Famous Blue Raincoat

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The lyrics contain references to the German love song " Lili Marlene," to Scientology, and to Clinton Street. Cohen lived on Clinton Street in Manhattan in the 1970s when it was a lively Latino area. [2] Taylor, Tom (November 7, 2021). "Leonard Cohen's 10 greatest songs of all time". Far Out . Retrieved April 27, 2023. Adams, James (11 February 2006). "Legal battles? Cohen's Zen with that". The Globe and Mail. Archived from the original on 18 January 2008 . Retrieved 8 April 2020. However, while I originally found it difficult to completely warm up to Warnes' performance perfection and her inherent "chipperness", I'm far more appreciative of it now as I am of the arrangements and the overall production. I found Warnes take on "Song of Bernadette", particularly moving. The problem is that her technical chops are so formidable, she makes the truly difficult sound easy.

I had a good raincoat then, a Burberry I got in London in 1959. Elizabeth thought I looked like a spider in it. That was probably why she wouldn't go to Greece with me. It hung more heroically when I took out the lining, and achieved glory when the frayed sleeves were repaired with a little leather. Things were clear. I knew how to dress in those days. It was stolen from Marianne's loft in New York City sometime during the early seventies. I wasn't wearing it very much toward the end. Brown, Helen (25 March 2021). "First Aid Kit review, Who by Fire: A live covers album Leonard Cohen would have loved". The Independent . Retrieved 30 April 2021.

a b "Readers' Poll: The 10 Best Leonard Cohen Songs". Rolling Stone. 26 November 2014 . Retrieved 11 November 2016. Zollo, Paul (2003). Song-writers on Song-writing, 4th Ed. New York City: DeCapo Press. p.343. ISBN 978-0-306-81265-1. Famous Blue Raincoat" is widely considered to be one of Cohen's best songs. Far Out and American Songwriter ranked the song number six and number five, respectively, on their lists of the 10 greatest Leonard Cohen songs. [6] [7] Cover versions [ edit ] The original recording starts in the key of A minor, but switches to C major during the choruses. Cohen said, "That's nice. I guess I got that from Spanish music, which has that." [5] Reception [ edit ]

Ratcliff, Maurice; Charlesworth, Chris (1999). The Complete Guide to the Music of Leonard Cohen. London, England: Omnibus Press. p.37. ISBN 0-7119-7508-6.

In a 1994 BBC Radio Interview, Cohen remarked: "The problem with that song is that I've forgotten the actual triangle. Whether it was my own - of course, I always felt that there was an invisible male seducing the woman I was with, now whether this one was incarnate or merely imaginary I don't remember, I've always had the sense that either I've been that figure in relation to another couple or there'd been a figure like that in relation to my marriage. I don't quite remember but I did have this feeling that there was always a third party, sometimes me, sometimes another man, sometimes another woman. It was a song I've never been satisfied with. It's not that I've resisted an impressionistic approach to songwriting, but I've never felt that this one, that I really nailed the lyric. I'm ready to concede something to the mystery, but secretly I've always felt that there was something about the song that was unclear. So I've been very happy with some of the imagery, but a lot of the imagery." In the ensuing years, the ever-charming host would invite me over to his pad, ply me with tequila and cranberry juice, a drink of his own invention he called the Red Needle, and played me his new songs. He even sang a cameo vocal on one of my albums, doing his best Barry White impression on a song called "Elvis' Rolls Royce."