Ten New Songs

by

Leonard Cohen

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In terms of production and instrumentation, Leonard Cohen retired to Florida 20 years ago. I'M YOUR MAN was a truely great album despite suffering from synth abuse. THE FUTURE had the same malady, but once again the outstanding quality of the songs saved the proceedings. 10 NEW SONGS breaks no new ground in terms of cheesy prodution and yet once again, the lyrics play hero to yet another damsel in distress.

Sure, he whispers and croaks in septagenarian mockery of Barry White. But lyrically Cohen's sharp as ever, and that's how one should approach this album. It's basically a slim volume of new poems with obligatory musical accompaniment. Armed with lines like "I fought against the bottle but I had to do it drunk" he still hits the weary mark of the heart. Sentiments like " Love went on and on /until It reached an open door" don't hurt either.

Suffice it to say I'm a fan. Though I generally find solace in the dark acoustic majesty of SONGS OF LOVE & HATE, Time goes to show that you can't keep that kind of intensity up forever. The presence of Sharon Robinson is also a welcome replacement to the chorus of tipsy Baccanals Cohen has utilized in recent years. Her souful croon goes to show less is truely more. When she sings, "You kiss my lips and then it's done" a title like BOOGIE STREET takes on a much more ominous meaning---and the old CHELSEA HOTEL Cohen shines on through.

Stand out tracks for me are IN MY SECRET LIFE, THAT DON'T MAKE IT JUNK & BOOGIE STREET. Though there's no surpises, I can't say I'm disappointed. 10 NEW SONGS is just another remarkable page in the forgiving, loving voice Cohen found in THE FUTURE.

Now, I do hate to be a naysayer. In a perfect world, nobody would ever have to complain about a Leonard Cohen album. However, in a perfect world I don't think this would be called a Leonard Cohen album.

Granted, the lyrics are distinctly Cohen--their grim loveliness elevates them to a level far above your standard fare. "Alexandra Leaving" and "Love Itself" give me chills when I read the words. Unfortunately, when I listen to the song, I have to contend with the jarring conflict between Cohen's gritty voice and the sweetly mellow synth-pop of the Sade-like arrangements.

Now, I don't know Sharon Robinson, and if she was responsible for helping to bring a Cohen album to the table, then I'm grateful to her. She seems to be a competant backup singer, and have some ability with basic chord structure. When she sings alone, her voice blends very nicely with her arrangements. However, Cohen himself seems completely out of place--as though he were added at the last minute, as an afterthought.

Now, maybe this is intentional. Maybe this disparity is supposed to represent an ironic commentary on the displacement of the poet in a fast food culture. If so, it only emphasized fast food's ability to stick with you long into the night. Robinson's arrangments would be quite suitable for certain top ten lyrics (for example, the first song, "In My Secret Life," works quite well with "Every Breath You Take"), and despite certain similarities in style to the arrangements on Cohen's album "I'm Your Man," they never quite reach that level. The contrivance of making the main vocal track considerably louder than the accompanying tracks only emphasizes the discontinuity between words and music, again making it seem that Cohen is only a guest on the album, and an unwelcome one at that.

Clearly, I'm in the minority on this one, but if you are looking for great MUSIC, go back to "Famous Blue Raincoat," by Jennifer Warnes. If you're new to Cohen and want to appreciate him, try one of the best of albums, or "I'm Your Man." If you're a die-hard fan, and need to see what he's been doing for the past few years, buy the album, and you won't be disappointed by what he brings to the party. Unfortunately, he doesn't seem to be the host. He's just the devil, standing over there in the corner with a microphone in his hand. Who knew he was a karaoke hog?