From Have You Heard The One About Lenny In The Sandwich Bar? by Andrew Tyler. Disc: September 2, 1972. Originally posted October 14, 2013 at DrHGuy.com, a predecessor of Cohencentric
Without that Sergio Leone-Eastwood track it would have been truly demented geopolitical fantasy. But with that soundtrack and with the Motown chorus veering over to bubble gum, you get a different twist on the thing
Folk-Rock’s Poet Laureate Returns By Jeff Bradley. AP story, printed in Times Daily – Sept 3, 1988. Originally posted Nov 13, 2014 at DrHGuy.com, a predecessor of Cohencentric
Had I not written ‘Suzanne’ presumably I would be broke and starving, as I was then. At thirty-two or thirty-four, whichever I was when I wrote it, I couldn’t pay my grocery bills, I couldn’t pay the rent, and I had a woman and child to support. Writing that song was a sheer act of desperation — of a desperado.
From “Yakety Yak” by Scott Cohen (1994). Originally posted Dec 2, 2014 at DrHGuy.com, a predecessor of Cohencentric
The kind of thing I like is that you write a song, and it slips into the world, and they forget who wrote it. And it moves and it changes, and you hear it again three hundred years later, some women washing their clothes in a stream, and one of them is humming this tune.
That was written on Clinton Street. I never felt I really sealed that song; I never felt the carpentry was finished. That song and ‘Bird on the Wire’ were two songs I never successfully finished, but they were good enough to be used. Also, with the poverty of songs I have for each record, I can’t afford to discard one as good as that. It’s one of the better tunes I’ve written, but lyrically it’s too mysterious, too unclear.
Note: View photos of Leonard Cohen’s Clinton Street digs and surroundings at “New York is cold, but I like where I’m living” The View From Leonard Cohen’s 1960s NYC Apartment
Sincerely, L. Cohen by Brian Cullman (Details for Men, January, 1993). Originally posted Oct 10, 2014 at DrHGuy.com, a predecessor of Cohencentric
I’ve just written a book called The Energy Of Slaves, and in there I say that I’m in pain. I don’t say it in those words because I don’t like those words. They don’t represent the real situation. It took 80 poems to represent the situation of where I am right now. That to me totally acquits me of any responsibility I have of keeping a record public. I put it in the book. It’s carefully worked on, you know. It’s taken many years to write and it’s there. It’ll be between hard covers and it’ll be there for as long as people want to keep it in circulation. It’s careful and controlled and it’s what we call art… It’s my work, that’s all. And part of the nature of my work is to reach people. I mean I’m not very interested in playing to empty halls. My work is to make songs and poems and I use whatever material I have at hand. I don’t have the luxury of a vast range of material. I’m not entirely happy with the subject matter. I’d like to broaden my subject matter but as it is right now I only work with what is given. I am interested in this book’s reception. I’m interested in how it will be received almost more than any other book, because I have the feeling that by making it public I may be making a mistake. I hope that I will find that this gnawing feeling is wrong or that I have misread it.
From Famous last words from Leonard Cohen by Paul Saltzman (Macleans: June 10, 1972)
Note: Compare with Leonard Cohen On The “Difference Between Life And Art”