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[Had some fun and ranked all 39 albums by His Bobness. Everything you are about to read is simply my opinion; whether you agree or disagree, let’s have a healthy, respectful dialogue in the comments!]
#1 - Highway 61 Revisited
Released: August 30, 1965
Produced by: Bob Johnston
The rumors are true; despite the repeated smokescreens that I’d be re-ranking Christmas in the Heart here, Highway 61 Revisited is, in fact, my #1.
There are many factors I could discuss in justifying Highway 61 as my favorite Dylan record. Most notably, I could talk about how it expanded upon and perfected the electric soundscapes that were introduced on Bringing It All Back Home, creating an atmosphere that is singular not just to Bob’s discography, but to all of rock and roll. This ramshackle blend of Chicago blues, jangle pop, and British influences is unique enough by itself; when you add Dylan’s distinct, pointed vocals into the mix and consider the breakneck vibe of the band’s performances, it’s simply unlike anything else in the history of popular music. It’s almost there on the previous record, but not exactly; there are similarities on Blonde on Blonde, but the change in backing band and Bob’s hazier vocal delivery lends to a noticeable shift in vibe; by the time The Basement Tapes are recorded and John Wesley Harding is released, he’s adapted a more stripped-down approach, and not only does he never return to the mid-60’s sound, it’s unlikely he could have even if he wanted to. None of this is a condemnation on any of these other records’ soundscapes; it’s simply to illustrate how exclusive the sound of Highway 61 is, a sound that I enjoy and cherish like no other.
Regardless of this or any other aspect I could comment on, all that needs to be said as to why it’s my favorite Dylan record is: you know. You know exactly why, even if it’s not yours. I don’t say this to be lazy or funny; it’s the same argument that could be made for Blonde on Blonde or Blood on the Tracks. Just look at the track listing: Highway 61 Revisited kicks off with a song with as strong a case as any for the greatest in rock and roll history and, until the second it ends, rarely strays from that caliber of grande
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