CLEAN 1965 Orig BOB DYLAN Bringing It All Back Home

$

25

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              TOP CLEAN 1965 ORIGINAL FIRST PRESSING VINYL    

            Bob Dylan

     Bringing It All Back Home

                    CND -  (black lettering) Columbia 360 sound - CS 9128

Original 1964 first pressing vinyl on the highly collected 360 Sound Columbia label of the sixties

The album reached #6 on Billboard's Pop Albums chart, the first of Dylan's LPs to break into the US top 10.

If you want Bo Dylan's best album, check out Bringing It All Back Home. It beats Highway Sixty-One, Blonde on Blonde, Freewheelin', Blood on the Tracks, Desire, etc. One side acoustic, one side electric, two sides amazing. From the opening blast of "Subterranean Homesick Blues" to that last harmonica note on "It's All Over Now Baby Blue", this record screams "MASTERPIECE!!!"
"Homesick Blues" marks one of Bob's best social-commentary songs. It's two-and-a-half minutes of pure, twisted, funny rock. Same with "Maggie's Farm", his hilarious blues tune about pretty much working with idiots. Then there's his two funniest songs,"On the Road Again" and "Bob Dylan's 115th Dream".
Side Two is Dylan's Dark Side. First we have his masterful drug-song, "Mr. Tambourine Man". Next is the pitch-black "Gates of Eden", where he compares our world to a perfect one. He sings this like a prophet of doom and spits out among his best lines. Then there's "It's All Right Ma (I'm Only Bleeding)", another rapid, dark protest song where he lashes out against capitalism, communism, political corruption and pretty much everything else. Finally, the beauty of "It's All Over Now, Baby Blue". Or at least it seems beautiful on the outside. But listen to it seriously, and you'll find more dark lyrics.
If you were to own one Dylan studio album, get Bringing It All Back Home.

The album opens with "Subterranean Homesick Blues," a romp through the difficulties and absurdities of anti-establishment politics that was heavily inspired by Chuck Berry's "Too Much Monkey Business."

"She Belongs to Me" extols the bohemian virtues of an artistic lover whose creativity must be constantly fed ("Bow down to her on Sunday / Salute her when her birthday comes. / For Halloween buy her a trumpet / And for Christmas, give her a drum.")

"Maggie's Farm" is Dylan's declaration of independence from the protest folk movement. Punning on Silas McGee's Farm, where he had performed "Only a Pawn in Their Game" at a civil rights protest in 1963 (featured in the film Dont Look Back), Maggie's Farm recasts Dylan as the pawn and the folk music scene as the oppressor. Rejecting the expectations of that scene as he turns towards loud rock'n'roll, self-exploration, and surrealism, Dylan intones: "They say sing while you slave / I just get bored."

"Love Minus Zero/No Limit" is a low-key love song, described as a "hallucinatory allegiance, a poetic turn that exposes the paradoxes of love ('She knows there's no success like failure / And that failure's no success at all')...[it] points toward the dual vulnerabilities that steer 'Just Like A Woman.' In both cases, a woman's susceptibility is linked to the singer's defenseless infatuation."

"Outlaw Blues" explores Dylan's desire to leave behind the pieties of political folk and explore a bohemian, "outlaw" lifestyle. Straining at his identity as a protest singer, Dylan knows he "might look like Robert Ford" (who assassinated Jesse James), but he feels "just like a Jesse James."

"On the Road Again" catalogs the absurd affectations and degenerate living conditions of bohemia. The song concludes, "Then you ask why I don't live here / Honey, how come you don't move?".

"Bob Dylan's 115th Dream" narrates a surreal experience involving the discovery of America, the cast of Moby Dick and numerous bizarre encounters. It is the longest song in the electric section of the album, starting out as an acoustic ballad before being interrupted by laughter, and then starting back up again with an electric blues rhythm. The music is so similar in places to Another Side of Bob Dylan's "Motorpsycho Nitemare" as to be indistinguishable from it but for the electric instrumentation.

Written sometime in February 1964, "Mr. Tambourine Man" was originally recorded for Another Side of Bob Dylan; a rough performance with several mistakes, the recording was rejected, but a polished version has often been attributed to Dylan's early use of LSD, although eyewitness accounts of both the song's composition and of Dylan's first use of LSD suggest that "Mr. Tambourine Man" was actually written weeks before. Instead, Dylan said the song was inspired by a large tambourine owned by Bruce Langhorne. "On one session, producer Tom Wilson had asked [Bruce] to play tambourine," Dylan recalled. "And he had this gigantic tambourine...It was as big as a wagonwheel. He was playing, and this vision of him playing this tambourine just stuck in my mind." Langhorne confirmed that he "used to play this giant Turkish tambourine. It was about [four inches] deep, and it was very light and it had a sheepskin head and it had jingle bells around the edge - just one layer of bells all the way around...I bought it 'cause I liked the sound...I used to play it all the time." In addition to inspiring the title, Langhorne also played the electric guitar countermelody in the song, the only musician to play on the song besides Dylan.

A surrealist work heavily influenced by Rimbaud (most notably for the "magic swirlin' ship" evoked in the lyrics), Heylin hailed it as a leap "beyond the boundaries of folk song once and for all, with one of [Dylan's] most inventive and original melodies." Best described "Mr. Tambourine Man" is "Dylan's pied-piper anthem of creative living and open-mindedness...a lot of these lines are evocative without holding up to logic, even though they ring worldly."  Critic Bill Wyman calls it "rock's most feeling paean to psychedelia, all the more compelling in that it's done acoustically."

Almost simultaneously with Dylan's release, the newly-formed Byrds recorded and released an electrified, abbreviated treatment of the song which would be the band's breakthrough hit, and would be a powerful force in launching the Folk Rock genre.

"Gates Of Eden" builds on the developments made with "Chimes of Freedom" and "Mr. Tambourine Man."

Of all the songs about sixties self-consciousness and generation-bound identity, none forecasts the lost innocence of an entire generation better than 'Gates of Eden. Sung with ever-forward motion, as though the words were carving their own quixotic phrasings, these images seem to tumble out of Dylan with a will all their own; he often chops off phrases to get to the next line. In RightWing Bob Dylanologist A.J. Weberman looks at 'Gates of Eden' as one of the greatest anti-Communist poems ever written.

One of Dylan's most celebrated and ambitious compositions, "It's Alright Ma (I'm Only Bleeding)" is arguably one of Dylan's finest songs. It opened up a whole new genre of finger-pointing song, not just for Dylan but for the entire panoply of pop. A fair number of Dylan's most famous lyrics can be found in this song: "He not busy being born is busy dying"; "It's easy to see without looking too far / That not much is really sacred"; "Even the president of the United States / Sometimes must have to stand naked"; "Money doesn't talk, it swears"; "If my thought-dreams could be seen / They'd probably put my head in a guillotine." In the song Dylan is again giving his audience a road map to decode his confounding shift away from politics. The album closes with "It's All Over Now, Baby Blue", described as one of those saddened good-bye songs a lover sings when the separation happens long after the relationship is really over, when lovers know each other too well to bother hiding the truth from each other any longer...What shines through "Baby Blue" is a sadness that blots out past fondness, and a frustration at articulating that sadness at the expense of the leftover affection it springs from. Van Morrison and his band, Them, released their own version of "It's All Over Now, Baby Blue" in 1966; a dramatic re-arrangement featuring a repeating, low-key Mellotron pattern, it's often hailed as one of the best Dylan covers ever recorded. Another underground version was famously done by Roky Erikson's 13th Floor Elevators on their 1967 album Easter Everywhere.

The vinyl: All glossy both sides, has a little bit of stray light scuff here or there, nothing much VG++ ...play graded and was enjoyable with a some very light, very unobtrusive lowest surface, well below the music level which was crystal in vibrancy...

keeper!

     A  GREAT ADDITION TO ANYONE'S COLLECTION !

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EFFICIENT/CAREFUL GRADING

All imperfections are noted both cover & record