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We Say...
The folk scene thought Dylan had betrayed them by "going electric" on the first half of this watershed record and abandoning topical political songs in favor of whatever was on his roiling, restless mind. In fact, he just opened up possibilities for himself — and created folk-rock while he was at it. He's raiding ideas from blues and traditional songs even more deftly than before, and cranking them up until they're as immediate and catchy as the British Invasion pop that had taken over the airwaves in the previous year or so. "Maggie's Farm" is as delicious and resilient a critique of capitalism and its power relations as anyone has ever cooked up; "Subterranean Homesick Blues" pours out of Dylan faster than anyone can parse it. The electric half of the album is also funnier than history tends to remember — its last three songs are straight-up comedy. Every lyric on the album is packed with explosive little bon mots: "you don't need a weatherman to know which way the wind blows," "you are a walking antique," "skippin' reels of rhyme," "the highway is for gamblers." And the four imagistic wonders that constitute the original LP's second side were some of the first successful fusions of their era's poetry with pop music. What's "Mr. Tambourine Man" about? Anything you want it to be, pretty much, but mostly the delirious power of Dylan's language.
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They Say...
With Another Side of Bob Dylan, Dylan had begun pushing past folk, and with Bringing It All Back Home, he exploded the boundaries, producing an album of boundless imagination and skill. And it's not just that he went electric, either, rocking hard on "Subterranean Homesick Blues," "Maggie's Farm," and "Outlaw Blues"; it's that he's exploding with imagination throughout the record. After all, the music on its second side -- the nominal folk songs -- derive from the same vantage point as the rockers, leaving traditional folk concerns behind and delving deep into the personal. And this isn't just introspection, either, since the surreal paranoia on "It's Alright, Ma (I'm Only Bleeding)" and the whimsical poetry of "Mr. Tambourine Man" are individual, yet not personal. And that's just the tip of the iceberg, really, as he writes uncommonly beautiful love songs ("She Belongs to Me," "Love Minus Zero/No Limit") that sit alongside uncommonly funny fantasias ("On the Road Again," "Bob Dylan's 115th Dream"). This is the point where Dylan eclipses any conventional sense of folk and rewrites the rules of rock, making it safe for personal expression and poetry, not only making words mean as much as the music, but making the music an extension of the words. A truly remarkable album.
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| 01. |  |
Subterranean Homesick Blues |
2:18 |
|
| 02. | |
She Belongs To Me |
2:47 |
|
| 03. | |
Maggie's Farm |
3:55 |
|
| 04. | |
Love Minus Zero |
2:49 |
|
| 05. | |
Outlaw Blues |
3:02 |
|
| 06. | |
On The Road Again |
2:35 |
|
| 07. | |
Bob Dylan's 115th Dream |
6:31 |
|
| 08. | |
Mr. Tambourine Man |
5:25 |
|
| 09. | |
Gates Of Eden |
5:41 |
|
| 10. | |
It's Alright, Ma (I'm Only Bleeding) |
7:31 |
|
| 11. | |
It's All Over Now, Baby Blue |
4:14 |
|
11 Total Tracks, 46:48 Total Length
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Credits
- John Hammond, Jr. - Guitar // Bob Dylan - Guitar // Bob Dylan - Harmonica // Bob Dylan - Keyboards // Bob Dylan - Vocals // Bob Dylan - Main Performer // John Sebastian - Bass // John Sebastian - Bass // Kenny Rankin - Guitar // Bobby Gregg - Drums // John Boone - Bass // Al Gorgoni - Guitar // Paul Griffin - Piano // Paul Griffin - Keyboards // Bruce Langhorne - Guitar // Bill Lee - Bass // Joe Macho - Bass // Frank Owens - Piano // Sebastian - Bass // Sebastian - ? // Tom Wilson - Producer // Joseph Macho - Bass // Daniel Kramer - Photography
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