Bringing It All Back Home (Hybrid SACD - DSD, Original Recording Reissued, Original Recording Remastered])

by

Bob Dylan

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Some Dylan fans in late 1964 were still trying to figure out why Dylan no longer sang protest songs. His most recent release, "Another Side of Bob Dylan", moved away from the overtly political and angst ridden lyrics of "The Times They Are A-Changin'" and "The Freewheelin' Bob Dylan". Dylan began to write lyrics that probably seemed obscure and nonsensical to his fans at the time. Some are very funny. Some are so rich in imagery and layerings of meaning that even a few listens won't reveal what's going on. Or was the lack of obvious meaning the point? Nonetheless, "Another Side of Bob Dylan" still featured a Dylan playing accompanied by only an acoustic guitar, piano, and harmonica. Fans seemed okay with it until "Bringing it all Back Home" committed folk music heresy. Dylan went electric. And he didn't do it subtly.

The album opens with a blast. "Subterranean Homesick Blues" introduces the folk blues rock that would dominate the rest of Dylan's career. The lyrics read like a warning to young people who just entered the real world: "Lookout kid you're gonna get hit". "Maggie's Farm" continues the electrified onslaught with its 'take this job and shove it' theme. "Outlaw Blues", "On the Road Again", and "Bob Dylan's 115th Dream" (complete with its bizarre false start) further explore Dylan's new blues territory. But blues rock doesn't exhaust this album's range. "She Belongs To Me", and "Love Minus Zero/No Limit" are beautiful ballads that explore the vicissitudes of relationships.

The second half of the album features a mostly acoustic Dylan (with some subtle accompaniment). "Mr. Tambourine Man" went on to become one of his best known songs after the Byrds scored a #1 hit with it in 1965. "Gates of Eden", "It's Alright, Ma (I'm Only Bleeding), and "It's all over Now, Baby Blue" continue Dylan's new approach to lyrics. All are amazing songs in the acoustic Dylan tradition.

One very interesting aspect about "Bringing it All Back Home" isn't preserved on the CD release. The vinyl LP release, like all LPs, had two non-continuous sides. Originally, side one ended with "Bob Dylan's 115th Dream". Side Two then began with "Mr. Tambourine Man". This had the effect of creating two separate worlds whenever one flipped the record. The electric Dylan on side one and the acoustic Dylan on side two. Dylan's folk fans probably wore out side two.

For all the reasons mentioned above, "Bringing it All Back Home" remains Dylan's most abrupt transistional album. It also represents the largest shift in style Dylan made in his entire career.

It's hard to imagine the shock the electrified Dylan sent through the folk scene of 1965. Dylan's set at The 1965 Newport Folk Fesitval is now legendary (his band was booed). Cries of "sellout" and even "Judas" rang from audiences (the latter can be heard on the 1966 Albert Hall Concert CD set). The film "Don't Look Back" from this era shows his folk fans questioning him why he "no longer sounds like himself". It caused an outright scandal in Dylan's main fan base. Despite this alienation, "Subterranean Homesick Blues" made the pop charts and greatly expanded Dylan's fan base. From this point on there was no turning back for Dylan. "Bringing it All Back Home" remains one of his best, and one of his most important, albums.