ty. Humming, wordless singing, and muffled, echoing voices haunt each of these albums, often functioning as cathartic finales to disturbing songs (as in “Sing Another Song, Boys” and “One of Us Cannot Be Wrong”). He anticipates that his melodies will live on, with only a fragment of their content intact, in the minds of his listeners. He also suggests that a song’s true emotional impact rests not on its words, but on more primal, sublinguistic forces. I won’t disagree. Sometimes a drunken chorus of “la”s voices a feeling more eloquently and intelligently than an epic simile. And perhaps this is why Cohen’s own charms cannot be fully explained by generations of otherwise articulate scribes. At the end of the day, early Cohen is gut music.
Leonard Cohen - Songs of Love and Hate
year: 07 - review: Cohen always remains keenly aware that pop’s charm lies in its utili
ty. Humming, wordless singing, and muffled, echoing voices haunt each of these albums, often functioning as cathartic finales to disturbing songs (as in “Sing Another Song, Boys” and “One of Us Cannot Be Wrong”). He anticipates that his melodies will live on, with only a fragment of their content intact, in the minds of his listeners. He also suggests that a song’s true emotional impact rests not on its words, but on more primal, sublinguistic forces. I won’t disagree. Sometimes a drunken chorus of “la”s voices a feeling more eloquently and intelligently than an epic simile. And perhaps this is why Cohen’s own charms cannot be fully explained by generations of otherwise articulate scribes. At the end of the day, early Cohen is gut music.
ty. Humming, wordless singing, and muffled, echoing voices haunt each of these albums, often functioning as cathartic finales to disturbing songs (as in “Sing Another Song, Boys” and “One of Us Cannot Be Wrong”). He anticipates that his melodies will live on, with only a fragment of their content intact, in the minds of his listeners. He also suggests that a song’s true emotional impact rests not on its words, but on more primal, sublinguistic forces. I won’t disagree. Sometimes a drunken chorus of “la”s voices a feeling more eloquently and intelligently than an epic simile. And perhaps this is why Cohen’s own charms cannot be fully explained by generations of otherwise articulate scribes. At the end of the day, early Cohen is gut music.
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