Bob Dylan’s “Bringing It All Back Home”

Album cover for Bringing It All Back Home

For this week, I’ve been listening to Bob Dylan’s fifth album “Bringing It All Back Home” from 1965. He had been listening to rock music and visiting with The Beatles. The first side of this record, an electric band backs Dylan; while the second side remains acoustic and without drums. “Bringing It All Back Home” came out in March with “Highway 61 Revisited” following just five months later.

Between these two album, Dylan infamously performed at the Newport Folk Music Festival with electric instruments. The folk music crowd expressed disgust immediately; they wanted the old Dylan back, not this traitor to folk music. Considering “Highway 61 Revisited” introduced me to Dylan in the early 1990s, the shift from acoustic folk to folk with electric seems rather quaint to me. Granted, he did perform this (what we could call) stunt at a festival for folk music. I also feel that while electric guitars are being used, there’s still plenty of acoustic guitar, and the songwriting is still deeply rooted in folk.

Subterranean Homesick Blues

The album opens with acoustic guitar strumming, then an electric guitar plays an upward glissando to get the motor started. These guitars are joined by two basses, a second electric guitar and drums. The songs rolls at a determined pace. The bass pounds on down-beat, the guitars jangling and improvising driving of the accompaniment along like a full-steam jugband. The chord progression follows a vaguely blues pattern: I7-I7-I7-I7-IV7-I7-I7-V7-I7-I7-I7, which is an unusual 11 bars.

Almost immediately, Dylan’s vocals launch into a continuous stream of lyrics with a paranoid cutup of the sociopolitical climate. Lyrics like these undoubtedly had influence on many later musicians like Beck, whose “Loser” immediately earned him Dylan comparisons in the 1990s. The promotional film with lyrics on cards has been imitated countless times.

He takes brief breaks between verses to play the harmonica. One wonders his lung capacity, especially since he was a considerable smoker at the time. Each verse has 17 short lines run together in an almost monotonous rhythm. The famous opening line tells us where the song is headed immediately:

Johnny’s in the basement
Mixing up the medicine
I’m on the pavement
Thinking about the government

And of course the song ends with one of the most memorable lines, by anybody: “The pump don’t work, ‘cuz the vandals took the handles.” This rhymes with the earlier lines “Don’t wear sandals, Try to avoid the scandals.” This nonsense set of admonitions about keeping in line remind me also of Radiohead’s “Fitter Happier.” Seems like the vandals might be having more fun, even if they’ve ruined our chances of using the pump, which I assume to be a water pump, but maybe it’s gasoline?

Love Minus Zero/No Limit

This week introduced me to the song “Love Minus Zero,” which I don’t believe I’ve heard before. I hear roots of some of the songs on the Velvet Underground’s debut album here. The song features acoustic guitars, a clean electric guitar, bass guitar, and drums. The performance and chord progression give the song a ballad feel. Like a repeating cycle telling a tale, or in this case, perhaps, more a vignette. He sings about his love, but in praising her qualities he also implies criticism of society in general.

In the dime stores and bus stations
People talk of situations
Read books, repeat quotations
Draw conclusions on the wall
Some speak of the future
My love she speaks softly
She knows there’s no success like failure
And that failure’s no success at all

Mr. Tambourine Man

At this point, I’m more familiar with the Dylan version, but I knew the Byrd’s recording of “Mr. Tambourine” first. It definitely has more of the rectangle eye-glasses psychedelic feel than the original. I’ve also enjoyed William Shatner’s unique kitschy take, which sounds like it was recorded in front of Laugh-In’s joke wall. “

Many have covered “Mr. Tambourine Man.”: The song even became subject of literary interpretation in the movie “Dangerous Minds” from 1995. I admit I’ve never seen the full movie, but I have seen that clip. In the scene, the teacher suggests that the titular Mr. Tambourine Man is a drug dealer. This is a common, and commonly disputed, interpretation. It’s not difficult to see the possibility, and it’s certainly difficult to unsee it. We cannot trust Dylan to talk about his songs either.

Dylan plays the song in the key of D, which I think tends to sound ballady or jangly. I like that the song break into a chorus which start with the dominant (V) chord of G, rather than the typical tonic(D). Dylan’s voice jump directly into the opening “Hey!”; He sounds caught in the middle of a melody and he’s grabbing the listener into it.

The chord progression for the chorus is V-IV-I-V-I-V-IV-IV for the first two lines, which is unresolved. That resolution to the tonic comes at the end of the last two lines of the chorus. Those last two lines follow the same progression, except finish with the tonic D chord instead of extending the subdominant A.

The verses repeat a similar pattern, though Dylan sings the verses a little lower and more restrained than the chorus. Here the verses repeat the V-IV-I-V-I-V which open the chorus, then deviate with I-V-IV. He plays this twice before returning to the chorus.

Hey Mr. Tambourine Man, play a song for me
I’m not sleepy and there is no place I’m going to
Hey Mr. Tambourine Man, play a song for me
In the jingle jangle morning I’ll come following you

The Beatles’ “Rubber Soul”

The Beatles' "Rubber Soul" album cover

I dedicated this week to listening to The Beatles‘ sixth album “Rubber Soul” from 1965. Of course, I’m well aware of the Beatles. My tastes, especially since a teenager, was for their later work from 1967’s “Sgt. Pepper” on. I thought I wasn’t quite so familiar with “Rubber Soul,” but some of my favorites are on this album as well. With so many great songs, it’s difficult to choose only a few songs to focus on.

One of the most noticeable things about “Rubber Soul” on a whole is the hard-panning. During this period, albums often saw both a mono and a stereo release. The mono mix was given more care and attention, often bands like the Beatles were present and involved in the mono mix. The stereo mix was considered by some to be unnecessary, a slight variation of the mono, or worse, a gimmicky trend. 

I’ve seen two main reasons given for the Beatles stereo mixes using hard panning (each track (instrument) is completely in the left, right, or center.) Limitations of the studio equipment provided the first reason. Up until the late-60s, mixing consoles had a three-position switch for panning: Left-Center-Right, or LCR.

Another reason came from concern of playback equipment and what might happen if the stereo record was played on mono equipment. This second reason lead to the Center position being avoided. One “Rubber Soul” everything is either Left or Right. So, if the two channels were summed together as mono, the mix levels would be preserved.  That separation ccan sound nice in a room with wells-spaced speakers; However, it’s a very strange feeling in headphones to have the center be a void and everything is right in one ear or the other.

The album’s second track “Norwegian Wood (This Bird Has Flown)” is a slower folk-rock song in ¾ time with Indian influence. Not only incorporate influence from music of India, it was also the first rock song to feature an actual sitar rather than just imitating the sound with guitars. George Harrison had a genuine interest in Indian music and culture, which had an influence on much of his work.

Lennon’s lyrics about a less-than-satisfying love affair perhaps don’t reflect any sort of connection to the Indian flavor. Though there is a sense of exotic strangeness to the girl’s house, which can be like being a stranger in a foreign land. Apparently the last verse is about burning her house down, but it’s so vague it’s difficult to say. Though, knowing that Lennon has used the phrase “Norwegian wood” to refer to cheap wood paneling helps a little.

And when I awoke I was alone

This bird had flown

So I lit a fire

Isn’t it good Norwegian wood?

The intro and verse probably have no real chord progression, but rather stay in the I chord continuously. At the very least a chord progression of I-v7-IV is implied by the melodic riffs. In this way, the accompaniment further imitates drones heard in Indian music. The sitar plays a riff in the left channel, which doubles the melodic portion of finger-picked acoustic guitar in the right channel. The same melody is almost completely followed by the vocal melody.

I have loved the Beatles “Nowhere Man” as long as I can remember, so definitely since I was a young child. It’s one of those songs that can be appreciated at any age. Gershon Kingsley recorded a great instrumental version of the song using Moog synthesizers that I have adored since first hearing it about 15 years ago. I love the sounds Kingsley has designed for the song, but I also really like the melody of this song. Again, the focus of most Beatles songs is the melody and the accompaniment supports that melody. 

The Beatles keep the instrumentation pretty simple on this track. In the left channel, we have drums, bass, acoustic and electric guitar. The acoustic guitar strums through a I-V-IV-I-ii-iv-I-I chord progression for the verses and iii-IV-iii-IV-iii-ii7-ii7-V7 for the chorus. I especially like that sound of the iii-IV-iii-IV part of the chorus. Still, though this is not a common chord progression, the acoustic guitar strumming pattern definitely is. The bass guitar, as I’ve noticed in several Beatles songs, plays the most interesting part of the accompaniment. McCartney gives the music a groovy counterpoint to the vocals. 

The electric guitar in the left channel mostly plays small melodic riffs during the short pause between verses. Another electric guitar in the right channel plays a solo after the first chorus. Backing vocals are also in the right channel, going ‘ahhhh, ahhhh, la la la’ during the choruses and doubling the lead vocal during verses.

I recognized during the week that one of my favorite tracks “I’m Looking Through You” sounds the most like a Monkees song, and I do love the Monkees. The bit after the chorus gets my attention. Right after they sing “I’m looking through, you’re not the same!” The organ and electric guitar pick up in energy getting a little louder and driving. The organ hits two chords along with the guitar and then guitar continues with a pattern of rapid notes. This interaction adds great energy to the song.

The percussion for the song consists mostly of Ringo tapping his fingers on a box of matches. There’s a few instances of tambourine, which seem to have perhaps been played in the background and picked up by another microphone. During the post-chorus sections, Ringo also plays a minimal but effective pattern on the drum kit. 

“Rubber Soul” deserves more praise among Beatles albums. I liked this album far more than “Revolver.” But, I also like “Abbey Road” more than “Sgt. Pepper“. Anyway, this was definitely another great album and one I’m glad I’ve gotten to know better. I’ll continue listening to this one for years, I’m sure.