Mark Knopfler & Emmylou Harris - Romeo And Juliet (Real Live Roadrunning...

A lovestruck Romeo sings the streets of serenade
Laying everybody low with a love song that he made
Finds a convenient streetlight steps out of the shade
Says something like you and me babe how about it?

Juliet says hey it's Romeo you nearly gimme me a heart attack
He's underneath the window she's singing hey la my boyfriend's back
You shouldn't come around here singing up at people like that
Anyway what you gonna do about it?

Juliet the dice were loaded from the start
And I bet and you exploded in my heart
And I forget I forget the movie song
When you gonna realize it was just that the time was wrong, Juliet?

Come up on different streets they booth were streets of shame
Both dirty both mean yes and the dream was just the same
And I dreamed your dream for you and now your dream is real
How can you look at me as if I was just another one of your deals?

When you can fall for chains of silver you can fall for chains of gold
You can fall for pretty strangers and the promises they hold
You promised me everything you promised me thick and thin
Now you just say oh Romeo yeah you know I used to have a scene with him

Juliet when we made love you used to cry
You said I love you like the stars above I'll love you till I die
There's a place for us you know the movie song
When you gonna realize it was just that the time was wrong Juliet?

I can't do the talk like they talk on TV
And I can't do a love song like the way it's meant to be
I can't do everything but I'd do anything for you
I can't do anything except be in love with you

And all I do is miss you and the way we used to be
All I do is keep the beat and bad company
All I do is kiss you through the bars of Orion
Julie I'd do the stars with you any time

Juliet when we made love you used to cry
You said I love you like the stars above I'll love you till I die
There's a place for us you know the movie song
When you gonna realize it was just that the time was wrong Juliet?

A lovestruck Romeo sings the streets of serenade
Laying everybody low with a love song that he made
Finds a convenient streetlight steps out of the shade
Says something like you and me babe how about it?
You and me babe how about it

"Romeo and Juliet" is a song by the British rock band Dire Straits, written by frontman Mark Knopfler. It first appeared on the 1980 album Making Movies and was released as a single in 1981.Reviewer Dan Bolles has called the song a "classic". The song subsequently appeared on the Dire Straits live albums Alchemy and On the Night, and later on Knopfler's live duet album with Emmylou Harris, Real Live Roadrunning (though Harris does not perform on the track). The track was also featured on the greatest hits albums Money for Nothing, Sultans of Swing: The Very Best of Dire Straits, and The Best of Dire Straits & Mark Knopfler: Private Investigations.

Composition and lyrical interpretation
The lyrics of the song describe the experience of the two lovers of the title, hinting at a situation that saw the "Juliet" figure abandon her "Romeo" after finding fame and moving on from the rough neighborhood, where they first encountered each other. In addition to the reference to William Shakespeare's play of the same title, the song makes playful allusion to other works involving young love, including the songs "Somewhere" – from West Side Story, which is itself based on the Shakespeare play – and "My Boyfriend's Back". The original recording of the song has been featured in several motion pictures, including Hot Fuzz, Empire Records, and Can't Hardly Wait.

The song opens on an arpeggiated resonator guitar part played by Knopfler, who also sings the lead vocal. The introductory arpeggios and melody are played on a National Style "O" guitar, the same guitar featured on the album artwork for Brothers in Arms and Sultans of Swing: The Very Best of Dire Straits.In the Sky Arts documentary Guitar Stories: Mark Knopfler, "Knopfler picks up the National and demonstrates how he hit on the famous arpeggio lines in "Romeo and Juliet", from the Making Movies album, while experimenting with an open G tuning." The instrumentation remains simple during the verses and moves to a full-on rock arrangement in the chorus sections.

The song itself, written by Knopfler, was inspired by his failed romance with Holly Vincent, lead singer of the short-lived band Holly and The Italians. The song speaks of a Romeo who is still very much in love with his Juliet, but she now treats him like "just another one of [her] deals". Knopfler has both stated and implied that he believes Vincent was using him to boost her career. The song's line "Now you just say, oh Romeo, yeah, you know I used to have a scene with him," refers to an interview with Vincent, where she says "What happened was that I had a scene with Mark Knopfler and it got to the point where he couldn't handle it and we split up."

Covers
The song has become a classic love song with a wide range of artists covering the track. Indigo Girls covered the track in a solo rendition by Amy Ray on the duo's album Rites of Passage.

The song was also covered by Australian musician Lisa Mitchell for Australian radio station Triple J for the Like a Version segment on their breakfast show in 2009. It was also included on the 2009 Like a Version Volume 5 compilation CD and DVD.

It was covered by The Killers in 2007. It was recorded live at Abbey Road Studios for the Channel 4 show Live from Abbey Road and featured as a B-side on "For Reasons Unknown" and on their compilation album Sawdust.

Matt Nathanson covered the song on his Live at the Point album


Personnel[
Mark Knopfler – National Style O resonator guitar, lead guitar, lead vocals, rhythm guitar
John Illsley – bass guitar
Pick Withers – drums, percussion
Additional personnel
Roy Bittan – piano, hammond organ

ARTISTFACTS FOR DIRE STRAITS

• Took the name Dire Straits because it represented their financial condition in the early days.
• In 2001, British scientists named a dinosaur they discovered after Mark Knopfler. They named the dinosaur, which was discovered in Madagascar, "Masiakasaurus Knopfleri" as a tribute to Knopfler.
• Mark Knopfler was a journalist and teacher before joining the band.
• Mark Knopfler's second wife is named Lourdes. They had twin boys in 1987.
• The band's demo cost only $175 dollars to make. The record company was so impressed that they got Spencer Davis Group bassist Muff Winwood (brother of Steve) to produce their debut album.
• They were Princess Diana's favorite rock group.
• Illsley once donated $750,000 to a charity to raise children's awareness of the dangers of drugs.
• At a concert in New Zealand, the Minister of Transport called off a National Stewards' strike so they could make it to their show.
• Before Dire Straits, David Knopfler was a social worker, and Illsley was studying sociology.
• Mark Knopfler has worked on the soundtracks for Local Hero, Comfort and Joy, and Cal.
• Mark Knopfler is left-handed but he plays right-handed; he says that makes him strong at vibratos. (thanks, Gary - Kumla, Sweden)

Brothers In Arms - Joan Baez

Dire Straits – Brothers In Arms Lyrics
These mist covered mountains
Are a home now for me
But my home is the lowlands
And always will be
Someday you'll return to
Your valleys and your farms
And you'll no longer burn 
To be brothers in arms

Through these fields of destruction
Baptisms of fire
I've witnessed your suffering
As the battle raged higher
And though they did hurt me so bad
In the fear and alarm
You did not desert me
My brothers in arms

There's so many different worlds
So many different suns
And we have just one world
But we live in different ones

Now the sun's gone to hell and
The moon's riding high
Let me bid you farewell
Every man has to die
But it's written in the starlight
And every line in your palm
We are fools to make war
On our brothers in arms
Songwriters: KNOPFLER, MARK
Brothers In Arms lyrics © Universal Music Publishing Group

Brothers in Arms" is a 1985 song by Dire Straits, appearing as the closing track on the album of the same name. It was originally written in 1982, the year of the Falklands War. It was re-released in 2007 as a special edition to commemorate the 25th anniversary of the conflict and raise funds for veterans of it with posttraumatic stress disorder.

History

There are two studio recorded versions of this song: the album version which is 6:55 minutes, and the shorter version which is 6:05 minutes and features slightly different (and shorter) solos at the beginning and end of the song. The version that appears on Dire Straits' greatest hits album, Sultans of Swing: The Very Best of Dire Straits, is 4:55. The version featured on the live album On the Night contains an extra pedal steel guitar solo and is 8:55. The full-length, studio album version (6:55) was also included on the 2005 compilation Private Investigations.

Mark Knopfler recorded and usually played the song on a Gibson Les Paul Standard guitar, rather than his usual Schecter "Stratocaster", and the sunburst Les Paul appears in the distinctive promo video, which is in the style of a charcoal drawing, interspersing scenes of the band playing with scenes of war. During Dire Straits' 1992 "On Every Street" tour, Knopfler used his Pensa-Suhr MK1 for this song, like most of the others.

The song is reported to be the first CD single ever released;^[2] it was released in the United Kingdom in 1985.

The song's meaning, influence and impact was discussed in the BBC radio programme and podcast Soul Music in January 2013

The song was featured in the third season episode of Miami Vice, "Out Where The Buses Don't Run" as the closing theme, and the second season finale of The West Wing, "Two Cathedrals". ^[4] It was also featured in the 2001 movie Spy Game.

Joan Baez - Diamonds and Rust (With Lyrics)

Well I'll be damned 
Here comes your ghost again 
But that's not unusual 
It's just that the moon is full 
And you happened to call 
And here I sit 
Hand on the telephone 
Hearing a voice I'd known 
A couple of light years ago 
Heading straight for a fall

As I remember your eyes 
Were bluer than robin's eggs 
My poetry was lousy you said 
Where are you calling from? 
A booth in the midwest 
Ten years ago 
I bought you some cufflinks 
You brought me something 
We both know what memories can bring 
They bring diamonds and rust

Well you burst on the scene 
Already a legend 
The unwashed phenomenon 
The original vagabond 
You strayed into my arms 
And there you stayed 
Temporarily lost at sea 
The Madonna was yours for free 
Yes the girl on the half-shell 
Could keep you unharmed

Now I see you standing 
With brown leaves falling all around 
And snow in your hair 
Now you're smiling out the window 
Of that crummy hotel 
Over Washington Square 
Our breath comes out white clouds 
Mingles and hangs in the air 
Speaking strictly for me 
We both could have died then and there

Now you're telling me 
You're not nostalgic 
Then give me another word for it 
You who are so good with words 
And at keeping things vague 
'Cause I need some of that vagueness now 
It's all come back too clearly 
Yes I loved you dearly 
And if you're offering me diamonds and rust 
I've already paid

"Diamonds & Rust" is a song written, composed, and performed by Joan Baez. It was written in November 1974 and released in 1975.

In the song, Baez recounts an out-of-the-blue phone call from an old lover, which sends her a decade back in time, to a "crummy" hotel in Greenwich Village circa 1964 or 1965; she recalls giving him a pair of cuff-links, and summarizes that memories bring "diamonds and rust." Baez has stated that the lyrics refer to her relationship with Bob Dylan.

The song, which was a top-40 hit for Baez on the U.S. pop singles chart, is regarded by a number of critics, as well as by Baez fans, as one of her best compositions. It served as the title song on Baez's gold-selling album Diamonds & Rust, which was released in 1975.

Variations

For her 1995 live recording Ring Them Bells, Baez performed the song as a duet with Mary Chapin Carpenter. In that performance, she changed the end lines: "And if you're / offering me diamonds and rust / I've already paid," to: "And if you... well I'll take the diamonds." The line "I bought you some cuff links, you brought me something" was changed to "I bought you some cuff links, you brought troubles." And on 25 February 2009, in Austin, she sang it, "And if you... well I'll take the Grammy." In 2010, she recorded it as a duet with Judy Collins on Collins's album Paradise.

Bob Dylan

Dylan with Baez August 28, 1963

The song alludes to Baez's relationship with Bob Dylan ten years before. Although Dylan is not specifically named in the song, in the third chapter of her memoir, And a Voice to Sing With (1987), Baez uses phrases from the song in describing her relationship with Dylan, and has been explicit that he was the inspiration for the song. She recounts how she originally told Dylan that the song was about her ex-husband David Harris, which was obviously not true.^[2] The lyrics, for example, include the lines, "Well, you burst on the scene already a legend / the unwashed phenomenon, the original vagabond..." which would describe Dylan but not Harris.

In her memoir, And A Voice To Sing With, Baez records a 1975 conversation between herself and Dylan, discussing songs to include in the then-upcoming Rolling Thunder Revue concerts:

"You gonna sing that song about robin's eggs and diamonds?" Bob had asked me on the first day of rehearsals.
"Which one?"
"You know, that one about blue eyes and diamonds..."
"Oh", I said, "you must mean 'Diamonds And Rust,' the song I wrote for my husband, David. I wrote it while he was in prison."
"For your husband?" Bob said.
"Yeah. Who did you think it was about?" I stonewalled.
"Oh, hey, what the fuck do I know?"
"Never mind. Yeah, I'll sing it, if you like."

But Baez's marriage to Harris had, in fact, already ended by the time the song was written and composed. In an interview with music writer Mike Ragogna, Baez later admitted that the character in the song is Dylan:

MR: "Diamonds And Rust" was another magic moment. You've said when you began writing the song, it started as something else until Dylan phoned you. Then it became about him. That must have been one helluva call.
JB: He read me the entire lyrics to "Lily, Rosemary and the Jack of Hearts" that he'd just finished from a phone booth in the Midwest.
MR: What was the song about originally?
JB: I don't remember what I'd been writing about, but it had nothing to do with what it ended up as.

Charts

Chart (1972-2016)	Peak position
Canada Adult Contemporary (RPM)	14
Canada Top Singles (RPM)	61
US Adult Contemporary (Billboard)	5
US Billboard Hot 100	35

Popular covers

"Diamonds and Rust"
Single by Judas Priest
from the album Sin After Sin
Released	23 April 1977
Recorded	January – February 1977, Ramport Studios, Battersea
Genre	Heavy metal
Length	3:28
Songwriter(s)	Joan Baez
Producer(s)	Roger Glover, Judas Priest
Judas Priest singles chronology
"The Ripper" (1976) "Diamonds & Rust" (1977) "Better By You, Better Than Me" (1978)
Sin After Sin track listing
"Sinner" (1) "Diamonds & Rust" (2) "Starbreaker" (3)

The song was later covered with edited lyrics by Judas Priest for the album Sin After Sin. It was originally recorded a year earlier for Sad Wings of Destiny, but not included on that album. This early version appears on The Best of Judas Priest, Hero, Hero, and some remasters of their first album, Rocka Rolla. A live version of the song is on Unleashed in the East. The song remains a staple of Judas Priest live concert performances. In recent years, Priest have been performing a mostly acoustic version of the song that is more similar to the original than the rock version on their recorded albums.

Baez commented on the Judas Priest version:

I love that! I was so stunned when I first heard it. I thought it was wonderful. It's very rare for people to cover my songs. I think there are a couple of reasons. One is they're personal – they don't have a universal quality to them. And I think maybe it's because I've already sung them, and who wants to compete with that? But it's always flattering when somebody does.

Cover versions have also been recorded by Blackmore's Night, S.O.D., Great White, Taylor Mitchell, and Thunderstone.

The song has been sampled in two popular hip-hop songs, "Happiness" by Busdriver and "Upgrade Call" by Andre Nickatina. The versions used in both songs are pitch-warped to sound squeaky.

Song Facts

• In this song, Joan Baez is singing to her former lover Bob Dylan, fondly reminiscing about their 1960s affair. Released as a single, this track became only her second top 40 hit in the States, and her biggest self-composed hit (her other hit came in 1971 with "The Night They Drove Old Dixie Down."
• Baez revealed to The Huffington Post that she wrote this song after Bob Dylan called her from a phone booth and sang her the lyrics to his song "Lily, Rosemary and the Jack of Hearts." Baez said that this gave her inspiration to write "Diamonds & Rust," and that she lied to Dylan, telling him it was about David Harris, to whom she was married from 1968-1973. Bob Dylan rarely reveals much about his songs, but his track "Queen Jane Approximately" is most likely his take on his relationship with Baez.
• The song was later covered by Judas Priest, first appearing on Sin After Sin, and later as an earlier recording on The Best of Judas Priest, Hero Hero, and on some remasters of their first album, Rocka Rolla. It also appeared live on Unleashed in the East and other live albums. It remains a staple of their live concert performances. In the 2000s, Priest performed a mostly-acoustic version of the song more similar to the original than the "rocked up" recorded version.
• The band wes named after "The Ballad Of Frankie Lee And Judas Priest," a track from Dylan's album John Wesley Harding. >>
• In addition to singing on this, Baez played the Moog and Arp Synthesizers.
• The end of Side 1 of the album contains a parody of Bob Dylan's voice on his own "A Simple Twist Of Fate."
• "That crummy hotel over Washington Square" refers to the Hotel Earle, where Baez and Dylan lived for a while. It's located at 103 Waverly Place on the corner of MacDougal Street in New York City. Once a place of luxury, the Hotel Earle deteriorated in the '60s and became an apartment hotel popular with starving artists. Notable inhabitants included Ernest Hemingway, Barbra Streisand and Bill Cosby. It was purchased in the '70s and became the Washington Square Hotel in 1986.
• Asked by Mojo July 2014 what Bob Dylan thought of the song, Baez replied: "When I saw Bob on the Rolling Thunder Tour he said, (Impersonates Dylan) 'Are you going to do that song you wrote about me?' I said, 'Oh the one about the blue eyes, the one about my husband?' (Facially impersonates Dylan looking glum). 'Bob, I'm bullsh---ing you!'"
• "He has actually said nice things about Diamonds And Rust," she added.
• Blackmore's Night covered this song for their 2003 album Ghost of a Rose. Candice Night describes Joan Baez as her "favorite American folk singer."

The Rolling Stones - Ride 'Em On Down from their new album Blue & Lonesome

Yeah!
I’m a dealin' man, still dealing, yeah
I’ll go keep on dealing till I find myself a bed
I got to stop dealing, I believe I’ll ride ‘em on down
Well I done stopped dealing, I believe I’ll ride 'em on down

Yeah!
Raised in the country, got up raised in town
Got two kids and they’re all look like mine
I got to stop dealing, I believe I’ll ride ‘em on down
Yeah, I got to stop dealing, I believe I’ll ride 'em on down

Yeah!
I’m dealing darling, by some other deck
Seem like somebody gonna take my shit
I got to stop dealing, I believe I’ll ride ‘em on down
Well, I done stopped dealing, I believe I’ll ride 'em on down

Yeah!

[guitar solo]

Yeah!
Born yesterday and not a day before
Here you come knocking at my door
Done stop dealing, I believe I’ll ride ‘em on down
Well I done stopped dealing, I believe I’ll ride 'em on down

Yeah!

[harmonica solo]



The Rolling Stones searing jazzy blues take on Eddie Taylor's "Ride 'Em on Down" off the rock legends' upcoming LP of blues classics Blue & Lonesome.



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The track dates back to the 1930s when Delta blues great Bukka White penned the track under the title "Shake 'Em on Down." Chicago blues singer Eddie Taylor recorded the track in 1955 as "Ride 'Em on Down"; it's this version that inspired the Stones to cover the track.

The Stones previously shared "Just Your Fool" and "Hate to See You Go" from Blue & Lonesome, released  December 2nd, 2016.

Rolling Stone recently spoke to the band for a cover story where the Stones opened up about the sessions that produced Blue & Lonesome and their contribution to the blues.

"The thing about the blues is it changes in very small increments," Mick Jagger said. "People reinterpret what they know – Elmore James reinterpreted Robert Johnson licks, as did Muddy Waters. So I'm not saying we're making the jumps that they made, but we can't help but reinterpret these songs."

"Ride 'Em on Down" also features a scorching harmonica solo courtesy of Jagger. "This is the best record Mick Jagger has ever made," Keith Richards told Rolling Stone while praising the singer's harmonica skills. "It was just watching the guy enjoying doing what he really can do better than anybody else… And also, the band ain't too shabby."

Leonard Cohen - Hallelujah

Hallelujah (lyrics)

I've heard there was a secret chord
That David played, and it pleased the Lord
But you don't really care for music, do you?
Well, it goes like this, the fourth, the fifth
The minor fall, the major lift
The baffled king composing Hallelujah

Hallelujah, Hallelujah
Hallelujah, Hallelujah

Well, your faith was strong but you needed proof
You saw her bathing on the roof
Her beauty and the moonlight overthrew you
She tied you to a kitchen chair
She broke your throne, she cut your hair
And from your lips she drew the Hallelujah

Hallelujah, Hallelujah
Hallelujah, Hallelujah

Well, baby, I've been here before.
I've seen this room, and I've walked this floor.
I used to live alone before I knew you.
But I've seen your flag on the marble arch,
And love is not a victory march,
It's a cold and it is a broken Hallelujah

Hallelujah, Hallelujah
Hallelujah, Hallelujah

Well, there was a time when you'd let me know
What's really going on below,
But now you never show that to me, do you?
But remember when I moved in you,
And the Holy Ghost was moving too,
And every breath we drew was Hallelujah

Hallelujah, Hallelujah
Hallelujah, Hallelujah

Well, maybe there is a God above,
But all that I've ever learned from love
Was how to shoot somebody who outdrew you.
It's not a cry that you hear at night,
And it is not somebody who has seen the light
It's a cold and it is a broken Hallelujah

Hallelujah, Hallelujah
Hallelujah, Hallelujah

Hallelujah, Hallelujah

Hallelujah

Hallelujah

"Hallelujah" is a song written by Canadian recording artist Leonard Cohen, originally released on his album Various Positions (1984). Achieving little initial success, the song found greater popular acclaim through a cover by John Cale, which inspired a cover by Jeff Buckley. Buckley's version is the most enduringly popular and critically acclaimed cover of the song to date. It is the subject of the book The Holy or the Broken: Leonard Cohen, Jeff Buckley & the Unlikely Ascent of "Hallelujah" (2012) by Alan Light. In a New York Times review of the book, Janet Maslin praises the book and the song, noting that "Cohen spent years struggling with his song 'Hallelujah.' He wrote perhaps as many as 80 verses before paring the song down."

Following its increased popularity after being featured in the film Shrek (2001),many cover version shave been performed by many and various singers, both in recordings and in concert, with over 300 versions known. The song has been used in film and television soundtracks and televised talent contests.

Musical composition and lyrical interpretation

John Cale "Hallelujah" cover excerpt MENU 0:00 John Cale selected the verses by Leonard Cohen which most covers have since followed. First recorded by Cale in 1991 for the Cohen tribute album I'm Your Fan. John Cale's version is used in the film Shrek. Jeff Buckley "Hallelujah" cover excerpt MENU 0:00 From the album Grace released in 1994. In 2007, Sony BMG rereleased the album (subtitle "The Legacy Edition") with a live music video of the song. Allison Crowe "Hallelujah" cover excerpt MENU 0:00 Different in style, Allison Crowe's single-take recording, from Tidings, released in 2003, is among a new generation of interpretations. Rufus Wainwright "Hallelujah" cover excerpt MENU 0:00 Rufus Wainwright recorded a version similar to Cale's, also on piano.

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"Hallelujah", in its original version, is in 12/8 time, which evokes both early rock and roll andgospel music. Written in the key of C major, the chord progression matches lyrics from the song: "goes like this, the fourth, the fifth, the minor fall, and the major lift": C, F, G, A minor, F.

Cohen wrote around 80 draft verses for "Hallelujah", with one writing session at the Royalton Hotel in New York where he was reduced to sitting on the floor in his underwear, banging his head on the floor. His original version, as recorded on his Various Positions album, contains several biblical references, most notably evoking the stories of Samson and traitorous Delilahfrom the Book of Judges ("she cut your hair") as well as King David and Bathsheba ("you saw her bathing on the roof, her beauty in the moonlight overthrew you").

Following his original 1984 studio-album version, Cohen performed the original song on his world tour in 1985, but live performances during his 1988 and 1993 tours almost invariably contained a quite different set of lyrics with only the last verse being common to the two versions. Numerous singers mix lyrics from both versions, and occasionally make direct lyric changes, such as Rufus Wainwright, a Canadian-American singer, substituting "holy dark" and Allison Crowe, a Canadian singer-songwriter, substituting "Holy Ghost" for Cohen's "holy dove".

Cohen's lyrical poetry and his view that "many different hallelujahs exist" is reflected in wide-ranging covers with very different intents or tones, allowing the song to be "melancholic, fragile, uplifting [or] joyous" depending on the performer:The Welsh singer-songwriter John Cale, the first person to record a cover version of the song (in 1991), promoted a message of "soberness and sincerity" in contrast to Cohen's dispassionate tone; The cover by Jeff Buckley, an American singer-songwriter, is more sorrowful and was described by Buckley as "a hallelujah to the orgasm"; Crowe interpreted the song as a "very sexual" composition that discussed relationships; Wainwright offered a "purifying and almost liturgical" interpretation; and Guy Garvey of the British band Elbow made the hallelujah a "stately creature" and incorporated his religious interpretation of the song into his band's recordings.

Charts

Chart (1985–2014)	Peak position
Austria (Ö3 Austria Top 40)	67
Netherlands (Single Top 100)	27
Sweden (Sverigetopplistan)	16
Switzerland (Schweizer Hitparade)	66
UK Singles (Official Charts Company)	36

Accolades and achievements

• The BBC commemorated the 25th anniversary of the first recording with an hour-long radio documentary, The Fourth, The Fifth, The Minor Fall, in which the song's history and numerous cover versions were presented and discussed.
• It was named one of the Top Ten Greatest Tracks of all time in a poll of songwriters conducted by the British music magazine Q.
• It was listed as one of the 500 greatest songs by Rolling Stone magazine.
• In the February 2009 issue of Blender, "Hallelujah" was named that month's "Greatest Song Ever" (a monthly feature).
• In 2005, "Hallelujah" was named the tenth-greatest Canadian song of all time in Chart magazine's annual readers' poll.
• On 21 December 2008, "Hallelujah" became the first song in 51 years to be numbers 1 and 2 on the UK Singles Chart; The X Factor winner Alexandra Burke's and American singer Jeff Buckley's covers were the two highest-selling songs in the week beginning 15 December 2008. Leonard Cohen's version was number 36 in the same chart.
• Pulitzer Prize-winning author Geraldine Brooks took the title of her 2015 novel about King David, The Secret Chord from this song.