Today, Heck Of A Guy offers, as a Thanksgiving treat,1 a confection from Swedish TV – a video uploaded a few days ago that features Leonard Cohen, aided and abetted – as well as fondled – by Perla Batalla and Julie Christensen, performing “I’m Your Man” on 29/30 June 1988 on Jacob’s Backstage (Med Noje Pa Dalaro) Stockholm, Sweden.
While all the obligatory flirtatious adoration of his back-up singers/willing accomplices associated with the salaciously provocative “I’m Your Man” is, other than the song itself, the high point of the video, at least two other tiny gems adorn this production.
1. I’d Say Please, Too
Just after 2:30 Leonard Cohen does his Roscoe Beck imitation, echoing his own “Pleeeeease.”
For comparison, the video below starts just before Cohen sings “I’d say ‘please,’” which is followed by Roscoe Beck joining in with “Pleeeeease.”
Leonard Cohen – I’m Your Man (San Jose, 11/13/2009)
At 1:54 a diver springs into the lake over Julie Christensen’s right shoulder. As a guide, the screen capture is shown below with the diver’s body circled in red and Photoshopped into high contrast.
Leonard Cohen – I’m Your Man (Swedish TV, 1988) Video from caro8680
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This designation valid only in the United States; elsewhere, Heck Of A Guy restricts this offering to “a treat.” We apologize for any inconvenience this may cause. [↩]
Over the course of the Leonard Cohen World Tour, three new, unreleased songs were presented in concert, giving rise to speculation that they may be included on a forthcoming Leonard Cohen album:
“Lullaby”
“The Darkness”
“Feels So Good” (formerly known as “The Other Blues Song”)
Because the lyrics and arrangements of these songs have been subject to change, Heck Of A Guy has grouped the available recordings of each for the convenience of listeners interested in how they have evolved thus far.
This post focuses on “Feels So Good” (AKA “The Other Blues Song”).
About That “Other Blues Song” Name
I can explain.
And, I will, albeit in another post. Stay tuned.
“Feels So Good” By Leonard Cohen
“Feels So Good” has been played in the following concerts:
Chicago – October 29, 2009
Asheville – November 1, 2009
Durham – November 3, 2009
Kansas City – November 9, 2009
Las Vegas – November 12, 2009
San Jose – November 13, 2009
Update 7/31/2010: A significantly altered version of “Feels So Good” was performed by Leonard Cohen at the July 27, 2010 Salzburg concert. The video of that performance and a MP3 version for downloading can be found at Leonard Cohen Performs New Version Of “Feels So Good” At Salzburg Concert.
Update 8/8/2010: Lyrics from the version of “Feels So Good” performed at the July 31, 2010 Leonard Cohen Lissadell House, Sligo concert, the video of that performance, as well as a summary of all known transcriptions of the song’s lyrics (including those from this post) are posted at “Feels So Good” By Leonard Cohen – Updated Lyrics And Videos.
Leonard Cohen – Feels So Good (Rosemont Theatre, Chicago, 10/29/2009)
Well it feels so good
not to love you like I did.
Feels so good
not to love you like I did.
It’s like they tore away the blindfold and they said we’re gonna let this prisoner live.
It’s like they tore away the blindfold and they said we’re gonna let this prisoner live.
Feels so good
just to wake up in the morning by myself.
Cup of coffee in the kitchen, fire up a little danger to my health.
I got the same old broken heart but now it feels like it belongs to someone else.
I got the same old broken heart but now it feels like it belongs to someone else.
Ah but you visit me,
summon(?) me to the kingdoms(?) of the night.
And I show you how you broke me
doing every single thing that I like.
And I beg you not to leave me
and I try to go on sleeping, but the room’s too bright.
And I beg you not to leave me
and I try to go on sleeping, but the moon’s too bright.
Yeah it feels so good
not to love you like I did.
I don’t know why
ah, but it just did.
It’s like they tore away my blindfold and they said we’re gonna let this man live.
It’s like they tore away my blindfold and they said we’re gonna let this man live.
Feels so good, not to love you like I did.
Feels so good, not to love you like I did.
It’s like they tore away the blindfold and they said, we’re gonna let this prisoner live.
It’s like they tore away the blindfold and they said, we’re gonna let this prisoner live.
Feels so good to wake up in the morning by myself,
Cup of coffee in the kitchen, fire up a little danger to my health.
I got the same old broken heart but now it feels like it belongs to someone else.
I got the same old broken heart but now it feels like it belongs to someone else.
Feels so good not to wonder who you’re with,
who you love, who you touch, who you kiss.
But I just, I guess, got lucky, I just never thought this ugly mood would lift,
I guess I just got lucky ’cause I never thought this ugly mood would lift.
Feels so good, not to love you like I did.
I don’t know why, but it just is.
It’s like they tore away my blindfold and they said, we’re gonna let this prisoner live.
It’s like they tore away my blindfold and they said, we’re gonna let this prisoner live.
Note: These MP3 files were converted from the videos shown in this post.
To download,
1. Right-click on the links corresponding with the song versions you prefer and then choose “Open link in new window” or “Open link in new tab” to open the download service pages in new windows or tabs (left clicking on the links may open the download service pages in this same window; in that case, click the “Back” arrow on your browser to return to this post):
2. On the download service pages that open, click on this image:
Then choose “Save File.”
3. Each file is downloaded as “Feels So Good – [venue name].mp3.”
4. The files can be used in iPods and other MP3 players. The appropriate tags (title, artist, etc) and art should display automatically when the files are loaded into an MP3 program such as iTunes. The files can also be burned onto a CD.
Leonard Cohen Performs New Version Of “Feels So Good” At Salzburg Concert
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The title of this post, “Three New Songs From The Leonard Cohen World Tour,” is extrapolated from an amalgam of the names of two of Cohen’s albums, “Songs From A Room” and “Ten New Songs.” The graphic atop this post is rendered in the style of the latter album.
Today, I stumbled across a video review by Russ Waits on the Paste Magazine site that is concise (requiring less than five minutes), insightful, and most importantly, largely congruent with my own take on the performance, qualities which prompted me to offer it here for viewing.
Over the course of the Leonard Cohen World Tour, three new, unreleased songs were presented in concert, giving rise to speculation that they may be included on a forthcoming Leonard Cohen album:
“Lullaby”
“The Darkness”
“Feels So Good” (formerly known as “The Other Blues Song”)
Because the lyrics and arrangements of these songs have been subject to change, Heck Of A Guy has grouped the available recordings of each for the convenience of listeners interested in how they have evolved thus far.
“The Darkness” was unofficially introduced during the soundcheck that preceded the August 3, 2009 concert at Piaza San Marco, Venice that was attended by several invited guests and, as seen in the photo below, observed by a group of fans just outside the venue. Consequently, recordings of the song were almost immediately made available.2 “The Darkness” was not played during the Venice concert.
Click on images to enlarge. Both soundcheck photos were taken by Jarkko.
“The Darkness” has been played in the following concerts:
Venice – July 3, 2009 (soundcheck only)
Nashville - November 5, 2009
St Louis – November 7, 2009
Las Vegas – November 12, 2009
San Jose – November 13, 2009
Leonard Cohen – The Darkness (Venice Soundcheck, 7/3/2009)
….It was drinking from your cup
I caught the darkness
from your little ruby cup
I said ‘is this contagious?’
You said ‘just drink it up’
I got no future baby
I know my days are few
I got no future (honey?)
I said I know my days are few
And the prison’s not that pleasant
Just a lot of things to do
I don’t need your sticky (?) little buzz
I don’t need your alcohol
I don’t need your loving touch
but that’s always been your call
’cause there’s nothing about (but?) the darkness
‘makes any sense to me at all
I should have seen the darkness
It was right behind your eyes
ah, those pools so deep and heartless
I just had to take a dive
ah yeah winning you was easy
yeah but darknesss was the prize
Got no future
Got no future
Got no future
yeah I know my days are few
The prison’s not that pleasant
just a lot of things to do
Don’t need your sticky little buzz…
[here he signals the band to stop- you can hear cathedral bells ringing over them]
….. it was drinking from your cup,
I got the darkness
from your little ruby cup
I said ‘is this contagious?’
You said ‘just drink it up’
I’ve got no future baby
I know my days are few
I’ve got no future though
As I say I know my days are few
Is the present not that pleasant (?)
Just a lot of things to do
I don’t like your sticky little bud
I don’t like alcohol
I don’t need your loving touch
That’s always been your call
Cause there’s nothing but the darkness
Makes any sense to me at all
I should have seen the darkness
It was right behind your eyes
All those pools so deep and heartless
I just had to take a dive
Ah yea but winning you was easy
Ah but the darkness was the price
Got no future (x3)
Yea I know the days are few
The present is not that pleasant(?)
Just a lot of things to do
I caught the darkness baby,
Drinking from your cup,
I caught the darkness baby,
from your little ruby cup.
I said is this contagious?
You said ‘just drink it up’
I’ve got no future,
I know my days are few
The present’s not that pleasant
just a lot of things to do
I thought the past would last me
but the darkness got there too
I should have seen it coming
it was right behind your eyes
you were young and it was summer
ahhh-I had to take a dive
yeah winning you was easy
but the darkness was the prize
I don’t use no cigerette
and I can’t taste the alcohol
I ain’t had much loving yet
ah but that’s always been your call
ever since the darkness
doesn’t make much sense to me at all
I used to love the rainbow
And I used to love the view
I loved the early morning
and I pretended it was new
but I caught the darkness baby
and I got it worse than you
caught the darkness
drinking from your cup
I caught the darkness
drinking from your cup
I said is this contagious?
you said ‘just drink it up’
Note: These MP3 files were converted from the videos shown in this post.
To download,
1. Right-click on the links corresponding with the song versions you prefer and then choose “Open link in new window” or “Open link in new tab” to open the download service pages in new windows or tabs (left clicking on the links may open the download service pages in this same window; in that case, click the “Back” arrow on your browser to return to this post):
2. On the download service pages that open, click on this image:
Then choose “Save File.”
3. Each file is downloaded as “Darkness – [venue name].mp3.”
4. The files can be used in iPods and other MP3 players. The appropriate tags (title, artist, etc) and art should display automatically when the files are loaded into an MP3 program such as iTunes. The files can also be burned onto a CD.
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The title of this post, “Three New Songs From The Leonard Cohen World Tour,” is extrapolated from an amalgam of the names of two of Cohen’s albums, “Songs From A Room” and “Ten New Songs.” The graphic atop this post is rendered in the style of the latter album.
Democracy Is Coming To San Jose – Leonard Cohen Concert
“Democracy,” an especially popular feature of concerts earlier in the Leonard Cohen World Tour, had been absent for some time but was resurrected as the final song of the final US concert. Today, Albert Noonan uploaded a video of the introduction to the song, the performance itself, and Leonard Cohen’s closing words.
And all of a sudden this universe was created, this universe that was guarded by Mr. Leonard Cohen,
and it was just ridiculous to me that this old Jewish [man],
and one of the most cynical poet songwriters in the world,
managed to save me in the heart of the Islamic Republic.1
The Imprisonment And Torture Of Maziar Bahari
Maziar Bahari, reporting on the presidential election in Iran for Newsweek, was arrested in June and accused of being “an an agent of foreign intelligence organizations,” including, according to his interrogator, “CIA, MI6, Mossad, and Newsweek.” He was kept in solitary confinement in Tehran’s notorious Evin Prison, where he was repeatedly tortured and threatened with death until, perhaps as a result of a campaign by the world press as well as diplomatic efforts, he was released on bail October 17, 2009, a few days before his daughter was born in London.
He credits his psychological survival, in large part, to being able to create a “parallel universe” in which he could reside apart from his physical surroundings and dire circumstances.
His story, “118 Days, 12 Hours, 54 Minutes,” published November 21, 2009 in Newsweek (issue dated November 30, 2009) is compelling reading. While this post focuses on one area of special interest, Maziar Bahari’s use of Leonard Cohen’s music to survive his ordeal,2 I urge viewers to read the original article for the perspective it offers on a political environment as bizarre and surreal as anything Kafka could envision.
A thorough, 40 minute interview with Maziar Bahari is available on CBC at Maziar Bahari Interview. The portion dealing with Leonard Cohen’s music begins just after the 18 minute mark. A shorter video encapsulation of the events covered in the report and support for my comment about “a political environment as bizarre and surreal as anything Kafka could envision” can be found in the final sections of this post.
Maziar Bahari Thanks Leonard Cohen For “A Whole Musical Refuge Of Lyrics And Melodies”
I’ve appended videos of Leonard Cohen performances to the following excerpts taken directly from “118 Days, 12 Hours, 54 Minutes.” Adding any other annotation would only diminish the eloquence and intensity evident in these passages:
My wife, Paola, is breast-feeding our 2-week-old daughter, Marianna, on the couch. The little girl is enjoying every drop of milk. No Madonna and child were ever more beautiful. We are listening to one of the songs that kept playing in my head in Evin, that helped me tune out what was happening and find some peace inside myself—”Hey, That’s No Way to Say Goodbye,” by Leonard Cohen:
I loved you in the morning,
Our kisses deep and warm,
Your hair upon the pillow
Like a sleepy golden storm.
Those lines became Paola for me, part of a whole musical refuge of lyrics and melodies. Of such stuff is survival made. Thank you, Mr. Cohen.
Leonard Cohen – Hey, That’s No Way to Say Goodbye (NYC, 2/19/2009)
The morning of my “confession,” I woke up humming “The Partisan,” a Leonard Cohen tune about World War II re-sistance fighters:
When they poured across the border I was cautioned to surrender, This I could not do;
I took my gun and vanished.
The thought of resisting had crossed my mind, too. But why? I was a journalist, not a freedom fighter. Political prisoners in Iran were forced to make false confessions all the time. I’d always known they had been coerced, and had sympathized with the victims. Surely others would feel similarly about me. But even now, months later, the experience gnaws at me. My father spent four years in prison under the shah without asking for mercy. What would he think of his son apologizing to the Supreme Leader after eight days?
Leonard Cohen – The Partisan (Dublin O2 , 7/20/2009)
My true refuge, though, was music. Once, after a particularly brutal beating, I swallowed three migraine pills and passed out. Two women came to me in a dream. They had kind faces; in fact, they reminded me of my sister Maryam, who had died of leukemia in February.
“Who are you?” I asked.
“Sisters of mercy,” they answered.
They touched my forehead gently to soothe the pain. In the dream I smiled and heard Leonard Cohen singing his song of the same name:
Oh the sisters of mercy, they are not departed or gone. They were waiting for me when I thought that I just can’t go on.
And they brought me their comfort and later they brought me this song.
I woke humming those words, free of pain. From that moment Leonard Cohen became the guardian of my universe. He was the secret that Mr. Rosewater [the interrogator] could never discover.
Leonard Cohen – The Sisters Of Mercy (NYC, 2/19/2009)
As one might expect, there is extensive coverage of Maziar Bahari’s ordeal in the world press and broadcast media. Of the sources I reviewed, I found this video most helpful.
Maziar Bahari Interview With Fareed Zakari (Part 1)
The Damning Evidence: Maziar Bahari’s Appearance On The Daily Show with Jon Stewart
In my introduction, I contended that Maziar Bahari’s experience revealed Tehran’s “political environment [to be] as bizarre and surreal as anything Kafka could envision.” I can back up that notion.
In the video below, Maziar Bahari briefly appears in a segment of The Daily Show with Jon Stewart in which Jason Jones farcically parodies the sort of factfinding report from Tehran typically seen on network TV. Directly following the video is the pertinent portion from the article, “118 Days, 12 Hours, 54 Minutes,” in which this clip is used as evidence of Mr Bahari’s malicious intent toward the country of Iran. No further explanation is necessary – or possible.
Daily Show Excerpt From “118 Days, 12 Hours, 54 Minutes”
Evin Prison, June 26, 2009 (after evening prayers)
Mr. Rosewater was not alone. I could hear someone else in the room, another interrogator. He was complaining about my written answers to questions about different individuals. When he came closer I saw he had shiny, polished black shoes on. His trousers were neatly ironed and creased. “Mr. Bahari, your answers are very general. We hope that you can give us more detailed answers,” he said. He sounded more mild-mannered than my normal tormentor. He was the good cop today, the voice of reason.
“I just write what I know, sir. And if I give you more details, that means I’m lying.”
“Well,” said Mr. Rosewater, who had been fairly quiet up to this point, “we have interesting video footage of you. That may persuade you to be more cooperative.” I could not imagine what that might be. Something personal? Something that might compromise my friends? But…I reminded myself I had done nothing wrong.
I saw the flicker of a laptop monitor under my blindfold. Then I heard someone speaking. It was a recording of another prisoner’s confession. “It’s not that one,” said the second interrogator. “It’s the one marked ‘Spy in coffee shop.’ ” Mr. Rosewater fumbled with the computer. The other man stepped in to change the DVD. And then I heard the voice of Jon Stewart on The Daily Show.
Only a few weeks earlier, hundreds of foreign reporters had been allowed into the country in the run-up to the election. Among them was Jason Jones, a “correspondent” for Stewart’s satirical news program. Jason interviewed me in a Tehran coffee shop, pretending to be a thick-skulled American. He dressed like some character out of a B movie about mercenaries in the Middle East—with a checkered Palestinian kaffiyeh around his neck and dark sunglasses. The “interview” was very short. Jason asked me why Iran was evil. I answered that Iran was not evil. I added that, as a matter of fact, Iran and America shared many enemies and interests in common. But the interrogators weren’t interested in what I was saying. They were fixated on Jason.
“Why is this American dressed like a spy, Mr. Bahari?” asked the new man.
“He is pretending to be a spy. It’s part of a comedy show,” I answered.
“Tell the truth!” Mr. Rosewater shouted. “What is so funny about sitting in a coffee shop with a kaffiyeh and sunglasses?”
“It’s just a joke. Nothing serious. It’s stupid.” I was getting worried. “I hope you are not suggesting that he is a real spy.”
“Can you tell us why an American journalist pretending to be a spy has chosen you to interview?” asked the man with the creases. “We know from your contacts and background that you told them who to interview for their program.” The other Iranians interviewed in Jason’s report—a former vice president and a former foreign minister—had been arrested a week before me as part of the IRGC’s sweeping crackdown. “It’s just comedy,” I said, feeling weak.
“Do you think it’s also funny that you say Iran and America have a lot in common?” Mr. Rosewater asked, declaring that he was losing patience with me. He took my left ear in his hand and started to squeeze it as if he were wringing out a lemon. Then he whispered into it. “This kind of behavior will not help you. Many people have rotted in this prison. You can be one of them.”
In addition to his affection for Cohen’s music, Maziar Bahari also attributes part of his connection with the singer-songwriter to having lived in within a few blocks of Cohen’s home in Montreal for several years. [↩]
These two performances were uploaded to YouTube by Albert Noonan within the past few hours, and, given that "In My Secret Life" has become, since the Beacon concert, an important song to me personally and that I know "Gypsy Wife" is similarly moving to a large number of fans, I felt compelled to post them as soon as possible.
Leonard Cohen – In My Secret Life (San Jose, 11/13/2009)
2 Views Of The Future At Leonard Cohen San Jose Concert
The image atop this post comprises screen captures of the two videos featured in the following discussion. Click on image to enlarge.
The first video of “The Future”(see below) is shot by Bgood11 in high clarity with a steady hand from an elevated, acute angle. Because of this location with respect to the stage, the videographer, during much of the performance, focuses on the telescreen. While this is understandable, my contention is that the views of the actual performers on stage are more interesting precisely because of the unusual perspective which provides not only some nifty profiles of Leonard Cohen, Javier Mas (seated, playing the loud), and Dino Soldo (standing, woodwinds and keyboards) but also a sense of the arrangement of the performers across the depth of the stage. One also has an nicely unobstructed view of Bob Metzger (standing behind and to Leonard Cohen’s left, on guitar). Most strikingly, Roscoe Beck (standing behind Leonard Cohen, playing bass guitar), who, as viewed from the center of the audience, can sometimes appear flat and even dispassionate, can be seen, despite being partially blocked by a rope ladder, to be continuously animated and clearly involved in the performance.
For comparison, the second video below is the same song played at the same performance shot by albertnoonan from a location looking directly on the center of the stage. My issue isn’t to argue one video is better than the other but to point out that the same performance seen from contrasting perspectives reveals different and significant aspects of the showl
Today’s posting is actually an updating and revision of Leonard Cohen and Joni Mitchell: Just One Of Those Things, an essay which began as what I then called a “casual Saturday post”1 but has now evolved into a popular read2 and has also become a frequently used reference. Because of this continued interest in the topic, I’ve conscientiously updated the post as new material has become available. Today’s revision is the latest such effort.
On this occasion, I’ve added material from several sources, including the recently published “Will You Take Me As I Am: Joni Mitchell’s Blue Period” by Michelle Mercer (Free Press; 1st Edition, April 7, 2009) and articles from the New York Times, ZigZag, and Rolling Stone.
My own favorite item among the new information is a quote from Joni Mitchell about Leonard Cohen:
He owns the phrase naked body, for example; it appears in every one of his songs.3
Incomprehensibly, this is somehow interpreted as a bad thing.
Go figure.
Nonetheless, if you’re interested in important influences on modern music, historical perspectives on the folk movement, Leonard Cohen, Joni Mitchell, or romantic flings that fall apart and their sequelae, you can find what you’re looking for at Leonard Cohen and Joni Mitchell: Just One Of Those Things.
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The original post began with this rambling explanation of its evolution:
I’ve been busily over-analyzing Leonard Cohen’s Take This Waltz intermittently over the past few weeks, amassing enough data bits to put Heck Of A Guy readers at risk for one of my elaborate posts with the length and detail of those New Yorker non-fiction feature articles on water filtration technologies in Saudi Arabia but without the cachet. I have also manufactured a bucketful of fascinating, insight-laden hypotheses, all of which are mutually exclusive. Consequently, the Take This Waltz post, until it matures into coherency, remains a coming attraction.
But, it is only a short leap from Take This Waltz to Lorca. OK, make that “a very short leap.” Heck, given that Cohen himself has explicitly announced numerous times in concerts and interviews that Take This Waltz is his adaptation of Lorca’s “Little Viennese Waltz,” make that “it is only a baby step from Take This Waltz to Lorca.”
From Lorca, it’s – oh, let’s call it a leap, a hop, two skips, and an Olympics-level jump to Joni Mitchell, a connection I’ll explain in a moment. In any case, I have accumulated a few dollops of information about the relationship between Joni Mitchell and Leonard Cohen that has no significant association with Take This Waltz.
Then, this morning I found that Mimus Pauly at Mockingbird’s Medley had written that [Joni] Mitchell is [Leonard] Cohen’s female equivalent, going on to note that “not only do they write wonderful songs, they engage in other forms of art as well. Cohen writes poetry and likes to draw. Mitchell likes to paint.” [Note: Both portraits at the top of this post are by Joni Mitchell]
And that, at least when I began this peregrination, seemed a good enough excuse to unload my Joni and Leonard tidbits (waste not, want not) into a casual Saturday post. [↩]
Heck Of A Guy offers, with assistance from Randy Newman and Etta James, the writer and performer, respectively, of "You Can Leave Your Hat On," a look at Leonard Cohen As Hunk.
has become the second Heck Of A Guy Leonard Cohen video to pass 10,000 views.
For details about this video and the often overlooked but outstanding song on which it is based, see the section under the heading, Do I Have To Dance All Night Film Festival in the far right column of this page.
The video montage of favorite scenes featuring the singer-songwriter, poet, and icon offered in celebration of Leonard Cohen's 75th birthday, September 21, 2009 garnered its 10,000th YouTube viewing on May 23, 2010.
The Cohen Fandemic
Endemic for decades in areas such as Canada, Norway, Poland, and France, Leonard Cohen Fan Syndrome has become a world-wide epidemic in the past 2 years, spread by the Leonard Cohen World Tour and abetted by proselyting carriers despite efforts by authorities to quarantine these individuals at LeonardCohenForum.
Diagnostic Criteria
Based on the observations of DrHGuy, standardized criteria for the pertinent Axis II diagnosis are now available at
Danger Signs
In addition to the formal medical description of this diagnosis, Heck Of A Guy has also compiled a list of the aberrant behaviors which indicate one is at high risk for being a full-fledged fan of Leonard Cohen. These signs and symptoms can be found at
Also see Leonard Cohen Search, a Leonard Cohen-focused Custom Search Engine & Reference Index
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 - 2 husbands, 1 wife, and 2 careers later - spent an outrageously wonderful 20 years together before her death in 1999, 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.
The written account of the story (think When Harry Met Sally meets Waiting For Godot) starts, appropriately, at This Is How A Love Story Began
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 Seual
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
12. Guerrero
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
Track List: Vol 1
1. Feels So Good (The Other Blues Song)
2. Book Of Longing
3. The Darkness
4. Puppets
5. Lullaby
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)
Heck Of A Guy offers 3 videos of clips and photos from The Leonard Cohen World Tour:
1. The Original Heck Of A Guy Dear Leonard Cohen - Thanks For The Tour. I Hope It Was Good For You, Too. Video Celebration Of The First 14 Months Of The 2008-2009 World Tour can be viewed at Thanks For The Tour
"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.
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?"