Bringing It All Back Home
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B. S.9: Witmark Demos: 1962-64
B. Series Vol. 6: 10/31/64
B. Series Vol. 4: 5/17/1966
B. S.11: Basement Tapes
B. Series Vol. 5: Live 1975
B. S. 7: No Direction Home
B. S.8: Tell Tale Signs
Bringing It All Back Home
Highway 61 Revisited
Blonde On Blonde
John Wesley Harding
Nashville Skyline
B. S.10: Another Self Portrait
Self Portait
New Morning
Planet Waves
Before the Flood
Blood On The Tracks
Love and Theft
Modern Times
Bootleg Series Vol. 1 - 3


Track List Musicians Notes
Bringing it All Back Home - Bob Dylan

Bringing It All Back Home

  Bob Dylan - London 1965
Bob Dylan - London 1965  


SACD re-mastered 






Bringing it All Back Home - Bob Dylan

Bob Dylan's Bringing It All Back Home review


Bob Dylan's fifth studio album Bringing It All Back Home was his strongest to date, and topping Another Side of Bob Dylan is no easy task. The first half of the disc, Dylan uses a solid backing band and the second half is acoustic oriented beginning with "Mr. Tambourine Man." Of the acoustic tracks two songs are solo Dylan pieces and the other two songs he is supported only by guitarist Bruce Langhorn.  

Perhaps a comment about the most recognizable track "Mr. Tambourine Man" will set the ambiance. While "Mr. Tambourine Man" is overplayed, it wears well and is truly a great song. It is a perfect example of how Bringing It All Back Home transitioned Bob Dylan's folk music to a more electric level. The song offers the acoustic feel and harmonica, but more importantly the poetic lyrics and phrasing. But what makes this track such a gem is adding the striking Nashville like guitar lines courtesy of Bruce Langhorn. That style paved the wave for the next phase of Dylan's career. Other classic tracks, "She Belongs To Me," "Love Minus Zero/No Limit" and "It's All Over Now, Baby Blue," are in the mold of "Mr. Tambourine Man" with the well placed melodic guitar phrasing that Dylan began to use more and more in the albums to follow.  Both "She Belongs To Me," and "It's All Over Now, Baby Blue," have alternate studio renditions released on the CD version of Bootleg Series Vol. 7

Several blues numbers make their appearance, notably on the first half of the disc. The best of the them include the essential classics "Subterranean Homesick Blues" and "Maggie's Farm."   

The songs "Gates of Eden" and "It's Alright, Ma (I'm Only Bleeding)" are great Bob Dylan solo pieces. Those tracks would be added to his live shows with a song that was recorded during the Bringing It All Back Home sessions "If You Gotta Go, Go Now (Or Else You Got To Stay All Night)" typically slipped in between the songs. Live renditions of the three tracks were released on Bootleg Series Volume 6, while the studio rendition of the outtake "If You Gotta Go, Go Now (Or Else You Got To Stay All Night)" was included on Bootleg Series Volume 1 - 3. Meanwhile, "It's Alright, Ma (I'm Only Bleeding)" would be played by Dylan acoustically during the 1974 tour with Bob Dylan and The Band and is available on the classic Before the Flood

The disc closes with the classic "It's All Over Now, Baby Blue"; what phrasing and awesome guitar accompaniment. Overall, Bringing It All Back Home is a classic album. Besides a few average songs in the middle of the disc, everything else is vintage.

by Barry Small

Bringing it All Back Home - Bob Dylan
Track List

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1. Subterranean Homesick Blues 
2. She Belongs to Me 
3. Maggie's Farm 
4. Love Minus Zero/No Limit 
5. Outlaw Blues 
6. On the Road Again 
7. Bob Dylan's 115th Dream 
8. Mr. Tambourine Man 
9. Gates of Eden 
10. It's Alright, Ma (I'm Only Bleeding) 
11. It's All Over Now, Baby Blue 

Bringing it All Back Home - Bob Dylan

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Bob Dylan - Guitar, Harmonica, Piano, Keyboards, Vocals

Al Gorgoni Guitar 
John Hammond, Jr. Guitar 
Kenny Rankin Guitar 
Bruce Langhorne Guitar 
Bobby Gregg Drums 
Frank Owens Piano 
Paul Griffin Piano, Keyboards 
John Boone Bass 
Bill Lee Bass 
Joe Macho Bass 
Joseph Macho Bass 
John Sebastian Bass  

Bringing it All Back Home - Bob Dylan

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Label - Sony  - 1965

Liner Notes
Produced by Tom Wilson
Photography by Daniel Kramer

I'm standing there watching the parade/
feeling combination of sleepy john estes.
jayne mansfield. humphry bogart/morti-
mer snerd. murph the surf and so forth/
erotic hitchhiker wearing japanese
blanket. gets my attention by asking didn't
he see me at this hootenanny down in
puerto vallarta, mexico/i say no you must
be mistaken. i happen to be one of the
Supremes/then he rips off his blanket
an' suddenly becomes a middle-aged druggist.
up for district attorney. he starts scream-
ing at me you're the one. you're the one
that's been causing all them riots over in
vietnam. immediately turns t' a bunch of
people an' says if elected, he'll have me
electrocuted publicly on the next fourth
of july. i look around an' all these people
he's talking to are carrying blowtorches/
needless t' say, i split fast go back t' the
nice quiet country. am standing there writing
WHAAT? on my favorite wall when who should
pass by in a jet plane but my recording
engineer "i'm here t' pick up you and your
lastest works of art. do you need any help
with anything?''


my songs're written with the kettledrum
in mind/a touch of any anxious color. un-
mentionable. obvious. an' people perhaps
like a soft brazilian singer . . . i have
given up at making any attempt at perfection/
the fact that the white house is filled with
leaders that've never been t' the apollo
theater amazes me. why allen ginsberg was
not chosen t' read poetry at the inauguration
boggles my mind/if someone thinks norman
mailer is more important than hank williams
that's fine. i have no arguments an' i
never drink milk. i would rather model har-
monica holders than discuss aztec anthropology/
english literature. or history of the united
nations. i accept chaos. I am not sure whether
it accepts me. i know there're some people terrified
of the bomb. but there are other people terrified
t' be seen carrying a modern screen magazine.
experience teaches that silence terrifies people
the most . . . i am convinced that all souls have
some superior t' deal with/like the school
system, an invisible circle of which no one
can think without consulting someone/in the
face of this, responsibility/security, success
mean absolutely nothing. . . i would not want
t' be bach. mozart. tolstoy. joe hill. gertrude
stein or james dean/they are all dead. the
Great books've been written. the Great sayings
have all been said/I am about t' sketch You
a picture of what goes on around here some-
times. though I don't understand too well
myself what's really happening. i do know
that we're all gonna die someday an' that no
death has ever stopped the world. my poems
are written in a rhythm of unpoetic distortion/
divided by pierced ears. false eyelashes/sub-
tracted by people constantly torturing each
other. with a melodic purring line of descriptive
hollowness -- seen at times through dark sunglasses
an' other forms of psychic explosion. a song is
anything that can walk by itself/i am called
a songwriter. a poem is a naked person . . . some
people say that i am a poet

(end of pause)

an' so i answer my recording engineer
"yes. well i could use some help in getting
this wall in the plane"

-- By Bob Dylan

Bringing it All Back Home - Bob Dylan


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