As Time Goes By
Herman Hupfield 1931
1972 Dublin, March 18

This is the only advise that I ever want to lay on you.

------ As Time Goes By ---------

You must remember this,
A kiss is still a kiss, a sigh is just a sigh.
The fundamental things apply,
As time goes by.

And when two lovers woo
You know they still say "I love you".
On this you can rely,
No matter what the future brings,
As time goes by.

< woman in audience says something... >
...That's the way it is baby..

You know they're,
They're never out of date.

Hearts filled with passion Jealousy and hate
Woman needs man
And man must have his mate
This you can't deny.

It's still the same old story,
A fight for love and glory,
A case of do or die.
The world will always welcome lovers
As time goes by.

Lover, Lover, Lover
1973 Lyrics of fighting with ‘brothers’ in Yom Kippur War missing on album New Skin For The Old Ceremony (1974)
timesofisrael.com

I went down to the desert to help my brothers fight
I knew that they weren’t wrong
I knew that they weren’t right
But bones must stand up straight and walk
And blood must move around
And men go making ugly lines
across the holy ground.

Chelsea Hotel #1
by Leonard Cohen and Ron Cornelius.
1972 Manchester, Mar. 20 probably the transcript
(Frankfurt Apr. 6; Tel Aviv, Apr. 19 shorter versions)

I remember you well in a Chelsea Hotel
you were talking so brave and so sweet
giving me head on a 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.
I was running for the money and the flesh.
and that was called love for the workers in song
and it still is for those of us left
Ah but you got away, didn't you babe?
aou just threw it all to the ground
you got away, they can't pay you now
for making your sweet little sound (common make it babe)
Making your sweet little sound (let's all do it now)
Making your sweet little sound (I can hear it)
Making your sweet little sound.

I remember you well in a Chelsea Hotel
then I went to Tennessee
sittin' by the creek with Willy York
and Kid Marley came ta visit me
for those were the reasons and that was New York
I was running for the money and the flesh
and that was called Love for the workers in song
and it still is for the few of us left

Ah but you got away, didn't you babe?
Aw - you just threw it all to the ground
you got away on your deepest dreams
Making your sweet little sound (On the juke box)
Making your sweet little sound (On the transistor radio)
Making your sweet little song (There's no lawyer(?)now)
Making your sweet little song (Let me follow you babe)
Making your sweet little song (Let me follow you babe)
Making your sweet little song (Aw, don't leave me now)
Making your sweet little song (All the way down - yeah)
Yea, yeah, yeah, - heh babe, you and me did that
Such a big surprise to me, lying with you, babe
Making your sweet little sound.

I remember you well in a Chelsea Hotel
that was the winter of '67
my friends of that year, they were trying to go queer
and me I was just getting even
and those were the reasons and that was New York
I was running for the fucking money and the flesh
that was called love for the workers in song
and It still is for the few of us left

Ah but you got away, didn't you baby?
You just turned your back on the pain
You got away on your whitest dreams
Racing the midnight train (I can see ya)
Racing the midnight train (With no clothes on)

See all your pinkness (?) torn on the gravel
all of your clothes that... no cape could cover you
shining your eyes in my deepest corner
shining your eyes on my darkest corner
the racing the midnight train, I can't catch ya baby

Racing the midnight Train

Chelsea Hotel #2 - LC
1974 New Skin For The Old Ceremony

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."

And then you got away, didn't you babe...

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.

Kevin Barry
Irish - Tune: Traditional, words: "From the 1916 revolution."
1972 (Dublin Mar. 18); Frankfurt Apr. 6 (the transcribed)

Lenny: There's a song that was written in Ireland in 1916. There's no reason at all why the troubles in Ireland should concern you.

{A Girl: I know several micks. 2nd girl: Reggie? hehehe}

Lenny: All the more reason why they shouldn't concern you. {strums} But perhaps you remember this song..
[note: Mick (mik), n. (often l.c.) Slang (usually disparaging and offensive). a person of Irish birth or descent.
[1870–75, Amer.; generic use of Mick, hypocoristic form of MICHAEL]]

----------------------------------------------

Early on a Sunday mornin',
High above a gallow tree,
Kevin Barry gave his young life
For the cause of liberty.

Just a lad of 18 summers,
Yet there's no one can deny,
That he went to death that morning,
Nobly held his head up high.

chorus: He'll die an Irish soldier
" Ye'll not hang me like a dog.
For i fought for Ireland's freedom,
On that dark September morn.

Well all around the little bakery
We fought them hand to hand.
Shoot me like an Irish soldier,
For I fought to free Ireland."

Just before he faced the hang man
In his lonely prison cell,
British soldiers tortures Barry
Just because he would not tell

The names of his companions,
Other things they wished to know
"Turn informer, and we'll free you".
Proudly Barry answered "no".

"Shoot me like an Irish soldier,
Do not hang me like your dog,
For I fought for Ireland's freedom,
On that dark September morning.

All around the little bakery
We fought them hand to hand.
Shoot me like an Irish soldier
For I fought to free Ireland.

Shoot me like an Irish soldier.
Do not hang me like your dog.
For I fought for Ireland's freedom
On that dark September morning.

All around the little bakery
Where we fought them hand to hand
Shoot me like an Irish soldier
For I fought to free Ireland.

Note by Goldin: Irish rebel song, Kevin Barry was hanged in 1920, not in 1916 (year of the Easter Rising) as LC stated

Kevin Barry
Cançó tradicional irlandesa de la revolució de 1916.
La transcripció correspon al concert a Frankfurt de 1972.

Lenny : Hi ha una cançó que va ser escrita a Irlanda en 1916 No hi ha cap raó en absolut per què els problemes d'Irlanda hagin de preocupar-te.

{Una noia: Conec a diversos micks . Segona noia: Reggie ? hehehe}

Lenny : Amb més raó per què no ha de preocupar-te. {Rasgueos} Però potser et recordes d'aquesta cançó..
[Nota: Mick (mik), n. (Sovint lc) Argot (generalment despectiu i ofensiu) una persona de naixement o ascendència irlandesa.
[1870-1875, Amer.; ús genèric de Mick, forma hipocorístic de MICHAEL]

----------------------------------------------

D'hora al matí de diumenge,
Molt per sobre d'un arbre amb forca,
Kevin Barry va donar la seva jove vida
Per la causa de la llibertat.

Només un noi de 18 estius,
No obstant això, ningú ho pot negar,
Que va anar a morir aquell matí,
Noblement mantenint el seu cap alt.

cor : Morirà un soldat irlandès
"No em pengeu com el vostre gos.
Per lluitar per la llibertat d'Irlanda ,
En aquella fosca matinada de setembre.

Bé, tot al voltant de la petita fleca
Nosaltres lluitarem contra ells cos a cos.
Dispareu-me com a un soldat irlandès,
Perquè jo vaig lluitar per alliberar Irlanda".

Just abans d'enfrontar-se al botxí
En la seva cel·la solitària,
Els soldats britànics torturen a Barry
Just per que no ho digues.

Els noms dels seus companys,
Altres coses que desitjaven saber
"Informa'ns, i l'alliberarem".
Orgullosament Barry va respondre "no".

Dispareu-me com a un soldat irlandès,
No em pengeu com el vostre gos.
Per lluitar per la llibertat d'Irlanda,
En aquella fosca matinada de setembre.

Tot al voltant de la petita fleca
Nosaltres lluitarem contra ells cos a cos.
Dispareu-me com a un soldat irlandès,
Perquè jo vaig lluitar per alliberar Irlanda.

Dispareu-me com a un soldat irlandès,
No em pengeu com el vostre gos.
Per lluitar per la llibertat d'Irlanda,
En aquella fosca matinada de setembre.

Tot al voltant de la petita fleca
On lluitem contra ells mà a mà
Dispareu-me com a un soldat irlandès,
Perquè jo vaig lluitar per alliberar Irlanda.

Banks of Marble
By Pete Seeger
1972 Frankfurt Apr. 6

I think it was exactly two years ago today,
that i sang here, for the, the four students
at Kent University,- were shot down.
Nobody remembers that anymore.
And I dedicated this song to them, two years ago.
I haven't forgotten about it.

I still see the police out there.

--------- Banks of Marble - LC -------------------

The banks are made of marble,
With a guard at every door.
And the vaults are stuffed with silver
That the line has sweated for.

I wander round this country,
From to shore to shinning shore,
It really made me wonder -
The things i heard and saw.

But the banks are made of marble,
With a guard at every door
And the vaults are stuffed with silvers,
That the line has sweated for.

{ spoken }
Well i i i i have wandered around the country,
And I see it's pretty much {?} the same.
Now I wouldn't want to try myself to start a revolution here.
'Cause I know that nobody here is ready for a revolution.
I mean you've all got your good suit of clothes in the closet.
You're still feeling pretty good about your family,
you don't want to disapoint your father.
Still building on the old bank account,
spending by defending.
{ meant 'defending by spending?'- it got across anyway. }

{ sing-song }
So this ain't no time to start a revolution.
I suggest if you feel like
Organizing something
You start off with the Rotary Club.

Anyhow.
A couple of years ago they shot down four students.
I mean four students - that's not too many.
After all a tidal wave rolls in on East Pakistan
and wipes out a quarter of a million people.
And who knows how famine is used {?}.

Anyhow they, they were shot down.
In my idealistic naivete,
or from a less cheritable point of view,
in my crazy desires to win the audience to my side,
posing as the sensitive idealist,
I dedicated this song to the four students who died at Kent University.

And I'd like to make the same dedication tonight {?}

I'm The Man Who Wrote Suzanne - The Man
Improvisation - 1972 Manchester Mar. 20 ¿?

Suzanne takes your hand
{ applause }
And leads you to the river
You can spend the night beside her
- oh wait a second I forgot the words.
{ you forgot the words? what do you mean you forgot the words? - he forgot the words!
... we'll help you .. {etc} }
Thank you. You can..
{ starts again }
Oh Suzanne don't leave me now
I've been waiting for you a long long time
You know a lot has happened
Since I wrote that song for you, girl.
Oh yes I'm the man who wrote 'Suzanne'!
{ laughter --- applause }
- A thousand years ago.

Yes I'm the man who wrote Suzanne
A hundred years ago
Yeah I'm the man who danced
A hundred years ago

And I don't want any one to loose it
And I don't want anyone to use it

But I'm the man who wrote Suzanne
A Hundred years ago

I'm Trying To Break Free Myself
Improvisation - 1972 Frankfurt Apr. 06

I mean, I I don't care if this continue, {?} { strangely pronounced }
I have been noted for my quiet songs,
and for my melancholy and solem atmosphere.
But I don't care if this concert turns into a riot.
Because, ah, you know I can't go along with this,ah,
pretence any longer.
{ pause }

{ starts playing, - light applause... }
Ah, - you couldn't possibly know what song that is.
{ applause and laughter }
I start all my songs that way. { laughter }
That's the only chord I know. { two claps }
{ girl: {?} }
Pardon?
{ girl: 'there were plenty more' }
Oh thank you.
Oh forgive my ingraditude.
Really - that's, - that's all forgiven.

It's the first day of passover, and i'm, i'm a,
- the last one -
You notice how confused i am?
And, uh, it's the festival of freedom.
And i'm trying to break free myself.

{ breaks suddenly into loud improvised song }

I'm trying to break free, myself, you know,
Tying to loose my old song.
Trying to start a new life before it is too late,
Trying ta get along.
Trying to get along.
Trying to get along.

The Broken Lip
Improvisation - 1972 Frankfurt, Apr. 6

{ some guy says "the broken lip" }

The broken lip?

{ starts improvised song }

The Broken Lip - LC

I don't recall the broken lip.
You must be thinking of some other singer.
I never had a broken lip myself.
But I'm willing to try it out.

So why don't you come right up here and punch me in the nose?

I ain't got no broken lip here.
As you can see my nose is perfectly whole.
There isn't even a trace of a cold sore.
There's nOOooOooooooo - oh ..... broken lip.

Come to think of it.
I did have a broken lip.
But that was a long time ago.
When I was a lot younger.

And a lot thinner.
And a lot more ambitious.
And a *lot* more reverent
A *whole lot* more reverent.

A whole lot more reverent.

I think it was my sister,
Who really had a broken lip.

I remember her lips,
Not only was it broken,
You could say it was entirely mutilated.

She had a handicap.

Oh, little sister,
You've got no mouth at all.
Oh little sister.
You've got no mouth at all.

Do you find it hard to drink water?
Do you find it hard to drink wine?
You know I get down on my knees
And I pray for you,

Little lipless
Sister of mine.

We Shall Not Be Moved
African American spiritual 1931 - improvisation
1972 Amsterdam, Apr. 15

The Union is behind us, we shall not be moved.
The Union is behind us, we shall not be moved.
Just like a tree that's standing by the river side, we shall not be moved.

Oh there's all your force {'foes'? 'fold?'} against us now, but we shall not be moved.
There's all your force against us now, but we shall not be moved.
Just like a tree that's standing by the river side, we shall not be moved.

Yes, the spirit is upon us now, and we shall not be moved.
The spirit is upon us now, and we shall not be moved.
Just like a tree that's standing by a river side, we shall not be moved.

Oh, we can see the enemy, we shall not be moved.
I said, we can see the enemy, and we shall not be moved.
Just like a tree that's standing by the river side, we shall not be moved.

And we're holdin' hands, we shall not be moved.
And we're holdin' hands, we shall not be moved.
Just like a tree that's standing by the river side, we shall not be moved.

Oh we shall - we shall not be moved. We shall - we shall not be moved.
Just like a tree that's standing by the river side, we shall not be moved.

Oh we shall not be moved. Oh hunger is upon you
Just like a tree that's standing by the river side, we shall not be moved.

(tell me of the way(?)) We shall not be moved.
(one more time(?)) We shall not be moved. We shall not be moved. We shall not be moved.

1972 Tel Aviv, Apr. 19

The people is behind us, we shall not be moved...

Bird On The Wire
Live ¿?, some differences with 1972 Paris (1973 Live Songs)

Comme l´oiseau sur la branche,
Comme l´ivrogne dans le choeur de la nuit,
J´ai cherché ma liberté

translation:

As the bird on the branch
Like the drunkard in the chorus of the night
I sought my freedom

----------

Like a bird on the wire,
Like a drunk in some midnight choir
I have tried in my way to be free.

Like the fish on a hook,
Like a knight from some old fashioned book
I have broken all my sorrow on thee.

If I, if I have been unkind
I hope you can let it all go by

If I, iIf I have been untrue
I want you all to know right now my friends
It was never to you

Like a baby, stillborn
like a beast with his horn
I have torn everyone who reached out for me,
- come on reach out for me

But I swear by this song
and by all that I have done wrong
I will make it all up to thee

I saw a beggar leaning on his wooden crutch
He says to me:"Do not ask for so much"

And another pretty woman leaning in her darkened door,
she cries to me: "Hey, why not ask for more?" - a little more now

Like a bird on the wire
Like a drunk in some midnight choir
I have tried in my way to be free
- tried - to be free

Bird On The Wire
1969 Songs From A Room

Like a bird on the wire,
like a drunk in a midnight choir
I have tried in my way to be free.

Like a worm on a hook,
like a knight from some old fashioned book
I have saved all my ribbons for thee.

If I, if I have been unkind,
I hope that you can just let it go by.

If I, if I have been untrue
I hope you know it was never to you.

Like a baby, stillborn,
like a beast with his horn
I have torn everyone who reached out for me.

But I swear by this song
and by all that I have done wrong
I will make it all up to thee.

I saw a beggar leaning on his wooden crutch,
he said to me, "You must not ask for so much."

And a pretty woman leaning in her darkened door,
she cried to me, "Hey, why not ask for more?"

Oh like a bird on the wire,
like a drunk in a midnight choir
I have tried in my way to be free.

Improvisation, speech with audience
Improvisation - 1972 probably ¿?

Stagehand: (dismissively to "The Critic"): ..that's cool.
Lenny (to Stagehand): ..just a second.. [having decided to give The Critic the courtesy of his attention]
The Critic: Your songs are schmaltz, Lenny.
Lenny: Pardon?
The Critic: Your songs are *SCHMALTZ*!
Lenny: Now listen, this may be schmaltz to you, but it's real life to me.
Audience: ..applause .."wOWww!".. ..applause ..
Lenny (to Audience): ..you are .. welcome...
Lenny (to The Critic): You live in some kind of sauna? Or something? ..
The Critic: ah ha ha ha { forced phony-laugh }
Lenny: .. where there's no schmaltz? What, - do you live in an ice-box? Or a shower? Perchance?
Naw, no, seriously, any criticism, please, let us hear them now. I wanna hear the worse.
Audience: ..applause..
Lenny: If I've disappointed you in any kind of way, i mean, I would be happy to commit suicide.
If anybody has a, - a razor-blade, I would be happy to cut my wrists for you. It's the least I could do.
The Critic: [my attempted audio restoration failed here. This part was silence before the manipulation. Now it's just incomprehensible what he says.]
Lenny: You've got some.. ..what with you? - some suicides?
Audience: { laughter }
The Critic: Yehhe (-forced phony laugh)
Lenny: I love you anyhow, Agnes(?), What would I have done without you. Where are you anyways?
Put on the lights please, I would like to see... I would like the see The Critic!
Audience ..applause..
Lenny (off mike): It's only you!
Audience: ...laughter..
The Critic: ha ha ha ha (forced phony-laugh)
Lenny (on mike): ...why you're just a man, -just like me! I thought you might be someone different.
The Critic: [ again- attempted audio restoration failed ]
Lenny: Yeah, well now you're a lot wiser.
Audience: laughter
The Critic: [...?....] ..fuck you!
Lenny: Pardon?
The Critic: Were you a Commie?
[ note: "commie", n., adj. (often cap.) Informal (disparaging and ofensive). --communist. Also, "commy". [1935–40; COMM(UNIST)] ]
Lenny: That's true. Let's sing.
Audience: right.. right-on! ..applause..

Lenny: Now, what do you want me to do?

I mean, I could do anything for you.
I could take off my jacket.
I could sing naked.
I mean we are all here with our
terribly shabby human limitations.
What can I possibly do except sing
a few of these .. ..appallingly simple
songs that I've written?

What did you expect?
Audience: ..applause..
Lenny: Would you like to step outside and fight? (off mike) Ok!
Audience: ..laughter..
The Critic: [(drunkenly) -I don't believe you (?) or -I'd like to beat you(?)] (to Audience?) ..He's very funny..
Lenny: *I'm* very disappointed in *you*! I thought you'd be a girl!
Audience: ..laughs...
Someone: [*] *HE's* gone.. [?]
Audience: ..laughter..
The Critic: Fuck ..
Lenny: [terminating, (obviously having had enough of this shit) ] Ok.
Audience: applauds Lenny.
[-Fine-]

{ Audience: - three or four requests } in german?
-lenny chuckles. In any case, "But it seems..."
gets an enthusiastic - "Hey!".. }

Seems So Long Ago, Nancy - Live ¿?

But it seems so long ago,
Nancy was alone,
Looking at that late late show
Through a semi-precious stone.
In the House of Honesty
Her father was on trial,
In the House of Mystery
There was no one at all,
There was no one there at all.

And it seems so long ago.
None of us were really very strong.
An but Nancy she wore green stockings.
She slept with everyone.
She never said she'd wait for us,
Even though she was all alone.
I guess she fell in love for us
In nineteen sixty one,
In nineteen sixty one.

Ah but morning, - it would not come.
Nancy really was alone.
There was a forty five beside her head,
A Princess telephone.
We told her she was beautiful,
We all told her she was free.
But none of us would meet her in
The House of Mystery,
The House of Mystery.

Ok so now you can look all around you.
You can see her everywhere.
Many of you use her smile, her body now,
Many comb her hair.
And in the hollow of the night,
When you are cold and when you are numb,
You can hear her - she's talking freely now,
She is happy that you've come,
She's so happy, that you've come.

Seems So Long Ago, Nancy - Songs From A Room 1969

It seems so long ago,
Nancy was alone,
looking at the Late Late show
through a semi-precious stone.
In the House of Honesty
her father was on trial,
in the House of Mystery
there was no one at all,
there was no one at all.

It seems so long ago,
none of us were strong;
Nancy wore green stockings
and she slept with everyone.
She never said she'd wait for us
although she was alone,
I think she fell in love for us
in nineteen sixty one,
in nineteen sixty one.

It seems so long ago,
Nancy was alone,
a forty five beside her head,
an open telephone.
We told her she was beautiful,
we told her she was free
but none of us would meet her in
the House of Mystery,
the House of Mystery.

And now you look around you,
see her everywhere,
many use her body,
many comb her hair.
In the hollow of the night
when you are cold and numb
you hear her talking freely then,
she's happy that you've come,
she's happy that you've come.