It’s not the laughter of someone who claims to have seen the light
No it’s a cold and it’s a very lonely Hallelujah.
Hallelujah, Hallelujah, Hallelujah, Hallelujah
I did my best, it wasn’t much.
I couldn’t feel, so I learned to touch.
I’ve told the truth, I didn’t come all this way to fool you.
Yeah even tough it all went wrong
I’ll stand right here before the Lord of Song
With nothing on my lips but Hallelujah.
Hallelujah, Hallelujah, Hallelujah, Hallelujah …
Originally included on Various Positions (1984), a substantially different version (dating from 1988) was included on Live In Concert (1994). One of Cohen’s finest songs, it has been extensively covered by other artists, with notable versions by John Cale, Jeff Buckley (a posthumous American # 1), Rufus Wainwright and Alexandra Burke (who had an unlikely UK number one with it after winning The X Factor talent show).
Heart With No Companion
I greet you from the other side
Of sorrow and despair
With a love so vast and shattered
It will reach you everywhere
And I sing this for the captain
Whose ship has not been built
For the mother in confusion
Her cradle still unfilled
For the heart with no companion
For the soul without a king
For the prima ballerina
Who cannot dance to anything
Through the days of shame that are coming
Through the nights of wild distress
Tho’ your promise count for nothing
You must keep it nonetheless
You must keep it for the captain
Whose ship has not been built
For the mother in confusion
Her cradle still unfilled
For the heart with no companion ...
I greet you from the other side ...
Included on Various Positions (1984), and in a live 1988 version on Live In Concert (1994), this song expresses Cohen’s Buddhism and in particular the compassion which is a major element of that faith. As often with his most spiritual songs, Cohen uses no explicitly religious language in it.
Here It Is
Here is your crown
And your seal and rings;
And here is your love
For all things.
Here is your cart,
And your cardboard and piss;
And here is your love
For all of this.
May everyone live,
And may everyone die.
Hello, my love,
And my love, Goodbye.
Here is your wine,
And your drunken fall;
And here is your love.
Your love for it all.
Here is your sickness.
Your bed and your pan;
And here is your love
For the woman, the man.
May everyone live,
And may everyone die.
Hello, my love,
And my love, Goodbye.
And here is the night,
The night has begun;
And here is your death
In the heart of your son.
And here is the dawn,
(Until death do us part);
And here is your death,
In your daughter’s heart.
May everyone live,
And may everyone die.
Hello, my love,
And my love, Goodbye.
And here you are hurried,
And here you are gone;
And here is the love,
That it’s all built upon.
Here is your cross,
Your nails and your hill;
And here is your love,
That lists where it will.
May everyone live,
And may everyone die.
Hello, my love,
And my love, Goodbye.
Included on Ten New Songs (2001), this song was co-written by Sharon Robinson. The phrase “the love / that it’s all built upon” eloquently expresses a perennial Cohen them, and would be a suitable description of his songwriting.
Hey, That’s No Way To Say Goodbye
I loved you in the morning, our kisses deep and warm,
your hair upon the pillow like a sleepy golden storm,
yes, many loved before us, I know that we are not new,
in city and in forest they smiled like me and you,
but now it’s come to distances and both of us must try,
your eyes are soft with sorrow,
Hey, that’s no way to say goodbye.
I’m not looking for another as I wander in my time,
walk me to the corner, our steps will always rhyme
you know my love goes with you as your love stays with me,
it’s just the way it changes, like the shoreline and the sea,
but let’s not talk of love or chains and things we can’t untie,
your eyes are soft with sorrow,
Hey, that’s no way to say goodbye.
I loved you in the morning, our kisses deep and warm,
your hair upon the pillow like a sleepy golden storm,
yes many loved before us, I know that we are not new,
in city and in forest they smiled like me and you,
but let’s not talk of love or chains and things we can’t untie,
your eyes are soft with sorrow,
Hey, that’s no way to say goodbye.
One of the finest and most famous songs from Cohen’s early period, it was included on his debut album Songs Of Leonard Cohen (1967) and, in a live version, on Field Commander Cohen – Tour Of 1979 (2001).
Humbled In Love
Do you remember all of those pledges
That we pledged in the passionate night
Ah they’re soiled now, they’re torn at the edges
Like moths on a still yellow light
No penance serves to renew them
No massive transfusions of trust
Why not even revenge can undo them
So twisted these vows and so crushed
And you say you’ve been humbled in love
Cut down in your love
Forced to kneel in the mud next to me
Ah but why so bitterly turn from the one
Who kneels there as deeply as thee
Children have taken these pledges
They have ferried them out of the past
Oh beyond all the graves and the hedges
Where love must go hiding at last
And here where there is no description
Oh here in the moment at hand
No sinner need rise up forgiven
No victim need limp to the stand
And you say you’ve been humbled in love...
And look dear heart, look at the virgin
Look how she welcomes him into her gown
Yes, and mark how the stranger’s cold armour
Dissolves like a star falling down
Why trade this vision for desire
When you may have them both
You will never see a man this naked
I will never hold a woman this close
And you say you’ve been humbled in love...
Included on Recent Songs (1979), this deals with a familiar early period Cohen theme – the failure of a relationship – but with a less astringent, more adult attitude than had tended to muster previously.
Hunter’s Lullaby
Your father’s gone a-hunting
He’s deep in the forest so wild
And he cannot take his wife with him
He cannot take his child
Your father’s gone a-hunting
In the quicksand and the clay
And a woman cannot follow him
Although she knows the way
Your father’s gone a-hunting
Through the silver and the glass
Where only greed can enter
But spirit, spirit cannot pass
Your father’s gone a-hunting
For the beast we’ll never cannot bind
And he leaves a baby sleeping
And his blessings all behind
Your father’s gone a-hunting
And he’s lost his lucky charm
And he’s lost the guardian heart
That keeps the hunter from the harm
Your father’s gone a-hunting
He asked me to say goodbye
And he warned me not to stop him
I wouldn’t, I wouldn’t even try
This song, included on Various Positions (1984), seems at first a simple re-working of an old folk song. But it is much more complex than that. For what has the hunter gone “a-hunting”? Who, and of which gender, is the narrator? The context suggests she is the wife-and-mother of the hunter and his child, and that he has not gone hunting for food or fur or the necessaries of life. One plausible reading of the song is that it is the carnal world which the hunter is seeking, the mother and child left behind representing the spiritual world abandoned in that quest. Such an interpretation would certainly be consistent with Cohen’s known themes and interests at the time wrote the song.
I Can’t Forget
I stumbled out of bed
I got ready for the struggle
I smoked a cigarette
And I tightened up my gut
I said this can’t be me
Must be my double
And I can’t forget, I can’t forget
I can’t forget but I don’t remember what
I’m burning up the road
I’m heading down to Phoenix
I got this old address
Of someone that I knew
It was high and fine and free
Ah, you should have seen us
And I can’t forget, I can’t forget
I can’t forget but I don’t remember who
I’ll be there today
With a big bouquet of cactus
I got this rig that runs on memories
And I promise, cross my heart,
They’ll never catch us
But if they do, just tell them it was me
Yeah I loved you all my life
And that’s how I want to end it
The summer’s almost gone
The winter’s tuning up
Yeah, the summer’s gone
But a lot goes on forever
And I can’t forget, I can’t forget
I can’t forget but I don’t remember what
This song, included on I’m Your Man (1988), originally had an entirely different set of lyrics, entitled “Taken Out Of Egypt” and dealing with the Jewish Exodus as a ‘metaphor for the journey of the soul from bondage into freedom”. This had taken Cohen several months to write, but in the studio he found himself unable to sing it. These lyrics were hastily written so as not to waste the melody, with a somewhat less august and portentous theme. Perhaps, in what is essentially an extended literary riff on an old joke, the song itself journeyed out of bondage!
I Left A Woman Waiting
I left a woman waiting
I met her sometime later
She said, I see your eyes are dead
What happened to you, lover?
What happened to you, my lover?
What happened to you, lover?
What happened to you?
And since she spoke the truth to me
I tried to answer truthfully
Whatever happened to my eyes
Happened to your beauty
Happened to your beauty
What happened to your beauty
Happened to me
We took ourselves to someone’s bed
And there we fell together
Quick as dogs and truly dead were we
And free as running water
Free as running water
Free as running water
Free as you and me
The way it’s got to be
The way it’s got to be, lover
The first two stanzas were taken from “Poem # 2” in his collection The Energy Of Slaves; the third was newly written for this song, which was included on Death Of A Ladies’ Man (1977). In the original poem, the protagonist tells his “faithless wife” to go to sleep. In the song, he suggests they stay awake.
I Tried To Leave You
I tried to leave you, I don’t deny
I closed the book on us, at least a hundred times.
I’d wake up every morning by your side.
The years go by, you lose your pride.
The baby’s crying, so you do not go outside,
and all your work it’s right before your eyes.
Goodnight, my darling, I hope you’re satisfied,
the bed is kind of narrow, but my arms are open wide.
And here’s a man still working for your smile.
Included on New Skin For The Old Ceremony (1974), this is one of the shortest songs Cohen has recorded, although in concert it is often one of the longest, Cohen using it as a vehicle for introducing the band.
If It Be Your Will
If it be your will
That I speak no more
And my voice be still
As it was before
I will speak no more
I shall abide until
I am spoken for
If it be your will
If it be your will
That a voice be true
From this broken hill
I will sing to you
From this broken hill
All your praises they shall ring
If it be your will
To let me sing
From this broken hill
All your praises they shall ring
If it be your will
To let me sing
If it be your will
If there is a choice
Let the rivers fill
Let the hills rejoice
Let your mercy spill
On all these burning hearts in hell
To make us well
And draw us near
And bind us tight
All your children here
In their rags of light
In our rags of light
All dressed to kill
And end this night
If it be your will
If it be your will.
One of Cohen’s most overtly religious songs, it is based both musically and lyrically on the synagogue prayer “ May it therefore be Your will, Lord our God” recited on the eve of Yom Kippur, the Jewish Day of Atonement. Perhaps for this reason, it is more monotheistic than, for example, “Heart With No Companion” which was the preceding track on Various Positions (1984). Cohen has said that the song “took a long time to write because the lyric and the melody are so simple that if there were a false step it would really collapse the structure … but I think it’s probably one of the best songs I’ve ever written”.
I’m Your Man
If you want a lover
I’ll do anything you ask me to
And if you want another kind of love
I’ll wear a mask for you
If you want a partner
Take my hand
Or if you want to strike me down in anger
Here I stand
I’m your man
If you want a boxer
I will step into the ring for you
And if you want a doctor
I’ll examine every inch of you
If you want a driver
Climb inside
Or if you want to take me for a ride
You know you can
I’m your man
Ah, the moon’s too bright
The chain’s too tight
The beast won’t go to sleep
I’ve been running through these promises to you
That I made and I could not keep
Ah but a man never got a woman back
Not by begging on his knees
Or I’d crawl to you baby
And I’d fall at your feet
And I’d howl at your beauty
Like a dog in heat
And I’d claw at your heart
And I’d tear at your sheet
I’d say please, please
I’m your man
And if you’ve got to sleep
A moment on the road
I will steer for you
And if you want to work the street alone
I’ll disappear for you
If you want a father for your child
Or only want to walk with me a while
Across the sand
I’m your man
If you want a lover
I’ll do anything you ask me to
And if you want another kind of love
I’ll wear a mask for you
The title track on I’m Your Man (1988), this song was also included on Live In Concert (1994). In the live version Cohen adds a couple of adjectives – “I’ll wear a leather mask for you” in the first stanza and “if you want a Jewish doctor” in the second. However, these are best considered an entertainer’s ad lib rather than a definitive emendation of the text.
In My Secret Life
I saw you this morning.
You were moving so fast.
Can’t seem to loosen my grip
On the past.
And I miss you so much.
There’s no one in sight.
And we’re still making love
In My Secret Life.
I smile when I’m angry.
I cheat and I lie.
I do what I have to do
To get by.
But I know what is wrong.
And I know what is right.
And I’d die for the truth
In My Secret Life.
Hold on, hold on, my brother.
My sister, hold on tight.
I finally got my orders.
I’ll be marching through the morning,
Marching through the night,
Moving cross the borders
Of My Secret Life.
Looked through the paper.
Makes you want to cry.