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((Redirect|Story of Isaac|the electronic duo from London formerly known by the same name|Crim3s|the biblical story|Binding of Isaac))
((More citations needed|date=December 2007))
((Infobox album
| name       = Songs from a Room
| type       = studio
| artist     = [[Leonard Cohen]]
| cover      = Songs from a room.jpg
| alt        =
| released   = April 7, 1969
| recorded   = October 1968
| venue      =
| studio     = Columbia Studio A, [[Nashville, Tennessee|Nashville]]
| genre      = 
* [[Contemporary folk]]
* [[Country music|country]]<ref name= "Pitchfork Staff 2017">((cite web|last= Pitchfork Staff |title= The 200 Best Albums of the 1960s |website= [[Pitchfork (website)|Pitchfork]] |date= August 22, 2017 |url= https://pitchfork.com/features/lists-and-guides/the-200-best-albums-of-the-1960s/|quote= ...the music on his sophomore album is something humbler: country tunes.|accessdate= April 15, 2023))</ref>
| length     = 35:38
| label      = [[Columbia Records|Columbia]]
| producer   = [[Bob Johnston]]
| prev_title = [[Songs of Leonard Cohen]]
| prev_year  = 1967
| next_title = [[Songs of Love and Hate]]
| next_year  = 1971
))

'''''Songs from a Room''''' is the second album by [[Canadians|Canadian]] musician [[Leonard Cohen]], released in 1969. It reached No. 63 on the US [[Billboard 200|''Billboard'' Top LPs]] and No. 2 on the UK charts.

==Background==
The recording sessions for ''Songs From a Room'' began in [[Hollywood, Los Angeles|Hollywood]] in May 1968 with [[David Crosby]] as producer.<ref name=lcf-remastered>((cite web|title=Digitally remasteredalbums|url=http://www.leonardcohenfiles.com/remasters2007.html|publisher=leonardcohenfiles.com|accessdate=11 May 2013))</ref> That didn't work out, and the album was eventually produced in [[Nashville]], Tennessee, with [[record producer|producer]] [[Bob Johnston]] (two of the tracks from the Crosby sessions are included as bonus tracks on the 2007 remastered version). Johnston and Cohen had wanted to work together on Cohen's first album, but the studio had assigned Johnston elsewhere.<ref>((cite book|url=https://books.google.com/books?id=lA5tDwAAQBAJ&pg=PT71|page=71|title=Leonard Cohen: An Illustrated Record|author=Mike Evans|date=3 December 2018|publisher=Plexus |isbn=9780859658690))</ref> After his experiences with Crosby, Cohen was not keen to continue the project, but after speaking with Johnston, he agreed to carry on as Johnston was prepared to work on achieving the spartan sound Cohen considered appropriate for his songs after the disputes he had with [[John Simon (record producer)|John Simon]] during the mixing sessions of ''[[Songs of Leonard Cohen]]''.<ref>((cite book|url=https://books.google.com/books?id=lA5tDwAAQBAJ&pg=PT73|page=73|title=Leonard Cohen: An Illustrated Record|author=Mike Evans|date=3 December 2018|publisher=Plexus |isbn=9780859658690))</ref> At the time, Johnston was best known for producing [[Bob Dylan]], [[Johnny Cash]] and [[Simon and Garfunkel]]. As Anthony Reynolds observes in his book ''Leonard Cohen: A Remarkable Life'', "Since at this point in time Cohen was something of a hybrid of all of these acts, Cohen moved from the [[Chelsea, Manhattan|Chelsea]] in [[New York City]] to [[Franklin, Tennessee]], where he lived on a farm 30 miles from Nashville itself. Cohen recorded some demos on the actual farm and otherwise immersed himself in a version of the country life."

==Recording==
Unlike his augmented debut, Cohen's sophomore effort is austere by comparison, with considerably less drums, and featuring a stripped-down approach that emphasize the words rather than the musical arrangements.  In 2001, Cohen admitted to Sylvie Simmons of ''[[Mojo (magazine)|Mojo]]'', "It's very stark.  A lot of my friends who were musical purists had castigated me for the lushness and over-production of my first record and I was determined to do a very simple album."  The sessions in Nashville began in the fall of 1968 at Columbia's Studio A on 16th Avenue in Nashville.  Johnston enlisted a smaller coterie of musicians than had backed Cohen on his debut album, including [[Ron Cornelius]] playing acoustic and electric guitar, [[Charlie Daniels]] playing bass, fiddle and acoustic guitar, Elkin "Bubba" Fowler contributing banjo, bass and acoustic guitar, while Johnston himself played keyboards.  The album also features some prominent (if strictly ornamental) [[Jew's harp]].  As biographer Ira Nadel notes in the 1996 Cohen biography ''Various Positions'', although Cohen still showed signs of insecurity in the recording studio, producer Johnston created a hospitable atmosphere:  "In the studio, Daniels and the other musicians were told to listen to Cohen in order to get into the songs.  It was like mixing colors; you had to be one of the colors for it to work.  Johnston later referred to the album as a painting, not a record, and described his role as 'a musical bodyguard,' protecting Cohen and his music from artificial intrusions and falsification of sound."  According to Nadel, Johnston felt that French voices would enhance "The Partisan" so he and Cohen flew to [[France]] and overdubbed three female French singers.

==Composition==
The album contains "[[Bird on the Wire]]", one of Cohen's most famous songs.  In a 1973 interview with Alastair Pirrie of the ''[[New Musical Express]]'', Cohen stated, "The song is so important to me. It's that one verse where I say that I swear by this song, and by all that I have done wrong, I'll make it all up to thee.  In that verse it's a vow that I'll try and redeem everything that’s gone wrong. I think I've made it too many times now, but l like to keep renewing it."  In the liner notes to the 1975 compilation ''[[The Best of Leonard Cohen]]'', Cohen wrote about the song: "I always begin my concert with this song. It seems to return me to my duties. It was begun in [[Greece]] and finished in a motel in Hollywood around 1969 along with everything else.  Some lines were changed in Oregon.  I can't seem to get it perfect.  [[Kris Kristofferson]] informed me that I had stolen part of the melody from another Nashville writer. He also said that he's putting the first couple of lines on his tombstone, and I'll be hurt if he doesn't."  In the 1960s, Cohen lived on the Greek island [[Hydra, Saronic Islands|Hydra]] with his girlfriend [[Leonard Cohen#Personal life|Marianne]]. She has related how she helped him out of a [[Clinical depression|depression]] by handing him his guitar, whereupon he began composing "Bird on the Wire" – inspired by a bird sitting on one of Hydra's recently installed phone wires, followed by memories of [[Alcohol intoxication|wet]] island nights. Cohen has described "Bird on the Wire" as a simple [[Country music|country]] song, and the first recording, by Judy Collins, was indeed done in a country setting. In the book ''Songwriters on Songwriting'', Cohen speaks at length to Paul Zollo about the song:
<blockquote>It was begun in Greece because there were no wires on the island where I was living to a certain moment. There were no telephone wires. There were no telephones. There was no electricity. So at a certain point they put in these telephone poles, and you wouldn't notice them now, but when they first went up, it was about all I did - stare out the window at these telephone wires and think how civilization had caught up with me and I wasn't going to be able to escape after all. I wasn't going to be able to live this 11th-century life that I thought I had found for myself. So that was the beginning.  Then, of course, I noticed that birds came to the wires and that was how that song began. 'Like a drunk in a midnight choir,' that's also set on the island. Where drinkers, me included, would come up the stairs. There was great tolerance among the people for that because it could be in the middle of the night. You'd see three guys with their arms around each other, stumbling up the stairs and singing these impeccable thirds. So that image came from the island: 'Like a drunk in a midnight choir.'</blockquote>

In 1988, Cohen explained to John McKenna of [[RTÉ]] in Ireland that "Story of Isaac" was an anti-war protest song but added, "I was careful in that song to try and put it beyond the pure, beyond the simple, anti-war protest, that it also is. Because it says at the end there the man of war the man of peace, the [[peacock]] spreads his deadly fan. In other words it isn't necessarily for war that we're willing to sacrifice each other. We'll get some idea – some magnificent idea – that we're willing to sacrifice each other for; it doesn't necessarily have to involve an opponent or an ideology, but human beings being what they are we're always going to set up people to die for some absurd situation that we define as important."  In the same interview, Cohen confirmed that "Seems So Long Ago, Nancy" was inspired by a woman<ref>More about the real Nancy, including a photograph of her, can be found in a paper by her nephew, Tim Challies [http://www.challies.com/articles/seems-so-long-ago-nancy-0]</ref> he had grown up with in [[Montreal]]:
<blockquote>I think that the world throws up certain kinds of figures. Sometime in abundance, sometimes very rarely, and that some of these figures act as archetypes or prototypes for another generation which will manifest these characteristics a lot more easily, maybe a lot more gracefully, but not a lot more heroically. Another twenty years later she would have been just like you know, the hippest girl on the block. But twenty years before she was - there was no reference to her, so in a certain way she was doomed.</blockquote>

In sheet music for the album, a song titled "Priests" was included, and although reportedly recorded, it didn't appear on the LP or on any subsequent Cohen record. The song was recorded by [[Judy Collins]] on her 1967 album ''[[Wildflowers (Judy Collins album)|Wildflowers]]'', and by [[Richie Havens]] on his 1969 album ''[[Richard P. Havens, 1983]]''.

The album cover is a simple black-and-white photo heavily [[matted]] as to almost wash out Cohen's face. The back cover features a black-and-white photo of his [[Norwegians|Norwegian]] girlfriend [[Marianne Ihlen]] sitting at a desk with a typewriter, books and some papers. The picture was taken on the Greek island of [[Hydra (island)|Hydra]]. Cohen used their seven-year relationship as the basis for several of some his earliest songs, including "[[So Long, Marianne]]", "Hey, That's No Way To Say Goodbye", and "[[Bird on the Wire]]".

==Reception==
((Album ratings
|rev1 = [[AllMusic]]
|rev1score = ((Rating|4|5))<ref>((AllMusic|class=album|id=r96060))</ref>
|rev4 = [[Pitchfork Media|Pitchfork]]
|rev4score = 8.8/10<ref>((Cite web|url=http://pitchfork.com/reviews/albums/11901-songs-of-leonard-cohensongs-from-a-roomsongs-of-love-and-hate/|title = Leonard Cohen: Songs of Leonard Cohen / Songs from a Room / Songs of Love and Hate| website=[[Pitchfork (website)|Pitchfork]] | date=4 May 2007 ))</ref>
|rev5 = ''[[Rolling Stone]]''
|rev5Score = negative<ref>((cite magazine |last=Dubro |first=Alec |date=17 May 1969 |title=Records |url=https://www.rollingstone.com/music/albumreviews/songs-from-a-room-19690517 |magazine=[[Rolling Stone]] |location=San Francisco |publisher=Straight Arrow Publishers, Inc. |accessdate=6 May 2015 ))</ref>
|rev6 = ''[[Rolling Stone]]''
|rev6score = ((Rating|3|5)) (2007)<ref>((cite web |url=http://www.robertchristgau.com/xg/rs/cohen-07.php |title=''Songs from a Room'' |author=Chistgau, Robert |date= |publisher= |accessdate= ))</ref>
|rev7 = ''[[Q (magazine)|Q]]''
|rev7score = ((Rating|3|5))<ref>Dave Everley ''Q'', May 2007, Issue 250.</ref>
|rev8 = ''[[Uncut (magazine)|Uncut]]''
|rev8score = ((Rating|3|5))<ref>David Cavanagh ''Uncut'', May 2007, Issue 120</ref>
))

''Songs From a Room'' was released in April 1969 and hit #63 on the U.S. charts and #2 in the [[UK]].  A single, "The Old Revolution", was released but did not chart.  Like his debut LP, it received mixed reviews from critics, who were put off by his unusual singing voice but intrigued by the songs.  In the original ''[[Rolling Stone]]'' review, Alec Dubro wrote, "Well, it looks like Leonard Cohen's second try won't have them dancing in the streets either.  It doesn't take a great deal of listening to realize that Cohen can't sing, period.  And yet, the record grows on you..."  Mark Deming of [[AllMusic]] calls it "something of a letdown" and "neither as striking or self-assured as ''Songs of Leonard Cohen''" but concedes, "Despite the album's flaws, ''Songs from a Room'''s strongest moments convey a naked intimacy and fearless emotional honesty that's every bit as powerful as the debut, and it left no doubt that Cohen was a major creative force in contemporary songwriting."  Writing in 2011, Cohen biographer Anthony Reynolds declared, "Compared to the relative 'party' of the previous album, ''Songs From a Room'' is the hangover of the morning after... Yet there was a voluptuousness in the album's austerity, a richness of the 'less is more' variety."  [[Amazon.com]] raves that ''Songs From a Room'' is "fully loaded with poetic classics."  In a 2014 ''Rolling Stone'' readers poll ranking the top ten Leonard Cohen songs, "Bird on a Wire" came in at #5.

Many of the songs from Cohen's second album would appear on 1973's ''[[Live Songs]]'', a collection of performances from 1970 and 1972.  ''Songs from a Room'' was released on [[Compact disc|CD]] in 1990. A [[digitally remastered]] version, including two bonus tracks produced by [[David Crosby]], was released in February 2007.<ref name="lcf-remastered"/>

==Track listing==
All songs written by [[Leonard Cohen]] except as noted.<ref>According to the album liner notes</ref>

===Side one===
#"[[Bird on the Wire]]" – 3:28
#"Story of Isaac" – 3:38
#"A Bunch of Lonesome Heroes" – 3:18
#"[[The Partisan]]" ([[Hy Zaret]], [[Anna Marly]]) – 3:29
#"Seems So Long Ago, Nancy" – 3:41

===Side two===
#"The Old Revolution" – 4:50
#"The Butcher" – 3:22
#"You Know Who I Am" – 3:32
#"Lady Midnight" – 3:01
#"Tonight Will Be Fine" – 3:53

===Bonus tracks===
#"Like a Bird (Bird on the Wire)" – 3:21
#"Nothing to One (You Know Who I Am)" – 2:17

==Personnel==
*[[Leonard Cohen]] – [[vocals]], [[classical guitar]]
*[[Ron Cornelius]] – [[acoustic guitar|acoustic]] and [[electric guitar]]
*Bubba Fowler – [[banjo]], [[bass guitar]], [[violin]], acoustic guitar
*[[Charlie Daniels]] – bass guitar, violin, acoustic guitar
*uncredited - backing vocals in French (4)
;Technical
*[[Bob Johnston]] – [[record producer|production]] (original album), [[keyboard instrument|keyboards]]
*[[David Crosby]] – [[record producer|production]] (11–12), harmony vocals (12)
*Neil Wilburn – [[audio engineer|engineer]]

==Original songs and their covers==
"[[Bird on the Wire]]", described by Cohen as a simple [[country music|country]] song, has been covered by many musicians including [[Jennifer Warnes]] (his one-time backup singer), [[The Neville Brothers]], [[Joe Cocker]], [[Willie Nelson]], [[The Lilac Time]], [[Esther Ofarim]],<ref>((Cite web|url=http://www.esther-ofarim.de/Disco.htm|title = Esther Ofarim - Esther and Abi Ofarim - Esther & Abi Ofarim - Ofraim אסתר עופרים))</ref> [[Johnny Cash]], [[Fairport Convention]] and subsequently their guitarist [[Richard Thompson (musician)|Richard Thompson]].

"Story of Isaac", based on the [[Old Testament]] story of [[God]]'s demand that [[Isaac]] be [[Binding of Isaac|sacrificed]] by his father [[Abraham]], has also been covered by a number of musicians including [[Judy Collins]], [[Suzanne Vega]], [[Linda Thompson (singer)|Linda Thompson]], [[The Johnstons]], [[Pain Teens]], and [[Roy Buchanan]].

"Seems So Long Ago, Nancy" has been translated in Italian by [[Fabrizio De André]] and included in his album ''[[Volume 8 (Fabrizio De André album)|Volume 8]]'' (1975).

"You Know Who I Am" was covered by [[Mama Cass]] in her 1968 album ''[[Dream a Little Dream (Cass Elliot album)|Dream a Little Dream]]'' and by [[Esther Ofarim]] on the 1968 album ''Esther Ofarim''.<ref>((cite web |last1=Ofarim |first1=Esther |title=Esther Ofarim |url=http://www.esther-ofarim.de/disco4.htm#o12 |website=Esther Ofarim |access-date=17 December 2018))</ref>

==The Partisan==
((main|The Partisan#Leonard Cohen's cover version))
"The Partisan" is Cohen's cover of the French song "[[La Complainte du partisan]]" by [[Emmanuel d'Astier]] and [[Anna Marly]], which is about the [[French resistance]] during [[World War II]].
The English translation was written by [[Hy Zaret]].<ref name="consequenceofsound.net">((Cite web |title=Rock History 101: Leonard Cohen – 'The Partisan' |website=Consequence of Sound |date=14 January 2009 |url=http://consequenceofsound.net/2009/01/rock-history-101-leonard-cohen-the-partisan/ |access-date=20 August 2019))</ref> The rock journalist Alex Young notes, "[Cohen] is often incorrectly credited as the composer of the song – although he is certainly responsible for its survival." Young also notes that the English translation that Cohen recorded differs from the French in that it excludes the direct references that d'Astier and Marly made in the original lyrics to the occupation of France by [[Nazi Germany]].<ref name="consequenceofsound.net"/>

==Charts==
{| class="wikitable sortable plainrowheaders"
|-
! scope="col"| Chart (1969)
! scope="col"| Peak<br /> position
|-
((album chart|Netherlands|12|artist=Leonard Cohen|album=Songs from a Room|rowheader=true|accessdate=24 November 2016))
|-
((album chart|UK|2|artist=Leonard Cohen|rowheader=true|accessdate=24 November 2016))
|-
((album chart|Billboard200|63|artist=Leonard Cohen|rowheader=true|accessdate=24 November 2016))
|}

{| class="wikitable sortable plainrowheaders"
|-
! scope="col"| Chart (2016)
! scope="col"| Peak<br /> position
|-
((album chart|Italy|91|artist=Leonard Cohen|album=Songs from a Room|rowheader=true|accessdate=24 November 2016))
|}

==Certifications==
((certification Table Top))
((certification Table Entry|type=album|region=Canada|artist=Leonard Cohen|title=Songs From a Room|award=Gold|relyear=1969|certref=<ref>((cite magazine|url=https://books.google.com/books?id=NEUEAAAAMBAJ&q=songs+from+a+room+canada+gold+award+billboard+cohen&pg=PA51|title=Col Big Push On Cohen LP|magazine=Billboard|page=51|date=20 March 1071|via=Google Books|accessdate=4 October 2020))</ref>))
((certification Table Entry|type=album|region=United Kingdom|artist=Leonard Cohen|title=Songs From a Room|award=Silver|relyear=2009|certyear=2022|id=17861-2139-2|note=2009 release|accessdate=11 February 2022))
((Certification Table Bottom|nosales=yes|streaming=true))

==References==
((reflist|30em))

((Leonard Cohen))

((Authority control))

[[Category:1969 albums]]
[[Category:Leonard Cohen albums]]
[[Category:Albums produced by Bob Johnston]]
[[Category:Columbia Records albums]]

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Module:Unsubst (view source) (protected)
Module:Unsubst-infobox (view source) (template editor protected)
Module:WLink (view source) (template editor protected)
Module:Yesno (view source) (protected)

Return to Songs from a Room.

Retrieved from "https://en.wikipedia.org/wiki/Songs_from_a_Room"