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"Hallelujah" is a song written by Canadian singer Leonard Cohen, originally released on his album Various Positions (1984). Achieving little initial success, the song found greater popular acclaim through a recording by John Cale, which inspired a recording by Jeff Buckley. It is considered as the "baseline" of secular hymns. Following its increased popularity after being featured in the film Shrek (2001), many other arrangements have 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. "Hallelujah" experienced renewed interest following Cohen's death in November 2016 and appeared on multiple international singles charts, including entering the American Billboard Hot 100 for the first time.

Writing and recording
Cohen wrote "Hallelujah" over the course of five years, during which he struggled with writing the lyrics. Known for his meticulous and obsessive style of songwriting, Cohen wrote around eighty verses. He filled numerous notebooks with verses for a song called "The Other Hallelujah", and recounted an experience at the Royalton Hotel in New York City where he was reduced to sitting in his underwear, banging his head on the floor trying to finish the song. Cohen's struggles with writing "Hallelujah" were exacerbated by his compulsion to finish every verse he had begun to write before he could discard it.

The song's eighty verses were eventually distilled to four, a decision based on the amount religious imagery Cohen wanted to include. These edits turned the song into what he described as the "secular 'Hallelujah'". Even after the final edit, Cohen kept two different ending verses for the song. One of Cohen's friends, singer-songwriter Bob Dylan, preferred the more positive and hopeful verse; Cohen deferred to Dylan's opinion and chose the positive ending verse. Once the lyrics were finalized, Cohen presented "Hallelujah" to producer John Lissauer, who was in the middle of recording the singer's seventh album Various Positions. Lissauer commented that Cohen never shared his struggles with writing "Hallelujah", and was adamant about the arrangement of the four verses.

Lissauer had a clear vision for the orchestration of "Hallelujah". Instead of a grand, anthemic style of music the lyrics lent themselves to, Lissauer decided to play it with restraint. "We didn't want it to be huge...it wasn't about slickness or a gospel-y hallelujah; it was about the real hallelujah". Lissauer did not include overpowering strings or key changes, and told the backing drummer to play with brushes instead of sticks, in order to get "strength without bashing". Lissauer held the belief that a regular bass guitar was not loud enough to match Cohen's vocals, and instead crafted a synthesized bass. For the backing choir, Lissauer wanted it to sound like a community, and brought in many people to sing, including female vocalist Anjani, his ex-wife, and even himself.

Audio engineer Leanne Ungar said that Lissauer's simplistic approach to recording lead to some complications. Ungar and Lissauer tried mixing the chorus in a way that it would become more elaborate as the song progressed, but the limitations of dynamic range on the recording prevented them from doing so. Ungar was also opposed to certain aspects of the final song edit, such synthesized bass or the community-like sound of the choir. She recalled how Cohen would beg for her to the include reverberation in the song, but Ungar was against the idea of echo-like vocals. Ultimately she gave in, and was dissatisfied with the final mix.

Composition
"Hallelujah" is built around a simple melody, which moves at a tempo of fifty-six beats per minute; music critic Alan Light described the melody as "gentle but propulsive, a barely perceptible waltz rhythm adding complexity to a singsongy lilt". The song's chord progression mostly comprises notes from the C major scale, and is played in time, a metre that evokes the sound of gospel and folk music. "Hallelujah" has four verses, each repeating the same chord progression. A verse begins by alternating notes in the fourth and fifth degrees of the diatonic scale. Halfway through the verse, the melody ascends from the fourth degree until it reaches the major third. The Conversation wrote: "This passage is central to the song's emotional core, driving the listener into a state of near ecstasy." The song then transitions into the chorus, which begins with an ascending three note motif before descending, highlighting the fourth and fifth degrees.

Lyrically, "Hallelujah" is flush with references to the Hebrew Bible. For example, the first verse begins with Cohen narrating a story from the Books of Samuel, in which David plays a secret chord on his harp to cast away evil spirits within Saul. This opening line is immediately undercut, when Cohen remarks how his listener does not care about music. He proceeds by describing the literal chord progression of the song, with the lyrics "It goes like this: the fourth, the fifth / the minor fall, the major lift." The first verse ends with the line "the baffled king composing hallelujah". The word "hallelujah" is then repeated four times in the chorus; the repetition of the word occurs after every verse.

The second verse shifts to the second-person narrative, and Cohen now addresses the listener character from the first verse. The verse begins with "Your faith was strong but you needed proof", and Cohen recalls how the character was enamored by a woman bathing on a roof. This line is another reference to the Books of Samuel, when David was tempted by Bathsheba—the wife of Uriah the Hittite—bathing. The lyrics become more notably sexual, and describe the woman tying the character to a kitchen chair, and cutting his hair, an allusion to Delilah's betrayal of Samson in the Book of Judges. This verse ends with an image of sexual release: "And from your lips she drew the hallelujah".

Cohen's deadpan humor in the third verse acts as a rebuttal to the use of God's name in the previous verse, with the line "I don't even know the name / but if I did, well really, what's it to you?" He then builds upon the song's main premise: the value, and possible necessity in saying the word hallelujah. Cohen notes the power of the word, and that context of the word often does not matter, with the lines "There's a blaze of light in every word / it doesn't matter which you heard / the holy or the broken hallelujah.". In the fourth verse, Cohen discusses his fallibility and limits as a human, but also his well-intentioned beliefs. "I've told the truth / I didn't come to fool you." As the song concludes, the lyrics end on a positive note. Cohen says that even though all of the experiences in his life went awry, he will stand before God with admiration for having experienced these events.

Lyrical interpretation
Cohen never gave a concrete explanation as to the meaning of "Hallelujah", and would often change his answer whenever asked about song. In a 2008 interview, Cohen said: "The song explains that many kinds of hallelujahs do exist, and all the perfect and broken hallelujahs have an equal value. It's a desire to affirm my life, not in some formal religious way but with enthusiasm; with emotion. I know that there is an eye watching all of us. There is a judgement that weighs everything we do." This viewpoint changed in 2012 however, when Cohen offered a different explanation: "This world is full of conflicts and full of things that cannot be reconciled. But there are moments when we can...reconcile and embrace the whole mess, and that's what I mean by 'Hallelujah.'"

Singer-songwriter Felicity Buirski was a close friend of Cohen, and gave her own explanation regarding Cohen's ambiguity:

"Most singer songwriters don't like their songs torn apart and mauled by the thinking brain when so much poetry is about articulating often frozen inarticulate feelings, and Leonard was no exception. He once told me that he didn't have to explain away his songs when I pressed him on a certain lyric's meaning. As a songwriter myself I now know that the best poetry is often written just prior to understanding. To me Leonard's exceptionally beautiful song Hallelujah has touched the hearts, minds and souls of millions of people because it expresses a profound ambivalence that many of us have felt and endured...a deep yearning for connection and unconditional love."

Many singers who have covered "Hallelujah" have offered their interpretations. The Welsh singer-songwriter John Cale 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.

Canadian singer k.d. lang said in an interview shortly after Cohen's death that she considered the song to be about "the struggle between having human desire and searching for spiritual wisdom. It's being caught between those two places." Former Barenaked Ladies frontman Steven Page, who sang the song at Canadian politician Jack Layton's funeral, described the song as being "about disappointing people".

Ambiguity of the word "you"
American philosopher Babette Babich wrote extensively on the use of the word "you" in "Hallelujah". Babette notes that although Cohen often seems to address the listener directly in his songs, the ambiguous use of "you" in "Hallelujah" leads to the question of who "you" is referring to in the context of the song. In this first verse, Cohen appears to be talking to the listener when he states "you don't really care for music do you". This changes however in the second verse, when Cohen is now discussing Bathsheba bathing, implying that Cohen is now talking to David. The ambiguity is further strengthened with the lyrics about a woman tying and cutting the listener's hair, which appears to be in reference to Samson. Babette wrote "associations run riot in the song", and that "it is of sublime irrelevance (this is the consummate synthesis of the song) as the 'you' in question, whichever 'you' hears the holy or the broken hallelujah".

Release
Lissauer finished recording Various Positions in June 1984, and surmised it would be Cohen's breakthrough into mainstream popularity. CBS Records president Walter Yetnikoff was less enthusiastic however, and described the album as a "disaster". Lissauer suggested that Yetnikoff was expecting a more commercially viable pop album based on early reports of the recording sessions, while Ugnar said label executives simply did not hear a single on the album. Music critic Alan Light expanded upon this notion by stating how 1984 saw the release of three different albums that sold more than ten million copies, and that Yetnikoff may have doubted the commercial viability of an album by a fifty-year old musician using outdated recording equipment.

Regardless of the reason, CBS passed on Various Positions, and the album was issued by the independent record label PVC Records. Various Positions received such little publicity that Lissauer himself was unaware that it had been released in the United States until 1988. Neither "Hallelujah" or Various Positions charted within the United States; in Cohen's native Canada, the album peaked at number sixty on the RPM Top Albums chart. Initial reviews did not mention "Hallelujah", and instead focused more on Lissauer's production and other songs such as "The Captain" and "Dance Me to the End of Love".

Cohen began the Various Positions Tour in January 1985. Almost immediately into the tour he began to rewrite "Hallelujah", incorporating unused verses. Lissauer says this may have been the result of the album's rejection, while Ungar stated that it was normal for Cohen to rewrite songs while on tour, such as "Bird on the Wire" during his 2008-2010 tour. This new version of "Hallelujah" was considerably slower and had a much darker and sexual tone. The first three verses were replaced. The first verse now included a caustic depiction of love, with the lyrics "but this love, love is not some kind of victory march / no, it's a cold and it's a very broken hallelujah". The second verse was more bitter, with Cohen decrying the lack of sex with his lover. In the cynical third verse, Cohen admits that he has accepted that love is nothing more than a competition. A guitar solo follows, and leads into the final verse, which remained unchanged.

Charts
https://www.forbes.com/sites/jordanpassman/2016/11/11/goodbye-leonard-cohen-the-story-behind-hallelujah-and-the-5-best-cohen-covers/#32b0ebd92180 https://pitchfork.com/thepitch/1360-leonard-cohens-hallelujah-musics-greatest-work-in-progress/ https://www.jstor.org/stable/pdf/41213298.pdf?refreqid=search:3bb150adbdcf7542a6007231f54cc52a

Cover versions
Since 1991, "Hallelujah" has been performed by a wide variety of singers: over 300, and in various languages. Statistics from the Recording Industry Association of America (RIAA), the Canadian Recording Industry Association, the Australian Recording Industry Association, and the International Federation of the Phonographic Industry, show that, by late 2008, more than five million copies of the song sold in CD format. It has been the subject of a BBC Radio documentary and been in the soundtracks of numerous films and television programs. Different interpretations of the song may include different verses, out of the over 80 verses Cohen originally wrote.

In an April 2009 CBC Radio interview, Cohen said he found the number of covers of his song "ironic and amusing", given that his record label refused to release it when he first wrote it; however, he then claimed the song could benefit from a break in exposure: I was just reading a review of a movie called Watchmen that uses it and the reviewer said – "Can we please have a moratorium on 'Hallelujah' in movies and television shows?" And I kind of feel the same way...I think it's a good song, but I think too many people sing it. Conversely, in early 2012, while promoting his then-current album, Old Ideas, Cohen stated he wasn't tired of the song being covered: There's been a couple of times when other people have said can we have a moratorium please on "Hallelujah"? Must we have it at the end of every single drama and every single Idol? And once or twice I've felt maybe I should lend my voice to silencing it but on second thought no, I'm very happy that it's being sung.

1980s-1990s
One of the first musicians to cover "Hallelujah" was Bob Dylan, whom Cohen said was "the only person who seemed to recognize the song". In 1988, during the innagural year of his Never Ending Tour, Dylan experimented with covers of country and gospel standards. Among these songs was "Hallelujah", which Dylan performed twice. His live performances were captured on bootleg recordings; he sang some of the lyrics out of order, and his performances were much more aggressive than Cohen's original composition. The New Yorker likened his performances to the work of John Lee Hooker. Due to the gritty sound and incorrect lyrics, some critics view Dylan's interpretation as underwhelming.

1991's I'm Your Fan was the first Leonard Cohen tribute album, produced by the French magazine Les Inrockuptibles. Among the album's contributors was the rock musician John Cale, who performed "Hallelujah" as a solo piano arrangement. Cale heavily altered the lyrics by removing emotional ambiguity in exchange for more humanized verses. NME called this interpretation "a thing of wondrous, savage beauty". After hearing the song during one of Cohen's live shows in New York, Cale asked Cohen if he could have the lyrics. Cohen responded by faxing him fifteen pages of unused verses. Some of these verses discussed religion and Cohen's background, so Cale decided to instead choose what he described as the "cheeky verses".

Cale's simplified interpretation was not only the first well known cover of "Hallelujah", but it also served as the basis for most subsequent interpretations; even Cohen himself began to base his live performances on Cale's altered lyrics during his 2008-2010 world tour. Among those influenced by Cale's interpretation was

Jeff Buckley
Jeff Buckley, inspired by Cale's earlier cover, recorded one of the most acclaimed versions of "Hallelujah" for his only complete album, Grace, in 1994. It was posthumously released as a single in 2007, as Buckley died 10 years prior.

In 2004, Buckley's version was ranked number 259 on Rolling Stone ' s "The 500 Greatest Songs of All Time". The same year Time called Buckley's version "exquisitely sung," observing "Cohen murmured the original like a dirge, but ... Buckley treated the ... song like a tiny capsule of humanity, using his voice to careen between glory and sadness, beauty and pain... It's one of the great songs."
 * Critical reception

In September 2007, a poll of fifty songwriters conducted by the magazine Q listed "Hallelujah" among the all-time "Top 10 Greatest Tracks" with John Legend calling Buckley's version "as near perfect as you can get. The lyrics to 'Hallelujah' are just incredible and the melody's gorgeous and then there's Jeff's interpretation of it. It's one of the most beautiful pieces of recorded music I've ever heard." In July 2009, the Buckley track was ranked number three on the 2009 Triple J Hottest 100 of All Time, a listener poll held every decade by the Australian radio station Triple J." In 2017, The International Observer named Buckley's version of "Hallelujah" the greatest song of all time.

On April 2, 2014, it was announced that Buckley's version of the song will be inducted into the Library of Congress's National Recording Registry.

Buckley's version was not an instant hit, nor did Buckley live to see the full measure of the reception his recording would ultimately have; he died in 1997. The album on which it appeared did not go Gold in the U.S. until 2002, nine years after its release. In fact, like Cohen's original, the Buckley version was not released as a single, until much later, and it didn't chart until 2006, posthumously for Buckley. In March of that year, Buckley had his first national top 10 best-seller when "Hallelujah" was at number seven in Norway. In 2007, it made the top 3 on the Swedish charts. In March 2008, it topped Billboard ' s Hot Digital Songs in the U.S. after a performance of the song by Jason Castro in the seventh season of American Idol. The sudden resurgence of interest provided both Gold and Platinum status, the RIAA certifying the digital track on 22 April 2008. It has sold 1,144,000 digital copies in the US as of May 2010. It also hit number one in France in March 2008.
 * Commercial performance

The Buckley version has been widely used in film and television dramas, including the series The West Wing, Crossing Jordan, Without a Trace, The O.C., House, Dirt, Criminal Minds, ER, Third Watch, Ugly Betty, LAX, NCIS, Justiça and Sense8 and the films Feast of Love, The Edukators, Vinterkyss and Lord of War. "Hallelujah can be joyous or bittersweet, depending on what part of it you use", Time quoted Buckley's publisher as saying, and the magazine opined that its liberal use in some cases was "a tacit admission that neither the writers nor the actors could convey their characters' emotions as well as Buckley."
 * Usage in media

On April 20, 2013, Buckley's version of the song was played at Fenway Park during a tribute honoring the victims of the Boston Marathon bombing before the Red Sox played their first home game following the tragedy.


 * Charts


 * Certifications

Rufus Wainwright
Canadian-American musician and singer Rufus Wainwright had briefly met Jeff Buckley and recorded a tribute to him after his 1997 death. That song, "Memphis Skyline", referenced Buckley's version of "Hallelujah", which Wainwright would later record, though using piano and a similar arrangement to Cale's. Wainwright's version is included on the album Shrek: Music from the Original Motion Picture, although it was Cale's version that was used in the film itself. The Shrek soundtrack, containing Wainwright's cover, was certified 2× Platinum in the United States in 2003 as selling over two million copies.

Rufus Wainwright, his sister Martha Wainwright, and Joan Wasser performed the song in the film Leonard Cohen: I'm Your Man.


 * Charts

k.d. lang
In 2004, k.d. lang recorded a version of "Hallelujah" on her album Hymns of the 49th Parallel. She has since sung it at several major events, such as at the Canadian Juno Awards of 2005, where it "brought the audience to its feet for a two-minute ovation." Lang also sang it at the 2006 Canadian Songwriters Hall of Fame when Cohen was inducted into the Hall of Fame. Cohen's partner, singer Anjani Thomas, said: "After hearing k.d. lang perform that song at the Canadian Songwriter's Hall of Fame in 2006 we looked at each other and said, 'well, I think we can lay that song to rest now! It's really been done to its ultimate blissful state of perfection'." Lang sang it at the opening ceremony of the 2010 Winter Olympic Games in Vancouver, before a claimed TV audience of three billion.


 * Charts


 * Certifications

Espen Lind featuring Kurt Nilsen, Alejandro Fuentes and Askil Holm
In 2006, the Norwegian quartet of Espen Lind, Kurt Nilsen, Alejandro Fuentes and Askil Holm released a cover of the song. After debuting at number 8 on the Norwegian VG-lista, the single reached number one in January 2007. The song remained listed on the Norwegian top 20 for 37 (non-consecutive) weeks between 2006 and 2007.

The song also appears on the 2006 album Hallelujah Live, credited to Espen Lind with Kurt Nilsen, Alejandro Fuentes and Askil Holm, which also reached the top of the Norwegian VG-lista.


 * Charts

Alexandra Burke
Alexandra Burke, the winner of the fifth series of the reality television show The X Factor, released a condensed cover version of the song as a prize for her victory. It reached Christmas number one on the UK Singles Chart on 21 December 2008.

The release of Burke's cover created interest in the previous versions of the song, including a Buckley fan campaign to take Buckley's cover to the top of the Christmas chart and therefore deny Burke the top spot. The campaign was fuelled by Buckley fans' dislike of The X Factor's commercialism and the song's arrangement, as well as their desire to introduce younger people to Buckley's version. Burke herself was not enamoured of the choice of song, remarking "It just didn't do anything for me."
 * Background

Burke's version broke a European sales record after selling over 105,000 digital downloads in just one day, breaking the previous record set by Leona Lewis. The song sold 576,000 copies in its first week, becoming the fastest-selling single released by a woman in the United Kingdom and the 2008 Christmas number one, while Buckley's cover charted at number two and Cohen's original version at number 36.
 * Commercial performance

On 28 December 2008, the UK Singles Chart listed Burke's version as the biggest-selling single of the year, with NME announcing sales of over one million copies since its release. This also made Burke the first ever female British artist to have a million-selling single in the UK. It has sold 1.297 million as of August 2016, making it the biggest-selling X Factor winner's single to date.


 * Charts


 * Certifications

Pentatonix
The a cappella group Pentatonix covered the song in the quintet's 2016 album, A Pentatonix Christmas. On October 21, 2016, Pentatonix also released a music video for its cover.


 * Certifications

Other cover versions
Bob Dylan was among the first to perform Cohen's song in concert with his earliest noted performance being in Montreal on 8 July 1988. Other notable singers who have covered "Hallelujah" include Brandi Carlile, Regina Spektor, Willie Nelson, Susan Boyle, Tim Minchin, Alter Bridge, (Myles Kennedy), and Bono. Bono's version, which is mostly spoken, was included in Tower of Song, an all-star tribute to Cohen in 1995. Bon Jovi has covered the song several times in concert, including on their 2008 Live at Madison Square Garden DVD.

International group Il Divo released a Spanish-language adaptation with different lyrics on their album The Promise (2008), which topped the charts in the UK. The song was performed by recording artist Damien Rice at the 2008 Rock and Roll Hall of Fame inductions when Cohen was inducted. That same year Welsh mezzo-soprano Katherine Jenkins recorded a classical-crossover version for her album Sacred Arias. Kate Voegele performed it in character as Mia Catalano in the U.S. teen drama One Tree Hill. Also appearing on an album, her version made the Hot 100 Billboard charts and reached number 53 in the UK shortly after airing of the episode there. Also in 2008, the Welsh band Brigyn released a version in Welsh.

The song has become a staple of television talent shows. Jason Castro, an American Idol season 7 contestant, performed a version on 4 March 2008, which propelled Jeff Buckley's version of the song to the top of the Billboard digital song chart. His version was included in his self-titled debut album and his second studio album, Who I Am. Lisa Hordijk, winner of the 2009 Dutch X Factor, released "Hallelujah" as her debut single, which went double platinum and remained at the top of the Dutch charts for ten weeks.

A 2009 hit by Orthodox Jewish singer Ohad Moskowitz, "Bo'i Kala", featuring the words of the traditional tune accompanying a Jewish bride to the chuppah, is a musical adaptation of "Hallelujah".

On 22 January 2010, American musicians Justin Timberlake, Matt Morris, and Charlie Sexton performed a live cover version of "Hallelujah" during the Hope for Haiti Now telethon in support of those affected by the 2010 Haiti earthquake. A recorded version was released the following day on the Hope for Haiti Now soundtrack album and reached a peak of No. 13 on the Billboard Hot 100 chart.

On 16 April 2010, the Edmonton Symphony Orchestra and the Richard Eaton Singers conducted by Jack Everly premiered a new arrangement for orchestra and chorus by Claude Lapalme. Also in 2010, the Maccabeats of Yeshiva University released Voices from the Heights, with an a cappella version of "Hallelujah" set to the Hebrew words of the Shabbat liturgical poem "Lecha Dodi".

Steven Page performed the song live at the state funeral of Canadian Opposition Leader Jack Layton on 27 August 2011.

In May 2012, Canada's Royal Winnipeg Ballet presented the World Premiere of The Doorway – Scenes from Leonard Cohen, created and choreographed by Jorden Morris – with "Hallelujah" performed by Allison Crowe (voice and piano) and ballerinas Sophia Lee and Jo-Ann Gudilin dancing alternate dates."

On the third season of the American version of The Voice, contestant Nicole Nelson sang "Hallelujah" in the "Blind Audition" stages, and all four coaches selected Nelson for their team. Later in the season, the show recorded a shortened version in honor of the victims of the Sandy Hook Elementary School shooting. All four coaches — Adam Levine, Blake Shelton, CeeLo Green and Christina Aguilera — performed, with hosts Carson Daly and Christina Milian along with the show contestants singing background vocals. Each person in the ensemble held up a card that displayed the name and age of one of the people lost in the tragedy.

American entertainer Adam Sandler performed an off-color parody of "Hallelujah" in December 2012 at Madison Square Garden in New York City as part of 12-12-12: The Concert for Sandy Relief. Sandler's version contained numerous references to Hurricane Sandy and contemporary events in local culture, sports and politics.

On 31 May 2015, a 167-piece operatic choir, Côr Glanaethwy, sang a rendition in Welsh in the final of Britain's Got Talent (series 9). They came third in the competition.

Singer Tori Kelly performed the song during the "In Memoriam" portion of the 68th Primetime Emmy Awards.

On 12 November 2016, an episode of Saturday Night Live opened with cast member Kate McKinnon as Hillary Clinton performing a rendition of the song in tribute to both Cohen and Clinton; the preceding week had seen both Cohen's death and Clinton's unexpected loss to Donald Trump in the 2016 U.S. presidential election.

Multiple orchestral and instrumental versions of the song have also been performed. The Vitamin String Quartet included a rendition on their album The Indie Wedding String Collection. Violinist Lindsey Stirling also recorded an arrangement of the song in accordance with the A Savior is Born campaign, created by the Church of Jesus Christ of Latter-day Saints. Stirling uploaded a video of her performing the piece in a New York City Subway station to her YouTube channel. During her performance in the subway station, though, not one person stopped to listen to her play.

Other artists to cover the song include Marcy Playground, Allison Crowe, Straight No Chaser, Elvis Blue, G.E.M., Tori Kelly for the animated film Sing, Veronica Rotin, Peter Hollens, Axel Rudi Pell, Celtic Thunder,  Kathryn Williams, Imogen Heap, Draco Rosa, Neil Diamond, Pain of Salvation, Ulf Lundell, Kevin Max, Popa Chubby, Davy Knowles, Theory of a Deadman and The Osmonds. Rea Garvey sang it on the soundtrack to the German romantic comedy Barfuss.

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 one 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.

Other charted versions
Notes


 * A Bastian Baker's version of "Hallelujah" did not enter the Ultratop 50, but peaked at number 5 on the Wallonia Ultratip chart.