Bob Dylan's Blonde on Blonde was, is and always will be his defining work. Blood on The Tracks and Highway 61 will always be fondly remembered by the faithful, for their up-tempo down-beated-ness, something that only Dylan managed to achieve, and there are better songs written by Dylan that are not on this album - 'Simple Twist of Fate', 'All Along the Watchtower' and 'Like a Rolling Stone' spring immediately to mind.
Blonde On Blonde is remarkable in its creativity, each song interwoven with the next. It has attitude, it has zaniness, it has the remarkable portrait of Sad Eyed Lady, and the wonderfully sad circus of 'I Want You' - 'the guilty undertaker', 'the lonesome organ-grinder', and 'drunken politician'. Wonderful honky-tonk in 'Most likely you'll go your way and I'll go mine' follows the tragic 'Just Like a Woman', and the wild, weird and wonderful Leopard skin Pillbox Hat.
Dylan has had other superb albums - Time out of Mind was superb only insofar as it was the amazing blip on the life support machine, when he had long since flat-lined. Highway 61 and Blood on the Tracks I've already mentioned. It doesn't seem to have generated any major resurgence, and his live act for its 'niceness' remains as unremarkable as the 'hood' phase that seemed to upset everyone so.
I suppose in some ways, we all thought that the music that was changed by the bike accident of '66 could have returned through the heart attack of '97, but while a new Bob Dylan emerged from each life-threatening incident, he would never write another Blonde on Blonde. If you have a collection, you must have Dylan; if you have Dylan, you must have Blonde on Blonde.