So I could not drink
From the river dark.
And he covered me,
And I saw within,
My lawless heart
And my wedding ring,
I did not know
And I could not see
Who was waiting there,
Who was hunting me
By the rivers dark
I panicked on.
I belonged at last
To Babylon.
Then he struck my heart
With a deadly force,
And he said, ‘This heart:
It is not yours.’
And he gave the wind
My wedding ring:
And he circled us
With everything.
By the rivers dark,
In a wounded dawn,
I live my life
In Babylon.
Though I take my song
From a withered limb,
Both song and tree,
They sing for him.
Be the truth unsaid
And the blessing gone,
If I forget
My Babylon.
I did not know
And I could not see
Who was waiting there.
Who was hunting me.
By the rivers dark,
Where it all goes on:
By the rivers dark
In Babylon.
Included on Ten New Songs (2001) and co-written by Sharon Robinson. In ancient Jewish history, Babylon was the centre of a hostile regional superpower. During the Babylonian Captivity, the Jewish people were involuntarily transported and held there. In modern Rastafarian parlance, Babylon is the name used for the white-controlled and, as they see it, morally bankrupt culture of the western world.
Came So Far For Beauty
I came so far for beauty
I left so much behind
My patience and my family
My masterpiece unsigned
I thought I’d be rewarded
For such a lonely choice
And surely she would answer
To such a very hopeless voice
I practiced all my sainthood
I gave to one and all
But the rumours of my virtue
They moved her not at all
I changed my style to silver
I changed my clothes to black
And where I would surrender
Now I would attack
I stormed the old casino
For the money and the flesh
And I myself decided
What was rotten and what was fresh
And men to do my bidding
And broken bones to teach
The value of my pardon
The shadow of my reach
But no, I could not touch her
With such a heavy hand
Her star beyond my order
Her nakedness unmanned
I came so far for beauty
I left so much behind
My patience and my family
My masterpiece unsigned
This song, co-written by John Lissauer, was originally recorded in 1974 for the abandoned album Songs For Rebecca. Having subsequently been played in concert, it was re-recorded for Recent Songs (1979). Note Cohen’s re-use of the phrase “for the money and the flesh” originally found in ‘Chelsea Hotel # 2’.
Chelsea Hotel # 2
I remember you well in the Chelsea Hotel,
you were talking so brave and so sweet,
giving me head on the unmade bed,
while the limousines wait in the street.
Those were the reasons and that was New York,
we were running for the money and the flesh.
And that was called love for the workers in song
probably still is for those of them left.
Ah but you got away, didn’t you babe,
you just turned your back on the crowd,
you got away, I never once heard you say,
I need you, I don’t need you,
I need you, I don’t need you
and all of that jiving around.
I remember you well in the Chelsea Hotel
you were famous, your heart was a legend.
You told me again you preferred handsome men
but for me you would make an exception.
And clenching your fist for the ones like us
who are oppressed by the figures of beauty,
you fixed yourself, you said, “Well never mind,
we are ugly but we have the music.”
And then you got away, didn’t you babe...
I don’t mean to suggest that I loved you the best,
I can’t keep track of each fallen robin.
I remember you well in the Chelsea Hotel,
that’s all, I don’t even think of you that often.
This song, a reworking of ‘Chelsea Hotel # 1’ with revised lyrics and a faster tempo, was included on New Skin For The Old Ceremony (1974). Cohen has stated that the song derives from his affair with Janis Joplin (though he has since regretted this ungallant revelation), but it is perhaps better read less as autobiography than as a hymn to the freedom of simple, uncomplicated sex. Indeed, it is likely that the woman he had in mind when writing the song was less Joplin than Suzanne Elrod, from whom we can be sure Cohen then felt he was suffering a great deal of “jiving around”.
Closing Time
Ah we’re drinking and we’re dancing
and the band is really happening
and the Johnny Walker wisdom running high
And my very sweet companion
she’s the Angel of Compassion
she’s rubbing half the world against her thigh
And every drinker every dancer
lifts a happy face to thank her
the fiddler fiddles something so sublime
all the women tear their blouses off
and the men they dance on the polka-dots
and it’s partner found, it’s partner lost
and it’s hell to pay when the fiddler stops:
it’s CLOSING TIME
Yeah the women tear their blouses off
and the men they dance on the polka-dots
and it’s partner found, it’s partner lost
and it’s hell to pay when the fiddler stops:
it’s CLOSING TIME
Ah we’re lonely, we’re romantic
and the cider’s laced with acid
and the Holy Spirit’s crying, “Where’s the beef?”
And the moon is swimming naked
and the summer night is fragrant
with a mighty expectation of relief
So we struggle and we stagger
down the snakes and up the ladder
to the tower where the blessed hours chime
and I swear it happened just like this:
a sigh, a cry, a hungry kiss
the Gates of Love they budged an inch
I can’t say much has happened since
but CLOSING TIME
I swear it happened just like this:
a sigh, a cry, a hungry kiss
the Gates of Love they budged an inch
I can’t say much has happened since
CLOSING TIME
I loved you for your beauty
but that doesn’t make a fool of me:
you were in it for your beauty too
and I loved you for your body
there’s a voice that sounds like God to me
declaring, declaring, declaring that your body’s really you
And I loved you when our love was blessed
and I love you now there’s nothing left
but sorrow and a sense of overtime
and I missed you since the place got wrecked
And I just don’t care what happens next
looks like freedom but it feels like death
it’s something in between, I guess
it’s CLOSING TIME
Yeah I missed you since the place got wrecked
By the winds of change and the weeds of sex
looks like freedom but
