What's the best "Hallelujah"?

There are numerous versions of Leonard Cohen’s classic “Hallelujah” out there – in fact, it looks like every artist with a half-decent (not necessarily, of course) voice simply had to record it at some point. Which is: unfair to Cohen, unfair to the song, unfair to us listeners. Out of a hundred or so versions I’ve heard so far, only five or six are worthy of the gorgeous, anguished brilliance of “Hallelujah”. And one of those happens to be Nick Cave’s track off No More Shall We Part – doesn’t count, obviously.

What is it that makes the song so special (besides the fact that it’s a good showcase for one’s vocal abilities)? Apparently it’s the song’s lyrics. The gloriously haunting melody is magnificent, no doubt, but it’s the decidedly non-trite lyrics that make it miles ahead of other love ballads. The lyrics of “Hallelujah” are totally devoid of clichés – it’s a true work of a true poet (Cohen) who knows his way around substance, edge, and imagery. The imagery is affecting, engrossing, with the ‘cut your hair’ line being particularly priceless. It's delicate, it's highly artistic - and yet it has that amazing power to gnaw its way through any heart.

And here it is, my top 5 of the world’s greatest “Hallelujah”s:

5. BEIRUT

The band that is known for its hipster take on Balkan folk music recorded a thoroughly original version of the song several years ago. What is interesting – it’s good. Interesting, because in my experience with “Hallelujah”: the more you deviate, the worse it sounds. But they succeed, against all odds.

4. RUFUS WAINWRIGHT  

A very well known version, of course, not least because of Shrek. It’s a terrific version – very lush and, as it often goes with Rufus, very rich-sounding.

3. LEONARD COHEN

Now definitely the great man himself doesn’t possess the greatest of voices – after all, Cohen is primarily a poet. And there are many versions where he completely butchers what might well be his greatest musical creation. But this live rendition bursts with the feeling, intimacy and understanding only he could provide.

2. JEFF BUCKLEY

Yeah, not number one – even if Buckley’s tortured, sweeping “Hallelujah” might well be the world's most well-known and beloved. But I love it as much as anyone, and the sheer heartbroken grandeur of his vocals never fails to nail me to my chair and make my heart beat a great deal faster than it should. 

1. JOHN CALE

My personal favourite version, this ends Cale’s beautiful live album Fragments Of A Rainy Season (1992). This "Hallelujah" is certainly more understated than Buckley’s, and it just happens to hit me hardest. It's simple, elegant, perfect.

SONG OF THE WEEK #29: The Ladybug Transistor - "Meadowport Arch"

It's a mystery how a band can come up with a name like The Ladybug Transistor; but apparently this was the best they could think of. Okay, never mind - their music is good. Their music is classic, understated twee pop that might be completely lost on you if you're not patient enough. For instance, the band's latest album, this year's Clutching Stems, starts revealing its strong melodic substance on third or fourth listen at best. They've certainly grown less articulate of late. 
This one, though, called "Meadowport Arch", is among their most immediate numbers (it appeared on their masterful The Albemarle Sound album (1999)). It's a perfect, beautifully produced baroque-pop song that boasts an absolutely timeless chorus whose main strength is that it... literally comes out of nowhere. Pretty much defines 'charming'.

Album review: SARAH NIXEY - Broken Tin Soldiers

Highlights: Silk Threads, Gathering Shadows, Frost At Midnight

As expected, Sarah Nixey’s second album holds no surprises. Broken Tin Soldiers is a well-written, worthy if watered-down version of Black Box Recorder. Still, it’s good to know that she is not merely a fragile singer of dark, sophisticated pop songs (with the emphasis on ‘pop’). The level of songwriting presented here is quite good – even with no Luke Haines (and John Moore?) around.

The main problem with Nixey’s first solo record, Speak, Memory (2007), was her inability to come up with an inspired collection of tunes. With enough darkness and style but not enough edge, those songs sounded way too bland to compensate for the absence of a new Black Box Recorder album (according to Haines’ interviews, the band will never be reformed – same with The Auteurs, of course). Here, though, the edge is aplenty. Granted, there’s not a single tune here that could pass for something more than a decent BBR b-side, but let’s take it for what it’s worth: an atmospheric, gentle, tastefully arranged, dark suite of songs that retains its sinister charm from the memorable “Silk Threads” to the eerily beautiful “Frost At Midnight”.

So while there are moments where you could accuse Broken Tin Soldiers of being a little too diluted, there’s always that dark, understated melodic twist to save it from obscurity. If you ever cared for her style (or her style of singing, for that matter), there’s no reason why you would want to miss this one. It’s quite thrilling – if you pay attention.

7/10

Album review: THEY MIGHT BE GIANTS - Join Us

Highlights: Can’t Keep Johnny Down, Canajoharie, Celebration, When Will You Die

After a number of albums for kids (decent enough, but with fairly limited appeal), They Might Be Giants are back with a proper/‘mature’ release. As ever, Join Us is filled with their trademark nerdy pop, infectious but with that unmistakable novelty, cartoonish feel to it.

18 songs this time, and at least 7 of those will get stuck in your head for a week or two. These would include the driving, intense pop-rockers like “Can’t Keep Johnny Down” and “You Probably Get That A Lot” as well as more vocally complex melodies (the chorus of the brilliant “Canajoharie” is particularly noteworthy). There are some successful jazzy numbers and some flat out novelty moments (interestingly, I could well imagine “The Lady And The Tiger” or the slightly annoying “Dog Walker” performed by Ween). In terms of vocals/arrangements/instrumentation/lyrics, there’s virtually nothing that could distinguish Join Us from those glorious 90’s albums. A good thing, I recon – after all, a change of direction is akin to a suicide in this case. Actually, speaking of lyrics, the most memorable song has to be “When Will You Die” (could be dedicated to Belarus) – which is so full of raging, uncompromising hatred – the effect is most hilarious.

In the end, Join Us might not be as good as John Henry or Lincoln (that cover won't help either), and probably won’t make you join them if you haven’t done that yet. But a nice addition to your They Might Be Giants collection. After all, a good TMBG song is about as irresistible as this world gets.   

8/10

SONG OF THE WEEK #28: The Triffids - "Stand Up"

At some point The Triffids were considered the greatest band of the 80's, but "Stand Up", the band's 1981 single, clearly hearkens to the good old 60's and, specifically, the early and joyful Beatles records. The song is simple (those timeless lyrics!), short and just about criminally catchy. One of the greatest songs in the whole history of pop music, no question about that.