Bringing It All Back Home is Bob Dylan’s first masterpiece, notably it’s also his first album to make it into the Billboard Top 10 Albums chart. The first notes from the electric guitar in the introduction to “Subterranean Homesick Blues” are an immediate declaration of intent, separating Bringing It All Back Home from the folk music that had comprised Dylan’s career up to that point. Structurally, the album is divided into two halves with side one featuring Bob Dylan backed by a rock band and an acoustic side two. Lyrically, the album continues on from Another Side Of Bob Dylan in eschewing the protest and socially conscious songs of his early albums and moving towards the more personal and sometimes surreal.
It seems appropriate at this point to take a brief diversion from Bob Dylan: The Complete Album Collection Vol. One to close out Dylan’s “folk” years by looking at the remainder of his studio recordings from this era. The Bootleg Series Volume 9: The Witmark Demos: 1962-1964 collects together demos recorded by Dylan for the publishing companies Leeds Music and M. Witmark & Sons. Although over two-thirds of the tracks on this release were subsequently re-recorded and released by Dylan in the 1960s, there are fifteen tracks that until the release of this album in 2010 had only been available as bootlegs.
Another Side Of Bob Dylan is Bob Dylan’s fourth studio album and is one that is too readily dismissed. Recorded just five months after The Times They Are A-Changin’, the album comes at an interesting point in Dylan’s career and is unique amongst his discography. The album is often referred to as Dylan’s last “folk” album and musically this is correct, the album was recorded solo by Dylan on vocals, acoustic guitar and harmonica in a single session on June 9 1964. However, lyrically Another Side Of Bob Dylan breaks away from the earnest protest songs and tales of injustice so prevalent on the previous albums.