Canadian singer-songwriter Leonard Cohen released his fourth studio album, New Skin for the Old Ceremony, in 1974. It was a continuation of the spare, elegiac style of his first three releases, though he did introduce new instruments to the mix.
I’m familiar with Cohen more through his reputation than his music. The only full album of his I’ve owned is 1992’s The Future, a gloriously dark and apocalyptic record. Of course I know ‘Hallelujah,’ his most beloved (and at this point, overexposed) song, and a smattering of other singles (‘Suzanne,’ ‘Everybody Knows’).