[스크랩] Leonard Cohen`s Hallelujah by Various Artists

"Now I've heard there was a secret chord

That David played, and it pleased the Lord

But you don't really care for music, do you?

It goes like this

The fourth, the fifth

The minor fall, the major lift

The baffled king composing Hallelujah

 

Hallelujah, Hallelujah

Hallelujah, Hallelujah

 

Your faith was strong but you needed proof

You saw her bathing on the roof

Her beauty and the moonlight overthrew you

She tied you

To a kitchen chair

She broke your throne, and she cut your hair

And from your lips she drew the Hallelujah

 

Hallelujah, Hallelujah

Hallelujah, Hallelujah

 

You say I took the name in vain

I don't even know the name

But if I did, well really, what's it to you?

There's a blaze of light

In every word

It doesn't matter which you heard

The holy or the broken Hallelujah

 

Hallelujah, Hallelujah

Hallelujah, Hallelujah

 

I did my best, it wasn't much

I couldn't feel, so I tried to touch

I've told the truth, I didn't come to fool you

And even though

It all went wrong

I'll stand before the Lord of Song

With nothing on my tongue but Hallelujah

 

Hallelujah, Hallelujah

Hallelujah, Hallelujah

How Leonard Cohen's 'Hallelujah' Became Everybody's 'Hallelujah'

** information provided by theatlantic.com**

Pop standards don't really get written anymore. Most of the best-known standards were composed before the arrival of rock and roll; perhaps something about the new brand of mass-marketed, Ed Sullivan-fueled stardom just didn't quite jive with the generous old-world tradition of passing songs around the circuit, offering to share. 

So when an obscure Leonard Cohen song from 1984 was resurrected in the '90s, then repurposed and reinvented by other artists so many times it became a latter-day secular hymn—well, that was kind of like a pop-music unicorn sighting.

Alan Light's new book The Holy or the Broken: Leonard Cohen, Jeff Buckley, and the Unlikely Ascent of "Hallelujah" traces the bizarre cultural history of that very unicorn: "Hallelujah," a song that lay dormant in Cohen's vast repertoire for more than a decade before its popularity surged up again with a posthumous Jeff Buckley single. "Hallelujah" has metamorphosed over the years from a cheesy, reverb-heavy B-side oddity on an album Cohen's label rejected to a mystical, soul-stirring pop canticle that's played today at just as many weddings as funerals. Light reverentially details every stage in the evolution—and along the way, he reveals the compelling stories behind some of its most iconic interpretations..

Jeff Buckley, a hungry young singer-songwriter from California, first heard "Hallelujah" on a Leonard Cohen tribute album he discovered in a friend's home while cat-sitting in Brooklyn in 1992. He began performing the song regularly in New York's East Village clubs, and called it "a hallelujah to the orgasm ... an ode to life and love."

 

There's a scene in 2001's Shrek, just after Shrek and Princess Fiona have angrily parted ways, where the titular ogre pines for the princess just as she's joylessly preparing herself for a wedding to a tiny prince she doesn't love. It's a poignant moment in an otherwise raucously funny film, and Shrek's musical directors had been testing out sad song after sad song before they stumbled across "Hallelujah" on the soundtrack to Basquiat. The soundtrack to Shrek included a straightforward piano-accompanied version 

by Canadian musician Rufus Wainwright.

In the following years, "Hallelujah" found explosive popularity on television and in movies. Imogen Heap's rendition, recorded for the third-season finale of The O.C. in 2006, became part of O.C. lore as the song that played over Marissa's death. But it almost didn't happen at all.

KD Lang's performance of Leonard Cohen's "Hallelujah" at the Canadian Songwriters Hall of Fame induction of Leonard Cohen in 2006.

 

Sung by Espen Lind, Askil Holm, Alejandro Fuentes, Kurt Nilsen and in that order

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