While the Heck Of A Guy and DrHGuy sites offer extensive coverage of Leonard Cohen’s Excellent Adventure In Oviedo, only a new entry at the exemplary Speaking Cohen site, where the equally exemplary Marie Mazur serves as webmaster, provides access to all the significant articles, photos, and and videos from the accredited press featuring Leonard Cohen at the Prince Of Asturias Awards.
The categories covered can be seen in this screen capture from the content-links portion of the page. (click on image to enlarge)
This information-dense, photo-rich page can be found at
The video of Leonard Cohen’s Prince of Asturias Awards Speech featured in Leonard Cohen’s Prince of Asturias Awards Speech – Direct Transcript & Enhanced English Video was a significant improvement over the previously available videos of that event that suffered from overdubbing in Spanish, which sometimes obscured Cohen’s own words. That English-enhanced version posted here utilized an audio tape of all but the first 2-3 minutes of Leonard Cohen’s speech. While it contained ambient noise and some volume and pitch fluctuations, it did not include the Spanish overdubbing and was, as a result, easier for those who speak only English to understand.
Now, however, Leonard Cohen’s entire speech with professionally recorded, high quality audio is available without any overdubbing whatsoever.
Coco Éclair, who also serves as one of Heck Of A Guy’s Chocolodka Goddesses, prepared a complete, direct transcription of Leonard Cohen’s words. I provided a modicum of editing based on my own knowledge of Cohen’s phrases used in telling the anecdotes in the past and, of course, on the English-only tape of the speech not available to Ms Éclair.
The transcription begins just after the Cohen’s opening salutations to the audience.
Transcription:
It is a great honour to stand here before you tonight. Perhaps, like the great maestro, Riccardo Muti, I’m not used to standing in front of an audience without an orchestra behind me, but I will do my best as a solo artist tonight.
I stayed up all night last night wondering what I might say to this august assembly. And after I had eaten all the chocolate bars and peanuts from the minibar, I scribbled a few words. I don’t think I have to refer to them. Obviously, I’m deeply touched to be recognized by the Foundation. But I have come here tonight to express another dimension of gratitude; I think I can do it in three or four minutes.
When I was packing in Los Angeles, I had a sense of unease because I’ve always felt some ambiguity about an award for poetry. Poetry comes from a place that no one commands, that no one conquers. So I feel somewhat like a charlatan to accept an award for an activity which I do not command. In other words, if I knew where the good songs came from I would go there more often.
I was compelled in the midst of that ordeal of packing to go and open my guitar. I have a Conde guitar, which was made in Spain in the great workshop at number 7 Gravina Street. I pick up an instrument I acquired over 40 years ago. I took it out of the case, I lifted it, and it seemed to be filled with helium it was so light. And I brought it to my face and I put my face close to the beautifully designed rosette, and I inhaled the fragrance of the living wood. We know that wood never dies. I inhaled the fragrance of the cedar as fresh as the first day that I acquired the guitar. And a voice seemed to say to me, “You are an old man and you have not said thank you, you have not brought your gratitude back to the soil from which this fragrance arose. And so I come here tonight to thank the soil and the soul of this land that has given me so much.
Because I know that just as an identity card is not a man, a credit rating is not a country.
Now, you know of my deep association and confraternity with the poet Frederico Garcia Lorca. I could say that when I was a young man, an adolescent, and I hungered for a voice, I studied the English poets and I knew their work well, and I copied their styles, but I could not find a voice. It was only when I read, even in translation, the works of Lorca that I understood that there was a voice. It is not that I copied his voice; I would not dare. But he gave me permission to find a voice, to locate a voice, that is to locate a self, a self that that is not fixed, a self that struggles for its own existence.
As I grew older, I understood that instructions came with this voice. What were these instructions? The instructions were never to lament casually. And if one is to express the great inevitable defeat that awaits us all, it must be done within the strict confines of dignity and beauty.
And so I had a voice, but I did not have an instrument. I did not have a song.
And now I’m going to tell you very briefly a story of how I got my song.
Because – I was an indifferent guitar player. I banged the chords. I only knew a few of them. I sat around with my college friends, drinking and singing the folk songs and the popular songs of the day, but I never in a thousand years thought of myself as a musician or as a singer.
One day in the early sixties, I was visiting my mother’s house in Montreal. Her house was beside a park and in the park was a tennis court where many people come to watch the beautiful young tennis players enjoy their sport. I wandered back to this park which I’d known since my childhood, and there was a young man playing a guitar. He was playing a flamenco guitar, and he was surrounded by two or three girls and boys who were listening to him. I loved the way he played. There was something about the way he played that captured me. It was the way that I wanted to play and knew that I would never be able to play.
And, I sat there with the other listeners for a few moments and when there was a silence, an appropriate silence, I asked him if he would give me guitar lessons. He was a young man from Spain, and we could only communicate in my broken French and his broken French. He didn’t speak English. And he agreed to give me guitar lessons. I pointed to my mother’s house which you could see from the tennis court, and we made an appointment and settled a price.
He came to my mother’s house the next day and he said, “Let me hear you play something.” I tried to play something, and he said, “You don’t know how to play, do you?’
I said, “No, I don’t know how to play.” He said “First of all, let me tune your guitar. It’s all out of tune.” So he took the guitar, and he tuned it. He said, “It’s not a bad guitar.” It wasn’t the Conde, but it wasn’t a bad guitar. So, he handed it back to me. He said, “Now play.”
I couldn’t play any better.
He said “Let me show you some chords.” And he took the guitar, and he produced a sound from that guitar I had never heard. And he played a sequence of chords with a tremolo, and he said, “Now you do it.” I said, “It’s out of the question. I can’t possibly do it.” He said, “Let me put your fingers on the frets,” and he put my fingers on the frets. And he said, “Now, now play.”
It was a mess. He said, ” I’ll come back tomorrow.”
He came back tomorrow, he put my hands on the guitar, he placed it on my lap in the way that was appropriate, and I began again with those six chords – a six chord progression. Many, many flamenco songs are based on them.
I was a little better that day. The third day – improved, somewhat improved. But I knew the chords now. And, I knew that although I couldn’t coordinate my fingers with my thumb to produce the correct tremolo pattern, I knew the chords; I knew them very, very well.
The next day, he didn’t come. He didn’t come. I had the number of his, of his boarding house in Montreal. I phoned to find out why he had missed the appointment, and they told me that he had taken his life. That he committed suicide.
I knew nothing about the man. I did not know what part of Spain he came from. I did not know why he came to Montreal. I did not know why he played there. I did not know why he he appeared there at that tennis court. I did not know why he took his life.
I was deeply saddened, of course. But now I disclose something that I’ve never spoken in public. It was those six chords, it was that guitar pattern that has been the basis of all my songs and all my music. So, now you will begin to understand the dimensions of the gratitude I have for this country.
Everything that you have found favourable in my work comes from this place. Everything , everything that you have found favourable in my songs and my poetry are inspired by this soil.
So, I thank you so much for the warm hospitality that you have shown my work because it is really yours, and you have allowed me to affix my signature to the bottom of the page.
Because of the extraordinary efforts of Heck Of A Guy viewers, today’s post offers English-speaking readers their best opportunity to date to comprehend Leonard Cohen’s speech given at the October 21, 2011 Prince of Asturias Awards ceremony.
The video embedded at New Video, Photos, Transcript – Leonard Cohen Prince of Asturias Awards Speech Oct 21, 2011 suffers from overdubbing in Spanish, which sometimes obscures Cohen’s own words. The transcription included in that post is a Spanish translation of Leonard Cohen’s speech originally published in El Pais and re-translated, as noted, by Google back into English. It is, consequently imperfect. On the other hand, it was – until now – the best transcript available.
The Enhanced-English Video
The Spanish Cohen Brigade, a group responsible for many, many photos seen here and at Leonard Cohen Prince Of Asturias Events on DrHGuy, secured and shared an audio tape of all but the first 2-3 minutes of Leonard Cohen’s speech. While it contains ambient noise and some volume and pitch fluctuations, it does not, of course, include the Spanish overdubbing and is, as a result, significantly easier for those who speak only English to understand.
I have spliced that tape into the video of Cohen’s talk; that portion of the video begins at 2:25.
Coco Éclair, who also serves as one of Heck Of A Guy’s Chocolodka Goddesses, prepared a complete, direct transcription of Leonard Cohen’s words. I provided a modicum of editing based on my own knowledge of Cohen’s phrases used in telling the anecdotes in the past and, of course, on the English-only tape of the speech not available to Ms Éclair.
The transcription begins just after the Cohen’s opening salutations to the audience.
Transcription:
It is a great honour to stand here before you tonight. Perhaps, like the great maestro, Riccardo Muti, I’m not used to standing in front of an audience without an orchestra behind me, but I will do my best as a solo artist tonight.
I stayed up all night last night wondering what I might say to this assembly. After I had eaten all the chocolate bars and peanuts from the minibar, I scribbled a few words. I don’t think I have to refer to them. Obviously, I’m deeply touched to be recognized by the Foundation. But I have come here tonight to express another dimension of gratitude; I think I can do it in three or four minutes.
When I was packing in Los Angeles, I had a sense of unease because I’ve always felt some ambiguity about an award for poetry. Poetry comes from a place that no one commands, that no one conquers. So I feel somewhat like a charlatan to accept an award for an activity which I do not command. In other words, if I knew where the good songs came from I would go there more often.
I was compelled in the midst of that ordeal of packing to go and open my guitar. I have a Conde guitar, which was made in Spain in the great workshop at number 7 Gravina Street. I pick up an instrument I acquired over 40 years ago. I took it out of the case, I lifted it, and it seemed to be filled with helium it was so light. And I brought it to my face and I put my face close to the beautifully designed rosette, and I inhaled the fragrance of the living wood. We know that wood never dies. I inhaled the fragrance of the cedar as fresh as the first day that I acquired the guitar. And a voice seemed to say to me, “You are an old man and you have not said thank you, you have not brought your gratitude back to the soil from which this fragrance arose. And so I come here tonight to thank the soil and the soul of this land that has given me so much.
Because I know that just as an identity card is not a man, a credit rating is not a country.
Now, you know of my deep association and confraternity with the poet Frederico Garcia Lorca. I could say that when I was a young man, an adolescent, and I hungered for a voice, I studied the English poets and I knew their work well, and I copied their styles, but I could not find a voice. It was only when I read, even in translation, the works of Lorca that I understood that there was a voice. It is not that I copied his voice; I would not dare. But he gave me permission to find a voice, to locate a voice, that is to locate a self, a self that that is not fixed, a self that struggles for its own existence.
As I grew older, I understood that instructions came with this voice. What were these instructions? The instructions were never to lament casually. And if one is to express the great inevitable defeat that awaits us all, it must be done within the strict confines of dignity and beauty.
And so I had a voice, but I did not have an instrument. I did not have a song.
And now I’m going to tell you very briefly a story of how I got my song.
Because – I was an indifferent guitar player. I banged the chords. I only knew a few of them. I sat around with my college friends, drinking and singing the folk songs and the popular songs of the day, but I never in a thousand years thought of myself as a musician or as a singer.
One day in the early sixties, I was visiting my mother’s house in Montreal. Her house was beside a park and in the park was a tennis court where many people come to watch the beautiful young tennis players enjoy their sport. I wandered back to this park which I’d known since my childhood, and there was a young man playing a guitar. He was playing a flamenco guitar, and he was surrounded by two or three girls and boys who were listening to him. I loved the way he played. There was something about the way he played that captured me. It was the way that I wanted to play and knew that I would never be able to play.
And, I sat there with the other listeners for a few moments and when there was a silence, an appropriate silence, I asked him if he would give me guitar lessons. He was a young man from Spain, and we could only communicate in my broken French and his broken French. He didn’t speak English. And he agreed to give me guitar lessons. I pointed to my mother’s house which you could see from the tennis court, and we made an appointment and settled a price.
He came to my mother’s house the next day and he said, “Let me hear you play something.” I tried to play something, and he said, “You don’t know how to play, do you?’
I said, “No, I don’t know how to play.” He said “First of all, let me tune your guitar. It’s all out of tune.” So he took the guitar, and he tuned it. He said, “It’s not a bad guitar.” It wasn’t the Conde, but it wasn’t a bad guitar. So, he handed it back to me. He said, “Now play.”
I couldn’t play any better.
He said “Let me show you some chords.” And he took the guitar, and he produced a sound from that guitar I had never heard. And he played a sequence of chords with a tremolo, and he said, “Now you do it.” I said, “It’s out of the question. I can’t possibly do it.” He said, “Let me put your fingers on the frets,” and he put my fingers on the frets. And he said, “Now, now play.”
It was a mess. He said, ” I’ll come back tomorrow.”
He came back tomorrow, he put my hands on the guitar, he placed it on my lap in the way that was appropriate, and I began again with those six chords – a six chord progression. Many, many flamenco songs are based on them.
I was a little better that day. The third day – improved, somewhat improved. But I knew the chords now. And, I knew that although I couldn’t coordinate my fingers with my thumb to produce the correct tremolo pattern, I knew the chords; I knew them very, very well.
The next day, he didn’t come. He didn’t come. I had the number of his, of his boarding house in Montreal. I phoned to find out why he had missed the appointment, and they told me that he had taken his life. That he committed suicide.
I knew nothing about the man. I did not know what part of Spain he came from. I did not know why he came to Montreal. I did not know why he played there. I did not know why he he appeared there at that tennis court. I did not know why he took his life.
I was deeply saddened, of course. But now I disclose something that I’ve never spoken in public. It was those six chords, it was that guitar pattern that has been the basis of all my songs and all my music. So, now you will begin to understand the dimensions of the gratitude I have for this country.
Everything that you have found favourable in my work comes from this place. Everything , everything that you have found favourable in my songs and my poetry are inspired by this soil.
So, I thank you so much for the warm hospitality that you have shown my work because it is really yours, and you have allowed me to affix my signature to the bottom of the page.
Because – I was an indifferent guitar player. I banged the chords.
Happily, the additions, clarifications, emendations, and corrections required in regard to Leonard Cohen – Spanish Style offer an opportunity to include these shots from Cozycot, which describes itself as “Singapore’s best loved online beauty, fashion, lifestyle, shopping portal and forum, catering to women and their insatiable needs.”
Not only are these photos evidence that Leonard Cohen is, indeed, still stylish but they also depict one more accoutrement not listed in the original post – the Prince Of Asturias Award pin bestowed upon Cohen during these ceremonies (see Leonard Cohen, Prince Of Darkness, Pinned By Prince of Asturias) and which he wears on his left lapel.
Click on images for best viewing.
Bracelet Vs Watch
A viewer who prefers anonymity postulates that “The Other Bracelet” is only a photographic illusion and is, in fact, the wrist watch mentioned in the post
Typically, Leonard Cohen wears a wrist watch (digital, natch) on his left wrist, sometimes with a leather strap, sometimes with a metal band.
The screen capture from a video of Leonard Cohen at the Jovellanos Tribute Concert which (mis)identified the bracelet follows:
After searching for and finding another shot from the same event, I came upon this altogether exquisite Reuters photo at iDNES.
Expanding the region around Cohen’s wrists shows that, indeed, the supposed bracelet is in reality the metal expansion band of his watch.
Saints Bracelet Vs Saints Bracelets
In her comment, Majmunka accurately points out that
… there are more than one saints bracelets. The one in Oviedo and on the first reference photo has black and white oval shaped pictures. The one spotted many times during the tour (the one on the tour video screenshot) has rectangle shaped colour pictures. (I used the latter as a reference for designing my own bracelet with photos of “my own saints” – the Unified Heart Touring Co. Band
For the record, the first time Mr Cohen was spotted wearing a saints bracelet was at the July 25, 2011 Zagreb concert, a video from which is the source of the referenced screenshot. The Heck Of A Guy post, Leonard Cohen Zagreb Concert Opens 2010 Tour, notes:
Leonard Cohen Dons Bracelet For Zagreb Show
The bracelet visible on the right wrist of Leonard Cohen has not, as far as I can determine, been seen at earlier concerts
A LeonardCohenForum post by mnkyface notes the similarity of the bracelet worn by Cohen for the first time at the Zagreb concert (and visible on his right wrist in the photo atop this post and in the final photo of last night’s post) to a bracelet of Catholic saints such as the one shown above.
As the above photos (click on images for best viewing) make clear, “the always dapper Leonard Cohen” may be a cliche, but it also proved to be an accurate description of the Canadian singer-songwriter during his stay in Spain for the 2011 Prince of Asturias Awards festivities.
Sadly neglected, however, are Leonard Cohen’s accoutrements.
Thankfully, DrHGuy stands ready to correct this lacunae in Cohen’s fashion coverage.
The Saints Bracelet & the Unified Heart Signet Ring
The Saints Bracelet was worn during many of the Leonard Cohen World Tour concerts and is similar to the specimen shown below.
The version of the Unified Heart Signet Ring that was available at the merchandise stands during the Leonard Cohen World Tour is displayed below.
For another look at Cohen’s own jewelry, the first photo below displays the ring and bracelet, which are shown in closeup in the second shot of the series.
Standard Silver Tie Tack
Wearing a standard tie rather than the bolo tie favored during the World Tour, Cohen opted for a tasteful silver tie tack.
The Other Bracelet
Typically, Leonard Cohen wears a wrist watch (analog, natch) on his left wrist, sometimes with a leather strap, sometimes with a metal band. The latter is shown below in a video screenshot of Cohen performing in a World Tour .
These screen captures from a video of the Jovellanos Tribute Concert, however, depict Leonard Cohen wearing another bracelet.
The Filigree Monogram
And, finally, these screen captures from the press conference introduce us to a filigree monogram on Leonard Cohen’s shirt sleeve.
Why Practice Is Important but Not Taking Oneself Too Seriously Is REALLY Important
Sir Paul Nurse and Julie Maxton, President and Executive Director of The Royal Society respectively, are shown above receiving the 2011 Prince of Asturias Award for Communication and Humanities.1
The Victory Celebration
After receiving the award, the winners pivot to face each other.
They then assume initial positions for the execution of a celebratory high five.
They commence the move.
And – well, they miss.
But – and this is the key – they spontaneously fall into hilarity over their failed attempt to slap their hands together – at a distinguished awards ceremony in front of royalty, an audience, and television cameras.
Ya gotta love these guys.
And now – watch the entire event in action.
Credit Due Department: All images are screen captures from Euronews.
_____________________
These are folks who, as one might surmise from their positions, are possessed of great intellect and dignity. Sir Paul Nurse is a British geneticist who won the 2001 Nobel Prize in Physiology or Medicine with Leland H. Hartwell and R. Timothy Hunt for their discoveries of protein molecules that control the division (duplication) of cells in the cell cycle; he is also the Chief Executive and Director of the Francis Crick Institute. Julie Maxton studied at University College London, Canterbury University, and the University of Auckland, where she also served as the Dean of Graduate Studies, Acting Deputy Vice-Chancellor, Dean of the Faculty of Law, and holder of a chair in commercial law. She was then Registrar of the University of Oxford as well as a practicing barrister. [↩]
The events of Leonard Cohen's life and career are marked on a timeline accompanied by audio and video recordings of Cohen's songs and poems as well as links to more information.
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.
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
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
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.
Special Compilation Video – A Thousand Kisses Deep
This composite of Leonard Cohen’s recitations of “A Thousand Kisses Deep” over the years is accompanied by a video montage of drawings by and photos of the Canadian singer-songwriter.
Video – Leonard Cohen Recites “God Is Alive, Magic Is Afoot”
Leonard Cohen recites the "God Is Alive; Magic Is Afoot" passage from "Beautiful Losers" which was later popularized by Buffy Sainte-Marie. Cohen's performance took place in 1967.
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.
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
Winter Lady – The Joni Mitchell & Leonard Cohen Versions
In 1966 Joni Mitchell wrote and sang a song called "Winter Lady." In 1967, the year Mitchell and Cohen had their romantic fling, Leonard Cohen wrote and sang a different song that was also called "Winter Lady."
A comparison of these 2 songs as well as a video that includes each artist performing his or her version of "Winter Lady" can be found at
Over 35 tunes performed by Dylan, Janis Joplin, Ray Charles, Elvis Presley, Patsy Cline, Otis Redding, Chuck Berry, The Platters, Joni Mitchell, George Jones, Roy Orbison, Elvis Presley, Jay-Z, and other musicians.
Read what Cohen said about them and listen to the music at
Photos, Videos, & More
See photos of Leonard Cohen's arrival in Oviedo, the opening of Leonard Cohen: The B-Side - Drawings And Engravings Of A Multidisciplinary Artist, his speech and press conference, his tribute conference, the lost and found Famous Blue Sharpie, and more at:
Note: Almost all HeckOfAGuy and DrHGuy posts contain different content.
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.
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
Clicking on Taste of LC - Heck Of A Guy and Taste of LC - DrHGuy finds posts from those sites that feature Leonard Cohen's choices in furniture, clothing (including suits, fedoras, caps, berets, other hats, boots and other footwear, swimsuits, and in at least one case cut-offs), art, jewelry, food, books, magazines, alcohol, tobacco, firearms, ... - all of which offer a different perspective on Leonard Cohen.
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
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)
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
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
Heck Of A Guy celebrates Leonard Cohen’s 77th birthday (September 21, 2011) with a video of scenes from Leonard Cohen’s life and photos of fans expressing their affection for Mr. Cohen, all set to “I Love Leonard Cohen” by Robin Grey.
Leonard Cohen At 75 Viewed Over 15,000 Times: a video montage of favorite scenes featuring the singer-songwriter, poet, and icon set to "They Can't Take That Away From Me."
Video – Jennifer Warnes’ Way Down Deep & Leonard Cohen’s A Thousand Kisses Deep
The video begins with Jennifer Warnes singing the gorgeous but routinely overlooked "Way Down Deep," which is followed by Leonard Cohen's recitation of "A Thousand Kisses Deep" in Dublin to juxtapose the earliest performed precursor of Cohen's now classic "A Thousand Kisses Deep" with the most recent version.
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?"
That's right - the entire 2008-2010 Leonard Cohen World Tour, including the events that triggered the Tour, have been compressed into one 60 second video.
