a popular move (and possibly why some gatekeepers ended up trashing it). As an album, it's messy, but I don't necessarily consider that a demerit; especially if you were one of the first people to do it. (It would be unfair otherwise). The real thing that brings it down a level is actually its indecisiveness. Its half-electric, half-acoustic nature ends up diminishing some of the lesser material. That being said, most of the songs are great, and not just the hits. Love Minus 0/No Limit is moving and On The Road again makes me laugh. If you like Dylan, you'll like this. Tangent: This original version of Tambourine Man made me dislike the Byrds version for years, and while I've gotten over it, I still think it's the better one. Favourite Song: Love Minus 0 / No Limit Least Favourite: Outlaws Blues Strong Bad Demerit Count: 0

Wow. Dylan did know how to have fun.

I'm a big Dylan fan, but this one never lived up to some of my favorite albums of his as a whole. Thats mainly because of the first two songs on the album being usual skips for me. Side one has some good tunes on it with that said. Maggie's Farm and Outlaw Blues are some of my favorites there. Side 2 on the other hand is some of my favorite stuff he ever did. Those 4 songs are 5 star material. Gates of Eden is probably a top 5 Dylan song for me. It's a really good album, and I really do appreciate that this was kind of his first step away from being basically just a political folk singer, but I just can't give it the full 5 stars.

Kann man machen, paar banger dabei

Maggie's Farm, Subterranean Homesick Blues, Mr. Tambourine Man, etc, big songs on here.

First Dylan album I've received. Bob Dylan is the quintessential fall artist for me so I'm glad I got one of his albums before the season ended. Favorite track: Tambourine Man

Liked it

Half electric rock, half acoustic folk. Great! There are some individual songs that are worthy of five stars, but it’s not quite consistent. Therefore, the total score is a four. 4/5

Previously rated: #72 - Highway 61 Revisited (4/5) #105 - Blood on the Tracks (4/5) #515 - Live 1966 (The Royal Albert Hall Concert) (4/5) #529 - The Freewheelin' Bob Dylan (4/5) #835 - Blonde On Blonde (4/5) **************************************************** Album #956 I listened to this several days ago, so it's not fresh in my mind. Solid, but not my favorite album of his. Subterranean Homesick Blues, Maggie's Farm, and Mr. Tambourine Man are highlights.

It's pretty good isn't it? Not everything, but he did have a knack on this album of being catchy and clever and more. I think his original of Mr. Tambourine Man is better too.

Some great tracks

I like Dylan a lot, and some of the songs on here are highlights (Tambourine Man, Baby Blue, Maggies Farm). It doesn't touch the heights of Blonde on Blonde or Freewheelin' from this era, but still a great album

This is the Dylan era that hits just right for me, when he had just plugged in but still straddled his folk-y roots. Some epic lyrics here and great songcraft from a songwriter and lyricist par excellence. Some songs I'd definitely never heard, standouts were Love Minus Zero and It's Alright Ma. Enjoyed this a lot.

Good album, Bob is an excellent songwriter. 4/5

BOB DYLANS TRUE MASTERPIECE

A solid folk rock album from your man. Love Minus Zero, Mr Tambo, It's All Over Now, Baby Blue are all fantastic songs. Bob's dream was graphic but a bit annoying. Took a while but finally got into Mr Dylan.

Good tracks, but not something I’d put on a pedestal for its genius.

I know the hits but I’m not sure I’ve ever actually listened to a Dylan record before in its entirety. I really liked this one and many of the lyrics remain relevant even today.

Alors, "Bringing It All Back Home" et il faut se remettre dans le contexte. En 1965, Bob Dylan, c'est le roi des folksingers, le porte-parole d'une génération qui gratte sa sèche en rêvant de justice sociale et de lendemains qui chantent (ou pas). Et là, paf ! Le mec décide de brancher la guitare. Scandale ! Trahison ! Judas ! (Bon, ça, c'était pour un peu plus tard en live, mais l'idée est là). Cet album, c'est la ligne de partage des eaux. La face A, électrique. La face B, acoustique. Schizophrène ? Peut-être. Révolutionnaire ? Assurément. Commençons par le crime, la face A. Dès "Subterranean Homesick Blues", c'est la claque. Un débit de mitraillette verbale, un rythme qui cavalcade, soutenu par une guitare électrique et un groupe qui balance un son presque garage. Pour l'époque, c'est une déflagration. On est à des années-lumière du type seul avec sa guitare et son harmonica. C'est brut, c'est urgent, ça sent la ville, l'électricité (sans mauvais jeu de mots). Des titres comme "Maggie's Farm" ou "Outlaw Blues" enfoncent le clou : Dylan n'est plus seulement le poète folk, il est aussi un rocker, un type qui a digéré Chuck Berry et le blues électrique. Et merde, que ça fait du bien ! Cette première face, c'est un grand coup de pied dans la fourmilière folk bien-pensante. C'est sale, c'est teigneux, et ça annonce clairement la couleur pour les chefs-d'œuvre à venir ("Highway 61 Revisited", "Blonde on Blonde"). Puis vient la face B et un retour au calme apparent. Dylan reprend sa guitare acoustique, son harmonica, et là, on se dit "Ah, le revoilà notre bon vieux Bob". Sauf que... même en acoustique, quelque chose a changé. La poésie est toujours là, bien sûr, et quelle poésie ! "Mr. Tambourine Man", "It's All Over Now, Baby Blue", "It's Alright, Ma (I'm Only Bleeding)"... C'est juste sublime. Des classiques instantanés, des chansons qui te prennent aux tripes et ne te lâchent plus. Mais il y a une assurance nouvelle, une complexité dans l'écriture, une sorte de détachement ironique qui n'était pas aussi présent avant. Même dans ses moments les plus dépouillés, on sent que Dylan a franchi un cap. Il n'est plus juste un chanteur folk, il est... Dylan. Un artiste total, en pleine mutation. Alors, pourquoi seulement 4 sur 5 ? Parce que, justement, c'est un album de transition. Aussi génial soit-il, il a ce côté un peu "cul entre deux chaises". La face A annonce la suite avec brio, la face B rappelle le passé avec une classe folle, mais l'ensemble manque peut-être de la cohérence folle des deux albums suivants. On sent l'expérimentation, la recherche, c'est passionnant, historiquement crucial, mais peut-être pas aussi parfaitement abouti que "Highway 61" ou "Blonde on Blonde" qui pousseront le bouchon électrique beaucoup plus loin. Et puis, il y a la voix de Dylan. On aime ou on déteste. Moi, gamin des années 80 biberonné au post-punk et à l'indie rock, j'ai mis du temps. Cette voix nasillarde, parfois à la limite de la justesse, je n'ai jamais vraiment accroché... Mais bon sang, elle véhicule tout de même tellement de choses ! C'est la voix de l'authenticité brute, du type qui s'en fout des conventions et qui a des choses à dire, peu importe le flacon. C'est indissociable du personnage et de son message. Et sur cet album, elle passe de l'urgence électrique à la confidence acoustique avec une aisance déconcertante. En tant que type né en 70, j'ai découvert Dylan plus tard, après le choc punk et new wave. Pour moi, son importance résidait moins dans le son "folk" originel que dans l'attitude, cette rupture qu'il a incarnée. Brancher la guitare en 65, c'était un geste punk avant l'heure. C'était dire merde aux puristes, refuser l'étiquette qu'on voulait lui coller. Et ça, ça résonne fort avec les groupes que j'aime. "Bringing It All Back Home", c'est donc un album charnière, essentiel pour comprendre l'évolution non seulement de Dylan, mais du rock tout court. C'est l'acte de naissance du folk-rock, une œuvre pleine de fulgurances poétiques et de prises de risque musicales. Ce n'est peut-être pas mon Dylan préféré de A à Z, mais son importance est indéniable et la qualité de la plupart des titres est juste époustouflante. Un bon 4/5 bien mérité pour cette pierre angulaire qui reste un indispensable, évidemment.

Fab album... Fun and enjoyed all songs

𝘉𝘳𝘪𝘯𝘨𝘪𝘯𝘨 𝘐𝘵 𝘈𝘭𝘭 𝘉𝘢𝘤𝘬 𝘏𝘰𝘮𝘦 marks the moment Dylan stepped out of the folk cafés and into the electric age. The first half crackles with sharp wit and restless energy — 𝘚𝘶𝘣𝘵𝘦𝘳𝘳𝘢𝘯𝘦𝘢𝘯 𝘏𝘰𝘮𝘦𝘴𝘪𝘤𝘬 𝘉𝘭𝘶𝘦𝘴 practically invents a new rhythmic language — while the acoustic second half reminds you why his songwriting mattered in the first place. His voice can still divide listeners, and the harmonica occasionally overstays its welcome, but few albums capture a creative shift this boldly. Dylan sounds caught between two worlds here — and that tension is exactly what makes it so compelling.

This is like if the Beatles were country

I’m visiting family in Minneapolis right now, so of course I get a Dylan album today. Actually I get one of THE Dylan albums. In college I did a deep dive into his music, and this is the first record of his I bought. The other two from 1965 were next. I felt I “got it” when it came to his music, but not to the extent of his rabid fans. After that deep dive I kind of stepped away and listened only sporadically. I really enjoyed today’s listen, and felt I was coming at it with fresh ears. Probably my favorite song today was It’s All Over Now, Baby Blue. I’m a music first person so I generally prefer his electric songs better, but I paid close attention to the lyrics this time around and got a lot from all of it. So inscrutable, and then not, if that makes sense.

What's Dylan Grillin'? Because he definitely cooked on this one. Not quite as good as Blood On The Tracks but what is? fav tracks: Subterranean Homesick Blues, Mr. Tambourine Man

Crazy good songs on this album. Two or threes others were insufferably long but for the most part, amazing album.

Lyrics of "It's Alright Ma (I'm Only Bleeding) remind me of Indigo Girls, "It's only life, after all"; Guitar is backbone of it all

Electric instruments? Smdh

I have a bit of a love-hate parasocial relationship with Bob Dylan. On the one hand I do think that there is a disproportionate amount of glazing for his music, poems, and ideas. Anything that he graces with his artistic attention is elevated to the annals of American myth. For me, that always rubbed me the wrong way, since he is by no means the start or end of these ideas. Music is a continuum, it gets iterated, reimagined, remixed and outright stolen and that, to me, was the way that it should be thought of. Good artists borrow, and great artists steal is a more accurate statement than one could bother to analyze in their day to day. To me Bob Dylan was someone that stole, not in the outright reprehensible, violent way, but in the more dismissible and ethereal way, in a way that overpowers but still gives back. I would be lying if I said he doesn't do it right. Throughout his long career he was someone that spoke truth to power in a way that artists to this day are afraid or contemptuous of. This is part of that. And it's great. I've never been a huge fan of folky stuff, but this is so lyrically rich and so relevant even now that it strikes you even when you want to deny it. I think there are better Bob Dylan albums and I realize now I am probably have to recalibrate considering this will be 1001 albums that are either good, relevant, or both. So I will keep it measured and go for a 4.5 on this.

Dylan gets a four from It’s Alright Ma alone. I really wasn’t a fan of the first half of the album—I think he is at his best when he’s doing folk inspired work, though I can respect that he was trying something new with the electric guitars. It made a lot of sense to learn that A side of the record was him experimenting with a more rock side and the B side of the record (the latter half) was a return to his more traditional folk roots. I think Mr. Tambourine Man, It’s Alright, Ma, and It’s All Over Now Baby Blue are some of his best work. It’s Alright, Ma really spoke to so many frustrations of American life that still resonate today. It reads almost like a list of grievances (in a good way). I wish he’d stuck with the folk sound, and apparently I’m not the only one—the folk scene at the time were livid with him for departing the genre. Me too, Bob!!!

“There are no kings inside the gates of eden. “ Legendary lyricist Bob Dylan pulls up to drop a tight album where he has departed from his traditional acoustic tracks in favor of electric for half of it. What stuck with me here though, was his acoustic work. “Mr. Tambourine Man” and “It’s All Over Now, Baby Blue” are clear highlights.

Def the best Dylan album so far, some really great tracks + his voice isn't as annoying as usual

Bringing It All Back Home is an electrified folk, stylistically transitional album that is a worthy inclusion for Dylan archeologists. I hate to admit that it does not especially move me. At least, it does not move me like later Dylan releases, including Highway 61 Revisited which came out just five months after this. I like "Subterranean Homesick Blues" and "Maggie's Farm." But The Byrds made "Mr. Tambourine Man" their own. Also, to be honest, I prefer the Rage Against The Machine version of "Maggie's Farm." "Subterranean Homesick Blues" might be most famous for accompanying Dylan flipping through cue cards with the song's lyrics in the opening to Don't Look Back. Apparently, nobody had thought to use cue cards in front of the camera before.

A bit more upbeat and rocky than some of his other albums but overall a good example of Dylan's songwriting prowess.

13.10.25 #18 Favourite Tracks: subterranean homesick blues, she belongs to me, Mr. Tambourine man Rate: 8/10

Better than some of the other stuff that's already been on here.

I mean yeah. The big ones are big. “Maggie’s Farm” and “Tambourine Man.” I really like Bob. I’m with my uncle and that whole (gestures) generation. Didn’t get me where Highway Revisited did but I gotta start giving more flowers where due. This was tuff.

Starts strong with an all-time classic. Ends even stronger with It’s Alright Ma (I’m Only Bleeding) and It’s All Over Now Baby Blue.

His voice, his truth, his poetry! This album is a soul-soothing rebellion, a mirror to society then and now. A folk fuck-you and masterpiece all in one.

Respectable, though Bob's vocal work can be a real miss for me. Saved by great instrumental work though. Getting real fatigued overall from ol Bob though.

Good album, I have this.

maravilloso

I never was a big Dylan fan, but as I get older, I can appreciate his songs, his craftsmanship and his huge influence on the pop culture more. I'm more familiar with his later albums, but this one is awesome, especially the rockier first half. "Maggie's Farm", "Outlaw Blues", and "It's All Over Now, Baby Blue" are all huge favorites. Great album! ("Tambourine Man" is overrated though …)

Highlight Song/s: Subterranean Homesick Blues and Mr. Tambourine Man My first Bob Dylan album, if you don't count me listening to the first few songs of Highway 61 Revisited and promptly turning it off because of his voice. I love albums that do different stuff for each side. Such as this album doing electric with a backing band for the A-side and solo folk music for the B-side. Rust Never Sleeps by Neil Young and Low by David Bowie are some other examples. About the album contents: -The voice is definitely difficult to get into, but it's MOSTLY fine now, I think, perhaps listening to more albums might make it even more tolerable. -Obviously the lyrics are superb, you best hope they are, otherwise nothing would be redeemable with this album for me. -I love the light-heartiness feel to the album, especially in Bob Dylan's 115th Dream, where the producer burst out laughing during the first take, and then they restarted it.

get tunes, given the time it takes to get through it all, i still think its a very deseved album on the list.

My sixth and penultimate Bob Dylan album has finally arrived. My most recent album of his to review was Blonde on Blonde, which I gave three stars to. Bob Dylan’s discography has been fairly mixed with me, but I did absolutely love The Freewheelin’ Bob Dylan. With this album coming out as Dylan transitioned from a traditional folk sound to electric, I’m not sure how this album will land with me. Regardless, I’m excited to listen to this and see what it has in store! Bringing It All Back Home isn’t going to replace Freewheelin’ as my favorite Bob Dylan album, but I think it’s a strong contender for second place as far as his albums go. I enjoyed that we got a bit of the best of both worlds with Dylan’s music, with one side of the album being electric, and the other side being more traditional folk sounds. The songwriting on this album was really outstanding. With Dylan, like there’s always a deeper meaning to his songs, and sometimes his more nonsensical and figurative lyrics tend to grate on me. On this album though, there was a good number of songs that had great storytelling, even without trying to dig into the meaning of the lyrics, and I felt like this album was better for it. Musically, the album sounded really good, but it felt a bit one dimensional to me, with mostly guitar playing filling out each song. A few notes on some individual songs: “Subterranean Homesick Blues” was really good. I loved the pacing of the vocal delivery, and there were so many great lines in the lyrics. ‘You don’t need a weatherman to know which way the wind blows’ has been bouncing around my head all day. I loved the gentle guitars of “She Belongs To Me.” The vocals and lyrics were really good too, and it was just a really beautiful song. “Maggie’s Farm” was fine from a standpoint of the music, but the songwriting was excellent. I’m not 100% certain what the lyrics were referring to, but even at the surface level they told a great story, which I really enjoyed. “Outlaw Blues” was really fun. The vocals, guitars, and harmonica were all great, creating a fun and bluesy sound. There was some sort of tinny quality to the guitar that I really loved. “115th Dream” was really great. The lyrics were incredibly figurative, but in a way that still tells a good story, which I really enjoyed. “Mr. Tambourine Man” was so beautiful. This was the only song on this album that I was already familiar with, but I’d never noticed how perfectly written and arranged it was. It had such a weight of loneliness to it, like a rudderless ship on the ocean. The guitars were perfect, and the harmonica added the perfect little details to fill in the gaps. While not my favorite Bob Dylan album, I really enjoyed Bringing It All Back Home. Dylan’s abilities as a songwriter are on full display here, and there were some really beautiful and fun songs on this album.

Folk but also not so folk.

This is earlyish Dylan at his peak and I still don't like it enough to give it a five. It's decent enough and I did enjoy it, but I struggle to see what all the fuss is about.

There are so many great songs appearing on his albums by now, which are almost evenly distributed between acoustic and electric forms. Sadly it's the electric ones that Maggie's Farm that bring this down for me (although songs like this can be amazing live). When an album has Mr Tambourine Man and Subterranean Homesick Blues however who can complain.

It's insane that Dylan released this and then several months later releases Highway 61 Revisited. This album definitely feels like a part one while Highway feels like the bigger, larger, and better part two. But it does not diminish this album in the slightest. This album is great to say the least, and considered to be on of the best albums from his discography and of all time for many reasons to say the most.

The jump from Bob Dylan’s 115th Dream to Mr. Tambourine Man feels a little steep. The album is so like jingly and jangly lmao. I like the rhythm and pacing of most songs a lot. Fav songs: She Belongs to Me, Mr. Tambourine Man

Michael was a huge Dylan fan and introduced his music to our group of friends more than anyone else. I’ve lost touch with Michael. I had lost touch with him before the last time I saw him. Prior to that, I had seen him working at a Starbucks in the big Indigo that used to be on the corner of J and R. Anyway, there was a brief span of time where I was courting Jenny in some way, before ruining that utterly. Michael still hung out with the group, but he was very much an alcoholic. He was at a bar that I showed up to with Jenny, and he was drunk. He wasn’t happy to see me. I never got into Dylan in the same way, although I do admit to loving his music. I have never put on an album and cried the way I have for Joni Mitchell, Jeff Buckley, Tim Buckley, Tom Waits.

This album feels like it was almost recorded clandestinely just as the real weird bird that is Bob Dylan hopped out of the folk music nest. Three of his greatest songs up in here.

I’m not terribly knowledgeable about Bob Dylan, his catalog or his impact on popular music, but I can understand how influential this album was. It's filled with great songs. His lyrics command as much if not more attention than his music, and while he has gained a reputation of being a prickly crank, songs like “Bob Dylan’s 115th Dream” demonstrate that he had a sense of humor. This was also from the era when he was famously moving away from folk music and plugging in his guitar, which was seen as a kind of scandal in that era, yet he certainly blazed a trail for the American singer-songwriter genre to come.

I liked this one and bit more than the other zillion Dylan LPs we've rated.

J’adore Bob Dylan, j’adore le style folk ! Je n’avais jamais écouté cet album en entier cela dit ! NB pour Alex : il n’a pas la même voix au fil de sa carrière Comme une envie de partir à cheval…

Not listened to this in a while. Good memories.

I liked this better than the last Dylan

Classic. It’s all over now baby blue is one of my favourite Dylan cuts. It’s the bridge album in his career…connecting the folky folk to that electric guitar.

CLASSIC

Great Friday afternoon end of week jam.

Standout Songs: She Belongs to Me Love Minus Zero Outlaw Blues Bob Dylan's 115th Dream Mr. Tambourine Man I’ve said it in reviews before, I’m really becoming fond of folk rock. This album was a very nice listen while I did the dishes. Always loved Bob Dylan.

Really enjoyed this and absolutely will be back. 4.5/5

- Love this era of bob dylan: a little electric, a little acoustic, poetic, goofy, with a good smattering of storytelling - I feel like he gets lampooned for having frustrating vague and poetic lyrics but songs like Maggie’s Farm and other middle of the album songs are just great folk storytelling - Unsure if the end of the album is what bringing it all back home is in reference to because it’s the acoustic section

good

Preferred to Blonde on Blonde, great album

To me this is Dylan at his best. Anti authoritarian, working man songs.

Homesick Blues, It’s Alright, are absolute classics. As a former farmer, Maggie’s Farm always resonated - “pray for rain” feels less about needing rain for crops, and more about hoping to not have to work on a rain day.