Talkin' Planet Waves

A Million $ Bash Roundtable

The 1974 album Planet Waves marked a series of firsts for Bob Dylan. It was his first official album with The Band. It was his first record not on the Columbia label. And it was, believe it or not, his first No. 1 album.

The music represents, if not a return to form, a reset after the release of Pat Garrett & Billy the Kid and the Columbia-compiled revenge album called simply Dylan. Compositionally, it’s a musical way station between 1970’s New Morning and 1975’s Blood on the Tracks.

The songs feel personal and even, at times, intimate. And the influence of The Band on the music is unmistakable—particularly Robbie Robertson’s always superb lead guitar and Garth Hudson’s meandering organ, which constantly threatens to explode the arrangements yet paradoxically is what holds them together. Dylan’s harmonica is pretty special too.

The album’s opener, “On a Night Like This,” is a jaunty, accordion-driven love song. The lyrics are simple, rhyming “night like this” with “touch of bliss” for instance. It stands in contrast to the magisterial cast iron song that follows: “Going, Going, Gone,” with its heavy guitar work and heavier lyrics speaking of “the top of the end.” And that song in turn gives way to the outright jocularity of “Tough Mama” with her “meat shaking on her bones,” which leads into the torch ballad, “Hazel.”

Don’t worry. I’m not going to catalog the album’s 10 songs and 11 tracks here. But it’s worth noting that discrepancy: 10 songs but 11 tracks.

That’s because there are two versions of “Forever Young,” the most famous song on the album and a perennial favorite. One is the anthemic hymn we are most familiar with, which closes side one of the vinyl album. Side two opens with the same song done as a country rock honky-tonk. This song, by the way, was quoted by Howard Cosell when Muhammed Ali defeated Leon Spinks in 1978: “It occurs to us that Bob Dylan struck the proper note in his great song ‘Forever Young’: ‘May your hands always be busy, may your feet always be swift, may you have a strong foundation when the winds of changes shift.’” In 1980 Cosell reprised with, “Even Muhammed Ali cannot be forever young. His hands are no longer busy, his feet no longer swift.”

Planet Waves probably lands on few fans’ lists of Dylan’s top ten, but it still likely occupies a special place in their playlist of albums. It’s highly listenable, offering a variety of song genres—from rock to ditty. There’s a darkness mixed in with the joy—for instance, the grave “Dirge” is sandwiched between the rollicking version of “Forever Young” and the loveliness of “You Angel You.”

I first found the album when I was in college in the early 80s, and I’ve loved it ever since. Again, not because it’s such an objectively great album but because it feels great.

MDB Roundtable Panelists:

• Rob “Rockin’ Rob” Reginio teaches modern literature at Alfred University.  He's currently at work on a book about Dylan's album John Wesley Harding.
• Erin Callahan lives in the Houston, Texas, area where she teaches English at San Jacinto College. She has presented and published on Dylan and is currently co-editing a volume with Court Carney on interpretations of Dylan’s setlists for Routledge.
• Court Carney is a professor of history at Stephen F. Austin State University, where he teaches courses on Black history and cultural history. His book Reckoning with the Devil: Nathan Bedford Forrest in Myth and Memory will be out later this year. 
• Graley Herren is an English professor at Xavier University in Cincinnati, where he regularly teaches a first-year seminar on Bob Dylan. He is author of the book Dreams and Dialogues in Dylan’s Time Out of Mind, and he has a Substack newsletter devoted to Dylan called Shadow Chasing.
• Jim Salvucci is the founder and keeper of The Dylantantes.

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