In an interview during the 2014 NAMM1 meeting at the TC Electronic2 booth, Roscoe Beck spoke of his plans for 2014, including working on Leonard Cohen’s new CD, co-producing a new Jennifer Warnes CD, and “maybe a little more touring with Leonard at the end of the year.”
Note: The date of the interview is not given; the 2014 NAMM meeting took place Jan 23-26 in Anaheim, CA.
The video is cued to start with Roscoe’s discussion of his 2014 plans.
Roscoe Beck And Greg Koch TC Electronic NAMM 2014
Published Feb 7, 2014
Video from TC Electronic
NAMM, the National Association of Music Merchants (NAMM), commonly called NAMM in reference to the organization’s popular NAMM trade shows, is the not-for-profit association that promotes the pleasures and benefits of making music and strengthens the $17 billion global music products industry. Source: NAMM web site [↩]
TC Electronic is a Danish audio equipment manufacturer which produces guitar effects, bass amplification, computer audio interfaces, audio plug-in software, live sound equalisers, studio and post production equipment, studio effect processors and broadcast loudness processors and meters. Source: Wikipedia [↩]
Originally posted on this site November 15, 2011, this brief (2 minutes) video featuring an interview with Leonard Cohen and Anjani Thomas by Luce Gauthier and clips from Anjani’s performances seems especially pertinent now with Anjani’s new CD scheduled for release soon.
The interview took place in Toronto during the promotion of the Blue Alert album (released in Canada on May 2, 2006) and appears to have originally aired on TFO, the Franco-Ontarian public television network.
While most fans will already be familiar with the information in the interview, this new opportunity to hear Leonard Cohen and Anjani Thomas articulate the strengths each brought to their collaboration in creating Blue Alert shouldn’t be missed.
Both the studio and concert versions of the final verse are provided in Stranger Music: Selected Poems and Songs By Leonard Cohen (Vintage: November 1, 1994)
I think all my songs are political in a certain way but that one [A Singer Must Die] especially in the recorded version where the last verse is really very strong against a certain kind of authority. ~ Leonard Cohen1
A Verse Rewritten From The Studio To The Stage
Leonard Cohen released A Singer Must Die as the second track on the New Skin For The Old Ceremony album released August 1974, and he sang the studio version at concerts in 1974. By 1975, he had completely rewritten the last verse of the song, creating the version he has sung since onstage.2 (The lyrics themselves are available in the next two sections of this post.)
Of course, Leonard Cohen revising the lyrics of his songs is hardly an exceptional event; rather, it is integral to his songwriting methodology, an extension of his habit of writing many, many polished verses and then discarding all except the pristine lines that precisely convey his message before presenting his work to the public. Cohen has expounded this strategy, often in quasi-apologetic tones, in several interviews. A short sampling follows:
I have about fifty verses of “Democracy” that I discarded.3
[Leonard Cohen] showed me the bookshelves crammed with volumes of notebooks, each packed not only with the famous finished versions of his songs, but also with the countless revisions of these songs, and all the discarded verses he labored over and ultimately excised from his songs. “The thing is,” he explained, “before I can discard the verse, I have to write it. The bad verses take as long as the good verses to write. The cutting of the gem has to be finished before you can see whether it shines. You can’t see that in the raw.” He writes and rewrites his songs for as long as it takes4
Cohen explained that he had never stopped writing, and that he produced work slowly because of his painful perfectionism, a trait that led him to originally write 80 verses for Hallelujah. “My trouble is that before I can discard a verse I have to polish it first. It takes a long time.I never feel like I’ve stopped working. It might look to the marketplace that nothing is happening but the workshop has never shut down.”5
Further, Cohen does not consider the lyrics (or the musical arrangement) of a song locked in by its appearance on the playlist of a series of concerts (e.g., Chelsea Hotel6 ) or by its release on a recording (e.g., Hallelujah7 ).
Consequently, this post is focused not on the supposed rarity or novelty of Cohen’s alteration in the lyrics of the final verse of A Singer Must Die but on the insight into Cohen’s goals as a songwriter proffered by a simple comparison between the two versions.
Lyrics of Final Verse of A Singer Must Die:
Studio Version (New Skin For The Old Ceremony)
I am so afraid that I listen to you, your sun glassed protectors they do that to you. It’s their ways to detain, their ways to disgrace, their knee in your balls and their fist in your face. Yes and long live the state by whoever it’s made, sir, I didn’t see nothing, I was just getting home late.
Leonard Cohen – A Singer Must Die
Performed With Studio Version Final Verse
Berlin: September 24, 1974
Video from ALB123Videos
Lyrics of Final Verse of A Singer Must Die:
Representative Concert Verse (Sligo: July 31, 2010)
And save me a place in a twelve dollar grave With those who took money for the pleasure they gave With those always ready, with those who undress So you could lie down with your head on somebody’s warm breast And the ladies go moist, and the judge has no choice, A singer must die for the lie in his voice
Leonard Cohen – A Singer Must Die Performed With A Concert Version Of Final Verse
Sligo: July 31, 2010
Video from albertnoonan
The Introductions & The Critics
One commentator appears obsessed with the notion that the song has to do with critics and singers. That commentator would be Mr Leonard Cohen. The following quotations are among his introductions to concert performances of A Singer Must Die.8
This song is for my critics and for my judges and for those who give marks to us everywhere, who evaluate our performance whether it is in the courtroom or the cloakroom or the bedroom. This is for the judges. [Frankfurt 06/10/74]
In this next song I wrote from the feeling of being on trial – everyone’s on trial -. In every living-room there’s a trial going on, in every bedroom there’s a trial going on, not just in the courtrooms, not just in the jails, but in the most private places of our lives, yeah we subject each other to judgement and to trial. [Hanover November 11th, 1979]
I’ve always been attached to those songs that you sing when you don’t feel like singing. I’ve read some reviews of my concerts, over the past several months, and I’m very happy that my suit is so well observed. Sometimes my suit whispers to me from the closet “Do not forget me” it whispers throughout the song and here, I crucify on this hanger (..) suit. [San Francisco June 8th, 1985]
The critics have begun to be very kind to me. I am reminded of that aphorisms articulated by the great cinema master who is now in disgrace, Woody Allen. “Most of life is just showin’ up.” [Boston 16/07/93]
Leonard Cohen Talks To John McKenna About A Singer Must Die & McKenna Talks Back
At least one interviewer directly addressed the fact that the lyrics of this specific song had been rewritten. This excerpt is from How The Heart Approaches What It Yearns, a radio interview with Leonard Cohen by John McKenna9 [bolding mine]:
JM: I’ve always thought A Singer Must Die to be one of Leonard Cohen’s most overtly political songs, but I wouldn’t have classed the bulk of his other songs as political. He disagrees.
LC:I think all my songs are political in a certain way but that one especially in the recorded version where the last verse is really very strong against a certain kind of authority.
JM: But, A Singer Must Die is specifically about politics. About the struggle of the singer to keep the truth in the face of lies. Listening to it the ghost of Victor Harrer[?] is in the air. So where did the song come from?
LC: I guess that’s some kind of basic view I hold about the thing, that it doesn’t really matter what the singer is speaking of, it doesn’t really matter what the song is. There’s something I listen for in a singer’s voice and that’s some kind of truth. It may even be truth of deception, it may even be the truth of the scam, the truth of the hustle in the singers own presentation, but something is coming across that is true, and if that isn’t there the song dies. And the singer deserves to die too, and will, in time, die. So the thing that I listen for is that note of something big manifested that is beyond the singer’s control.
JM:Cohen has rewritten the song significantly, moving it out of the specifically political realm and widening its relevance. Making the issues more mundane and thus, more universal. Bringing the war down to a struggle between individuals. Save me a place in the ten dollar grave with those who took money for the pleasure they gave. With those always ready, with those who undressed so you could lay down with their head on your breast. A struggle between men and women.
LC: Well I think that’s in there and me, I just happen to go through those conventional approaches to love. It is a very subversive position. Subversive is not quite the word – it’s a radical position in that song that is beyond left and right. It talks about a reaction, an organic reaction, a convulsive reaction, that’s not even a strategy or a plan of action, it just – you just can’t tolerate the way things are. You can’t lay the responsibility to the police or to the critics or to anything – but the whole song says there’s a lie and because there’s a lie it’s going to die.
JM: He has never recorded the re-written version, though it’s the one he sings in concert. It’s the one which appears on Jennifer Warnes album Famous Blue Raincoat.
Yeah, What He Said, Except …
Agreeing with an analysis by someone else is a disconcerting experience for a blogger. My most relished task is pointing out how the established critics, self-designated experts, journalists, biographers, and other grownups got it wrong about Leonard Cohen.
Alas, in this case, I fear Mr McKenna has quite neatly summarized the effect of the rewritten lyrics as “moving it [the song] out of the specifically political realm and widening its relevance.”
I do, however, have a possibly useful observation to add that makes for a more nuanced understanding of Leonard Cohen’s songwriting tactics.
Cohen, to paraphrase McKenna’s explanation, does indeed widen the relevance of the song – but he does not forcibly inflict a universal theme. He does not, for example, poetically limn the proposition that the principles addressed herein are hereby held to pertain to love, war, court trials, business conflicts, tumult within relationships, critics judging artists, athletic contests, religious controversies, … .
Instead, he accomplishes this relevance-widening efficaciously and lyrically by courageously eliminating his painstakingly produced final verse, one he seems to himself admire (“… especially in the recorded version where the last verse is really very strong against a certain kind of authority”) and replacing it with – well, nothing much that’s new to the song.
Of the revised final verse’s six lines, the last two are, in fact, identical to the last two lines of the first verse, the only repeated lines in the song:
And the ladies go moist, and the judge has no choice, A singer must die for the lie in his voice
The four new lines follow:
And save me a place in a twelve dollar grave With those who took money for the pleasure they gave With those always ready, with those who undress So you could lie down with your head on somebody’s warm breast
Make no mistake – these lines are not empty placeholders. This section clarifies, deepens, and enhances the notion that “A singer must die for the lie in his voice.” The imagery of a prostitute’s “twelve dollar grave” (it’s a three dollar grave in some versions; perhaps because of market fluctuations) is powerful. But the key is that the central theme, “A singer must die for the lie in his voice,” has already been introduced. The last verse is enrichment of a motif, not new data.
The important change is the elimination of the angry, anti-authoritarian rebuke to the state. “Their knee in your balls and their fist in your face. / Yes and long live the state by whoever it’s made.” Indeed.
There is no indication that Cohen retracted this sentiment because he repented this stance and become a supporter of fascist governments.
Instead, he has honored, as few can, the longstanding editing dictate that writers must ruthlessly revise. Stephen King’s presentation of this principle is pertinent if a tad over-dramatic:
Kill your darlings, kill your darlings, even when it breaks your egocentric little scribbler’s heart, kill your darlings
Cohen trusts his own skill and judgement to prune distractions from his central message regardless of how much effort he expended on creating those beguilements and how dazzling they might be – and he trusts his audience to get the joke without exhaustive explanations. Cohen himself provides a fitting close to this post in this final excerpt:
He [Leonard Cohen] isn’t the type who feels songs should spill out in one inspirational rush, and is always ready to delete an idea if it doesn’t seem to work. “I’m tempted to remove everything,” he said. “At any time I’ve got a kind of alcoholic courage. Most people are reluctant to remove things. My sin is on the other side. I’m ready to discard the whole song at any time and start over.”10
The Inevitable Disclaimer
A consideration of the reasons Leonard Cohen chose the original, now abandoned lyrics of final verse of A Singer Must Die and, especially, the means by which Leonard Cohen weaves this musical tapestry is beyond the decidedly non-universal scope of this post.11
Jugurtha Harchaoui has pointed out, for example, that “the singer (or flute player, or poet, or cantor) that must be eliminated because he is seen as subversive is a very old theme in literature.”12 An exploration of this idea alone would would have engorged an already lengthy post to Brobdingnagian proportions. And as for factoring in the single report that Leonard Cohen wrote A Singer Must Die “at least partially in response to his having learned that he was on President Nixon’s ‘Enemies List,’”13 well, I have a blog to write.
There have actually been many versions of the final verse performed in concert, most varying by only a few words. The Sligo performance, the video of which is embedded in this post, is representative. The French LeonardCohenSite offers over a dozen differing versions of the last verse from various post-1974 concerts. [↩]
Leonard Cohen’s The Future Interview by Bob Mackowitz, a radio special produced by Interviews Unlimited for Sony Music, 1992. Transcript found at Speaking Cohen. [↩]
I’ve included excerpts below but the article is best read in its entirety:
The county’s Twin Towers Correctional Facility in downtown Los Angeles is a hulking, massive concrete structure. It is also part of the largest municipal jail system in the United States.
…”Here within Twin Towers, we house approximately 3,900 inmates. A majority of those inmates are deemed mentally ill,” says Lt. Joseph Badali, a supervisor with the Sheriff’s Department.
The United States incarcerates hundreds of thousands of inmates suffering from mental illness, and jails and prisons are struggling to provide for inmates with severe mental health needs.
…L.A. County is not unique. In fact, it is far from it. Experts say good numbers are hard to come by, but one estimate calculates there are about 2.1 million annual bookings of persons with serious mental illnesses into jails. That number swells when you count state and federal prisons.
At one time, huge state hospitals housed the mentally ill. When they closed in the 1970s, community-based care was supposed to step in. Instead, with fewer options, the mentally ill were released to the streets, where they often got into trouble. Jails have to take mentally ill offenders in, but they can’t force medication.
…”In many ways, we are a hospital,” says Hough, the psychiatrist. “What brought them into the system was an alleged crime, and we certainly at the Department of Mental Health are not here to judge that. But while they are here and they suffer from a mental illness, we will provide care.”
Leonard Cohen Has Been Officially Aching In The Places He Used To Play Since February 2, 1988
Update: As some folks have pointed out, this is actually the 26th, not the 25th anniversary of the release of I’m Your Man. But who gets excited about a 26th anniversary? Like Leonard Cohen, “I don’t want to let the facts get in the way of the truth.”1 Besides, being only a year off is pretty good for me. Still, I am giving in to the fact-mongers lest some naif be misled.
In case anyone has forgotten why this is a cause for celebration, check out the album’s tracklist:
1 First We Take Manhattan 5:52
2 Ain’t No Cure for Love 4:51
3 Everybody Knows 5:33
4 I’m Your Man 4:25
5 Take This Waltz 5:58
6 Jazz Police 3:54
7 I Can’t Forget 4:32
8 Tower of Song 5:37
And, to start the festivities, I recommend reading “Ain’t No Cure For Love: Leonard Cohen’s I’m Your Man 25 Years On” by David Bennun. An excerpt follows:
I’m Your Man unveiled him: the roué whose suit and songs were the only sober thing about him replaced by the wry, pinstriped boulevardier – at that instant, less Montparnasse than Sunset. There he stood, double-breasted and sunglassed; bearing a half-unpeeled banana the way a similar-looking figure might (as Cohen biographer Sylvie Simmons observed) have wielded a microphone or a gun. At last, he was tipping the wink. He’d been droll all along, in a mordant way, but now he was a conjuror revealing the hidden gimmick: one need not be comical to be humorous. It is possible – essential, sometimes – to be deeply and deliberately serious in order to be deeply and deliberately funny.
This is a delightful, insightful consideration of one of Cohen’s most important and most popular albums, I’m Your Man. Bennun is especially perceptive in recognizing the key role this album played in Cohen developing into the artist we see on tour today and especially articulate in limning that turning point.
I don’t agree with all of Bennun’s points, but his lucid and entertaining presentation renders the reading – even reading the portions I dispute – a pleasure.
OK, a reading assignment may not meet universal criteria for “festive;” so, feast your eyes and ears on this, my choice of the sexiest performance of the album’s title song, I’m Your Man: Radio City Music Hall, May 17, 2009.
The Luminously Libidinous Leonard Cohen Will “examine every, every precious inch of you”
Words cannot convey – at least not words I can safely use in a post my mother might someday read – the raunchy eroticism that radiates from Cohen’s lyrics, voice, intonation, footwork, facial expressions, and posture…listening to (and watching) Cohen sing the sequence beginning at 1:05 reveals an extraordinarily seductive invitation to conjoined carnality.
Leonard Cohen’s Elegy For Janis Joplin – Chelsea Hotel #1
This video features the first version of the song Leonard Cohen would later revise into "Chelsea Hotel #2" along with images of Leonard Cohen, Janis Joplin - whose liaison with Cohen at the Chelsea Hotel led to the creation of the song, the Hotel itself, and other associated people & places.
Joni Mitchell and Leonard Cohen had a fling in the 1960s that, for unspecified reasons, was short-lived, with Cohen instigating the parting.
It was then and is now a complex connection. In 1988, Cohen said, I'm still very friendly with Joni - I had dinner with her before the tour, and I have the same admiration for her as you do. But I think it was Noel Harrison who came up to me in the LA Troubadour and said "How do you like living with Beethoven?"
Do I Have To Dance All Night Surpasses 70,000 Views
"Do I Have To Dance All Night" was performed many times in concerts but was never released in the US.
As part of my crusade to popularize this song, I've cobbled together 2 videos - one for the semi-funky 1976 version with Laura Branigan and one for the 1980 more gypsy, less disco version - that kinda sorta fit the music.
As of Dec 19, 2012, the video of the 1976 version of Do I Have To Dance All Night has been viewed 70,152 times.
This Heck Of A Guy compilation includes unreleased Leonard Cohen performances over a 30+ year period.
Track List: Vol 1
1. Feels So Good (The Other Blues Song)
2. Book Of Longing
3. The Darkness
6. Do I Have to Dance All Night (1976)
7. Blues By The Jews
Track List: Vol 2
1. Red River Valley
2. Never Got To Love You (Duet with Anjani)
3. Can't Help Falling In Love
4. Ride Around
5. The Union Makes Us Strong
6. We Shall Not Be Moved
7. To Love Somebody
8. The Hypnotist (Poem)
9. Chelsea Hotel #1
10. There's No Reason Why You Should Remember Me
11. Streets Of Laredo
12. Do I Have To Dance All Night (1980)
Now, Another Other Leonard Cohen Album, the second collection of unreleased Leonard Cohen songs joins the popular The Other Leonard Cohen Album to offer fans of the iconic singer-songwriter a total of 3 CDs of musical treats. Another Other Leonard Cohen Album includes the following tracks plus liner notes by Sylvie Simmons.
1. Je Veux Vivre Tout Seul
2. Kevin Barry
3. Die Gedanken Sind Frei
4. Store Room
5. As Time Goes By
6. Don’t Go Home with Your Hard-on
7. Blessed is the Memory
8. Silent Night
9. Dead Song
10. Another Saturday Night
11. Ballad of the Absent Mare
13. The Butcher
14. Un As Der Rebbe Singt
15. Song to the Machines
16. If It Be Your Will
17. Thirsty for the Kiss
18. A Thousand Kisses Deep
19. I Tried To Leave You
20. Whither Thou Goest
21. Mr Cohen Must Be Going
Photos of or related to Leonard Cohen that fall into specific themes have been among the ongoing features at DrHGuy, HOAG's sibling site. Galleries displaying collected images of 3 of these themes are now available at
And We’re Still Making Love In My Secret Life – Julie’s Story & Video
... I never had a chance. I was - and this is the only word that fits - smitten. I still am.
She was smart and quick-witted, although it would take me 3 years to recognize that she was, in fact, much smarter than me, and then another 2 years to forgive her for that. She was also good-looking and unabashedly sexy.
And, we fell madly, irredeemably, unflinchingly in love.
Complementing the unlikely story of how Julie and I met, fell in love, and - 9 years, 2 husbands, 1 wife, and 2 careers later - got together to spend an outrageously wonderful 20 years together before her death, a video, set to the poignant "In My Secret Life" by Leonard Cohen and Sharon Robinson, is now available that evokes the role Julie, who died 10 years ago, continues to play in my life.