Leonard Cohen Explains “I don’t mean to suggest that I loved you the best”
Because time also is a degree in the estimation of love
The quotation is part of Leonard Cohen’s discussion of the nature of the his relationship with Janis Joplin portrayed in his song, “Chelsea Hotel #2.” The interview is found in “The Song Of Leonard Cohen” by Harry Rasky (1979).
That key line from the final version of Chelsea Hotel, “I don’t mean to suggest that I loved you the best,” and, indeed, the entire final verse on which the sense of the song turns, is absent from Chelsea Hotel #1.
I don’t mean to suggest that I loved you the best,
I can’t keep track of each fallen robin.
I remember you well in the Chelsea Hotel,
that’s all, I don’t even think of you that often.
In contradistinction to the confession, “I don’t even think of you that often,” the final verse of Chelsea Hotel #1, as it was played by Cohen in Tel Aviv in 1972,1 is a reluctant leave-taking:
Making your sweet little sound, I can hear you now
So, into the jukebox [?], choose your records
Listen all night now
Making your sweet little sound, baby,
Making your sweet little sound on the jukebox.
Guess I got nothing more to say to you, baby
I mean – so long, gotta leave you,
This is in keeping with my contention, previously presented at Video: Leonard Cohen’s Elegy For Janis Joplin – Chelsea Hotel #1 (Tel Aviv 1972), that Chelsea Hotel #1 is thematically a much different song than Chelsea Hotel #2:
Chelsea Hotel #1 focuses on the death of the singer’s (i.e., Leonard Cohen’s) lover (i.e., Janis Joplin), with whom the singer identifies primarily as an admired fellow artist and colleague and only secondarily as an object of affection or, at least, of reciprocated lust. In Chelsea Hotel #2, the situation is reversed with the key issue becoming the singer’s unambiguous examination of his own feelings for and perception of the woman at the Chelsea Hotel – even if doing so results in an ignoble self-characterization.
Chelsea Hotel #2, in fact, aligns well with other Leonard Cohen songs that mark the end of a romance, such as So Long, Marianne and Hey, That’s No Way To Say Goodbye, with unflinching observations on the psychological factors causing him to flee the relationship.
But in comparing Chelsea Hotel #1 and Chelsea Hotel #2, the kicker is that Cohen is kinder to and much more sentimental about the Janis Joplin of Chelsea Hotel #1, a singer “making a sweet little sound,” than he is to the Janis Joplin of Chelsea Hotel #2, a lover who affectionately jokes with Cohen (“You told me again you preferred handsome men/but for me you would make an exception”). He is also – and, not incidentally – far less protective of himself in the second version.
Leonard Cohen On Chelsea Hotel #2 (1979)
Uploaded by messalina79
Chelsea Hotel #1
The video of Chelsea Hotel #1 and an earlier discussion of the differences between the two versions of Leonard Cohen’s Chelsea Hotel song can be found at Video: Leonard Cohen’s Elegy For Janis Joplin – Chelsea Hotel #1 (Tel Aviv 1972)
Photo of Janis Joplin by Columbia Records (Billboard page 5) [Public domain], via Wikimedia Commons. Photo of Leonard Cohen by Peter Brosseau/Library and Archives Canada/PA-170174. Originally posted Aug 16, 2011 at 1HeckOfAGuy.com, a predecessor of Cohencentric
- There is no standard version of Chelsea Hotel #1. Leonard Cohen repeatedly changed the lyrics and rearranged the order of the verses in performances. [↩]