Frankie Laine, he was singing Jezebel
I pinned an Iron Cross to my lapel
I walked up to the tallest and the blondest girl
I said, Look, you don’t know me now but very soon you will
So won’t you let me see
I said “won’t you let me see”
I said “won’t you let me see
Your naked body?”
From “Memories” by Leonard Cohen
This is the first post in the Leonard Cohen Down Memories Laine series examining “Memories” by Leonard Cohen.
One of the world’s great unsolved mysteries, along with the sudden eradication of an entire civilization at Angkor Thom, the meaning of the giant drawings by the Nazca Indians on the plains of Southern Peru, and the technology by which the stone heads were constructed on Easter Island, is the disappearance of “Memories,” a favorite Cohen tune for many fans,1 from Leonard Cohen’s concert repertoire.
And, since it doesn’t look as though Leonard is going to feature “Memories” any time soon, it’s up to Cohencentric to do so. We’re going to take a look at this song over the course of a few posts, starting with its birth as a track on Death Of A Ladies’ Man.
Memories & Death Of A Ladies’ Man
“Memories” was released on the Phil Spector-produced Death Of A Ladies’ Man album in 1977. (A live version of “Memories” with many of Spector’s trademark Wall of Sound features eliminated, was included on the 2001 release of the “Field Commander Cohen: Tour of 1979″ album.) Notably, “Memories” is the only song on that album that Cohen regularly performed in concert (during the tours of 1979, 1980 and 1985).
It is also one of the songs, along with “Joan Of Arc,” “Take This Longing,” and One Of Us Cannot Be Wrong,” inspired by Nico, the German singer with the Velvet Underground and a fixture in Andy Warhol’s Factory crowd. Nico – the woman who repeatedly spurned Cohen’s advances,2 preferring younger men – was indeed “the tallest and blondest girl” in “Memories.”
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