The biopic “A Complete Unknown” has been released, bringing Bob Dylan back into pop culture. The once-generational artist and voice of an era is being introduced to a new audience 60 years later. That 60 is also reflected in the anniversary of his 1965 release “Bringing It All Back Home,” an album that finds Dylan in a transitional period both musically and personally. It is a perfect starting point for his discography and showcases the best of his influential musical styles.

The album marked a significant shift from Dylan’s previous work, transitioning from acoustic to electric. This evolution was widely criticized within the folk scene at the time. Frustrated with being put on a pedestal as a counterculture figure, Dylan rejected that label, and the album reflects this sentiment.

It opens powerfully with the fast-paced rhyming of “Subterranean Homesick Blues.” The track features an electric backing band, a stark contrast to his earlier work. Though it may have felt like a betrayal to some fans, the lyrics retained the sharp intellect that made Dylan so popular. Lines like “You don’t need a weatherman to know which way the wind blows” suggest he was severing ties with the community that had built him up.

Critics feared Dylan’s shift to electric music would dilute his focus on heavy, topical issues. That was not the case with “Maggie’s Farm,” a song that highlights Dylan’s frustrations with the music industry. He refused to be boxed into a singular role, expressing his dissatisfaction with lyrics like “They say sing while you slave, I just get bored.” The song also touches on broader themes of government and authority, as reflected in the verses about Pennsylvania and Massachusetts.

Blues rock is another prominent style on the album. Dylan had long drawn inspiration from folk-blues, and the addition of electric instruments enhanced that influence. “Outlaw Blues” exemplifies this shift, as Dylan embraces the rebellious rockstar image. The song addresses antimiscegenation laws, still prevalent in the 1960s, making it a bold statement in support of interracial relationships. Lyrics such as “She’s a brown-skinned woman, but I love her just the same” showcase his willingness to tackle controversial topics through rock ‘n’ roll.

Another blues-infused track, “On the Road Again,” reflects Dylan’s experiences in the Greenwich folk scene. His unorthodox storytelling keeps listeners engaged, while the call-and-response harmonica work is a signature element of the album.

The album is a great entry point to Dylan’s discography not only because of his transition to electric music but also due to his continued mastery of acoustic folk. “Mr. Tambourine Man” is a prime example. The Byrds released a version of the song a few months before Dylan’s, which influenced his decision to experiment with electric sound. His acoustic version offers a more drawn-out, layered approach, exemplifying his ability to convey meaning without direct statements.

The album’s final two tracks serve as a pivotal moment in Dylan’s career. “It’s Alright, Ma (I’m Only Bleeding)” and “It’s All Over Now, Baby Blue” act as farewells to Dylan’s former self and the protest folk scene. The former is a sobering realization that he cannot change people or society as he once hoped. The latter delivers a clear message to the folk scene: he is moving on. 

Lyrics like “Your lover, who just walked out the door, has taken all his blankets from the floor” suggest that the comfort and reassurance his fans once found in him are gone. He urges them to “strike another match, go start anew,” signaling his departure and encouraging others to move forward without him.

“Bringing It All Back Home” encapsulates the duality of a man torn between expectation and artistic freedom. Dylan felt constrained by the pressures of the industry and the community that idolized him. At the same time, he was drawn to the possibilities of his music when freed from those constraints. The album’s overarching theme is his refusal to be anyone’s savior, a sentiment captured in “Maggie’s Farm” when he sings, “I got a head full of ideas that are drivin’ me insane.” With this album, Dylan firmly rejects the limitations placed upon him, saying goodbye to folk and hello to rock.

For comments/questions about this story DM us on Instagram @thewhitatrowan or email arts@thewhitonline.com