By Jeff Burger
In Leonard Cohen on Leonard Cohen--which incorporates a foreword through singer Suzanne Vega and 8 pages of hardly ever noticeable photos--the artist talks approximately "Bird at the Wire," "Hallelujah," and his different vintage songs. He candidly discusses his recognized romances, his years in a Zen monastery, his ill-fated collaboration with manufacturer Phil Spector, his lengthy conflict with melancholy, and lots more and plenty more.
You'll locate interviews that first seemed within the New York Times and Rolling Stone, but additionally fabric that has no longer formerly been revealed in English. a few of it has no longer been to be had in the past in any layout, together with many illuminating memories that participants provided particularly for this definitive anthology.
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Additional info for Leonard Cohen on Leonard Cohen: Interviews and Encounters
But also there’s another kind of high to get from refusing to use them. There are all kinds of possibilities. Asceticism is a nice high, too. Voluptuousness is a high. Alcohol is a high. [Harold] Town gets beautiful under alcohol. I just get kind of stupid and generally throw up. But some people get beautiful with alcohol. AC: Do you see things in terms of highs and lows or is this just an appeal to sensation? LC: It’s not just a matter of sensation. What I mean by high is not a manic phase of swinging, knocking down buildings, and laughing hysterically.
Cohen’s emotional state varies as much in these conversations as his subject matter, but his moods can be hard to read, particularly in his early and middle years. Half a century ago, he was already developing a reputation for being depressed—and for protesting that he didn’t deserve that reputation. “If we assume the role of melancholy too enthusiastically, we lose a great deal of life,” he told the Canadian Broadcasting Corporation’s Jed Adams in a brief radio conversation that aired on June 16, 1961.
Whatever we have been told about anything, although we remember it, and sometimes operate in those patterns, we have no deep abiding faith in anything we have been told, even in the hippest things, the newest things. Everybody has a sense that they are in their own capsule and the one that I have always been in, for want of a better word, is that of cantor—a priest of a catacomb religion that is underground, just beginning, and I am one of the many singers, one of the many, many priests, not by any means a high priest, but one of the creators of the liturgy that will create the church.