Songs of Leonard Cohen [Import]

This threefer gives you Leonard Cohen's debut and third and fourth studio albums in one set. These are two great albums.

The Songs of Leonard Cohen is a truly great debut from the man who has become the Master of the singer/songwriter genre.

Recorded in 1967, when the man was already in his early thirties, there is a maturity to the themes explored that, when combined with the sincere and sparse delivery, gives the record an emotional intelligence and intensity that other similar artists (Dylan, Paul Simon) could not hope to match.

From the sublime opening bars of `Suzanne' through to the closing of `One of Us Cannot Be Wrong', Cohen quietly and without any egotistical flourishes draws us along with his tales of love, loss, life and pain. The songs are literate, lyrical. Beautifully crafted tales backed with simple melodies. The album is just a pure joy to listen to.

Songs of Love and Hate is the third album in the Leonard Cohen cannon, and as good an example of his early work as you can find.

Cohen was in his mid thirties when this was recorded, and there is a definite feeling that he is worried his best days may have passed him by. He then proceeds, through a set of beautifully delivered songs to prove that this is not the case.

As with all of Cohen's work the essential essence is the songwriting. I almost hesitate to call it song writing, as the man is really a poet, with well crafted lines that speak to the soul and conjure up strong imagery. Every word seems to be carefully placed for maximum effect. The fact that they are sung with a sparse musical backing seems almost incidental to the poetry recital, but Cohen uses the rhythm to drive the piece, and the guitar to punctuate his words in a way that you almost fail to notice.

This is a set of intensely personal songs, dealing, as the title suggests with themes of love and hate, as well as with anxiety about what has passed and what is to come. But personal as they are they speak to everyone, having as they do such literate lyrics and the occasional flash of humour.

New Skin For the Old Ceremony the fourth studio album from Leonard Cohen, is a bit of a departure from his previous releases, and one that for me works well. Previously famed for a Spartan approach to music, here he uses a wider variety of backing instruments to provide a rich musical palette from which to make his arrangements. However, even though the arrangements are lusher and more intricate, the basics of Cohen's style remain unchanged. The heart of each track is Cohen's intimate, almost poetic, lyrics. Telling intensely personal stories, with tales of love, loss, regret and a degree of political activism, each verse feels lovingly crafted with each word placed carefully for maximum effect. Cohen's style is intelligent, literate and with the occasional flash of humour, making for some memorable lines.

In tone and style it is quite different to Cohen's early output, but this is no bad thing. Life is about change and evolving, and Cohen's style has definitely evolved through the years, with each new album another step along his road of discovery. It is a journey without a destination, and we should be thankful for being allowed to follow. Some people dislike the change, but personally I think his albums are all the better for it - we'd have all got bored long ago if every album he ever made sounded just like the last one. For me this was a step along the road that worked well, and a classic album resulted.

A great set, five stars.

The lilting poetry of Suzanne lures the listener into Leonard Cohen's world of romantic despair while introducing the essence of his sound: a deep monotone voice framed by sublime female backing vocals over simple but engaging melodies.

Master Song, Winter Lady and Stranger Song reinforce the desolate landscape although the melodies are less immediate. Cohen's genius shines brightly on the immortal Sisters Of Mercy, a strange mixture of the spiritual and the sensual that must be one of the most beautiful song-poems in the English language.

This delicate gem is followed by the poignant and evocative So Long Marianne and the understated Hey That's No Way To Say Goodbye, both masterpieces of words, melody and arrangement - the female vocals on Goodbye is especially impressive. The music sounds as if it is divinely inspired.

I also recommend Democracy: Judy Collins Sings Leonard Cohen, to enjoy her beautiful interpretations of Suzanne, Sisters Of Mercy and Hey That's No Way To Say Goodbye. She was the first to cover his songs. Famous Blue Raincoat by Jennifer Warnes is another sublime tribute album.

This 1968 album was Cohen's debut and remains one of his finest. The lilting poetry of Suzanne lures the listener into a world of romantic despair while introducing the essence of his sound: a deep monotone voice framed by sublime female backing vocals over simple but engaging melodies. Master Song, Winter Lady and Stranger Song reinforce the desolate landscape although the melodies are less immediate. Cohen's genius shines brightly on the immortal Sisters Of Mercy, a strange mixture of the spiritual and the sensual that must be one of the most beautiful song-poems in the English language. This delicate gem is followed by the poignant and evocative So Long Marianne and the understated Hey That's No Way To Say Goodbye, both masterpieces of words, melody and arrangement - the female vocals on Goodbye is especially impressive. The timeless appeal of these compositions is proven by the countless cover versions down the years.