“Everything that you did had to be something that was unique &… complemented this very unique, fragile music that Leonard was doing.” Charlie Daniels On Playing Fiddle For Leonard Cohen

When I think of Leonard’s music, I think of it as very, very fragile. I’d never been around that kind of music before, that everything that you did had to be something that was unique and that it complemented this very unique, fragile music that Leonard was doing.quotedown2

Charlie Daniels


Daniels, Cohen Formed Unique Bond by Jeffrey Ougler (Ifpress: Sept 9, 2010).

Charlie Daniels played fiddle on the 1970 Leonard Cohen Tour and played bass on the Songs From A Room (1969) and Songs Of Love And Hate (1971) albums.

“If the crowd had applauded every time Leonard Cohen’s poetic eloquence was displayed, it would’ve meant a nonstop ovation.” 2012 Boston Concerts


Several times during Leonard Cohen’s epic and enveloping show at the Citi Wang Theatre Saturday night, the legendary singer-songwriter would sing one of his famous, devastatingly precise couplets and the audience would break into applause. If the crowd had applauded every time Cohen’s poetic eloquence was displayed, it would’ve meant a nonstop ovation for almost the entirety of the 3-hour-plus performance. That might’ve been distracting but it would’ve been understandable given how deep his gift for expression runs and how impeccably it was brought to life by the man and his superb band.

From Leonard Cohen Makes It Memorable, Sarah Rodman’s review of the Dec 15, 2012 Leonard Cohen Boston Concert. Boston Globe: Dec 17, 2012.


The above backstage photos were taken by Joey Carenza.

Live Music Blog offers 47 photos taken by Stephen Atkinson at the Dec 15, 2012 Leonard Cohen Boston Concert. The entire gallery can be accessed at Photos: Leonard Cohen @ Wang Theatre, Boston, MA 12/15/12.

The Wang Theatre Marquee photo atop this post was taken by Avi Elkoni

Originally posted Dec 17, 2012 at 1HeckOfAGuy.com, a predecessor of Cohencentric

Leonard Cohen’s Death Of A Ladies Man Named To “6 Best Phil Spector One-Off Records” List

6. Leonard Cohen, Death of a Ladies Man

Of all the songs on all the one-offs, the most ostentatiously Spectorized track is the magnificent “Memories” on Leonard Cohen’s fifth album, 1977’s Death of a Ladies Man. The song pops out of the record as much as it does from the rest of Cohen’s discography. When Cohen lets out a wailing vamp at the end it’s as if he’s overcome with emotion, or exhaustion. Given the fraught circumstances of the recording sessions, it may well have been both. A few of the tracks don’t really work, like “Paper Thin Hotel,” in which Spector thins Cohen’s voice to a flat, reedy tone that obscures Cohen’s lyrics and makes you long for Bob Johnston’s spare, vocally-oriented production. But others are worth another try, especially the monstrously indulgent but beautiful title track that slowly devolves over nine minutes as if Spector’s mighty Wall is being methodically torn down.

From The 6 Best Phil Spector One-Off Records by Nate Logsdon (Paste: December 8, 2016)

About “Leonard Cohen: An Illustrated Record” By Mike Evans

I heard from the folks at Plexus Books, publishers of this volume. who write

We will be publishing LEONARD COHEN: An Illustrated Record, by Mike Evans on the 7th November, in order to coincide with the second anniversary of Cohen’s death.  [DrHGuy Note: The official publishing date of Nov 7, 2018 notwithstanding, there is conflicting information on various retail sites, and at least one copy of this book has been received  by contributor Dominique Boile – see Leonard Cohen: An Illustrated Record By Mike Evans]

In the biography, Evans explores Cohen’s career in detail and places his literary and musical achievements within the context of his life.

From hypnotising a maid in his teens, through his sexual encounters with Janis Joplin and Joni Mitchell to his drug-fuelled relationship with music producer Phil Spector and his conversion to Buddhist monk in his 60s, Mike Evans illustrates the events that both inspired and underpinned the remarkable body of work that Leonard Cohen continued to produce up until his very last days. The biography is illustrated with over 100 full colour and black and white photographs,

Update: Page Spreads From “Leonard Cohen: An Illustrated Record” By Mike Evans

The press release follows.

Video: Roger Ebert Talks About How Leonard Cohen’s I’m Your Man Saved His Life


I was so sad to hear about Leonard Cohen’s death, but I am sure the Angels are singing “Hallelujah!” Roger and I were big fans of his poetic lyrics and his guttural voice. But one of our favorite songs, “I’m Your Man,” actually saved Roger’s life. As Roger says in the scene below from Steve James’s “Life Itself,” if he hadn’t been playing that song for the doctors and nurses on the day he was to be released from the hospital, we would have been driving home on Lake Shore Drive when he had his first catastrophic medical incident. So we always said, “Thank you Leonard Cohen.” Today, I say “Thank you Leonard Cohen for the grace you brought to this planet. May you rest in bliss.”

From The Song That Saved Roger: Memories of Leonard Cohen by Chaz Ebert (Chaz’s Journal: November 11, 2016). Photo by Sound OpinionsFlickr: Roger Ebert, CC BY-SA 2.0, Link

Leonard Cohen’s Landscapes Of The Spirit By David Peloquin; Photomontage By Martin Ferrabee – Part Three: Union

This is Part Three of this three-part series Leonard Cohen’s Landscapes Of The Spirit. Previous posts: Part One – Initiation and Part Two: Communion

The Causal Level

Also known as formless mysticism, Keter of Kabbalah, the Seventh Dwelling of Teresa of Avila, Zen Emptiness, wahdat or witness of Sufism.

This is level of the formless un-manifest: pure, vast, Emptiness. Wilber describes this as the opening or clearing in which the manifest world of forms (including you) arises out of formlessness. This is not theology; it is the direct experience by men and women who have seen this realm and returned to confess the wonder. The experience of the causal landscape of the spirit is rarified, but has been reported countless times over the centuries. This is the true abode of the witnessing consciousness that observes the small self, the one with a name and a story. Witness consciousness has no name; has no story to tell.

Cohen’s exquisite song Alexandra Leaving from Ten New Songs is informed by this causal insight:

They gain the light, they formlessly entwine;
And radiant beyond your widest measure
They fall among the voices and the wine.

Continue Reading →

“Clare Bowditch, how would you like to be my wife for five minutes?” Leonard Cohen 2010


There may have been 50 years between us but he was always playing with his youthfulness and asked one day ‘Clare Bowditch, how would you like to be my wife for five minutes?’ He was great fun and I took a shine to him too.quotedown2


Clare Bowditch
on Leonard Cohen


DrHGuy Note: Clare Bowditch is a Melbourne based singer-songwriter who was the support act during ten shows of Leonard Cohen’s 2010 Australia Tour.

From Singer Leonard Cohen has died at the age of 82 by Kathy McCabe (News.com.au: November 11, 2016). Photo atop this post is by Pramod Korathota via Wikimedia Commons

Leonard Cohen’s Landscapes Of The Spirit By David Peloquin; Photomontage By Martin Ferrabee – Part Two: Communion

As we noted in Part One – Initiation, the inner landscapes of spirit are experienced as an infinite spaciousness. At the subtle level, the initiated inner traveler experiences a deepening sense of inhabiting this vast openness. The traveler finds that he or she is learning to sustain stillness for longer periods in these deepening interiors.

The Subtle Level

Also known as deity mysticism, Chokhmah/Bina of Kabbalah, ‘moonlight’ of Tantra, the crown chakra; the Sahasrara of yoga, the ‘angelic’ or soul of Sufism.

As Ken Wilber describes it,

The subtle is said to include …high order visions, ecstatic intuition, an extraordinary clarity of awareness…beyond the ordinary ego, mind and body.”

At the psychic level, the traveler had one foot in the physical world, and one in the subtle. In this landscape, pure awareness is free to travel the path of Light.

In the song Night Comes On, from the album Various Positions, we are fortunate that Cohen has given us clear insight into the identity of the luminous woman:

“Here there is this vision of the woman, neither the mother, nor the wife, but another feminine presence that touches all the others and is responsible for the songs…it’s the feminine Muse”1

The more seasoned traveler, having been initiated by the Muse in the guise of “Suzanne”, can now develop a relationship with Her. This kind of exchange in the luminous darkness can take the form of a dialogue, an intimate conversation. He is “lost in this calling.” As he dives deeper into Her world, she reveals to him what the nature of this calling is about:

Now I look for her always; I’m lost in this calling;
I’m tied to the threads of some prayer.
Saying, “When will she summon me, when will she come to me,
what must I do to prepare?” —
Then she bends to my longing, like a willow, like a fountain.
she stands in the luminous air.
And the night comes on, and it’s very calm,
I lie in her arms, she says “When I’m gone
I’ll be yours, yours for a song.”
And the night comes on: it’s very calm;

I want to cross over, I want to go home,

but she says, “Go back, go back to the world”

Continue Reading →

  1. Interview 1985, French magazine “Paroles et Musique” []