Category Archives: Music

Evermore

Awash in the morning tide,
So swift the hours they glide;
Watching life deep at play,
Your voice sweetens every day.

Abroad in the midday sun,
Wonders waiting to be won;
Hearts opened by desire,
Why quench this thirsting fire?

At rest in the moonlit bed,
Memories blaze, whetted, wed;
The give and take by firelight,
Your smile cries through the night.

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That Time

That time, that time

How sweet does it rhyme

When we lay together

Your lips

Swallowing deep

My tongue mining for pearls

The blinds open to light

And the embrace yielding

To tears.

That time, misted in wine,

Do longings ever decline?

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Enchanted

Rapt in wonder,
I hang
         Upon
Your every word.

Starlit,
         Blessed,
Modest charms
                     Ablaze.

Limpid syllables
You utter,
An ardent voice
In whose
             Whetted
Tenderness

I humbly succumb. 

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Whisperings

I listen to your voice
All night long,
Happily making notes
After every song.
By the time dawn arrives
In golden-tongued light,
Melodies blaze naked,
A holy kind of might.

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Dance

Take this hand

My pretty lady,

The world is spinning

And the urge is whirling

To cover the dance floor

With fleet-footed steps.

I can’t promise

What comes next,

When so much of what

I know from years observing

Is free-form at best.

 

So, just go with the flow

And who knows,

This foxtrot might just –

Grace permitting –

End up being,

With a touch of panache

And a pinch of pizzazz,

A rather touching prance

Or perchance a new kind of

Syncopated dance.

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Leonard Cohen: He’s Your Man

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Listening to a song by Leonard Cohen or reading a line of his verse is a deeply immersive experience – enchanting and enlightening in equal measure – suffused with wisdom and grace, witty and subversive. This biography has a similar feel. Sylvie Simmons’ thoroughly-researched paean to the “Bard of Montreal” is steeped in admiration for her subject; the writing flows effortlessly and the reader will quickly become absorbed in the diverse tapestry of Cohen’s life; the rich Jewish-Canadian/Russian/Lithuanian heritage, the influences, the environment etc. There are plenty of revelations – so much so that as I read, not only did I think Cohen’s place as one of the most compelling figures of culture, music and poetry of the 20th/21st centuries is lucidly re-affirmed but his life brings to mind a line by Albert Camus, on the nature of personality and self, “We continuously shape our personality all our lives.”

Simmons is especially good at highlighting the themes that run like constant refrains in the fabric of Cohen’s life and work; sex, love, relationships, religion, depression, power, compassion etc. whilst accentuating what is, perhaps, his most salient trait: his resilience, “Leonard was a lover, but when it comes to survival he was also a fighter.” At times, it feels like there is a sense of destiny to Cohen’s actions, a knowingness laced with humility; anyone who has had the fortune to see Cohen perform live will testify to this. The blend of intelligence and humour is palpable, the mix of power and vulnerability hugely magnetic. Somehow, it feels no surprise that the flaneur who walked the streets of Montreal as a young man, questing for knowledge and fresh experiences would always end up as a legendary troubadour, displaying his gifts of observation and insights – about the great issues of life – to the world. His avenue? The open road of the globe.

The infectiousness that Sylvie Simmons has for Cohen shines out so much that one wonders whether she hasn’t been mesmerised by his fabled hypnotic powers. She is equally good at showing what makes Cohen tick as a man and as an artist. Yes, she is a fan but she writes with great skill and sensibility, “the great songs, the ones that keep drawing us back again and again are mysteries.” In many ways, Cohen’s output can best be described as a type of “assisted living”. Like Samuel Johnson’s perceptive quote on writing that it “enable[s] the reader better to enjoy life, or better to endure”, Cohen’s songs have a similar pull. Or, as a fan from Cohen’s tour in 1974 starkly puts it, “I was suicidal and I put on one of your records and you saved me.”

For many, this book will just confirm what Leonard Cohen already is in their eyes: a man blessed with a singular talent for poetry, lyricism and songwriting. The eloquence and compassion – central elements of his character- are manifest. As ex-lover and fiancée Rebecca de Mornay articulates, “he is so fully present, with compassion for the underdog, as well as genuine compassion for the enemy – which is very hard to do and hard-won.” Perhaps the greatest accomplishment of this terrific biography is that Simmons has unshackled Cohen from “banal” stereotypes that have attached themselves to Cohen over the years, like hackneyed labels which have become threadbare through repetition, and presented a rounded portrait of a highly sensitive, charismatic and intelligent man, whose greatest gifts have been for language and distilling experiences with a finesse of expression. In a nutshell, the opening line of this biography captures the essence of the man perfectly, “He is a courtly man, elegant, with old-world manners.” This is the kind of the book that will make readers want to rush out and grab some of Leonard Cohen’s books or listen to the albums. There can be no greater tribute.

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What does Leonard Cohen mean to me?

This is a question that I have been thinking about a lot recently.

Perhaps, it’s to do with a burning excitement that is building up as I await to see him play London on his latest tour? Maybe it’s to do with the fact that Leonard Cohen’s oeuvre has had a huge impact on my thinking since I became acquainted with it a little over 10 years ago?

Either way, I think that it is an important question. It is a question we ask of everyone at some point, who has had an impact on our lives – friend, lover, stranger or, in this case, artistic and cultural heroes.

I love the fact that Leonard has addressed the fundamental themes of existence – love, desire, betrayal, redemption, connection – right from the beginning of his musical and writing career. The way in which he draws upon various philosophies, religions and cultural ideas, forever exploring and mining what it is to be human. His songs and writings can be listened to and read over and over; they yield so much, yet always offer new meanings. The blend of the earthy and ethereal, the sensuality and the serious, the comedy and the tragedy never ceases to charm.

We can dip in and out of his work at various times of our lives, whether we are 15 or 55, and still discover new truths. Maybe, this is what Leonard means to me. He is timeless. His writings stand apart from time but help me make sense of time. Leonard helps me appreciate that life – while it may be baffling at times – is blazingly beautiful. The wry humour and learned wisdom, etched in his lyrics, enchant the heart and sing in one’s mind.

Thank you Leonard for enriching my existence and thank you to an old friend who introduced me to this incomparable “Troubadour Sans Pareil” on the threshold of my adult life.

Children show scars like medals. Lovers use them as secrets to reveal. A scar is what happens when the word is made flesh.” (The Favourite Game)

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