MOJO and UNCUT magazines (December issues)

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jarkko
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Re: MOJO magazine

Postby jarkko » Sun Oct 26, 2008 9:23 am

Jim, what about the UNCUT magazine - which issue, and what is on those ten pages???
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Jim Williams
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Re: MOJO magazine

Postby Jim Williams » Sun Oct 26, 2008 11:55 am

I haven't actually seen it yet. I have a subscription to Uncut, but it hasn't arrived yet. But a friend picked up the latest issue in WH Smith in London yesterday. It's the December issue (the November issue was the Dylan special), but I'll ask him to confirm some details.
The lion and the calf shall lie down together, but the calf won't get much sleep.
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Re: MOJO magazine

Postby Bhasi » Sun Oct 26, 2008 4:43 pm

John E

Have to agree in general with you re the value of the CD, I'm afraid, though it's good to have Priests again in any form. Caught myself wishing Nico had recorded it - it would have fitted perfectly on Chelsea Girl or even Desertshore or The Marble Index - but I guess she and Leonard were destined never to be, at least on that level!

Nick Cave's Avalanche is nicely over-the-top, as ever, but probably a once-in-a-lifetime listen too. As for Claudine Longet's Hey That's No Way, I think it's hilarious, but then her entire oeuvre is a guilty pleasure of mine - something to do with hormones and early exposure, I suspect!

(Re the other covers albums, I find I only revisit them for one or two tracks at most: Trisha Yearwood's Coming Back to You on Tower of Song, Jean-Louis Murat's Avalanche on I'm your Fan and Ain't No Cure and Joan of Arc on Famous Blue Raincoat.)

Anyway, it's good to have Leonard half-smiling out at us from the shelves of WH Smith's again!
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Re: MOJO magazine

Postby Jim Williams » Sun Oct 26, 2008 5:01 pm

jarkko wrote:Jim, what about the UNCUT magazine - which issue, and what is on those ten pages???
OK, to clarify: issue 139, December 2008 of Uncut (Paul Weller on the cover) includes a 10 page feature on LC's tour. I'm told there's interviews with Cohen, Sharon R., the Webb Sisters et al. In the same issue, editor Allan Jones has a reminiscence piece about meeting and interviewing LC in 1974.
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Re: MOJO magazine

Postby jarkko » Sun Oct 26, 2008 6:10 pm

Image
This is from the UNCUT magazine!

According to Jim Devlin, "the interview [in UNCUT] is not new: it's the one with Brian D Johnson back in June, BUT BUT BUT the new stuff is material from the Band members, which is just wonderful; they talk about the rehearsals, and travelling from gig to gig, and eating a meal together, and their audiences' reception etc etc. Some lovely photographs too.
Also, like a bonus [encore?!], the last page of the magazine has a retelling of the 1974 Melody Maker magazine interview with Leonard by Allan Jones ... "

The scan also comes from Jim!
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Re: MOJO and UNCUT magazines

Postby Jim Williams » Sun Oct 26, 2008 7:07 pm

Excellent stuff - it shall be popping through my letterbox in the morning.
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Re: MOJO and UNCUT magazines

Postby Judy » Sun Oct 26, 2008 10:35 pm

What a lovely photo ... they look so happy :D :D
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Re: MOJO and UNCUT magazines

Postby ladydi » Mon Oct 27, 2008 2:23 am

Thank you SO much Jarkko for posting one of the pages from the December MOJO! I've been squinting and attempting to read some of the article and I can not wait until it is on the shelves in America......even IF Metallica "graces" the front cover 8) (Leonard would grace it much better :) but that is subjective). I am so happy to see the wonderful coverage of Leonard and his band in the European press. I am trying my BEST to educate Americans to his awesomeness and his music and lyrics have actually zapped a couple of them who may come to later concerts with me!!!!

Thanks again. Diana
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Re: MOJO and UNCUT magazines

Postby Adrian » Mon Oct 27, 2008 4:33 am

Yes, and many thanks Davido, Yankovic for those pics of the MOJO mag cover and CD. Looking forward to reading the article and enjoying all the music! I hope that in Canada we receive the UK version - with Leonard on the cover. It'll be terrific whichever cover we get, but, it'll be brilliant to have Leonard "half-smiling" here :D
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Re: MOJO and UNCUT magazines

Postby jarkko » Mon Oct 27, 2008 8:24 am

Thank you SO much Jarkko for posting one of the pages from the December MOJO!
Ladydi, the page I posted is from UNCUT, not MOJO!!!
1988, 1993: Helsinki||2008: Manchester|Oslo|London O2|Berlin|Helsinki|London RAH|| 2009: New York Beacon|Berlin|Venice|Barcelona|Las Vegas|San José||2010: Salzburg|Helsinki|Gent|Bratislava|Las Vegas|| 2012: Gent|Helsinki|Verona|| 2013: New York|Pula|Oslo|||
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Re: MOJO and UNCUT magazines

Postby ladydi » Mon Oct 27, 2008 3:43 pm

Oops :oops: ! Thanks for setting me straight. I will make sure to buy BOTH magazines! :D

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Re: MOJO and UNCUT magazines

Postby hydriot » Tue Oct 28, 2008 1:41 am

I too was very impressed by the quality of the research behind the article on Leonard in MOJO ... and it was well-written ... though quite why The Future merits only three stars is baffling.

What did irritate me though was the peculiar allegation, which apparently comes from Kris Kristoferson, that Leonard was the only performer at the Isle of Wight Festival in 1970 who was not booed. Well, I was there, and I do not recall anyone being booed at any time. Come to think of it: what I don't recall is a person called Kris Kristoferson appearing!
“If you do have love it's a kind of wound, and if you don't have it it's worse.” - Leonard, July 1988
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Re: MOJO and UNCUT magazines

Postby Adrian » Tue Oct 28, 2008 12:16 pm

If Wikipedia's entry on the festival can be believed - http://en.wikipedia.org/wiki/Isle_of_Wi ... tival_1970 - "Kris Kristofferson- Performed a controversial set on the night of August 26. Due to poor sound, the audience was unable to hear his set, and it appeared that they were jeering him. The audience welcomed him back for another set on August 30 which was successful."

That could explain his perspective - and he was possibly speaking broadly, rather than literally!
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Re: MOJO and UNCUT magazines

Postby Joney » Sat Nov 01, 2008 6:26 pm

Never mind the long stemmed roses, according to the Mojo magazine it is daisies that Leonard really likes. Here's a photo of the daisies in my garden (and a long stemmed rose in the background) for Len. :lol:

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Re: MOJO and UNCUT magazines

Postby Jim Williams » Sun Nov 02, 2008 2:29 am

Uncut is featuring extended coverage of LC's tour - online. Extended transcripts of the interviews will be available, in 7 parts, over the coming weeks. Part 1 (Sharon Robinson) is available now:

http://uncut.co.uk/music/leonard_cohen/ ... ures/12391

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Hallelujah!: LEONARD COHEN SPECIAL

In the December issue of Uncut, we celebrate Leonard Cohen’s comeback by getting the inside story from his bandmates on their extraordinary year on the road. Here at uncut.co.ukover the next month, we’ll be posting the full, unedited transcripts of those interviews in a new, seven-part series.

Today we start with Sharon Robinson, his collaborator since 1979, with musical director Roscoe Beck, backing singers Charley and Hattie Webb and others to follow.

Part two of seven, published online next Wednesday (November 5)!

***

SHARON ROBINSON

First signed on with Cohen for 1979’s Field Commander Cohen jaunt. She's co-written many songs with him (the first, “Summertime,” was covered by Diana Ross and Robert Flack) and produced and sang on his first albums of the new millennium, the excellent 10 New Songs and Dear Heather. Cohen painted the cover for her solo album, Everybody Knows - “A masterpiece,” according to the great man.

UNCUT: At what point did you become involved in this tour?
SHARON ROBINSON: I came in about a month into the process, in March. Leonard was definitely adjusting to another mode of living. The prospect of touring can be quite daunting. But I think he got through it quite nicely. He maintains a very hospitable and gracious demeanour no matter what’s going on. Occasionally you could see he was daunted during rehearsals. But he’s somewhat of a perfectionist, and I think he loves the work itself. That part of him takes over. No matter what the overriding issue is, his ability to get into the work is unchanged.

On the ’93 tour, the backing singers claimed that in rehearsals Leonard made them sing and sing till in tears.
Whatever work we did was completely appropriate to the task at hand. There were a couple of times when he would go on and on with a song. “So Long Marianne” I remember doing verse after verse after verse; I guess in an effort to get comfortable with it. Other than that it was completely appropriate. The rehearsals were long, and somewhat exhausting. But we had a big job to accomplish. To a large extent, the arrangements were taken directly from the original recordings of the songs. We would listen, and in many cases simply copy the record. Though a lot of that process occurred before I got there.

How about the first performance, in Fredericton. Was he nervous in the build up?
I think so. Moreso than our performance, he was not sure how the audience was going to receive the whole idea. He takes all of his work very seriously. He’d determined to do his best possible work. In that respect, he was a little worried before he went on. We go on stage as a team, and we wish ourselves a good show; it’s a group effort back-stage, right before the show. When the audience gives us their complete acceptance and warmth, it tends to take the tension out of it. I’m sure that happened in Fredericton.

Did you celebrate afterwards?
Leonard leaves the venue immediately after the show, so we don’t have a lot of opportunities to celebrate afterwards together. I think we have some celebrations that are well overdue!

How about when you made it over to Europe, for that first show in Dublin?
We weren’t sure whether our concert would translate in those larger, open-air venues. Because it is a rather intimate show. That was of concern to everyone. As it turned out, it translated really well. That has a lot to do with the audiences being very familiar with and committed to Leonard’s work as a whole. They go there to love it, and allow themselves to be immersed in it.

Glastonbury was one of the key dates on that first leg of the tour. It was certainly the biggest in terms of numbers. What’s your memories of it..?
The scale was incredible. Looking out from the stage, and barely being able to see the end of the crowd was really thrilling. It was fantastic. We were lucky there wasn’t much mud that day. I think Leonard was very pleasantly surprised by the response and the involvement of what was basically a younger crowd. During the time we were playing, I think he attracted most of the people that were there. That was something of a revelation to him. He wasn’t sure, the extent to which younger people are interested in his music. But it’s clear that that is a growing segment of his audience.

Leonard on tour: what other memories come to mind?
He’s a devoted workhorse. He works harder than any of the rest of us, and has reserves of energy that no one can quite tell where they come from. And he is moved by the response of the audience, and the overall sense of an almost spiritual connection that is going on between him, his work and his audience. The whole thing is a real phenomenon, and Leonard is very moved by that.

How different is he than when you toured with him before?
He’s a little older. He’s been through a number of personal changes. He’s quite a bit happier than when I knew him 30 years ago. His voice is lower, but he’s singing great. He’s doing very well. As he’s said, the unexpected lifting of a certain dark cloud, that depression that has been well-documented, is a big change.

Do you socialise much with Leonard?
Occasionally. Leonard and I are old friends, we’re very close, and those are magical moments for me. I always love connecting with my old pal. But in this environment it isn’t often possible, because these tours are somewhat of a 24/7 gig, and it takes a lot of focus off the show, to be able to do what we do during it.
Sometimes we’ll have something to eat, some coffee, and we talk about family, friends, and the state of things. The kind of things that close friends do. He doesn’t go to his old haunts much as we’re travelling. Except in Montreal, of course, which is his home. We went to a couple of his favourite places there. We often talk about how hard the work is, being on tour. But I asked Leonard once, during the last leg: “But aren’t you enjoying it?” And he did admit that he was enjoying the audience’s pure involvement in the music, and that there was something very special going on. I felt good about bringing that out!

Does he ever talk about the theft of his money that was the trigger for this?
Well yeah. He and I have talked about it quite a bit. But I was very pleased to see that it hasn’t, as far as I can tell, put a severe dent in Leonard’s mood. Something like that can really be devastating for a person. But he seems to be dealing with it really, really well.

Do you think the years at Mt. Baldi gave him a spiritual preparation for this test?
I think it must have, yes. Because one of the things you learn is that you don’t necessarily have to be attached to these things that are happening to you, on the outside world.

Is it fair to say that although the theft was an awful thing, this tour has been a gift for Leonard?
Well, I guess you’d have to look at it that way, in part. Because there’s a lot of value in discipline and work, and the structure of what we’re doing. That can all be quite therapeutic. I think there’s probably an element of that going on for Leonard.

When I first heard about the tour, it seemed awful that he’d have to go out on roa,d singing for his supper essentially. Would he rather not have done such a long tour, if he didn’t have some financial impetus to?

Perhaps. But if he’s feeling that and thinking that, it’s definitely not part of our day-to-day atmosphere. He’s completely involved in the music, and the excellence of its preparation.

And after the Big Chill. Did you celebrate then?
No. Everyone went their separate ways. We were somewhat anxious to get back to our lives, and families, and take care of things. There was an element of exhaustion at the end of the last tour. Not terrible. But it was time to go home. And so we went our separate ways. And reconvened at rehearsal.

So has the set changed much now you’ve started the second leg of the tour?
The set has changed a little. Leonard has added “The Partisan” to the show, and “Famous Blue Raincoat” is coming back in. There’s a heightened musicality, I think, that’s coming from the band. Because we know the set now, but there’s another point of view on it, based on time and experience, and having had some rest.

You’re all getting deeper into the songs?
Yes, I would say so. There’s more of an interaction between the various elements of the band. Our chops are up, in terms of this music.

Are new songs coming in?
Not yet. That was supposed to happen during August. But it didn’t! I’m not sure why.

NICK HASTED
The lion and the calf shall lie down together, but the calf won't get much sleep.

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