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100 Greatest Bob Dylan Songs

From “Just Like a Woman” to “John Wesley Harding,” we count down the American icon’s key masterpieces

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EXCLUSIVE; SPECIAL RATES APPLY. Bob Dylan in his Greenwich Village apartment just a few months before he would release his self-titled debut album. (Ted Russell/Polaris) /// Bob Dylan

Ted Russell/Polaris

As Bob Dylan turns 75, he shows no signs of slowing down. The American icon is gearing up for a summer tour with longtime friend Mavis Staples and has just released Fallen Angels, his 37th LP and second straight Sinatra-inspired album of American Songbook classics. For generations to come, other artists will be turning to Dylan’s own catalog for inspiration. From the Sixties protest anthems that made him a star through to his noirish Nineties masterpieces and beyond, no other contemporary songwriter has produced such a vast and profound body of work: songs that feel at once awesomely ancient and fiercely modern. Here, with commentary from Bono, Mick Jagger, Lenny Kravitz, Lucinda Williams, Sheryl Crow and other famous fans, are Dylan’s 100 greatest songs – just the tip of the iceberg for an artist of his stature.

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EXCLUSIVE; SPECIAL RATES APPLY. Bob Dylan in his Greenwich Village apartment just a few months before he would release his self-titled debut album. (Ted Russell/Polaris) /// Bob Dylan

Ted Russell/Polaris

9

“Visions of Johanna” (1966)

"Visions of Johanna" is a tour de force, a breakthrough not only for the writer but for the very possibilities of songwriting. An extended, impressionistic account of a woozy New York City night, rich in pictorial detail and erotic longing, the five long verses zigzag between Dylan's acute dissection of one woman, the tangible and available Louise, and his longing for an absent ideal. Johanna may not even be real. But she is an addiction. "It's extraordinary," Bono once said. "He writes this whole song seemingly about this one girl, with these remarkable descriptions of her, but this isn't the girl who's on his mind! It's somebody else!"

Dylan's masterpiece of obsession – written, ironically, shortly after his marriage in 1965 – was a passion in itself. He debuted the song in concert in December 1965, to an audience that included ex-paramour Joan Baez and poet Allen Ginsberg, then played it every night on the 1966 world tour – notably in the solo acoustic sets. A November '65 attempt to cut an electric "Johanna" with the Hawks (under the explicitly bitter title "Seems Like a Freeze Out") had run aground after 14 takes. The Hawks were still too much of a bar band; the song's confessional complexity required poise as well as muscle.

In contrast, Dylan nailed "Johanna" on the first take in Nashville. The local session pros, supplemented by Robbie Robertson's crying-treble guitar, brought the right unhurried empathy to Dylan's vocal mood swings – from a whisper to a howl at the moon in the same verse – and unforgettable lyric images.

"I still sing that song every once in a while," Dylan said in 1985. "It still stands up now as it did then. Maybe even more in some kind of weird way."