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Bringing It All Back Home (known as Subterranean Homesick Blues in some European countries) is the fifth studio album by American singer-songwriter Bob Dylan. It was released on March 22, 1965, by Columbia Records.

The album features an electric half of songs, followed by a mostly acoustic half, while abandoning the protest music of Dylan’s previous records in favor of more surreal, complex lyrics. On side one of the original LP, Dylan is backed by an electric rock and roll band—a move that further alienated him from some of his former peers in the folk music community.

The album reached No. 6 on Billboard’s Pop Albums chart, the first of Dylan’s LPs to break into the US top 10. It also topped the UK charts later that spring. The first track, “Subterranean Homesick Blues”, became Dylan’s first single to chart in the US, peaking at No. 39. Bringing It All Back Home has been described as one of the greatest albums of all time by multiple publications.

Track Listing:

No. Title Recorded Length
1. “Subterranean Homesick Blues” January 14, 1965 2:21
2. “She Belongs to Me” January 14, 1965 2:47
3. “Maggie’s Farm” January 15, 1965 3:54
4. “Love Minus Zero/No Limit” January 14, 1965 2:51
5. “Outlaw Blues” January 14, 1965 3:05
6. “On the Road Again” January 15, 1965 2:35
7. “Bob Dylan’s 115th Dream” January 13 (intro) and January 14, 1965 6:30

Side two (Acoustic Side)

No. Title Recorded Length
1. “Mr. Tambourine Man” January 15, 1965 5:30
2. “Gates of Eden” January 15, 1965 5:40
3. “It’s Alright, Ma (I’m Only Bleeding)” January 15, 1965 7:29
4. “It’s All Over Now, Baby Blue” January 15, 1965 4:12

Review: 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

Schill Score: 8.5/10

Listen to Album on Spotify

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