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Rock & Roll Feature: Dylan Bringing the Controversy All Back Home

This is the fourth in a series of Rock & Roll features I’ll be writing for this site. I’m a rock and roller and I love the blues, so this column is a way to showcase a different album from those genres each month.

In 1965, Bob Dylan successfully revived folk music with his first 4 albums, but then he committed the greatest sin of a folk singer: he picked up an electric guitar. Bringing everything home Dylan was the first real foray into electric roots rock, and there was a significant backlash with concert venue buzz and negative folk press, which increased significantly with all-electric. Revisiting Highway 61. Personally, I don’t see this as much of a departure from Dylan’s work. Sure, the instrumentation has changed and taken on a rock and roll feel, but Dylan’s songwriting heart is still evident and has risen to new heights.

Like most people who know rock music, I’ve heard of Bob Dylan over the years and was familiar with some of the songs he wrote long before I actually listened to his work. Like most people, Dylan’s first full-length album was infamous Bob Dylan running free 1963 album. I love that album, but the album that cemented Bob Dylan as one of my favorite musicians Bringing everything home.

A unique blend of electronic and folk songs, each with its own feel and feel, making this album one of those albums I can play non-stop, a perfect blend of rock, folk, blues stomp and country. The album starts with a shock to the folk community: a rock song. “Subterranean Homesick Blues” is southern blues at its finest. Dylan’s enigmatic yet whimsical fast-paced lyrics make the song truly great. They snake their way through the song so quickly with social commentary that you really have to listen to understand everything. That rocking feel continues on classic songs like “Maggie’s Farm” and “Outlaw Blues.” Both share the same blues underpinnings, with “Maggie’s Farm” taking a slower route with socially charged lyrics about the ethical treatment of workers, if you choose to interpret it that way. “Outlaw Blues” is one of my favorite Dylan songs of all time. With a riff reminiscent of Taylor’s “Give Me Back My Whig”, Hound Dog creates a perfect, bouncy blues that you just don’t hear anymore. Combined with Dylan’s honest and slightly whimsical lyrics, it makes for a truly memorable song. You just can’t get more honest than when Dylan sings, “Don’t ask me anything about anything,
I might be telling the truth.”

Perhaps the most noticeable thing about this album is the musical playfulness, as overall it’s a pretty lighthearted album that’s a lot of fun to listen to. “Bob Dylan’s 115th Dream” is perhaps his funniest, strangest, most surreal dream with a story based on a rock rhythm with dance roots. It’s a random collection of images that may be unapproachable to some, but the song’s absurdity is what makes it charming and makes for a very honest social commentary or just a funny dream song, depending on how you want to look at it.

The album also has a folk side with “Mr. Tambourine Man” as one of Dylan’s folk classics, which he could have easily lifted from one of his earlier albums. However, my favorite track (if I had to pick just one) is Gates of Eden. A simple folk song with highly symbolic lyrics, its unique atmosphere is rustic and authentic, but also full of sadness and wisdom. It’s a stark contrast to the fun of the album’s rock numbers, and feels different from any of Dylan’s other folk work, with hints of “Masters of War” without the anger, mysticism and songs like “All Along the Watchtower” 2 it would come in a year.

I wasn’t around in 1965 when this album first came out, so I can’t really relate to why there was such a big response to begin with. Now, Bob Dylan’s career spans multiple genres, and I knew that when I first started listening to his music, so I wasn’t shocked to hear rock tracks or influences on one of his albums. Personally, I love when an artist or band evolves throughout their career. It shows their varying influences and takes snapshots of individual moments within their songs. I don’t see as dramatic a departure from Dylan’s earlier writing in these songs as some have suggested. They definitely show evolution and progress as he breaks new ground in his songwriting with surrealism, social commentary and imagery, but still sound like Bob Dylan with the same honesty and authenticity that comes through in his folk songs. These country blues flavors seem like a logical progression for Dylan and definitely do justice to his songs. I’m not saying that these songs wouldn’t have been just as good played solo on an acoustic guitar, but they certainly wouldn’t have had the same effortless feel. The album as a whole still has a very spontaneous and rough feel, despite the many instruments and recorded tracks, just like Dylan’s folk music.

If you’re only a fan of Bob Dylan’s folk music, you might not enjoy this album, but I’d recommend giving it a listen before you decide. It’s definitely one of the classic albums of the 1960s and not only serves as a good bridge between Dylan’s early folk and blues, rock and roll and country, it’s also a fun album to listen to.

It may have been a controversial move for him to get a backing band, pick up an electric guitar and play rock and roll, but the result: Bringing everything homea must have album for any Bob Dylan fan or rock and roll fan.

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