leonardcohenforum.com

The 'Tonight Will Be Fine' Poll.

It was mentioned in another thread that some people prefer Teddy Thompson's version of Tonight Will Be Fine to Cohen's version. I thought it would be interesting to hear what people think. I have included a link to Thompson's version below, but unfortunately I couldn't find a Cohen version. If anyone can send me a link to Cohen performing Tonight Will Be Fine, I will include it here. Otherwise you will just have to listen to the CD.

Please make your selection in the poll then give a reason as to why you prefer one version over the other.

The game is afoot.

Teddy Thompson's cover: http://ie.youtube.com/watch?v=8W89j6GjPDI

Teddy's version is too straight. Leonard's version has a sense of disaster in it to me.

I prefer it. It feels more like real life.

*yells from the corner*

It should be said that I heard the cover before I heard the original. I thought that Cohen sang it the same way as Thompson did, so when I heard the original I was actually kind of disappointed. Because the cover is nice and slow and allows me to feel the lyrics and the emotions, while the original is all upbeat and sung without much pathos. It's good, but the cover is great. The original seems like it's just another song to Cohen, but to Thompson it is more, and he lets it shine.

There you have it.

LOL ~ Isn't it funny how our tastes vary so much. I've lived with the original, for oh so long before I heard the cover. I voted earlier, but had to locate my cd [vs. the album] for listening to directly compare.

The meaning of the song for me is in its title. Despite so many other things that may not be right, at least "Tonight will be fine." The way Leonard sings it, he's remaining in the moment of appreciation of what he has, at least for now. Teddy seems to be losing out on that moment and looking to the beyond, when tomorrow night and the nights after won't be so fine. Carpe diem [carpe noir ?], Teddy... tonight really WILL be fine . Leonard is focusing on the positive of what he has with this woman, basically here and now... how he loves to see her undressing for him, and her being the soft, naked lady that love meant her to be... how he loves seeing her move her body so brave and so free... and how, no matter what else he's lost with her... that, surely, IS a FINE memory. With varying emphasis on these lyrics, this is made very clear.

Leonard also gives vocal emphasis on the words that convey how it is that he knows that "tonight" will be fine... "from your eyes... from your smile" ~ perhaps, those who have experienced those times when people have come back together for a brief time and how so much can be seen in the eyes and the smile that recall when times were good... and the desire to share at least what was good between them then... now. The way Leonard slows the pace and elongates his vocal expression, with greater emphasis on those lyrics; those lines bring to the fore his and the woman's shared recognition of that remembered, emotional space.

I like the variance in Leonard's guitar... is it quick finger-picking? Thompson's guitar is more of a monotonous strumming and restrumming of the same chords, which for me pretty much replicates his vocals on the lyrics. He also omits a word that for me makes a difference... "surely" in ". . . our love would surely last." There's an emphasis on the absolute certainty of how they felt at the time, which creates a greater contrast of what is now... yet, in that relationship that was so "surely" to last, there remains a bond that allows for them to still have a night together that Leonard KNOWS will be fine... will be fine... will be fine!!!

For me, it's one of those songs where the loss can still be felt, despite its jauntiness... and, perhaps, even moreso because of it. It remains a song of hope, if only through the certainty of how tonight will be... FINE.

Thompson doesn't seem to me to sing it with much expression at all, each line and verse, the same as the next and the last... and as though "Tonight will be fine... " isn't really perceived by him. Leonard's voice quickens and slows and varies in its expression between melancholy and hope, alongside the jauntiness of the tune. His anticipation of the good of the night to come is real, as he listens all night for her step on the stair. Thompson misses all the nuances and, for me, simply makes it a 'recitation' of a song of loss, just singing the lyrics without real recognition of the situation that night.

That's my why on the how of what I feel. I voted Leonard .


~ Lizzy

KjeXXXer wrote:*yells from the corner*

It should be said that I heard the cover before I heard the original. I thought that Cohen sang it the same way as Thompson did, so when I heard the original I was actually kind of disappointed. Because the cover is nice and slow and allows me to feel the lyrics and the emotions, while the original is all upbeat and sung without much pathos. It's good, but the cover is great. The original seems like it's just another song to Cohen, but to Thompson it is more, and he lets it shine.

There you have it.

I can see your point but you seem to suggest Thompson adds pathos. Cohen sings it with almost a sense of irony and dark humour. I think this suits the lyric far more appropriately. Thompsom's version is good but I still maintain that there is a flatness to his voice that is very irritating. As Lizzy put it "monotonous."

I see what you're saying, but I still prefer the cover.

It can be difficult getting past one's original bonding experience.

I'm glad you posed the question, though, BOAW. It now has me listening repeatedly to the entire "Songs From A Room" cd .


~ Lizzy

Choose? You're asking me to choose? Chyah, right!! I refuse. I abstain. What I love about Cohen's and what I love about Thompson's are the vary things that make them different.
I too shall not be moved, unless I am.

I like Thompson's version because he takes the song straight to the heart of what it's about and I think his countrified (as opposed to gentrified) version makes the song more accessible and touches on the fabulously melodic strain that's in there.
In second place I'd put the live Cohen version and in third the original.
But, ladies and gentlemen, we were asked to vote and offer a reason not to get into a dialogue. Just vote, give your reasons once and leave it at that - please

PS
I think that should be "Carpe noctem" Lizzie!

Just vote, give your reasons once and leave it at that - please

Right... Listen up...

Are you converted yet, BOAW ?

PS
I think that should be "Carpe noctem" Lizzie!

I had the wild hope that the wink would telegraph the message of my awareness of nope... not a mixed metaphor, but the mixing of language. Ah, well. Guess I'll have to spell it out next time... "Noir is French, and carpe is Latin, but I've merged the two to make another point." The wink just seemed so much quicker, easier, less cumbersome. Lazy as I'm getting...


~ Lizzy

Not yet Liz. Not sure I will be either.

I agree Thompson brings an attractive melody to the song that is not apparent in the original. But, having just flicked through my copy of Anthology and re-read the lyric, I still maintain the lyric does not call for Thompson's interpretation and his subsequent (over) applictaion of pathos. There is definitely an element of self-pity, but moreso there is an air of hopeful anticipation; "I listen all night for your step on the stair." Hence Cohen's version seems more appropriate (to me anyhow).

P.S. I'm not sure what anyone else thinks but I don't mind a dialogue in this thread, so long as we can stick to the point

Manna wrote:Choose? You're asking me to choose? What I love about Cohen's and what I love about Thompson's are the vary things that make them different.

My vote is with Manna on this one. Again with the ordering and ranking? Why the need to compare apples with oranges?

I am a cover fan because really there are not enough Leonard songs to last me thirty plus years. I like cover songs that dare to dream beyond the boundaries of the original. Some compliment and respect it perfectly, while others can have a different twist that make it something new and wonderful. Teddy does that, he makes 'Tonight will be fine' a deeper and more sensual song, I love it.

I can't believe it, I hear rain, must go and soak myself.

He does in some way make it a deeper, more intense song, Blonde M. I was bowled over by Teddy T in Dublin, for this song (and for his amazing reggae version of Waiting for the Miracle). The simplicity of TT's arrangement and the slow, definite rhthym made me pay much closer attention to the words than I had in Leonard's version, and to appreciate the original properly for the first time. OK so he's lost the humour and the lightness-mixed-with-sense-of-loss of the original, and presented the melancholy alone. But it works. Today will be fine to vote for Thompson.

I am currenty "crushing" on Thompson's version of 'Tonight Will Be Fine.' It is on all my latest playlists on my iPod. There is something about the inflection of his voice and the lyrics and music that all melts to together into a perfect elixir of sound. It sometimes gives me goosebumps...TT's got my vote.

Laurie