writing rengeek magpie mind

December 2014



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twain & tesla

the baffled king composing hallelujah

So how old are you, and what's your favorite version of "Hallelujah"?

In continutation of the Gross Leonard Cohen Earworm (apparently "Hallelujah" is the meme that will not quit this week) of the last few days, inauroillium just posted an an interesting link about the evolution and major versions of the song in a comment thread on cvillette's journal.

It is here, at clapclap.org.

I read it with interest. It's really fascinating.

In full disclosure, I should mention that I have... 14 versions of "Hallelujah," by 11 different artists, including three Cohen versions. (I would like the k.d. lang live versions and the Imogen Heap, but haven't tracked them down yet. Really though, I think the jewel of the collection is the Willie Nelson. He also does a bangup job with "Bird on a Wire.")

And I'm also going to talk in sweeping generalities here, and please be aware that I am talking about observed trends rather than categorical truths here, and that I'm aware that sweeping generalities are bull puckey.

But I think I really disagree with the reviewer's conclusion. I suspect that what's going on here is actually the opposite process, in which a bunch of forty/thirty/twenty-something musicians who grew up as part of far more ironical generations have found this amazing song seemingly neglected by their elders, and are covering the hell out of it.

And being limited by not being what Cohen is--which is to say, a mad freaking genius of irony and layering and evocation, the musical prodigies in my peer group are just not managing to get into it what he does. But in simplifying it they are making it more accessible to a wider range of people.

I have no idea how old the critic is, but the important data point he's missing is that a statistically significant chunk of my generation (I'm 36) and that of my immediately younger peers (in their twenties) love Leonard Cohen. Adore him. And, well, listen to his albums. Or songs, because we're often not so much an album-listening bunch.

I am going off anecdote here, and we all know what that's worth, but it seems to me that it's often baby boomers I hear calling the Buckley version "the definitive" one. (There are of course exception to this.) I think Cohen was just too ironical and fucked up for my parent's generation, who seem as a group (again, there are exceptions) to tend to prefer music that is more sincere. Cohen is not sincere. Cohen is yanking your chain, and that's a trick more commonly employed by people my age. (And the musicians of our parents' generations (because our parents span two generations) we've held on to--David Bowie, Johnny Cash, Patti Smith, Iggy Pop. I had a great discussion with some friends at the climbing gym a couple of weeks ago regarding what the cutoff line for really, really, really liking Bruce Springsteen was. Determination: it's somewhere between me and the 39-year-old, and he may in fact be the line.)

So I would gess that that is a contributing factor in why metric tons of musicians (and music fans) in Gen X and Gen Y are obsessed with "Hallelujah," while our older compatriots prefer "Suzanne." Which is a perfectly nice song, don't get me wrong, but by contrast, you should hear my twenty-something friends talk about "Famous Blue Raincoat" and how they are trying to write stories around it. (Also a heavily covered song, these days. It used to be "Bird on a Wire" that got all the love.)

I'm not going to make any case that bitter ironicism is somehow more genuine than sincerity (because actually, I suspect it's a generational defense mechanism and the opposite is true). But we like "Hallelujah" because it's layered in irony and self-contradition and comes at the same thing from twenty angles. (Also, as a generation, we love weird-ass covers. Love them. When I heard Patti Smith was doing a covers album, I danced in the streets.)

Interestingly, because I don't watch enough TV to stay at all hip to current pop cultural trends, the first time I heard a cover of "Hallelujah" used in a TV show was at the end of an S1 episode of Criminal Minds. Where it is used over a brutally ironic montage of man-on-the-street interviews responding to an officer-involved shooting. Which is a good (legal) shoot, but may or may not have been engineered by the shooter--with or without his partner's knowledge. Oh, and they never tell you, either. You're left to construct the narrative on your own.)

I told the truth.
I didn't come to fool you.

I'm going to be out for most of the day, so feel free to amuse yourself arguing or agreeing in the comment threads. ;-)


In my world, Leonard Cohen is bloody overplayed by all those hipsters and depressives who love his layered irony. I do believe that being forced to listen to his "Waltzing Matilda" would qualify for me personally as torture at this point. Maybe I prefer my irony a bit more cheerful, or maybe I've just been overexposed. Or maybe I'm better medicated, as almost all the Cohen fans I know seem to be either in the irony-hipster phase or not well-medicated for their depressive tendencies.

I'd choose Buckley because I like Buckley and because after three days straight of a roomie playing Cohen I never need to hear his voice again. But I was exposed at Noriega-like levels there, so I have reason. Had I been watching that Criminal Minds episode for some strange reason, I'd have rolled my eyes and groaned and talked over it and left the room in self-defense.

I often fall out of the generational trap, as despite being genX I have musical tastes that almost entirely stop by 1986 or so if not 1976, and was never much into pop radio except for a brief flirtation with New Wave. Most of my collection is those other great chain-yankers and their ilk, or punk, or Weird Eclectica. Ideally with awesome lyrics, as I've realized that's what makes something really stick for me; good *writing* will grab me long before great guitar. But I am really not a musician sort; I just like poetry and activism and tight pants and eyeliner, and music isn't how I express that.
I think Leonard Cohen is a shill for Prozac, really.
Buckley's Hallelujah cover is the only song of his I can sit through.

Funny. I find Cohen defiant rather than depressing. It's why I like him. (Same reason I like Vonnegut.) It as if the attitude is, yeah, the world is shit. Do you think that means you get to sit down, motherfucker?

No car trips or TV watching together for us.
>I find Cohen defiant rather than depressing.

This may be another age thing -- I'm remembering tracks from literally 40 years ago, longer than many of the commentators have been on earth...

That could tend to shift defiance into depression.
I am not a big Buckley fan in general.

I found Cohen defiant the first few times, and there are still songs of his I can appreciate, especially with a drink or two to cushion the psyche. But I defy anyone to survive three days straight of an art student playing Cohen's "Waltzing Matilda" on constant repeat without developing a twitch at the sound of that voice. And it seems like six months do not go by without someone I know (re)discovering Cohen and his amazingness and wanting to share, so the scars have not yet healed.

I would of course do my best to not interrupt others' awesome TV, and might even have been able to appreciate the awesome. But I'm just that scarred by Cohen that my ADD mouth would override good manners, I'm afraid.

Which is sad, since depressed-but-defiant has always been the voice of my heart. But I can be the girl who would seriously consider the Clash's "Rebel Waltz" as a wedding song and yet still think that Leonard Cohen's Matilda is not a great song to replace "Auld Lang Syne" with at New Year's Eve, no thanks. I have too much trouble finding the flicker of hope in Cohen these days.