[vc_row][vc_column][vc_message message_box_color=”mulled_wine” icon_fontawesome=”fa fa-quote-left”]…I must say I’m pleased with the album. It’s good. I’m not ashamed of it and am ready to stand by it. Rather than think of it as a masterpiece, I prefer to look at it as a little gem.
~Leonard Cohen (to Melody Maker’s Harvey Kubernik in March 1975)
That miraculously intimate voice has become more expressive and confident over the years without losing its beguiling flat amateurishness. Some of the new songs are less than memorable, but the settings, by John Lissauer, have the bizarre feel of John Simon’s “overproduction” on Cohen’s first album, which I always believed suited his studied vulgarity perfectly. A-
~Robert Christgau (robertchristgau.com)
.. The lyrics are filled with abstract yet vivid images, and the album primarily uses the metaphor of love and relationships as battlegrounds (“There Is a War,” “Field Commander Cohen”). Cohen is clearly singing from the heart, and he chronicles his relationship with Janis Joplin in “Chelsea Hotel No. 2.” This is one of his best album..
~Vik Lyengar (allmusic.com)[/vc_message][/vc_column][/vc_row]
Chelsea Hotel #2
I remember you well in the Chelsea Hotel,
you were talking so brave and so sweet,
giving me head on the unmade bed,
while the limousines wait in the street.
Those were the reasons and that was New York,
we were running for the money and the flesh.
And that was called love for the workers in song
probably still is for those of them left.
Ah but you got away, didn’t you babe,
you just turned your back on the crowd,
you got away, I never once heard you say,
I need you, I don’t need you,
I need you, I don’t need you
and all of that jiving around.