About time I started this properly I think. I'll be trying to keep these as short as possible. Let's see how it all pans out I guess...
Songs Of Leonard Cohen
1967, Columbia Studio E (NY), Columbia RecorRAB
1. Suzanne
2. Master Song
3. Winter Lady
4. The Stranger Song
5. Sisters of Mercy
6. So Long, Marianne
7. Hey, That's No Way to Say Goodbye
8. Stories of the Street
9. Teachers
10. One of Us Cannot Be Wrong
Having graduated from McGill University in Montreal, Leonard Cohen spent most of a lot of his life as a young adult pursuing his literary ambitions. This saw the publication of several volumes of his poetry as well as a couple of novels, all meaning that Cohen entered the world of music at a much older age than usual, seeing as he would have been 33 when this, his debut, was released. Besides his age, given that he was already fairly well-known in his native Canada as a poet and novelist, we had a somewhat unusual kind of personality announcing its arrival on the music scene of the time. Hell, it'd be a bit weird these days too. Despite all that, this isn't to say he was a literate bore with no musical training at all. Throughout the earlier parts of the 60s he'd been a fringe figure within Andy Warhol's Factory crowd and performing solo at various folk festivals.
In fact, some reckon it was watching Nico sing in clubs which had an affect on the stylings of his earliest work, and certainly in places it wouldn't exactly be jumping the gun to think so. If any of you readers are the lucky owners of Nico's
Chelsea Girl album, you'd probably be able to fish out a few stylistic similarities with this album. Having seen Judy Collins make his song,
Suzanne, as massively popular as it was, Cohen took to the studio with producer John Simon, the backing band Kaleidoscope and backing vocalist Nancy Priddy to capitalise on this the way only a full-length album can. The result of the New York sessions was the shaping of a down-to-earth folk album although, laden as it with Cohen's terrific lyrical talent, it became a slightly darker variation than folk lovers had been used to. The richly evocative and poetic lyrics, not to mention a whole album's-worth of original material, saw this album become part of the groundwork for generations of folk music to come (along with the debuts of other singer-songwriters such as Tim Buckley, Neil Young and Joni Mitchell). The Dylan-inspired folk movement of which Cohen chose to become a part of could be seen as another corner of the music scene's reaction against the Sgt Pepper's-instigated psychedelic album rock which was dominating the airwaves in that very year.
There are still elements of 60s production styles on the album despite Cohen's effort to remove his album's sound from the popular music of the day, but they were still very subtle and barely noticeable ones like instruments panning from channel to channel and such. The album is still dominated by a very lo-fi and intimate approach to folk, with the majority of the songs having Cohen's voice and acoustic guitar right at the front of the mix. Given the senses of despair and observations of character in the lyrics, this approach does the product a whole world of good. It's what raises this album and a lot of Cohen's earlier, lo-fi works above mediocrity - the notion of a very literate selection of lyrics grabbing your attention and not letting it go for a second, all the while backed up by a very smooth, low key and non-intrusive musical backing. It's what makes a good folk song a good folk song for me, and also makes this one of my favourite such albums. There is a definite focus for the album's sound which carries the message of each song across majestically, what with the very sparing use of overdubs and augmentations of any kind which aren't of Cohen's doing.
All of this makes for a very fine good album indeed - a very strong opening statement from one of the world's finest singer-songwriters. It all gives off such a gentle, dreamy, kind of wintry atmosphere which makes for a terrific downtime album. There isn't quite enough variation in sound for me to rank this with my all-time favourite albums though, as there are a few weaker moments on show. A few of the songs though (particularly those in the videos below) are among Cohen's finest, which definitely makes this a very worthwhile listen. All in all, a sublime debut. Not a classic, but definitely worth a go.
8/10
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Ten New Songs, as you'll see below, does have one of Cohen's best songs on it, but it's not really that great as an album. Hopefully I'll get the next album done with soon enough.
I've just been sidetracked by a few things since I started this thread. So I'll just say there'll be at least a review here by the end of the week(ish).