Artist	Song
Bob Dylan	If You Gotta Go, Go Now (Or Else You Got to Stay All Night)
from The Bootleg Series, Vols. 1-3 (Rare & Unreleased) 1961-1991 (1991)
Bob Dylan	It's Alright, Ma (I'm Only Bleeding)
from Bringing It All Back Home (1987)
Bob Dylan	When the Ship Comes In
from The Times They Are A-Changin' (2005)
Bob Dylan	Tombstone Blues
from Highway 61 Revisited (1990)
Bob Dylan	Spanish Harlem Incident
from Another Side of Bob Dylan (2004)
Bob Dylan	Baby, Let Me Follow You Down
from Bob Dylan (1994)
Bob Dylan	Gates of Eden
from Bringing It All Back Home (1987)
Bob Dylan	Ballad of Hollis Brown
from The Times They Are A-Changin' (2005)
Bob Dylan	I Threw It All Away
from Nashville Skyline (1985)
Bob Dylan	To Ramona
from Another Side of Bob Dylan (2004)
Bob Dylan	One Too Many Mornings
from The Times They Are A-Changin' (2005)
Bob Dylan & The Band	Million Dollar Bash
from The Basement Tapes (2009)
Bob Dylan	Dear Landlord
from John Wesley Harding (2004)
Bob Dylan	Percy's Song
from Biograph (1997)
Bob Dylan	Boots of Spanish Leather
from The Times They Are A-Changin' (2005)
Bob Dylan	Fourth Time Around
from Blonde On Blonde (1999)
Bob Dylan	I'll Keep It With Mine
from Biograph (1997)
Bob Dylan	Song to Woody
from Bob Dylan (1994)
Bob Dylan	Lay Down Your Weary Tune
from Biograph (1997)
Bob Dylan & The Band	Too Much of Nothing
from The Basement Tapes (2009)
Bob Dylan	I Pity the Poor Immigrant
from John Wesley Harding (2004)
Bob Dylan	Bob Dylan's Dream
from The Freewheelin' Bob Dylan (2004)
Bob Dylan	It Takes a Lot to Laugh, It Takes a Train to Cry
from Highway 61 Revisited (1990)
Bob Dylan	Farewell, Angelina
from The Bootleg Series, Vols. 1-3 (Rare & Unreleased) 1961-1991 (1991)
Bob Dylan	Corrina, Corrina
from The Freewheelin' Bob Dylan (2004)

Comment:

The young folksinger’s world was colonized with a young man’s idealistic dreams, standing shoulder to shoulder like so many freedom riders. In “When the Ship Comes In,” Dylan goes Biblical when his crystal ball predicts that our foes, “like Pharoah’s tribe, they’ll be drownded in the tide.” In “Tombstone Blues,” he not only name-checks John the Baptist — he cites Paul Revere, Galileo, Jack the Ripper, and Beethoven in a hallucinatory stream of consciousness whose central plot is as eerie as it is spellbinding. As Dylan matured, his black-and-white visions didn’t fade to grey; just like television, they blossomed into living color.

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