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Rock & Roll Feature: Dylan Bringing the Controversy All Back Home
This is the fourth in the Rock & Roll series I’m writing for this site. I love rock ‘n’ roller and blues music, so this column is a way for me to release a different album from those genres every month.
In 1965, Bob Dylan successfully revived folk music with his first four albums, but then he picked up an electric guitar and committed the sin of being a folk singer. Bringing it all home It was Dylan’s first real foray into electro-rock, crowding the concert halls and facing a lot of backlash from the negative press for his folk music, which would grow exponentially with all-electric. Highway 61 Revisited. Personally, I don’t see this as a major setback for Dylan’s work. Of course, the instrumentation has changed and taken on a more rock ‘n’ roll feel, but the heart of Dylan’s songwriting remains clear and has taken it to new heights.
Like most people who know rock music, I’ve heard about Bob Dylan for years and was familiar with some of his songs before actually listening to his music. And like most people, the first album Dylan ever heard was a bad album Bob Dylan 1963 album. I love that album, but it’s the album that makes Bob Dylan one of my favorite musicians of all time. Bringing it all home.
A unique blend of electro and folk, the songs all have a unique feel and energy that makes this album one of those songs that I can play non-stop, perfectly combining rock, folk, blues stomp and country. The album opens with a rock song that shocks the folk community. “Subterranean Homesick Blues” is the ultimate southern blues song. Dylan’s cryptic yet strangely fast-paced lyrics make the song so amazing. They move the song so quickly with a sense of social commentary that you really have to listen to it to understand everything. That rock feel continues on classics like “Maggie’s Farm” and “Outlaw Blues.” Both have the same slow-moving blues music, with socially-charged lyrics expressing a moral attitude toward workers, as in “Maggie’s Farm.” “Outlaw Blues” is one of my favorite Dylan songs of all time. With a riff reminiscent of Hound Dog Taylor’s “Give Me Back My Whig,” it makes for the perfect upbeat blues tune you don’t hear. The combination of Dylan’s honest and slightly quirky lyrics makes for a truly memorable song. You just can’t get more honest than Dylan singing “Don’t Ask Me Anything.”
I might tell you the truth.”
Perhaps the most striking aspect of this album is its musicality, as this album is a lot of fun to listen to. “Bob Dylan’s 115th Dream” is perhaps the funniest of all, with its strange, surreal dreamscape of a dance-roots rock beat. It’s a random collection of images that may be off-putting to some, but the absurdity of the song makes it endearing, creating a very honest commentary on society or just a fun dream song, depending on how you want to see it.
This album has a folk side, and Mr. Tambourine is one of Dylan’s folk classics that can easily be separated from his previous albums. My favorite song (if I had to pick just one) is Gates of Eden. A simple folk song with symbolic lyrics, it has a rustic and authentic feel, but is full of sadness and wisdom. It’s a stark contrast to the album’s funky rock vibes, with hints of Masters of War lacking the mood, fury and mysticism of Dylan’s other folky work, songs like “Across the Watchtower”. It will come in 2 years.
I wasn’t around when this album was first released in 1965, so I can’t say for sure why there was such a backlash in the first place. Now, Bob Dylan’s career spans many genres, and when I first started listening to his music, I knew I wasn’t shocked to hear rock sounds and influences on any of his albums. Personally, I like to see an artist or band develop throughout their career. It shows their changing influences and creates a snapshot of specific moments in their songs. As some have suggested, these songs do not appear to be as radically different from Dylan’s earlier writings. He breaks new ground in his songwriting with surrealism, social commentary and imagery that certainly shows evolution and progress, but like Bob Dylan, his folk songs come across with the same honesty and integrity. These country-blues flavors seem like a logical progression for Dylan, and do justice to his sound. I’m not saying these songs wouldn’t have been as good as they were played on acoustic guitar alone, but they wouldn’t have felt as light. Despite Dylan’s folk-like multi-instrumental and recorded vocals, the album as a whole still has a very spontaneous and raw feel.
If you’re only a folk Bob Dylan fan, you probably won’t like this album, but I’d say give it a listen before you decide for sure. It’s definitely one of the classic albums of the 1960s, and not only does it bridge well between Dylan’s early folk and blues, rock ‘n’ roll and future country, it’s also fun to listen to.
It was a controversial move for him to have a backing band, pick up an electric guitar and play rock and roll, but the payoff Bringing it all homeA must have album for Bob Dylan fans and rock ‘n’ roll fans alike.
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