Week 60: The Future
To be without a home
Give me a snare roll or a nice organ line. Give me once upon a time you dressed real fine, threw the bums a dime in your prime, didn’t you? Now, give me back my broken night, but you know you only used to get juiced in it. My mirrored room, my secret life, you shouldn’t let other people get your kicks for you. It's lonely here, there's no one left to torture. You used to ride on the chrome horse with your diplomat who carried on his shoulder a Siamese cat. Give me absolute control over every living soul, and lie beside me, baby, that's an order!
Give me crack and anal sex, ain’t it hard when you discover that he really wasn’t were it’s at? Take the only tree that's left and stuff it up the hole in your culture. But you'd better lift your diamond ring, you'd better pawn it babe. Give me back the Berlin wall, and Napoleon in rags and the language that he used. Give me Stalin and St Paul after he took from you everything he could steal. I've seen the future, brother: it is murder.
When they all come down and did tricks for you, exchanging all kinds of precious gifts and things. Things are going to slide, slide in all directions. You said you’d never compromise with the mystery tramp. Won't be nothing, nothing you can measure anymore. But now you realize he's not selling any alibis. The blizzard of the world has crossed the threshold and it has overturned the order of the soul. Now you don’t talk so loud. When they said repent, repent I wonder what they meant. Now you don’t seem so proud about having to be scrounging for your next meal.
With no direction home you don't know me from the wind, you never will, you never did. You've gone to the finest school all right, Miss Lonely. I was the little Jew who wrote the Bible. I've seen the nations rise and fall. And nobody has ever taught you how to live on the street. I've heard their stories, heard them all, but love's the only engine of survival. How does it feel to be on your own?
Your servant here, he has been told to say it clear, to say it cold: It's over, it ain't going any further. And now you find out you're gonna have to get used to it. And now the wheels of heaven stop as you stare into the vacuum of his eyes you feel the devil's riding crop. Go to him now, he calls you, you can't refuse. Get ready for the future: it is murder.
You used to laugh about, everybody that was hanging out. There'll be the breaking of the ancient western code. When you got nothing, you got nothing to lose and your private life will suddenly explode. You're invisible now, you got no secrets to conceal. There'll be phantoms, there'll be fires on the road, and a white man dancing. You never turned around to see the frowns on the jugglers and the clowns. You'll see a woman hanging upside down her features covered by her fallen gown. People'd call and say, Beware doll, you're bound to fall. You thought they were all kiddin' you. And all the lousy little poets coming round tryin' to sound like Charlie Manson, they're drinkin', thinkin' that they got it made. And the white man dancin'. You used to be so amused. Ask him, do you want to make a deal?
You never understood that it ain’t no good. Give me back the Berlin wall, give me Stalin and St Paul, princess on the steeple and all the pretty people, give me Christ or give me Hiroshima. Destroy another fetus now we don't like children anyhow, I've seen the future, like a complete unknown, like a rolling stone and baby: it is murder.
Happy Holidays.
Labels: Bob Dylan, Leonard Cohen, Thursdays


13 Comments:
There's a huge gap in my appreciation for Cohen in the 60s/ 70s and this era. I'll take the simplicity of just him with his nylon-stringed guitar like the one found in this link below to anything done in his latter years. Cohen 1967 Performing "the Dealer".
But that's just me.
I dont think one has to make such a huge distinction between the "two" cohens if one focuses on the song, and not so much on the production/arrangement of the song. From the point of view of production/arrangement i generally would agree with you. But from the point of view of the song, he has continued to write superb songs, and i actually think his vocal delivery (even if not so much his voice) has improved and gained a gravity that adds a strength that wasn't there before, even in some of his best older songs.
here's a video of him in 1988, playing one of his older songs from the 60s, The Partisan, with an expanded and excellent arrangement.
But this post was not just about Cohen...
So what inspired you to come up with this mash up?
In a totally unrelated-to-this-post note, Mr. Wednesday, I had a dream last night in which you posted on this blog that you and Tricia had decided to name your child Wylie Ringo Elvis Sweeney, regardless of whether it's a girl or a boy. Just thought you should know that. All my best to you and your baby mama-to-be and little Elvis.
-brannon
I love it. And I'd love to talk to you off line. See how you're doing but I don't know how. Maybe Justin will clue me in (offline) or something.
Well, if it was a boy I wanted to name him Tyg, that's close right? You are a prophet!
It's very very hard for me to divorce production/arrangement of a song for my general appreciation for it. I'm with Ramon, though I agree Carlos that his voice has gotten better over the years. I guess what I'd ideally like is for him to go back to the arrangements he used in the early 70s but with his voice as it is now.
I was trying to find some clip of Cohen playing in recent years with just a guitar set up, but i couldn't. I wonder if he ever does that anymore. He must in some context, right?
And Wednesday, that is a pretty cool 60s article, amazing how early on they were academized. I actually had never thought very much about the similarities between cohen and dylan. this post was going to be analysis of The Future. As i started to write it, i realized that it would do good to compare and contrast it with Like a Rolling Stone. Eventually i decided to mash them so as to avoid having to do an academic analysis and make it more fun. I felt the mashing, without being didactic, shed light on some aspects of the songs, including aspects about the lyrics, point of view, language, the arrangements, and also the place the song took in the work of each artist. It is interesting that Ramon mentioned preferring the older more folky cohen than the newer more produced cohen since that is pretty much the same criticism laid on Dylan by many for songs such as Like a Rolling Stone.
It's not that it's produced and arranged with a band versus him with a guitar it's just that the band sounds awful. To me those later Cohen albums sound dated ... they sounded dated when they came out. the sound of the band here is an example of that awful 80s pop production that everyone forgets existed.
But I actually also think that Cohen's voice really didn't improve with age. His range and expressiveness seem to have disappeared in his latter years. the songs may be great songs but I honestly cannot tell. His delivery becomes almost monotone in his latter years.
I don't know I just cannot get into it and if that were any first introduction to Cohen, I'd likely give him a pass.
As for the Dylan/Cohen comparisons I think too much is made of it. They were both a product of their time and I always attribute any similarities to that context.
I understood what you meant about the production, and i agree with you, it seems as if at some point cohen just decided to let TV producers produce his records. Looking at that video from 88 however makes me think that it was a much more deliberate development and that he just likes that sort of glossy pop production. To me its not a problem, especially on a song as great as The Future. Unlike Charlie, I can easily ignore production and arrangement and even performance, i can easily hear the music as if I was seeing notes and words on a piece of paper or something like that.
I dig the mash up. Also the video. I mean Ramon's right it's dated and it was dated in '88 but he's singing about crack and anal sex in a setting reminiscent of variety shows that died out as the age of crack and anal sex came in. There's something really funny about that. The future man.
I think that may be the thing... my introduction to Cohen WAS the later stuff, and I always thought he had a VERY expressive voice later on, just a lot craggier and croakier, which I like... I also remember thinking "god, that guy has a cool voice and great lyrics, but what the hell is up with the music?" So when I heard earlier Cohen I thought his singing sounded a bit, well, "young"... not as deep, but still good, and that the arrangements were WAY better.
And I think it is worth it to remember that not EVERYTHING he did early on was just him and a guitar... he had some backing on some of that stuff, with the occasional strings or children singers and whatnot... like Ramon said, it's not a matter of acoustic guitar vs. band, just a matter of Cohen's later tastes in band arrangement being pretty uniformly bad.
Cohen is simply a product of the given time. In the eighties he relied heavily on sythesizers, and in the 90's he allowed his music to be used in the 1990 film Pump Up the Volume in an attempt to win over younger fans.
As far there being a gap between generations for their appreciation for Cohen, I believe popularity has not waned.In 2001, Cohen was awarded a SNEP Award for more than 100,000 copies sold of Ten New Songs in France.
This is very significant for an artist that's been around for so many years.
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