Chords for Explore Leonard Cohen’s Songs of Leonard Cohen (in 5 Minutes) | Liner Notes
Tempo:
95.85 bpm
Chords used:
G
F
E
C
A
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[Bb]
[Ab] I believe that you heard [Gm] your master sing
[Ab] when I was sick in bed.
[G] Leonard Cohen was already an accomplished poet
when his debut album, Songs of Leonard Cohen,
reached stores in late 1967.
But the simply titled LP [F] introduced the world
to [G] a major new musical voice,
brooding, sensuous, and utterly literary.
Even in the freewheeling late [Eb] 60s,
it was hard to find a more unlikely [G] pop star
than this 30-something existential Canadian writer.
Having published his second and [Gm] final novel,
Beautiful Losers,
to some acclaim but little sales in [G] 1966,
songwriting seemed a somewhat more lucrative way
to stay in the game.
Suzanne, inspired by Cohen's friendship
with Montreal scene maker Suzanne Verdal,
was first recorded by Judy Collins in [G] 1966
and quickly brought Cohen's songwriting
to a much larger audience.
With a circular melody and blend of straightforward
and surreal lyrics, it would catch the ear
of the legendary John Hammond,
who'd helped launch the careers of Billie Holiday
and Bob Dylan, among others,
and who would soon [Ab] sign on to produce [E] Cohen's debut.
Suzanne takes you down
to her place near the river
[Gbm] You can hear the boats go by
You can spend the night beside [G] her
Sisters of Mercy, a sad, sweet waltz
that would receive corner-brightening calliopean bells
on the album, depicted a tray Canadian situation,
Cohen's brief, chaste [C] encounter
with two women during an Edmonton blizzard.
We [B] weren't lovers like [E] that
And [B] besides, it would still be all right
[E] [Gb]
[G] It was one of several standout songs
Cohen possessed when he relocated
from bohemian Montreal to Manhattan's thriving folk scene,
where he took up at the infamous Chelsea Hotel
[F] and soon crossed paths with John Hammond
and a Columbia record contract.
Taking a few side trips into the world
of Andy Warhol's factory,
Cohen soon developed an unrequited crush on Nico,
the Velvet Underground's mysterious chanteuse,
leading him to write his debut album's
haunting closing song,
One of Us Cannot Be Wrong.
[C] Cohen had no shortage of muses, however.
[A] I lit a thin green [Bm] candle
[D] To make you jealous [A] of me
Hey, [G] that's no way to say goodbye,
an instant classic of fleeting love,
received a typically elegant arrangement
from the small group Hammond [F] assembled.
I [Bb] love you in the morning
And what kisses deep and warm
[C] But with minimal experience as a performer,
and only then with informal country and western groups,
Cohen's self [G]-consciousness and lack of studio savvy
caused problems from the get-go,
the songwriter feeling intimidated
by the session [Gm] musicians who brought
an overly ornate dimension to the songs.
Cohen tried various [G] measures in the studio,
including lighting candles and incense,
and at one session, having Hammond bring in
a full-length mirror to sing into.
[F]
Hey, that's no way to say [Bb] goodbye
[G] So Long, Mary Ann, written for Cohen's
most longtime muse, Mary Ann Jensen,
is the album's most sonically fleshed-out song,
with a soaring chorus, folk rock rhythm section,
and impassioned vocals complementing
the elegic lyrics.
By the time it was recorded,
John Simon had replaced Hammond [Em] behind the boards,
and the eclectic West Coast group Kaleidoscope
were drafted to add a gently psychedelic flavor
to the proceedings.
[A] So long,
[Gbm] it's time we began to [E]
laugh
And cry, and laugh about [A] it all [C] again
Adorned with a solemn cover portrait,
[G] songs of Leonard Cohen slipped into stores
during the cold days between Christmas
and New Year's in late 1967.
No longer merely a [Eb] poet or writer
of songs for others to sing,
Cohen's debut put him solidly on the road to stardom,
establishing themes he would chase
through nearly a half-century of songwriting.
Among several signature [G] compositions on the album,
Suzanne rapidly became a modern standard,
inspiring notable covers by Nina Simone,
Roberta Flack, and even a French-language version
by François Hardy.
Uncompromising and beautiful,
Songs of Leonard Cohen is a classic of worldly heartbreak,
otherworldly grace, and songwriting
that masterfully bridges [Eb] the gap
between the personal and the universal.
[Ab] I believe that you heard [Gm] your master sing
[Ab] when I was sick in bed.
[G] Leonard Cohen was already an accomplished poet
when his debut album, Songs of Leonard Cohen,
reached stores in late 1967.
But the simply titled LP [F] introduced the world
to [G] a major new musical voice,
brooding, sensuous, and utterly literary.
Even in the freewheeling late [Eb] 60s,
it was hard to find a more unlikely [G] pop star
than this 30-something existential Canadian writer.
Having published his second and [Gm] final novel,
Beautiful Losers,
to some acclaim but little sales in [G] 1966,
songwriting seemed a somewhat more lucrative way
to stay in the game.
Suzanne, inspired by Cohen's friendship
with Montreal scene maker Suzanne Verdal,
was first recorded by Judy Collins in [G] 1966
and quickly brought Cohen's songwriting
to a much larger audience.
With a circular melody and blend of straightforward
and surreal lyrics, it would catch the ear
of the legendary John Hammond,
who'd helped launch the careers of Billie Holiday
and Bob Dylan, among others,
and who would soon [Ab] sign on to produce [E] Cohen's debut.
Suzanne takes you down
to her place near the river
[Gbm] You can hear the boats go by
You can spend the night beside [G] her
Sisters of Mercy, a sad, sweet waltz
that would receive corner-brightening calliopean bells
on the album, depicted a tray Canadian situation,
Cohen's brief, chaste [C] encounter
with two women during an Edmonton blizzard.
We [B] weren't lovers like [E] that
And [B] besides, it would still be all right
[E] [Gb]
[G] It was one of several standout songs
Cohen possessed when he relocated
from bohemian Montreal to Manhattan's thriving folk scene,
where he took up at the infamous Chelsea Hotel
[F] and soon crossed paths with John Hammond
and a Columbia record contract.
Taking a few side trips into the world
of Andy Warhol's factory,
Cohen soon developed an unrequited crush on Nico,
the Velvet Underground's mysterious chanteuse,
leading him to write his debut album's
haunting closing song,
One of Us Cannot Be Wrong.
[C] Cohen had no shortage of muses, however.
[A] I lit a thin green [Bm] candle
[D] To make you jealous [A] of me
Hey, [G] that's no way to say goodbye,
an instant classic of fleeting love,
received a typically elegant arrangement
from the small group Hammond [F] assembled.
I [Bb] love you in the morning
And what kisses deep and warm
[C] But with minimal experience as a performer,
and only then with informal country and western groups,
Cohen's self [G]-consciousness and lack of studio savvy
caused problems from the get-go,
the songwriter feeling intimidated
by the session [Gm] musicians who brought
an overly ornate dimension to the songs.
Cohen tried various [G] measures in the studio,
including lighting candles and incense,
and at one session, having Hammond bring in
a full-length mirror to sing into.
[F]
Hey, that's no way to say [Bb] goodbye
[G] So Long, Mary Ann, written for Cohen's
most longtime muse, Mary Ann Jensen,
is the album's most sonically fleshed-out song,
with a soaring chorus, folk rock rhythm section,
and impassioned vocals complementing
the elegic lyrics.
By the time it was recorded,
John Simon had replaced Hammond [Em] behind the boards,
and the eclectic West Coast group Kaleidoscope
were drafted to add a gently psychedelic flavor
to the proceedings.
[A] So long,
[Gbm] it's time we began to [E]
laugh
And cry, and laugh about [A] it all [C] again
Adorned with a solemn cover portrait,
[G] songs of Leonard Cohen slipped into stores
during the cold days between Christmas
and New Year's in late 1967.
No longer merely a [Eb] poet or writer
of songs for others to sing,
Cohen's debut put him solidly on the road to stardom,
establishing themes he would chase
through nearly a half-century of songwriting.
Among several signature [G] compositions on the album,
Suzanne rapidly became a modern standard,
inspiring notable covers by Nina Simone,
Roberta Flack, and even a French-language version
by François Hardy.
Uncompromising and beautiful,
Songs of Leonard Cohen is a classic of worldly heartbreak,
otherworldly grace, and songwriting
that masterfully bridges [Eb] the gap
between the personal and the universal.
Key:
G
F
E
C
A
G
F
E
_ _ _ _ _ [Bb] _ _ _
[Ab] I believe that you heard [Gm] your master sing
[Ab] when I was sick in bed.
[G] Leonard Cohen was already an accomplished poet
when his debut album, Songs of Leonard Cohen,
reached stores in late 1967.
But the simply titled LP [F] introduced the world
to [G] a major new musical voice,
brooding, sensuous, and utterly literary.
Even in the freewheeling late [Eb] 60s,
it was hard to find a more unlikely [G] pop star
than this 30-something existential Canadian writer.
Having published his second and [Gm] final novel,
Beautiful Losers,
to some acclaim but little sales in [G] 1966,
songwriting seemed a somewhat more lucrative way
to stay in the game.
Suzanne, inspired by Cohen's friendship
with Montreal scene maker Suzanne Verdal,
was first recorded by Judy Collins in [G] 1966
and quickly brought Cohen's songwriting
to a much larger audience.
With a circular melody and blend of straightforward
and surreal lyrics, it would catch the ear
of the legendary John Hammond,
who'd helped launch the careers of Billie Holiday
and Bob Dylan, among others,
and who would soon [Ab] sign on to produce [E] Cohen's debut.
Suzanne _ takes you down
to her place near the river
[Gbm] You can hear the boats go by
You can spend the night beside [G] her
Sisters of Mercy, a sad, sweet waltz
that would receive corner-brightening calliopean bells
on the album, depicted a tray Canadian situation,
Cohen's brief, chaste [C] encounter
with two women during an Edmonton blizzard.
We [B] weren't lovers like [E] that
And [B] besides, it would still be all right
_ [E] _ _ [Gb] _
_ [G] It was one of several standout songs
Cohen possessed when he relocated
from bohemian Montreal to Manhattan's thriving folk scene,
where he took up at the infamous Chelsea Hotel
[F] and soon crossed paths with John Hammond
and a Columbia record contract.
Taking a few side trips into the world
of Andy Warhol's factory,
Cohen soon developed an unrequited crush on Nico,
the Velvet Underground's mysterious chanteuse,
leading him to write his debut album's
haunting closing song,
One of Us Cannot Be Wrong.
[C] Cohen had no shortage of muses, however.
[A] I lit a thin green [Bm] candle
_ _ [D] To make you jealous [A] of me
Hey, [G] that's no way to say goodbye,
an instant classic of fleeting love,
received a typically elegant arrangement
from the small group Hammond [F] assembled.
I [Bb] love you in the morning
And what kisses deep and warm
[C] But with minimal experience as a performer,
and only then with informal country and western groups,
Cohen's self [G]-consciousness and lack of studio savvy
caused problems from the get-go,
the songwriter feeling intimidated
by the session [Gm] musicians who brought
an overly ornate dimension to the songs.
Cohen tried various [G] measures in the studio,
including lighting candles and incense,
and at one session, having Hammond bring in
a full-length mirror to sing into.
[F]
Hey, _ that's no way to say [Bb] goodbye _ _ _ _ _ _
_ _ [G] So Long, Mary Ann, written for Cohen's
most longtime muse, Mary Ann Jensen,
is the album's most sonically fleshed-out song,
with a soaring chorus, folk rock rhythm section,
and impassioned vocals complementing
the elegic lyrics.
By the time it was recorded,
John Simon had replaced Hammond [Em] behind the boards,
and the eclectic West Coast group Kaleidoscope
were drafted to add a gently psychedelic flavor
to the proceedings.
[A] So long, _ _ _
[Gbm] _ it's time we began to [E]
laugh
And cry, and _ _ laugh about [A] it all [C] again
Adorned with a solemn cover portrait,
[G] songs of Leonard Cohen slipped into stores
during the cold days between Christmas
and New Year's in late 1967.
No longer merely a [Eb] poet or writer
of songs for others to sing,
Cohen's debut put him solidly on the road to stardom,
establishing themes he would chase
through nearly a half-century of songwriting.
Among several signature [G] compositions on the album,
Suzanne rapidly became a modern standard,
inspiring notable covers by Nina Simone,
Roberta Flack, and even a French-language version
by François Hardy.
_ Uncompromising and beautiful,
Songs of Leonard Cohen is a classic of worldly heartbreak,
otherworldly grace, and songwriting
that masterfully bridges [Eb] the gap
between the personal and the universal. _ _
_ _ _ _ _ _ _ _
[Ab] I believe that you heard [Gm] your master sing
[Ab] when I was sick in bed.
[G] Leonard Cohen was already an accomplished poet
when his debut album, Songs of Leonard Cohen,
reached stores in late 1967.
But the simply titled LP [F] introduced the world
to [G] a major new musical voice,
brooding, sensuous, and utterly literary.
Even in the freewheeling late [Eb] 60s,
it was hard to find a more unlikely [G] pop star
than this 30-something existential Canadian writer.
Having published his second and [Gm] final novel,
Beautiful Losers,
to some acclaim but little sales in [G] 1966,
songwriting seemed a somewhat more lucrative way
to stay in the game.
Suzanne, inspired by Cohen's friendship
with Montreal scene maker Suzanne Verdal,
was first recorded by Judy Collins in [G] 1966
and quickly brought Cohen's songwriting
to a much larger audience.
With a circular melody and blend of straightforward
and surreal lyrics, it would catch the ear
of the legendary John Hammond,
who'd helped launch the careers of Billie Holiday
and Bob Dylan, among others,
and who would soon [Ab] sign on to produce [E] Cohen's debut.
Suzanne _ takes you down
to her place near the river
[Gbm] You can hear the boats go by
You can spend the night beside [G] her
Sisters of Mercy, a sad, sweet waltz
that would receive corner-brightening calliopean bells
on the album, depicted a tray Canadian situation,
Cohen's brief, chaste [C] encounter
with two women during an Edmonton blizzard.
We [B] weren't lovers like [E] that
And [B] besides, it would still be all right
_ [E] _ _ [Gb] _
_ [G] It was one of several standout songs
Cohen possessed when he relocated
from bohemian Montreal to Manhattan's thriving folk scene,
where he took up at the infamous Chelsea Hotel
[F] and soon crossed paths with John Hammond
and a Columbia record contract.
Taking a few side trips into the world
of Andy Warhol's factory,
Cohen soon developed an unrequited crush on Nico,
the Velvet Underground's mysterious chanteuse,
leading him to write his debut album's
haunting closing song,
One of Us Cannot Be Wrong.
[C] Cohen had no shortage of muses, however.
[A] I lit a thin green [Bm] candle
_ _ [D] To make you jealous [A] of me
Hey, [G] that's no way to say goodbye,
an instant classic of fleeting love,
received a typically elegant arrangement
from the small group Hammond [F] assembled.
I [Bb] love you in the morning
And what kisses deep and warm
[C] But with minimal experience as a performer,
and only then with informal country and western groups,
Cohen's self [G]-consciousness and lack of studio savvy
caused problems from the get-go,
the songwriter feeling intimidated
by the session [Gm] musicians who brought
an overly ornate dimension to the songs.
Cohen tried various [G] measures in the studio,
including lighting candles and incense,
and at one session, having Hammond bring in
a full-length mirror to sing into.
[F]
Hey, _ that's no way to say [Bb] goodbye _ _ _ _ _ _
_ _ [G] So Long, Mary Ann, written for Cohen's
most longtime muse, Mary Ann Jensen,
is the album's most sonically fleshed-out song,
with a soaring chorus, folk rock rhythm section,
and impassioned vocals complementing
the elegic lyrics.
By the time it was recorded,
John Simon had replaced Hammond [Em] behind the boards,
and the eclectic West Coast group Kaleidoscope
were drafted to add a gently psychedelic flavor
to the proceedings.
[A] So long, _ _ _
[Gbm] _ it's time we began to [E]
laugh
And cry, and _ _ laugh about [A] it all [C] again
Adorned with a solemn cover portrait,
[G] songs of Leonard Cohen slipped into stores
during the cold days between Christmas
and New Year's in late 1967.
No longer merely a [Eb] poet or writer
of songs for others to sing,
Cohen's debut put him solidly on the road to stardom,
establishing themes he would chase
through nearly a half-century of songwriting.
Among several signature [G] compositions on the album,
Suzanne rapidly became a modern standard,
inspiring notable covers by Nina Simone,
Roberta Flack, and even a French-language version
by François Hardy.
_ Uncompromising and beautiful,
Songs of Leonard Cohen is a classic of worldly heartbreak,
otherworldly grace, and songwriting
that masterfully bridges [Eb] the gap
between the personal and the universal. _ _
_ _ _ _ _ _ _ _