Bringing It All Back Home [Remaster]

Performer: Bob Dylan
Producer: Tom Wilson
Distributor: Sony Music Distribution (

Notes: Personnel: Bob Dylan (vocals, acoustic guitar, harmonica); Al Gorgone, John Hammond, Jr., Bruce Langhorne, Kenneth Rankin (guitar); Paul Griffin, Frank Owens (piano); William E. Lee, Joseph Macho, Jr., John Sebastian (bass); Bobby Gregg (drums). Recorded at Columbia Recording Studios, New York, New York in January 1965. Includes liner notes by Bob Dylan. More a curio than anything else, Subterranean Homesick Blues is actually just Bob Dylan's historic Bringing It All Back Home album from 1965 with the same front cover art (albeit with a different title), and it contains the same songs in the same running order. It remains an indispensable and enduring classic, however, under any title. ~ Steve Leggett 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. ~ Stephen Thomas Erlewine Howls of rage greeted Bob Dylan as he presented the world with rock music--he was roundly booed at both the Newport Folk Festival and the Royal Albert Hall. Yet here is one of those moments of cross-influence that changed the course of popular music. BRINGING IT ALL BACK HOME gave Dylan an audience on a plate; it was a massive breakthrough. An album of two different sides, acoustic (his past) and electric (his future), it contains milestones in the blues-rockers "Maggie's Farm" and "Subterranean Home Sick Blues," the future Byrds hit "Mr. Tambourine Man," and the transcendently poetic "It's Alright, Ma." You can debate the "is it folk or is it rock" argument forever. It's merely Dylan at one of his many peaks.

Rolling Stone (12/11/03, p.106) - Ranked #31 in Rolling Stone's "500 Greatest Albums Of All Time" - "...Dylan amplifies his cryptic, confrontational songwriting with guitar lighting and galloping drums..." NME (Magazine) (10/2/93, p.29) - Ranked #48 in NME's list of the "Greatest Albums Of All Time."

Bob Dylan began as a Woody Guthrie acolyte, imitating the dust-bowl balladeer as faithfully as a baby boomer from Hibbing, Minnesota, could. It wasn't long before he found his own voice, spearheading the early-1960s folk revival as well as the singer-songwriter movement, and introducing poetry into pop music. Through countless changes in sound, image, and even religion, he retained his unique artistic vision even when his popularity occasionally waned. By the 21st century, he was enjoying an upsurge of critical and popular interest based on a series of powerful late-career albums that crystallized his aesthetics and unique world view.

Click Here for Shipping Options and Policies

Shipping or Dimension weight in pounds: 0.25