One Very Underrated Song from Each of Bob Dylan’s 1970s Albums

Bob Dylan’s musical output in the 1970s is a kind of microcosm of his entire career. There are dizzying high points, fascinating shifts in point of view and style, and a few head-scratchers. But it’s never dull, and there are usually excellent songs flying below the radar.

Here is a look at the Dylan catalog from the ’70s in terms of one song from each of his studio albums that doesn’t quite get the acclaim or recognition it deserves.

“Copper Kettle” from Self Portrait (1970)

Dylan started the decade off with his most mystifying album, one notable for copious covers and syrupy arrangements. But you can hear his affinity for the songs, most notably on this heartfelt take on one that romanticizes the practice of making moonshine.

“Winterlude” from New Morning (1970)

Dylan seemed to hustle New Morning out to remove the bad taste of Self Portrait from the air. The album wins points for its charm and devotion to simple pleasures. “Winterlude” contains the nimble rhyming and old-fashioned melodic turns of a Cole Porter classic.

“Billy 1” from Pat Garrett & Billy the Kid (1973)

Much of the soundtrack for the violent western Pat Garrett & Billy the Kid, which featured Dylan in a minor role, is given over to instrumentals. But Dylan occasionally pops up to mythologize Billy’s exploits via a sturdy melody and insightful lyrics.

“Spanish is the Loving Tongue” from Dylan (1973)

To be fair, the material on Dylan was released without any quality control performed by the artist. There are much better takes on this Western classic you can find in the Dylan catalog. But even this version shows Dylan dearly loves the song and wants to show off its qualities to anyone who’ll listen.

“Going, Going, Gone” from Planet Waves (1974)

Dylan started to find his groove again with help of The Band on Planet Waves. While most of the record is comprised of lighthearted fare, this ballad allows Dylan to go a bit deeper and darker, telling the story of someone who has reached the end of his figurative tether.

“You’re Gonna Make Me Lonesome When You Go” from Blood on the Tracks (1975)

Much of this masterpiece album focuses on the fallout of a busted relationship. “You’re Gonna Make Me Lonesome When You Go” flips the script a bit, as it speaks lovingly of a temporary fling and how it will leave its impact on the protagonist when it runs its course.

“Clothes Line Saga” from The Basement Tapes (1975)

The legend is Dylan wrote this song as a kind of answer record to Bobbie Gentry’s “Ode to Billie Joe,” which was popular at the time he and The Band were making their mystical Woodstock recordings. Its deadpan account of the mundane nature of everyday life is Dylan at his funniest.

“Black Diamond Bay” from Desire (1976)

Written with Jacques Levy, who helped Dylan on many of the story-songs on Desire, “Black Diamond Bay” is one of his most underrated epics. Ostensibly about a doomed island and the characters inhabiting it, it features a devilish twist ending that makes you question everything you just heard.

“Where Are You Tonight (Journey Through Dark Heat)” from Street-Legal (1978)

This album is underrated as a whole, as it features Dylan at a kind of transition point in his art. You can almost hear the noirish closing track as a stepping stone to the religious songs to come, since the narrator is clearly lost and looking for answers that can no longer be offered by romance.

“Slow Train” from Slow Train Coming (1979)

Put aside whatever you feel about Dylan’s spiritual proclivities on this album. Focus on the stunning music on this track, featuring that irresistible Muscle Shoals groove and Mark Knopfler’s stinging guitar, and the words (which are searing as well) are almost an afterthought.

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