This is another Dylan song which he has suggested was written in a short time – but there are occasions when he seems to suggest it took him some time to get it as he wanted.
The song was, by Dylan’s admission written for Jesse Dylan (born 1966), but the problem with the piece was that Dylan couldn’t work out whether it was a folksy number, a fast rock number or a slow more gentle piece.
My view, for what it is worth, is that even when he recorded the famous slow number he still wasn’t quite sure, and for that reason (very much in my opinion as a musician, not because I have any special insight) he got the chorus wrong, turning it into a big dramatic moment, when it would have been much more effective as a gentle refrain, almost singing the young lad to sleep.
Because of that problem (for me) it is a song that sounds much better in my head than it seems to on the recordings I have. In coming to write this one Wednesday evening at home, I started playing the version on The Essential Bob Dylan, which is the version that starts really well, but just seems to get carried away with itself after the first two verses.
I then tried the other copies I have – one on Biograph which is the folksy 1973 demo version, and then the At Budokan version which has the problem of the Essential version, only a lot more so.
Because I tend to think about poets like Keats at the drop of a hat, I did think of Keats listening to these three versions over and over as I came to write this. In particular
Heard melodies are sweet, but those unheard are sweeter
It comes from the poem which continues with the lines…
More happy love, more happy, happy love! Forever warm and still to be enjoyed, forever panting and for ever young.
In this poem Keats is expressing a love that will last forever unlike mortal love that eventually fades and vanishes, which pretty much seems to me where Dylan is coming from.
One oddity I did notice was how Dylan has performed the song in two different keys – which is quite unusual. The version most of us know, what I am calling the “Essential” version is in D, making it very easy for everyone to play. For some reason the other two versions are in F sharp. I really can’t quite see why.
And, while we are on oddities, here is another. Dylan is reported to have said that at the time of writing Forever Young he was looking for a response to Neil Young’s “Heart of Gold” – a song which some said sound more like Dylan than Dylan and which Dylan didn’t like.
I can sympathise with Dylan not liking it, but generally being a great Neil Young fan. I’m in the same boat. But really was “Forever Young” a response? Was the use of the word “Young” a gentle bit of fun with Neil Young’s name? Maybe, but if it were, it is hardly profound.
Anyway, here is what Dylan said,
‘The only time it bothered me that someone sounded like me was when I was living in Phoenix, Arizona, in about ’72 and the big song at the time was “Heart of Gold.” I used to hate it when it came on the radio. I always liked Neil Young, but it bothered me every time I listened to “Heart of Gold.” I think it was up at number one for a long time, and I’d say, “Shit, that’s me. If it sounds like me, it should as well be me”.’
As for the music, this is another one of those songs where Dylan makes perfect, perfect use of the descending bass. Listen to the song afresh, and just try and hear what the bass does. It is exactly how it should be…
May God bless and keep you always
May your wishes all come true
May you always do for others
And let others do for you –
The singing of these opening four lines and the accompaniment are absolutely spot on in every regard – I could listen to this all night. But we only get a few moments of it, because when we get to “May you build a ladder to the stars” the organist takes the word “stars” as a trigger for all sorts of twinkling sounds which really are far too obvious and ultimately for me extremely frustrating. Like I said, it sounds better in my head with no organ.
And then we get to the chorus, and Bob lets go, which is a shame. All the previous delicacy, already undermined by the organ’s twinkles, is lost.
Dylan recovers for the start of verse two
May you grow up to be righteous
May you grow up to be true
May you always know the truth
But then as we get to the “lights surrounding you” so everyone wants to do a fill in, following the organ’s lead in the earlier verse, and all delicacy is thrown overboard.
There is a story that a young woman came into the studio and heard this slow version felt Bob was turning into an old man and told him so.
Heylin reports this with the comment to Bob that he should always “ignore the opinionated outsider!” On reading it I couldn’t help but feel that such a comment could be made of much that Heylin says.
Forever Young, I think most people agree, is a beautiful, beautiful simple song with an elegant melody and delightful words from a father to his son. I don’t think the arrangements we have do it justice, but of course with Bob you take what you get.
I guess I’m lucky. I can sit down and play it on the piano, singing along, and try and get close to the version that I can hear in my head. No one else hears me, no one else knows.
It works for me.