"Hallelujah" is a song written by Leonard Cohen in 1984, and never officially released as a single. It has become famous mainly through cover versions, and has been recorded by hundreds of artists. In 2008, American Idol contestent Jason Castro sang a version that caused Jeff Buckley's famous cover to rocket to the top of the Billboard Hot Digital Songs chart (you know, the kids these days with their iTunes and what-not). Buckley's rendition became a Platinum single on April 22, 2008, eleven years after his death and fourteen years after its original release -- despite never being officially released as a single.
"Hallelujah" has appeared in endless TV shows and movies. According to Wikipedia, it has appeared in: The West Wing, Crossing Jordan, Without a Trace, The O.C., Scrubs, House, Criminal Minds, ER, Third Watch, Ugly Betty, and LAX; and the films Feast of Love, The Edukators, Vinterkyss and Lord of War. I also happen to know it popped up in The Watchmen, The L Word, Shrek, and probably many more. This song is everywhere.
Although this version differs a little from his famous album version (it has a longer intro), Jeff Buckley's is the most famous cover of "Hallelujah." It was inspired by John Cale's version (#4 below) and was released on Buckley's album "Grace" in 1994.
2. Rufus Wainwright
Wainwright's version is nearly as famous as Buckley's, because it appeared on the Shrek soundtrack (despite John Cale's version actually being used in the film). Wainwright's album version is actually my favorite version of the song. Another notable Wainwright performance is from the Leonard Cohen documentary "I'm Your Man," and includes vocals from Joan Wasser (Buckley's girlfriend) and Martha Wainwright.
3. k.d lang
It's not news that k.d. lang can really, really sing. But still, her vocal control in this live version is stunning. The last note goes on forever, and the video includes nearly a full minute of standing ovation. If this doesn't make you cry, I don't know what will.
4. John Cale
John Cale is credited for popularizing Cohen's song with his early cover. This arrangement seemed really weird to me until I listened to it several times. Watch John Cale and a string quartet perform the classic song in 1992.
5. Sheryl Crow
Crow speeds it up a bit, and her guitar treatment is different than most -- she capos on the first fret. Wicked. (For guitar nerds, most versions are performed capo'd at the 5th fret and played in "G", thus sung in the key of C.)
6. Allison Crowe
Crowe's album "Tidings" featured songs recorded in a single take. Here's one of them.
7. Damien Rice
Performed in 2008, at Leonard Cohen's induction into the Rock and Roll Hall of Fame. Also interesting to see that he's playing capo'd at the third fret. See a more emotional/quiet version from Rice here.
8. Justin Timberlake and Matt Morris
Part of the "Hope for Haiti Now" benefit in January, 2010. Sorry about the weird popup YouTube thingies embedded here -- don't click them -- but this version actually has the best sound of any on YouTube.
9. Regina Spektor
Live in 2005, with phrasing more like Cohen's than most covers. Audio only.
10. Leonard Cohen
Of course, Leonard Cohen actually wrote the song in the first place. Check out that last verse. Cohen reportedly said of the song: "I wanted to write something in the tradition of the hallelujah choruses but from a different point of view.... It's the notion that there is no perfection -- that this is a broken world and we live with broken hearts and broken lives but still that is no alibi for anything. On the contrary, you have to stand up and say 'hallelujah' under those circumstances."
A Note for Non-Musicians
The lyrics "it goes like this, the fourth, the fifth, the minor fall, and the major lift" refer to the chord progression of the song itself as those lyrics are sung. Although the verse is about King David, the lyrics now seem like Cohen is winking at the listener -- teaching future generations with his own lyrics in the first verse how to cover his song. The chords to this bit are: C, F (the fourth), G (the fifth), A minor (the minor fall), and F (the major lift).
Today is October 10, 2010—10.10.10. To celebrate, we've got all our writers working on 10 lists, which we'll be posting throughout the day and night. To see all the lists we've published so far, click here.
Over the course of his career, Johnny Cash made a series of Christmas TV specials and recorded a string of Christmas records. In this 1977 TV performance, Cash is in great form. He brings special guests Roy Clark, June Carter Cash, The Carter Family, Jerry Lee Lewis, Roy Orbison ("Pretty Woman" starts around 23:50), Carl Perkins, and the Statler Brothers. Tune in for Christmas as we celebrated it 40 years ago—with gigantic shirt collars, wavy hair, and bow ties. So many bow ties.
We can tell by the way you use your walk that you're a fan of Saturday Night Fever, the 1977 blockbuster that made John Travolta a mega-star and brought disco into the mainstream. (Whether that's a good thing or a bad thing is a matter of opinion.) To enhance your appreciation of what was the highest-grossing dance movie of all time until Darren Aronofsky’s Black Swan (2010) and Steven Soderbergh’s Magic Mike (2012) beat it, here's a groovy list of facts to celebrate the film's 40th birthday. Put on your boogie shoes and read!
1. THERE WAS A PG-RATED VERSION OF IT, TOO.
Saturday Night Fever was an instant hit when it was released in December 1977, quickly becoming one of the highest-grossing movies of the year. What's especially impressive is that it did this despite being rated R and thus (theoretically) inaccessible to teenagers, the very audience that a disco movie would (theoretically) appeal to. And so in March 1979, the film was re-released in a PG version, with all the profanity, sex, and violence either deleted or downplayed. This version took in another $8.9 million (about $30 million at 2016 ticket prices), bringing the film's U.S. total to $94.2 million. Both versions were released on VHS and laserdisc, though the R-rated cut didn't become widely available on home video until the DVD upgrade.
2. IT WAS BASED ON A MAGAZINE ARTICLE THAT TURNED OUT TO BE SEMI-FICTIONAL.
"Tribal Rites of the New Saturday Night," a detailed look at the new generation of urban teenagers by British journalist Nik Cohn, was published in New York Magazine in June 1976. The central figure in the article was Vincent, "the very best dancer in Bay Ridge," whose name was changed to Tony Manero for the movie. But years later, Cohn confessed: "[Vincent] is completely made-up, a total fabrication." The styles and attitudes Cohn had described were real, but not the main character. Cohn said he'd only recently arrived in Brooklyn, didn't know the scene well, and based Vincent on a Mod he'd known in London in the '60s.
3. THE BEE GEES HAD NOTHING TO DO WITH IT.
Most of the film had already been shot when music producer-turned-movie producer Robert Stigwood commissioned the Bee Gees to write songs for it. The brothers, only modestly successful at that point and hard at work on their next album, didn't know what the movie was about but cranked out a few tunes in a weekend. They also repurposed several songs they'd been working on, including "Stayin' Alive," a demo version of which was prepared in time to be used in filming the opening "strut" sequence. (You'll notice Travolta struts in sync with the music.) So if the movie's signature songs didn't come until later, what were the cast members listening to when they shot the dance scenes? According to Travolta, it was Boz Scaggs and Stevie Wonder.
4. THE SOUNDTRACK ALBUM BROKE ALL KINDS OF RECORDS.
With 15 million copies sold in the U.S. alone, Saturday Night Fever was the top-selling soundtrack album of all time before being supplanted by The Bodyguard some 15 years later. It's also the only disco record (so far) to win the Grammy for Album of the Year, and one of only three soundtracks (besides The Bodyguard and O Brother, Where Art Thou?) to win that category. It was the number one album on the Billboard charts for the entire first half of 1978, and stayed on the charts until March 1980, long after the supposed death of disco.
5. THE MOVIE EXTENDED DISCO'S LIFESPAN BY A FEW YEARS.
Disco had been popular enough in the mid-1970s to land multiple disco tunes on the Billboard charts, but by the end of 1977, when Saturday Night Fever came out, the backlash had started and the trend was on its way out. But thanks to the movie (and its soundtrack), not only did disco not die out, it achieved more widespread, mainstream, middle-America success than it ever had before.
6. IT HAS SOME ROCKY CONNECTIONS.
First connection: It was supposed to be directed by John G. Avildsen, whose previous film was Rocky. Ultimately, that didn’t work out and Avildsen was replaced with John Badham a few weeks before shooting began. Second connection: Tony has a Rocky poster on his bedroom wall. Third connection: Saturday Night Fever’s 1983 sequel, Staying Alive, was directed by ... Sylvester Stallone.
7. TRAVOLTA WAS ALREADY SO FAMOUS THAT MAKING THE MOVIE WAS A HASSLE.
Saturday Night Fever made Travolta a movie star, but he was already a teen heartthrob because of the popular sitcomWelcome Back, Kotter, where he played a delinquent teenager with the hilarious and timeless catchphrase "Up your nose with a rubber hose." Still, nobody was prepared for how Travolta's fame would affect the movie, which was to be shot on the streets of Brooklyn. As soon as the neighborhood found out Travolta was there, the sidewalks were swarmed by thousands of onlookers, many of them squealing teenage girls. (Badham said there were also a lot of teenage boys holding signs expressing their hatred for Travolta for being more desirable than themselves.)
Co-star Donna Pescow said, "The fans—oh, my God, they were all over him. It was scary to watch." Badham said, "By noon of the first day, we had to shut down and go home." Since it was nearly impossible to keep the crowds away (or quiet), Badham and the crew resorted to filming in the middle of the night or at the crack of dawn.
8. THE WHITE CASTLE EMPLOYEES WEREN'T ACTING WHEN THEY LOOKED SHOCKED.
In the brief scene where Tony, his boys, and Stephanie are loudly eating at White Castle, those were the real burger-flippers, not actors. Badham told them to just go about their business. He also told his actors to cut loose and surprise the White Castlers in whatever way they saw fit. The shot that's in the movie appears to be a reaction to Joey standing on the table and barking, but Badham said it was actually in response to something else: "Double J (actor Paul Pape) pulling his pants down and mooning the entire staff of the White Castle."
9. THE FEMALE LEAD GOT THE PART THANKS TO A SERENDIPITOUS CAB RIDE.
Casting the role of Tony's dance partner, Stephanie, proved difficult. Hundreds of women auditioned, but nobody seemed right. Meanwhile, 32-year-old Karen Lynn Gorney was looking for her big break into show business. As fate would have it, she shared a cab with a stranger who turned out to be producer Robert Stigwood's nephew. He mentioned that his uncle was working on a movie, and Gorney replied, "Oh, am I in it?"— her standard joke whenever she heard about a film being made. The nephew wound up submitting Gorney as a candidate, and the rest is history.
10. TRAVOLTA’S GIRLFRIEND DIED DURING FILMING.
Travolta met Diana Hyland on the set of the TV movie The Boy in the Plastic Bubble, in which she played his mother. (She was 18 years older than him.) They had been dating for six months when Hyland succumbed to breast cancer at the age of 41, after filming just four episodes of her new gig on Eight Is Enough. Travolta was able to leave Saturday Night Fever and fly to L.A. in time to be with her before she died, then had to return to work.
11. THE COMPOSER HAD TO SCRAMBLE TO REPLACE A NIXED SONG.
For Tony and Stephanie's rehearsal scene about 30 minutes into the movie, Badham had used the song "Lowdown" by Boz Scaggs, going so far as to shoot the scene, including the dialogue, with the song actually playing in the background. (That's usually a no-no, for exactly the reasons you're about to read about.) According to Badham, no sooner had they wrapped the scene than Scaggs' people reached out to say they couldn't use the song after all, as Scaggs was thinking of pursuing a disco project of his own. Badham now had to have the actors re-dub the dialogue (since the version he'd recorded was tainted by "Lowdown"); what's more, he had to find a new song that would fit the choreography and tempo of the dancing. Composer David Shire rose to the occasion, writing a piece of instrumental music that met the specifications, and that’s what we hear in the movie.
12. THEY MADE UP A DANCE BECAUSE THE CHOREOGRAPHER DIDN'T SHOW UP.
In another rehearsal scene 55 minutes into the movie, Tony and Stephanie do the "tango hustle," which looks like a combination of both of those dances. This was something Travolta and Gorney invented as a matter of necessity: the film's choreographer didn't realize he was supposed to be on the set that day, and the actors didn't have any steps prepared. The tango hustle, alas, never quite caught on.
13. TONY’S ICONIC WHITE SUIT WAS SUPPOSED TO BE BLACK.
Travolta and Badham both assumed Tony's disco outfit would be black, as men's suits tended to be at the time. Costume designer Patrizia Von Brandenstein convinced them it should be white, partly to symbolize the character's journey to enlightenment but also for practical reasons: a dark suit doesn't photograph very well in a dark discotheque.
14. TONY’S SUIT WAS LATER SOLD FOR $2000—THEN FOR $145,500.
Von Brandenstein took Travolta to a cheap men's clothing store in Brooklyn (swamped by teenage fans, of course) and bought the suit off the rack—three identical suits, actually, so they wouldn't have to stop filming when one became soaked with Travolta's sweat. Two of the suits disappeared after the movie was finished; the remaining one, inscribed by Travolta, was bought at a charity auction in 1979 by film critic Gene Siskel, who cited Saturday Night Fever as one of his favorite movies. He paid about $2000 for it. In 1995, he sold it for $145,500 to an anonymous bidder through Christie's auction house.
In 2012, after a lengthy search, curators at London's Victoria and Albert Museum found the owner (who still preferred to remain anonymous) and persuaded him to lend it for an exhibit of Hollywood costumes. It is now presumably back in that man's care, whoever he may be. (P.S. Badham says on the 2002 DVD commentary that the suit is on display at the Smithsonian, a tidbit repeated by NPR in 2006 and Vanity Fairin 2007. But they must be mistaken. The suit’s sale in 1995 and rediscovery for the 2012 museum exhibit are verified facts; the suit isn't in the Smithsonian's online catalogue; and finally, a 2007 Washington Post story about the Smithsonian lists the suit as one of the items the museum director wanted to get.)
Additional sources: John Badham DVD commentary DVD featurettes