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Bringing It All Back Home Original recording remastered

4.7 out of 5 stars 92 customer reviews

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Product Details

  • Audio CD (June 1 2004)
  • Number of Discs: 1
  • Format: Original recording remastered
  • Label: Sony Music
  • ASIN: B00026WU9Q
  • Other Editions: Audio CD  |  Audio Cassette  |  LP Record
  • Average Customer Review: 4.7 out of 5 stars 92 customer reviews
  • Amazon Bestsellers Rank: #9,524 in Music (See Top 100 in Music)
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1. Subterranean Homesick Blues
2. She Belongs To Me
3. Maggie's Farm
4. Medley: 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

Product Description

Product Description

Japanese pressing of the singer/songwriter's 1965 album, packaged in a limited edition miniature LP sleeve. CBS. 2004.

"You sound like you're having a good old time," a purist Dylan fan is spotted telling the artist in the documentary Don't Look Back just after the release of this, his first (half-) electric album. He certainly does. Updating Chicago blues forms with hilarious, tough lyrics--in fact, all but stealing the meter of Chuck Berry's "Too Much Monkey Business" for "Subterranean Homesick Blues"--on one side, dropping some of his most devastating solo acoustic science ("It's All Over Now, Baby Blue," "Mr. Tambourine Man") on the other, the first of Dylan's two 1965 long-players broke it right down with style, substance, and elegance. --Rickey Wright --This text refers to an out of print or unavailable edition of this title.

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Customer Reviews

Top Customer Reviews

Format: Audio CD
I was skeptical when the remastered Dylan CDs hit the shelves a year ago. I asked myself, "CBS/Columbia/Sony/Bob wants me to buy his CDs all over again - on top of his vinyl/cassettes?" True, some remasters shine: Layla by Derek & The Dominoes, The Beatles Yellow Submarine Songbook CD, the Zeppelin catalogue. However, others are cynical cash grabs that offer minimal improvement in sound (namely, the Stones reissues). Only after a year did I finally try one of the Bob remasters, one of my favourites, Bringing It All Back Home.
The verdict? Excellent.
Every track gains from remastering. Each song rings with warmth and detail. In the original 1990 CD issue, the instruments are lumped into one muddy, joyless mass of sound. Here, the lead guitar, bass, organ and drums speak are distinct. You can hear actually hear each instrument, each guitar lick, each drumbeat, each bass pattern and keyboard note. When blended together into a simple, but exciting mix, the instruments mesh perfectly with Bob's vocals. In other words, the songs rock.
That's clear from the opening notes of Subterranean Homesick Blues to the blues raunch of Outlaw Blues and Dada juggernaut of Bob Dylan's 15th Dream. The improved sound is also evident on the sublime love songs, She Belongs To Me and Love Minus Zero/No Limit which flow with a newfound grace.
The remastering has wiped the grime off of Dylan's vocals which are now are pungent and warm throughout, especially on the acoustic B-side starting with Mr. Tambourine Man.
It's a cliché, but Dylan has never sounded so good. It used to be chore to listen to the heavily compressed, flat Dylan CDs from the 90s, but now this music is a pleasure, whether on speakers or headphones.
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Format: Audio CD
BRINGING IT ALL BACK HOME is Dylan's fifth album, released in 1965. Commonly regarded as one of the most influential albums in rock history, BIABH is one of Dylan's most famous albums, and also one of his best.

By 1965, Bob Dylan had released four albums in the space of three years. The first was a traditional folk album with only two original songs. This was the proving grounds, for the market Dylan aiming for focused mostly on traditional material, not new song-writing The second was Dylan the song-writer, and proved to be one of the 1960s' most important albums. The third, Times They Are, featured Dylan the protest singer. The fourth was Another Side, which moved away from the protest-folk sing to a more surreal method of songwriting. For the protest-movement, it appeared for certain they were about to lose Dylan as a member of the movement.

When Dylan released BRINGING IT ALL BACK HOME, he made it quite clear that not only was he distancing himself from the whole protest-folk movement, he was plugging in and turning on. While in ensuing years this decision has become the stuff of rock and roll legend and mythology, it should be noted this was a tremendously risky direction at the time. If Dylan didn't have the material to back his decision, he could fall flat on his face and his career could be over. Dylan was making a gamble that he could transition to a new fanbase - a very difficult move to pull off for any pop star. Fortunately, Dylan not only had the songs to back his decision, he crafted some of the most enduring music in rock history.

Dylan went electric on this album, but only for half of it, leaving the second half as acoustic.
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Format: Audio CD
Yes, I know the story. I was "there" in the late 60's,played guitar, the whole nine yards. There are only two songs here that I can listen to, more than once, in a row. "She Belongs to Me",and "Love Minus Zero", which both show Bob's unique talents (maybe "genius", though that is a much overstretched term .) Nice melodies, even if close copies of stuff done in the 30's -40's,like a lot of Bob's things. His singing is even fair here,at least not the equivalent of the old nails on the chalk board. The praise for "Subterraneum Homesick Blues" runs to no end,it's lyrics even called a capsule of the Amercan Century. Well, it does have some of Bob's early oddball humor,which makes for much of the charm in his earliest pieces. Beyond that,basic simple blues and his vocal here is in the "chalkboard" category. Ditto for "Maggie's Farm" though it is hilarious,something so rare in rock that Bob almost had it patented. "Tamborine Man" needed the Byrds' version. Otherwise, it would have been another rambling song about who knows what. Truly, his voice here reaches an all-time bottom.His dream numbers are always funny,even to this day.I play them sometimes simply for the sheer amusement. "It's Allright /Ma" is interesting,and a very powerful solo (with no blaring amplification) number. The words are clearly sung and the whole enterprise does seem one a kind...But let's face it,there were plenty of simply bad songs that Bob did,along with some very interesting ones.
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