Sold Date: December 22, 2019
Start Date: December 15, 2019
Final Price: $18.44 (USD)
Bid Count: 2
Seller Feedback: 499
Buyer Feedback: 158

Artist: Bob Dylan

Title: Bringing It All Back Home

Label: Columbia ‎– CS 9128

Format: Vinyl, LP, Album, Stereo

Country: US

Released: 1965 2nd Pressing (red labels with white text)

Genre: Rock, Folk, World, & Country

Style: Folk Rock, Folk

Condition: Vinyl in VG+ condition. Clean, Full gloss with some light visual paper sleeve scuffs. May produce some light noise or ticks in a few areas but no skips and doesn’t detract from a good listening experience. Jacket in VG+ condition with some ring wear beginning to show. Nice spine and corners. A few light bumps to a few corners. Labels are clean with no writing, marks or other issues to mention. Overall, a well taken care of copy that appears to have been played but handled with care.

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Review excerpt from Rolling Stone:

“When Bob Dylan entered Columbia Records’ Studio in mid-January 1965 and blew out an 11-song LP in three days, he didn’t merely go electric, invent folk rock and transition from an acoustic troubadour to a boundary-pushing rock & roller. He conjured performances that would completely reimagine how pop music communicated – not just what it could say, but how it could say it. “Some people say that I am a poet,” he wrote coyly in the prose-poem notes on the back cover. Now, he was ready to test the limits of what that meant, rewiring himself for a singularly revolutionary moment. The fallout-shelter sign in the cover shot was on point: Bringing It All Back Home was the cultural equivalent of a nuclear bomb.

“The thing about Bringing It All Back Home was his words,” says David Crosby. “That’s what Bob stunned the world with. Up until then we had ‘oooh, baby’ and ‘I love you, baby.’ Bob changed the map. He gave us really, really good words.”

As Dylan put it in his memoir, Chronicles, “What I did to break away, was to take simple folk changes and put new imagery and attitude to them, use catchphrases and metaphor combined with a new set of ordinances that evolved into something different that had not been heard before.”

Dylan had been considering his next artistic leap forward for some time – at least since early 1964, when he’d been bowled over by hearing the Beatles’ “I Want to Hold Your Hand” on the radio. “They were doing things nobody was doing,” he recalled. “The chords were outrageous, just outrageous, and the harmonies made it all valid. You could only do that with other musicians.”

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