between the original French and Zaret's English versions; he comments that Leonard Cohen's "The Partisan" is "substantially Zaret's", and while it does also contain verses sung in the original French, references to "The Germans" in the English verses, "become the more neutral 'soldiers and "the shelter-giving 'old woman' is ' (English: "an old man"). Giacomo Bottà describes Zaret's adaptation as "relatively faithful", while in the Académie de Lyon's evaluation of "La Complainte du partisan", its adaptation and cover versions, they write: (English: The version of Leonard Cohen offers a faithful translation, except the last stanza, which is much more positive: the resistant will come out of the shadows and freedom will return. The Resistance is shown more as a hero, who is placed in the light, once freedom has returned). They state that: (English: Cohen was fascinated by this song and wondered, moreover, "if music and writings alone did not overthrow Hitler"). Leonard Cohen's cover version While living at a rented farm in Franklin, Tennessee, Leonard Cohen worked on his second album Songs from a Room with Bob Johnston, its producer. In the candlelit Columbia Studio A on Music Row, Nashville, Johnston created a relaxed atmosphere for, what Mike Evans, in his book Leonard Cohen: An Illustrated Record, calls "suitable, and non-intrusive, backing" by the assembled session musicians: Charlie Daniels on bass, fiddle and guitar, Ron Cornelius on guitars, Bubba Fowler on banjo, bass, fiddle and guitar, and Johnston himself playing keyboards. Ten songs were recorded in one eight-hour session, half of which ended up on the album. The recording of "The Partisan" utilized only a classical guitar, double bass, and accordion along with vocals by Cohen and female voices. Bottà states, of Cohen's recording of Zaret's adaptation, that "the melody and chord structure is considerably different from the original" by Marly. Both writing for the Guardian, Adam Sweeting, in Cohen's obituary, and Dorian Lynskey, in his music blog article, refer to Songs from a Room as being bleak. Sweeting states that it is "another powerful but bleak collection", while Lynskey calls it "sparser and bleaker than the debut", Songs of Leonard Cohen. Cohen first learned "La Complainte du partisan" from The People's Songbook as a fifteen-year-old boy at summer-camp in 1950. Using Zaret's predominantly English adaptation to record the song, with the title "The Partisan", left Cohen dissatisfied, and he suggested to Johnston that French voices were needed on