Unknown 1969 Leonard Cohen New York Show Cited In 1975 Newspaper Concert Ad



1975 Leonard Cohen Concert Ad

George Tunick, who was responsible for the shots posted at Historic Images: Only Known Photos From Hartford Concert That Opened 1970 Leonard Cohen Tour, has also contributed a newspaper ad (shown above) for the Feb 7, 1975 Leonard Cohen concert at Avery Fisher Hall, New York City. While the ad is itself an interesting artifact, its most intriguing element is the following phrase:

Leonard Cohen
In His First New York Concert Appearance Since 1969

Leonard Cohen Concerts

I find no record of Leonard Cohen making a New York concert appearance in 1969. Nor are any of the Cohen cognoscenti I contacted aware of a 1969 New York show.

The reference to the 1969 concert may, of course, simply be a typo or a data error on the part of the ad’s creator.1 On the other hand, over the past two or three years, we’ve discovered a handful of previously unknown shows that took place during the 1970 Tour, which was much more formally organized and better documented than Cohen’s pre-1970 appearances. Consequently, one cannot rule out the possibility that Leonard Cohen played a concert took place in New York in 1969 that does not appear in any of the current archives.

One motivation for posts such as this one is the solicitation of information about the show in question from readers; anyone with knowledge about this concert can reach me through the email address at the “Contact DrHGuy” tab.


  1. For example, the intended reference could have been to Cohen’s performance at the Rheingold Music Festival, which took place in New York in 1967 rather than 169 []

DrHGuy On Family Leave


DrHGuy & the Duchess are overseeing the convalescence of their son, the Prodigal, whose gallbladder was excised yesterday afternoon at Duke University Hospital (see photo of his gallbladder in situ). Prodigal, aka Sam, appears to be thriving post-cholecystectomy, but the Duchess has implemented a care plan calling for PRN doses of extra attention, repeated applications of comfort foods, and a regime of video games interspersed with movies. Consequently, posting will be sparse or altogether absent for the next two or three days.

Leonard Cohen’s Popular Problems #1 On Amazon US As Of Today; #1 In Canada For Past 2 Days


click on images for best viewing

Credit Due Department: Thanks to Robert Kory for the heads up.

Historic Images: Only Known Photos From Hartford Concert That Opened 1970 Leonard Cohen Tour


Leonard Cohen Opens 1970 Tour At Trinity College

George Tunick, the fellow in glasses in the above shot, was a student at the University of Connecticut when he took these photos at the concert held at Trinity College in Hartford that opened Leonard Cohen’s 1970 Tour.1 The show took place April 8, 19702 before a crowd of a few hundred.

As far as I can determine, these are the only known photos (click on images to enlarge) from that 1970 Hartford show, which carries special significance as Leonard Cohen’s first concert of his first fully organized, independent tour with band and backup singers.3 That would make the final photo in the series (see below) the earliest known photo of Leonard Cohen performing in concert with his 1970 band, the group later to be known as The Army.

I asked George about any memories he had of the event. His response follows:

I’ll never forget..as he was walking by..(when I got the close shots..and for the one with me)..he was like chanting as he walked..like a cantor saying prayers to himself ..beautifully “ haunting”

George goes on:

1970..I was “obsessed” with the first album..especially..”One of us Cannot be Wrong ‘..( l  lit  a thin green candle..to make you jealous of me. But the room just  filled up with mosquitoes……..and on)..saw the 1975 show in NY..later  1988 and  1993 Wiltern theater in LA (pretty sure-2)……bought every vinyl  …    .Favorite songs….I’m Your Man..Anthem..Tower of Song . The  Stranger  .. The Future ..Famous Blue Raincoat..Dance Me to the End of Love

The concert “blew me away”…it was overpowering to meet him…they sang everything at that time…and obviously memorable..as I remember so much…and have these Photo Memories to “keep the experience alive”





Earliest known photo of Leonard Cohen with his 1970 band (later known as The Army) in concert. Note Cohen’s coat draped across a folding chair in front of him on the stage.

Credit Due Department: Thanks to Sylvie Simmons and Jugurtha Harchaoui, who provided data about and perspective on the pre-1970 Leonard Cohen concerts.


  1. George recalls that the concert took place at the auditorium of a college in Hartford in late 1969 or early 1970. After we exchanged a few emails, it became clear that the concert was the 1970 show at Trinity College. []
  2. Probably – see discussion at Where & When Did Leonard Cohen Perform In 1970? []
  3. Leonard Cohen performed a number of concerts prior to 1970. The 1970 tour, however, was the first sequence of concerts organized as a tour from a promoter’s business perspective with a band and backup singers Leonard Cohen promoted as a full-blown headline act rather than piggy-backing off of some other existing ticket-selling dynamic such as festivals such as Newport, York, and Mariposa. []

Q&A With Harvey Kubernik, Author Of Leonard Cohen: Everybody Knows (Part 2)

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This is Part 2 of the Q&A With Harvey Kubernik, Author Of Leonard Cohen: Everybody Knows. Part 1 includes an introduction to Harvey Kubernik as well as the initial portion of the Q&A. A review of the book can be found at Leonard Cohen: Everybody Knows by Harvey Kubernik – A Delight For Cohen Fans.

Harvey Kubernik Q&A (Part 2)

Q: Of all the stories you’ve heard through the years about Leonard Cohen, which strikes you as the most moving? funniest?
A: To this day I still find it strange and funny, and still can’t comprehend on some level that in 1967 Leonard Cohen had a full length mirror in the Columbia recording studio so he could watch himself play and sing during his initial LP sessions. If he got lost in the creative process he could employ the mirror to keep him on track or remember lyrics or chords.

I also found the quotes from Nick Cave on Leonard very moving. In the mid-eighties I produced a Nick Cave spoken word reading at the Lhasa Club in Hollywood and we talked about Leonard Cohen around settlement. We were all in same frame game together. The impact an early Cohen LP had on him four decades ago was immense.

Q: You wrote that “this book is neither definitive nor encyclopedic.” How did you decide which content made it into Everybody Knows and which didn’t make the cut?
A: Many of the choices were influenced by the supportive working relationship that developed among myself,  publisher Colin Webb, and UK editor  James Hodgson.  After I put together a formal proposal with areas of interest and interview subjects, we had many discussions. Both Colin and James were easy to work with. They were pleased to see names that had never been in a Cohen book and often emailed me about getting a photo to accompany a given quote or section of text. Sometime a photo would trigger a text to be written or a pull quote or a sidebar I would want inserted. Or they would ask if I was interviewing someone and I’d respond, ‘just ran tape on them.’

I also made the musicians a top priority way over the women or lovers in Leonard’s life, none of whom I even spoke to. It wasn’t that sort of biographical examination. If organically something is revealed, fine. But on this Cohen book I felt Leonard’s creative life needed to be re-defined partially by my own hand-picked west coast team of friends and musical associates as well as worldwide interview quotes I gathered to inform the text and enhance the visuals. “This is not your father’s Oldsmobile.”

After my brother Kenneth, my regional editor, reviewed the initial large sections, he made some first look observations, namely that my manuscript had to be condensed from 100,000 words to 60,000. That was a stressful and exhausting process for me. You edit alone.

Authors, including Andrew Loog Oldham, gave me some important interior editing tips. Poets and writers Harry E. Northup and Jimm Cushing provided especially helpful feedback, reinforcing that the new data and photos were as potent as I hoped.

I wouldn’t have bled for this book if its pages didn’t contain extraordinary, important insights and observations.

Any major  Leonard Cohen project demands certain essential voices and interview subjects. There are, as well, specific subjects and a biographical chronology the reader has to know. That being acknowledged, it was my responsibility to incorporate these obligatory elements with new material to create a portrait of the man from a unique perspective.

There is a bit of redundancy, such as citations and quotes from other publications, but as UCLA basketball coach John R. Wooden once explained to me, life, like hoops, is a game of repetition – as long as it moves the ball to the basket it’s OK.


Q: I found the timeline that begins each chapter of insightful as well as helpful in tracking the important events in Cohen’s life and career. The timelines also made me more aware of the 40+ year span from Cohen’s first album to the most recent tour and his forthcoming CD. From your perspective, which aspects of Cohen’s singing and songwriting have persisted and which have changed the most?
A: The Leonard Cohen I first met and interviewed in 1974 was exceptionally confident, sly, and assured, both on stage and in conversation.

I do think most of us who are longtime fans and record buyers cling to the narrative aspect of his vocal delivery and appreciate his singing voice that really kicked into gear after his vinyl debut.

Leonard has changed his vocal delivery many times over the decades. Most recently, his trademark sound has been grounded in a lower register growl or a slower, seductive whisper on some recordings. He has attributed changes in timbre to early cigarette smoking or to his cessation of smoking.

Leonard still sometimes employs narrative, as is obvious in his stage banter, which is not exclusively dictated by the traditional verse and chorus.

There seems to be a bit more political commentary in his lyrics the last few decades. This shift from the personal to the political is a welcome addition to his lyrical arsenal.

I think his vocals over the last 20 or 30 years on record are mixed upfront a tad more. Of course, that may result from listening to Leonard on CD instead of the cheap record player with tiny speakers that was central to my teenage and college years. Incidentally, putting on one of Leonard’s first few LP’s in my college dorm room dependably led to the immediate departure of my pals. At least some girls hung around for a while to salivate over his album jackets.

Q: What do you see in the near future for Leonard Cohen’s career – more albums, tours, another retirement …?
A: There will always be more product from Leonard. I just heard that his Sony catalog was re-mastered for iTunes or some other retailer. And a new album [Popular Problems] and a live DVD are scheduled for release. I just heard a new track and it seems to be in the “I’m Your Man” sound playbook. Is Patrick Leonard the producer? [Yep]

Leonard Cohen likes to perform in front of people. He enjoys the adulation. He is very grateful and respectful of his audience, who lay out some big bucks to experience his three hours soul-search laid out in front of them. I suspect he enjoys the increasingly lucrative fees from touring and music publishing as well as from disc and digital sales. His well-deserved tour pay checks of the last decade were certainly not in his game plan.

Going back on the road after age 70, whether by choice or economic necessity, is a challenge. While I’m sure there are or were insurance clauses and agent and promoter concerns around live performance bookings, the promoters believed that, even after his long hiatus from performing, ducats could be sold and were willing to take the financial risk. Leonard’s “people,” his already established, passionate fan base came through for him, creating more foot traffic and ticket sales than anyone could expect. And that’s great – I’ve always been rooting for him.

I like when Leonard reads at his shows. The audience is silent, absorbing every nuance. He might drop in a poem or two at his shows, but I relish the recital element of his repertoire and wish he’d make a spoken word or poetry album already. I’ve suggested it before. I’ve produced a couple of dozen of them, including live recording sessions with Allen Ginsberg, and I was Project Coordinator of The Jack Kerouac Box Set Collection. I’ve pitched this idea to just about every manager and/or lawyer Leonard has employed. I know he’s read on various album compilations and on screen, but it’s time for a complete album.

I recall a 1974 show in Los Angeles I attended at the Dorothy Chandler Pavilion or UCLA. Leonard took a book out during that ’74 concert and started reading passages. We hung on every word.

That reading segment reminded me of a Doors concert I caught in 1968 at the Forum in Inglewood. Jim Morrison told the audience ‘I’m gonna read some poetry to you.’ When he finished the poem it went into ‘Celebration of the Lizard.’ It was scary and mesmerizing. I was a teenager. I think poetry and spoken word can work in the big halls and arenas. I’ve done local events of this sort around my book ‘Turn Up The Radio!

So I’m sending out a smoke signal. I can expose Leonard’s literary recordings to an audience that only know him through hearing renditions of his ‘Hallelujah’ (or Jeff Buckley’s cover version) on radio, TV, and the movies.

Leonard: I’m ready to nosh with you at Canter’s delicatessen to discuss this long overdue collaboration.

As for touring it’s not like Leonard is changing the show repertoire dramatically every performance. I suspect he’ll do very short tours or isolated venue stops in a few selected cities, probably in Europe in 2015. He’s considered an Alta cocker now, (Yiddish term for old guy) if age 80 is even your tipping point. But he always seems to answer the bell.

Q: How will he be remembered, if at all, fifty years from now?
A: He will be remembered -  way more in Europe and the rest of the world than in America, especially Hollywood and Los Angeles, where he lives. Planet Los Angeles is celebrity obsessed and media-controlled, a place that forgets your artistic existence and contributions, especially after you’re over 40. My city has a history of disliking and ignoring many native artists and the traditional media, the local L.A. newspapers, have the same mindset in terms of reviewing local poets and native writers. But at the same time it’s a fertile place for creating work, witness Leonard’s output since the late seventies.

Think about 40 years ago when Columbia Records in the U.S. had objections to the front cover artwork to Leonard’s New Skin for the Old Ceremony and finally changed the cover for a time.1 And recall that the album that included  ‘Hallelujah’ was rejected by Columbia/Sony, and had to first be issued on a smaller independent label, before the discovery, or re-discovering of ‘Hallelujah’ in Europe led to Various Positions being reissued by Sony Music.

Q: What will be Leonard Cohen’s legacy?
A: Let the retrospectives begin and continue. Cohen’s songs live on and his books are constantly being read and re-published. His legacy is also re-positioned by the number of his recordings in TV and music soundtracks. What Leonard has accomplished is terrific. I really think, going back to his own teenage years in Montreal that he always wanted to be a writer and poet. He did it. The recording platform further developed along with new media exposures, and Leonard, with his audience took his trip to places and spaces neither he nor we never imagined. Mazel Tov to him.


Credit Due Department: Photo atop this post taken at Leonard Cohen’s L.A. home by Henry Diltz in 1993. The graphic in the middle of the page is an excerpt from Leonard Cohen: Everybody Knows.


  1. See Leonard Cohen’s New Skin For The Old Ceremony: The Cover Art Cover-Up []

Video: Leonard Cohen – Almost Like the Blues (With Lyrics)



Leonard Cohen – Almost Like the Blues (Lyric)
From Leonard Cohen’s new Popular Problems album
Video from LeonardCohenVEVO