Leonard Cohen was a modestly appreciated Canadian writer and poet who had the good fortune of writing the immediate ‘60s folk classic “Suzanne” at the onset of his career (and having it covered by Judy Collins among others) and landing a recording contract with Columbia Records. Though at the time of its initial release, the album’s monochromatic shades of literacy and desolation suggested it would never break past a cult following, it has since become an elegant, uncompromising classic of timeless wisdom and enduring tunes. “Suzanne” and “So Long, Marianne” are the obvious notables, though Cohen himself expressed displeasure with what he considered to be over-instrumentation (!) and excessive backing vocals. (It should be noted, however that he would employ similar strategies to his many later albums). “Master Song”, “Winter Lady”, “Stranger Song” and “Sisters Of Mercy” are a dizzying and percolating procession where the imagery and lyrical precision make for heady contemplation. Cohen’s voice is still untrained and raw, reaching for notes nearly out of reach. However, this rustic homeliness brings forth the imperfect humanity of the songs.