CK Retro Review: Planet Waves by Bob DylanPosted: June 10, 2013
1974’s Planet Waves found Bob Dylan reuniting with The Band, his old buddies from the incendiary electric shows of the mid-60’s and the bucolic mystery music they made together in Woodstock subsequent to that. It marked a return to Dylan being a full-time rock star, as he scored his first ever #1 album and put together a huge arena tour with The Band behind it. While many of the songs still harkened back to the simpler pleasures of his previous few albums, a few pointed in the direction of the masterpieces to come. Here is a song-by-song review.
11. “Forever Young” (Side Two Version)- Even for Dylan, the decision to start Side Two of the album with a charmless, country-rock version of a song that he and The Band had done just about to perfection to send Side One was a bizarre one. The producers of the NBC drama Parenthood use this version for a theme song; they must have been in possession of a one-sided copy of Planet Waves growing up and missed out on the good one.
10. “Never Say Goodbye”- Each of the instrumentalists have nice individual moments but the music never quite coheres, while Dylan’s lyrics feel like an unfinished sketch. Somewhat interesting, but ultimately a bit of a misfire.
9. “Tough Mama”- There is a bit of an uneasy mix here between heady, impressive lyrics and the chunky rock conjured by The Band for the song. Dylan feels hemmed in and, as a result, this one never takes off like it might. Plus the phrase “a-hotter than a crotch” should have stayed within the bounds of Bob’s imagination.
8. “Hazel”- The sentiments are nice enough, but they are rendered in lyrics that sound like they could have come from a Dr. Hook single. The good news is that The Band would take the slow-song arrangement of “Hazel” and build on it for their classic “It Takes No Difference” a few years later.
7. “You Angel You”- Planet Waves might be Dylan’s most lovestruck album; at least six of the songs can be considered odes to captivating women. There’s not too much fancy going on in this one, but the players all sound so at ease on the recording that it’s hard not to get swept up in the effortlessness of it all.
6. “Something There Is About You”- At times awkward, at times revelatory, this song is intriguing for the unique ways that it pays tribute to the object of the narrator’s affection. The references to childhood in Minnesota in the wonderful second verse would seem to indicate autobiography. Dylan never makes it that easy though, muddying things up by making metaphorical references to sabres and batons that sound more like something from Don Quixote. The Band provides one of their inimitable, weightless performances that encase the singer in a gorgeous glow.
5. “On A Night Like This”- On the surface, it’s not all that different from songs like “I’ll Be Your Baby Tonight” or “Tonight I’ll Be Staying Here With You” in that it’s about shutting out the world and enjoying some alone time with a significant other. But swathed in Garth Hudson’s joyous accordion and containing references to reminiscences and déjà vu, it’s easy to hear this one as a celebration of the reunion of Bob and The Band, especially considering it’s the album’s opening track.
4. “Wedding Song”- Bob let The Band take five for the closing track, dusting off the acoustic and the harmonica and going to town on this testimonial to an all-encompassing love. There are just enough hints of darkness to keep this one from being sappy, and the focused intensity of the vocal is potent almost to the point of being harrowingly so.
3. “Dirge”- Whether Dylan is signing to a woman or to a drug, the intent is the same: To cast out the presence that is haunting him and revealing his worst self. Much of the song’s success comes from the mesmerizing duet between Robbie Robertson’s acoustic guitar and Dylan’s stutter-stepping, intuitive piano chords. Bob also provides a terrific vocal, all stark howls that strive for catharsis but end up simply baring more wounds. In its way, this song, perhaps more than any other on the album, signals the ultimate return to elite form that Dylan’s lyrics would take on his next album, Blood On The Tracks.
2. “Forever Young”- Now this is more like it. The magical, improvisational chemistry of The Basement Tapes met its logical, mature conclusion in this expertly-crafted, undeniably moving musical performance that can convey the intended message without a single word. Dylan steps up and delivers one of his most heartfelt set of lyrics. The placid wisdom of the verses is contrasted by the wailing vocals in the refrain, desperate and fearing like any sane father who sends his children into this unforgiving world rightfully should be.
1. “Going Going Gone”- This is one of Dylan’s most underrated classics, with nary an ounce of flab on it. The Band’s performance is both pristine and powerful, with special props going to both the herky-jerky rhythm section of Rick Danko and Levon Helm and to Robbie Robertson’s stinging licks that punctuate each verse. Dylan’s narrator seems to have reached a metaphorical point of no return, possibly driven by a break-up, but there is a certain amount of freedom in his banishment of all hope. (After all, as a wise man once said, “When you got nothing, you got nothing to lose.”) That home-run call refrain could either be a final lament or a new beginning, or maybe both somehow.
(E-mail me at firstname.lastname@example.org or follow me on Twitter @JimBeviglia. For more on Bob Dylan, check out the link below to my upcoming book Counting Down Bob Dylan: His 100 Finest Songs.)