Editing Bringing It All Back Home (section)

== Recording ==
{{more citations needed section|date=July 2017}}

Dylan spent much of the summer of 1964 in [[Woodstock, New York|Woodstock]], a small town in upstate [[New York (state)|New York]] where his manager, [[Albert Grossman]], had a place.<ref name="faroutmagazine.co.uk"/> When [[Joan Baez]] went to see Dylan that August, they stayed at Grossman's house. Baez recalls that "most of the month or so we were there, Bob stood at the typewriter in the corner of his room, drinking red wine and smoking and tapping away relentlessly for hours. And in the dead of night, he would wake up, grunt, grab a cigarette, and stumble over to the typewriter again." Dylan already had one song ready for his next album: "[[Mr. Tambourine Man]]" was written in February 1964 but omitted from ''[[Another Side of Bob Dylan]]''. Another song, "[[Gates of Eden (song)|Gates of Eden]]", was also written earlier that year, appearing in the original manuscripts to ''Another Side of Bob Dylan''; a few lyrical changes were eventually made, but it's unclear if these were made that August in Woodstock. At least two songs were written that month: "[[If You Gotta Go, Go Now]]" and "[[It's Alright, Ma (I'm Only Bleeding)]]". During this time, Dylan's lyrics became increasingly [[Surrealism|surreal]], and his prose grew more stylistic, often resembling [[Stream of consciousness (narrative mode)|stream-of-consciousness]] writing with published letters dating from 1964 becoming increasingly intense and dreamlike as the year wore on.

Dylan returned to the city, and on August 28, he met [[the Beatles]] for the first time in their New York hotel.<ref>{{cite web|title=Bob Dylan's Influence on The Beatles|url=http://www.aaronkrerowicz.com/beatles-blog/bob-dylans-influence-on-the-beatles|website=AARON KREROWICZ, Professional Beatles Scholar|access-date=November 10, 2016}}</ref> In retrospect, this meeting with the Beatles would prove to be influential to the direction of Dylan's music, as he would soon record music invoking a rock sound for at least the next three albums. Dylan would remain on good terms with the Beatles, and as biographer [[Clinton Heylin]] writes, "the evening established a personal dimension to the very real rivalry that would endure for the remainder of a momentous decade."

Dylan and producer [[Tom Wilson (producer)|Tom Wilson]] were soon experimenting with their own fusion of rock and folk music. The first unsuccessful test involved overdubbing a "[[Fats Domino]] early rock & roll thing" over Dylan's earlier, acoustic recording of "[[House of the Rising Sun]]", according to Wilson. This took place in the [[CBS 30th Street Studio|Columbia 30th Street Studio]] in December 1964.<ref>[[Clinton Heylin|Heylin, Clinton]], [https://books.google.com/books?id=c9d62SgEJpkC ''Bob Dylan: The Recording Sessions, 1960–1994''], Macmillan, 1997. Cf. p.33-34 for record producer [[Tom Wilson (producer)|Tom Wilson]]'s use of the 30th Street Studios for some of Dylan's work, and other references in the book.</ref> It was quickly discarded, though Wilson would more famously use the same technique of overdubbing an electric backing track to an existing acoustic recording with [[Simon & Garfunkel]]'s "[[The Sound of Silence]]". In the meantime, Dylan turned his attention to another folk-rock experiment conducted by [[John P. Hammond]], an old friend and musician whose father, [[John H. Hammond]], originally signed Dylan to Columbia. Hammond was planning an electric album around the blues songs that framed his acoustic live performances of the time. To do this, he recruited three members of an American/Canadian bar band he met sometime in 1963: guitarist [[Robbie Robertson]], drummer [[Levon Helm]], and organist [[Garth Hudson]] (members of the Hawks, who would go on to become [[the Band]]). Dylan was very aware of the resulting album, ''[[So Many Roads (John P. Hammond album)|So Many Roads]]''; according to his friend, Danny Kalb, "Bob was really excited about what John Hammond was doing with electric blues. I talked to him in the Figaro in 1964 and he was telling me about John and his going to Chicago and playing with a band and so on …"<ref>{{Cite book |last=Heylin |first=Clinton |url=https://books.google.com/books?id=dd5EmZDdScoC&pg=PA174 |title=Behind the Shades: The 20th Anniversary Edition |date=2011-04-01 |publisher=Faber & Faber |isbn=978-0-571-27241-9 |language=en}}</ref>

However, when Dylan and Wilson began work on the next album, they temporarily refrained from their own electric experimentation. The first session, held on January 13, 1965, in [[Columbia Records#Studio A|Columbia's Studio A]] in New York, was recorded solo, with Dylan playing piano or acoustic guitar. Ten complete songs and several song sketches were produced, nearly all of which were discarded.<ref name="ReferenceB">{{Cite web |date=2022-03-22 |title=How Bob Dylan made 'Bringing It All Back Home' in three days |url=https://faroutmagazine.co.uk/how-bob-dylan-recorded-bringing-it-all-back-home-in-three-days/ |access-date=2022-11-06 |website=faroutmagazine.co.uk |language=en-US}}</ref> Take one of "Bob Dylan's 115th Dream" would be used for the album, but three would eventually be released: "I'll Keep It With Mine" on 1985's ''[[Biograph (album)|Biograph]]'', and "[[Farewell, Angelina (song)|Farewell Angelina]]" and an acoustic version of "Subterranean Homesick Blues" on 1991's ''[[The Bootleg Series Volumes 1–3 (Rare & Unreleased) 1961–1991]]''.

Other songs and sketches recorded at this session: "Love Minus Zero/No Limit", "It's All Over Now, Baby Blue", "She Belongs to Me", "On the Road Again", "If You Gotta Go, Go Now", "You Don't Have to Do That", "California," and "Outlaw Blues", all of which were original compositions.

Dylan and Wilson held another session at Studio A the following day, this time with a full, electric band. Guitarists [[Al Gorgoni]], [[Kenny Rankin]], and [[Bruce Langhorne]] were recruited, as were pianist [[Paul Griffin (musician)|Paul Griffin]], bassists Joseph Macho Jr. and [[Bill Lee (musician)|William E. Lee]], and drummer [[Bobby Gregg]]. The day's work focused on eight songs, all of which had been attempted the previous day. According to Langhorne, there was no rehearsal, "we just did first takes and I remember that, for what it was, it was amazingly intuitive and successful." Few takes were required of each song, and after three and a half hours of recording (lasting from 2:30&nbsp;pm to 6:00&nbsp;pm), master takes of "Love Minus Zero/No Limit", "Subterranean Homesick Blues", "Outlaw Blues", "She Belongs to Me", and "Bob Dylan's 115th Dream" were all recorded and selected for the final album.<ref name="ReferenceB"/>

Sometime after dinner, Dylan reportedly continued recording with a different set of musicians, including [[John P. Hammond]] and [[John Sebastian]] (only Langhorne returned from earlier that day). They recorded six songs, but the results were deemed unsatisfactory and ultimately rejected.

Another session was held at Studio A the next day, and it would be the last one needed. Once again, Dylan kept at his disposal the musicians from the previous day (that is, those that participated in the 2:30&nbsp;pm to 6:00&nbsp;pm session); the one exception was pianist Paul Griffin, who was unable to attend and replaced by Frank Owens. Daniel Kramer recalls:<ref name="ReferenceB"/> {{cquote|The musicians were enthusiastic. They conferred with one another to work out the problems as they arose. Dylan bounced around from one man to another, explaining what he wanted, often showing them on the piano what was needed until, like a giant puzzle, the pieces would fit and the picture emerged whole … Most of the songs went down easily and needed only three or four takes … In some cases, the first take sounded completely different from the final one because the material was played at a different tempo, perhaps, or a different chord was chosen, or solos may have been rearranged...His method of working, the certainty of what he wanted, kept things moving.}}

The session began with "Maggie's Farm": only one take was recorded, and it was the only one they'd ever need. From there, Dylan successfully recorded master takes of "On the Road Again", "It's Alright, Ma (I'm Only Bleeding)", "Gates of Eden", "Mr. Tambourine Man", and "It's All Over Now, Baby Blue", all of which were set aside for the album. A master take of "If You Gotta Go, Go Now" was also selected, but it would not be included on the album; instead, it was issued as a single-only release in Europe, but not in the US or the UK.

Though Dylan was able to record electric versions of virtually every song included on the final album, he apparently never intended ''Bringing It All Back Home'' to be completely electric. As a result, roughly half of the finished album would feature full electric band arrangements while the other half consisted of solo acoustic performances, sometimes accompanied by Langhorne, who would embellish Dylan's acoustic performance with a [[countermelody]] on his electric guitar.