DON GONYEA, HOST:
There's a new Leonard Cohen album. I'm going to say that again. Three years after his death in November of 2016, there's a new Leonard Cohen album. It's called "Thanks For The Dance."
(SOUNDBITE OF SONG, "THANKS FOR THE DANCE")
LEONARD COHEN: (Singing) Thanks for the dance and the baby you carried. It was almost a daughter or a son. And there's nothing to do but to wonder if you are as hopeless as me and as decent.
GONYEA: And to tell us more about Leonard Cohen's posthumous new album is his son, the singer-songwriter Adam Cohen, who also produced this new collection of songs. And he joins me from the BBC in London.
Adam, thanks for taking the time to speak with us.
ADAM COHEN: Thanks so much for having me.
GONYEA: I've read that you started working on this album right after your father's passing in 2016. So you were putting this album together while you were also going through grief. I'm wondering what that was like.
A COHEN: I wish I'd had the courage to do it more quickly. But the truth of the matter is that it took me about seven months after his passing, seven, eight months to gather the courage to go into my little converted garage and be awash with his voice and try to re-establish a kind of conversation musically with him. Just - you know, when he passed, we had just finished working on an album together, which I produced - an album called "You Want It Darker." And this, I felt, was something I was tasked with completing. I mean, I was quite literally tasked with completing it. It just - it took me about seven months to sit with him again.
GONYEA: It's the same voice we all know that you have known so well. But it had to be so different hearing it suddenly in that space.
A COHEN: Yeah. I'm not certain if this happens with everybody, but, you know, I'm consulting my father and his work less and less as a father and more and more as a man and as a lifetime of decisions. And I'm ever struck by the beauty of his work and what he's left behind and his legacy. And it did have a sentimental dimension because I was indeed staying in the company of my father. But it also had a - there was a sense of duty. You know, he had asked me to complete these works which we'd begun together, and that's what I was doing.
GONYEA: And how do you go about sorting through what he had left for you to work with, what you had worked with him on before his death? How much material was there? How do you begin?
A COHEN: My father wasn't prolific. He's sort of the opposite of Dylan, who had this from the hip. You know, my father was much more methodical. He had a chisel, and it was at marble. So there were big, big pieces at which he'd been at work for years. And there really was only what he had left vocals on. And what we had discussed was a very small batch of work, and I knew exactly what I was tackling.
(SOUNDBITE OF SONG, "THE GOAL")
L COHEN: I can't leave my house or answer the phone. I'm going down again, but I'm not alone. Settling at last accounts of the soul, this for the trash that paid in full. As for the fall, it began long ago. Can't stop the rain, can't stop the snow.
GONYEA: Many of these songs had no music. They were lyrics, and you had recorded vocal tracks even without formally composed music.
A COHEN: You know, my father - anybody who came in his midst was privileged to hear him impromptu readings of poetry he was working on. And he was an incredible raconteur because of his ability to quote - you know, whether it's from Shakespeare, Blake to his own work. And I begged him often to say, you know, just record this lyric. We'll figure the - let me sketch something, and based on your reaction, we'll adapt. And so I was very, very lucky to get him to have these readings.
Sometimes, they were just readings with no - necessarily no written metronomic signature. It was just a reading of a poetry. And unfortunately, on a few occasions, that's all I was left with - just bare musical sketches, you know? But they also were so laden with instruction.
You know, I had the benefit of knowing my father very well and speaking with him about music my entire life. I had the advantage that people who were much more qualified than me in terms of record-makers didn't have, and that was to know his taste - what he did like, what he didn't. So I was able to flesh out and accompany these readings in a way that I think would have pleased him or resembled him.
(SOUNDBITE OF SONG, "MOVING ON")
L COHEN: I loved your face. I loved your hair, your T-shirts and your evening wear. As for the world, the job, the war, I'd ditch them all to love you more. And now you're gone, now you're gone as if there ever was a you who broke the heart and made it new. Who's moving on? Who's kidding who?
GONYEA: Something that I think is worth noting right away here is that people will often say, oh, Leonard Cohen - those songs, those albums are so depressing. They're so dark.
A COHEN: (Laughter).
GONYEA: But there is a real sense of humor that I think comes through in his work. It was dry, to be sure, but you can hear it on this record.
(SOUNDBITE OF SONG, "HAPPENS TO THE HEART")
L COHEN: I was always working steady, but I never called it art. I got my [expletive] together, meeting Christ and reading Marx. It failed my little fire, but it's bright, the dying spark. Go tell the young messiah what happens to the heart.
GONYEA: That first line there - I was always working steady, but I never called it art. His fans hear that, and their reaction is kind of, well (laughter), don't kid yourself, Mr. Cohen.
A COHEN: Yeah. Yeah. He did have a beautiful sense of modesty. He was really devoted to his work. He wasn't interested in accolades. He was interested in blackening pages. And he did have a kind of old-world devotion and dedication to his craft that is (laughter) - that's very - increasingly uncommon. But I love - you must be familiar with his work because the humor and a lightness for which he's not known is actually a signature of his work for the - for his connoisseurs.
GONYEA: The funniest line I've ever heard in a song is she's a hundred, but she's wearing something tight.
A COHEN: There's so many good ones.
(SOUNDBITE OF SONG, "HAPPENS TO THE HEART")
L COHEN: I should have seen it coming. After all, I knew the chart. Just to look at her was trouble. It was trouble from the start. Sure, we played a stunning couple, but I never liked the part. It ain't pretty, it ain't subtle what happens to the heart.
GONYEA: Hearing this album for me really is like hearing from an old friend. I suspect you're hearing that from a lot of people.
A COHEN: I love that you just said that because one after the other, I mean, people have had, you know, lovely, supportive, enthusiastic, kind things to say about this album. But the thing that is beyond anything the most comforting is when they - you know, their jaw falls open, and they say, it's like he's still here with us.
And for anyone who's seen a show of his or seen video of his show, when he takes his hat off, and he looks out into the audience, he's got this kind of humility. It's not an act. And he would often end his shows by saying, thank you for keeping my songs alive.
And the fact that we're doing that - that this album is not like your typical posthumous album, where they're digging up the dregs and B-sides and outtakes - that this is vital material from a master and that we're keeping his songs alive - that's the most gratifying thing.
GONYEA: That's singer-songwriter Adam Cohen talking about his father, Leonard Cohen. Leonard Cohen's first posthumous album is called "Thanks For The Dance," and it's out now.
Adam Cohen, thank you so much for talking to us.
A COHEN: Oh, thank you so much for your time.
(SOUNDBITE OF SONG, "IT'S TORN")
L COHEN: I see you in windows that open so wide there's nothing beyond them and no one inside. You kick off your sandals and shake out your hair, the salt on your shoulders like sparks in the air. There's silt on your ankles and sand on your feet - the river too shallow, the ocean too deep.
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