{"id":9441,"date":"2022-04-15T07:47:59","date_gmt":"2022-04-15T06:47:59","guid":{"rendered":"https:\/\/aata.dev\/?p=9441"},"modified":"2022-04-15T07:48:00","modified_gmt":"2022-04-15T06:48:00","slug":"halle-broken-lujah-can-make-us-feel-whole-again","status":"publish","type":"post","link":"https:\/\/aata.dev\/index.php\/2022\/04\/15\/halle-broken-lujah-can-make-us-feel-whole-again\/","title":{"rendered":"HALLE (broken) LUJAH can make us feel whole again"},"content":{"rendered":"\n

HALLE (broken) LUJAH <\/strong>can make us feel whole again<\/strong><\/p>\n\n\n\n

by Norman Warwick<\/strong><\/p>\n\n\n\n

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Jacob Uitti (left) opened a recent piece for American Songwriter by asking \u00b4Lyrically, is there a more beautiful song than Hallelujah? \u00a0That can surely have been posed secure in the knowledge that its answer is a given. (isn\u00b4t it?)<\/em><\/strong><\/p>\n\n\n\n

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photo 2<\/strong> Reminding us that Hallelujah was written by the Canadian-born poet-songwriter and-performer Leonard Cohen and first released on his 1984 album\u00a0Various Positions, Mr. Uitti assured us that the song has earned global significance, but said we should be mindful that such renown has been earned not for a single reason but for many. The story of the song\u2019s fame and impact has as much to do with Cohen as it does with several other notable musicians and performers, including (at least)<\/em> \u00a0John Cale (right)<\/em><\/strong> Jeff Buckley, and Rufus Wainwright.<\/p>\n\n\n\n

Of course, it\u2019s important to start the conversation about Hallelujah with its lyrics. Cohen, who is considered one of music\u2019s greatest poets, often wrote expertly and exquisitely about the human condition, about love and sadness and remorse and hope, and all those are present in this track.. It\u2019s because of these themes that the song has since become timeless.<\/p>\n\n\n\n

I would argue that is the elusiveness of the lyrics and the fact that cannot the sense of certainty that lies (if certainty can lie?) in the dictionary definition of the word Hallelujah. In fact, it seems to me that Cohen was questioning that certitude.<\/em><\/strong><\/p>\n\n\n\n

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Years after its initial release, Hallelujah was covered prominently by John Cale, Buckley (left)<\/em><\/strong>, Wainwright, and more and after Cohen\u2019s death in November 2016, the song experienced another resurgence. His passing, at 82 years old, marked the first time \u201cHallelujah\u201d appeared in the Billboard Hot 100 song charts.<\/p>\n\n\n\n

The song was originally written by Cohen in 12\/8 time, which recalls gospel music and, as such, early rock and roll songs. Cohen wrote the track in C-major and its chord progression\u2014C, F, G, A-minor, F\u2014match the meta-lyrics in the tune. Namely, \u201cGoes like this, the fourth, the fifth, the minor fall, the major lift.\u201d<\/p>\n\n\n\n

Like some other notable hits of the past, including Bob Dylan\u2019s Like a Rolling Stone, Cohen wrote dozens of stanzas for the song before landing on the final version. He wrote something like 80 drafts of the song. It\u2019s even rumoured that during one writing session at the Royalton Hotel in New York, Cohen was reduced to sitting on the floor in his underwear and banging his head on the floor.<\/p>\n\n\n\n

The song, which includes several obvious Biblical references, utilizes the single word, Hallelujah, as its chorus. It\u2019s exultant but it\u2019s also a song about the dark side of humanity and of our most cherished trait: love. Love, though desired and cherished, is not always blissful. As Cohen writes, It\u2019s a cold and it\u2019s a broken hallelujah<\/em><\/p>\n\n\n\n

Cohen references the stories of Samson and Delilah from the Book of Judges, singing, She cut your hair<\/em>. He also talks about King David and Bathsheba: <\/p>\n\n\n\n

Now I heard there was a secret chord<\/em><\/p>\n\n\n\n

 that David played and it pleased the Lord<\/em> <\/p>\n\n\n\n

and <\/p>\n\n\n\n

You saw her bathing on the roof,<\/em><\/p>\n\n\n\n

her beauty and the moonlight overthrew you<\/em><\/p>\n\n\n\n

Looking to love, specifically, Cohen writes beautifully:<\/p>\n\n\n\n

Well, maybe there\u2019s a God above
As for me all I\u2019ve ever learned from love
Is how to shoot somebody who outdrew you
But it\u2019s not a crime that you\u2019re here tonight
It\u2019s not some pilgrim who claims to have seen the Light
No, it\u2019s a cold and it\u2019s a very broken Hallelujah<\/em><\/p>\n\n\n\n

Often, he\u2019s saying, when in a relationship, it can feel more like a competition, to win instead of to appreciate. This stanza warns against this common behaviour in people. Do better, Cohen seems to say, even when it\u2019s hard, dark, and cold.<\/p>\n\n\n\n

Reportedly, following the song\u2019s release in 1984, Cohen took it on the road and sang it for fans during his live shows. These performances, however, often contained more or different lyrics. Presumably, Cohen was working out the song live, like many artists tend to do, before ultimately landing on the final version, even though there was already a version on record.<\/p>\n\n\n\n

One rendition, by golden-voiced singer Rufus Wainwright, replaces the Cohen phrase \u201choly dove\u201d with his own \u201choly dark.\u201d And Canadian singer-songwriter Allison Crowe sings, \u201choly ghost.\u201d<\/p>\n\n\n\n

Perhaps above all else, this shows that even the most perfect songs are up to human, creative and artistic interpretation, by musicians and their audiences. A graph measuring a song\u00b4s qualities would surely include quotas for the way in which it is received?<\/em><\/strong>.<\/p>\n\n\n\n

To date, there are more than 300 significant  known versions of the song, with likely thousands more done by hobbyist musicians and local bands.( in Uk folk clubs from Aberdeen to Yeovil !)<\/p>\n\n\n\n

Bob Dylan was one of the first to perform Cohen\u2019s song in concert. Since then, artists like Brandi Carlile, Regina Spektor, Willie Nelson, Pentatonix, Bono, Bon Jovi, and many more have performed the track. And Chester Bennington sang it for Chris Cornell\u2019s funeral<\/a>.<\/p>\n\n\n\n

But the few that everyone knows are done by Wainwright, Cale, Buckley, and singer k.d. lang. Each performer puts their own spin on the tune, providing a sense of ultimate forlorn, hope, joy, or curiosity.<\/p>\n\n\n\n

Cale was the first to record a cover version, doing so in 1991 on his album I\u2019m Your Fan<\/em>, a Cohen tribute album. His rendition offers more melody and musicality than Cohen\u2019s signature drier version does. It also gives off a rock and roll feel.<\/p>\n\n\n\n

Cale\u2019s 1991 version incorporated lyrics that Cohen had only performed live. Cale had seen Cohen sing the song live and asked him for examples of the original drafts. Cohen reportedly faxed Cale 15 pages of lyrics and Cale says that he \u201cwent through and just picked out the cheeky verses.\u201d<\/p>\n\n\n\n

Piggybacking off of that, Buckley took the torch and added his drippy, delicate vocals to the song. This, perhaps more than any other, has become the most popular version (though it wasn\u2019t an immediate hit and Buckley died in 1997 before it became one). Buckley\u2019s recording has more than a hundred million views on YouTube, alone. It appeared on his seminal 1994 album, Grace<\/em>.<\/p>\n\n\n\n

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For her part, kd lang (right)<\/em><\/strong> has said that the song, for her, is about \u201cthe struggle between having human desire and searching for spiritual wisdom. It\u2019s being caught between those two places.\u201d And former Barenaked Ladies frontman Steven Page, who sang the track at Canadian politician Jack Layton\u2019s funeral, said the song is \u201cabout disappointing [other] people.\u201d<\/p>\n\n\n\n

\"\"<\/figure><\/div>\n\n\n\n

Wainwright\u2019s version (left)<\/em><\/strong> brought the track to another level. He recorded it for the 2x-platinum soundtrack to the popular movie\u00a0Shrek\u00a0(though Cale\u2019s version appears in the movie).<\/p>\n\n\n\n

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In a 2009 interview with CBC Radio, Cohen himself talked about the number of covers of the song. He said he found their vastness \u201cironic and amusing,\u201d given that his record label at the time refused to release the song when he\u2019d first written it.<\/p>\n\n\n\n

Cohen said, \u201cI was just reading a review of a movie called Watchmen that uses it and the reviewer said, \u2018Can we please have a moratorium on \u201cHallelujah\u201d in movies and television shows?\u2019 And I kind of feel the same way\u2026 I think it\u2019s a good song, but I think too many people sing it.\u201d<\/p>\n\n\n\n

But Cohen seemed to contradict himself, saying in 2012 while promoting his album, Old Ideas\u2014 \u201cThere\u2019s been a couple of times when other people have said can we have a moratorium please on \u2018Hallelujah\u2019? Must we have it at the end of every single drama and every single Idol<\/em>? And once or twice I\u2019ve felt maybe I should lend my voice to silencing it but on second thought no, I\u2019m very happy that it\u2019s being sung.\u201d<\/p>\n\n\n\n

So are we.<\/em><\/strong><\/p>\n\n\n\n

\"\"<\/figure><\/div>\n\n\n\n

The primary source for this article was\u00a0 written by Jacob Iotti and published in American Songwriter<\/strong><\/p>\n\n\n\n

In our occasional re-postings Sidetracks And Detours are confident that we are not only sharing with our readers excellent articles written by experts but are also pointing to informed and informative sites readers will re-visit time and again. Of course, we feel sure our readers will also return to our daily not-for-profit blog knowing that we seek to provide core original material whilst sometimes spotlighting the best pieces from elsewhere, as we engage with genres and practitioners along all the sidetracks & detours we take.<\/strong><\/p>\n\n\n\n

This article was collated by Norman Warwick, a weekly columnist with Lanzarote Information and owner and editor of this daily blog at Sidetracks And Detours.<\/strong><\/p>\n\n\n\n

Norman has also been a long serving broadcaster, co-presenting the weekly all across the arts programme on Crescent Community Radio for many years with Steve Bewick, and his own show on Sherwood Community Radio. He has been a regular guest on BBC Radio Manchester, BBC Radio Lancashire, BBC Radio Merseyside and BBC Radio Four.<\/strong><\/p>\n\n\n\n

As a published author and poet Norman was a founder member of Lendanear Music, with Colin Lever and Just Poets with Pam McKee, Touchstones Creative Writing Group (for which he was creative writing facilitator for a number of years) with Val Chadwick and all across the arts with Robin Parker.<\/strong><\/p>\n\n\n\n

From Monday to Friday,<\/strong> you will find a daily post here at Sidetracks And Detours and, should you be looking for good reading, over the weekend you can visit our massive but easy to navigate archives of over 500 articles.<\/strong><\/p>\n\n\n\n

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The purpose of this daily not-for-profit blog is to deliver news, previews, interviews and reviews from all across the arts to die-hard fans and non- traditional audiences around the world. We are therefore always delighted to receive your own articles here at Sidetracks And Detours. So if you have a favourite artist, event, or venue that you would like to tell us more about just drop a Word document attachment to me at <\/strong>normanwarwick55@gmail.com<\/strong><\/a> with a couple of appropriate photographs in a zip folder if you wish. Beiung a not-for-profit organisation we unfortunately cannot pay you but we will always fully attribute any pieces we publish. You therefore might also. like to include a brief autobiography and photograph of yourself<\/strong> in your submission. We look forward to hearing from you.<\/strong><\/p>\n\n\n\n

Sidetracks And Detours is seeking to join the synergy of organisations that support the arts of whatever genre. We are therefore grateful to all those share information to reach as wide and diverse an audience as possible.<\/strong><\/p>\n\n\n\n

correspondents                                Michael Higgins<\/p>\n\n\n\n

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                                                            Graham Marshall<\/p>\n\n\n\n

                                                            Peter Pearson<\/p>\n\n\n\n

Hot Biscuits Jazz Radio                      www.fc-radio.co.uk<\/a><\/p>\n\n\n\n

AllMusic  <\/strong><\/a>                                          <\/strong>https:\/\/www.allmusic.com<\/p>\n\n\n\n

feedspot                                              https:\/\/www.feedspot.com\/?_src=folder<\/p>\n\n\n\n

Jazz In Reading                                  https:\/\/www.jazzinreading.com<\/a><\/p>\n\n\n\n

Jazziz                                                 https:\/\/www.jazziz.com
<\/a>Ribble Valley Jazz & Blues                https:\/\/rvjazzandblues.co.uk<\/a><\/p>\n\n\n\n

Rob Adams                                         Music That\u00b4s Going Places<\/p>\n\n\n\n

Lanzarote Information                        https:\/\/lanzaroteinformation.co.uk<\/p>\n\n\n\n

all across the arts                                 www.allacrossthearts.co.uk<\/p>\n\n\n\n

Rochdale Music Society                     rochdalemusicsociety.org<\/p>\n\n\n\n

Lendanear                                           www.lendanearmusic<\/a><\/p>\n\n\n\n

Agenda Cultura Lanzarote<\/p>\n\n\n\n

Larry Yaskiel \u2013 writer<\/p>\n\n\n\n

The Lanzarote Art Gallery                  https:\/\/lanzaroteartgallery.com<\/p>\n\n\n\n

Goodreads                                        https:\/\/www.goodreads<\/a>.<\/p>\n\n\n\n

groundup music                                  HOME | GroundUP Music<\/a><\/p>\n\n\n\n

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songfacts\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 en.wikipedia.org\/wiki\/SongFacts<\/p>\n","protected":false},"excerpt":{"rendered":"

Hallelujah is about the struggle between having human desire and searching for spiritual wisdom. It\u2019s being caught between those two places.<\/p>\n","protected":false},"author":2,"featured_media":9451,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[45],"tags":[],"class_list":["post-9441","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-music"],"_links":{"self":[{"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/posts\/9441","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/comments?post=9441"}],"version-history":[{"count":1,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/posts\/9441\/revisions"}],"predecessor-version":[{"id":9452,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/posts\/9441\/revisions\/9452"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/media\/9451"}],"wp:attachment":[{"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/media?parent=9441"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/categories?post=9441"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/tags?post=9441"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}