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24 of 24 people found the following review helpful:
5.0 out of 5 stars
One of his four best albums - and that's saying something!, 20 July 2000
By A Customer
This review is from: Bringing It All Back Home (Audio CD)
From this distance it's hard to imagine the shock this must have caused when it first came out. Dylan's first four albums (all big sellers) had been entirely acoustic; just Bob on vocals, guitar and harmonica. This opens with the pounding, very plugged-in 'rap' Subterranean Homesick Blues and all at once with this ultimate crossover song, intelligent rock, artistic rock was born. The opening scene of Dylan's documentary the same year (Don't Look Back) also used this song to make it the first song to have what we would now call a video. Dylan's lyrics here are perfect, half-way between the impassioned beliefs of his folk protests and the beautiful nonsense of much of Blonde on Blonde. Love Minus Zero/ No Limit is still for me the perfect love song, and I challenge you not to be moved as the album slips out of the bluesy-rock boisterousness to the more thoughtful atmosphere of pared-down voice and guitar. It is this second half that really makes the album. It's as if Dylan has just been entertaining you for half-an-hour, sits down and says "Now. Let me show you what I can do." There can be few songs in his canon more bitter than It's Alright Ma, and few more tender than It's All Over Now, Baby Blue, both made from the simplest of ingredients.
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11 of 11 people found the following review helpful:
5.0 out of 5 stars
Dylan's peak, 30 Jan 2003
This review is from: Bringing It All Back Home (Audio CD)
Few musicians in popular music have reached the creative zenith that Bob Dylan did in the mid-sixties. His musical imagination at that point was astonishing. Even the most cursory listen today to "Bringing it all back home" is delightful. The wordplay and comic juxtapositions on the likes of "Subterranean Homesick Blues" demand to be analyzed, but in someways, examining it further misses the surreal point. His distinctive vocal style- simultaneously sad, joyous and anguished is something few artists have been capable of capturing. "It's Alright Ma" is perhaps the greatest of all his lyrical masterpieces, a pointed attack at our technically modern, yet spiritually undeveloped society, that needs nothing more than his guitar and harminica to accompany it. This is the first of the two albums he made in 1965 ("Highway 61 Revisited", the other)and ideally both should be listened to back to back to appreciate them in their full glory.
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27 of 30 people found the following review helpful:
5.0 out of 5 stars
Dylan's best work, 13 July 2005
After owning this record and much of Dylan's other material from 62' - 76/7' for a few years now, Bringing It All Back Home is not only the Dylan album that appears most frequently in my record player, it is a CD which has become one of my most precious possessions. Blood On The Tracks, The Freewheelin', Blonde On Blonde and Highway 61 all take their place as the backbone of my collection, but i belive Dylan never topped his 1965 Bringing It All Back Home. The Album was undoubtably a slap in the face to early Dylan loyalists - shocked to discover their idol employing an electric guitar, some thrashing drums (well almost), and a few energetic baselines. Furthermore, this record marks the birth of Dylan's abstract lyrics ('the lampost stands with folded arms') especially as it progresses. It may also gain historical status for an album containing a fantastic progression. The composition, in rudimentary terms of the positioning of each number is quite remarkable. From the mumbling chaos of Subterranean Homesick Blues and the simplistic, untimely melody of Magie's Farm to the outstanding, warm, mind bendingly origional songs/lyrics of the likes of Gates of Eden, It's alright Ma & Baby Blue closing the record, it's a mind-boggeling beautiful creation, which is surely why ive felt so compelled to pen my first short review. Finally the comedy of a couple of middle album tracks should probably have a mention. As most people know, Dylan can tell a powerful story in his song, but unlike much of his early (or later) protest tunes these are more comic, surreal and encapsulating. Once any of these tracks start up and conversation i hold with friends dies a quick detah and i'm forced to direct all my attention to the story and the poet. Great stuff.
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