Bringing It All Back Home

This is a great album and came quickly.

Fantastic album

For his fifth album, Dylan drives language changes and opens up a whole chasm in the realm of possibilities in his music. He's thinking about the rock and roll that preceded him by entering the studio with his guitar plugged in. Dylan wastes no time with "Subterranean Homesick Blues" and he brightens up as soon as the Chuck Berry beat kicks in. On this edgy piece of electric music and on the Chicago blues stomp of "Outlaw Blues", he carries out the spirit that the best rock and roll is supposed to be and is - untutored, commanding and anarchic. To top those two chestnuts off, comes "Bob Dylan's 115th Dream". He's surely at ease with this set of musicians and they're fast and loud as Dylan wants it. His incorrigible and absurdist jokes poke fun at everything historical and mythical and he stuffs it all into the most raucous rock and roll on the album. He embraces the Beat attitude and style into these songs. It has Allen Ginsberg's and some of William Burroughs' stamp over them. His lighter touch gets time too with the tender and mysterious "Love Minus Zero/No Limit". I believe it's written for Dylan's soon-to-be wife Sara. In it, he presents a microscopic view of his more moving side. But, if that's one side of him, he's not shy in letting it be known there's another side of Bob Dylan on "It's All Over Now, Baby Blue". He's consumed with no guilt over a lover that he's spurned. "Strike another match, go start anew" is stunningly transparent and it's too late for him to go back now. "It's Alright, Ma (I'm Only Bleeding)" is the ultimate response to the eternal pitfalls in the outside world - hypocrisy, greed, power, etc. Every guitar strum counts here in its haunting, rhythmic tone. Its aggression amplifies its apocolyptic visions and, before you know it, you're in the rabbit hole living with it. What this breathtaking record reveals is that Dylan takes music seriously, has a lot of fun with it and puts both these things into action. The album cover photo is absolutely classic as the music itself. The red, white and blue dominate to emphasize the title. Not even a highbrow audience can dampen the adventure in "Bringing It All Back Home". So, in sum, deal with the electricity.

Bob Dylan, the great alchemist of folk-rock music, was booed at the Newport Folk Festival, and Scorsese's 'No Direction Home' documents the hecklers yelling out "Traitor!" at many concerts. Perhaps like any genius this is the inscrutable, but predictable development for anyone who truly innovates the wheel. 'Bringing It All Back Home' is the culprit that showcases the trajectory of when Bob, the Bard, went electric. Arguably, this album is one of the three best of his entire career. It is perhaps his most innovative, but his achievements have a scope that render the past two assertions needing a huge dose of salt. Heralding the album, "Subterranean Homesick Blues," while not as dramatic as "Like a Rolling Stone" is easily as brilliant. Complete with cutting, social commentary and plenty of images to debunk the nine-to-five existence, Dylan spills out his surreal period full throttle. Anthems rain with the raunchy "Outlaw Blues" and the folky "It's Alright, Ma (I'm Only Bleeding)". Hypnotic, every song pulls a punch--or doesn't pull any punches! The most famous mesmerizing development is "Mr. Tambourine Man," making Dylan a troubadour for altered consciousness*. Despite the crossover, Dylan continued to be a great storyteller. The first person "Maggie's Farm" showcases his familiar wit with the details of menial labor from hell. Then, "On the Road Again" captures the same idea, but with more of a vagabond flair. "Bob Dylan's 115th Dream" meets every element at the crossroads by telling a surreal story with pointed observations. However, some of the most delightful moments reflect upon love. "She Belongs to Me" and "Love Minus Zero/No Limit" both exalt and debunk the romantic tradition he helped overthrow. "It's All Over Now, Baby Blue" ends the album with a brilliant story about a misfit who trashes every sensibility of romantic notions. An unqualified achievement, 'Bringing It All Back Home' synthesizes the outlaw with the dreamer where both folk and rock, tradition and iconoclasm meet head on and make music and culture new. (*Dylan has moved on, and hopefully so can we.)

Highway 61 Revisited gets lotsa fanfare as a breakthrough album (for which it does merit) thanks to the 6 minute intro song Like A Rolling Stone. However, BIABH was Bob's goodbye to the Folkies who couldn't bend their traditional beliefs and give way to electric instruments. This album needs no introduction or another boring review from me. Just listen to it and make up your own mind.

It’s old Bob Dylan from 1965 just as he was delving into electric. A must own Dylan album.

My exploration of Bob Dylan continues with this gem from 1965. I was only 4 years old when this album came out and I assume that listening to this at the time of it's release probably had a significant impact on those at the time. Hearing it for the first time 40 plus years later, I can imagine the impact these songs had on the growing counterculture movement that was happening in the mid-60. Several huge hits are here that still get airplay today, especially "Subterranean Homesick Blues", and "Mr. Tambourine Man" (covered by The Byrds). I believe this was only Dylan's second "electric" release and it certainly does rock in places. Bob's acoustic side is also well represented as well. The majority of this album is outstanding. "Maggie's Farm", "Outlaw Blues", "Gates Of Eden", "It's Alright Ma", and "It's All Over Now Baby Blue" are certified classics that still hold up well today. My one criticism comes with some of Dylan's lyrics. I may be a heretic for suggesting this, but sometimes it just sounds like he is throwing words together because they rhyme and not due to any deep intellectual meaning. The two examples on this disc are the tracks "On The Road Again", and "Bob Dylan's 115 Dream". To me they just sound like stream of consiousnous rambling with thrown together lines like "I ordered some suzette; I said could you please make that crepe". I find it difficult to even listen to these two songs which is why I am only giving this album 4 stars instead of 5. Overall though, this is another classic Dylan album with only a few minor missteps along the way.

In the process of updating music collection, we jump back and forth in time with each artist. Purchased Dylan's "Together Through Life" was first time hearing his newer voice register...it was a little shocking! After the first time through, that album grew on us. We turned back in time to "Bringing It All Back Home" because we never had this album on vinyl or cassette. Old favorites (along with his old voice) just sound so great. The Subterranean Homesick Blues is classic, loved the Love Minus Zero and finished off with It's All Over Now, Baby Blue. This album should be in any Dylan collection. Don't hesitate to get Love and Theft also, it's more recent with his voice, but I tell ya'...he always sounds great...and do YOU still sound the same after 40 years????

A great piece of art

Lo tenía rayado y lo volví a comprar. Algo dice eso... Ahí está "she belongs to me", "Mr. Tamborinne man" y "Maggie's farm", que aún me gusta más en la versión de Mike Scott y los Waterboys.

ボブディラン懐かしく聴かせて貰いました!ホークからロック調に変わるアルバムで、お気に入りのアルバムです。中古とは、思えない程キレイでした✨

"Bringing It All Back Home" est le 5ème album studio de Bob Dylan. Il a été enregistré du 13 au 15 janvier 1965 et a été publié le 22 mars 1965. La sortie de cet album provoque un énorme coup de tonnerre dans le paysage musical, car Dylan, le troubadour du Folk Song contestataire, le porte drapeau de toute une génération, électrifie sa guitare. Ses fans sont horrifiés et le considère comme un vulgaire traître. Pour la 1ère fois, Dylan a enregistré le disque accompagné d'un vrai groupe de Rock et cela s'entend. Dés le 1er morceau ça démarre pied au plancher avec "Subterranean Homesick Blues" et son clip devenu mythique, c'est un rhythm'n'blues aride bourré d'amphétamines qui poignarde en plein cœur le rêve américain, Bob Dylan y rappe plus qu'il ne chante et la dureté de ses paroles font autant de dégâts que ses anciennes chansons contestataires. On peut considérer aujourd'hui que "Subterranean Homesick Blues" n'était rien de moins que le premier rap de l'histoire de la musique. "On The Road Again", "Maggie's Farm" et "Outlaw Blues" sont dans la même veine, c'est à dire très Rock. Mais le "Zim" n'oublie pas de signer de sublimes ballades comme "Love Minus Zero/No Limit" et "She Belongs to Me" qui sont de toute beauté. Bobby ralentit la cadence avec des titres plus minimalistes et imparables dont le bijou "Mr Tambourine man" avec laquelle les Byrds connaitront un sucés interplanétaire . L'album se termine avec 2 chansons qui restent parmi les plus belles de Dylan, "It's Alright, Ma (I'm Only Bleeding)" et surtout "It's All Over Now, Baby Blue" où Bob utilise ses premières armes (guitare acoustique et harmonica). Les 11 morceaux de "Bringing It All Back Home" proposent un aperçu de l'héritage musical et culturel que Bob Dylan assume et va transcender : du Blues, du Folk et du Rock, enregistrés dans une perspective nouvelle et qui influencera la quasi-totalité de ses contemporains. Et ce n'est que le premier chef-d'œuvre de la "Trilogie Magique" de Dylan....... Retrouvez Bob Dylan et bien d'autres sur Le Deblocnot': ledeblocnot.blogspot.com

Über die Musik möchte ich mich gar nicht erst auslassen. Das haben bereits andere in den letzten 50 Jahren zu genüge getan. Na ok, ich finde die Platte außergewöhnlich gut. Es ist mein erster Ausflug zu Dylan, aber der macht wirklich Spaß. Nun zur Qualität: ich bewerte hier die Vinyl-Version und auch den Auto-Rip. Die Platte ist sehr sauber und absolut knackfrei. Die Platte ist plan. Die (Mono-)Aufnahme ist von guter Qualität und mir fehlt hier kein Stereo. Bei vielen Aufnahmen aus der Zeit ist ohnehin der Stereo-Effekt eher etwas seltsam und unnatürlich. Wer schon mal ältere Beatlesplatten gehört hat weiß was ich meine. Das Frequenzspektrum entspricht dem Stand Technik der 1960er Jahre, und ist durchaus in Ordnung. Sicherlich gibt es klanglich bessere Aufnahmen, die allerdings eher im Jazzbereich aus dieser Zeit (Armstrong, Fitzgerald, Red Norvo Quintett etc.). Die (stereophone) Auto-Rip-Version ist auch nicht übel, und daher für die Leute die Speicherplatz sparen wollen durchaus eine Alternative. Aber MP3s und ähnliche verlustbehaftete Formate höre ich eher im Auto. Ich mag zu Hause eher das Ritual eine analoge physikalisch vorhandene Quelle zu nutzen. Das hat sich seit meiner Kindheit nicht geändert. Zur CD kann ich aus oben genannten Gründen nichts sagen, da ich , wenn erhältlich, die LP immer vorziehe.