Bringing It All Back Home by Bob Dylan

Go to Home Page Albums by this Artist
Bringing It All Back Home by Bob Dylan
Bringing It All Back Home by Bob Dylan

Album Released: 1965

Bringing It All Back Home ::: Artwork

album ratingalbum ratingalbum ratingalbum ratingalbum ratingalbum ratingalbum rating  Info about Weighting


1.Subterranean Homesick Blues2:21
2.She Belongs To Me2:49
3.Maggie's Farm3:57
4.Love Minus Zero / No Limit2:51
5.Outlaw Blues3:06
6.On The Road Again2:37
7.Bob Dylan's 115th Dream6:33
8.Mr. Tambourine Man5:28
9.Gates Of Eden5:44
10.It's Alright, Ma (I'm Only Bleeding)7:33
11.It's All Over Now, Baby Blue4:15

Reviews

Critics routinely award this album a top star-rating, so I'm gonna be way off-base here compared to other reviewers. Though I have to say upfront, I've never much liked Dylan's voice - too much of a nasal whine - which I can just about tolerate until he starts reaching for the high notes, or when he starts ranting loudly. As a result I've tended to avoid his music, but still, this album is the most likeable I've heard of his work.

Perhaps this stuff sounded pretty radical / fresh / innovative / avant-garde / whatever back in 1965, but it's been at the very least equalled by many other similarly-styled artists since then - Neil Young, Loudon Wainwright, Leonard Cohen, to name just a few - I can't see that Dylan is in any way inherently superior to them musically speaking, even though the plaudits continually showered upon him would suggest otherwise.

But hey, what do I know - after all, I've always reckoned The Beatles were pretty naff too. This album may be culturally significant, but musically significant ...? Nah!

Rated: album ratingalbum ratingalbum ratingalbum ratingalbum ratingalbum ratingalbum rating
by Reviewer: bluemoon


I know I'm not the best person to review Bob Dylan albums, since I'm not a folk fan, and I'm certainly not a fan of Dylan's singing, but when two songs grab me to the point where I don't want them to end, then I must be getting a handle on him occasionally.

Those two songs are the remarkably catchy (considering it's so tuneless) "Subterranean Homesick Blues" and "Maggie's Farm", where Dylan introduces electric rock into his repertoire for the first time. With their crazy but so entertaining lyrics and pounding wild instrumentation, they are just super fun to listen to. However, by the time the similarly styled "Bob Dylan's 115th Dream" comes about, it sounds like "Subterranean" all over again, only three times as long. Sure, it's foot-tapping once more, but with an obvious taste of repetition.

Also on the album's first side, the more mellow "Love Minus Zero / No Limit" is another highlight, while the acoustic "Mr Tamborine Man" is decent, but since I know and like The Byrds' version much more, why bother with it here? "Gates of Eden" is fine too - at least the minor chords help make it a bit different.

However, by the concluding "It's All Over Now, Baby Blue" - while not a bad song in itself - I've had just about all I can take of Dylan's voice. How does his nose stay the same shape with the amount of effort it takes for him to sing through it?

Whilst I know Bringing It All Back Home is seen as a landmark release, and Dylan had shocked fans by going electric, and although I can't stop from moving when "Subterranean" and "Farm" rollick along, I'll never love the man or his music in any major way. Still, a variety in taste is what makes the musical world go round.

Rated: album ratingalbum ratingalbum ratingalbum ratingalbum ratingalbum ratingalbum rating
by Reviewer: The Doctor


I am a fan of 'protest folk', and I WILL CUT YOU, BOB DYLAN!!! ... that's what a lot of people said at the time of Bringing It All Back Home's release, but time has corrected such sentiments.

What I say, and everyone else who isn't afraid of 'herd mentality' says, is that Dylan's first electric album is pretty darn awesome. However, this album isn't 100 percent electric, Dylan wasn't quite ready to go head-first into that realm. Half of the album is acoustic. Nonetheless, both sides represent Dylan very nearly at his peak as a songwriter and performer.

Dylan had an odd way of going about his 'electric' sound - he and his session musicians pursued a sort of unkempt foolhardy tone and texture to their work. The guitarists and keyboardists all go off at once, noodling about in an undisciplined manner. The effect is there can be a very thick haze around these songs. Oh, and many of them are totally rockin' too! ... I should've mention that earlier! Most of these electric songs can be classified as garage/rock, or even hard blues. The downside of that is sometimes the riffs are generic and the melodies are recycled. Nonetheless, the way Dylan sings them and the band performs them are fresh and exciting.

Surely the highlight of the electric side is “Subterranean Homesick Blues”, which you'll probably recognize as the song that plays in that iconic music video in which Dylan drops an armful of cue cards one-by-one. Dylan rattles the lyrics off the tip of his tongue in a talky manner, which has often made people wonder if that was a precursor to rap (I have a strong feeling this isn't the first song to have talky vocals. I don't have any examples, but I would try to trace the thread further before making the 'Bob Dylan invented rap' proclamation).

Read more

Rated: album ratingalbum ratingalbum ratingalbum ratingalbum ratingalbum ratingalbum rating
by Reviewer: Don Ignacio (blogging at Don Ignacio's Album Reviews)


Here's where Dylan the surrealistic hippie hurling beatnik poetry against the bourgeois makes his appearance, and also where Dylan the Rocker steps out for the first time.

It's a tentative step to be sure - only the first side contains electric rock performances, and unfortunately the nondescript band Dylan corralled deliver the definition of sloppy, generic bar-blues rock. In a word, boring.

Despite the shoddy performances, the songs Dylan wrote for the first side are genius, with four of them classic in every sense of the word.

"Subterranean Homesick Blues" is the second rap song (the first was the song from which Dylan got inspiration, Chuck Berry's "Too Much Monkey Business"). "She Belongs To Me" and "Love Minus Zero/No Limit" are protest songs of a sort, about his deteriorating relationship with Joan Baez, though they're cleverly disguised as love songs.

Really, "Maggie's Farm" is protest rock, though Dylan universalizes the setting and is symbolically non-specific enough to make the song not the least bit dated.

The flip side is all acoustic, and while two of these songs are dull groaners - the original "Mr. Tambourine Man", possessing not an ounce of energy and only a vague trace of melody (and no hooks whatsoever - those flew in with The Byrds - not every performance the man delivered was flawless, sometimes other performers actually did his songs better than him).

As for "Gates of Eden", that's as entertaining as listening to a Bible thumper telling you that you're going to hell (I'm from the Bible Belt, so I know of of what I speak).

The other two tracks on Side Two are classics. "It's Alright, Ma (I'm Only Bleeding)" pokes fun at blue-veined Victorian ladies and contains one of my favorite Dylan lines Money doesn't talk, it swears. And "It's All Over Now, Baby Blue" is more than likely about Baez again, and was done definitively by Van Morrison (I don't think even Dylan purists are going to argue with that), but it's nice to hear the original.

Read more

Rated: album ratingalbum ratingalbum ratingalbum ratingalbum ratingalbum ratingalbum rating
by Reviewer: Creative Noise (blogging at Creative Noise)


This is where Dylan went electric. Controversy would follow of course, with booing at concerts left, right, and centre from fans who felt 'betrayed'. But Dylan gave a thought for those fans, on this album at least, by including an entire side of acoustic songs, not that the acoustic tunes could be called folk music exactly.

The length of these compositions was part of the reason Dylan went electric in the first place. He was beginning to feel restricted by the folk song form, and the limitations of the acoustic guitar / harmonica format. Always something of a rock'n'roll fan, as well as a lover of the blues, a jump to something like "Subterranean Homesick Blues" wasn't actually such a drastic thing for him to have done. Great song too.

"She Belongs To Me" has stupendous lyrics, a gorgeous melody, and the production is great too, with crystal clear sound. "Maggie's Farm" is one of those songs that sounds great turned up loud, but sounds like shit played on a crappy hi-fi with the volume low down - it's hardly a great song in terms of writing, basically generic rock, although Dylan gives it some in terms of both his singing and harmonica playing.

"Love Minus Zero" is another gorgeous song. That, and "She Belongs To Me" are my two favourite Dylan songs. Then there the three songs that wrap up the first electric half of Bringing It All Back Home - some more generic rock'n'roll, although admittedly infused with Dylan's unique character.

"Mr Tambourine Man" kicks off Side Two. It almost made it onto Another Side of Bob Dylan, but Dylan held it back. It's certainly an important song - just ask Roger McGuinn. The lyrics are wonderful of course, but something else is happening, something that also occurs through all the acoustic songs on the second half of the album ... the acoustic guitar suddenly sounds utterly hypnotic, like little repeating melodies, over and over. Tom Wilson's fine production job may've helped.

Read more

Rated: album ratingalbum ratingalbum ratingalbum ratingalbum ratingalbum ratingalbum rating
by Reviewer: Adrian Denning (blogging at Adrian's Album Reviews)