Leonard Cohen

[Kalina]

So Long Marianne


Come over to the window, my little darling,

I'd like to try to read your palm.

I used to think I was some kind of Gypsy boy

before I let you take me home.



Now so long, Marianne, it's time that we began

to laugh and cry and cry and laugh about it all again.



Well you know that I love to live with you,

but you make me forget so very much.

I forget to pray for the angels

and then the angels forget to pray for us.



Now so long, Marianne, it's time that we began ...



We met when we were almost young

deep in the green lilac park.

You held on to me like I was a crucifix,

as we went kneeling through the dark.



Oh so long, Marianne, it's time that we began ...



Your letters they all say that you're beside me now.

Then why do I feel alone?

I'm standing on a ledge and your fine spider web

is fastening my ankle to a stone.



Now so long, Marianne, it's time that we began ...



For now I need your hidden love.

I'm cold as a new razor blade.

You left when I told you I was curious,

I never said that I was brave.



Oh so long, Marianne, it's time that we began ...



Oh, you are really such a pretty one.

I see you've gone and changed your name again.

And just when I climbed this whole mountainside,

to wash my eyelids in the rain!



Oh so long, Marianne, it's time that we began ...

[NSdjanka]

DANCE ME TO THE END OF LOVE

moja omiljena...

[DrinChe]

Take This Waltz
(After Lorca)

Leonard Cohen
I'm Your Man
and Stranger Music

Now in Vienna there are ten pretty women.
There's a shoulder where death comes to cry.
There's a lobby with nine hundred windows.
There's a tree where the doves go to die.
There's a piece that was torn from the morning,
and it hangs in the Gallery of Frost --
Ay, ay ay ay
Take this waltz, take this waltz,
take this waltz with the clamp on its jaws.

I want you, I want you, I want you
on a chair with a dead magazine.
In the cave at the tip of the lily,
in some hallway where love's never been.
On a bed where the moon has been sweating,
in a cry filled with footsteps and sand --
Ay, ay ay ay
Take this waltz, take this waltz,
take its broken waist in your hand.

This waltz, this waltz, this waltz, this waltz
with its very own breath
of brandy and death,
dragging its tail in the sea.

There's a concert hall in Vienna
where your mouth had a thousand reviews.
There's a bar where the boys have stopped talking,
they've been sentenced to death by the blues.
Ah, but who is it climbs to your picture
with a garland of freshly cut tears?
Ay, ay ay ay
Take this waltz, take this waltz,
take this waltz, it's been dying for years.

There's an attic where children are playing,
where I've got to lie down with you soon,
in a dream of Hungarian lanterns,
in the mist of some sweet afternoon.
And I'll see what you've chained to your sorrow,
all your sheep and your lilies of snow --
Ay, ay ay ay
Take this waltz, take this waltz
with its "I'll never forget you, you know!"

And I'll dance with you in Vienna,
I'll be wearing a river's disguise.
The hyacinth wild on my shoulder
my mouth on the dew of your thighs.
And I'll bury my soul in a scrapbook,
with the photographs there and the moss.
And I'll yield to the flood of your beauty,
my cheap violin and my cross.
And you'll carry me down on your dancing
to the pools that you lift on your wrist --
O my love, O my love
Take this waltz, take this waltz,
it's yours now. It's all that there is.


Little Viennese Waltz

Federico Garc�a Lorca

In Vienna there are ten little girls
a shoulder for death to cry on
and a forest of dried pigeons.
There is a fragment of tomorrow
in the museum of winter frost.
There is a thousand-windowed dance hall.

Ay, ay, ay, ay!
Take this close-mouthed waltz.

Little waltz, little waltz, little waltz,
of itself, of death, and of brandy
that dips its tail in the sea.

I love you, I love you, I love you,
with the armchair and the book of death
down the melancholy hallway,
in the iris's dark garret,
in our bed that was once the moon's bed,
and in that dance the turtle dreamed of.

Ay, ay, ay, ay!
Take this broken-waisted waltz

In Vienna there are four mirrors
in which your mouth and the echoes play.
There is a death for piano
that paints the little boys blue.
There are beggars on the roof.
There are fresh garlands of tears.

Aye, ay, ay, ay!
Take this waltz that dies in my arms.

Because I love you, I love you, my love,
in the attic where children play,
dreaming ancient lights of Hungary
through the noise, the balmy afternoon,
seeing sheep and irises of snow
through the dark silence of your forehead.

Ay, ay, ay ay!
Take this "I will always love you" waltz.

In Vienna I will dance with you
in a costume with a river's head.
See how the hyacinths line my banks!
I will leave my mouth between your legs,
my soul in photographs and lilies,
and in the dark wake of your footsteps,
my love, my love, I will have to leave
violin and grave, the waltzing ribbons.

~

MALI BEČKI VALCER

U Beču ima deset devojaka
jedno rame na kojem smrt jeca
i jedna šuma rasporenih golubica
Ima komadić jutra
u muzeju inja.
Ima salon s hiljadu prozora.
Jao, jao, jao, jao!
Primi ovaj valcer zatvorenim ustima.

Ovaj valcer, ovaj valcer, ovaj valcer
pristanka, smrti i konjaka
koji kupa svoj rep u moru.

Volim te, volim te, volim te
s naslonjačom i mrtvom knjigom,
za potišteni hodnik,
u tamnom potkrovlju ljiljana,
u našoj postelji od meseca
i u plesu što ga sniva kornjača
Jao, jao, jao, jao!
Primi ovaj valcer slomljenih slabina.

U Beču imaju četiri ogledala
u kojima se igraju tvoja usta i jeka.
Ima jedna smrt za klavir
koji u plavo bojadiše mladiće.
Ima prosjaka na krovovima.
Ima svežih venaca placa.
Jao, jao, jao,jao!
Primi ovaj valcer što mre u mojim rukama.

Jer ja te volim, volim, ljubavi moja,
u pokrivlju gde se igraju deca,
snivajući stara svetla Ugarske
u mrmorenju blage večeri,
opažajući ovce i snežne ljiljane
u tamnom spokojstvu tvog čela.
Jao, jao, jao, jao!
Primi ovaj valcer"Ljubim te večno"

U Beču ću plesati s tobom,
pod maskom koja će imati
glavu reke.
Gle, kakve li obale zumbula posedujem!
Ostavi ću svoja usta među tvojim nogama,
dušu svoju u fotografiji i ljiljanima,
a u tamnim valovima tvoga hoda
želim, ljubavi moja, ljubavi moja, ostaviti
violinu i grobnicu, vrpce valcera.

[DrinChe]

Dženis Džoplin je "kriva" što nam je dao i ovu pesmu pisanu njoj, a meni je krivo je nije bilo na koncertu. Mislim, pesme. A i Dženis. A njujorški hotel je zanimljiv ne samo po njima dvoma. U sobi broj 205 tog hotela živeo je Bob Dilan. Ne znam druge priče, ali opevan je puno puta, a J. Bon J-ju "shalalala, shalala" je bio inspiracija za "Chelsea At Midnight".

Ovako govori Koen o #2 :


"A long time ago I met a beautiful young woman on an elevator in New York City. I used to bump into her at about three in the morning every night. After a while I gathered my courage, and I said to her, 'Are you looking for something?' She said, 'Yes. I'm looking for something.'

"I could tell by the tone of her voice that she wasn't trying to realize some unfulfilled potential of her inner nature- that she was actually looking for something. I said 'Who or what are you looking for?'

"She said 'Kris Kristofferson.'

"I said 'I am Kris Kristofferson.'
"And I deceived her for many nights. And a long time after that, I found myself in a bar in a Polynesian restaurant in Miami beach, leaning over a napkin and one of those drinks they serve in a porcelain coconut shell, and I was writing a song to this very lady. I was the very image of myself, 40 years old. Thin. Neglected. With a great song on my mind. It took me a while to finish it. It's for Janis Joplin, at the Chelsea Hotel."


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."




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 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.




Chelsea Hotel # 1


I remember you well in the Chelsea Hotel
You were taking so brave and so free
Giving me head on the unmade bed
While the limousines wait in the street

(And) Those were the reasons and that was New York
I was running for the money and the flesh
That was called love for the workers in song
Probably (It) still is for those of us/them left

But You got away, didn't you baby
You just threw it all to the ground
You got away, they can't pay you now
For mailing your sweet little song



I remember you well in the Chelsea Hotel
In the winter of sixty-seven
My friends of that year they were all trying to go queer
And me I was just getting even
And me I was just getting even
And me I was just getting even

(And) those were the reasons and that was New York
I was running for the money and the flesh
That was called love for the workers in song
Probably (It) still is for those of us/them left

But you got away, didn't you baby
You just threw it all to the ground
You got away they can't pay you now
For making your sweet little sound