1965, Bob Dylan turns electric, Bringing It Back Home

Music Review | 23rd Dec, 2024 theBeat.ie

In 1961, a 19 year old Bob Dylan arrived in New York City for the first time. American folk music had been going through a revival since the 1940's thanks to singers such as Woody Guthrie. By the time Dylan arrived on the scene, folk was going through its second wave with artists such as Odetta, Dave Van Ronk, Phil Ochs and The Clancy Brothers and Tommy Maken.

Dylan began performing around the clubs of Greenich Village, when folk singer Carolyn Hester invited him to perform on her next album. The producer involved was John H. Hammond, who impressed by the young Dylan, offered him a contract with Columbia Records.

Recorded over 3 sessions, Dylan released his debut album, Bob Dylan, in March 1962. The album consisted of cover versions of gospel and folk songs, along with two originals, Talkin New York and Song to Woody. While the album went under the radar on its release, Dylan was officially a recording artist.

Just as Dylan was getting started a new sound was coming out from the streets of Liverpool. British teens, who up until then looked to the US for their music, now had their own act to scream over. With the release of Love Me Do, The Beatles announced their arrival.

Unaware of what was happening in the UK, Dylan returned to the studio in 1962 to begin work on his second album, Freewheelin. The album would be a hit and pushed Dylan into the limelight on a national scale. At 22 years of age, Dylan was now being praised as the voice of his generation.

As a result of the success of Freewheelin, Dylan's music was begining to have an effect across the Atlantic. While on tour in France, Paul McCartney came across a copy of the album. The Beatles soon found themselves hooked on the young Dylan, with John Lennon being the most excited.

As Dylan was enjoying his success in the US, he had no idea that the musical landscape was about to change. The Beatles who had grown in popularity in the UK and Europe, had now set their eyes on the states. In 1964, the fab-four launched the British invasion on the Billboard charts.

As The Beatles began dominating the charts Dylan returned to the studio to record, Them Times They Are Changing. The album dealt with issues such as racism, poverty, and social change. While the album charted well, critics felt it was not as strong as his previous releases.

The follow up Another Side Of Bob Dylan, would receive the same critical acclaim, however their was a slight change in sound. While he still performed solo on the album, Dylan's lyrics were shifting away from his expected protest style.

Dylan crossed paths with The Beatles in 1964 during their first visit to the US. The Beatles had been fans of Dylan since Freewheelin, and admired how his lyrics dealt with real life issues. Lennon would be the most impressed and would later write his own Dylan-esque Hide Your Love Away and Norwegian Wood.

Dylan was impressed with The Beatles harmonies, clever lyrics and radio friendly sound. While he had gained a reputation as a folk-singer, the truth is that Dylan had always been a rocker at heart. As a teen he took his first steps into music forming a rock'n'roll band while in high-school. During the recording sessions for Freewheelin in 1962, he recorded the track Mixed Up Confusion with a full electric band. The track never made the album, but was released as a single.

By 1965, The Rolling Stones, Hermin and The Hermits and The Animals were amongst a wave of bands who had followed in the footsteps of The Beatles. The British were dominating the charts. As Dylan prepared to return to the studio it was obvious that the flavor of the day was Rock'n'Roll.

Dylan got his break as an artist back in 1962 when John Hammond offered him a contract with Columbia Records. However, it would be his son that helped to shape Dylan's new sound. Hammond Jr had recorded a number of old blues songs with the electric band, The Hawks, resulting in the release of, So Many Roads. Dylan was a fan of the album, and was further encouraged to change his musical direction.

Fans would get their first taste of Dylan's new sound with the release of 1965's, Bringing It Back Home. While half of the album was acoustic, the remaining tracks would see him in full electric mode, with the single Subterranean Homesick Blues leading the charge. The track would give Dylan his first chart hit.

The album received mixed reviews on its release. Fans, hoping for another Blown In The Wind or Times They Are Changing, were surprised by Dylan's raw electric sound. Although not a full electric album, he was charting with his blend of folk and rock. Dylan was now a pop-star.

In 1965, Dylan made his third and final appearance at the Newport Folk Festival. Debuting in 1963, and returning in 1964, he was hailed as the golden boy of the festival. When he returned for his final time, Dylan's 1965 performance would go down in history.

The story about folk legend Pete Seeger attempting to cut the power cables is untrue. However his anger towards Dylan most certainly was. In previous years the festival had been attended by a mature and respectful audience. With Dylan being a chart success he attracted teenage pop-fans, something Seeger, the folk-purist, was against.

The idea that Dylan went electric at Newport are also false. By the time he played in 1965 he had already released the album, Bringing It All Back Home and the newly released single, Like A Rolling Stone, had hit the charts. Fans already had an idea of what to expect. Claims that Newport didn't have electric bands until Dylan's appearance are also false. The Paul Butterfield Band, who backed Dylan later that day, were one of many electric bands on the bill.

Dylan would commit himself fully to an electric sound with his next release, Highway 61 Revisited. Fans were once again confused over Dylans new sound. While one side of the previous album was acoustic, Highway 61, was full rock'n'roll, except for the 11 minute, Desolation Row.

Dylan recruited The Hawks to be his backing band when he went on tour in 1965-66. He had been a fan of the group since hearing them play with John Hammond Jr, and felt they would be the perfect fit. He toured Australia and Europe, playing the first half of the show acoustic before The Hawks joined him for the second part of the performance.

Dylan took a break from touring to begin recording, Blonde On Blonde. Recorded in Nashville, the album would see Dylan backed by an a-list line up of session musicians and some members of The Hawks. Following in the same pattern of his previous releases, Blonde On Blonde would receive mixed reviews from fans when it was released a number of months later.

Back on the road, Dylan traveled to the UK were he received a mixed reception. Fans were still divided over the folk-prophet turned pop-star. During a live performace, Dylan was changing over to an electric guitar when a fan shouted, Judas. Dylan simply replied, I dont believe you...you're a liar, before bursting into an aggressive version of, Like A Rolling Stone.

By July 1966, Dylan was exhausted. Having released 3 albums in less than two years, while performing to hostile crowds, he was looking for a way out. Though it was not by choice, Dylan got the excuse he needed to take a break from touring. While he was not seriously hurt, Dylan had a motorcycle accident which gave him the excuse he needed to step back from being a pop-star.

As Dylan recovered from his accident he stayed in Woodstock writing and recording music with The Hawks. The recordings would be shelved until their release a number years later as The Basement Tapes.

The Hawks took the opportunity to part ways with Dylan. Having spent the past year being referred to as Bob Dylan's Band, The Hawks decided it was time for a name change. When they released their debut album Big Pink, it was under their new name, The Band.

Dylan would return from his accident at end of 1967 with the album, John Wesley Harding. However, it would be another eight years before Dylan toured again, by which time the boo's and jeers had stopped.

Between 1965 and 1966, Dylan released three albums that re-shaped rock music forever. While he continued to record for the next five decades, Bringing It All Back Home, Highway 61 Revisited and Blonde on Blonde are the albums that cover a period when Dylan turned electric.

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