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
