The Holy or the Broken: Leonard Cohen, Jeff Buckley, and the Unlikely Ascent of "Hallelujah" Alan Light pp. 288 ISBN: 1451657846 2012
For ages musicologists, psychologists, producers and people alike have tried to decipher or unravel the secret of what makes certain songs so likeable and popular, even to give them a scientific explanation. What they have found out so far, from a scientific point of view, is that each musical hit is reliant on mathematics, science, engineering and technology, the physics and the frequencies of sound that determine pitch and harmony and various other things. While some things can be defined scientifically, that will never explain the road that an obscure song from a rejected album written by a certain songwriter named Leonard Cohen has traversed to become one of the most beloved and most covered songs in the history of recorded music.
From the moment they are published, songs take on a life of their own. Some songs take the well-known and well-trodden road of a brief life on the charts and a longer life on the shelves, soon becoming as missed as last year's snow. But there are songs that just dive into the public conscience, with a popularity that never seems to wane. Some of those songs may never have topped the charts, but they have that alluring quality that has made them eternal. Sometimes there is no other formula for a timeless beauty but the song's own reflection of life with which people easily feel and identify.
In his brilliant book, The Holy or the Broken, renowned author and former editor-in-chief of Spin Magazine Alan Light traces the road that the song "Hallelujah" has traveled, from its difficult birth and initial rejection to becoming one of the most popular songs of the last 15 years. This beautiful song has been a common denominator in the careers of so many musiciansartists who have felt spellbound by it for different reasons and a song that, through them, has touched and enriched the lives of so many others. The storyline, as presented chronologically by the author, is worthy of a feature film and not just a book.
Thirty years, hundreds of covers, TV and film appearances and one book later, "Hallelujah" seems to be a song for every occasion. While Cohen's enigmatic lyrics are full of religious imagery, invoking the Biblical story of King David (the author of the Psalms) and Bathsheba, the woman whose beauty overthrew him, this was a very secular song when he wrote it. The narrative's central figure offers his "sacred chord" to a lover whose indifference to the protagonist's art is expressed in the line "But you don't really care for music, do ya?" The woman defiles and seduces David and, when all goes wrong as consequence, he makes no difference between the "holy or the broken Hallelujah."
"Hallelujah"is a ballad of love and sex, the divine and the mortal, desire and rejection. It reeks of failure and last chances, and it has that dichotomy of pleasure and emotional pain. The themes of transcendence through fiery trials have constantly played strong roles in Cohen's lyrics. Many bootlegs from the '80s show Cohen introducing the song as the "Broken Hallelujah." The album that this song was written for, Various Positions (1984) was initially rejected by Columbia Records in the United States and released by Passport Records (returning to Columbia when the label issued Cohen's discography on CD in 1990), even though in retrospective it has some of the best and beloved songs Cohen has ever written. It is interesting to note that one of the first peopleif not the firstto champion this song was the poet of poets, Bob Dylan. Being one of the first to recognize that the song had something special, he sang it live several times. After that, the song lived in relative obscurity until it was accidently discovered by the late singer Jeff Buckley.
Buckley's version, recorded for his debut, Grace (Columbia, 1994), is simultaneously fragile, lustful, emotional, and sexy, and in the aftermath of his premature death it also feels heartbroken and sad, a reminder of the talent that was lost. Buckley, once described it as an homage to "the hallelujah of the orgasm." But the version that he sang was actually not Cohen's but that of the singer John Cale (of Velvet Underground fame).
As faith would have it, by pure accident, Buckley had been searching through his friend's record collection and he stumbled across the version that he recorded for a Leonard Cohen tribute compilation, I'm Your Fan (Atlantic, 1991):
When Cale asked Cohen to fax him the lyrics, he was sent 15 pages of lyrics that he chose from and this was the first time the alternate lyrics of the song were heard, apart from at live venues. What Cale gave more emphasis on, in this brilliant and underrated cover, was the sorrow and longing expressed for the passing of a relationship. Truth be known, his is the mother for most later takes on this song.
The first jazz record I received
as a visiting gift from my
Japanese uncle at his
international division of
Toshiba EMI Tokyo was a
sample copy of Miles Davis'
Bitches Brew. A game
changer redirecting my
browsing habits and collection.