The song presented the lyricist Anand Bakshi as a versatile lyricist and shaped his career. at the end of each stanza is that of Usha Iyer, who also chants Hare Krishna Hare Rama with the chorus. However, due to some changes, the song ended up being a solo sung by Asha Bhosle.
Claude Gassian On Photographing Leonard Cohen: “He possessed grace and class… His eyes sparkled with laughter.The song was originally intended to be a duet, with Lata Mangeshkar singing for the "good girl", and Usha Iyer (later Usha Uthup) singing for the "bad girl". Q: Tell us about the song that defines Canada for you? Rufus Wainwright: “In this Leonard Cohen world right now, the song Suzanne really represents everything that is mysterious…about great Canadian songwriting…”. Vin Scelsa’s Idiot’s Delight, WFUV-FM: J. Nonsense Syllables in the Music of the Ancient Greek and Byzantine Traditions by Diane Touliatos. Note: The preceding text and the graphic atop this entry were originally posted at, a predecessor of Cohencentric. And yes, I know Jan and Dean, Bobby and Jerry, Frankie Lymon, and others have released songs setting forth their claims to having themselves been the bomp-putters, but the question remains unsettled. This entry was originally posted Sept 8, 2015. I am republishing selected posts from my former Leonard Cohen site, Cohencentric, here on (these posts can be found at Leonard Cohen). The answer to the mysteries: Do dum dum dum, de do dum dum.Īlso See: Ooba-Ooo Ooba-Ooo: Leonard Cohen’s 1980 Tel Aviv Memories Monologue & Precursor Of 2008-2010 Tower Of Song’s “Do-Dum-Dum-Dum” Because it’s a rare thing to come upon this, and I’m going to let you in on it now. And I have stumbled on the answer, and I’m not the sort of chap who would keep this to himself.ĭo you want to hear the answer? Are you truly hungry for the answer? Then you’re just the people I want to tell it to. I’m so grateful to you because tonight it’s become clear to me, tonight, the great mysteries have unraveled, and I’ve penetrated to the very core of things. The pertinent passage, transcribed below, begins at 6:33 in this video (the video should automatically begin at the beginning of the pertinent portion) In some instances, Cohen has, in fact, elevated the significance of this phrase to cosmic levels. When Jennifer came up with that part, I knew we’d nailed the song … That really gave the song the perspective of real humor. In a 1993 interview, 4 Cohen explains the effect of those syllables as well as naming the musician with whom they originated: The chorus of Tower Of Song, however, offers his most well-known use of nonsense syllables. Leonard Cohen, among the most elegant and precise of songwriters, follows in this tradition with a number of tracks in which he or his backup singers vocalize La La, Dum Dum, and other (ahem) non-lexical vocables. Traditional Deck The Halls: Fa-La-La-La-La, La-La-La-La. Paul McCartney in Life Goes On: Ob-La-Di, Ob-La-Da. Police in De Do Do Do De Da Da Da: De Do Do Do, De Da Da Da. 
The Crystals in Da Doo Ron Ron: Da Doo Ron Ron. Gene Vincent in Be-Bop-A-Lula: Be-Bop-A-Lula. 
Van Morrison in Brown Eyed Girl: Sha La La La La La La La La La La Dee Dah.Marcels in Blue Moon: Bomp Bomp Ba Bomp, Ba Bomp Ba Bomp Bomp and Dip-De-Dip-De-Dip.Manfred Mann in Do Wah Diddy Diddy: Do Wah Diddy Diddy.Edsels in Rama Lama Ding Dong: Rama-Lama-Ding-Dong.Little Richard in Tutti Frutti: A-Wop-Bop-A-Loo-Bop-A-Lop-Bop-Bop.
Barry Mann in Who Put the Bomp: Bomp Bah Bomp Bah Bomp, Rama Lama Ding Dong, Bop Shoo Bop Shoo Bop, and Dip Da Dip Da Dip.Nonsense syllables, known in musicological circles as non-lexical vocables, have long been a part of music, having been used in second century AD Greek and Byzantine music 3 and manifesting more recently in such forms as yodeling, scat singing, beatboxing, and doo-wop.Ī few examples of popular songs featuring nonsense syllables follow: More about that in a moment.ĭo Dum Dum Dum, De Do Dum Dum – Nonsense Syllables In Leonard Cohen’s Tower Of Song While the above photo, taken in Montreal by Leslie Py Wener, makes a case for a confectionery theory of the genesis of those syllables, 2 Mr Cohen himself attributes that phrase to another singer-songwriter. Echoing Barry Mann’s metaphysical query, “Who Put the Bomp (in the Bomp, Bomp, Bomp),” 1 is the question of the origin of the “Dum Dum” – an essential component in the key “Do Dum Dum Dum, De Do Dum Dum” refrain of Leonard Cohen’s Tower Of Song.
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