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This is where it all begins. Bob was twenty years old when he recorded his debut and had been cutting his teeth in the Greenwich Village folk scene for a year or so, and the youthful energy and enthusiasm that he brings to his debut is unrivaled in his discography, save perhaps for his first two electric albums. It’s not unlike the Beatles’ debut, Please Please Me, which was released in Britain the same year: exciting, good fun, and indicative of great things to come.

There are some major differences between that album and Bob Dylan, though. John and Paul were able to boast half an album’s worth of originals – the classic “I Saw Her Standing There” among them – and their most famous cover in “Twist and Shout.” Dylan’s debut has only two original songs and none of his covers are particularly well known. The originals are interesting but hardly classics: “Talkin’ New York,” one of seven or so talking blues songs that Bob was playing around the Village at the time, and “Song to Woody,” a pleasant ode to his hero, Woody Guthrie. “Song to Woody” especially is noteworthy, and hints at things to come, but, in spite of the fact that he’d already written plenty of great original songs, this album is not by Bob Dylan the songwriter so much as it is by Bob Dylan the performer and folksinger. There’s something to be said for this: you hear a lot about how great a songwriter Dylan is and how poetic his lyrics are and so on, and while he deserves the praise, his abilities as a performer and song interpreter tend to get swept under the rug as a result (to say nothing of those who question those abilities, but that’s another debate entirely). Only rarely would Dylan hit the high notes that he hits in “Freight Train Blues” and “You’re No Good” to such great effect, and his growls and whines of impending doom in songs like “In My Time of Dyin’” and “Fixin’ to Die” wouldn’t be recreated until Oh Mercy in 1989.

The song selection all around is pretty solid: even casual listeners will have heard “House of the Rising Sun” and “I Am a Man of Constant Sorrow” and maybe even “Gospel Plow” before – albeit in radically different versions by different artists. Add that to the fact that several of the songs served as blueprints for some of Bob’s later masterpieces – “Highway 51 Blues” lending its riff to “It’s Aright Ma” and its title to “Highway 61 Revisited,” for instance – and, in Bob Dylan, we are hearing not only Dylan’s roots, but the roots of a significant amount of the pop music of the past fifty years. Maybe the nuttiest thing about the whole affair is that there were tons of other great songs that Bob was playing at the time that didn’t make the cut, some of which he didn’t even record. Thankfully, we have rarities collections for all of that.