Leonard Cohen, in full Leonard Norman Cohen, (conceived September 21, 1934, Montreal, Quebec, Canada—kicked the bucket November 7, 2016, Los Angeles, California, U.S.), Canadian artist musician whose extra tunes conveyed an existential chomp and built up him as a standout amongst the most unmistakable voices of 1970s popular music.
Officially settled as a writer and author (his first book of ballads, Let Us Compare Mythologies, was distributed in 1956), Cohen ended up inspired by the Greenwich Village folk scene while living in New York City during the mid-1960s, and he started combining his lyrics with a good soundtrack. In 1967 Judy Collins recorded two of his melodies, “Suzanne” and “Dress Rehearsal Rag,” and that equivalent year Cohen started performing out in the open, including an appearance at the Newport (Rhode Island) Folk Festival. Before the year’s over, he had recorded The Songs of Leonard Cohen, which incorporated the despairing “Hello, That’s No Way to Say Goodbye.” That collection was trailed by Songs from a Room (1969), highlighting the now regularly secured “Flying creature on a Wire,” and Songs of Love and Hate (1971), containing “Well known Blue Raincoat,” an anthem as a letter from a cuckold to his better half’s darling.
In spite of the fact that some did not like Cohen’s baritone voice and empty conveyance, he for the most part delighted in basic and business achievement. Leonard Cohen: Live Songs (1973) and New Skin for the Old Ceremony (1974), which included “Chelsea Hotel No. 2,” a plain memory of a short sexual experience with Janis Joplin, further extended Cohen’s remaining as a lyricist of excellent enthusiastic power. His vocation at that point got ugly with the frustrating Death of a Ladies’ Man (1977), a joint effort with amazing maker Phil Spector, whose bombastic style was illsuited to Cohen’s downplayed melodies. For the majority of the 1980s Cohen was out of support, yet his 1988 collection, I’m Your Man, incorporated the club hits “First We Take Manhattan” and “Everyone Knows” and acquainted his songwriting with another age. Likewise, Various Positions (1984) included what turned into Cohen’s best-known tune, “Thank heaven.” Although it didn’t at first get much consideration, the single increased across the board prevalence when shrouded by Jeff Buckley in 1994. The ditty was later performed or recorded by many craftsmen and included in soundtracks of TV shows and movies.
In the wake of discharging The Future (1992), he resigned to a Buddhist religious community outside Los Angeles. He developed in 1999 and came back to the studio, creating Ten New Songs (2001) and Dear Heather (2004). The widely praised narrative Leonard Cohen: I’m Your Man (2005) mixed meeting and documented film with exhibitions of Cohen’s melodies by an assortment of performers.
In 2005 Cohen found that his business chief had stolen some $5 million from his reserve funds, practically clearing out his retirement subsidize. While he won a $7.9 million judgment against her the next year, Cohen was not able recoup the cash, and he set out on a show visit—his first in 15 years—in 2008 to remake his funds. One execution from that visit was recorded for the collection Live in London (2009), a two-plate set which demonstrated that at age 73 Cohen was as energetic and imperative as ever. The appropriately titled Old Ideas (2012) was a soul-filled investigation of well-known Cohen subjects—otherworldliness, love, and misfortune—that shunned the incorporated tunes of quite a bit of Cohen’s post-1980s material for the folk sound of his most punctual work. Discharged only weeks before his demise, Cohen’s fourteenth studio collection, You Want It Darker (2016), was gotten by commentators as a late-period gem. For the title track, he after death got a Grammy Award for best shake execution. In 2008 he was enlisted into the Rock and Roll Hall of Fame, and in 2010 he was respected with a Grammy for lifetime accomplishment.