Want to See Bob Dylan Again

1965 studio album past Bob Dylan

Bringing It All Back Home
Studio album by Bob Dylan
Released	March 22, 1965 (1965-03-22)
Recorded	Jan 13–fifteen, 1965
Studio	Columbia Studio A & Studio B, New York City
Genre	Folk rock[1] [2] folk[iii] dejection[4]
Length	47:21
Label	Columbia
Producer	Tom Wilson
Bob Dylan chronology
Another Side of Bob Dylan (1964) Bringing It All Back Home (1965) Highway 61 Revisited (1965)
Singles from Bringing Information technology All Back Dwelling
"Subterranean Homesick Blues" / "She Belongs to Me" Released: March 8, 1965 "Maggie'due south Subcontract" / "On the Road Again" Released: June 1965 "Gates of Eden" Released: July 20, 1965

Bringing It All Back Home (known as Subterranean Homesick Blues in some European countries) is the fifth studio album by American vocalist-songwriter Bob Dylan. It was released on March 22, 1965, past Columbia Records.

The first half of the album features electrical songs, followed by mainly acoustic songs in the second half. The album abandons the protest music of Dylan'due south previous records in favor of more surreal, complex lyrics.^[v] On side one of the original LP, Dylan is backed by an electric stone and roll band—a move that further alienated him from some of his old peers in the folk music customs.^[vi]

The anthology reached No. 6 on Billboard 's Popular Albums chart, the beginning of Dylan's LPs to pause into the U.s.a. top x. It also topped the UK charts later that jump. The beginning rails, "Subterranean Homesick Blues", became Dylan's get-go single to chart in the The states, peaking at No. 39. Bringing Information technology All Back Home has been described as ane of the greatest albums of all time by multiple publications.

Recording [edit]

Dylan spent much of the summertime of 1964 in Woodstock, a small town in upstate New York where his managing director, Albert Grossman, had a place. When Joan Baez went to see Dylan that Baronial, they stayed at Grossman's business firm. Baez recalls that "most of the month or and then we were there, Bob stood at the typewriter in the corner of his room, drinking cerise wine and smoking and tapping away relentlessly for hours. And in the dead of dark, he would wake up, grunt, grab a cigarette, and stumble over to the typewriter once again." Dylan already had 1 vocal ready for his next album: "Mr. Tambourine Man" was written in Feb 1964 but omitted from Another Side of Bob Dylan. Another vocal, "Gates of Eden", was also written earlier that year, actualization in the original manuscripts to Some other Side of Bob Dylan; a few lyrical changes were eventually made, but it'due south unclear if these were made that Baronial in Woodstock. At least two songs were written that month: "If You lot Gotta Get, Go Now" and "Information technology'due south Alright Ma (I'm Only Bleeding)". During this time, Dylan'southward lyrics became increasingly surreal, and his prose grew more stylistic, often resembling stream-of-consciousness writing with published letters dating from 1964 condign increasingly intense and dreamlike every bit the yr wore on.

Dylan returned to the city, and on August 28, he met with the Beatles for the showtime time in their New York hotel.^[7] In retrospect, this meeting with the Beatles would prove to be influential to the direction of Dylan'southward music, as he would soon record music invoking a rock sound for at least the next iii albums. Dylan would remain on good terms with the Beatles, and as biographer Clinton Heylin writes, "the evening established a personal dimension to the very existent rivalry that would suffer for the remainder of a momentous decade."

Dylan and producer Tom Wilson were soon experimenting with their own fusion of stone and folk music. The first unsuccessful exam involved overdubbing a "Fats Domino early stone & roll thing" over Dylan'south earlier, audio-visual recording of "House of the Rising Sun", co-ordinate to Wilson. This took identify in the Columbia 30th Street Studio in Dec 1964.^[8] It was chop-chop discarded, though Wilson would more famously use the same technique of overdubbing an electric backing rail to an existing acoustic recording with Simon & Garfunkel'southward "The Sound of Silence". In the meantime, Dylan turned his attending to another folk-rock experiment conducted by John P. Hammond, an old friend and musician whose father, John H. Hammond, originally signed Dylan to Columbia. Hammond was planning an electrical album around the blues songs that framed his audio-visual alive performances of the time. To practise this, he recruited three members of an American/Canadian bar band he met sometime in 1963: guitarist Robbie Robertson, drummer Levon Helm, and organist Garth Hudson (members of the Hawks, who would continue to become the Ring). Dylan was very aware of the resulting album, So Many Roads; according to his friend, Danny Kalb, "Bob was really excited about what John Hammond was doing with electrical blues. I talked to him in the Figaro in 1964 and he was telling me about John and his going to Chicago and playing with a band and so on …"

Still, when Dylan and Wilson began work on the side by side album, they temporarily refrained from their own electrical experimentation. The first session, held on January thirteen, 1965 in Columbia's Studio A in New York, was recorded solo, with Dylan playing piano or acoustic guitar. Ten complete songs and several song sketches were produced, nearly all of which were discarded. Take one of "Bob Dylan'south 115th Dream" would be used for the album, but iii would eventually be released: "I'll Continue It With Mine" on 1985's Biograph, and "Adieu Angelina" and an acoustic version of "Subterranean Homesick Dejection" on 1991's The Bootleg Series Volumes one–three (Rare & Unreleased) 1961–1991.

Other songs and sketches recorded at this session: "Love Minus Cypher/No Limit", "It'due south All Over Now, Baby Blue", "She Belongs to Me", "On the Road Over again", "If You Gotta Go, Go Now", "You Don't Have to Do That", "California," and "Outlaw Dejection", all of which were original compositions.

Dylan and Wilson held some other session at Studio B the following day, this time with a full, electric band. Guitarists Al Gorgoni, Kenny Rankin, and Bruce Langhorne were recruited, as were pianist Paul Griffin, bassists Joseph Macho, Jr. and William E. Lee, and drummer Bobby Gregg. The solar day'south work focused on 8 songs, all of which had been attempted the previous twenty-four hour period. Co-ordinate to Langhorne, there was no rehearsal, "we just did first takes and I remember that, for what it was, it was amazingly intuitive and successful." Few takes were required of each song, and after three and a half hours of recording (lasting from ii:30 pm to 6:00 pm), principal takes of "Love Minus Zero/No Limit", "Subterranean Homesick Blues", "Outlaw Blues", "She Belongs to Me", and "Bob Dylan'southward 115th Dream" were all recorded and selected for the final anthology.

Old afterwards dinner, Dylan reportedly continued recording with a dissimilar ready of musicians, including John P. Hammond and John Sebastian (only Langhorne returned from earlier that day). They recorded six songs, but the results were accounted unsatisfactory and ultimately rejected.

Another session was held at Studio A the side by side day, and it would exist the last one needed. Once over again, Dylan kept at his disposal the musicians from the previous day (that is, those that participated in the two:30 pm to half dozen:00 pm session); the one exception was pianist Paul Griffin, who was unable to attend and replaced by Frank Owens. Daniel Kramer recalls:

The musicians were enthusiastic. They conferred with one another to work out the problems as they arose. Dylan bounced effectually from one human to another, explaining what he wanted, oftentimes showing them on the pianoforte what was needed until, like a giant puzzle, the pieces would fit and the picture show emerged whole … Nigh of the songs went downwards easily and needed only 3 or four takes … In some cases, the first accept sounded completely different from the terminal one considering the fabric was played at a dissimilar tempo, perchance, or a unlike chord was called, or solos may have been rearranged...His method of working, the certainty of what he wanted, kept things moving.

The session began with "Maggie'south Subcontract": only one accept was recorded, and it was the just ane they'd e'er need. From there, Dylan successfully recorded master takes of "On the Road Again", "It's Alright, Ma (I'chiliad Only Bleeding)", "Gates of Eden", "Mr. Tambourine Man", and "Information technology'southward All Over Now, Baby Blueish", all of which were set aside for the album. A master take of "If You Gotta Become, Go Now" was as well selected, but it would not be included on the album; instead, information technology was issued equally a single-only release in Europe, simply not in the United states of america or the UK.

Though Dylan was able to record electric versions of nigh every song included on the concluding anthology, he apparently never intended Bringing It All Dorsum Home to exist completely electric. Every bit a consequence, roughly half of the finished album would feature full electric ring arrangements while the other half consisted of solo audio-visual performances, sometimes accompanied by Langhorne, who would embellish Dylan's acoustic performance with a countermelody on his electric guitar.

Songs and themes [edit]

The anthology opens with "Subterranean Homesick Dejection", heavily inspired past Chuck Berry's "Also Much Monkey Business organisation". "Subterranean Homesick Dejection" became a Top 40 hit for Dylan. "Snagged past a sour, pinched guitar riff, the vocal has an acerbic tinge … and Dylan sings the championship rejoinders in mock self-pity," writes music critic Tim Riley. "It'due south less an indictment of the system than a coil of imagery that spells out how the arrangement hangs itself with the rope it'due south so proud of."

"She Belongs to Me" extols the bohemian virtues of an artistic lover whose creativity must be constantly fed ("Bow down to her on Sunday / Salute her when her birthday comes. / For Halloween purchase her a trumpet / And for Christmas, requite her a drum.")

"Maggie's Subcontract" follows a straightforward blues construction, with the opening line of each verse ("I ain't gonna piece of work...") sung twice, so repeated at the end of the poetry. The third to fifth lines of each verse elaborate on and explain the sentiment expressed in the poetry'due south opening/closing lines.

"Love Minus Zero/No Limit" is a love song. Its main musical hook is a series of iii descending chords, while its lyrics clear Dylan'south feelings for his lover, and have been interpreted equally describing how she brings a needed zen-like calm to his chaotic world. The vocal uses surreal imagery, which some authors and critics have suggested recalls Edgar Allan Poe's "The Raven" and the biblical Volume of Daniel. Critics have also remarked that the style of the lyrics is reminiscent of William Blake's poem "The Ill Rose".

"Outlaw Dejection" is an electric dejection vocal that lyrically follows a fugitive traveling through harsh weather condition ("Ain't it hard to stumble and country in some dingy lagoon? Especially when it's ix below zero and iii o'clock in the afternoon.") as he resents the life of being on the run.

"On the Road Again" catalogs the absurd affectations and degenerate living conditions of bohemia. The song concludes: "Then you lot ask why I don't live here / Honey, how come y'all don't motility?"

"Bob Dylan'due south 115th Dream" narrates a surreal experience involving the discovery of America, "Captain Arab" (a clear reference to Helm Ahab of Moby Dick), and numerous bizarre encounters. It is the longest song in the electric section of the album, starting out as an acoustic carol before being interrupted by laughter, and so starting support again with an electric blues rhythm. The music is so like in places to Some other Side of Bob Dylan's "Motorpsycho Nitemare" as to be indistinguishable from information technology but for the electric instrumentation. The song can be best read as a highly sardonic, non-linear (historically) dreamscape parallel cataloguing of the discovery, creation and merits (or lack thereof) of the The states.

"Mr. Tambourine Homo" is the first runway on side 2 of the album. It was written and composed in early 1964, at the same gauge time every bit "Chimes of Liberty", which Dylan recorded later that spring for his album Another Side of Bob Dylan. The lyrics are surrealist and may be influenced by the work of Arthur Rimbaud (near notably for the "magic swirlin' ship" evoked in the lyrics).

"Gates of Eden" is the only song on the album that is mono on the stereo release and all subsequent reissues. Dylan plays the song solo, accompanying himself on audio-visual guitar and harmonica. It is considered 1 of Dylan's most surreal songs.

"It's Alright Ma (I'm Simply Haemorrhage)" was written in the summertime of 1964, first performed live on October ten, 1964, and recorded on January 15, 1965. Information technology is described past Dylan biographer Howard Sounes equally a "grim masterpiece". The song features some of Dylan'southward most memorable lyrical images. Amidst the well-known lines sung in the vocal are "He non busy beingness born is busy dying," "Money doesn't talk, information technology swears," "Although the masters make the rules, for the wisemen and the fools" and "But even the president of the United States sometimes must accept to stand naked."

"It'south All Over Now, Baby Blue" is the album's closing song. The song was recorded on January 15, 1965, with Dylan'due south acoustic guitar and harmonica and William Eastward. Lee's bass guitar the just instrumentation.^[9]

Artwork [edit]

The anthology's cover,^[10] photographed by Daniel Kramer with an border-softened lens, features Sally Grossman (wife of Dylan'southward manager Albert Grossman) lounging in the groundwork. There are also artifacts scattered effectually the room, including LPs by the Impressions (Keep on Pushing), Robert Johnson (King of the Delta Blues Singers), Ravi Shankar (India's Master Musician), Lotte Lenya (Sings Berlin Theatre Songs by Kurt Weill) and Eric Von Schmidt (The Folk Blues of Eric Von Schmidt). Dylan had "met" Schmidt "ane day in the green pastures of Harvard Academy"^[11] and would later mimic his album cover pose (tipping his hat) for his own Nashville Skyline four years after.^[12] A farther tape, Françoise Hardy's EP J'suis D'accord, was on the floor near Dylan'southward feet but can simply be seen in other shots from the same photo session, as well equally a copy of the Wilhelm/Baynes version of I Ching.

Visible behind Grossman is the top of Dylan's head from the cover of Some other Side of Bob Dylan; nether her right arm is the mag Fourth dimension with President Lyndon B. Johnson as "Man of the Year" on the cover of the Jan i, 1965 issue. There is a harmonica resting on a tabular array with a fallout shelter (capacity fourscore) sign leaning against it. Above the fireplace on the mantle directly to the left of the painting is the Lord Buckley album The Best of Lord Buckley. Next to Lord Buckley is a copy of GNAOUA, a mag devoted to exorcism and Beat Generation poetry edited by poet Ira Cohen, and a glass collage by Dylan called "The Clown" made for Bernard Paturel from colored glass Bernard was virtually to discard.^[xiii]

Dylan sits forward holding his cat (named Rolling Stone)^[13] and has an opened mag featuring an advertisement on Jean Harlow's Life Story by the columnist Louella Parsons resting on his crossed leg. The cufflinks Dylan wore in the moving picture were a gift from Joan Baez, every bit she later referenced in her 1975 song "Diamonds & Rust". Daniel Kramer received a Grammy nomination for best anthology comprehend for the photograph.

On the back cover (also by Kramer), the adult female massaging Dylan'south scalp is the filmmaker and performance creative person Barbara Rubin.^[14]

Release [edit]

Bringing It All Back Habitation was released on March 22, 1965 past Columbia Records.

The mono version of Bringing It All Back Home was re-released in 2010 on The Original Mono Recordings, accompanied by a booklet containing a critical essay past Greil Marcus.

A loftier-definition 5.1 environs sound edition of the anthology was released on SACD by Columbia in 2003.^[xv]

Reception [edit]

The release of Bringing It All Back Dwelling house coincided with the final show of a joint tour with Joan Baez. By this time, Dylan had grown far more than popular and acclaimed than Baez, and his music had radically evolved from their sometime shared folk way in a totally unique direction. It would exist the final time they would perform extensively together until 1975. (She would accompany him on another tour in May 1965, but Dylan would not ask her to perform with him.) The timing was appropriate every bit Bringing It All Back Habitation signaled a new era.

Dylan is backed by an electric rock and roll band—a motility that farther alienated him from some of his one-time peers in the folk music community.^{[ citation needed ]}

The album reached No. 6 on Billboard 's Pop Albums chart, the first of Dylan's LPs to suspension into the US top 10. It also topped the UK charts later that spring. The first runway, "Subterranean Homesick Dejection", became Dylan's get-go single to chart in the US, peaking at #39.

Legacy [edit]

Professional ratings

Review scores
Source	Rating
AllMusic	[3]
Chicago Tribune	[sixteen]
Encyclopedia of Pop Music	[17]
Entertainment Weekly	A[18]
Music Story	[nineteen]
MusicHound Rock	4.5/5[twenty]
The Rolling Rock Album Guide	[21]
Tom Hull	A[22]

Bringing It All Dorsum Home is regarded equally 1 of the greatest albums in rock history. In 1979 Rolling Rock Record Guide critic Dave Marsh wrote: "Past fusing the Chuck Berry crush of the Rolling Stones and the Beatles with the leftist, folk tradition of the folk revival, Dylan really had brought it back home, creating a new kind of rock & roll [...] that made every blazon of artistic tradition available to rock."^[23] Clinton Heylin later wrote that Bringing It All Back Home was peradventure "the most influential anthology of its era. Almost everything to come in contemporary pop song tin exist found therein."^[24]

In 2003, the anthology was ranked number 31 on Rolling Stone magazine's list of the 500 greatest albums of all fourth dimension, it maintained the rating in a 2012 revised list,^[25] and was ranked number 181 on the 2020 listing.^[26]

According to Acclaimed Music, it is the 85th about celebrated album in popular music history.^[27]

It was inducted into the Grammy Hall of Fame in 2006.^[28]

In a 1986 interview, film manager John Hughes cited information technology as so influential on him as an artist that upon its release (while Hughes was still in his teens), "Thursday I was one person, and Fri I was some other."^[29]

The album was included in Robert Christgau'southward "Basic Record Library" of 1950s and 1960s recordings—published in Christgau'southward Record Guide: Stone Albums of the Seventies (1981)^[thirty]—and in Robert Dimery's music reference book 1001 Albums You Must Hear Before Yous Die (2010).^[31] It was voted number 189 in the third edition of Colin Larkin's book All Time Top chiliad Albums (2000).^[32]

Hip hop group Public Enemy reference it in their 2007 Dylan tribute song "Long and Whining Road": "Information technology's been a long and whining road, even though time keeps a-changin' / I'thou a bring information technology all back home".^[33]

Outtakes [edit]

The post-obit outtakes were recorded for possible inclusion to Bringing It All Back Dwelling.

• "California" (early version of "Outlaw Dejection")
• "Cheerio Angelina"
• "If You Gotta Go, Get Now (Or Else Yous Got to Stay All Night)"
• "I'll Go on It with Mine"
• "You Don't Have to Exercise That" (titled "Angle Downwards on My Stomick Lookin' West" on recording sheet)(fragment)

The raunchy "If You Gotta Become, Become Now (Or Else You lot Got To Stay All Dark)" was issued as a single in Benelux. A different version of the song appears on The Bootleg Series Volumes 1–3 (Rare & Unreleased) 1961–1991. An upbeat, electrical performance, the song is relatively straightforward, with the championship providing much of the subtext. Manfred Isle of mann took the song to #2 in the Britain in September 1965. Fairport Convention recorded a natural language-in-cheek, acoustic French-linguistic communication version, "Si Tu Dois Partir", for their historic 3rd album, Unhalfbricking.

"I'll Keep It with Mine" was written before Another Side of Bob Dylan and was given to Nico in 1964. Nico was not yet a recording creative person at the time, and she would eventually record the song for Chelsea Girl (released in 1967), simply not before Judy Collins recorded her ain version in 1965. Fairport Convention would also record their own version on their critically acclaimed second album, What We Did on Our Holidays. Widely considered a strong composition from this flow (Clinton Heylin called it "one of his finest songs"), a consummate acoustic version, with Dylan playing piano and harmonica, was released on 1985's Biograph. An electric recording exists as well—not of an actual take but of a rehearsal from January 1966 (the sound of an engineer saying "what y'all were doing" through a command room mike briefly interrupts the recording)—was released on The Bootleg Series Volumes 1–iii (Rare & Unreleased) 1961–1991.

"Farewell Angelina" was ultimately given to Joan Baez, who released information technology in 1965 as the championship track of her album, Farewell, Angelina. The Greek vocaliser Nana Mouskouri recorded her ain versions of this song in French ("Good day Angelina") in 1967 and German ("Schlaf-ein Angelina") in 1975.

In the film Dont Await Dorsum, a documentary of Dylan's 1965 tour of the UK, Baez is shown in one scene singing a fragment of the then plain still unfinished song "Love Is But A Four Letter of the alphabet Word" in a hotel room belatedly at night. She then tells Dylan, "If you finish it, I'll sing information technology on a record". Dylan never released a version of the vocal, and, co-ordinate to his website, he has never performed the song alive.

"You Don't Accept to Do That" is one of the great "what if" songs of Dylan's mid-1960s output. A very brief recording, under a minute long, it has Dylan playing a snippet of the song, which he abandoned midway through to begin playing the pianoforte.

Runway listing [edit]

All tracks are written by Bob Dylan.

Side 1 (Electric Side)

No.	Title	Recorded	Length
i.	"Subterranean Homesick Blues"	January 14, 1965	2:21
2.	"She Belongs to Me"	January xiv, 1965	2:47
3.	"Maggie's Farm"	January fifteen, 1965	3:54
4.	"Beloved Minus Cipher/No Limit"	January 14, 1965	ii:51
5.	"Outlaw Dejection"	January 14, 1965	iii:05
6.	"On the Road Again"	January fifteen, 1965	2:35
vii.	"Bob Dylan'due south 115th Dream"	January 13 (intro) and Jan xiv, 1965	6:30
Total length:			24:03

Side 2 (Audio-visual Side)

No.	Title	Recorded	Length
1.	"Mr. Tambourine Homo"	January 15, 1965	5:30
ii.	"Gates of Eden"	Jan 15, 1965	5:40
3.	"It'due south Alright, Ma (I'm Only Bleeding)"	January xv, 1965	7:29
4.	"It'due south All Over Now, Baby Blue"	January xv, 1965	4:12
Full length:			22:51

Personnel [edit]

• Bob Dylan – guitar, harmonica, keyboards, vocals

Additional musicians [edit]

• Steve Boone – bass guitar
• Al Gorgoni – guitar
• Bobby Gregg – drums
• Paul Griffin – piano, keyboards
• John P. Hammond – guitar
• Bruce Langhorne – guitar
• Bill Lee – bass guitar on "It's All Over Now, Baby Bluish"
• Joseph Macho, Jr. – bass guitar
• Frank Owens – piano
• Kenny Rankin – guitar
• John Sebastian – bass guitar

Technical [edit]

• Daniel Kramer – photography
• Tom Wilson – product

Charts [edit]

Weekly charts [edit]

Singles [edit]

Certifications [edit]

References [edit]

1. ^ Hermes, Volition (March 22, 2016). "How Bob Dylan'due south 'Bringing It All Dorsum Home' 'Stunned the Globe'". Rolling Stone . Retrieved June 4, 2016. We expect back at Bob Dylan's 'Bringing Information technology All Back Home,' which saw him go electric, invent folk rock and redefine what tin can be said in a song.
2. ^ Breihan, Tom (September 21, 2010). "Morning time Benders, Mirah Pay Bob Dylan Tribute". Pitchfork.
3. ^ ^{a b} Erlewine, Stephen Thomas. AllMusic Review by Stephen Thomas Erlewine at AllMusic. Retrieved June four, 2016.
4. ^ June Skinner Sawyers (May 1, 2011). Bob Dylan: New York. Roaring Forties Press. p. 77. ISBN978-0-9846254-iv-4.
5. ^ Woodward, Richard B. (March eighteen, 2015). "Dylan's Double Personality: Celebrating the 50th Anniversary of 'Bringing It All Dorsum Dwelling house'". Wsj.com . Retrieved July 21, 2019.
6. ^ Irwin Silber, editor of folk magazine Sing Out! described Dylan's new music every bit "a freak and a parody". Bob Dylan by Anthony Scaduto, Abacus Books, 1972, p. 188
7. ^ "Bob Dylan'south Influence on The Beatles". AARON KREROWICZ, Professional Beatles Scholar . Retrieved November x, 2016.
8. ^ Heylin, Clinton, Bob Dylan: The Recording Sessions, 1960–1994, Macmillan, 1997. Cf. p.33-34 for tape producer Tom Wilson's use of the 30th Street Studios for some of Dylan's work, and other references in the book.
9. ^ Williams, P. (2004). Bob Dylan: Performing Artist, 1960–1973 (2nd ed.). Omnibus Press. p. 138. ISBN978-1-84449-095-0.
10. ^ https://bob-dylan.org.britain/archives/14026
11. ^ Infant, Let Me Follow You Downward
12. ^ Humphries, Patrick (1995). The Consummate Guide to the Music of Bob Dylan. London, England: Omnibus Printing. ISBN0-7119-4868-2.
13. ^ ^{a b} Robert Shelton: No Direction Home: ISBN 0-14-010296-five
14. ^ Hale, Peter. "Barbara Rubin (1945–1980)". The Allen Ginsberg Project.
15. ^ "Columbia Releases 15 Bob Dylan Albums on Hybrid SACD". September xvi, 2003.
16. ^ Kot, Greg (October 25, 1992). "Dylan Through The Years: Hits And Misses". Chicago Tribune . Retrieved January x, 2017.
17. ^ Larkin, Colin (2011). "Bob Dylan". Encyclopedia of Pop Music (5th ed.). Bus Printing. ISBN978-0-85712-595-8.
18. ^ Flanagan, Bill (March 29, 1991). "Dylan Itemize Revisited". EW.com. Retrieved Baronial 29, 2012.
19. ^ "Bringing It All Back Dwelling". Acclaimed Music. Archived from the original on June 28, 2016. Retrieved January 11, 2017.
20. ^ Graff, Gary; Durchholz, Daniel, eds. (1999). MusicHound Rock: The Essential Album Guide (second ed.). Farmington Hills, MI: Visible Ink Press. p. 371. ISBN1-57859-061-2.
21. ^ Brackett, Nathan; Hoard, Christian, eds. (2004). The New Rolling Rock Album Guide. New York, NY: Fireside. p. 262. ISBN0-7432-0169-8 . Retrieved August 22, 2015.
22. ^ Hull, Tom (June 21, 2014). "Rhapsody Streamnotes: June 21, 2014". tomhull.com . Retrieved March 1, 2020.
23. ^ Smith, Chris (2009). 101 Albums that Changed Popular Music. Oxford: Oxford Academy Press. p. 31. ISBN978-0-xix-537371-four.
24. ^ Heylin, Clinton (2011). Bob Dylan: Behind the Shades: The 20th Anniversary Edition. faber and faber. p. 181. ISBN978-0-571-27240-2.
25. ^ "500 Greatest Albums of All Time Rolling Stone'south definitive list of the 500 greatest albums of all fourth dimension". Rolling Stone. 2012. Retrieved September 23, 2019.
26. ^ "Bringing It All Back Home ranked 181st greatest album by Rolling Stone magazine". Rolling Stone. September 22, 2020. Retrieved December 8, 2020.
27. ^ "Bringing It All Dorsum Dwelling ranked 85th greatest album". Acclaimed Music . Retrieved December 8, 2020.
28. ^ "Grammy Hall of Fame Letter B". Grammy. October eighteen, 2010. Retrieved August 20, 2021.
29. ^ Ringwald, Molly. "Molly Ringwald Interviews John Hughes". Seventeen Magazine. Bound 1986. The John Hughes Files. Archived from the original on Baronial 9, 2009. Retrieved February 25, 2010.
30. ^ Christgau, Robert (1981). "A Bones Record Library: The Fifties and Sixties". Christgau's Tape Guide: Rock Albums of the Seventies. Ticknor & Fields. ISBN0-89919-025-1 . Retrieved March 16, 2019 – via robertchristgau.com.
31. ^ Robert Dimery; Michael Lydon (March 23, 2010). 1001 Albums You lot Must Hear Before Y'all Die: Revised and Updated Edition. Universe. ISBN 978-0-7893-2074-two.
32. ^ Colin Larkin, ed. (2000). All Time Top 1000 Albums (tertiary ed.). Virgin Books. p. 98. ISBN0-7535-0493-6.
33. ^ Public Enemy – The Long and Whining Road , retrieved April 12, 2021
34. ^ ^{a b} "Bob Dylan | Creative person". The Official Charts Company. Retrieved August 20, 2012.
35. ^ ^{a b c} Bringing It All Back Abode – Bob Dylan: Awards at AllMusic. Retrieved August 20, 2012.
36. ^ "British anthology certifications – Bob Dylan – Bringing It All Back Domicile". British Phonographic Manufacture.
37. ^ "American anthology certifications – Bob Dylan – Bringing It All Back Home". Recording Industry Clan of America. Retrieved August 20, 2012.

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Source: https://en.wikipedia.org/wiki/Bringing_It_All_Back_Home

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