Image via Nancy Leane/Dalle/startraksphoto.com
By
J.S. Gornael
Published 16 minutes ago
J.S. Gornael has a BA in English with a Creative Writing Emphasis in Poetry and an MFA in Fiction. He has taken workshops in poetry, fiction, and non-fiction (though mostly the second). Half-cinephile, half-bookworm, he is both a TV/Movie List Writer for Collider and a book review editor for IndieReader. He occasionally writes reviews himself, and looks forward to finally getting several novels out of his head and onto paper (published or not).
His favorite movie is Apocalypse Now, and, for those who care, his favorite version of it is 2019's Apocalypse Now: Final Cut. Though he gave up trying to watch every episode of The Simpsons when he reached season 10, he still loves writing about it. Other shows he would like to write about more range from House to Avatar: The Last Airbender.
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Bob Dylan, a name that has echoed through pop culture for over 60 years now. His contributions to folk and rock music are tremendous, from short songs like "Oxford Town" to epics like "Desolation Row," Dylan's songs have touched countless souls for over six decades now. His lyrics, which range from poetic social commentary to love stories, have been so acclaimed that he was even awarded the Nobel Prize for Literature in 2016. Whether he's got a whole band with him or just a guitar and a harmonica, Dylan's sound often feels both effortless and timeless.
When composing a list of his best songs, 10 entries just aren't going to cut it. There are too many classics, too many overlooked gems, too many that have inspired other great musicians. "All Along the Watchtower" led to Jimi Hendrix's brilliantly psychedelic cover, "Lay Lady Lay" makes you feel like you're on vacation, "Queen Jane Approximately" soothes the soul, and "Hurricane" helped a falsely convicted man get released from prison. There's also "Down the Highway," "All I Really Want to Do," and too many others to list them all. Of course, not everything he touched turned to gold. There are plenty of Dylan songs that rely so much on his words that they totally neglect to engage listeners on a sonic level. The following songs avoid that (at least in the versions presented, which are sometimes not from the original album they appeared on). It's hard to rank these, but it's also extremely rewarding to engage with the material and try to figure out why they're so good. Ranked first and foremost by their musical qualities, the following tracks show how Dylan's unique voice, storytelling prowess, and versatility made him a legend.
20 "Highway 61"
'Highway 61, Revisited' (1965)
Continuing Dylan's controversial electric streak, Highway 61, Revisited's eponymous track is one of its standouts. He starts off with a casual take on the Biblical tale in which God tells Abraham to kill his son, only this time it's not on a mountain but on the highway. After that, each verse presents a totally different speaker with issues that don't seem related whatsoever. That person talks to someone else, and whatever conflict they have is resolved with Highway 61.
What does it all mean? Who cares—it's an amusing, care-free number that clocks in at a concise three and a half minutes. "Highway 61" proves that Dylan's tendency to sometimes talk more than sing can work for his electric sound as well. Along with that silly whistle, the keyboards, and the lively drums, this playful piece goes down as one of the greats.
19 "Simple Twist of Fate"
'Blood on the Tracks' (1975)
From Blood on the Tracks, "Simple Twist of Fate" has a charming set of chords that Dylan strums with a springy energy that matches perfectly with his voice. By the time the introduction is over, we're eager to hear how the maestro is going to sing this one (which is very, very well). The way his vocals move throughout the verse, how he only speaks one sentence or phrase at a time, the way he raises his voice for one particular word at the end of the chorus—all these decisions coalesce into a mixture of longing and casual reminiscence that feels effortless.
This is a song of many brief pauses that last just long enough for Dylan to sound like he's having fun while sounding like he's in complete control. Along with the bass and the harmonica, this "Simple Twist of Fate" makes a vibrant argument that Blood on the Tracks should have just stayed all acoustic.
18 "Mr. Tambourine Man"
'Bringing it All Back Home' (1965)
"Mr. Tambourine Man" is one of those Dylan classics that very much feels like it was recorded in the 60s. It starts with its catchy chorus, but the verse is sung in a pretty similar fashion as well. It's a good thing this song is only five and a half minutes, as the repetition might have overwhelmed the song if it went on for much longer. The harmonica solo is also a refreshing departure.
Strange how a song called "Mr. Tambourine Man" features no tambourine, but oh well; it's good just the way it is. Released on Bringing it All Back Home, this song alone proved that Dylan wasn't completely leaving folk music and still had plenty of good songs to write within the genre. It's been covered by so many artists that it feels a touch overrated nowadays, but it still deserves praise.
17 "Idiot Wind"
'The Bootleg Series, Volumes 1-3 (Rare & Unreleased) 1961-1991' (1991)
"Idiot Wind" was originally recorded in 1974 in New York for Blood on the Tracks. Then, for some reason, Dylan re-recorded half the album in December of the same year—this time in Minneapolis. Hot take: this ruined every single song that he changed, including "Idiot Wind." Why did he think that using the whole band would make this beautifully meditative acoustic piece better? Luckily, Dylan released The Bootleg Series, Volumes 1-3 in 1991, in which we get to hear how the song should have always been.
"Idiot Wind" starts with Dylan's narrator talking about a story going around in the press, and how regular people react to seeing him on the street. No one seems to know him, even his lover, which leads to another break-up song that gets better every time you hear it. With just his guitar, harmonica, and a bass, Dylan's endlessly nuanced vocals make this overlooked treasure feel like a cool autumn breeze.
16 "Subterranean Homesick Blues"
'Bringing it All Back Home' (1965)
"Subterranean Homesick Blues" is the opening track to Dylan's first electric album, and it was more than just an experiment; it was a statement. He could go electric and still be Dylan. Similar to "Highway 61," this track shows him more speaking than singing while the band skips along in the background.
The singing in the verse is purposely repetitive, yet its pace and Dylan's enthusiasm ensures that it never feels monotonous. It also helps that the track is under two and a half minutes, as this dizzying list of lyrics paints a picture that manages to encapsulate the minutiae of everyday life as well as the overarching sense of time passing. Mixing vivid specificity with grander statements like "You don't need a weatherman to know which way the wind blows," this is easily one of Dylan's most enjoyable electric pieces.
15 "Lily Rosemary and the Jack of Hearts"
'The Bootleg Series, Vol. 14: More Blood, More Tracks' (2018)
Originally recorded in September 1974 for Blood on the Tracks, "Lily Rosemary and the Jack of Hearts" was one of the epics whose soul was gutted by Dylan's re-recording with a full band. But, as mentioned before, if you dig into his fascinating Bootleg Series, then you'll find a lost gem. One of the brightest of all is the acoustic version of "Lily Rosemary and the Jack of Hearts," which extends to nearly 10 minutes but only feels half as long.
This song grows on you. The further it delves into its story, the more you get absorbed by this sprawling love song. Whereas the electric version almost makes the story sound like a farce, this bare version does a wonderful job of creating an atmosphere that mixes playfulness with a sense of gloomy reflection. We can tell from the tone that it's going to end sadly, but we can't help but listen anyway.
14 "Blowin' in the Wind"
'The Freewheelin' Bob Dylan' (1963)
One of the early hits that made Dylan a household name, "Blowin' in the Wind" is definitely one of his most famous songs. Being well-known doesn't always make something good, but fans new and old still enjoy this short and somber track over 60 years later. It's a very simple song that's easy to sing along to, easy to play, easy to hear when you're feeling a little down.
Dylan loves repetition, and this is one of his greatest examples of anaphora. Every line in the verse begins with some variation on "How many," which turns into a rhetorical question that is given the same reply in every chorus: "The answer, my friend, is blowin' in the wind." This song touches on inequality ("how many years can some people exist before they're allowed to be free?"), and it also takes a clear anti-war stance. With universal messages that still apply today, this melancholy beauty sounds as natural as the wind.
13 "It Ain't Me Babe"
'Another Side of Bob Dylan' (1964)
As the title suggests, "It Ain't Me Babe" is told from the perspective of a man who uses self-deprecating language to tell a girl that he's not right for her. It's one of Dylan's bluer love songs, and it's one of his most successful. It kind of feels like one of those scenes in a movie where the guy turns the girl away for one reason or another (which usually ends with them as a couple anyway).
With each verse, in which the speaker tells her to leave and lists a few qualities that this potential lover wants in her man, we get the impression that this girl isn't going to leave so easily. By the end, the listener may wonder whether she's still there. After all, the speaker never states that he dislikes her. Do they wind up together? Who knows. Meanwhile, Johnny Cash made a nice cover of this song, but Dylan's original is still superior.
12 "You're Gonna Make Me Lonesome When You Go"
'Blood on the Tracks' (1975)
The shortest piece from Blood on the Tracks is certainly not its weakest. "You're Gonna Make Me Lonesome When You Go" is a fast-paced love song in which the narrator talks about a woman who's about to move away. Though the man is sad to see her go, the song's tone is more carefree and borderline cheerful than you would expect.
It makes the song feel more like a life-affirming acknowledgment that some relationships end for no other reason than that's just how the world works sometimes. It also evokes a sense of adventure, supported by the speaker's declaration that "I'll look for you in old Honolul-a, San Francisco, Ashtabula." Dylan's inspired vocals throughout every section keeps this little song so exciting that it could have been twice as long. There is one part that isn't great—one off-putting high note on the harmonica in the beginning—but that's just a quibble.
11 "Buckets of Rain"
'Blood on the Tracks' (1975)
Closing out Blood on the Tracks is another track that Dylan thankfully didn't butcher: "Buckets of Rain." The opening riff hooks us immediately, and the rest of the piece flows naturally from it. His vocals follow the guitar, giving it a simplicity that communicates longing and love. One of the final lines, "Life is sad / Life is a bust / All you can do is do what you must," aptly summarizes the tone of not only the song but the album as a whole.
The notes practically pop out of the guitar here, as Dylan seems to be playing his instrument too hard. But, oddly enough, it completely works. It's part of the aesthetic, evoking the love that's bursting out of the narrator's soul, the imperfections of life, the almost wild freedom of expression that echoes throughout the acoustic tracks of this album—both in Dylan's playing and his singing. As similar as they are technically, no two verses or choruses sound the same.
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