Christof Graf `s leonard cohen.de - cohenpedia - websites

Christof Graf `s - leonardcohen.de - websites

Alles über L e o n a r d C o h e n von A - Z - Das C O H E N P E D I A

II. Diskographie - Songs Of A Life b) Songs und Songtexte (1968 - 2012) :

listen to the SONY`s AUDIOPHILES :

Songs from the Road

09/ 10

Columbia/Sony Music | VÖ 10.09.2010

CD: Columbia/Legacy 8869775916

DVD: Columbia/Legacy 88697759179

BLURAY: Columbia/Legacy 88697759099 )

1. Lover, Lover, Lover

2. Bird On the Wire

3. Chelsea Hotel

4. Heart With No Companion

5. That Don't Make it Junk

6. Waiting for the Miracle

7. Avalanche

8. Suzanne

9. The Partisan

10. Famous Blue Raincoat

11. Hallelujah

12. Closing Time

Songtexte/ Lyrics wie auf den den studio-Alben/ look to the studio-records

Auf der DVD und BLUE RAY ist jeweils noch ein ca. 30 minütiges Backstage-Feature enthalten.

weitere Infos zur:

Story zum Album (CD, DVD, BLUE RAY)

Im Jahr 2007 feierte Leonard Cohen sein 40-jähriges Vertrags-Jubiläum beim Label Columbia. Schon ein Jahr später - er war gerade in die "Rock And Roll Hall Of Fame" aufgenommen worden - überraschte er alte und neue Fans mit seiner ersten Tournee seit 15 Jahren. Cohen trat in den prestigeträchtigsten Konzerthäusern der Welt auf, fesselte und bezauberte sein Publikum in jedem Winkel der Welt mit Auftritten, die von der Presse als die besten seiner Karriere gefeiert wurden. So schrieb der irische "Independent" im Juni 2008: "Wenn der legendäre Leonard Cohen die Bühne betritt, ist das ein Ereignis biblischen Ausmaßes …"

Zwölf der Songs, die Cohen in den ausverkauften Häusern von Tel Aviv bis London, in der Wüste Kaliforniens oder seiner kanadischen Heimat performte, finden sich auf "Songs From The Road". Das Bild- und Tonmaterial wurde in High Definition und 5.1. Surround Sound aufgezeichnet und erscheint jetzt in drei verschiedenen Versionen: als CD, als DVD und als Blu-Ray. Alle Versionen sind über Columbia/Legacy, einer Abteilung von SONY MUSIC ENTERTAINMENT, ab 10. September 2010 erhältlich.

Als Bonusmaterial beinhalten DVD und Blu-Ray ein 20-minütiges "Behind The Scenes"-Interview mit den Mitgliedern von Cohens Band, das von seiner Tochter Lorca Cohen geführt wurde. Die beiden DVD-Versionen werden durch Liner Notes ergänzt. Dabei handelt es sich um ein Essay von Leon Wieseltier, Literatur-Redakteur bei "The New Republik" und detaillierte Kommentare von Produzent Ed Sanders.

Anbei das Presse-EPK zur DVD-Veröffentlichung

Die Daten der Aufnahmen

1. Lover, Lover, Lover (Ramat Gan Stadium, Tel Aviv, Israel, 24. September 2009)

2. Bird On the Wire (Clyde Auditorium, Glasgow, Schottland, 6. November 2008)

3. Chelsea Hotel (Royal Albert Hall, London, England, 17. November 2008)

4. Heart With No Companion (Oberhausen König Pilsener Arena, Oberhausen, Deutschland, 2. November 2008)

5. That Don't Make it Junk (O2 Arena, London, England, 13. November 2008)

6. Waiting for the Miracle (HP Pavilion, San Jose, Kalifornien, 13. November 2009)

7. Avalanche (Gothenburg Scandinavium, Göteborg, Schweden, 12. Oktober 2008)

8. Suzanne (MENA Arena, Manchester, England, 30. November 2008)

9. The Partisan (Hartwall Arena, Helsinki, Finnland, 10. Oktober 2008)

10. Famous Blue Raincoat (O2 Arena, London, England, 13. November 2008)

11. Hallelujah (Coachella Music Festival, Indio, Kalifornien 17. April 2009)

12. Closing Time (John Labatt Centre, London, Ontario, 24. Mai 2009)

Das Essay

von Leon Wieseltier

The road is not a line between places;

it is a place between places,

a place of its own.

"You cannot understand the ravishments of the road unless you overcome the logistical way of looking at things, which is perhaps the most powerrul impediment that our hustling way of life puts in the way of experience. Since we ding to a mainly instrumental view of the road, we have forgotten how to be travelers and we are tourists instead, sitting still before the window and watching the worid speed past, when in fact we are the ones who are speeding and it is the world that is still, for those who possess the capacity for stillness. We are too enamored of destinations. We hunger too much for arrival. We treat the road as an interval between meanings, an interregnum between dispensations, and so we are blinded to the richness of meanings and dispensations in the road itself. If departure is the past and arrival is the future, then the road is the present, and there is nothing more spiritually difficult, or spiritually rewarding, than learning to live significantly in the present. This is accomplished by a schooling in transience, and the road is such a school. Almost as powerfully as the sea and the sky, the road is an emblem of immensity: the horizon into which it disappears is the promise of a release, which is the promise of a horizon, which is the promise of a release.

From the Stretch of even the most ordinary road, you may infer a Suggestion of infmity.

Perhaps this is why singers and preachers have often preferred to wander: itinerancy refreshes and expands the spirit. By means of the unfamiliar, it makes complacence harder (though the cult of the road also has its conventions). The Wanderer is the figure who recognizes the gift of alienation. The stranger may be powerless, but he has the force of a fresh eye and an unexpected mind: the inner advantage belongs to him. He knows no stasis. It is of course for sustenance that the singer and the preacher roam from town to town, but not only for material sustenance. The gig is an opportunity to gain distance (which is a gain) and to observe more; to do it differently and better; maybe even to get it right. In some of his songs about wandering, Schubert insisted upon the lucky break of homelessness: "Everything seems clear; nothing is distorted, or withered in the heat of day Happy in my surroundings, if alone, I go." "There, where you are not, there is happiness." The wanderet may be weary, but so is the man plumply at home, the stationary man, the undiversified man, the solvent man, the man who lives in the illusion that he knows all he needs to know and sees all he needs to see.

Between May n, 2008 and November 20, 2009, Leonard Cohen, who has called his work "stranger music", played 195 shows throughout Europe, North America, and the Pacific. A world tour, as the promoters call it; except that Cohen's peregrinations, in his eighth decade, cannot be altogether explained commercially "I came so far for beauty", he sang many years ago. He has always championed impatience and fleetingness and the urge for leaving: no sooner did he record a song called "Go No More A-Roving" than he set out to rove. There is nothing like a global itinerary, I suppose, to vindicate a belief in evanescence. For there was an element of conviction to his late far-flung passings-through (which are not yet over: he is about to begin the conquest of Asia), a deliberate quality, the aspect of a Spiritual exercise. The shows were unforgettable. I saw two of them. They were elegant, witty, warm, dark, and light. The love with which Cohen was met by his audiences was oceanic. Cohen's

Charisma is one of the heartening facts of life, because it is owed entirely to his interiority And - to borrow what the Bible says about the nomadic Israelites - as he camps so does he travel. When the man with the small hat and the large soul took the stage, he commanded it completely. He was quiet and modest and riveting. A few times he feil to his knees, because it pleased him to regard himself as a creature in Service. (How many rock Stars can be found kneeling?) The whole proceeding took place in an atmosphere of graciousness, almost ceremonially. Throughout the show, it was never clear whose gratitude was greater, Cohen's or the audience's. He seemed to find at every stop the sisters of mercy whom he immortalized in one of his oldest and most tender songs. They were seated before him. They waited for him when he thought he just couldn't go on. They brought him their comfort and later they brought him his song. He had hoped to run into them, he who was traveling so long.

At these concerts it was hard to remember that Cohen was once renowned for bleakness. Here the exploration of pain, and the memory of it, was dispelled by an overwhelming desire to praise. The singer's poise had nothing to do with coolness or indifference. His lucidity was without bitterness. He had come to furnish the example of an intelligent acceptance. In this way he raised his listeners up, and they rose. "Even though it all went wrong/ I'll stand before the Lord of Song/With nothing on my tongue but Hallemjah!": there is nothing like the exhilaration of this broken but lyrical man, the master of irony putting irony behind him, who is certain, absolutely certain, that the garden stays open after the sin, and that failure will not bar him, or anybody eise, from grace. The faith but not the church: it is the lasting dream of wayward but devoted sons of the traditions once regarded as divine. And now, wherever this precious man wanders, the famous blue raincoat notwithstanding, people sing "hallelujah!" The Psalmist himself could not have asked for more.

Leon Wieseltier is the literary editor of The New Republic.

Original Notizen vom Produzenten :

Ed Sanders

Ed Sanders (links) im Gespräch mit Christof Graf. In der Mitte Leonard Cohen)

(Photo: Harald Schäfers)

Every sound check. I was present at every show. I mention this only to explain my personal provenance for the contents of these Liner notes.

At the completion of each concert Leonard would walk directly off stage to be met by the tour manager and myself and be whisked away into a waiting car. During the drive back to the hotel the conversation usually consisted of silence or trivialities, but on the occasion when a song had found that "secret chord" Leonard might engage us in retrospective commentary on the night's performance. It is based upon these conversations plus my own extensive notes and observations that the twelve special moments presented here have been selected.

Lover, Lover, Lover - Ramat Gan Stadium, Tel Aviv, Israel' September 24, 2009 Any tour compilation surely must include something from the Tel Aviv Stadium concert. In spite of all the trials and tribulations it proved to be a fitting and triumphant finish to the Summer 2009 leg: 50,000 green glow-sticks lighting up one magical night as Leonard sang, "May the spirit of this song, may it rise up pure and free."

BirdOnThe Wire - Clyde Auditorium, Glasgow, Scotland- November 6,2008 With four great soloists it was always fun each night to see what Bob, Dino, Neil or Javier would pull out of their seemingly bottomless bag or musical tricks. The performance presented here features Bob and Dino backrto-back with two of their best. Leonard delivers a wonderfully heartfelt vocal on this longtime favorite. Interestingly, he switched to an alternate lyric in the last bridge sometime midway through the first leg-as can be heard in this Version.

Chelsea Hotel - Royal Albert Hall, London, England- November ij, 2008 Between sound check and show time Leonard would offen play his guitar in the dressing room. In the early stages of this leg I would find him practicing "Chelsea Hotel". It came as a surprise to everyone (especially those on stage!) when at Rotterdam he launched into it solo after "Tower Of Song". He continued to rehearse it with the band until the arrangement was ready The version presented here ts the second full-band performance. At the time I thought it was exceptionally compelling and I told Leonard so during intermission. He replied that he thought it went well; that he could feel the presence of a certain "someone" as he sang it.

Heart With No Companion - Oberhausen King Pilsener Arena, Oberhausen, Germany-November 2, 2O08.

It was generally a rather predictable bet as to what song would peg the nightly applause meter-"Hallelujah" being a reliable choice. For some reason this song at this venue generated what was possibly the greatest and most sustained ovation of the entire tour and one can clearly see how touched Leonard was by this outpouring. Unquestionably it is a very fine performance-especially the solos by Bob, Dino and Neil.

That Don't Make It Junk Ü2 Arena, London, England- November 13, 2008 It may appear slightly puzzling as to why two songs ("Junk" and "Raincoat") come from the same night's performance and from the cavernous Oz Arena at that. Though I fully intended for this not to be the case, these versions were clearly just too stunning not to be included. Starting off with Leonard's sly pronouncement "The times are hard and a lot of yöu are going to be driven to drink" this is a truly splendid performance, highlighted by Dino's beautifully melodic harmonica work.

Waiting For The Miracle - HPÜÜKton, Sanjose, California-Novembe^T^, 2009 San Jose was the"mial show of 2009. Leonard liked to say, "I don't know when we will pass this way again so tonight^ve're going to give it everything we've got." Though everyone was rather worn down from almost two years of service that is exactly what they did. The entire concert wa?quite special as there were lots of long-time fans in attendance with "blouses" being thrown on stage during "Closing Time".

Avalanche - Gothenburg Scandinavium, Gothenburg, Sweden- October 12,2008 "Avalanche" slid its way into the set list on Oct. 4 in Berlin and slid out by Oct. 23 in Milan after a mere seven performances. I believe this one to be the best with Leonard's guitar work (his "chop" as he calls it) in fine form as he delivers a supremely engaging reading of his early 'yos somber masterpiece.

Suzanne - MENA Arena, Manchester, England- November, 2oo8. Quite simply this is a classic performance of a Leonard Cohen classic. "Suzanne" was performed at every show but this version from the last show of the Fall 2008 tour seemed to possess a special timeless beauty all its own.

The Partisan - Hartwall Arena, Helsinki, Finland-Octoher 10,2008

Sometimes after we had several days off in one city with the band members getting anxious to perform, special things happened. This was certainly the case with Javier Mas in Helsinki. I remember very clearly discussing Javier's playing on "The Partisan" with Leonard on the ride back to the hotel. We were both in total agreement-just astonishing. Leonard himself delivers a terrific performance looking every part the Underground freedom fighter with his slightly scruffy, unshaven appearance.

Famous Blne Raincoat - O2 Anna, London, England- November 13,2008 I saw "Raincoat" performed raany times but this is the magical one. Here is the balladeer at his most sensitive-yet most intense. Dino contributes a stunningly haunting solo to perhaps Leonard's most melodic song- "Sincerely L. Cohen."

Hallelujah - Coachella Music Festival, Indio, California-April 17,2009 As our car pulled into the backstage area Leonard said to nie, "Ed, I just remembered why I find these things so tricky" What he was referring to was the sound-mind-bogglingly loud. After waiting through two groups' more-than-sufficiently-amplified sets, I believe everyone was quite ready to get on with it. The festival management had kindly

agreed that during Leonard's performance there would be no other acts performing so the band left the "green room" with 300 acres of near silence. What happened eight songs in was subsequently described as: "pure beauty"; "a masterpiece delivered as only the creator could"; "a Coachella moment like no other"; and on and on. If I were pressed to pick one moment as the most special of the entire tour it would have to be the end of this performance with tens of thousands of voices raised in a chorus of one word: "Hallelujah" indeed.

Closing Time -John Labatt Centre, London, Ontario-May 24,2009

Leonard loved being in Canada. It was no accident that the tour began there. On this performance in London, Ontario it is clear how much he is enjoying himself. Wherever we went in Canada the response was always the same-just wonderful-like a joyous homecoming over and over again.

Leonard, the entire tour staff, and I would like to sincerely thank everyone who came to the shows and supported this enterprise-we are truly touched and grateful.

"I SWEAR IT HAPPENED JUST LIKE THIS" ED SANDERS -Los Angeles, California, July 2010

Performers:

LEONARD COHEN: lead vocal, piitar and keyboard

ROSCOE BECK: musicaldirector, electric bass, stand-up bass and backgrounditocal

RAFAEL BERNARDO GAYOL: Jnms au/pemaam

NEIL LARSEN: keyboards

JÄVIRR MAS: banduria, laud, archttaud, andi2-stringguitar

SHARON ROBINSON: backgroundvocal

DINO SOLDO: Instruments of wind, harmonica, keyboard and background vocal

CH ARLEY^WEBB: backgroundvocal andguitar

HATTIE WEBB: background'vocaland'harp

SOUND RECORDING AND EDITING