Bringing It All Back Home

Bob Dylan was simply too restive, too rebellious, and too high-spirited for acoustic folk music. At the same time, he was too articulate and insightful to give it up completely, so, rather than abandon folk, he dragged it with him kicking and screaming into the future. Released in March of 1965, Bringing It All Back Home explodes with excitement, purpose, and curiosity — you can tell that Dylan knew he was onto something. Relying heavily on blues-based structures, the first half rollicks with glee on rockers such as "Subterranean Homesick Blues" and "Maggie's Farm," his surging, effortless lyrics taking on a new power in the more robust settings. Meanwhile, the delicate love songs ("She Belongs to Me" and "Love Minus Zero/No Limit") show he still had thecapacity for beauty and tenderness, even when backed by drums and electric guitars. As revelatory as the "electric side" is, the four "folk" tunes are even more extraordinary. With the childlike innocence and wonder of "Mr. Tambourine Man," the dark fear of "It's Alright Ma (I'm Only Bleeding)," and the poignant reflection of "It's All Over Now, Baby Blue," Dylan is at the top of his lyrical game. His words flow gracefully, more enigmatic than ever before, yet somehow more clear-eyed and meaningful too. A true masterpiece, Bringing It All Back Home is one of popular music's most enduring albums.