abundance, sometimes very rarely, and that some of these figures act as archetypes or prototypes for another generation which will manifest these characteristics a lot more easily, maybe a lot more gracefully, but not a lot more heroically. Another twenty years later she would have been just like you know, the hippest girl on the block. But twenty years before she was - there was no reference to her, so in a certain way she was doomed. In sheet music for the album, a song titled "Priests" was included, and although reportedly recorded, it didn't appear on the LP or on any subsequent Cohen record. The song was recorded by Judy Collins on her 1967 album Wildflowers, and by Richie Havens on his 1969 album Richard P. Havens, 1983. The album cover is a simple black-and-white photo heavily matted as to almost wash out Cohen's face. The back cover features a black-and-white photo of his Norwegian girlfriend Marianne Ihlen sitting at a desk with a typewriter, books and some papers. The picture was taken on the Greek island of Hydra. Cohen used their seven-year relationship as the basis for several of some his earliest songs, including "So Long, Marianne", "Hey, That's No Way To Say Goodbye", and "Bird on the Wire". Reception Songs From a Room was released in April 1969 and hit #63 on the U.S. charts and #2 in the UK. A single, "The Old Revolution", was released but did not chart. Like his debut LP, it received mixed reviews from critics, who were put off by his unusual singing voice but intrigued by the songs. In the original Rolling Stone review, Alec Dubro wrote, "Well, it looks like Leonard Cohen's second try won't have them dancing in the streets either. It doesn't take a great deal of listening to realize that Cohen can't sing, period. And yet, the record grows on you..." Mark Deming of AllMusic calls it "something of a letdown" and "neither as striking or self-assured as Songs of Leonard Cohen" but concedes, "Despite the album's flaws, Songs from a Room'''s strongest moments convey a naked intimacy and fearless emotional honesty that's every bit as powerful as the debut, and it left no doubt that Cohen was a major creative force in contemporary songwriting." Writing in 2011, Cohen biographer Anthony Reynolds declared, "Compared to the relative 'party' of the previous album, Songs From a Room