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"Visions of Johanna" is a song written and performed by Bob Dylan on his 1966 album Blonde on Blonde. Several critics have acclaimed "Visions of Johanna" as one of Dylan's highest achievements in writing, [ 2 ] [ 3 ] praising the allusiveness and subtlety of the language.
Fallout from the Phil Zone is a double compilation album of live recordings by the Grateful Dead handpicked by the band's bassist Phil Lesh.It contains the first Grateful Dead CD releases of "In the Midnight Hour" (clocking in at over 30 minutes) and Bob Dylan's "Visions of Johanna".
In 2004, two songs from the album also appeared on the magazine's list of "The 500 Greatest Songs of All Time": "Just Like a Woman" ranked number 230 and "Visions of Johanna" number 404. [ 151 ] [ 152 ] (When Rolling Stone updated this list in 2010, "Just Like a Woman" dropped to number 232 and "Visions of Johanna" to number 413.
Scholar Laurence Coupe has argued that the identity of the title character of Bob Dylan's song "Visions of Johanna" (from the 1966 album Blonde on Blonde) "echoes" Visions of Gerard, and the song as a whole, like the novel, "would seem to be about the hunger for beatific experience—the hope that the sacred realm might yet be glimpsed within the profane.
[52] The song was described in Melody Maker as "an appealing hymnic chant" on a par with the best of Dylan's recent work. [53] In a later review, the critic Andy Gill feels the work, recorded in the early hours of the morning, has a nocturnal quality similar to "Visions of Johanna". [35]
Neil Spencer gave the song a rating of 5/5 stars in an Uncut magazine Dylan supplement in 2015, rating it as one of the three "grand statements" on Blonde on Blonde, alongside "Sad Eyed Lady of the Lowlands" and "Visions of Johanna". [29] Author John Nogowski rated the song as "A+".
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A 2015 USA Today article ranking "all of Bob Dylan's songs" placed "Mississippi" first (just ahead of "Visions of Johanna" and "Like a Rolling Stone"). An article accompanying the list noted that all of Dylan's greatest songs are about "that inexorable march to the end" but that Dylan was never "so wistful about the wasted years, lost love and loneliness as he is on 'Mississippi'".