Songs Of Leonard Cohen

I wake up each morning and get a bit excited about the album I'm going to get. My mood shrunk instantly seeing my dads judgy face staring back at me. Hey I know; maybe smile if your face is going to be plastered on the album. Or spend less on the flashy font, and more on a photographer. First song made me want to crash into a ditch. The eventual accident report would read. "Poor bastard, another SUICIDE by Cohen."

Amused by some of the reviews in this section--weird takes such as "How do people even pretend to like this? He's the music version of Shakespeare: people only say they like him because it makes them feel smart," bla bla bla... Are some folks so insecure in their lives that they let their inferiority complex ruin all sense of measure and caution in their judgments? Can't they just explain what they personally don't like in Cohen's songs and music, and then move on? No, they can't, and that's interesting. Pretty sure such a bitter stance would have amused the misanthropic-yet-tender "dissectionist" of human passions that Cohen was himself. Oh, the irony. I could also take a page out of those disgruntled listeners' book and venture to say that they are the ones at fault here, *objectively* speaking. One can indeed wonder if they're not a little disturbed by the somewhat radical nature of Cohen's debut album--ascetic and dry for sure, yet also hypnotic on a musical level ; a treasure trove when it comes to the lyrics ; and, most of all, a record that leaves you no choice but to actively give your time and attention to it. This record has very few "spectacular" elements in its contents (a voice and an acoustic guitar, basically), and yet in spite of that, it dares you to stop and listen. Which is always a little disturbing at first, and maybe explains why quite a few reviewers are "disturbed" by it. In the end, some of those naysayers just can't help themselves: if they don't get it, that only means that people who do are *lying*. How amusing, as I said. The irony is that it takes no effort to love this record if you're a Leonard Cohen fan. Because loving this album has nothing do with intellectual shenanigans or the utterance of thesis statements, contrary to what those misguided takes say. Loving this album is a matter of emotion--of how you can respond to the traditional-folk-like purity of the music, here set against the lyrics' modern sophistication (and sometimes wry undertones), along with Cohen's sullen voice being a mock-neutral referee between the two. A perfect balance for many, and one you don't necessarily need to overanalyze, in spite of what I've just written (words are always feeble to describe such masterpieces. aren't they?). After all, some people with a very flimsy grasp of the English language have "gotten" Leonard Cohen for decades (I know that for sure, I don't llive in an English-speaking country), and he's not exclusively popular in 'intellectual" circles either. Which kinda proves all the naysayers wrong all by itself, no matter what it is that they subjectively "feel". No harm in disliking Cohen if it's not your thing--just don't overplay your hand by yucking on other people's yum through the bad faith stance of judging fans' character or their honesty, instead of telling us about your own impressions. It's not graceful at all, to say the least. Not that those naysayers are anything new. A lot of people are unaware of this today, but when *Songs Of Leonard Cohen* was released, its reception by critics was a bit lukewarm, actually. The partly-hidden rationale was mostly that Cohen came from literary and poetry circles: he was an outsider and no "real" musician--and most specifically, he was no real "singer" (odd how snubbery can take many forms!). Yet those critics were at fault too, because they didn't "feel" the most important aspects to take away from *Songs Of Leonard Cohen*: its earnestness ; its blunt honesty ; its raw nature. Because whatever technical abilities Cohen lacked as a vocal performer, he made up for them tenfold through the authenticity, earnestness, and unassuming manners in his performance. Fortunately, general audiences were quick to understand the gem that he was, and you can bet your boots that next generations will, too, just as the ones before. Another layer of irony is that those suspicious critics actually did a huge favour for the Canadian folkster. Rejecting him, they unwittingly underlined his status as a constant underdog--a status he would keep on drawing inspiration from during his long career. The typical Leonard Cohen stance is that he watches the world--and even his own romantic escapades!--from the sidelines with a unassuming, stoic air. And his music gracefully underlines this stance, whether it is wisdom or self-delusion. Such hardcore stoicism is still what makes Leonard Cohen unpalatable for some listeners today, I guess... Those more recent naysayers should at least be aware that things could have turned out worse for them. Had Cohen fully had his way with this debut, there would for instance be far less orchestral arrangements in it, and even less female background vocals. We can all be glad that producer John Simon stood his ground, because the compromise the two men eventually found works beautifully here. Later, for other albums, Cohen would oscillate from a "less is more" philosophy for his subsequent LPs during the seventies, to some sort of maximalist layering in the eighties--one that was maybe partly ironic. But it's here, for this debut, that the perfect matrix has been set for the Canadian songwriter. Those women singing background vocals would for instance never really leave him--it's a marital "arrangement" between lush voices and Cohen's own somber timber that started with this album, and made a lasting impression to the world of music at large. See the sheer amount of cover versions of Cohen's songs if you ever doubt about that. As for the orchestral arrangements, listen carefully to "Master Song" and tell me that its minimalistic production values are not one of the most insanely subtle and yet most gorgeous things that has ever graced human ears--each short inflexion of the small orchestra underlining the lyrical proceedings in the exact way it should--whether through strings or a trumpet--and also enhancing the wonderful chords Cohen found for his tune. So called "deep cuts" like that ("Master Song", "The Stranger Song", "Stories Of The Streets", "Teachers"...) all have those sorts of endearing or enlightening details, and as a consequence, they becone immensely pleasurable if you take the time to sit down and listen. And if you add that string of iconic songs to those less famous tunes--"Suzanne", "So Long, Marianne", "Sisters of Mercy"--of which I don't have much to say given how they have seeped through popular consciousness for decades now--what you get is a perfect, perfect record, without a single dud in it. Running out of time to finish this review, so I'm gonna end it here. If you don't know the wonderful works of Leonard Cohen, don't listen to the naysayers. Have an honest go at it. Maybe you are like "Joseph looking for a manger", and you don't know it yet. Rest assured that once you heart finds shelter in those songs, it is just impossible to forget them. Five stars, what else? Number of albums left to review: 447 Number of albums from the list I find relevant enough to be mandatory listens: 257 (including this one) Albums from the list I *might* include in mine later on: 132 Albums from the list I will certainly *not* include in mine (many others are more essential to me): 167

Fun drinking game! every time Leonard Cohen references some sort of religious imagery-take a shot. Except don’t cause you’ll die of alcohol poisoning

If you Dylan is too exciting for you, you might love Cohen, who delivers every line on every song in the same whispery tone. Instrumentation was clearly an afterthought, if it was even a thought at all.

Super chill listen. Not something id reach for all the time, but i wouldn't turn it off if I was like at a dinner party with my in laws or my parents, and we were having like some charcuterie

The vibes are immaculate. I love the blend between singing and storytelling, and how everything feels uncomplicated. Every element in the music contributes to the atmosphere, and it feels like adding or subtracting any part of the songs would ruin them. Overall I really love this album so far, and I definitely need to listen to more Leonard Cohen in the future as it's totally up my alley.

There are certain albums that are ‘of one.’ There are only a few songs that, separately, I would mention. But as an album, they all become parts of a masterpiece. Sparse but melodic, the focus goes instinctually to the words and the overall ‘feel’ of the album. Great, great album.

This was a pretty good audiobook, but the background music they chose was a little sleepy.

Mellow, thoughtful and engaging.

Cohen is an undeniable songwriting powerhouse but his performance on this album is just ... boring. Musically, every song is strikingly similar even while the lyrics are deeply different and, frankly, brilliant. This is also Cohen before his voice went pear-shaped so his singing is pretty dang good for Cohen. I want to like this album more than I do. But I don't.

Unpopular opinion - but I think Cohen is whack. His poetry is guff, his music is unlistenable (all eras) and I genuinely believe people pretend to like him for cultural cache. Emperor's new clothes made incarnate. Nonetheless, I gave this another spin to make sure my opinions haven't been coloured by youthful bile, but here we are again, bored out of my skull by Cohen.

So far I've listened and rated almost 50 albums on this website, and this is my first 5 star rating. Everything about this just resonates with me. The lyrics paired with his voice and guitar playing is just .. perfect.

Day 35 of Albums You Must Hear.. Today’s albums is Songs of Leonard Cohen by Leonard Cohen, released in 1967. Leonard wrote the song Hallelujah, covered by more than 300 artists and is one of the most beautiful songs ever written, however, that song is not on this album. I don’t recognize any of the songs on this offering and I honestly found this to be a pretty boring and dull record. Please share your thoughts, memories and opinions!

Now that I’ve completed 4 of the 5 Leonard Cohen records on the list, I think it’s safe for me to make this statement: This Leonard Cohen dude is a total bummer.

Of all days to make me listen to this album again. Leonard Cohen's early songs are inextricably tied up for me with a place and a time. I'm 19, maybe 20, and sitting with others like me on a rusting bridge over a canal whose green scummy surface is dotted with lilies. Someone strikes a match for another to light a cigarette. Lunch break between classes stretched out indefinitely. Mosquitoes buzzing in the late afternoon light, dogs snoozing in the shade. We're telling jokes and stories that people like us have told at that same spot many years before. We feel like we know everything. We think we'll stay this young forever. The romance of that space and time is like the romance of these songs. I revisit it as I age and see how fragile is its beauty. It's all a fantasy really. Leonard's lyrics refer to nothing extrinsic but unravel endlessly, a hypnotic, shimmering meditation on the moment that will pass, on the impossible mysteries of being human. They're so metrically and melodically perfect, so precise in their expression of yearning and loss and wonder, so complete in themselves that you cannot describe to someone after the fact what they felt like, what they were even about. You can't go home again. Every time I listen to this album I'm different, more bent and bumped around. The world is faded because it's larger than you knew. But the gift of memory is precious. Like a mnemonic device, this album takes me back to a time and place that I cannot really revisit, that maybe was never real. You return like a stranger and watch yourself. It's real enough to break your heart, though everything has changed. Songs of homecoming, songs of farewell. It's time that we began to laugh, and cry, and cry, and laugh about it all again.

So many classic songs, incredible arrangements. A great start to an unbeatable catalogue of albums!

This is a lyricists/poets album I think. I am aware of what a giant Leonard is in the singer songwriter world. To be honest I'd never really listened to much of his stuff. I think I get what he is going for by really painting pictures with words and the focus of his songs seem to be on the lyrical content, however the album did not do too much for me. I don't have a problem with a stripped down acoustic sound. I am a big Simon and Garfunkel fan after all. This album though didn't really pull me in. Leonard's voice reminds me a bit of Lou Reed/Velvet Underground. Maybe I am comparing him to Simon and Garfunkel and I have seen the kind of creativity and harmonies that can be done with those two guys and a guitar. I can see how this album could influence singer songwriter types particularly with all the imagery in the lyrics, but with me being more of a musical parts person and less of a lyrics person the album just didn't do much for me.

Something something something, well renowned, famous, blah blah dear god this is dull and I don't want to listen to any more of it.

A low 5, and I like it slightly less than You Want it Darker, but also it's a little more chill to listen to which is nice. These albums are hard to judge because I can't get much of a feel for them if I listen to them while I do something else.

as holy as it is human fav track: hey, that's no way to say goodbye

much better than Songs from a Room and I really liked that one... it's a 5

A brilliant album, lyrically, musically and in its production which is always in service to Cohen's brilliant lyrical expression. The arrangements are spare and basic but never boring,. Accoustic guitar underpins each song with flourishes from horns or percussion or backing vocals providing lovely accents that again serve the lyric. A picker of nits might say that the arrangements and maybe the melody can sound samey from song to song but deeper analysis unveils subtle but musically signficant differences. The Songs of Leonard Cohen is deserving of its legendary status 5 stars.

This album doesn’t just demand the listener’s undivided attention, it ties it down in it’s vice-like grip and consumes it whole. Cohen’s beautiful and poignant poetry have my goosebump muscles working overtime. You feel the pain and emotion on every track. Genius. Highlights: Suzanne, The Stranger Song, Sisters of Mercy, So Long, Marianne, Hey, That’s No Way To Say Goodbye Probably the easiest 5/5 to score

A musician and vocalist before he's a poet and don't you forget it, so can your read-alongs and just listen to the damn music. More often than not, the tone of his voice and the eldritch figures he picks from his guitar are the subjects--the lyrics more like light cast to make them dance and flicker. Many have sacrificed themselves in vain at the altar of songpoetry, with Cohen their misbegotten godhead. If only they'd listened in the first place. RIP to them and RIP to Lenny.

Only one of the best albums from one of the best artists ever

"have I carved enough, my lord?" "child, you are a bone."

The lyrics are the main focus here, the musings, narrations, and confessions of a sensitive and intellectual poet. The music seems merely an extension of the poetry. Many memorable turns of phrase, notable religious imagery (Jesus, Joseph, angels, nuns). Simple production, intimate coffee house vibes. A few waltzy numbers; most tracks have a downtempo feel. These songs call for a quiet and contemplative mood. Favorite track: “So Long, Marianne.” I liked the female vocal paired with his low, gravely voice.

I honestly don’t know what the fuss is. Sure Hallelujah is a masterpiece but nothing else of his even comes close.

Of the LC records we’ve heard so far, “I’m Your Man” is my favourite, but the debut most clearly sets out his specialities: the mythic presentation of the everyday lit up by striking imagery, the direct address, his voice pitched at a barroom dramatist’s laconicism, and a strong rhythm guitar propelling the machine along. The embellishments crackle: “So long, Marianne”’s accentuating drum rolls at close and the far off warbling below upfront whistling of “Hey, That’s No Way to Say Goodbye” make me want to listen to those songs again as I write.

This is a remarkable album; to modern ears it might sound sparse, repetitive even, but in context it houses an incredible run of songs that defined the singer-songwriter field for decades to come. Any disagreement is akin to a highschooler arguing about reading Shakespeare- stick with it, it's good for you! "Some girls wander by mistake into the mess that scalpels make" Phenomenal

Songs Of Leonard Cohen by Leonard Cohen reviewed in the style of Leonard Cohen Songs of Leonard Cohen, a stunning debut, marked by soft strings, and words that cut through the quiet. Each song, a whispered tale of love, of loss, of things unseen— a voice that trembles but never falters, an artist already knowing how the heart bleeds. I’ve loved his later works, where gravel seeps into his throat, the years, the cigarettes, the bourbon— they tell their stories too. But here, his voice is crisp, clear as a winter morning, relatively untouched by time's slow erosion. I knew I liked Leonard Cohen, but I didn’t realise just how much I liked these songs until I sank deeper into them. They hit harder than I remembered, like an old friend whose words now cut cleaner, linger longer. There’s a weight to it, each note, each line, gently pulling you under, each thread a part of the web you didn’t know was being spun. No track stumbles, no moment lets the album down. It moves like shadows at dusk, slow, steady, inevitable— the kind of quiet that makes you listen closer. This debut— not just a door half-open, but a threshold to something vast, inevitably drawing me back in. Did/Do I own this release? No, but I should Does this release belong on the list? Yes Would this release make my personal list? I was surprised by how much I enjoyed this album as a whole Will I be listening to it again? For sure

A master in his craft for composure, song writing and lyrical prowess.

I liked the weight that Cohen's voice has on a lot of the tracks. The guitar playing is excellent and I like the choice of restricting more instruments to certain tracks as I feel like that gives those tracks more weight

I’ve used the term Cohenesque a number of times over these reviews to describe the way various artists are able to utilise the craft of songwriting in a way that is both sincere and ironic, personal and universal, philosophical and sensual. Leonard Cohen is a better songwriter than Bob Dylan, he has a better sense of style regarding lyrics, which are immaculate and poetic, and is also better at crafting melody, there’s a reason he slotted so perfectly into 80’s synthpop. But Songs of Leonard Cohen is a folk album through and through, and what a folk album. At turns both seductive and sinister, Cohen gives us his thoughts on religion, philosophy and sexuality with a wit that’s dryer than the best martini, and a compassion that cuts clear through the irony. It’s also often, weirdly soothing, the sort of album you can put on and just vibe with, imagining Suzanne and her oranges, and debating with Cohen about spirituality and sex

The simplicity of the music allows the words to shine

Evocative lyrics. Sublime metaphors. His folk blends a cowboy storyteller style with a little Greenwich Village sensibility. The whole album is solid, but The Master Song, The Stranger Song, So Long Marianne are my favorites.

I had never listened to Leonard Cohen until previously on this journey, I received "You Want It Darker," an album that I don't think should have been my first foray into Cohen's work. Now this, this is the exact kind of album I think should have been my first foray. I have listened to a lot of Leonard Cohen's contemporaries and loved them, and this definitely feels along the same lines as a work of Bob Dylan or Paul Simon. The album feels so familiar, and I was not surprised to find it was produced by John Simon, who had a hand in Simon and Garfunkel's "Bookends" which I adore, and think feels pretty similar to this album in some respects. He also produced many albums by The Band, so now it's all starting to come full circle. This album is soft, pensive, dark. Something that maybe does not feel monumental in a contemporary sense, but at the time definitely had to have been. This is an album I think I will come back to, something about it feels so familiar and lovely and I would love to get lost in it again.

A sheer master class in songwriting from a lyrical stance, as well as one of beautiful instrumental work that keep you in tranced in Cohen’s world of love for each of its 10 memorable tracks.

I can't believe we were given the Prodigy, then this album! someone up there wants to give me all the albums I like early! Sisters of Mercy is beautiful, and this album is a near perfect nostalgia hit. I just wish I could give it six stars.

Only ever heard the hits here before, he has a command of language unseen in music, with such vivid imagery and apt metaphors. This is the second album I've heard of his, after the ill fated Spector album, and it's clear he's at the strength of his powers here.

These songs are devastating in the best way. He has such command of language, I am in awe. Hell of a debut.

Ooooh this is a special album. I think Cohen is a musical genius and a poet. I mean what a stunning debut as well. I have a lot of love for the folky sounds of guitar picking, mandolin and other instruments. The mixture of pure story telling and abstract poetry in the lyrics is very exciting. Suzanne is a perfect opener, it's painfully beautiful, even celestial with the backing vocals and harp. I really love reading about how he wrote some of these songs and his unusual process. So Long Marianne is already a favourite of mine, there's so much variety and innovation between the oompa sounds on that track and the very stripped back songs with guitar picking and his vocals. Cohen's voice is an absolute winner for me, it's so rich and deep it sounds like how mahogany looks to me. This album is perfection!

These are more like ballads than songs; you have to pay attention to the lyrics to follow the story. The use of language is fantastic.

This is an absolute masterpiece. Leonard Cohen’s lyrics are mystical and transport you to another place. His guitar is haunting- to anyone who says he can’t play guitar- maybe he can’t do a jimmy page solo but he achieves a different kind of aura with his circular style. I still remember going ‘oh I heard of this guy’ and putting the CD on and quickly realising this was something special. A genius’ first work and one of my favourites. 10/10

Classic Album, Classic singer/songwriter/poet, one of my favourite artists of all time. This isn't my favourite Cohen album but has classic songs "Suzanne" "Sisters Of Mercy" and "So Long Marianne" all became staples for his live shows but also for every busker on London Streets from 1968 onwards! I am so happy I luckily got to see him live on one of his last tours of the UK (Which he had to do after being ripped of by his ex manager) He was amazing and had a brilliant band including a flamenco guitarist (Javier Mas) it was one of those nights where music just flows over you. He was and remains one of my musical heroes, maybe because he was primarily a poet, like Dylan and music was the vehicle for his poetry. Oh My Favourite Cohen Album: The Phil Spector Produced "Death of a Ladies Man"

24th September 2021 Started in the morning and finished on Sunday afternoon over my birthday weekend. The man, the poet, the legend. Such a beautiful artist and singer, they're poems come to life.

I'm blown away by the songwriting on this album. The music is understated, yet pleasant, and while it can be kind of same-y, the imagery and turn of phrase overcomes any and all of that. Cohen is one of those artists that I never really got around to, and now I'm wishing I had spent more time with him sooner. Best track: So Long, Marianne

Hard to describe the feeling Cohen invokes but it's easy to say that his music transcends the boundaries of typical North American / UK popular music and harkens back to a type of European folk sensibility. As anyone who has watched the 'Marianne and Leonard' documentary will know, Cohen travelled extensively in southern Europe (before living in a Buddhist monastery in Asia for the best part of a decade) and to my mind he somehow manages to capture this essence in his poetry and music.

One of my favorite albums of all time. Huge Leonard Cohen fan. Standouts: Suzanne, So Long, Marianne Hey, That's no way to Say Goodbye. Master Song, Store Room (Bonus CD 2007)

I was a teenager in Montreal in the 70s, but grew up not knowing Leonard Cohen's music, except Suzanne. Then in my 20s Cohen became cool and his cool factor just kept increasing. However I only bought this album about 7 years ago, listened to it a couple of times since, it's a noisy pressing so I never let it grab hold of me. So today was the first time I really listened to this album. It will now be in my regular playlist. I let it grab hold and its doing so with a vengeance. 5 stars

Such good songs and simple staging, and that voice

Disco perfecto.

I heard about Leonard Cohen but to be honest it sonund not so attractive... What an error!!! It is a wonderful album. From the beginning to the end you find quality in capital letters: the music, the voice, Great.

Great imagery and interesting writing.

I remember this album from my youth, my parents loved this albam

.

4.5. I really liked this, will be visiting this again. Great folk.

Songs of Leonard Cohen I had this album on CD, and I think it's the only Leonard Cohen album I've ever properly listened to, until we had You Want it Darker. It really is quite singular, with that similar feel and structure to each song, but I presume that’s the point - the simple and relatively unadorned backing and structures are to accompany the lyrics rather than being the starting point. Some great tracks though, I loved Suzanne from the first time I heard it, and of course Sisters of Mercy is an excellent track. Master Song is great and Winter Lady gets better with each listen. I love the rising and dipping sweep of So Long, Marianne (always wondered about the two female names and how they sound similar, Suzanne and Marianne). Hey, That’s No Way to Say Goodbye feels a bit repetitive and also like Father and Son by Cat Stevens. I like the slightly different structure of Stories from the Street, with more of a jig feel with the organ. Teachers is a bit of dip before a nice finish with One of Us Cannot Be Wrong, again that rising and falling lament and again it works well. His voice really suits the songs and the playing, he doesn’t have great range but his tone and lack of flourish or ostentation complements the songs and the words excellently. It’s a great album - I’m not sure it’s quite top tier but it's close. I’ll stick with a 4. I really enjoyed revisiting it and it has reminded me to come back to it, and I’m looking forward to reacquainting myself with it a bit more. 🍁🍁🍁🍁 Playlist submission: Suzanne

I avoided Leonard Cohen for a long time, believing the notion that his music was difficult and depressing. The first is simply not true - this is very easy to listen to, with a minimal approach to instrumentation and Cohen’s distinctive vocals. Whether it’s depressing is open to debate - these are extraordinarily intimate songs dealing with love, loss and deep emotions, and they may well stir memories of your own.

I had only listened to this album a couple of times prior to this but I added 3 solid listens since Friday. I get a very “On the Road” feel from the lyrics, like I’m traveling in another country and these songs are the caricatures of interesting people I’ve encountered along the way. I really love the minimal instrumentation with the occasional wide panned new layer that gives it just enough depth to keep your ears from getting bored while maintaining simplicity so you stay focused on the stories being told. All around an incredible folk album.

Atmospheric and accomplished. Quality. 4*

It's hard to place exactly which emotion is being expressed. It's like a stoic passion. Like the singer is detached from the writer. It sounds like a Renaissance painting. Something weird is happening, dark but entertaining. One young man is breaking the forth wall looking right at us with no expression whatsoever. Great folk record. 4/5

Production is spare but still pretty. (Personally, I would like a little bit more grit in it, but you can't have everything). Mostly simple acoustic guitar and bass arrangements, augmented with occasional strings. Leonard's voice is not great, but he can (usually) sell the damn song. The songs are so great; Suzanne, So Long, Marianne, Sisters of Mercy are all classics. They are so evocative. I realize that he almost never talks in generalities or abstract concepts. He tells the story through vivid and concrete images. I love that approach to lyric writing. I've reviewed a bunch of Leonard Cohen albums for this project, and this continues my highly consistent run of 4 star ratings.

Turns out that if you take Bob Dylan's formula and remove the ear-piercingly horrible harmonica, you're left with actually listenable music. Who would have guessed. Good old Lenny writes some swell tunes on this one. Proud of the guy.

not bad added to the Sunday playlist

Like a poetic internal monologue of a dull mans mundane day. Even Leonard sounds pretty apathetic about the whole thing. Could have done with a bit of Chelsea Hotel to spice things up a bit. Nonetheless, I myself am also boring so enjoyed it.

To rate this I needed to think about the comparable music of the late 60's as it does seem dated to me now. Still it is good enough for 3 stars or C+.

Solemn, earnest, and poetic, Leonard Cohen helped usher in the “sensitive singer/songwriter” genre. His reverent voice serves his artistic intentions, but this album suffers from the tracklist order. However lyrical, the first four songs are monochromatic in style, tempo, and instrumentation, serving the listener either as an elongated meditation or a mesmerizing soporific. If one can stay awake, they are greatly rewarded as more instruments are added and the tempo picks up a bit. This change in direction is not echoed by the lyrics, which benefit from remaining poetic, visual, and a studied reflection of the human condition. The album remains at its full potential onwards, stirring emotional longing with concise phrases. The opening songs are individual works of art, but detract from the art form of a cohesive album. Once that early chrysalis is shed, this rest of album takes to the heavens. Great songs, but as an album it feels like two separate works.

The music is nice, but it's too sad and melancholy for me to enjoy.

Very poetic and biblical album. Somber throughout. I feel like I could get something more out of it if I sat down and analyzed the lyrics, but most of it was lost on my on a first listen. The singing itself was pretty unsatisfying, so I didn't get much out of this one on this listen.

I have to say that musically, every song on this album is strikingly similar. Yes, I only had one listen through, but it difficult to distinguish between tracks. 'Teachers' was probably the best one as it was a bit different sounding and the guitar throughout does sound quite cool I must admit. It was all very nice and pleasant, but nothing stood out to me and no particular track felt special because they were all very alike. Also a word on Cohen's vocals. Also nothing particularly special and on some tracks I actually thought that it was a very weird middle ground between soft singing and talking. It sounded very low effort from him. In places it sounded like it was building to something, like it was going to get out of first gear but never did. Overall I think I would be alright listening to the whole album ever so often, maybe pick out a few select tracks that stand out after more listens, but I didn't think it was a necessary listen and I didn't need to hear this before I die.

Kids: "Mom, can have Bob Dylan?" Mom: "We have Bob Dylan at home."

you can hear his every wet mouth sound 🤢

This was a real slog to get through man holy shit what a boring fucking album. This guy seriously sounds like he has had too much sleepytime tea and he’s dozing off as he’s singing his gay little poetry. I sorta drifted through this until I heard a track that made my ears perk up and I was like damn! This one is kinda good but it sounds really different. Looked at my phone and Spotify had auto played a Beatles track. Overall I’m sure this album has some sort of musical merit but I have untreated ADHD so I fucking hated it.

This Album is completely wasted on me. I've never understood what the fuzz is all about. Cohen, Lou Reed, Bob Dylan and other contemporary singer-songwriters have never impressed me and espcially not in my youth. On my older days I have grown into Lou Reed, especially his album Transformer. It has so much street visdom to it, so bound to the reality of life in a busy city, and so much easier to understand than Cohens religious, introvert and overloaded artsy-fartsy lyrics. Sorry Cohen. But i'm not a fan.

I can't take any more Americans with guitars.

Very few things make me as angry as the amount of Leonard Cohen I've been forced to listen to by Dimery. I don't give a shit how influential this allegedly is...he sounds bored while he's singing. What other emotion am I supposed to feel when that's the case

This sounded exactly the same as his other stupid album the "Songs in a Room" catastrophe. This dude is buns. I know I gave that other album a 2 but this is getting a 1 because I was in a bad mood when I sat down to listen to it and this did NOT improve it. His voice is bland and uninteresting. The music is also bland, uninteresting, and boyishly repetitive. Seriously it's just an acoustic guitar with the occasional 4 note bass line. His lyrics are just mindless drivel that people think is profound or mysterious because they can't understand it. It isn't, it just doesn't make sense. This was such a boring album. On a totally separate note he kinda looks like a young Adam Sandler.

Best Song: So Long, Marianne Worst Song: basically everything else Album Score: 3/10

It was strange... Not sure why I needed to listen to that one before I died.

Incredible. Listen once, twice, then again.

I'm really excited for this one! I've been meaning to get into Leonard Cohen for a while, just never got around to it. I already know Suzanne, and I think I know what to expect. Suzanne is as beautiful as I remember. Paying more attention to the lyrics reveals just how beautiful a track it is. Lovely. Master Song is hauting. I don't know if I'll ever fully understand the lyrics. But the end does seem to show some resistance to the said Master, when the narrator says "And I taught him how you would long for me/ No matter what he said, no matter what you'd do". There's a lot of layers to that. And the repitition of the initial verse at the end of the song adds a lot of layers to it too. Great track. Winter lady is mysterious too. When people say Leonard Cohen was a poet they weren't kidding. I'm gonna have to think about these songs to fully understand them. Still, for now, this is very pretty. Man, I'm gonna thank God for Genius after this. At this point (Sisters of Mercy) I've kind of given up on fully understanding and interpreting the lyrics. I'm here for the ride. And that was very pretty. Ok, thankfully So Long, Marianne was simpler and easier to understand! Lovely too! Love the lines "You left when I told you I was curious/ I never said that I was brave". Yeah, writing's fun. Ok, I know virtually nothing about this man, and this next statement could be completely wrong, but he has got to be the sweetest person ever born. Teachers is about... trauma? I know he's very religious, and most religious people struggle with their faith. This song seems, at first listen, to be about the struggle with the teaching methods. This is one of my favourites so far. Yeah, that was good. Man, I don't know quite what to say. I'm puzzled. Was I completely lost lyrics wise throughout the whole record? Yes. Did I still enjoy the hell out of this? Also yes. I'm gonna need some time with this one, bue it really left a mark. As far as rating go, I have no idea how to proceed here. But hey, I'm gonna go with my heart here. This is for first listen purposes after all. Bye

Gifted with one of the best albums ever written today! Superb lyricism, wonderful guitarwork throughout, perfectly fit for one of the greats of our time.

3rd album in a row I own on record, always a pleasure spinning this one. Actually one of my favourites of all time. Leonard Cohen’s poetry is immaculate in this and it will always stand the test of time. What an amazing man.

this is an all timer for me and the army of depressed men I represent

Quiet brilliance ❤️

God damn love this album

Artful troubadour.

There Are Heroes In The Seaweed 1001 Albums Generator 19 (04/29/2025) Songs of Leonard Cohen is the debut album by Renaissance man Leonard Cohen, released in 1967. Before this album, Cohen was primarily known as a writer, but after penning Suzanne and being encouraged by close friend Judy Collins to play it live, he was signed to Columbia and his music career began. The fact that someone could start their musical journey with a song as perfect as Suzanne is astounding. This is perhaps Cohen's most acclaimed record, featuring three of his most popular songs, and it features a very stripped back sound. Primarily backed only by his acoustic guitar and some light orchestration, Leonard Cohen quietly sings his way through these 10 songs with an imperfection and amateurishness that somehow add to the charm and memorability of this wonderful album. It is so sad to see people on 1001albumsgenerator.com getting one-shotted by this thing. Complaints of "boring", "minimal", and "poor singing" miss the mark in my view. The minimal production and simple vocal melodies force you to really listen. As a listener, this should be your job, but when presented with a flashy, maximalist rock album, it's easy to let it flow in one ear and out the other. If you let an album like this one wash over you, it will be very easy to call it boring. In fact, it probably is boring to listen to it in this way. Besides the bits of orchestration provided by John Simon (which led to Cohen's consternation), the sound of this album is a man and his guitar. However, I think the simplicity of this album's musicality, even by its fans, is wildly overemphasized. Listen to the baroque American Primitivism-esque guitar work on The Stranger Song and Teachers. These are seriously challenging to play, and while I would never argue for Leonard Cohen as more of a guitarist than a songwriter, his guitar work is a bit underrated. Listen to the psychedelic cabaret of Sisters Of Mercy. It sounds like a fucked up carnival, especially when listening with headphones. The first part of So Long, Marianne feels very country. This song has really interesting structure, starting out with almost full instrumentation before fading into just guitar, bass, and vocals. Then it becomes as energetic as this album gets as the drums come in. The ending of One Of Us Cannot Be Wrong sounds like a precursor to slacker rock, with its lofi sound and nearly screamed wordless vocals. With all this said, Cohen was of course a poet first and foremost. I don't think it is an over-exaggeration to say that the second verse of Suzanne could be the best stanza of lyrics ever. He describes Jesus as a sailor and then a watchman, realizing that he is only prayed to by those who need something from him. Jesus is forsaken by God through crucifixion, but he rises from the dead. However, in spite of this miracle, Cohen seems to realize that his love for Suzanne overtakes even his faith. I feel like there are even more layers here that I have yet to uncover in all my listens. This song is just beautiful. One small hit against this album is that Hey, That's No Way To Say Goodbye is definitely similar to Suzanne in its melody and guitar part, especially in the verses. Being similar to Suzanne is certainly not a bad thing, but I don't think this helps this album fight against arguments of homogeneity. When I think of perfect folk albums, this is one of the first things that comes to mind. Blending the incredible, thoughtful lyrics of a man who was a poet first with the minimal, yet detailed, production of John Simon leads to a perfect album. Songs Of Leonard Cohen is a 5. It was a 5 when I listened to it the first time a couple years ago, and it's still a 5 now. What a privilege to get to listen to this project today. Hopefully no Kid Rock tomorrow. Favs: Suzanne So Long, Marianne One Of Us Cannot Be Wrong Least Fav: Hey, That's No Way To Say Goodbye

An album to listen to, spend time with, needing attention. I perfectly do understand that this is mostly met with either enthusiasm or despite. I am on the enthusiastic side of things. Because I do dare to wait...

I knew a couple of these songs as covered by others. This album could do with a bit more stylistc diversity, but the one mode most of it is in is amazing- moody, mealnacholic, classical sounding guitar picking. and cohen sounding so young with his voice in a higher register than I'm used to. anyway. I loved it.

2nd Leonard Cohen album. You Want it Darker was probably the wrong intro into Cohen, but I loved that record so I have high hopes for this bad boy. He actually sings on this one, but don't expect a wide range here. Starts with a classic - Suzanne. Didn't take long to get some biblical references did it? An issue with this project is that we don't get a whole lot of time to dig into the lyrics of each album that we get, and this is certainly one that I want to read along while I listen to it. Really enjoyed these songs: Suzanne, Master Song, Stranger Song, Sisters of Mercy, So Long Marianne, Teachers, and One of Us Cannot Be Wrong. That's almost the whole album. I liked the others but not as much. Guitar picking on this is simple and so good. The closer might be my favorite. I think this Cohen guy is going places. Feeling a 5/5 on this, another one I wish I had on Vinyl

Beautiful folk music.

I was a big fan of First We Take Manhattan as a 10-year-old, which has set me up well for the cruelty of life.

Excellent album, surprised me. I almost skipped, instead I found something to pair with pink moon.

I listened to this album years ago and didn't understand what the appeal was, but now I get it 100%. So Long, Marianne is an unbelievablely good song. 10/10

i fuck HEAVY WITH IT

Fantastic haunting album

i miss him

NICE LISTENING