This is a hauntingly beautiful song about introspection, specifically about looking back at a relationship that started bad and ended so poorly, that the narrator wants to go back to the very beginning and tell himself to not even travel down that road. I believe that the relationship started poorly because of the lines:
"Take me back to the night we met:When the night was full of terrors: And your eyes were filled with tears: When you had not touched me yet"
So, the first night was not a great start, but the narrator pursued the relationship and eventually both overcame the rough start to fall in love with each other:
"I had all and then most of you"
Like many relationships that turn sour, it was not a quick decline, but a gradual one where the narrator and their partner fall out of love and gradually grow apart
"Some and now none of you"
Losing someone who was once everything in your world, who you could confide in, tell your secrets to, share all the most intimate parts of your life, to being strangers with that person is probably one of the most painful experiences a person can go through. So Painful, the narrator wants to go back in time and tell himself to not even pursue the relationship.
This was the perfect song for "13 Reasons Why"
Now the courtroom is quiet, but who will confess
Is it true you betrayed us? The answer is "yes"
Then read me the list of the crimes that are mine
I will ask for the mercy that you love to decline
And all the ladies go moist, and the judge has no choice
A singer must die for the lie in his voice
And I thank you, I thank you for doing your duty
You keepers of truth, you guardians of beauty
Your vision is right, my vision is wrong
I'm sorry for smudging the air with my song
Oh, the night it is thick, my defences are hid
In the clothes of a woman I would like to forgive
In the rings of her silk, in the hinge of her thighs
Where I have to go begging in beauty's disguise
Oh goodnight, goodnight, my night after night
I am so afraid that I listen to you
Your sun glassed protectors they do that to you
It's their ways to detain, their ways to disgrace
Their knee in your balls and their fist in your face
Yes and long live the state by whoever it's made
Sir, I didn't see nothing, I was just getting home late
Is it true you betrayed us? The answer is "yes"
Then read me the list of the crimes that are mine
I will ask for the mercy that you love to decline
And all the ladies go moist, and the judge has no choice
A singer must die for the lie in his voice
And I thank you, I thank you for doing your duty
You keepers of truth, you guardians of beauty
Your vision is right, my vision is wrong
I'm sorry for smudging the air with my song
Oh, the night it is thick, my defences are hid
In the clothes of a woman I would like to forgive
In the rings of her silk, in the hinge of her thighs
Where I have to go begging in beauty's disguise
Oh goodnight, goodnight, my night after night
I am so afraid that I listen to you
Your sun glassed protectors they do that to you
It's their ways to detain, their ways to disgrace
Their knee in your balls and their fist in your face
Yes and long live the state by whoever it's made
Sir, I didn't see nothing, I was just getting home late
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The Night We Met
Lord Huron
Lord Huron
Gentle Hour
Yo La Tengo
Yo La Tengo
This song was originally written by a guy called Peter Gutteridge. He was one of the founders of the "Dunedin Sound" a musical scene in the south of New Zealand in the early 80s. From there it was covered by "The Clean" one of the early bands of that scene (he had originally been a member of in it's early days, writing a couple of their best early songs). The Dunedin sound, and the Clean became popular on american college radio in the mid to late 80s. I guess Yo La Tengo heard that version.
Great version of a great song,
No Surprises
Radiohead
Radiohead
Same ideas expressed in Fitter, Happier are expressed in this song. We're told to strive for some sort of ideal life, which includes getting a good job, being kind to everyone, finding a partner, getting married, having a couple kids, living in a quiet neighborhood in a nice big house, etc. But in Fitter, Happier the narrator(?) realizes that it's incredibly robotic to live this life. People are being used by those in power "like a pig in a cage on antibiotics"--being pacified with things like new phones and cool gadgets and houses while being sucked dry. On No Surprises, the narrator is realizing how this life is killing him slowly. In the video, his helmet is slowly filling up with water, drowning him. But he's so complacent with it. This is a good summary of the song. This boring, "perfect" life foisted upon us by some higher powers (not spiritual, but political, economic, etc. politicians and businessmen, perhaps) is not the way to live. But there is seemingly no way out but death. He'd rather die peacefully right now than live in this cage. While our lives are often shielded, we're in our own protective bubbles, or protective helmets like the one Thom wears, if we look a little harder we can see all the corruption, lies, manipulation, etc. that is going on in the world, often run by huge yet nearly invisible organizations, corporations, and 'leaders'. It's a very hopeless song because it reflects real life.
Punchline
Ed Sheeran
Ed Sheeran
Ed Sheeran sings about missing his former partner and learning important life lessons in the process on “Punchline.” This track tells a story of battling to get rid of emotions for a former lover, whom he now realized might not have loved him the same way. He’s now caught between accepting that fact and learning life lessons from it and going back to beg her for another chance.
Plastic Bag
Ed Sheeran
Ed Sheeran
“Plastic Bag” is a song about searching for an escape from personal problems and hoping to find it in the lively atmosphere of a Saturday night party. Ed Sheeran tells the story of his friend and the myriad of troubles he is going through. Unable to find any solutions, this friend seeks a last resort in a party and the vanity that comes with it.
“I overthink and have trouble sleepin’ / All purpose gone and don’t have a reason / And there’s no doctor to stop this bleedin’ / So I left home and jumped in the deep end,” Ed Sheeran sings in verse one. He continues by adding that this person is feeling the weight of having disappointed his father and doesn’t have any friends to rely on in this difficult moment. In the second verse, Ed sings about the role of grief in his friend’s plight and his dwindling faith in prayer. “Saturday night is givin’ me a reason to rely on the strobe lights / The lifeline of a promise in a shot glass, and I’ll take that / If you’re givin’ out love from a plastic bag,” Ed sings on the chorus, as his friend turns to new vices in hopes of feeling better.
Quite a few years ago, I had the privilege of interviewing Leonard Cohen. He told me that he wrote this song after discovering he'd been put on the Nixon Administration's "Enemies List" -- a list of artists, writers, musicians, and other public figures whom the ever-paranoid Nixon considered somehow "dangerous" or "subversive." In some cases, the "enemies" found themselves harrassed by the FBI/CIA, the IRS, or other governmental goons sent by Nixon. (I have no idea whether or not this happened to Cohen, or even why he was on the list in the first place -- probably because he was popular among "hippies" and other unsavory folks!)
Cohen asked me not to print this in the article I was writing -- he said, "I don't want to inflame them even more." So I didn't use it, and as far as I know, it was never revealed anywhere else either, But he definitely did tell me this.
@jazzmanchg That explanaition fits the song perfectly
Is it about Cohen's guilt about some kind of personal artistic impurity or a criticism of another singer with a 'lie in his voice'? He thanks the 'Keepers of truth' for doing their duty, singers whose words are pure and truthful and honest, unlike his own song that is wrong and 'smudges the air'. Im not sure but how I interpret the last two verses is the character with the lie in is voice is only more confused by all the ladies he shags, he must go begging 'in beauty's disguise' at the hinge of her thighs - a great metaphor for a vagina!
The first and second verse are about the long-enduring battle between the poet and the critic, or, even longer battle between the poet and the philosopher (SEE: The Republic, Book II, III, and X)
The word "moist" here could have dual meanings or even a sexual meaning (as suggested in another comment), but it's very common for the term to be used simply meaning "teared up." So, I think he meant that the ladies got teary-eyed, but he could be wrong.
In the third verse is talking about mourning the end of a relationship.There is the image of him "in" her clothes. I don't think he means he literally dressed himself in her clothes, rather I think he indulged himself in touching or smelling them. He says he would like to forgive her, but he also says he must go begging to her; these statements together are obviously confusing.
By the fourth verse, we've gone from talking about a "you" (the keepers of truth) to the third a "her" and the fourth back to a "you." In the fourth I think he is talking again to the keepers of truth. He is saying the critic remains stoic and untouchable while he assaults the vulnerable poet. He seems to view the relationship as being unfair in this way.
What is most confusing about the song is how the third verse fits into the theme of the critic vs. poet. Was the woman he loved a critic of his, romantically or through his literature? Why is she or the fact that he must say goodbye to her pertinent to the song? I would appreciate anybody who thinks they understand it.
My initial thought is that he's singing an elegy to Karen Carpenter.<br /> SHE is the "beauty in disguise" that had to die.<br /> <br /> Thoughts? Pro / Con?<br />
This song in my opinion is the response to the critics in general. The first verse is an admission, but it's a false admission. There is just sarcasm in it, not true agreement with critics. The second verse is about the inspiration the singer gets. I see it as Cohen gives us a glimpse of what is driving his songs, where is the source of his inspiration - women. That he's defence, an explanation why he wrote the song. The third verse is more serious rebuff echoing the first verse. In it Cohen is more straight forward - he describes the methods critics use to demean the work of art. He finishes it though again with a playful "la-la-la" which punctuates one more time he's not really interested in critical opinion in the first place.
I absolutely adore singing this song because as most honest people frequently tell me, I generally can't carry a tune, except on a rare occasion when it is a surprise to myself as well, and I can never duplicate it. I love to sing though and don't let my lack of technical skill stand in the way of my passion. I take great delight in making a cacophany of sound when I put all volume into the lyric, "I'm sorry for smudging the air with my song," yet obviously I'm not or I wouldn't be singing it in the first place. Most of my family would love to kill the singer in me. I love the fact that death makes ladies moist. The vagueness of the line is meant I think to speak of the bloodthirsty arousal some people take in others' demise, and the exact opposite of which is moist eyes in the most physical sign of compassionate empathy. Truth and beauty are synonymous in my book, but what happens when you make your living as a singer/songwriter, you have vital reasons for selling out to pay the bills. The mythical "keepers of truth and guardians of beauty" are a conscience that reminds him it's not okay to use art for material gain, however, it also pokes fun at the idea that artists take themselves too seriously.
I more likely see this song as ironic; he's saying "and I thank you, I thank you for doing your duty", but in truth he's not grateful at all. He's facing problems because of a song he has done, or simply an opinion he has stated, for public, or more likely only for one woman - something he has said, his opinion has "smudged the air". He still thinks that what he thinks is right, but because of the reaction all he can now do is to give up and surrender. "I was wrong, you all are right, whatever, I surrender in front of the public vision".
The defences behind his song are now "hid in the clothes of a woman", so I believe this song is about his feelings for a woman. Maybe he simply confessed his love (I've understood that Leonard Cohen often links words "singer" and "lover") to a woman, got a very wrong reaction, something like "You never should have said that!" and their relationship got very complicated. "In the hinge of her thighs, where I have to go begging in beauty's disguise" - maybe their relationship was purely sexual, and that's the way the lady wanted to keep it. And now the poor man has to feel sorry for his pure feelings.
But any ideas what he's meaning with the word "night" here, he repeats it quite a lot?
When I first heard this song the first impression in my mind was that it's sort of talking about an artist involved in senator McCarthy hearings and that it's a sarcastic back and forth conversation and in some points the artist's simoltaneously comical and sad view of it. "And I thank you, I thank you for doing your duty, you keepers of truth, you guardians of beauty. " "Yes and long live the state by whoever it's made,sir, I didn't see nothing, I was just getting home late."
You're close!<br /> <br /> Quite a few years ago, I had the privilege of interviewing Leonard Cohen. He told me that he wrote this song after discovering he'd been put on the Nixon Administration's "Enemies List" -- a list of artists, writers, musicians, and other public figures whom the ever-paranoid Nixon considered somehow "dangerous" or "subversive." In some cases, the "enemies" found themselves harrassed by the FBI/CIA, the IRS, or other governmental goons sent by Nixon. (I have no idea whether or not this happened to Cohen, or even why he was on the list in the first place -- probably because he was popular among "hippies" and other unsavory folks!)<br /> <br /> Cohen asked me not to print this in the article I was writing -- he said, "I don't want to inflame them even more." So I didn't use it, and as far as I know, it was never revealed anywhere else either, But he definitely did tell me this.
I'm sorry -- I was clumsy and I repeated the post below. I didn't intend to. I'm not spamming anyone. I apologize again.
Now that jazzmanchg has underlined most of the explanations by his/her account of Leonard Cohen’s own words, I am trying to complete the interpretation of this song. <br /> Line 1: the accusation Cohen wrote this poem about hasn’t been stated aloud, its more a secret he maybe came across by accident (in fact he was put on a list of state enemies by state intelligence – how do you discover you are on it?).<br /> Line 2, 3, 4: the order of the words is important. First there has to be confessed, and the answer is a ‘yes’ already before the list of his crimes has been read aloud to him and the court.<br /> In fact Cohen is criticizing the fact that he wasn’t aware of his being accused of something he had done. Also he thinks someone might defend him and ask for mercy, but this has been refused to him by the way things are going, he doesn’t even get a chance, so someone who accuses him loves to see him being proven guilty. The metaphor of a setup trial, with a messy procedure and an outcome that had been put-up in advance. <br /> Line 5: the ladies in the courtroom (at any rate perceptible to the judge) are going moist, they are sexually aroused by what has been read as a list of his crimes probably, and this is taken by the judge as an unmistakable proof that the I-figure is guilty. By using the court metaphor Cohen implicitly invites us to reflect on what exactly he is accused of, what in his songs it is that makes him a suspect.<br /> Line 6: the punishment or measure will be, that the singer (Leonard Cohen) must die, because of the ‘lie in his voice’. That may mean, sarcastically, that it’s not the words but the sound in the songs that were untrue. Cohen is working this out in the next four lines.<br /> Line 7, 8, 9, 10: Cohen pretends to be grateful to ‘them’, his criticizers, as if they are doing the job they are morally obliged to, to guard Truth and Beauty (what he himself is creating with his songs). He points out that his and their vision are opposite to each other, and he sarcastically says they are right of course. He even drives this to the extreme of apologizing for polluting (smudging) the air with the sound of his ‘dirty’ songs, as if he were guilty.<br /> <br /> Second part:<br /> Line 11, 12, 13, 14: Cohen alludes to the way he is defending himself against the allegations he outlined in the first part of the poem. He is doing this in a very obscure way, like in the surroundings of a very dark night. He seems to say that if he were wearing women’s clothes, her silken draperies and even her flesh, he would be more forgiving. Because yes, he is convinced ‘they’ with this putting him on a list have done him an injustice. Maybe this is the core of this song: he refers to making love to a woman, feeling united, one, and then his longing for mercy, grace may be returned, inspiring him to the poems he has written (the words ‘mercy’ and ‘grace’ respectively meaning ‘love’ and ‘beauty’ but also ‘forgiveness’, so he can do the same and forgive ‘them’ their mistake. Now he has created this song in return to his discovery of the existing list, and at any rate he intends to give a clear message but he has concealed it in the poem, especially by the sound of his voice. (Listen carefully to the intonation of his voice when he is singing this song). So he is telling us how he is concealing his message. The other tension he is creating is, that he is accused of making songs so he defends himself by singing another song, indeed perpetrating ‘their’ rules again.<br /> Line 15: When you hear the way Cohen sings this line, he is lamenting and stressing the endlessness of the nights following one after another. So the goodnight wish has a sarcastic twist, because in this (dark, evil) political climate he will need all nights, obscurity, to hide himself in his love songs. And as if the only thing he is singing about is ‘making love’, at the same time it’s the only way that’s left him to do for a living. Ultimately behind this all may lay an allusion to an outcry of that time: Make Love, Not War, like people cheered in the streets when they demonstrated against the Vietnam war.<br /> <br /> Last part:<br /> Line 16: Cohen states he listening because he feels intimidated<br /> Line 17, 18, 19: He describes the security men working for Nixon as ‘sun-glassed protectors’, i.e. men who themselves show no identity, but what they do to ‘you’ (to Cohen, but also to people in general) is that they are the ones who are scaring people. The effect of being scared is that Cohen is taking the threat seriously, he is listening to ‘you’ (Nixon).<br /> So the first two ‘you’s are addressed to Nixon, the next three times ‘you’ are to the public in general and to Cohen himself in particular. He describes the threat of violence that makes him fearful in the way these ‘protectors’ operate, by first describing their ‘tasks’, and secondly mentioning the violent street-fighting way they use in how they approach ‘you’, announced and stressed lightly by the words: ‘It’s their ways…’ <br /> Line 20: Built-up sarcasm in the exclamation ‘Long live the state’, pointing to an obscure system of repression, and to the not-to-mention one who is responsible for this. In fact, thanks to jazzmanchg we now know who he is pointing at: president Nixon.<br /> Line 21: Secrecy and lawlessness are expressed in the elusive reaction of people who live in this repressive system, whether they are executors or victims: they allege to be useless as witness, because they state they weren’t at the scene. Cohen may implicitly point to everyone being compromised by this system, which sustains the illegal practices of the government.<br /> Note that in the first part the illusion of a fair trial in court is torn down, in the third part the street fighting techniques are in the limelight and in between is the beauty of poetry in the night where Leonard Cohen is hiding.<br />
You're close!
Quite a few years ago, I had the privilege of interviewing Leonard Cohen. He told me that he wrote this song after discovering he'd been put on the Nixon Administration's "Enemies List" -- a list of artists, writers, musicians, and other public figures whom the ever-paranoid Nixon considered somehow "dangerous" or "subversive." In some cases, the "enemies" found themselves harrassed by the FBI/CIA, the IRS, or other governmental goons sent by Nixon. (I have no idea whether or not this happened to Cohen, or even why he was on the list in the first place -- probably because he was popular among "hippies" and other unsavory folks!)
Cohen asked me not to print this in the article I was writing -- he said, "I don't want to inflame them even more." So I didn't use it, and as far as I know, it was never revealed anywhere else either, But he definitely did tell me this.