And it did seem like when you were working with him later, had he found – any piece

well when i first started working with him it was 1988 so um i think he was delighted with how that record i'm your man had been accepted and celebrated all over Europe.

Still, he wasn't that well known in the States and it was hard for him to get bookings here.

But in Europe, he was a superstar.

And I think he was delighted with that fact.

All the gigs we did, it was first class all the way.

We did stadiums.

So when you're doing your record, your current record, your tribute to him and your relationship with him as a friend, how do you look at a career this vast and decide how you're gonna whittle it down politically, emotionally, stylistically?

Here's Perla.

Just after having completed a tour in Europe with my band f- of Spanish musicians, I started working on this album of Leonard Cohen songs, and I was very excited about it.

COVID hits, and then I lost my mother to COVID, um, lost my dear friend to COVID, one right after the other.

And so I went into a further state of absolute despair and grief, and didn't think much about my recording until finally I thought, "I have to do something.

I can't just sit here and grieve." So I went back to my guys and I said, "Send me the files." Well, I got the most upsetting message from my producer, who said, "I lost all of the files." [percussive music] I was at, in a state of shock s- I w- it was a numb kind of feeling where you just say...

that you can't say anything.

I lost all of my work, uh, had very little money, and I just thought There's no way I can start over.