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September 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. ;-)

Comments

Dear Not So Young People

A) Youse guys don't take enough acid to understand what Cohen meant to us old farts.

B) I'm pretty sure they don't make the good shit any more.

C) I'm real sure you don't need any, for any practical reason.(Yes there was one.)

D) Nobody mentioned the Jennifer Warnes version.

E) IF you could see the period out the windshield instead of in the rear view, you might see that Dylan was the role breaker, the rule breaker, the obvious alien. I mean the second Dylan, Mr. Tambourine Man.

All of a sudden, no rules. Poof. You didn't have to write love songs, or listen to love songs, ot think about your little deuce coupe. The songwriting universe exploded, and the lesson of Dylan's voice was ""You Could Do That Too."

Remember this is happening when the PP&M and the sugar-coated Beatles rules the airwaves.

Then there was this little Jew. This little subversive Jew of ambiguous but enthusiastic sexuality, somebody who had done it all, and chuckled at all of it.

Lots of people, women mostly, like Judy Collins tried to sweeten Cohen, but a line like Jesus was a sailor, when he walked upon the water," tended to stop you in your tracks.

Cohen's take on religion was very important too. This was after Vatican II, and the Catholic Church was in ferment, Liberation Theology and all.

So anyway, Cohen was knowing and subversive to a system that was based on subversion, even PP&M.

So i saw Cohen live, before i had heard more than one of his songs, maybe two. Here is this little, meek, understated guy with a fucking uncool gut string guitar, and no singing chops at all, playing in bright sunshine in a very competitive setting. Dylan and Donovan and Tom Paxton and Phil Ochs and all those kids out there, all twenty years old and ready to kick ass.

And Cohen muttered his words, and 30,000 people though "How did he know that? That is my darkest secret. If anybody knew that, i would be ashamed."

Re: Dear Not So Young People

i don't do take out...How about adopt an old fat hippie week?

Re: Dear Not So Young People

I put more on my blog.. Old fool hit submit button too early

Re: Dear Not So Young People

Did Jennifer Warnes cover Hallelujah? I thought she skipped that one.

Re: Dear Not So Young People

you are probably right. sorry.