I like this as much as the Cohen one, or maybe a little more. It’s the Shrek version (in the actual movie not on the soundtrack), so it was the first one for me, and a lot of ppl around my age. It’s also the cover that every other cover is based on. John asked Cohen for his lyrics after seeing it live, and was given all the various verses he’d written. He rearranged the order, added some of the alternate lines that didn’t make the original cut, changed the musical arrangement and made it more melodic. Apparently his version even influenced how Cohen played it live later in life. Without this second version, all the following ones don’t exist.
Apr 29, 2024

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This song makes me want to go full Heath-Ledger-with-a-marching-band. It’s the fourth track on John’s fifth album, Slow Dazzle— a record of art rock and noir pop; gloom, glam and gore. Featuring, among others, Brian Eno and Phil Manzanera (then of Roxy Music), and Chris Spedding. The album opens with an (apparently unappreciated) love letter to Brian Wilson, and ends with a revenge fantasy written after Kevin Ayer’s slept with John’s wife (also presumably unappreciated). Beyond this point you will find: a psychotic interpretation of an Elvis standard, orchestral torch songs, “dirty-ass rock ‘n’ roll”, murder and misery, snow sports and California wine. Enter with abandon. Welcome to the slow dazzle. 
Feb 2, 2024
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There's some cool linguistic junk that appeals to me as well as cool verbal imagery & biblical allusion while still maintaining Cohen's original vision (I think) pretty well. Additionally, I think Daniel Kahn's voice carries an emotional weight that no other cover has really managed in my opinion.
Apr 30, 2024
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Easily one of the greatest covers ever.
Apr 29, 2024

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