Styles: Vocal, Folk
Year: 2010
File: MP3@320K/s
Time: 67:17
Size: 154,5 MB
Art: Front
(7:43) 1. Lover, Lover, Lover
(6:09) 2. Bird on the Wire
(3:31) 3. Chelsea Hotel
(5:06) 4. Heart With No Companion
(4:22) 5. That Don't Make it Junk
(8:01) 6. Waiting for the Miracle
(4:17) 7. Avalanche
(3:41) 8. Suzanne
(5:18) 9. The Partisan
(5:23) 10. Famous Blue Raincoat
(7:32) 11. Hallelujah
(6:07) 12. Closing Time
Year: 2010
File: MP3@320K/s
Time: 67:17
Size: 154,5 MB
Art: Front
(7:43) 1. Lover, Lover, Lover
(6:09) 2. Bird on the Wire
(3:31) 3. Chelsea Hotel
(5:06) 4. Heart With No Companion
(4:22) 5. That Don't Make it Junk
(8:01) 6. Waiting for the Miracle
(4:17) 7. Avalanche
(3:41) 8. Suzanne
(5:18) 9. The Partisan
(5:23) 10. Famous Blue Raincoat
(7:32) 11. Hallelujah
(6:07) 12. Closing Time
One of the most fascinating and enigmatic if not the most successful singer/songwriters of the late '60s, Leonard Cohen has retained an audience across six decades of music-making, interrupted by various digressions into personal and creative exploration, all of which have only added to the mystique surrounding him. Second only to Bob Dylan (and perhaps Paul Simon), he commands the attention of critics and younger musicians more firmly than any other musical figure from the '60s who is still working in the 21st century, which is all the more remarkable an achievement for someone who didn't even aspire to a musical career until he was in his thirties. Cohen was born in 1934, a year before Elvis Presley, and his background personal, social, and intellectual couldn't have been more different from those of the rock or folk stars of any generation. Though he knew some country music and played it a bit as a boy, he didn't start performing on even a semi-regular basis, much less recording, until after he had already written several books and as an established novelist and poet, his literary accomplishments far exceed those of Bob Dylan or most anyone else who one cares to mention in music. He was born Leonard Norman Cohen into a middle-class Jewish family in the Montreal suburb of Westmount. His father, a clothing merchant (who also held a degree in engineering), died in 1943, when Cohen was nine years old. It was his mother who encouraged Cohen as a writer, especially of poetry, during his childhood. This fit in with the progressive intellectual environment in which he was raised, which allowed him free inquiry into a vast range of pursuits. His relationship to music was more tentative. He took up the guitar at age 13, initially as a way to impress a girl, but was good enough to play country & western songs at local cafes, and he subsequently formed a group called the Buckskin Boys. At 17, he enrolled in McGill University as an English major.
By this time, he was writing poetry in earnest and became part of the university's tiny underground "bohemian" community. Cohen only earned average grades, but was good enough as a writer to earn the McNaughton Prize in creative writing by the time he graduated in 1955. A year later, the ink barely dry on his degree, he published his first book of poetry, Let Us Compare Mythologies (1956), which got great reviews but didn't sell especially well. He was already beyond the age that rock & roll was aimed at. Bob Dylan, by contrast, was still Robert Zimmerman, still in his teens, and young enough to become a devotee of Buddy Holly when the latter emerged. In 1961, Cohen published his second book of poetry, The Spice Box of Earth, which became an international success critically and commercially, and established Cohen as a major new literary figure. Meanwhile, he tried to join the family business and spent some time at Columbia University in New York, writing all the time. Between the modest royalties from sales of his second book, literary grants from the Canadian government, and a family legacy, he was able to live comfortably and travel around the world, partaking of much of what it had to offer including some use of LSD when it was still legal and ultimately settling for an extended period in Greece, on the isle of Hydra in the Aegean Sea.
He continued to publish, issuing a pair of novels, The Favorite Game (1963) and Beautiful Losers (1966), with a pair of poetry collections, Flowers for Hitler (1964) and Parasites of Heaven (1966). The Favorite Game was a very personal work about his early life in Montreal, but it was Beautiful Losers that proved another breakthrough, earning the kind of reviews that authors dare not even hope for. (Cohen found himself compared to James Joyce in the pages of The Boston Globe, and across the years, the book has enjoyed sales totaling well into six figures.) ...More ~ Bruce Eder http://www.allmusic.com/artist/leonard-cohen-mn0000071209/biography
Personnel: Leonard Cohen (vocals, guitar, keyboards); Bob Metzger (guitar, pedal steel guitar, background vocals); Charley Webb (guitar, background vocals); Javier Mas (12-string guitar, bandurria); Hattie Webb (harp, background vocals); Dino Soldo (harmonica, keyboards, background vocals); Niel Larsen (keyboards); Roscoe Beck (electric bass, background vocals); Rafael Bernardo Gayol (drums, percussion); Sharon Robinson (background vocals).
R.I.P.
Born: September 21, 1934, Westmount, Canada
Died: November 10, 2016, Los Angeles, California, United States
Personnel: Leonard Cohen (vocals, guitar, keyboards); Bob Metzger (guitar, pedal steel guitar, background vocals); Charley Webb (guitar, background vocals); Javier Mas (12-string guitar, bandurria); Hattie Webb (harp, background vocals); Dino Soldo (harmonica, keyboards, background vocals); Niel Larsen (keyboards); Roscoe Beck (electric bass, background vocals); Rafael Bernardo Gayol (drums, percussion); Sharon Robinson (background vocals).
R.I.P.
Born: September 21, 1934, Westmount, Canada
Died: November 10, 2016, Los Angeles, California, United States
Songs From The Road
