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The Broken Hallelujah: the Super Hit As Sacred Space

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The Broken Hallelujah: the Super Hit As Sacred Space chapter 11 The Broken Hallelujah: The Super Hit as Sacred Space Kristin Rygg Introduction It was many years ago on a late night. A long work session had ended, and a cd I hadn’t yet heard was taken out and put on the cd player. Gentle guitar tones and the softest, purest male voice made me completely vigilant: I heard Jeff Buckley sing Hallelujah for the first time. I don’t know how many times the song was played that night. But I do know that I sensed how music and light filled the room, embrac- ing me, as the experience of time passing vanished. I was surprised by the stirring effect of the continued repetition of the word of praise in the midst of a bitter love story, and by the strange feeling of peace which accompanied it. Buckley’s Hallelujah still has much of the magic I experienced on my first encounter. Furthermore, it continues to manifest itself as something sensual, beyond what music normally does. And it continues to open up to a state of consciousness that is a strange mix- ture of intensity and tranquility; for me it has a particularly transcending force. The song was originally written and composed by Leonard Cohen and came out on his album Various Positions in 1984, but it was only after Buckley’s version in 1994 that Hallelujah gradually achieved remarkable popularity. Of course it’s impossible to wring from a musical work an explanation of its beauty or magical quality, or, for that matter, its popularity. But I choose to believe that some of the particular quali- ties that I experience in the song can also be felt by others and thus be interesting to explore. In this article, then, I wish to develop an understanding of some of the aspects that establish the particular sensibility and transcendence created in Buckley’s cover version of Cohen’s Hallelujah. In the process, there is also a discus- sion of the transformation of the sacred, which I believe Buckley’s cover version represents, and of the new meanings which this transformation generates. A Super Hit is Born Genesis There was no particular stir after Cohen’s first recording of Hallelujah in 1984; nor was there when Bob Dylan was the first artist to play his own concert © koninklijke brill nv, leiden, 2015 | doi 10.1163/9789004291690_016 <UN> The Broken Hallelujah 327 version of the song four years later.1 Cohen himself continued working with the song, and John Cale reported that when he wanted to make his own ver- sion of the song in 1991, Cohen sent him all of 15 pages of text with stanzas that he could choose from. Cale himself said that he chose the lyrics he liked best, and his version was the one that Jeff Buckley used in his Hallelujah on his debut album Grace in 1994. This version of the song was not a particular success either; but well-known artists like Bob Dylan, Paul McCartney, Elvis Costello, Bono and Jimmy Page gradually became more and more aware of Buckley and impressed by his music, and concert tours where the cd was promoted showed good results.2 During the first two years, Grace achieved golden records both in France and Australia. Nonetheless, not until several years after Buckley died in a drowning accident in May 19973 did his Hallelujah truly become popular, and in the years 2006–2009, it was on the hit list in one country after another and was used in numerous tv series and films.4 Clearly, unusually many experienced that this song related deeply to their lives. This was not only shown by the placements on the hit lists and by the sale of records, but also by the stream of cover versions which now in earnest started turning up. 1 Where no other source is given, this and the following information on Hallelujah’s history is taken from Wikipedia, http://en.wikipedia.org/wiki/Hallelujah_(Leonard_Cohen_song). [Accessed on Jan. 3, 2011]. The lack of source references in a few Wikipedia documents which I have used for my article, is problematic. However, whether some of the factual information in these sources is completely correct does not affect the main perspective or arguments presented here. After my article was finished, two new books related to its theme have been published: S. Simmons, I’m your Man: The Life of Leonard Cohen (London: Jonathan Cape, 2012) and A. Light, The Holy or the Broken: Leonard Cohen and Jeff Buckley and the Unlikely Ascent of “Hallelujah” (New York: Simon & Schuster, 2013). The latter, sadly, rarely provides sources for the information given, and never in a scholarly way. Therefore it is in principle as problematic as the Wikipedia sources just mentioned. Neither of the books brings new infor- mation regarding the material I have used for the present article, though. 2 B. Flanagan, ‘A Decade of Grace’, the liner-note of the cd Grace (Legacy Edition), Columbia Records, 517460, 2004. 3 See D. Browne, Dream Brother: the Lives and Music of Tim and Jeff Buckley (London: HarperCollins Publishers, 1988), pp. 1–13 for an account of Jeff Buckley’s death. 4 For a detailed overview of the reception history of Buckley’s Hallelujah, see http:// en.wikipedia.org/wiki/Jeff_Buckley and http://en.wikipedia.org/wiki/Hallelujah_(Leonard _Cohen_song) [Both last accessed on Nov. 3, 2011]. The latter also gives a tabular overview of the song’s placements on hit lists from 2006 to 2009. Films in which Buckley’s version of the song are included are for example Robert Benton’s A Cup of Love (2007), Sara Johnsen’s Vinterkyss (2005), Hans Weingartner’s Die fetten Jahre sind vorbei (2004), and Andrew Niccol’s Lord of War (2005). <UN>.
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