You may like them, because taste is subjective, and we all have some kind of bad music we like. But I think some of Bob's work is objectively bad to dreadful--that is, it suffers in comparison to his peers and influences and sources, as well in comparison to his own best work, and it sounds badly recorded, performed, conceived, etc.
1. Self-Portrait--meant to be a bad album, and it succeeds by offering feeble covers of genuine country/folk classics (Take A Message to Mary, Early Morning Rain, Belle Isle, I Forgot More), authorship rip-offs (It Hurts Me, Too, Little Sadie, Days of 49), sloppily played/overdubbed arrangements (In Search of Little Sadie--those bongos just don't work), undignified live recordings of great songs (Like a Rolling Stone, Love Minus Zero), and outright kitsch (Wigwam, The Boxer, many others). The album doesn't gel into any coherent statement, despite a few bright spots here and there. I liked it upon release, still listen to a few cuts now and then, but most listeners will quickly graduate to real country and folk music and tire of this mess. As Bob probably knew they would.
2. Street Legal--Bob's voice is pinched and without resonance or meaningful nuance, his first really bad vocal record. It's not the production's fault, either. The bloated band never sounds good, and didn't on tour (I've heard the major recordings and saw them in Providence, RI). The saxophone always sounds like a Springsteen rip-off, which it was. The writing is slap-dash and tends to self-parody (Journey Through The Dark Heat or whatever it's called most egregiously with those cheesey Motown lines). The female singers really intrude in unmusical and tasteless ways. New Pony Blues comes close but fails to find something new in this traditional blues and is sung awkwardly. Please Stop Crying is mawkish, narcissistic songwriting that doesn't convince the listener that a real relationship is at stake. Is Your Love In Vain desecrates one of Robert Johnson's greatest songs. No Time to Think--any memorable lines or melodic fragments, anyone can't stop humming it? Didn't think so. True Love Tends to Forget might be a better song that it sounds on this band.
The only bright moments on SL are We Better Talk This Over, which is not a strong song but has a slightly unusual structure, and when Bob played it in March 2000 (or maybe 2001) it sounded fresh, and Senor, which has sounded much much better in live version for the last 10 years or so than it ever did back then--sometimes a song is better than the artist, and the artist needs time to catch up.
2. Bob Dylan/Grateful Dead Live--a marriage made in musical hell. I can't think of a worse group to back Bob. Some of the rehearsal recordings show promise, especially the cover songs, but the Dead are the musical antithesis of Dylan's hits.
3. Knocked Out Loaded--so mediocre it hurts to listen. Too bad Bob never figured out how to use Petty & co. in the studio--some of their concerts are good, although sometimes it sounds like "Bob Dylan". But any album with Brownsville Girl on it will have to have mighty strong songs to make up for that aural sinkhole. This one just doesn't.
4. Under the Red Sky--badly recorded vocals, Born In Time ruined by lyric changes and pinched vocal, and if anyone can tell Slash from Stevie Ray Vaughan or explain why either guitarist is on this album, you can have my copy. Title song is one of Bob's very worst compositions, right up there with Man Gave Names To All the Animals. Handy Dandy parodies "Like A Rolling Stone" in sound, which ruins what might have actually been a decent oddball song. God Knows needed its live renditions to become a strong song--here it just fizzles along. TV Talking Song teeters on self-parody, but was worth the risk I think, even if it fails to be more than minor. Is that Elton John on piano? THE Elton John? Bring back Elston Gunn, puhleeze.
5. Down in the Groove--just not enough life on the disc, although better renditions of these songs might have yielded an okay album of covers. The originals aren't much--Silvio is the only one that rises to average, though it found some life in live versions.
6. Live At Budokan--mush. So many excuses are offered--too early in the tour, you had to be there, other nights were better, blah blah blah, but the album just doesn't hold up, was painful to listen to on release. Bob strains to update songs that don't need it, can't really sing the ballads with plain piano/guitar backing, and the band sounds both bloated and thin, quite an achievment in live recording. Again with the saxophone. When they try to rock, like on Maggie's Farm, it's pathetic, like watching a fat man try to pole vault.
Most of Bob's other official releases I think can arguably be termed good to excellent. I don't like all of them, but they each make some kind of coherent statement of artistic interest and musicality, even the messes like Desire and Infidels (which I grant its outtakes, otherwise it would have made the list above).
Bob has a few albums that are truly great works. Bob Dylan and Freewheelin' from his folk period, the great trilogy of folk/rock from Bringing It All through Blonde on Blonde, John Wesley Harding, Blood on the Tracks, World Gone Wrong (I give it the edge over Good As I've Been), Time Out of Mind, and Love & Theft. All others I think fall short of greatness, although Oh Mercy comes close enough that I could be swayed.
Still, this is so much better a track record than anyone of his generation. I'll take his failures in stride, so long as he comes up with a Love & Theft every 10 years.