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Ranking Opening Songs from Bob Dylan Albums

Inquiring about Bob Dylan‘s process for creating an album is akin to asking someone how they learned to walk—it’s an inherent skill developed over time. As Dylan shared with Rolling Stone in 1969, “We just take a song; I play it and everyone else just sort of fills in behind it.” He elaborated that once they complete that initial step, there’s someone in the control booth adjusting the dials to achieve the perfect sound, and before you know it, the track is finished. This straightforward approach may seem effortless to Dylan, but a significant factor lies in selecting the opening song for each album—an essential decision he has made across 40 studio albums. Below, we have meticulously ranked all of his album openings.

40. “All the Tired Horses”
From: Self Portrait (1970)

We must address Self Portrait first, as Dylan himself stated that the album was created in hopes of deterring his relentless fans. In our view, “All the Tired Horses” serves as a fitting starting point for that goal. The track’s subdued tone and reflective lyrics encapsulate a moment of respite, signaling to listeners that this album diverges from his previous works.

 

39. “Main Title Theme (Billy)” (instrumental)
From: Pat Garrett & Billy the Kid (1973)

Typically, commencing an album with an instrumental piece may not be the best strategy, but in the case of “Main Title Theme (Billy)”, Dylan had limited options. Since Pat Garrett & Billy the Kid is essentially a movie soundtrack, this instrumental track sets the stage for the cinematic experience that follows. It’s a unique choice that showcases Dylan’s versatility beyond traditional songwriting.

 

38. “A Satisfied Mind”
From: Saved (1980)

Within Dylan’s trilogy of evangelical albums, there are standout tracks, but “A Satisfied Mind” does not quite reach that level. This is an understatement; Dylan’s delivery here sounds almost pained, as if he’s pleading for help. The emotional weight of the song contrasts sharply with the more uplifting themes found in his other works, making it a curious choice for an opening track.

 

37. “Odds & Ends”
From: The Basement Tapes (1975)

A compelling opening track typically exudes confidence, but a song called “Odds and Ends” seems to lack that assurance. While Dylan’s collaboration with the Band produced timeless music, this particular choice doesn’t quite set the right tone. Although it’s a piece of history, there are far stronger contenders for an album opener within The Basement Tapes.

 

36. “Lily of the West”
From: Dylan (1973)

The inclusion of “Lily of the West” as the opening track on Dylan wasn’t a decision made by Dylan himself; the album was compiled and released by Columbia Records without his input. While it’s not a bad song, it fails to engage listeners in a significant way, lacking the captivating essence that usually characterizes Dylan’s work.

 

35. “On a Night Like This”
From: Planet Waves (1974)

Planet Waves, which marked Dylan’s reunion with the Band, is an impressive album overall. However, the opening track, “On a Night Like This,” doesn’t quite live up to the rest of the album’s standards. While it’s an enjoyable listen, it lacks the depth and direction that one might hope for at the start of such a notable collaboration.

 

34. “I’m a Fool to Want You”
From: Shadows in the Night (2015)

Dylan has referred to the 2015 album Shadows in the Night not simply as a collection of covers, but as an endeavor to “uncover” these classic songs, bringing them back into the light. While “I’m a Fool to Want You” is a beautifully rendered piece, its slow tempo makes it a less than exhilarating choice for an opening track.

 

33. “Young at Heart”
From: Fallen Angels (2016)

Similar to Shadows in the Night, Fallen Angels suffers from its opening track choice. Although “Young at Heart” is beautifully produced and features some of Dylan’s finest vocal performances later in his career, it doesn’t serve as a captivating opener that draws listeners into the album’s narrative.

 

32. “Jokerman”
From: Infidels (1983)

The placement of “Jokerman” might be contentious among fans and critics alike, as this song continues to receive acclaim. However, had we been responsible for sequencing Infidels, we would have chosen a more impactful track like “I and I” or “Neighborhood Bully” to start the album with a stronger statement.

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31. “Tight Connection to My Heart (Has Anybody Seen My Love)”
From: Empire Burlesque (1985)

Empire Burlesque is an album filled with various musical styles, not all of which are particularly well-received, despite featuring talented musicians like Jim Keltner and Ronnie Wood. Nevertheless, “Tight Connection to My Heart” stands out as a surprisingly decent opening track, with Mick Taylor’s lead guitar lending it an engaging edge.

 

30. “John Wesley Harding”
From: John Wesley Harding (1967)

The title track of John Wesley Harding sets the stage for a narrative centered around a Texas outlaw, introducing listeners to the story that unfolds across the album. The line, “John Wesley Harding was a friend to the poor, he traveled with a gun in every hand,” invites curiosity and draws listeners in to learn more about this character.

 

29. “Let’s Stick Together”
From: Down in the Groove (1988)

While Dylan was not the first artist to cover Wilbert Harrison’s “Let’s Stick Together,” his rendition is certainly worthwhile. Although there are other standout songs on Down in the Groove, opening with an upbeat R&B number is a solid choice, setting a lively tone for the rest of the album.

 

28. “You Wanna Ramble”
From: Knocked Out Loaded (1986)

While Knocked Out Loaded might not be a top favorite among Dylan’s discography, the cover of Junior Parker’s “You Wanna Ramble” offers a lighthearted and upbeat start that brings some fun to the album. Its lively tempo makes it a catchy opener, engaging listeners right from the beginning.

 

27. “Wiggle Wiggle”
From: Under the Red Sky (1990)

It’s fascinating to consider that the same artist who penned the profound lyric “how many times must a man look up before he can see the sky?” also crafted the whimsical line “wiggle, wiggle, wiggle like a bowl of soup.” This juxtaposition showcases Dylan’s unparalleled creativity. While “Wiggle Wiggle” may not be the track that earned him a Nobel Prize in Literature, its infectious rhythm compels you to dance along.

 

26. “Shot of Love”
From: Shot of Love (1981)

Earlier, we discussed “A Satisfied Mind” from Saved, but “Shot of Love” also belongs to Dylan’s phase of Christian music. However, it serves as a much more compelling opening track. Its blend of blues and gospel elements, combined with a stellar arrangement, creates an engaging introduction that draws listeners into the album.

 

25. “Frankie & Albert”
From: Good as I Been to You (1992)

With the release of Good as I Been to You in 1992, Dylan revisited his acoustic roots after nearly three decades. The album opens with “Frankie & Albert,” a traditional folk song that showcases Dylan’s exceptional guitar skills—a testament to his prowess as a musician often overshadowed by his songwriting.

 

24. “When I Paint My Masterpiece”
From: Shadow Kingdom (2023)

Dylan possesses the remarkable ability to rearrange his own songs in ways that make them feel newly composed, a talent he often displays in live performances. In 2023, he released Shadow Kingdom, an album filled with reimagined versions of his past hits. “When I Paint My Masterpiece” opens the album with a charming and relaxed take on the original, inviting listeners into a fresh musical journey.

 

 

23. “Tweedle Dee & Tweedle Dum”
From: Love and Theft (2001)

During the early 2000s, Dylan’s vocal prowess was somewhat fading, but “Tweedle Dee & Tweedle Dum” captivates listeners with its intricate arrangement. Rather than simply starting the album, it immerses you in a colorful cast of characters, featuring a vibrant mix of outlaws, movie stars, and cowboys that keeps the listener intrigued.

 

22. “You’re No Good”
From: Bob Dylan (1962)

In contrast to some criticisms of Dylan’s singing, “You’re No Good” showcases his vocal talent alongside his harmonica skills. This opening track is strong enough to compel listeners to continue enjoying the album, highlighting his ability to shift musical styles effortlessly.

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21. “All I Really Want to Do”
From: Another Side of Bob Dylan (1964)

In just two years, Dylan transitioned from primarily covering songs to showcasing his original compositions. “All I Really Want to Do” is a playful example of his clever rhyme schemes and innovative verse structure, reflecting his growth as a songwriter during this period.

 

20. “Duquesne Whistle”
From: Tempest (2012)

Opening with a delicate melody, “Duquesne Whistle” gradually gains momentum, propelling the listener through the Tempest album. While some may focus on the weariness of Dylan’s voice, it’s clear that he brings an emotional depth to this track, illustrating his enduring artistry even after a lengthy career.

 

19. “World Gone Wrong”
From: World Gone Wrong (1993)

Following the acoustic exploration of Good as I Been to You, Dylan returned to his folk roots with World Gone Wrong. The title track opens with the line “strange things have happened, like never before,” hinting at the changes Dylan has experienced over three decades while still sounding effortlessly at home within the folk tradition.

 

18. “I Guess I’ll Have to Change My Plans”
From: Triplicate (2017)

From an impressive collection of 30 songs, Dylan chose “I Guess I’ll Have to Change My Plans” as the opener for the three-part album Triplicate. This selection is commendable, featuring a delightful horn arrangement by James Harper and capturing the essence of a classic show tune that would resonate with performers like Fred Astaire.

 

17. "If Not for You"
From: New Morning (1970)

Many are familiar with George Harrison’s version of “If Not For You,” which is a lovely cover, but Dylan’s original serves as a fitting opener. It’s a heartfelt love letter to his then-wife, Sara, expressing gratitude for her unwavering support and affection.

 

16. “Here Comes Santa Claus”
From: Christmas in the Heart (2009)

While it may seem unusual for Dylan to release a Christmas album in 2009, the opening track of Christmas in the Heart sets the tone for a joyful celebration of the holiday season, emphasizing the album’s intentions for good old-fashioned festive cheer.

 

15. “I Contain Multitudes”
From: Rough & Rowdy Ways (2020)

Fans of Dylan were ecstatic when the announcement of a new album, Rough and Rowdy Ways, came in 2020. The opener, “I Contain Multitudes,” stands out as one of Dylan’s finest explorations of themes related to pop culture, musical history, and American identity, showcasing his ever-evolving artistic vision.

 

14. "Beyond Here Lies Nothin'"
From: Together Through Life (2009)

“Beyond Here Lies Nothin'” combines elements of Chicago blues with New Orleans jazz influences, creating a sultry atmosphere that invites listeners into the album without revealing too much of what lies ahead. Its smooth delivery sets the stage for a captivating musical experience.

 

13. “Gotta Serve Somebody”
From: Slow Train Coming (1979)

The cool, laid-back vibe of “Gotta Serve Somebody” is enhanced by the smooth keyboard work of Barry Beckett and the drum contributions of Pick Withers from Dire Straits. This song has a slow burn that resonates well, leading to the recognition of a Grammy for Best Male Rock Vocal Performance.

 

12. “Political World”
From: Oh Mercy (1989)

For those who believe Dylan abandoned his socially-conscious songwriting after the ’60s, “Political World” serves as a potent reminder of his commitment to addressing societal issues. The powerful opener of 1989’s Oh Mercy critiques a world devoid of leadership and moral direction, encapsulated in the haunting lyrics that resonate with contemporary concerns.

 

11. “Girl From the North Country” With Johnny Cash
From: Nashville Skyline (1969)

Opening an album with a reimagined version of one of your own songs, especially in collaboration with the legendary Johnny Cash, is nothing short of exceptional. Despite the uniqueness of Dylan’s nasally tone, the duet elevates the track, making it an unforgettable introduction to Nashville Skyline.

 

10. “The Times They Are a-Changin'”
From: The Times They Are a Changin’ (1964)

Dylan’s legacy features numerous songs that are emblematic of the cultural shifts occurring in ’60s America, particularly during the Civil Rights movement. “The Times They Are a-Changin'” is a quintessential anthem, and even if one never progresses beyond the initial track of its album, its impact is undeniable.

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9. “Changing of the Guards”
From: Street-Legal (1978)

“Changing of the Guards” is rich with lyrical depth, and its melodic flow, combined with backing vocals and saxophone interludes, makes it a pleasure to listen to. This track serves as a strong introduction to an often-underappreciated Dylan album, inviting further exploration.

 

8. “Thunder on the Mountain”
From: Modern Times (2006)

The opening moments of “Thunder on the Mountain” feel akin to the excitement of a curtain rising at the beginning of a theatrical performance. With captivating lyrics, it instantly piques curiosity—one can’t help but wonder why Dylan has been on the hunt for Alicia Keys all this time.

 

7. “Love Sick”
From: Time Out of Mind (1997)

“Love Sick” unfolds like a haunting dirge, gradually revealing the sentiment of regret with the line, “I wish I’d never met you.” This opener effectively sets the tone for the introspective and melancholic themes explored throughout Time Out of Mind, drawing listeners into its emotional landscape.

 

6. “Tangled Up in Blue”
From: Blood on the Tracks (1975)

The opening line of “Tangled Up in Blue,” “t’was in other lifetime, one of toil and blood,” signals the beginning of a compelling narrative. This song has undergone numerous lyrical revisions, and Dylan continuously tweaks the verses in live performances, demonstrating that tracks like this are dynamic, evolving works of art.

 

5. “Blowin’ in the Wind”
From: The Freewheelin’ Bob Dylan (1963)

Few artists can craft a song as iconic as “Blowin’ in the Wind,” especially as an opening number. This track introduced Dylan to the world as a formidable songwriter, emerging in an era when political songwriting was both vital and precarious, marking a significant moment in music history.

 

4. “Rainy Day Women #12 & 35”
From: Blonde on Blonde (1966)

“Rainy Day Women #12 & 35” breaks the mold of typical ’60s rock music. Its carnival-like energy, lively instrumentation, and infectious laughter draw listeners in, creating an atmosphere of camaraderie and celebration. The track’s mantra, “Everybody must get stoned,” invites listeners to embrace its carefree spirit.

 

3. “Hurricane”
From: Desire (1976)

As the story of the hurricane unfolds, listeners are encouraged to buckle in for an impactful journey. The strategic placement of this powerful narrative at the top of Desire not only enhances its sequential flow but also aims to spotlight the injustice faced by boxer Rubin Carter, a theme that resonates deeply throughout the album.

 

2. “Subterranean Homesick Blues”
From: Bringing It All Back Home (1965)

Some argue that “Subterranean Homesick Blues” laid the groundwork for modern hip-hop and rap with its rapid-fire delivery and innovative lyrical style. Regardless of its influence, its strength as an opening track is unquestionable, compelling listeners to engage with the song multiple times for full appreciation.

 

1. “Like a Rolling Stone”
From: Highway 61 Revisited (1965)

Bruce Springsteen famously described the opening snare of “Like a Rolling Stone” as sounding like “somebody’d kicked open the door to your mind.” This assessment perfectly encapsulates the impact of this track, making it an unparalleled choice for an album opener—a quintessential starting point for Dylan’s exploration of sound and storytelling.

Comprehensive Ranking of Bob Dylan Albums

Through numerous highs, lows, and remarkable comebacks, Bob Dylan‘s extensive catalog offers something for nearly every music fan.

Gallery Credit: Michael Gallucci

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Sarah Parker is a research analyst and content contributor with a strong interest in business strategy, organizational behavior, and social development. With a background in sociology and public policy, she focuses on exploring the intersection between research and real-world application. Sarah regularly contributes articles that bridge academic insights and practical relevance, aiming to foster critical thinking and innovation across sectors.