John Denver | Colorado Music Hall of Fame

About the Song

“Leaving On A Jet Plane” is a song written by American singer-songwriter John Denver. It was released in 1969 on his debut album John Denver Sings. The song reached number one on the Billboard Hot 100 chart in the United States and number two on the UK Singles Chart.

The song is a country-folk ballad about a young man who is leaving his home and loved ones to travel the world. The song’s lyrics are simple but effective, and the melody is catchy and memorable. Denver’s gentle vocals add to the song’s emotional impact.

“Leaving On A Jet Plane” has been covered by many artists over the years, including:

  • Peter, Paul and Mary
  • Dionne Warwick
  • The Carpenters
  • Willie Nelson
  • Dolly Parton

The song has also been used in a number of films and television shows, including:

  • The Graduate (1968)
  • Forrest Gump (1994)
  • Up in the Air (2009)

“Leaving On A Jet Plane” is a classic folk ballad that has stood the test of time. It is a song that is sure to continue to be enjoyed by listeners for many years to come.

Here are some additional details about the song:

  • The song was written in 1966, when Denver was just 21 years old.
  • The song was inspired by Denver’s own experiences of traveling the world.
  • The song was originally recorded as a demo, but it was later released as a single.
  • The song was a commercial success, reaching number one in the United States and Canada.
  • The song has been covered by many artists over the years, including Peter, Paul and Mary, Dionne Warwick, and The Carpenters.
  • The song has also been used in a number of films and television shows, including The Graduate, Forrest Gump, and Up in the Air.

John Denver - Songs, Death & Music

Video 

Lyrics: Leaving On A Jet Plane

All my bags are packed, I’m ready to go
I’m standing here outside your door
I hate to wake you up to say good-bye
But the dawn is breaking, it’s early morn
The taxi’s waiting He’s blowing his horn
Already I’m so lonesome I could die
So kiss me and smile for me, tell me that you’ll wait for me
Hold me like you’ll never let me go

‘Cause I’m leaving on a jet plane
Don’t know when I’ll be back again
Oh, babe, I hate to go

There’s so many times I’ve let you down
So many times I’ve played around
I tell you now they don’t mean a thing
Every place I go I’ll think of you
Every song I sing I’ll sing for you
When I come back, I’ll bring your wedding ring
So kiss me and smile for me
Tell me that you’ll wait for me
Hold me like you’ll never let me go

‘Cause I’m leaving on a jet plane
Don’t know when I’ll be back again
Oh, babe, I hate to go

Now the time has come to leave you
One more time let me kiss you
Then close your eyes, I’ll be on my way
Dream about the days to come when I won’t have to leave alone
About the times I won’t have to say
Kiss me and smile for me, tell me that you’ll wait for me
Hold me like you’ll never let me go

‘Cause I’m leaving on a jet plane
Don’t know when I’ll be back again
Oh, babe, I hate to go
I’m leaving on a jet plane
Don’t know when I’ll be back again
Oh, babe, I hate to go

You Missed

The ink was barely dry on Whitey Shafer’s latest divorce papers when he sat down to map out the fictional geography of his own heartbreak. Sanger D. Whitey Shafer sat in a Nashville room contemplating his mounting legal bills and a life of complicated romantic exits. He found a bitter sort of comedy in the mess, mapping out a fictional geographic gauntlet across Texas where every town held a woman he owed something to. He did not write this map alone; he penned the lyrics alongside his wife at the time, Lyndia. It was a domestic collaboration built on the foundation of their own fraying reality, documenting a man terrified to cross the state line because of the ghosts waiting in Houston, Lubbock, and Texarkana. When George Strait took the song into the studio, he did not lean into the desperation. He treated the lyrics with a cool, detached resignation that turned a personal wreck into a standard. The fiddle kicked in, clean and bright, masking the reality that the man writing the words was essentially charting his own ruin. There was a profound, quiet irony in how perfectly the arrangement clicked into place while Shafer’s own life was busy unraveling in the background. Years later, the song remains a fixture in every bar from Abilene to Amarillo, a perfect piece of Western swing engineering. History eventually caught up to the lyrics, as Lyndia herself became just another name on the long list of Shafer’s former wives. The upbeat tempo masks the alimony, and the steel guitar rings out over the wreckage of a life turned into a chorus.

“I AM NOT ASKING FOR A HERO, JUST SOMEONE TO REMAIN UNTIL THE LIGHTS GO DOWN,” KENNY ROGERS MUTTERED TO THE ENGINEER BEFORE LAYING DOWN THE VOCAL TRACK. He had sung thousands of lines about high-stakes risks and lonesome train rides, but this specific take demanded a vulnerability that made the studio air feel thin. It was the sound of a man who had sold his soul to the industry finally stopping to ask the room if anyone could hear him. Kenny Rogers spent forty years as a professional fixture, a man who projected the image of the invincible gambler and the steady hand in a chaotic world. His voice was a reliable comfort to millions, a deep, warm anchor for listeners who viewed him as someone who always possessed the right answer or the perfect piece of stoic advice. But when the house lights dimmed and the applause faded, that projection often left a heavy, suffocating silence in the dressing room that no amount of platinum records could fill. In 1997, while recording for the album Across My Heart, Rogers stepped away from the usual bravado and the polished, radio-ready persona that defined his later years. He entered the booth to record “See Me Through,” a track that bypassed the typical commercial polish to reveal a man tired of being the permanent pillar of strength. It was not a desperate reach for sympathy, but a quiet, honest confession that the person everyone relies upon is often the one struggling the most to find a reason to remain standing. The song remains a masterclass in professional restraint. There is no soaring crescendo, only the weary, grounded weight of a man asking for someone to simply sit with him through the static. He stopped trying to be the hero for three minutes and instead acknowledged the fragile reality that persists after the spotlight finally goes cold.

“JUST LET ME HAVE THE LAST WORD ON THIS ONE, KENNY,” DOLLY WHISPERED WHILE ADJUSTING HER HEADPHONES. He laughed, that deep rumble hitting the monitors, and let her steer the final chorus into a place neither had planned. The resulting take turned a tired pop standard into an intimate negotiation between two heavyweights who knew exactly how much space to leave for each other. There was an uncanny ease in the way Kenny and Dolly occupied a microphone together, a kind of shorthand that only comes from decades of shared road grease and lonely hotel rooms. When they decided to track that old rhythm and blues staple, Love Is Strange, they weren’t looking for a radio hit. They were looking for the space between the notes, that quiet, dusty air where two lifelong friends could just talk. Kenny brought the heavy, grounded weight of a man who had seen too much, while Dolly possessed that sharp, silver-tongued wit that could cut through any pretense in the room. They didn’t just harmonize; they engaged in a playful, dangerous dance of familiarity. Most duets are forced marriages of convenience, calculated in executive boardrooms to shift units. This was something else entirely. It sounded like an unscripted conversation, a series of knowing glances caught on tape where the melody mattered less than the subtext. You can hear them smiling through the vocal booths, leaning into each other with the kind of comfort that only exists when you stop trying to impress the world and start paying attention to the person standing right next to you. In the final mix, the gloss of the production fades into the background, leaving only the sound of two distinct lives briefly overlapping. It serves as a reminder that the most authentic music often happens when the cameras stop rolling and the tape is left running, capturing the simple, fragile beauty of a human connection that requires no explanation at all.

DOLLY PARTON LIVED HER ENTIRE LIFE IN THE PUBLIC EYE, YET IT TOOK HER FINAL EXIT FOR THE WORLD TO FINALLY SEE THE WOMAN BEHIND THE RHINESTONES. Sally Field stepped onto the stage at the 78th Emmy Awards, not as a Hollywood peer, but as a grieving friend who had known the person that the stage lights usually obscured. Her voice cracked, not with the practiced polish of a televised tribute, but with the raw weight of a woman who remembered the quiet, humbler days on the set of Steel Magnolias. She spoke of the humanity that lived underneath the wigs and the industry machinery, grounding the glittery spectacle in a very human sorrow that transcended the screen. Reba McEntire followed, wearing Dolly’s own butterfly ring—a tactile, heavy piece of history that seemed to vibrate with the ghost of its original owner. As she began “Appalachian Memories,” a grainy clip of Dolly introduced the song, creating a ghostly duet across decades. It was a stark, jarring reminder that while the voice in the recording was immortal, the breathing, weeping woman who once walked the Smoky Mountain ridges was gone. The room went quiet as Reba navigated the song’s mountain roots. There were no cameras for the moments that mattered most to Dolly, only the cold, bright light of the stage and the weight of a jewelry piece that felt far heavier than gold. When the music stopped, the silence that hung in the theater felt less like a ceremony and more like the heavy, still air of a mountain hollow at dusk.