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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. [In 2003, Columbia/Legacy reissued 15 selected titles from Dylan's catalog as hybrid SACDs, playable in both regular CD players and Super Audio CD players. Each title is packaged as a digipak, containing the full original artwork. On each of the titles, and on each of the layers, the remastered sound is spectacular, a considerable upgrade from the initial CD pressings. Bringing It All Back Home was one of five titles that also included a 5.1 Surround Sound mix.]&mdash; Stephen Thomas Erlewine

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