Bringing It All Back Home ［LP+Magazine］

コレクターズ・マガジン(ZINE)付きLPセットが限定リリース!!

1965年発売。本作は初めてエレクトリック・サウンドを取り入れた5作目。全米チャートで初めてトップ10入り(全米6位/全英1位)した作品であるとともに、"フォーク・ロック”という新たなジャンルを確立した作品といわれ、ロック史に残る重要作である。代表曲のひとつである「ミスター・タンブリン・マン」はバーズによってカバーされて、全米シングル・チャート1位を記録した。次作『追憶のハイウェイ61』につながると同時に、60年代後半の激動期の幕開けを印象付けた歴史的な名盤である。

180G重量盤。

With Another Side of Bob Dylan, Dylan had begun pushing past folk, and with Bringing It All Back Home, he exploded the boundaries, producing an album of boundless imagination and skill. And it's not just that he went electric, either, rocking hard on "Subterranean Homesick Blues," "Maggie's Farm," and "Outlaw Blues"; it's that he's exploding with imagination throughout the record. After all, the music on its second side -- the nominal folk songs -- derive from the same vantage point as the rockers, leaving traditional folk concerns behind and delving deep into the personal. And this isn't just introspection, either, since the surreal paranoia on "It's Alright, Ma (I'm Only Bleeding)" and the whimsical poetry of "Mr. Tambourine Man" are individual, yet not personal. And that's just the tip of the iceberg, really, as he writes uncommonly beautiful love songs ("She Belongs to Me," "Love Minus Zero/No Limit") that sit alongside uncommonly funny fantasias ("On the Road Again," "Bob Dylan's 115th Dream"). This is the point where Dylan eclipses any conventional sense of folk and rewrites the rules of rock, making it safe for personal expression and poetry, not only making words mean as much as the music, but making the music an extension of the words. A truly remarkable album. ~ Stephen Thomas Erlewine