Songs From the Road - new live album - Sept 14, 2010

[tomsakic]

good stuff. Anyone know if he will return to the U.S.????

He will, in December. Shows in Honolulu, Portland and Las Vegas.

[TGuy]

For those who did not get the Furtune Teller Fish

http://www.fortunetellerfish.com/

If only the booklet could be purchased online as well... I bought the DVD only and - no booklet

[antwerp guy]

A truly wonderful cd and dvd, wow. A while ago, when the tracklist was posted on this website, I was sad there were 'only' going to be twelve songs on it. But the top quality of all performances makes up for that. And I completely understand none of the new songs are on this set, they had to be kept for the new album next year...

About the miracle fish: it actually works. When we tried it out, the fish told me I am "In love" (true) and my wife is "Passionate" (true). But when I reminded my wife that I saw Leonard perform 'Avalanche' live in Brussels - her favourite song - and she didn't, the fish in her hand actually wagged its tail to "Jealous"...

[LisaLCFan]

What I thought was very interesting about the version of Suzanne on SFTR (and Leonard did not "fluff" the lyrics, he simply rearranged them!), is that Dino Soldo plays a bassoon. I don't recall him playing that on other versions I've seen/heard. It adds some lovely flourishes!

[reginemasson]

GOT THE DVD YESTERDAY IT IS WONDERFUL and a bit a suply for live in Londen DVD so i can enjoy the concert many times after seeing him tree times in Gent .Can it be there is a new cd coming from leonard?Regine

[sturgess66]

An excellent review from Andrew Gilstrap of "PopMatters"

"From the nimble and spirited “Lover, Lover, Lover” that opens the disc to the version of “Closing Time” that rounds it out, there’s really not a bum moment to be found here."

http://www.popmatters.com/pm/review/130 ... -the-road/

Leonard Cohen: Songs from the Road
By Andrew Gilstrap 24 September 2010
PopMatters Associate Music Editor



When Leonard Cohen announced his first tour in fifteen years, it was only natural to view it for a split second as a cash grab. The tickets weren’t cheap, and the tour came on the heels of Cohen learning that an ex-business manager had embezzled the majority of Cohen’s fortune. It was pretty obvious that his dire financial straits were pushing him to tour, especially since he hadn’t felt compelled to hit the road in support of recent albums.

Once the shows started, though, rapturous reports made every Cohen show sound like a giant lovefest. Adoring fans filled the seats as a grateful Cohen took the stage, and goodwill from both parties met and mingled into something resembling a religious experience for many. So even if Cohen was refilling his coffers, he was giving just as much as he took. That was only fitting. Throughout his career, one of Cohen’s enduring traits has been a feeling of reverence for his subjects, not to mention for the act of singing and writing and creation itself. Even at his most rakish, Cohen always gave an impression of being an equal partner in something sacred and rapturous. Maybe it’s his way with words. Maybe it’s that voice that sounds old and wise enough that it could have narrated the birth of the universe. Whatever the case, fans of Cohen’s work have always detected something strange and different in his work.

The give-and-take of Cohen’s recent tour has already been preserved for posterity on the excellent Live in London, which captured a single night at London’s O2 Arena. Already a cornerstone of PBS pledge drives, Live in London felt like a perfect testament to Cohen’s strengths as a songwriter and performer, so why do we need another live disc? Well, for one thing, a catalog as deep as Cohen’s doesn’t get covered in a single show: Of Songs from the Road‘s twelve songs, only four appeared on Live in London. For another, it’s possible, just possible, that other nights held better performances. Songs from the Road (which comes with a matching DVD of its performances) sets out to collect some of the tour’s most magical moments.

After listening to it, it’s hard to argue. From the nimble and spirited “Lover, Lover, Lover” that opens the disc to the version of “Closing Time” that rounds it out, there’s really not a bum moment to be found here. “Chelsea Hotel”, anchored by soulful organ, strikes a perfect note of weathered nostalgia, and its closing line, “I don’t even think of you that often,” continues to kill. “The Partisan” is a showcase for both Cohen’s vocals (especially the way he growls his way through the French portion of the lyrics) and Javier Mas’s amazing bandurria playing. “Famous Blue Raincoat” strikes with a delicate blend of accusation and forgiveness, aided by Dino Soldo’s light saxophone work. Throughout the disc, it’s striking how Cohen makes you not only reconsider songs you might have dismissed as lesser efforts (such as “That Don’t Make It Junk” from 2001’s Ten New Songs), but also marvel at how songs you’ve heard a thousand times before (such as “Hallelujah”, “Suzanne”, or “Bird on the Wire”) continue to offer something new.

I suppose there are some Cohen fans who cringe at the smoothness of his live sound, its instrumental edges sanded down so that it’s all on Cohen’s shoulders to summon forth the shadows, but that seems a little silly at this point. Cohen hasn’t trafficked in brooding folk in at least twenty years (brooding pop, sure…). If anything, Cohen’s current sound can be seen as a recognition of the openheartedness and humor that’s often been overshadowed by his darker material. With Songs from the Road—which, along with Live in London, comes pretty close to capturing all the Cohen catalog you might be craving—we continue to get a fuller portrait of one of our best and more enigmatic songwriters.

[sturgess66]

And another good one -
http://thedailywrazz.wordpress.com/2010 ... -the-road/

"The disc ends, appropriately, with “Closing Time.” The artist tips his hat in farewell from the John Labatt Centre in London, Ontario, cooing distance from his ancestral home of Montreal, Quebec. All roads may cover the world, the sequence seems to say, but they eventually return to a warm light in a familiar window. And we are blessed, indeed, that Mr. Cohen allows us to journey with him."

Review: Leonard Cohen, “Songs from the Road”
[CD/DVD]
(Columbia/Legacy)

Released: Sept. 14, 2010

As most people know, I am a collector of audiences. My favorite moments on live albums are those spaces between songs when a mob belts out orgasmic gusts of adulation. Or, even better, when the instrumentation unravels to its basic roots and lets a room lift the chorus while a vocalist wets his lungs and observes an epidemic of communal goose bumps.

I first became fascinated by this phenomenon as a child with Kiss’ Alive II. It sounded as if the whole city of Los Angeles had swarmed the stage like a fleet of taxiing jets. Other favorites include “Everything Counts,” from Depeche Mode’s 101, where a lone synth whistle nudged the edges of a clamor enamored of its own size and power. Or the final few minutes of the expanded Ziggy Stardust: The Motion Picture as an entire arena shuffled toward the Hammersmith Odeon exits, murmuring over the dying echo of “Rock ’n’ Roll Suicide.” I have autographs from the majority of the Cow Palace Row C that witnessed Neil Young and Crazy Horse’s Rust Never Sleeps. Also in my possession: a soundboard dupe of Merle Haggard’s “Okie from Muskogee” — as recorded in Muskogee! “Do you mock us, bearded sir?” bellowed the audience as one. (Merle chuckled.) Then there’s that Deep Purple BBC session taped prior to Machine Head’s release. To modern ears, the silence that greets “Smoke on the Water’s” opening riff is downright unsettling.

So naturally I am thrilled beyond words with Leonard Cohen’s Songs from the Road, more so than I was with last year’s Live in London, whose scope was confined to the O2 Arena. Oh, the performances were grand, but as a din connoisseur I prefer an international smorgasbord of polite applause.

Songs from the Road answers my plea by trotting across Mr. Cohen’s ballyhooed 2008-2009 world tour to create the sonic equivalent of travel stickers on a steamer trunk. Leonard and his band soothe Ramat Gan Stadium in Tel Aviv with “Lover, Lover, Lover,” then it’s off to the mythical Albert Hall, a considerable distance from the “Chelsea Hotel” Cohen penned to immortality. Yet when the then-74-year-old seductively whispers, “And those were the reasons, and that was New York,” a packed house of Londoners seems to understand. Imagine — this man traversed the universe and addressed palatial rooms with an intimacy usually shared between lovers a pillow apart.

Admittedly, I was a latecomer to the Leonard Cohen phenomenon. I didn’t hear his voice ’til my early 20s, ’92-’93, when an acquaintance slipped me one of those dadblasted mixtapes. Burbling from the flip was the morning-dew-fresh “The Future”; its verbal flourish engulfed my fancy and sent me on a costly binge through a prolific back catalog. Such potent aphrodisiacs. Approximately 2 minutes and 12 seconds into “Love Calls You by Your Name” (Songs of Love and Hate, 1971), it is biological certainty that you will breathe dark, tiny secrets against welcoming, permissive flesh.

But, I digress. Cohen’s band is sumptuous here. Of particular note is wind-man Dino Soldo’s mesmeric flutter on “Waiting for the Miracle” and the divine tonal precision of “Lover, Lover, Lover’s” supporting vocals. Among seamy tours of familiar backstreets (“Chelsea Hotel,” “Suzanne,” “Famous Blue Raincoat”) are newer shadows like “That Don’t Make It Junk.” He may not uncork such beauties often, but oh, how they flow when poured.

As expected, audience participation peaks on “Hallelujah,” caught on Road in the Hipster Alps of Indio’s Coachella. Everyone knows the words because by now, everyone’s recorded it. Here it’s established that the song beats proudest within its creator’s breast; his chorus is returned to him en masse, in appreciation of his stake in the Great American Songbook.

The disc ends, appropriately, with “Closing Time.” The artist tips his hat in farewell from the John Labatt Centre in London, Ontario, cooing distance from his ancestral home of Montreal, Quebec. All roads may cover the world, the sequence seems to say, but they eventually return to a warm light in a familiar window. And we are blessed, indeed, that Mr. Cohen allows us to journey with him.

[B4real]

I have just watched this again for the second time and here are my thoughts. Firstly I wasn't going to buy this DVD at all because I had some of the videos already. I am now so glad that I did buy it. The camera angles are different and the quality is better. There is a wonderful Bird On The Wire (my first love) and I loved Suzanne as well but my favourite without a doubt here has to be Avalanche. This song is in my top five of his songs anyway. Oh, how I wish he would play this song (and The Window) when he comes to Australia - it (both) must be in the set list, please. I love the way he plays with just his guitar (plus a little help from the organ in this case) and his fabulous words into which I become liquified. I find the meanings of his words are just more intensely felt when presented this way. Then comes along Hallelujah which holds a special place in my heart and life - some of you know the reason why. I must ask, why is that white band on his left arm when he is singing Hallelujah?

Those four songs are my favourites all for different reasons. What a wonderful "Thank you" in black and white at the end.

I particularly loved the Backstage Sketch. It provided a "peek" behind the scenes and I probably would have bought it for this alone. I noticed that Leonard had on the braclet (during playing of Dance Me To The End Of Love in black and white) he has been wearing on this current tour. Great bonding moment when Leonard shares the essential oil with all the band members. I wonder which perfume it was?

All in all, a great DVD to add to the collection and I'm glad it is in mine.

[dick]

Finally got my copy from Amazon and watched it yesterday. Love it. Heart with No Companion stood out for me, and all performances are solid.

Also lilked Lorca's backstage insights. Recognized a couple of locations, but certainly not all. Anybody take a stab at pinning the locations for each of those segments?

Am grateful for this addition to my Cohen collection!

[friscogrl]

Bev, that ribbon around Leonard's arm identified him as a performer who was allowed backstage access.

M

[B4real]

Bev, that ribbon around Leonard's arm identified him as a performer who was allowed backstage access.

M

Thanks Marsha for that info. I had never seen him do that before and I wonder if it was just at that concert and why would he still wear it on stage? You would think HE wouldn't have needed any identification.

[burningviolin]

I am very much enjoying my copy of SFTR, as I type I realise I haven't actually watched all of the DVD just yet but I listen to the album driving to and fro. The sound quality of the CD is really really excellent, it makes my car stereo sound like an expensive addition to the car when it's just the standard player. I also love how the sound is spaced out or whatever the technical term is. Javier and Dino I can hear coming from my right and Sharon and the Webbs come from the left. Really cool trick! It's like being seated at a concert.

I was delighted when Jarkko said this CD was going to be coming out because I love the version of Waiting for the Miracle and Heart with no companion. Also, Avalanche is quite spectacular.

All round a very enjoyable CD, must have a proper look at the DVD at the weekend!

[ScottM]

I am very much enjoying my copy of SFTR, as I type I realise I haven't actually watched all of the DVD just yet but I listen to the album driving to and fro. The sound quality of the CD is really really excellent, it makes my car stereo sound like an expensive addition to the car when it's just the standard player. I also love how the sound is spaced out or whatever the technical term is. Javier and Dino I can hear coming from my right and Sharon and the Webbs come from the left. Really cool trick! It's like being seated at a concert.

I was delighted when Jarkko said this CD was going to be coming out because I love the version of Waiting for the Miracle and Heart with no companion. Also, Avalanche is quite spectacular.

All round a very enjoyable CD, must have a proper look at the DVD at the weekend!

Hi BV, I haven't tried out the CD in the car yet so will now have to! It is certainly worth viewing the DVD. Will not try to influence you too much but Avalanche stood out for me. One of my all time favourites (although very fluid in that department where Leonard is concerned). Also I am very envious of those who have attended concerts where Leonard included this in the set. The Partisan is brilliant, as always, however I am still very biased towards the live version I experienced in Madrid which still edges it for me as the best version I have heard. (Front row seats and a really passionate Spanish audience probably influenced me a lot too!) I am sure everyone will have their own opinion on what are the best versions of each performance. It must have been really difficult to finalise the list for this album. The additional footage, with backstage interviews with the Band and crew members, is also a real bonus. I really got the feeling that the UHTC is real family unit and everyone involved is really having fun. Anyway enough of my opinions, I should really allow you to enjoy it and make your own mind up. Look forward to hearing what you thought of the DVD.

Regards,

Scott & Helen

[sturgess66]

Another good review -
http://www.tuftsdaily.com/arts/leonard- ... -1.2347597

Leonard Cohen is Better Than Ever
By Matthew Welch
Published: Wednesday, September 29, 2010
Updated: Wednesday, September 29, 2010 07:09

Not everyone can be a vocal athlete. For singers who strain to get their range to a certain octave, embracing sincerity is the next−best alternative.

Just ask Leonard Cohen. Since his 1967 debut with "Songs of Leonard Cohen," Cohen has established a reputation as one of the world's most insightful singer−songwriters. While his voice can hardly be considered beautiful, it has delivered some of the most compelling lyrics of the last 50 years. His songs unerringly reveal the beauty and the absurdity of human relations; "Bird on the Wire" is as much a pledge of loyalty as it is a confession of past transgressions.

Now at age 76, Cohen is as probing as ever in his music. His new live album, "Songs from the Road," contains recordings of his live tours from 2008 and 2009. Happily, his voice has improved with age.

While Cohen awkwardly skirts the baritone range in his earlier recordings, more than 40 years later, he's hitting the low notes with seductive, raspy zest. Cohen's stage presence jumps right through on the recordings, delivering the lyrics with a conviction absent in the studio versions.

Those looking for reiterations of Cohen's solo acoustic days will not find them on this album. Every Cohen classic, with the exception of "Avalanche," is rearranged with a full, live band. Band members vary between songs; the Spanish guitar of Javier Mas and Dino Soldo's woodwind work provide the most compelling instrumentals on the album. Their solos between Cohen's progressions give the songs a musicality they lacked in their initial versions. Mas's introductory solo to "Lover, Lover, Lover" adds an exotic tinge that invigorates Cohen's performance.

The glossy musical additions don't always benefit the songs, though. Though Cohen's backup singers provide gorgeous accompaniment throughout the album, their contribution at times feels inappropriate. The heavenly harmonies on "Bird on the Wire" come off as more than a little incongruous with the lyrics, "Like a baby, stillborn / Like a beast with his horn / I have torn everyone who reached out for me."

Matching aesthetic to message might have been an easier task for Cohen when he only had to worry about his own guitar accompaniment. With a larger band, he seems to have difficulty complementing the song with its sound.

Regardless of these occasional discrepancies, the song choices on the album are very strong, including Cohen's now−famous version of "Hallelujah" from Coachella 2009. They offer a great balance between Cohen's earlier songs and his more production−heavy work from the '80s to the present. Cohen's entire catalogue is cohesive, and the singer can easily pick and match songs from completely different parts of his career.

The only seriously questionable song choice is the opening track, "Lover, Lover, Lover," in which Cohen's crowd can be heard clapping jovially, but horrifically off rhythm. This cacophonous start is hardly the best way to kick off a live album, especially when the producers could have picked from 20 other live recordings of the song.

"Songs from the Road" concludes with equally soulful renditions of "Hallelujah" and "Closing Time." Unlike some of the earlier songs, both of these versions show the instruments working in perfect equipoise with Cohen's voice.

The bluesy organ passages between verses of "Hallelujah" never infringe on the weight of the lyrics, and in "Closing Time," Cohen sings spiritedly over the country−tinged backup band to the audience's delight. The crowd's obvious enthusiasm is one of the best parts of the album.

One generally doesn't see acoustic folk heroes inspiring the same fevered cries as a stadium rock band, but maybe that's just another part of Cohen's magic.

[jarkko]

Below please find chart positions for various countries!

Australia:
DVD chart: # 1

Ireland:
DVD chart: # 1

Portugal:
Pop album chart: # 4
DVD chart: # 12

Belgium:
Pop album chart: # 6

Austria:
Pop album chart: # 7

Norway:
Pop album chart: # 7
DVD charts: # 1

Canada:
Pop album chart: # 10
Video chart: 1

Czech Republic:
Pop album chart: # 10

New Zealand:
Pop album chart: # 11

Spain:
Pop album charts # 15
DVD charts: # 10

Poland:
Pop album charts # 25

Holland:
Pop album chart: # 26

Italy:
Pop album chart: # 27

France:
Pop album charts # 35
Video: # 10

Germany:
Album chart - # 36
DVD - # 4

Sweden:
Album chart - # 39
DVD - # 2

Switzerland:
Pop album chart: # 45

UK:
Pop album chart: # 68
DVD chart: #1