LEONARD COHEN
''THE COMPLETE STUDIO ALBUM COLLECTION, DISC FOUR''
OCTOBER 11, 2011
REVIEW/AMG
by Steve Leggett
A limited guitar player at best, and with a voice that hardly spans a couple of octaves, Leonard Cohen has nonetheless fashioned a legacy of gorgeously realized songs that reach deep into the heart of lust, ill- and well-fated romance, hope, and redemption, and if he doesn't sing like an angel, he could certainly mesmerize one with the melody, lilt, and power of his songs. This set collects all of his albums, 11 of them, released between 1968 and 2004, including Songs of Leonard Cohen (1968), Songs from a Room (1969), Songs of Love and Hate (1971), New Skin for the Old Ceremony (1974), Death of a Ladies' Man (1977), Recent Songs (1979), Various Positions (1984), I'm Your Man (1988), The Future (1992), Ten New Songs (2001), and Dear Heather (2004). It's a tremendous legacy, full of poetry and hard-earned truth, and this is a nice way to get to the heart of all of it with one purchase.
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DISC ONE (41:17)
''SONGS OF LEONARD COHEN''
DECEMBER 1967
1 Suzanne 03:47
2 Master Song 05:56
3 Winter Lady 02:16
4 The Stranger Song 05:05
5 Sisters Of Mercy 03:33
6 So Long, Marianne 05:39
7 Hey, That's No Way To Say Goodbye 02:55
8 Stories Of The Street 04:36
9 Teachers 03:00
10 One Of Us Cannot Be Wrong 04:25
All Tracis By Leonard Cohen
REVIEW/AMG
by Mark Deming
At a time when a growing number of pop songwriters were embracing a more explicitly poetic approach in their lyrics, the 1967 debut album from Leonard Cohen introduced a songwriter who, rather than being inspired by "serious" literature, took up music after establishing himself as a published author and poet. The ten songs on Songs of Leonard Cohen were certainly beautifully constructed, artful in a way few (if any) other lyricists would approach for some time, but what's most striking about these songs isn't Cohen's technique, superb as it is, so much as his portraits of a world dominated by love and lust, rage and need, compassion and betrayal. While the relationship between men and women was often the framework for Cohen's songs (he didn't earn the nickname "the master of erotic despair" for nothing), he didn't write about love; rather, Cohen used the never-ending thrust and parry between the sexes as a jumping off point for his obsessive investigation of humanity's occasional kindness and frequent atrocities (both emotional and physical). Cohen's world view would be heady stuff at nearly any time and place, but coming in a year when pop music was only just beginning to be taken seriously, Songs of Leonard Cohen was a truly audacious achievement, as bold a challenge to pop music conventions as the other great debut of the year, The Velvet Underground & Nico, and a nearly perfectly realized product of his creative imagination. Producer John Simon added a touch of polish to Cohen's songs with his arrangements (originally Cohen wanted no accompaniment other than his guitar), though the results don't detract from his dry but emotive vocals; instead, they complement his lyrics with a thoughtful beauty and give the songs even greater strength. And a number of Cohen's finest songs appeared here, including the luminous "Suzanne," the subtly venomous "Master Song" and "Sisters of Mercy," which would later be used to memorable effect in Robert Altman's film McCabe and Mrs. Miller. Many artists work their whole career to create a work as singular and accomplished as Songs of Leonard Cohen, and Cohen worked this alchemy the first time he entered a recording studio; few musicians have ever created a more remarkable or enduring debut.
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DISC TWO (35:27)
''SONGS FROM A ROOM''
1969
1 Bird On The Wire 03:24
2 Story Of Isaac 03:34
3 A Bunch Of Lonesome Heroes 03:13
4 The Partisan (Leonard Cohen, Anna Marly, Hy Zaret) 03:23
5 Seems So Long Ago, Nancy 03:37
6 The Old Revolution 04:44
7 The Butcher 03:16
8 You Know Who I Am 03:27
9 Lady Midnight 02:56
10 Tonight Will Be Fine 03:48
Tracks By Leonard Cohen, Except 4
REVIEW/AMG
by Mark Deming
Leonard Cohen's first album was an unqualified triumph which announced the arrival of a bold and singular talent, and many who heard it must have wondered what Cohen could do for an encore. By comparison, Cohen's second album, 1969's Songs from a Room, was something of a letdown. While it's a fine LP, it ultimately feels neither as striking nor as assured as Songs of Leonard Cohen. Bob Johnston stepped in as producer for Songs from a Room, and his arrangements are simpler than those John Simon crafted for the debut, but they're also full of puzzling accents, such as the jew's harp that punctuates several tracks, the churchy organ line in "The Old Revolution," and the harsh synthesizer flourishes on "A Bunch of Lonesome Heroes." Johnston also had trouble coaxing strong vocal performances from Cohen; his singing here sounds tentative and his meter is uncertain, which regardless of how one feels about Cohen's much-debated vocal prowess is not the case with his other work. And finally, the quality of the songs on Songs from a Room is less consistent than on Songs of Leonard Cohen; as fine as "Bird on a Wire," "You Know Who I Am," "The Story of Isaac" and "Seems So Long Ago, Nancy" may be, "The Butcher" and "A Bunch of Lonesome Heroes" simply aren't up to his usual standards. Despite the album's flaws, Songs from a Room's strongest moments convey a naked intimacy and fearless emotional honesty that's every bit as powerful as the debut, and it left no doubt that Cohen was a major creative force in contemporary songwriting.
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DISC THREE (44:13)
''SONGS OF LOVE AND HATE''
1971
1 Avalanche 05:00
2 Last Year's Man 05:57
3 Dress Rehearsal Rag 06:04
4 Diamonds In The Mine 03:48
5 Love Calls You By Your Name 05:38
6 Famous Blue Raincoat 05:08
7 Sing Another Song, Boys 06:11
8 Joan Of Arc 06:23
All Tracks By Leonard Cohen
REVIEW/AMG
by Mark Deming
Songs of Love and Hate is one of Leonard Cohen's most emotionally intense albums -- which, given the nature of Cohen's body of work, is no small statement. While the title Songs of Love and Hate sums up the album's themes accurately enough, it's hardly as simple as that description might lead you to expect -- in these eight songs, "love" encompasses the physical ("Last Year's Man"), the emotional ("Famous Blue Raincoat"), and the spiritual ("Joan of Arc"), and the contempt in songs like "Dress Rehearsal Rag" and "Avalanche" is the sort of venom that can only come from someone who once cared very deeply. The sound of the album is clean and uncluttered, and for the most part the music stays out of the way of the lyrics, which dominate the songs. Thankfully, Cohen had grown noticeably as a singer since his first two albums, and if he hardly boasts a range to rival Roy Orbison here, he is able to bring out the subtleties of "Joan of Arc" and "Famous Blue Raincoat" in a way his previous work would not have led you to expect. And while Bob Johnston's production is spare, it's spare with a purpose, letting Cohen's voice and guitar tell their stories and using other musicians for intelligent, emotionally resonant punctuation (Paul Buckmaster's unobtrusive string arrangements and the use of a children's chorus are especially inspired). And Songs of Love and Hate captured Cohen in one of his finest hours as a songwriter, and the best selections (especially "Famous Blue Raincoat," "Joan of Arc," and "Love Calls You by Your Name") rank with the most satisfying work of his career. If Songs of Love and Hate isn't Cohen's best album, it comes close enough to be essential to anyone interested in his work.
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DISC FOUR (36:27)
''NEW SKIN FOR THE OLD CEREMONY''
1974
1 Is This What You Wanted 04:12
2 Chelsea Hotel #2 03:04
3 Lover Lover Lover 03:18
4 Field Commander Cohen 03:57
5 Why Don't You Try 03:48
6 There Is A War 02:57
7 A Singer Must Die 03:16
8 I Tried To Leave You 02:37
9 Who By Fire 02:30
10 Take This Longing 04:05
11 Leaving Green Sleeves 02:38
All Tracks By Leonard Cohen
REVIEW/AMG
by Vik Iyengar
Leonard Cohen was a poet long before he decided to pick up a guitar. Despite singing in a dry baritone over spare arrangements, Cohen is a gifted lyricist who captivates the listener. New Skin for the Old Ceremony may be Leonard Cohen's most musical album, as he is accompanied by violas, mandolins, banjos, and percussion that give his music more texture than usual. The fact that Cohen does more real singing on this album can be seen as both a blessing and a curse -- while his voice sounds more strained, the songs are delivered with more passion than usual. Furthermore, he has background vocalists including Janis Ian that add significantly to create a fuller sound. It is no surprise, however, that he generally uses simple song structures to draw attention to the words ("Who By Fire"). The lyrics are filled with abstract yet vivid images, and the album primarily uses the metaphor of love and relationships as battlegrounds ("There Is a War," "Field Commander Cohen"). Cohen is clearly singing from the heart, and he chronicles his relationship with Janis Joplin in "Chelsea Hotel No. 2." This is one of his best albums, although new listeners should start with Songs of Leonard Cohen.
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DISC FIVE (42:13)
''DEATH OF A LADIES' MAN''
1977
1 True Love Leaves No Traces 04:22
2 Iodine 05:01
3 Paper Thin Hotel 05:40
4 Memories 05:57
5 I Left A Woman Waiting 03:24
6 Don't Go Home With You Hard-On 05:33
7 Fingerprints 02:55
8 Death Of Ladies' Man 09:18
All Tracks By Phil Spector & Leonard Cohen
REVIEW/AMG
by Dave Thompson
One of the most controversial partnerships in either man's career was inaugurated the day Leonard Cohen and Phil Spector decided to make an album together. In the course of just three weeks together, the pair had written 15 new songs, described by Spector as "some great f*ckin' music." And though the recording took somewhat longer, Death of a Ladies' Man still emerged as an album that, while it certainly lives up to Spector's billing, can also be viewed as the most challenging record of both Cohen and Spector's careers. Certainly, Cohen fans were absolutely taken aback by the widescreen wash that accompanied their idol's customary tones, and many hastened to complain about the almost unbridled sexuality and brutal voyeurism that replaced Cohen's traditionally lighter touch -- as if the man who once rhymed "unmade bed" with "giving me head" was any stranger whatsoever to explicitness. It is also true that a cursory listen to the album suggests that the whole thing was simply a ragbag of crazy notions thrown into the air to see where they landed.
Pay attention, however, and it quickly makes sense. The brawling "Memories" bowls along, an echo-laden vaudeville drinking song that invites everyone who hears it to join in with the so-perfectly timed refrain of "won't you let me see...your naked body." "Iodine," meanwhile, swings on one of Nino Tempo's most seductive rhythm arrangements, while Steve Douglas' sax squalls behind Cohen and co-singer Ronee Blakley's rambunctious duet; and anybody looking for a dance smash to sidle wholly out of left field could turn to "Don't Go Home with Your Hard-On," a number that not only captured an almost irresistible funk edge, but also roped Bob Dylan and Allen Ginsberg into its rambunctious backing chorus.
Cohen himself has never been happy with the record -- Spector's mix, he complained, stripped "the guts out of the record," but when he suggested the producer have another go, his entreaties were ignored. Finally agreeing to write the album off as "an experiment that failed" and trust that his fans would be able to pick out its "real energizing capacities," Cohen allowed it to be released as Spector left it -- and then effectively retired for the next five years. His judgment, and that most commonly passed down by rock history, has not been borne out by time. Alongside Songs of Love and Hate, Death of a Ladies' Man represents the peak of Cohen's first decade or so as a recording artist, both lyrically and stylistically stepping into wholly untapped musical directions -- and certainly setting the stage for the larger scale productions that would mark out his music following his return. It might even be his masterpiece.
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DISC SIX (53:11)
''RECENT SONGS''
1979
1 The Guests 06:40
2 Humbled In Love 05:14
3 The Window 05:54
4 Came So Far For Beauty (Leonard Cohen, John Lissauer) 04:01
5 The Lost Canadian (Un Canadien Errant) (M. A. Gerin, Lajoie) 04:40
6 The Traitor 06:15
7 Our Lady Of Solitude 03:12
8 The Gypsy's Wife 05:13
9 The Smokey Life 05:17
10 Ballad Of The Absent Mare 06:40
Tracks By Leonard Cohen, Except 4, 5
REVIEW/AMG
by William Ruhlmann
The first thing Leonard Cohen's music fans noticed about his sixth new studio album, given the typically open-ended title Recent Songs, was that, musically, it marked a return to the gypsy folk sound of his early records after the incongruous arrangements Phil Spector imposed on its predecessor, Death of a Ladies' Man, only two years earlier. There were subtle musical developments, particularly a flavor of the American Southwest, courtesy of the band Passenger, which played on several tracks, but the acoustic guitars and violin recalled classic Cohen. Fans of the artist's poetry noticed something else. His writing had become increasingly bitter and angry during the 1970s in the books The Energy of Slaves and Death of a Lady's Man as well as in his lyrics, but there was a new equanimity in these Recent Songs that began with the welcoming introduction of "The Guests." All was not suddenly well, of course, but "the open-hearted many" outnumbered "the broken-hearted few." Cohen's usual mixture of religious and sexual imagery in the songs was elegant and evocative rather than painful. If he was conscious of the sacrifices he had made in vain in "Came So Far for Beauty," he was nevertheless able to make a sincere plea to a woman in "The Window," mixing it with a prayer to "gentle this soul." The album was full of references to absence and dislocation, but Cohen deliberately countered them with humor. The cover of "The Lost Canadian (Un Canadient Errant)" was enlivened by a mariachi arrangement, and the album ended with "Ballad of the Absent Mare," an allegory about a cowboy's search for a horse that ended with the suggestion that the pursuit was only a romantic game. Though often abstract, Recent Songs suggested Cohen had regained a certain equilibrium after a long dark period.
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DISC SEVEN (34:56)
''VARIOUS POSITIONS''
1985
1 Dance Me To The End Of Love 04:37
2 Coming Back To You 03:29
3 The Law 04:23
4 Night Comes On 04:38
5 Hallelujah 04:34
6 The Captain 04:05
7 Hunter's Lullaby 02:23
8 Heart With No Companion 03:02
9 If It Be Your Will 03:40
All Tracks By Leonard Cohen
REVIEW/AMG
by Jason Ankeny
Recorded with vocalist Jennifer Warnes (who later cut the album Famous Blue Raincoat, a collection of Leonard Cohen compositions), Various Positions is a stunning return to form - Cohen's strongest work since New Skin for the Old Ceremony. Cryptic and spartan, the set continues in the eclectic vein of recent efforts, but with greater clarity and focus, resulting in an intriguingly diffuse collection ranging from the Serge Gainsbourg-esque pop of "Dance Me to the End of Love" to the boozy, country-inflected "The Captain."
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DISC EIGHT (40:22)
''I'M YOUR MAN''
1988
1 First We Take Manhattan 05:56
2 Ain't No Cure For Love 04:47
3 Everybody Knows (Leonard Cohen, Sharon Robinson) 05:31
4 I'm Your Man 04:21
5 Take This Waltz (Leonard Cohen, Federico Garcia Lorca) 05:55
6 Jazz Police (Leonard Cohen, J. Fisher) 03:48
7 I Can't Forget 04:26
8 Tower Of Song (Leonard Cohen, Jennifer Warnes) 05:35
Tracks By Leonard Cohen, Except 3, 5, 6, 8
REVIEW/AMG
by Jason Ankeny
A stunningly sophisticated leap into modern musical textures, I'm Your Man re-establishes Leonard Cohen's mastery. Against a backdrop of keyboards and propulsive rhythms, Cohen surveys the global landscape with a precise, unflinching eye: the opening "First We Take Manhattan" is an ominous fantasy of commercial success bundled in crypto-fascist imagery, while the remarkable "Everybody Knows" is a cynical catalog of the land mines littering the surface of love in the age of AIDS.
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DISC NINE (59:06)
''THE FUTURE''
NOVEMBER 10 1992
1 The Future 06:39
2 Waiting For The Miracle (Leonard Cohen, Sharon Robinson) 07:38
3 Be For Real (Frederick Knight) 04:27
4 Closing Time 05:57
5 Anthem 06:04
6 Democracy 07:10
7 Light As The Breeze 07:12
8 Always (Irving Berlin) 08:00
9 Tacoma Trailer 05:54
Tracks By Leonard Cohen, Except 2, 3, 8
REVIEW/AMG
by Christopher Fielder
As with most every Leonard Cohen album, a new record means a new means of musical exploration. With The Future, Cohen adds chiming synthesizers and eerie orchestrations to his brooding anthems about life's darker half. One of the last of Cohen's full-length albums, The Future is definitely one of the most direct. More notable tracks include "The Future" and "Waiting for the Miracle," both of which were featured on the Natural Born Killers soundtrack. Closer to spoken word poetry set to music than simply songs, the entire album is one long manifesto calling all to challenge the concepts of righteousness and despair in our modern world. Regardless of the music behind the man, Cohen still manages to bring to The Future what he brought to his earlier recordings: one man against the world with nothing but a gruff voice and a cause.
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DISC TEN (51:57)
''TEN NEW SONGS''
OCTOBER 9 2001
1 In My Secret Life 04:51
2 A Thousand Kisses Deep 06:23
3 That Don't Make It Junk 04:23
4 Here It Is 04:12
5 Love Itself 05:21
6 By the Rivers Dark 05:16
7 Alexandra Leaving 05:20
8 You Have Loved Enough 05:37
9 Boogie Street 05:59
10 The Land of Plenty 04:30
All Tracks By Leonard Cohen & Sharon Robinson
REVIEW/AMG
by William Ruhlmann
"I'm back on Boogie Street," declares Leonard Cohen on two different songs in this collection, titled with characteristic understatement Ten New Songs. (Previous album titles have included Songs of Leonard Cohen, Songs from a Room, and Recent Songs.) More poet than musician, Cohen has, since his early albums, tended to rely on collaborations with musicians to put together his music: John Lissauer on 1974's New Skin for the Old Ceremony, Henry Lewy on 1979's Recent Songs, and, notoriously, Phil Spector on 1977's Death of a Ladies' Man. On Ten New Songs, his partner is former backup singer Sharon Robinson, who co-wrote "Everybody Knows" on 1988's I'm Your Man and earns co-writing credit on all the material here. She has also conjured the musical backgrounds ("All tracks arranged, programmed, and performed by Sharon Robinson," reads the credit), and she harmonizes with Cohen throughout. But all collaborators (even Spector) are in the service of Cohen's poetic vision, which remains the dominant element on this elegiac set. After a restatement of purpose on "In My Secret Life," he turns in a moody set of reflections on decline, even alluding to fellow poet Robert Frost's famous "Stopping By Woods on a Snowy Evening" in "A Thousand Kisses Deep": "And maybe I had miles to drive/And promises to keep/You ditch it all to stay alive/A thousand kisses deep." The songs are full of leave-taking, with titles like "Alexandra Leaving" and "You Have Loved Enough" accurately describing the tone, concluding with the prayer-like valedictory "The Land of Plenty," which gently remonstrates with the consumer society the poet has always engaged and rejected: "May the lights in the land of plenty/Shine on the truth some day." Even in the quietude of Cohen's catalog, the result seems like a coda.
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DISC ELEVEN (48:22)
''DEAR HEATHER''
OCTOBER 26 2004
1 Go No More A-Roving (Lord Byron, Leonard Cohen) 03:38
2 Because Of 02:58
3 The Letters (Leonard Cohen, Sharon Robinson) 04:42
4 Undertow 04:16
5 Morning Glory 03:25
6 On That Day (Leonard Cohen, Anjani Thomas) 02:02
7 Villanelle For Our Time (Leonard Cohen, Frank Scott) 05:53
8 There For You (Leonard Cohen, Sharon Robinson) 04:34
9 Dear Heather 03:37
10 Nightingale 02:25
11 To A Teacher 02:29
12 The Faith 04:14
13 Tennessee Waltz (Live Version) (Leonard Cohen, Pee Wee King, Redd Stewart) 04:04
Tracks By Leonard Cohen, Except 1, 3, 6, 7, 8, 13
REVIEW/AMG
by Thom Jurek
There is an air of finality on Leonard Cohen's Dear Heather. Cohen, who turned 70 in September of 2004, offers no air of personal mortality -- thank God; may this elegant Canadian bard of the holy and profane live forever. It nonetheless looks back -- to teachers, lovers, and friends -- and celebrates life spent in the process of actually living it. The album's bookend tracks provide some evidence: Lord Byron's bittersweet "Go No More A-Roving," set to music and sung by Cohen and Sharon Robinson (and dedicated to Cohen's ailing mentor, Irving Layton), and a beautifully crafted reading of country music's greatest lost love song, "Tennessee Waltz." Cohen's voice is even quieter, almost whispering, nearly sepulchral. The tone of the album is mellow, hushed, nocturnal. Its instrumentation is drenched in the beat nightclub atmospherics of Ten New Songs: trippy, skeletal R&B and pop and Casio keyboard- and beatbox-propelled rhythm tracks are graced by brushed drums, spectral saxophones, and vibes, along with an all but imperceptible acoustic guitar lilting sleepily through it all. But this doesn't get it, because there's so much more than this, too. That said, Dear Heather is Cohen's most upbeat offering. Rather than focus on loss as an end, it looks upon experience as something to be accepted as a portal to wisdom and gratitude. Women permeate these songs both literally and metaphorically. Robinson, who collaborated with Cohen last time, is here, but so is Anjani Thomas. Leanne Ungar also lends production help. Cohen blatantly sums up his amorous life in "Because Of": "Because of a few songs/Wherein I spoke of their mystery/Women have been exceptionally kind to my old age/They make a secret place/In their busy lives/And they say, 'Look at me, Leonard/Look at me one last time.'" "The Letters," written with Robinson, who sings in duet, is a case in point, reflecting on a past love who has been "Reading them again/The ones you didn't burn/You press them to your lips/My pages of concern...The wounded forms appear/The loss, the full extent/And simple kindness here/The solitude of strength." "On That Day" is a deeply compassionate meditation on the violence of September 11 where he asks the question: "Did you go crazy/Or did you report/On that day...." It is followed by the spoken poem "A Villanelle for Our Time," with words by Cohen's late professor Frank Scott that transform these experiences into hope. "We rise to play a greater part/The lesser loyalties depart/And neither race nor creed remain/From bitter searching of the heart...." On "There for You," with Robinson, Cohen digs even deeper into the well, telling an old lover that no matter the end result of their love, he was indeed there, had shown up, he was accountable and is grateful. Cohen quotes his own first book, The Spice Box of Earth, to pay tribute to the late poet A.M. Klein. "Tennessee Waltz" is indeed a sad, sad song, but it is given balance in Cohen's elegant, cheerful delivery. If this is indeed his final offering as a songwriter, it is a fine, decent, and moving way to close this chapter of the book of his life.
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BIOGRAPHY/AMG
by Bruce Eder
WEBSITE
TO THE TOP
''THE COMPLETE STUDIO ALBUM COLLECTION, DISC FOUR''
OCTOBER 11, 2011
REVIEW/AMG
by Steve Leggett
A limited guitar player at best, and with a voice that hardly spans a couple of octaves, Leonard Cohen has nonetheless fashioned a legacy of gorgeously realized songs that reach deep into the heart of lust, ill- and well-fated romance, hope, and redemption, and if he doesn't sing like an angel, he could certainly mesmerize one with the melody, lilt, and power of his songs. This set collects all of his albums, 11 of them, released between 1968 and 2004, including Songs of Leonard Cohen (1968), Songs from a Room (1969), Songs of Love and Hate (1971), New Skin for the Old Ceremony (1974), Death of a Ladies' Man (1977), Recent Songs (1979), Various Positions (1984), I'm Your Man (1988), The Future (1992), Ten New Songs (2001), and Dear Heather (2004). It's a tremendous legacy, full of poetry and hard-earned truth, and this is a nice way to get to the heart of all of it with one purchase.
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DISC ONE (41:17)
''SONGS OF LEONARD COHEN''
DECEMBER 1967
1 Suzanne 03:47
2 Master Song 05:56
3 Winter Lady 02:16
4 The Stranger Song 05:05
5 Sisters Of Mercy 03:33
6 So Long, Marianne 05:39
7 Hey, That's No Way To Say Goodbye 02:55
8 Stories Of The Street 04:36
9 Teachers 03:00
10 One Of Us Cannot Be Wrong 04:25
All Tracis By Leonard Cohen
REVIEW/AMG
by Mark Deming
At a time when a growing number of pop songwriters were embracing a more explicitly poetic approach in their lyrics, the 1967 debut album from Leonard Cohen introduced a songwriter who, rather than being inspired by "serious" literature, took up music after establishing himself as a published author and poet. The ten songs on Songs of Leonard Cohen were certainly beautifully constructed, artful in a way few (if any) other lyricists would approach for some time, but what's most striking about these songs isn't Cohen's technique, superb as it is, so much as his portraits of a world dominated by love and lust, rage and need, compassion and betrayal. While the relationship between men and women was often the framework for Cohen's songs (he didn't earn the nickname "the master of erotic despair" for nothing), he didn't write about love; rather, Cohen used the never-ending thrust and parry between the sexes as a jumping off point for his obsessive investigation of humanity's occasional kindness and frequent atrocities (both emotional and physical). Cohen's world view would be heady stuff at nearly any time and place, but coming in a year when pop music was only just beginning to be taken seriously, Songs of Leonard Cohen was a truly audacious achievement, as bold a challenge to pop music conventions as the other great debut of the year, The Velvet Underground & Nico, and a nearly perfectly realized product of his creative imagination. Producer John Simon added a touch of polish to Cohen's songs with his arrangements (originally Cohen wanted no accompaniment other than his guitar), though the results don't detract from his dry but emotive vocals; instead, they complement his lyrics with a thoughtful beauty and give the songs even greater strength. And a number of Cohen's finest songs appeared here, including the luminous "Suzanne," the subtly venomous "Master Song" and "Sisters of Mercy," which would later be used to memorable effect in Robert Altman's film McCabe and Mrs. Miller. Many artists work their whole career to create a work as singular and accomplished as Songs of Leonard Cohen, and Cohen worked this alchemy the first time he entered a recording studio; few musicians have ever created a more remarkable or enduring debut.
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DISC TWO (35:27)
''SONGS FROM A ROOM''
1969
1 Bird On The Wire 03:24
2 Story Of Isaac 03:34
3 A Bunch Of Lonesome Heroes 03:13
4 The Partisan (Leonard Cohen, Anna Marly, Hy Zaret) 03:23
5 Seems So Long Ago, Nancy 03:37
6 The Old Revolution 04:44
7 The Butcher 03:16
8 You Know Who I Am 03:27
9 Lady Midnight 02:56
10 Tonight Will Be Fine 03:48
Tracks By Leonard Cohen, Except 4
REVIEW/AMG
by Mark Deming
Leonard Cohen's first album was an unqualified triumph which announced the arrival of a bold and singular talent, and many who heard it must have wondered what Cohen could do for an encore. By comparison, Cohen's second album, 1969's Songs from a Room, was something of a letdown. While it's a fine LP, it ultimately feels neither as striking nor as assured as Songs of Leonard Cohen. Bob Johnston stepped in as producer for Songs from a Room, and his arrangements are simpler than those John Simon crafted for the debut, but they're also full of puzzling accents, such as the jew's harp that punctuates several tracks, the churchy organ line in "The Old Revolution," and the harsh synthesizer flourishes on "A Bunch of Lonesome Heroes." Johnston also had trouble coaxing strong vocal performances from Cohen; his singing here sounds tentative and his meter is uncertain, which regardless of how one feels about Cohen's much-debated vocal prowess is not the case with his other work. And finally, the quality of the songs on Songs from a Room is less consistent than on Songs of Leonard Cohen; as fine as "Bird on a Wire," "You Know Who I Am," "The Story of Isaac" and "Seems So Long Ago, Nancy" may be, "The Butcher" and "A Bunch of Lonesome Heroes" simply aren't up to his usual standards. Despite the album's flaws, Songs from a Room's strongest moments convey a naked intimacy and fearless emotional honesty that's every bit as powerful as the debut, and it left no doubt that Cohen was a major creative force in contemporary songwriting.
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DISC THREE (44:13)
''SONGS OF LOVE AND HATE''
1971
1 Avalanche 05:00
2 Last Year's Man 05:57
3 Dress Rehearsal Rag 06:04
4 Diamonds In The Mine 03:48
5 Love Calls You By Your Name 05:38
6 Famous Blue Raincoat 05:08
7 Sing Another Song, Boys 06:11
8 Joan Of Arc 06:23
All Tracks By Leonard Cohen
REVIEW/AMG
by Mark Deming
Songs of Love and Hate is one of Leonard Cohen's most emotionally intense albums -- which, given the nature of Cohen's body of work, is no small statement. While the title Songs of Love and Hate sums up the album's themes accurately enough, it's hardly as simple as that description might lead you to expect -- in these eight songs, "love" encompasses the physical ("Last Year's Man"), the emotional ("Famous Blue Raincoat"), and the spiritual ("Joan of Arc"), and the contempt in songs like "Dress Rehearsal Rag" and "Avalanche" is the sort of venom that can only come from someone who once cared very deeply. The sound of the album is clean and uncluttered, and for the most part the music stays out of the way of the lyrics, which dominate the songs. Thankfully, Cohen had grown noticeably as a singer since his first two albums, and if he hardly boasts a range to rival Roy Orbison here, he is able to bring out the subtleties of "Joan of Arc" and "Famous Blue Raincoat" in a way his previous work would not have led you to expect. And while Bob Johnston's production is spare, it's spare with a purpose, letting Cohen's voice and guitar tell their stories and using other musicians for intelligent, emotionally resonant punctuation (Paul Buckmaster's unobtrusive string arrangements and the use of a children's chorus are especially inspired). And Songs of Love and Hate captured Cohen in one of his finest hours as a songwriter, and the best selections (especially "Famous Blue Raincoat," "Joan of Arc," and "Love Calls You by Your Name") rank with the most satisfying work of his career. If Songs of Love and Hate isn't Cohen's best album, it comes close enough to be essential to anyone interested in his work.
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DISC FOUR (36:27)
''NEW SKIN FOR THE OLD CEREMONY''
1974
1 Is This What You Wanted 04:12
2 Chelsea Hotel #2 03:04
3 Lover Lover Lover 03:18
4 Field Commander Cohen 03:57
5 Why Don't You Try 03:48
6 There Is A War 02:57
7 A Singer Must Die 03:16
8 I Tried To Leave You 02:37
9 Who By Fire 02:30
10 Take This Longing 04:05
11 Leaving Green Sleeves 02:38
All Tracks By Leonard Cohen
REVIEW/AMG
by Vik Iyengar
Leonard Cohen was a poet long before he decided to pick up a guitar. Despite singing in a dry baritone over spare arrangements, Cohen is a gifted lyricist who captivates the listener. New Skin for the Old Ceremony may be Leonard Cohen's most musical album, as he is accompanied by violas, mandolins, banjos, and percussion that give his music more texture than usual. The fact that Cohen does more real singing on this album can be seen as both a blessing and a curse -- while his voice sounds more strained, the songs are delivered with more passion than usual. Furthermore, he has background vocalists including Janis Ian that add significantly to create a fuller sound. It is no surprise, however, that he generally uses simple song structures to draw attention to the words ("Who By Fire"). The lyrics are filled with abstract yet vivid images, and the album primarily uses the metaphor of love and relationships as battlegrounds ("There Is a War," "Field Commander Cohen"). Cohen is clearly singing from the heart, and he chronicles his relationship with Janis Joplin in "Chelsea Hotel No. 2." This is one of his best albums, although new listeners should start with Songs of Leonard Cohen.
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DISC FIVE (42:13)
''DEATH OF A LADIES' MAN''
1977
1 True Love Leaves No Traces 04:22
2 Iodine 05:01
3 Paper Thin Hotel 05:40
4 Memories 05:57
5 I Left A Woman Waiting 03:24
6 Don't Go Home With You Hard-On 05:33
7 Fingerprints 02:55
8 Death Of Ladies' Man 09:18
All Tracks By Phil Spector & Leonard Cohen
REVIEW/AMG
by Dave Thompson
One of the most controversial partnerships in either man's career was inaugurated the day Leonard Cohen and Phil Spector decided to make an album together. In the course of just three weeks together, the pair had written 15 new songs, described by Spector as "some great f*ckin' music." And though the recording took somewhat longer, Death of a Ladies' Man still emerged as an album that, while it certainly lives up to Spector's billing, can also be viewed as the most challenging record of both Cohen and Spector's careers. Certainly, Cohen fans were absolutely taken aback by the widescreen wash that accompanied their idol's customary tones, and many hastened to complain about the almost unbridled sexuality and brutal voyeurism that replaced Cohen's traditionally lighter touch -- as if the man who once rhymed "unmade bed" with "giving me head" was any stranger whatsoever to explicitness. It is also true that a cursory listen to the album suggests that the whole thing was simply a ragbag of crazy notions thrown into the air to see where they landed.
Pay attention, however, and it quickly makes sense. The brawling "Memories" bowls along, an echo-laden vaudeville drinking song that invites everyone who hears it to join in with the so-perfectly timed refrain of "won't you let me see...your naked body." "Iodine," meanwhile, swings on one of Nino Tempo's most seductive rhythm arrangements, while Steve Douglas' sax squalls behind Cohen and co-singer Ronee Blakley's rambunctious duet; and anybody looking for a dance smash to sidle wholly out of left field could turn to "Don't Go Home with Your Hard-On," a number that not only captured an almost irresistible funk edge, but also roped Bob Dylan and Allen Ginsberg into its rambunctious backing chorus.
Cohen himself has never been happy with the record -- Spector's mix, he complained, stripped "the guts out of the record," but when he suggested the producer have another go, his entreaties were ignored. Finally agreeing to write the album off as "an experiment that failed" and trust that his fans would be able to pick out its "real energizing capacities," Cohen allowed it to be released as Spector left it -- and then effectively retired for the next five years. His judgment, and that most commonly passed down by rock history, has not been borne out by time. Alongside Songs of Love and Hate, Death of a Ladies' Man represents the peak of Cohen's first decade or so as a recording artist, both lyrically and stylistically stepping into wholly untapped musical directions -- and certainly setting the stage for the larger scale productions that would mark out his music following his return. It might even be his masterpiece.
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DISC SIX (53:11)
''RECENT SONGS''
1979
1 The Guests 06:40
2 Humbled In Love 05:14
3 The Window 05:54
4 Came So Far For Beauty (Leonard Cohen, John Lissauer) 04:01
5 The Lost Canadian (Un Canadien Errant) (M. A. Gerin, Lajoie) 04:40
6 The Traitor 06:15
7 Our Lady Of Solitude 03:12
8 The Gypsy's Wife 05:13
9 The Smokey Life 05:17
10 Ballad Of The Absent Mare 06:40
Tracks By Leonard Cohen, Except 4, 5
REVIEW/AMG
by William Ruhlmann
The first thing Leonard Cohen's music fans noticed about his sixth new studio album, given the typically open-ended title Recent Songs, was that, musically, it marked a return to the gypsy folk sound of his early records after the incongruous arrangements Phil Spector imposed on its predecessor, Death of a Ladies' Man, only two years earlier. There were subtle musical developments, particularly a flavor of the American Southwest, courtesy of the band Passenger, which played on several tracks, but the acoustic guitars and violin recalled classic Cohen. Fans of the artist's poetry noticed something else. His writing had become increasingly bitter and angry during the 1970s in the books The Energy of Slaves and Death of a Lady's Man as well as in his lyrics, but there was a new equanimity in these Recent Songs that began with the welcoming introduction of "The Guests." All was not suddenly well, of course, but "the open-hearted many" outnumbered "the broken-hearted few." Cohen's usual mixture of religious and sexual imagery in the songs was elegant and evocative rather than painful. If he was conscious of the sacrifices he had made in vain in "Came So Far for Beauty," he was nevertheless able to make a sincere plea to a woman in "The Window," mixing it with a prayer to "gentle this soul." The album was full of references to absence and dislocation, but Cohen deliberately countered them with humor. The cover of "The Lost Canadian (Un Canadient Errant)" was enlivened by a mariachi arrangement, and the album ended with "Ballad of the Absent Mare," an allegory about a cowboy's search for a horse that ended with the suggestion that the pursuit was only a romantic game. Though often abstract, Recent Songs suggested Cohen had regained a certain equilibrium after a long dark period.
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DISC SEVEN (34:56)
''VARIOUS POSITIONS''
1985
1 Dance Me To The End Of Love 04:37
2 Coming Back To You 03:29
3 The Law 04:23
4 Night Comes On 04:38
5 Hallelujah 04:34
6 The Captain 04:05
7 Hunter's Lullaby 02:23
8 Heart With No Companion 03:02
9 If It Be Your Will 03:40
All Tracks By Leonard Cohen
REVIEW/AMG
by Jason Ankeny
Recorded with vocalist Jennifer Warnes (who later cut the album Famous Blue Raincoat, a collection of Leonard Cohen compositions), Various Positions is a stunning return to form - Cohen's strongest work since New Skin for the Old Ceremony. Cryptic and spartan, the set continues in the eclectic vein of recent efforts, but with greater clarity and focus, resulting in an intriguingly diffuse collection ranging from the Serge Gainsbourg-esque pop of "Dance Me to the End of Love" to the boozy, country-inflected "The Captain."
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DISC EIGHT (40:22)
''I'M YOUR MAN''
1988
1 First We Take Manhattan 05:56
2 Ain't No Cure For Love 04:47
3 Everybody Knows (Leonard Cohen, Sharon Robinson) 05:31
4 I'm Your Man 04:21
5 Take This Waltz (Leonard Cohen, Federico Garcia Lorca) 05:55
6 Jazz Police (Leonard Cohen, J. Fisher) 03:48
7 I Can't Forget 04:26
8 Tower Of Song (Leonard Cohen, Jennifer Warnes) 05:35
Tracks By Leonard Cohen, Except 3, 5, 6, 8
REVIEW/AMG
by Jason Ankeny
A stunningly sophisticated leap into modern musical textures, I'm Your Man re-establishes Leonard Cohen's mastery. Against a backdrop of keyboards and propulsive rhythms, Cohen surveys the global landscape with a precise, unflinching eye: the opening "First We Take Manhattan" is an ominous fantasy of commercial success bundled in crypto-fascist imagery, while the remarkable "Everybody Knows" is a cynical catalog of the land mines littering the surface of love in the age of AIDS.
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DISC NINE (59:06)
''THE FUTURE''
NOVEMBER 10 1992
1 The Future 06:39
2 Waiting For The Miracle (Leonard Cohen, Sharon Robinson) 07:38
3 Be For Real (Frederick Knight) 04:27
4 Closing Time 05:57
5 Anthem 06:04
6 Democracy 07:10
7 Light As The Breeze 07:12
8 Always (Irving Berlin) 08:00
9 Tacoma Trailer 05:54
Tracks By Leonard Cohen, Except 2, 3, 8
REVIEW/AMG
by Christopher Fielder
As with most every Leonard Cohen album, a new record means a new means of musical exploration. With The Future, Cohen adds chiming synthesizers and eerie orchestrations to his brooding anthems about life's darker half. One of the last of Cohen's full-length albums, The Future is definitely one of the most direct. More notable tracks include "The Future" and "Waiting for the Miracle," both of which were featured on the Natural Born Killers soundtrack. Closer to spoken word poetry set to music than simply songs, the entire album is one long manifesto calling all to challenge the concepts of righteousness and despair in our modern world. Regardless of the music behind the man, Cohen still manages to bring to The Future what he brought to his earlier recordings: one man against the world with nothing but a gruff voice and a cause.
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DISC TEN (51:57)
''TEN NEW SONGS''
OCTOBER 9 2001
1 In My Secret Life 04:51
2 A Thousand Kisses Deep 06:23
3 That Don't Make It Junk 04:23
4 Here It Is 04:12
5 Love Itself 05:21
6 By the Rivers Dark 05:16
7 Alexandra Leaving 05:20
8 You Have Loved Enough 05:37
9 Boogie Street 05:59
10 The Land of Plenty 04:30
All Tracks By Leonard Cohen & Sharon Robinson
REVIEW/AMG
by William Ruhlmann
"I'm back on Boogie Street," declares Leonard Cohen on two different songs in this collection, titled with characteristic understatement Ten New Songs. (Previous album titles have included Songs of Leonard Cohen, Songs from a Room, and Recent Songs.) More poet than musician, Cohen has, since his early albums, tended to rely on collaborations with musicians to put together his music: John Lissauer on 1974's New Skin for the Old Ceremony, Henry Lewy on 1979's Recent Songs, and, notoriously, Phil Spector on 1977's Death of a Ladies' Man. On Ten New Songs, his partner is former backup singer Sharon Robinson, who co-wrote "Everybody Knows" on 1988's I'm Your Man and earns co-writing credit on all the material here. She has also conjured the musical backgrounds ("All tracks arranged, programmed, and performed by Sharon Robinson," reads the credit), and she harmonizes with Cohen throughout. But all collaborators (even Spector) are in the service of Cohen's poetic vision, which remains the dominant element on this elegiac set. After a restatement of purpose on "In My Secret Life," he turns in a moody set of reflections on decline, even alluding to fellow poet Robert Frost's famous "Stopping By Woods on a Snowy Evening" in "A Thousand Kisses Deep": "And maybe I had miles to drive/And promises to keep/You ditch it all to stay alive/A thousand kisses deep." The songs are full of leave-taking, with titles like "Alexandra Leaving" and "You Have Loved Enough" accurately describing the tone, concluding with the prayer-like valedictory "The Land of Plenty," which gently remonstrates with the consumer society the poet has always engaged and rejected: "May the lights in the land of plenty/Shine on the truth some day." Even in the quietude of Cohen's catalog, the result seems like a coda.
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DISC ELEVEN (48:22)
''DEAR HEATHER''
OCTOBER 26 2004
1 Go No More A-Roving (Lord Byron, Leonard Cohen) 03:38
2 Because Of 02:58
3 The Letters (Leonard Cohen, Sharon Robinson) 04:42
4 Undertow 04:16
5 Morning Glory 03:25
6 On That Day (Leonard Cohen, Anjani Thomas) 02:02
7 Villanelle For Our Time (Leonard Cohen, Frank Scott) 05:53
8 There For You (Leonard Cohen, Sharon Robinson) 04:34
9 Dear Heather 03:37
10 Nightingale 02:25
11 To A Teacher 02:29
12 The Faith 04:14
13 Tennessee Waltz (Live Version) (Leonard Cohen, Pee Wee King, Redd Stewart) 04:04
Tracks By Leonard Cohen, Except 1, 3, 6, 7, 8, 13
REVIEW/AMG
by Thom Jurek
There is an air of finality on Leonard Cohen's Dear Heather. Cohen, who turned 70 in September of 2004, offers no air of personal mortality -- thank God; may this elegant Canadian bard of the holy and profane live forever. It nonetheless looks back -- to teachers, lovers, and friends -- and celebrates life spent in the process of actually living it. The album's bookend tracks provide some evidence: Lord Byron's bittersweet "Go No More A-Roving," set to music and sung by Cohen and Sharon Robinson (and dedicated to Cohen's ailing mentor, Irving Layton), and a beautifully crafted reading of country music's greatest lost love song, "Tennessee Waltz." Cohen's voice is even quieter, almost whispering, nearly sepulchral. The tone of the album is mellow, hushed, nocturnal. Its instrumentation is drenched in the beat nightclub atmospherics of Ten New Songs: trippy, skeletal R&B and pop and Casio keyboard- and beatbox-propelled rhythm tracks are graced by brushed drums, spectral saxophones, and vibes, along with an all but imperceptible acoustic guitar lilting sleepily through it all. But this doesn't get it, because there's so much more than this, too. That said, Dear Heather is Cohen's most upbeat offering. Rather than focus on loss as an end, it looks upon experience as something to be accepted as a portal to wisdom and gratitude. Women permeate these songs both literally and metaphorically. Robinson, who collaborated with Cohen last time, is here, but so is Anjani Thomas. Leanne Ungar also lends production help. Cohen blatantly sums up his amorous life in "Because Of": "Because of a few songs/Wherein I spoke of their mystery/Women have been exceptionally kind to my old age/They make a secret place/In their busy lives/And they say, 'Look at me, Leonard/Look at me one last time.'" "The Letters," written with Robinson, who sings in duet, is a case in point, reflecting on a past love who has been "Reading them again/The ones you didn't burn/You press them to your lips/My pages of concern...The wounded forms appear/The loss, the full extent/And simple kindness here/The solitude of strength." "On That Day" is a deeply compassionate meditation on the violence of September 11 where he asks the question: "Did you go crazy/Or did you report/On that day...." It is followed by the spoken poem "A Villanelle for Our Time," with words by Cohen's late professor Frank Scott that transform these experiences into hope. "We rise to play a greater part/The lesser loyalties depart/And neither race nor creed remain/From bitter searching of the heart...." On "There for You," with Robinson, Cohen digs even deeper into the well, telling an old lover that no matter the end result of their love, he was indeed there, had shown up, he was accountable and is grateful. Cohen quotes his own first book, The Spice Box of Earth, to pay tribute to the late poet A.M. Klein. "Tennessee Waltz" is indeed a sad, sad song, but it is given balance in Cohen's elegant, cheerful delivery. If this is indeed his final offering as a songwriter, it is a fine, decent, and moving way to close this chapter of the book of his life.
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BIOGRAPHY/AMG
by Bruce Eder
One of the most fascinating and enigmatic -- if not the most successful -- singer/songwriters of the late '60s, Leonard Cohen has retained an audience across five decades of music-making interrupted by various digressions into personal and creative exploration, all of which have only added to the mystique surrounding him. Second only to Bob Dylan (and perhaps Paul Simon), he commands the attention of critics and younger musicians more firmly than any other musical figure from the '60s who is still working in the 21st century, which is all the more remarkable an achievement for someone who didn't even aspire to a musical career until he was in his thirties.
Cohen was born in 1934, a year before Elvis Presley or Ronnie Hawkins, and his background -- personal, social, and intellectual -- couldn't have been more different from those of any rock stars of any generation; nor can he be easily compared even with any members of the generation of folksingers who came of age in the '60s. Though he knew some country music and played it a bit as a boy, he didn't start performing on even a semi-regular basis, much less recording, until after he had already written several books -- and as an established novelist and poet, his literary accomplishments far exceed those of Bob Dylan or most anyone else who one cares to mention in music, at least this side of operatic librettists such as Hugo Von Hofmannsthal and Stefan Zweig, figures from another musical and cultural world.
He was born Leonard Norman Cohen into a middle-class Jewish family in the Montreal suburb of Westmount. His father, a clothing merchant (who also held a degree in engineering), died in 1943, when Cohen was nine years old. It was his mother who encouraged Cohen as a writer, especially of poetry, during his childhood. This fit in with the progressive intellectual environment in which he was raised, which allowed him free inquiry into a vast range of pursuits. His relationship to music was more tentative -- he took up the guitar at age 13, initially as a way to impress a girl, but was good enough to play country & western songs at local cafes, and he subsequently formed a group called the Buckskin Boys. At 17, he enrolled in McGill University as an English major -- by this time, he was writing poetry in earnest and became part of the university's tiny underground "bohemian" community. Cohen only earned average grades, but was a good enough writer to earn the McNaughton Prize in creative writing by the time he graduated in 1955 -- a year later, the ink barely dry on his degree, he published his first book of poetry, Let Us Compare Mythologies (1956), which got great reviews but didn't sell especially well. He was already beyond the age that rock & roll was aimed at -- Bob Dylan, by contrast, was still Robert Zimmerman, still in his teens, and young enough to become a devotee of Buddy Holly when the latter emerged. In 1961, Cohen published his second book of poetry, The Spice Box of Earth, which became an international success critically and commercially, and established Cohen as a major new literary figure. Meanwhile, he tried to join the family business and spent some time at Columbia University in New York, writing all the time. Between the modest royalties from sales of his second book, literary grants from the Canadian government, and a family legacy, he was able to live comfortably and travel around the world, partake of much of what it had to offer -- including some use of LSD when it was still legal -- and ultimately settling for an extended period in Greece, on the isle of Hydra in the Aegean Sea. He continued to publish, issuing a pair of novels, The Favorite Game (1963) and Beautiful Losers (1966), with a pair of poetry collections, Flowers for Hitler (1964) and Parasites of Heaven (1966). The Favorite Game was a very personal work about his early life in Montreal, but it was Beautiful Losers that proved another breakthrough, earning the kind of reviews that authors dare not even hope for -- Cohen found himself compared to James Joyce in the pages of The Boston Globe, and across five decades the book has enjoyed sales totaling well into six figures.
It was around this time that he also started writing music again, songs being a natural extension of his poetry. His relative isolation on Hydra, coupled with his highly mobile lifestyle when he left the island, his own natural iconoclastic nature, and the fact that he'd avoided being overwhelmed (or even touched too seriously) by the currents running through popular music since the '40s, combined to give Cohen a unique voice as a composer. Though he did settle in Nashville for a short time in the mid-'60s, he didn't write quite like anyone else in the country music mecca or anywhere else. This might have been an impediment but for the intervention of Judy Collins, a folksinger who had just moved to the front rank of that field, and who had a voice just special enough to move her beyond the relatively emaciated ranks of remaining popular folk performers after Dylan shifted to electric music -- she was still getting heard, and not just by the purists left behind in Dylan's wake. She added Cohen's "Suzanne" to her repertoire and put it on her album In My Life, a record that was controversial enough in folk circles (because of her cover of the Beatles song that gave the LP its title) to pull in a lot of listeners and get a wide airing. The LP's "Suzanne" received a considerable amount of radio airplay, and Cohen was also represented on the album by "Dress Rehearsal Rag."
It was Collins who persuaded Cohen to return to performing for the first time since his teens. He made his debut during the summer of 1967 at the Newport Folk Festival, followed by a pair of sold-out concerts in New York City and an appearance singing his songs and reciting his poems on the CBS network television show Camera Three, in a show entitled "Ladies and Gentlemen, Mr. Leonard Cohen." It was around the same time that actor/singer Noel Harrison brought "Suzanne" onto the pop charts with a recording of his own. One of those who saw Cohen perform at Newport was John Hammond, Sr., the legendary producer whose career went back to the '30s and the likes of Billie Holiday, Benny Goodman, and Count Basie, and extended up through Bob Dylan and, ultimately, to Bruce Springsteen. Hammond got Cohen signed to Columbia Records and he created The Songs of Leonard Cohen, which was released just before Christmas of 1967. Producer John Simon was able to find a restrained yet appealing approach to recording Cohen's voice, which might have been described as an appealingly sensitive near-monotone; yet that voice was perfectly suited to the material at hand, all of which, written in a very personal language, seemed drenched in downbeat images and a spirit of discovery as a path to unsettling revelation.
Despite its spare production and melancholy subject matter -- or, very possibly because of it -- the album was an immediate hit by the standards of the folk music world and the budding singer/songwriter community. In an era in which millions of listeners hung on the next albums of Bob Dylan and Simon & Garfunkel -- whose own latest album had ended with a minor-key rendition of "Silent Night" set against a radio news account of the death of Lenny Bruce -- Cohen's music quickly found a small but dedicated following. College students by the thousands bought it; in its second year of release, the record sold over 100,000 copies. The Songs of Leonard Cohen was as close as Cohen ever got to mass audience success.
Amid all of this sudden musical activity, he hardly neglected his other writing -- in 1968, he released a new volume, Selected Poems: 1956-1968, which included both old and newly published work, and earned him the Governor General's Award, Canada's highest literary honor, which he proceeded to decline. By this time, he was actually almost more a part of the rock scene, residing for a time in New York's Chelsea Hotel, where his neighbors included Janis Joplin and other performing luminaries, some of whom influenced his songs very directly.
His next album, Songs from a Room (1969), was characterized by an even greater spirit of melancholy -- even the relatively spirited "A Bunch of Lonesome Heroes" was steeped in such depressing sensibilities, and the one song not written by Cohen, "The Partisan," was a grim narrative about the reasons for and consequences of resistance to tyranny that included lines like "She died without a whisper" and included images of wind blowing past graves. Joan Baez subsequently recorded the song, and in her hands it was a bit more upbeat and inspiring to the listener; Cohen's rendition made it much more difficult to get past the costs presented by the singer's persona. On the other hand, "Seems So Long Ago, Nancy," although as downbeat as anything else here, did present Cohen in his most expressive and commercial voice, a nasal but affecting and finely nuanced performance.
In all, however, Songs from a Room was less well-received commercially and critically. Bob Johnston's restrained, almost minimalist production made it less overtly appealing than the subtly commercial trappings of his debut, though the album did have a pair of tracks, "Bird on the Wire" and "The Story of Isaac," that became standards rivaling "Suzanne." "The Story of Isaac," a musical parable woven around biblical imagery about Vietnam, was one of the most savage and piercing songs to come out of the antiwar movement, and showed a level of sophistication in its music and lyrics that put it in a whole separate realm of composition; it received an even better airing on the Live Songs album, in a performance recorded in Berlin during 1972.
Cohen may not have been a widely popular performer or recording artist, but his unique voice and sound, and the power of his writing and its influence, helped give him gain entre to rock's front-ranked performers, an odd status for the then 35-year-old author/composer. He appeared at the 1970 Isle of Wight festival in England, a post-Woodstock gathering of stars and superstars, including late appearances by such soon-to-die-or-disband legends as Jimi Hendrix and the Doors; looking nearly as awkward as his fellow Canadian Joni Mitchell, Cohen strummed his acoustic guitar backed by a pair of female singers in front of an audience of 600,000 ("It's a large nation, but still weak"), comprised in equal portions of fans, freaks, and belligerent gatecrashers, but the mere fact that he was there -- sandwiched somewhere between Miles Davis and Emerson, Lake & Palmer -- was a clear statement of the status (if not the popular success) he'd achieved. One portion of his set, "Tonight Will Be Fine," was released on a subsequent live album, while his performance of "Suzanne" was one of the highlights of Murray Lerner's long-delayed 1996 documentary Message to Love: The Isle of Wight Festival.
Already, he had carved out a unique place for himself in music, as much author as performer and recording artist, letting his songs develop and evolve across years -- his distinctly non-commercial voice became part of his appeal to the audience he found, giving him a unique corner of the music audience comprising listeners descended from the same people who had embraced Bob Dylan's early work before he'd become a mass-media phenomenon in 1964. In a sense, Cohen embodied a phenomenon vaguely similar to what Dylan enjoyed before his early-'70s tour with the Band -- people bought his albums by the tens and, occasionally, hundreds of thousands, but seemed to hear him in uniquely personal terms. He earned his audience seemingly one listener at a time, by word of mouth more than by the radio, which, in any case (especially on the AM dial), was mostly friendly to covers of Cohen's songs by other artists.
Cohen's third album, Songs of Love and Hate (1971), was one of his most powerful works, brimming with piercing lyrics and music as poignantly affecting as it was minimalist in its approach -- arranger Paul Buckmaster's work on strings was peculiarly muted, and the children's chorus that showed up on "Last Year's Man" was spare in its presence; balancing them was Cohen's most effective vocalizing to date, brilliantly expressive around such acclaimed songs as "Joan of Arc," "Dress Rehearsal Rag" (which had been recorded by Judy Collins five years before), and "Famous Blue Raincoat." The bleakness of the tone and subject matter ensured that he would never become a "pop" performer; even the beat-driven "Diamonds in the Mine" -- catchy children's chorus accompaniment and all, and with a twangy electric guitar accompaniment to boot -- was as dark and venomous a song as Columbia Records put out in 1971. And the most compelling moments -- among an embarrassment of riches -- came on lyrics like "Now the flames they followed Joan of Arc/As she came riding through the dark/No Moon to keep her armor bright/No man to get her through this night..." Teenagers of the late '60s (or any era that followed) listening devotedly to Leonard Cohen might have worried their parents, but could well have been the smartest or most sensitive kids in their class and the most well-balanced emotionally -- if they weren't depressed -- but also effectively well on their way out of being teenagers, and probably too advanced for their peers and maybe most of their teachers (except maybe the ones listening to Cohen). Songs of Love and Hate, coupled with the earlier hit versions of "Suzanne," etc., earned Cohen a large international cult following. He also found himself in demand in the world of commercial filmmaking, as director Robert Altman used his music in his 1971 feature film McCabe and Mrs. Miller, starring Warren Beatty and Julie Christie, a revisionist period film set at the turn of the 19th century that was savaged by the critics (and, by some accounts, sabotaged by its own studio) but went on to become one of the director's best-loved movies. The following year, he also published a new poetry collection, The Energy of Slaves.
As was his wont, Cohen spent years between albums, and in 1973 he seemed to take stock of himself as a performer by issuing Leonard Cohen: Live Songs. Not a conventional live album, it was a compendium of performances from various venues across several years and focused on highlights of his output from 1969 onward. It showcased his writing as much as his performing, but also gave a good account of his appeal to his most serious fans -- those still uncertain of where they stood in relation to his music who could get past the epic-length "Please Don't Pass Me By" knew for certain they were ready to "join" the inner circle of his legion of devotees after that, while others who only appreciated "Bird on the Wire" or "The Story of Isaac" could stay comfortably in an outer ring.
Meanwhile, in 1973, his music became the basis for a theatrical production called Sisters of Mercy, conceived by Gene Lesser and loosely based on Cohen's life, or at least a fantasy version of his life. A three-year lag ensued between Songs of Love and Hate and Cohen's next album, and most critics and fans just assumed he'd hit a dry spell with the live album covering the gap. He was busy concertizing, however, in the United States and Europe during 1971 and 1972, and extending his appearances into Israel during the 1973 Yom Kippur War. It was during this period that he also began working with pianist and arranger John Lissauer, whom he engaged as producer of his next album, New Skin for the Old Ceremony (1974). That album seemed to justify his fans' continued faith in his work, presenting Cohen in a more lavish musical environment. He proved capable of holding his own in a pop environment, even if the songs were mostly still depressing and bleak.
The following year, Columbia Records released The Best of Leonard Cohen, featuring a dozen of his best-known songs -- principally hits in the hands of other performers -- from his previous four LPs (though it left out "Dress Rehearsal Rag"). It was also during the mid-'70s that Cohen first crossed paths professionally with Jennifer Warnes, appearing on the same bill with the singer at numerous shows, which would lead to a series of key collaborations in the ensuing decade. By this time, he was a somewhat less mysterious persona, having toured extensively and gotten considerable exposure -- among many other attributes, Cohen became known for his uncanny attractiveness to women, which seemed to go hand in glove with the romantic subjects of most of his songs.
In 1977, Cohen reappeared with the ironically titled Death of a Ladies' Man, the most controversial album of his career, produced by Phil Spector. The notion of pairing Spector -- known variously as a Svengali-like presence to his female singers and artists and the most unrepentant (and often justified) over-producer in the field of pop music -- with Cohen must have seemed like a good one to someone at some point, but apparently Cohen himself had misgivings about many of the resulting tracks that Spector never addressed, having mixed the record completely on his own. The resulting LP suffered from the worst attributes of Cohen's and Spector's work, overly dense and self-consciously imposing in its sound, and virtually bathing the listener in Cohen's depressive persona, but showing his limited vocal abilities to disadvantage, owing to Spector's use of "scratch" (i.e., guide) vocals and his unwillingness to permit the artist to redo some of his weaker moments on those takes. For the first (and only) time in Cohen's career, his near-monotone delivery of this period wasn't a positive attribute. Cohen's unhappiness with the album was widely known among fans, who mostly bought it with that caveat in mind, so it didn't harm his reputation -- a year after its release, Cohen also published a new literary collection using the title Death of a Ladies' Man.
Cohen's next album, Recent Songs (1979), returned him to the spare settings of his early-'70s work and showed his singing to some of its best advantage. Working with veteran producer Henry Lewy (best known for his work with Joni Mitchell), the album showed Cohen's singing as attractive and expressive in its quiet way, and songs such as "The Guests" seeming downright pretty -- he still wrote about life and love, and especially relationships, in stark terms, but he almost seemed to be moving into a pop mode on numbers such as "Humbled in Love." Frank Sinatra never needed to look over his shoulder at Cohen (at least, as a singer), but he did seem to be trying for a slicker pop sound at moments on his record.
Then came 1984, and two key new works in Cohen's output -- the poetic/religious volume The Book of Mercy and the album Various Positions (1984). The latter, recorded with Jennifer Warnes, is arguably his most accessible album of his entire career up to that time -- Cohen's voice, now a peculiarly expressive baritone instrument, found a beautiful pairing with Warnes, and the songs were as fine as ever, steeped in spirituality and sexuality, with "Dance Me to the End of Love" a killer opener: a wry, doom-laden yet impassioned pop-style ballad that is impossible to forget. Those efforts overlapped with some ventures by the composer/singer into other creative realms, including an award-winning short film that he wrote, directed, and scored, entitled I Am a Hotel, and the score for the 1985 conceptual film Night Magic, which earned a Juno Award in Canada for Best Movie Score.
Sad to say, Various Positions went relatively unnoticed, and was followed by another extended sabbatical from recording, which ended with I'm Your Man (1988). But during his hiatus, Warnes had released her album of Cohen-authored material, entitled Famous Blue Raincoat, which had sold extremely well and introduced Cohen to a new generation of listeners. So when I'm Your Man did appear, with its electronic production (albeit still rather spare) and songs that added humor (albeit dark humor) to his mix of pessimistic and poetic conceits, the result was his best-selling record in more than a decade. The result, in 1991, was the release of I'm Your Fan: The Songs of Leonard Cohen, a CD of recordings of his songs by the likes of R.E.M., the Pixies, Nick Cave & the Bad Seeds, and John Cale, which put Cohen as a songwriter pushing age 60 right back on center stage for the '90s. He rose to the occasion, releasing The Future, an album that dwelt on the many threats facing mankind in the coming years and decades, a year later. Not the stuff of pop charts or MTV heavy rotation, it attracted Cohen's usual coterie of fans, and enough press interest as well as sufficient sales, to justify the release in 1994 of his second concert album, Cohen Live, derived from his two most recent tours. A year later came another tribute album, Tower of Song, featuring Cohen's songs as interpreted by Billy Joel, Willie Nelson, et al.
In the midst of all of this new activity surrounding his writing and compositions, Cohen embarked on a new phase of his life. Religious concerns were never too far from his thinking and work, even when he was making a name for himself writing songs about love, and he had focused even more on this side of life since Various Positions. He came to spend time at the Mt. Baldy Zen Center, a Buddhist retreat in California, and eventually became a full-time resident, and a Buddhist monk in the late '90s. When he re-emerged in 1999, Cohen had many dozens of new compositions in hand, songs and poems alike. His new collaborations were with singer/songwriter/musician Sharon Robinson, who also ended up producing the resulting album, Ten New Songs (2001) -- there also emerged during this period a release called Field Commander Cohen: Tour of 1979, comprised of live recordings from his tour of 22 years before.
In 2004, the year he turned 70, Cohen released one of the most controversial albums of his career, Dear Heather. It revealed his voice anew, in this phase of his career, as a deep baritone more limited in range than on any previous recording, but it overcame this change in vocal timbre by facing it head-on, just as Cohen had done with his singing throughout his career. It also contained a number of songs for which Cohen wrote music but not lyrics, a decided change of pace for a man who'd started out as a poet. And it was as personal a record as Cohen had ever issued. His return to recording was one of the more positive aspects of Cohen's resumption of his music activities. On another side, in 2005, he filed suit against his longtime business manager and his financial advisor over the alleged theft of more than five million dollars, at least some of which took place during his years at the Buddhist retreat.
Five decades after he emerged as a public literary figure and then a performer, Cohen remained one of the most compelling and enigmatic musical figures of his era, and one of the very few of that era who commands as much respect and attention, and probably as large an audience, in the 21st century as he did in the '60s. As much as any survivor of that decade, Cohen has held onto his original audience and has seen it grow across generations, in keeping with a body of music that is truly timeless and ageless. In 2006, his enduring influence seemed to be acknowledged in Lions Gate Films' release of Leonard Cohen: I'm Your Man, director Lian Lunson's concert/portrait of Cohen and his work and career. A performance set, Live in London, was released in 2009. In 2010, the combined video and audio package Songs from the Road was issued, documenting his 2008 world tour (which actually lasted until late 2010), revisiting songs from each part of his career. The tour covered 84 dates and sold over 700,000 tickets worldwide.
Cohen didn't rest long, however: in early 2011 he began to craft what would become Old Ideas, his first album of new material in seven years. The sessions took place with producers Ed Sanders (renowned poet and leader of the Fugs), Patrick Leonard, Cohen's saxophonist Dino Soldo, and his partner, singer and songwriter Anjani Thomas. Old Ideas contained ten new songs dealing with spirituality, mortality, sexuality, loss, and acceptance, similar in sound and texture to Dear Heather. The tracks "Lullaby" and "Darkness" were staples of the world tour, while the cut "Show Me the Place" was pre-released in late 2011. Old Ideas was released at the end of January 2012. It became a tremendous success, debuting inside the Top Five in the U.S. and U.K., as well as reaching number one in Canada. Cohen's success in Europe was more impressive; Old Ideas reached number one in almost ten countries.
After yet another world tour that brought him universal accolades, Cohen, uncharacteristically, returned quickly to the studio with producer (and co-writer) Patrick Leonard, emerging with nine new songs, at least one of which -- "Born in Chains" -- had origins that dated back 40 years. Popular Problems was released in September of 2014 to positive reviews and chart success. (Just like its predecessor, it hit number one across Europe as well as Canada.) Cohen continued to tour internationally with impressive vigor, and in December 2014 he released Live in Dublin, his third live album since returning to the road. The album had been recorded in September 2013, during a concert at Dublin's O2 Arena, and a high-definition video release appeared in tandem with the audio edition. Yet another concert document, Can't Forget: A Souvenir of the Grand Tour, appeared in May 2015, with the album drawn from live takes as well as pre-show rehearsals at soundchecks.
Cohen was born in 1934, a year before Elvis Presley or Ronnie Hawkins, and his background -- personal, social, and intellectual -- couldn't have been more different from those of any rock stars of any generation; nor can he be easily compared even with any members of the generation of folksingers who came of age in the '60s. Though he knew some country music and played it a bit as a boy, he didn't start performing on even a semi-regular basis, much less recording, until after he had already written several books -- and as an established novelist and poet, his literary accomplishments far exceed those of Bob Dylan or most anyone else who one cares to mention in music, at least this side of operatic librettists such as Hugo Von Hofmannsthal and Stefan Zweig, figures from another musical and cultural world.
He was born Leonard Norman Cohen into a middle-class Jewish family in the Montreal suburb of Westmount. His father, a clothing merchant (who also held a degree in engineering), died in 1943, when Cohen was nine years old. It was his mother who encouraged Cohen as a writer, especially of poetry, during his childhood. This fit in with the progressive intellectual environment in which he was raised, which allowed him free inquiry into a vast range of pursuits. His relationship to music was more tentative -- he took up the guitar at age 13, initially as a way to impress a girl, but was good enough to play country & western songs at local cafes, and he subsequently formed a group called the Buckskin Boys. At 17, he enrolled in McGill University as an English major -- by this time, he was writing poetry in earnest and became part of the university's tiny underground "bohemian" community. Cohen only earned average grades, but was a good enough writer to earn the McNaughton Prize in creative writing by the time he graduated in 1955 -- a year later, the ink barely dry on his degree, he published his first book of poetry, Let Us Compare Mythologies (1956), which got great reviews but didn't sell especially well. He was already beyond the age that rock & roll was aimed at -- Bob Dylan, by contrast, was still Robert Zimmerman, still in his teens, and young enough to become a devotee of Buddy Holly when the latter emerged. In 1961, Cohen published his second book of poetry, The Spice Box of Earth, which became an international success critically and commercially, and established Cohen as a major new literary figure. Meanwhile, he tried to join the family business and spent some time at Columbia University in New York, writing all the time. Between the modest royalties from sales of his second book, literary grants from the Canadian government, and a family legacy, he was able to live comfortably and travel around the world, partake of much of what it had to offer -- including some use of LSD when it was still legal -- and ultimately settling for an extended period in Greece, on the isle of Hydra in the Aegean Sea. He continued to publish, issuing a pair of novels, The Favorite Game (1963) and Beautiful Losers (1966), with a pair of poetry collections, Flowers for Hitler (1964) and Parasites of Heaven (1966). The Favorite Game was a very personal work about his early life in Montreal, but it was Beautiful Losers that proved another breakthrough, earning the kind of reviews that authors dare not even hope for -- Cohen found himself compared to James Joyce in the pages of The Boston Globe, and across five decades the book has enjoyed sales totaling well into six figures.
Despite its spare production and melancholy subject matter -- or, very possibly because of it -- the album was an immediate hit by the standards of the folk music world and the budding singer/songwriter community. In an era in which millions of listeners hung on the next albums of Bob Dylan and Simon & Garfunkel -- whose own latest album had ended with a minor-key rendition of "Silent Night" set against a radio news account of the death of Lenny Bruce -- Cohen's music quickly found a small but dedicated following. College students by the thousands bought it; in its second year of release, the record sold over 100,000 copies. The Songs of Leonard Cohen was as close as Cohen ever got to mass audience success.
Amid all of this sudden musical activity, he hardly neglected his other writing -- in 1968, he released a new volume, Selected Poems: 1956-1968, which included both old and newly published work, and earned him the Governor General's Award, Canada's highest literary honor, which he proceeded to decline. By this time, he was actually almost more a part of the rock scene, residing for a time in New York's Chelsea Hotel, where his neighbors included Janis Joplin and other performing luminaries, some of whom influenced his songs very directly.
Cohen may not have been a widely popular performer or recording artist, but his unique voice and sound, and the power of his writing and its influence, helped give him gain entre to rock's front-ranked performers, an odd status for the then 35-year-old author/composer. He appeared at the 1970 Isle of Wight festival in England, a post-Woodstock gathering of stars and superstars, including late appearances by such soon-to-die-or-disband legends as Jimi Hendrix and the Doors; looking nearly as awkward as his fellow Canadian Joni Mitchell, Cohen strummed his acoustic guitar backed by a pair of female singers in front of an audience of 600,000 ("It's a large nation, but still weak"), comprised in equal portions of fans, freaks, and belligerent gatecrashers, but the mere fact that he was there -- sandwiched somewhere between Miles Davis and Emerson, Lake & Palmer -- was a clear statement of the status (if not the popular success) he'd achieved. One portion of his set, "Tonight Will Be Fine," was released on a subsequent live album, while his performance of "Suzanne" was one of the highlights of Murray Lerner's long-delayed 1996 documentary Message to Love: The Isle of Wight Festival.
Already, he had carved out a unique place for himself in music, as much author as performer and recording artist, letting his songs develop and evolve across years -- his distinctly non-commercial voice became part of his appeal to the audience he found, giving him a unique corner of the music audience comprising listeners descended from the same people who had embraced Bob Dylan's early work before he'd become a mass-media phenomenon in 1964. In a sense, Cohen embodied a phenomenon vaguely similar to what Dylan enjoyed before his early-'70s tour with the Band -- people bought his albums by the tens and, occasionally, hundreds of thousands, but seemed to hear him in uniquely personal terms. He earned his audience seemingly one listener at a time, by word of mouth more than by the radio, which, in any case (especially on the AM dial), was mostly friendly to covers of Cohen's songs by other artists.
As was his wont, Cohen spent years between albums, and in 1973 he seemed to take stock of himself as a performer by issuing Leonard Cohen: Live Songs. Not a conventional live album, it was a compendium of performances from various venues across several years and focused on highlights of his output from 1969 onward. It showcased his writing as much as his performing, but also gave a good account of his appeal to his most serious fans -- those still uncertain of where they stood in relation to his music who could get past the epic-length "Please Don't Pass Me By" knew for certain they were ready to "join" the inner circle of his legion of devotees after that, while others who only appreciated "Bird on the Wire" or "The Story of Isaac" could stay comfortably in an outer ring.
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