Bringing it All Back Home Sessions

January 14-15, 1965

released March, 1965

Bob Dylan's 115th Dream (released)
Gates of Eden (released)
If You Gotta Go, Go Now (1; The Bootleg Series)
If You Gotta Go, Go Now (2; single August, 1967)
I'll Keep it With Mine (1; Biograph)
I'll Keep it With Mine (2; instrumental)
It's All Over Now, Baby Blue (1; released)
It's All Over Now Baby Blue (2)
It's Alright Ma (released)
Love Minus Zero/No Limit (1; released)
Love Minus Zero/No Limit (2)
Maggie's Farm (released)
Mr Tambourine Man (released)
On the Road Again (released)
Outlaw Blues (released)
She Belongs to Me (1; released)
She Belongs to Me (2)
Subterranean Homesick Blues (released)
Farewell Angelina (The Bootleg Series)
Bending Down On My Stomick Lookin' West

There doesn't seem to be much in the way of unreleased material for this, Dylan's first "electric" album, but what we have here is pretty fantastic. There are two versions of If You Gotta Go, Go Now, a song he had been performing acoustically for the previous year. This song is a natural for the electric format and it's a shame it isn't better known. The version released on The Bootleg Seriesis a lot looser than the single version (never released in the US) but just as much fun. The alternate versions of some of the more famous songs on this album are a real treat: It's All Over Now Baby Blue, much better than the official version; She Belongs To Me and Love Minus Zero, both looser and lacking drums, are in many ways better than the album versions. I'll Keep It With Mine is the same version that appears on Biograph. Farewell Angelina took the world by surprise when it was released on The Bootleg Series, and really should have appeared on the album. Bending Down On My Stomick Lookin' West is probably only slightly better known under the title You Don't Have To Do That. This song showed up on a compilation tape recently and can be found on the Spank bootleg 7 Years of Bad Luck. It's only a fragment.

Bringing It All Back Home was a milestone for Dylan, but I still have some serious problems with this album. It seems too schizophrenic and lacking coherency. One side seems to be the "frivilous side" and the other the "serious side". Side two, the "serious side", almost seems as if it were made up from outtakes from the previous album, although this is obviously not so. Side one, the "frivilous side", is Dylan rocking out for the first time (ok, not really the first time if you consider that he used a backing group for the Freewheelin' sessions back in '62) and singing a lot of songs that don't appear to carry any deep hidden meanings (deceptively so, as it turns out). I would rather have the songs mixed up a little better so that the electric songs were interspersed with the acoustic, but I guess that's a small complaint compared to the greatness of the album.



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