I'm Your Man

There are lyrics-first listeners. There are music-first listeners. I think lyrics-first listeners are more rare, and I bet all of them love Leonard. We music-firsters won't give the lyrics the time of day unless the sound hits right. Leonard is a wonderful poet and this album sounds pretty bad. I dated a girl who thought I'm Your Man was one of the sexiest songs of all time. I can feel the message, but why deliver it over a Casio keyboard? My only guess comes from the banana - the hilarious banana Leonard is eating on the cover in a cool suit and shades. Maybe age taught him that there's a joke underneath everything serious and heavy. If you want to deliver heavy lyrics, maybe it makes more sense to drape them in a funny soundscape, complete with ironic-cheesy backing vocalists. Deep poetry, banana music. B

if anyone tells you this is their favorite cohen album run far away

In my younger days I used to go to a pub called the Winchester, which was in Bournemouth, for what was an 'anything goes' night. Any band or artist could book a slot, irrespective of talent, which made it a great opportunity to see some oddballs. You mostly got youthful hipsters or anti-music noise bands (one act once cranked out guitar feedback for half an hour), but one time a middle-aged guy with a beer gut and receding hairline showed up with a Casio keyboard and played a set that sounded almost exactly like I'm Your Man (if played solely on a cheap keyboard). All the songs were about his divorce and how much he missed his kids. Four stars.

“I’m Your Man” by Leonard Cohen (1988) This album does not disappoint on any level. Leonard Cohen’s strong poetic lyrics on this record are, as always, deeply immersive. With scrappy and sometimes scattered allusions that successfully beg for the listener’s thoughtful reflection, his songs are always perfectly cadenced and well synthesized, each one tied together by unifying (and frequently quite dark) themes. From the understated horror of the pretense of normality in the midst of a plague (AIDS, in “Everybody Knows”) to the tortured feelings of a man who still loves a woman he knows he’ll never get back (“I’m Your Man”), to the insidious insertions of jazz riffs into pop fusion compositions (“Jazz Police”), Cohen is consistently intriguing. The musical settings all sustain interest (although “Take This Waltz” struggles in this department). And all are capably performed by Cohen, with his signature croaky baritone, and his excellent backing musicians. But the song that commands all the attention on this album is the opening track “First We Take Manhattan”. Cohen himself called it “a terrorist song”—a ballsy response to the (anti-Semitic/anti-Israel) terrorism that was growing in the 1980’s. From the 1970 Munich bus attack to the 1972 Munich Olympics massacre to the 1980 Munich Oktoberfest bombing to the 1982 bombing attack at Berlin’s Mifgash-Israel restaurant to the 1985 Frankfurt Airport bombing, Jews in the West had understandably had enough. In response to that physically violent terrorism (for which he had a qualified respect), Cohen offered this song as an act of retaliatory ‘psychic terrorism’: “First we take Manhattan, then we take Berlin”. In an interview, Cohen explained the song with an analogy to a poem by his friend and mentor Irving Layton (“Terrorists” in The Pole-Vaulter, Toronto, 1974) which he paraphrased: “Well, you guys blow up an occasional airline and kill a few children here and there, But our terrorists, Jesus, Freud, Marx, Einstein. The whole world is still quaking...”. The references to “you guys” and “our” should be obvious. The sentiment that Cohen inherits and alters (from Layton’s poem: “Jewish terrorists, ah: Maimonides, Spinoza, Freud, Marx”) is that while anti-Semitic terrorism kills the body, Jewish ‘terrorism’ changes the cultural soul (cf. Matthew 10:28). [Hat tip to Prof. Louis Schwartz of the University of Richmond for the Irving Layton poem connection]. Now whatever one thinks of this hyper-volitional notion of cultural “Jewish terrorism” Leonard Cohen delivers it both vocally and musically with shudderingly haunting power. Cosmic, apocalyptic, militaristic, and almost gleefully anticipatory of the moment of vengeance, Cohen’s lyric calls us to take stock of the world soul in the midst of this conflict. You don’t want to go there. But maybe you have no choice. This one track, “First We Take Manhattan”, is reason enough to listen to I’m Your Man, not just for entertainment, but for insight, no matter whose ‘side’ you’re on. 5/5

Sounds like a PSA for the dangerous of cocaine. Leonard re-establishes that he's a total creep. I hate this so much.

A quinessential case of an exceptionally talented, middle-aged artist hitting 80s production styles in the same way a roast dinner hits the floor: you can salvage quite a tasty bit, but some will need to be thrown away, and you'll ultimately be left disappointed. The alum's strength is obvious: here are some of Leonard Cohen's best, sharpest lyrics, blades dipped in lemon juice. Oft wry, indeed comical, the whole album has a slightly sleazy overtone; one is much reminded of Serge Gainsbourg in its erotomanic cynicism, especially on Everybody Knows' bitter rationalization that everyone is in on life's big con. The album's end, Tower of Song, is Cohen's great apologia to the craft of songwriting, a monumental track that still holds the power to make listener shiver. However, the album has a critical flaw: the music (which seems rather an important flaw for an album to have). Cohen employs his synths and drum machines almost recklessly (and Jazz Police can be considered a fully reckless employment), and thus the album becomes stuck in such an archaic aesthetic that often the nod a top-notch couplet inspires is married to an involuntary wince at the Casio beat (and trust me, I'm not at all averse to synthpop). The best songs on this transcend that limitation, and maybe a more acceptive listener could relish the musical direction Cohen takes, but I found appreciating the greatness on this album required recognising a few caveats.

Sounds like a bootleg 80s synths Johnny Cash.

It's as if Alan Partridge was asked to write the soundtrack to Scarface.

Last week I said 'you want it darker' was perhaps Cohen's best album but I had obviously forgotten about this masterpiece. Cohen's razor sharp lyricism is matched with a rocking synth based sound. Every song is a classic.

On one hand, the songwriting here is undeniably stellar, and his voice can absolutely put me in a trance. On the other, so much of the instrumentation and arrangement is just absolutely NOT for me. It really depends on the song to see which one wins out on this album.

This one was super weird. Love the imagery and turn of phrase in the songwriting; absolutely hate the backing vocals and the corny string arrangements. A baffling album. Best track: Tower of Song

Leonard Cohen plus 80s synths, drum machines and production--what could possibly go wrong? As ever, Leonard Cohen's poetry is pointed and lucid. The challenge for Cohen has always been to come up with music that hopefully enriches his lyrical content or at the very least, doesn't make you want to hurl. Not surprisingly, he fails miserably here. Having listened to two of Cohen's later albums beginning to end, it's apparent that his compositional style has remained remarkably consistent throughout the years. All that really changes are superficial styles and instrumentation. This hasn't hurt Leonard Cohen commercially or critically, which is a bit surprising. Why is everyone so eager to give Leonard Cohen a pass? I'm reminded of a quote from the movie Chinatown: "Course I'm respectable. I'm old. Politicians, ugly buildings, and whores all get respectable if they last long enough."

I can see why some people would like this album, interesting lyrics, but not for me.

This was by far the worst album I’ve received on this list so far. I just don’t understand the hype for Leonard Cohen. Not only are his vocals terrible to listen to. His lyrics are nothing exciting. And the production was the most cheap 80s sound You could imagine. The only song with any redeeming production was “Take This Waltz.” “I’m your man is just a horny man lamenting about love over a cheap rip off of Pink Floyd’s synths from shine on you crazy Diamond. “Jazz Police” is right, because somebody needed to arrest this man for the music he was making. “Tower of Song” was actually alright as a closer, or maybe I was just happy that the album was over.” First we take manhattan - 2 Ain’t no cure for love - 1 Everybody Knows - 2 I’m your man - 1 Take this waltz - 3 Jazz police - 1 I can’t forget - 2 Tower of song - 2 Total 14/40 1.75/5

Some all-time great songs on this (First We Take Manhattan, Everybody Knows, I'm Your Man, Tower of Song). But, oof, that 80s production. The synths, the saxophone solos, the stacked backing vocals. His singing is not bad, probably amongst the best he has ever sounded. But is it a coincidence that I love many of these songs in cover versions? The production really distracts me. Five stars for the songs, one off for the sound. {Footnote: I love the cover photo. Leonard's looking pretty sharp in his double-breasted suit and shades, but holding a half-eaten banana. Hilarious!}

Ah yes the new wave, cocaine guy Cohen album. I dont hate it, as it reminds me of, say, Blixa Bargeld vocals (which on this record are WAY too loud in the mix) but I’ll give it a shot. The first track had me giggling like picturing him on a stage that’s set up like an Olan Mills photoshoot. Smoke and laser shit. The lyrics are ridiculously silly, as if he’s describing a drug fueled night where you think you’re captain America on copious amounts of speed. Track 2 starts off with a sexy sax solo which seems to take itself seriously, so of course it’s terrible. This sets off a horrible theme of longing but it’s gross, like the kind of slick weirdo in his older years trying to hook up with someone 30 years his junior: YUCKY. Track 3 sounds like how I sound when I’m drunk and trying to figure my life out, so I’m whispering to a stranger in a bar in a French accent for some reason. Reminds me of a Disney villain describing his devious plans. The lyrics get progressively worse so I kind of tuned out a bit for I’m Your Man, but god damn dude too much coke makes your bits n pieces inoperable! Cripes man! Jazz Police legit made me spit my coffee out. Absolute garbage track. How is this record on this list?? Jeez haha.

This morning we have Leonard Cohen and his album "I'm Your Man." I've loved Leonard Cohen for as long as I can remember. Tower of Song and Everybody Knows? Five stars no doubt. The other songs are great and I'm Your Man also a highlight. The synthesizers and 80s style music doesn't sound dated like so much of the music of the period. As mentioned in some reviews, his voice sounds engaged and lively, and this was exactly the music I needed on this cold February morning. It's like taking a trip with an old friend. Living in Leonard's world is always a welcome respite. Leonard and Johnny Cash are who I would always turn to in very difficult times. After 9/11 I listened to nothing but Cash for weeks on end. On the morning after election 2016, I was in shock and feeling very lost - Leonard came through to help me feel whole. Everybody Knows! In it's original context! The pandemic has been fucking brutal lately, thanks Leonard for helping to help me feel sane and okay again.

I had heard some of Leonard Cohen's music before, but always as stand-alone songs, and even though I was always so drawn in and intrigued by his music, I don't know why but I never really listened to whole albums or watched concert videos or anything like that. Now, after having listened to this album all the way through, I most certainly will. What a fascinating artist. A wonderful dark yet somehow quite light meandering, layers and textures, lyrically poetic, so many things evoked. LOVE his voice; reminds me of espresso. Wish I had seen him perform live. I need to learn more. PS -- not sure if the nod to The Police's 'Every Breath You Take' in 'Ain't No Cure For Love' via the arpeggiating guitar underneath the verses (my ear isn't good enough to tell you if the chord progression is the same, but it sounds similar) is intentional, but it's cool (not being snarky...so many songs sound like each other that I don't too hung up on requiring artists to be "original" -- heck, no doubt if we really want to we could probably find a bunch of older songs that sound like 'Every Breath You Take' and then a bunch of even older songs that sound like those, etc.

One of my favourite albums

Great 80s LC album, even though I usually skip 1-2 songs. The last two songs are very strong have been greatly improved by covers of the Pixies and Nick Cave, respectively. And the same holds for the opening song (by REM)

че-то я угарнул, конечно, когда вместо акустики начался синтвейв какой-то. но внимательно послушал несколько раз. конечно, уже не совсем то, чем были «Songs of...», чувствуется более коммерческая жилка, Манхэттен — настоящий хит (кстати, у Джо Кокера неплохой кавер на неё был). Ну и лирика меня прямо калила в некоторых местах, какой-то куколдизм проклёвывался время от времени. с таким голосом разве о бабах нужно страдать... ну не суть, дед всё равно малаца, за First We Take, Jazz Police и Everydoby Knows можно четверочку въебать. Вернее я теперь решил ставить оценки по 10-баллке для большего размаха, поэтому пусть будет 7

Was tossing up between 3 or 4 out of 5. I love Leonard Cohen's music and poetry but this 80s style electronic sound made it just a little hard to get into, I feel it will get better after more listens but it's normally not my thing. Lyrically this album is great. What made it a 4 outta 5 was 'take this waltz' - what a fucking tune.

Wow what a voice, what an experience. I love the baritone and sultry vibes of this record. I love how his voice is buttressed by the soft backing vocals. -1 star for the synth use. Don't care for that sound, even if it was edgy for the times.

Haha they love Leonard Cohen, huh? This is better than the other one we reviewed, but it's not my thing. He sounds like an off-brand Roger Waters. Best songs are the first couple. I have to say I like Concrete Blonde's Everybody knows much more. Still glad I was exposed to this since he is everywhere now that I know who he is.

Cheer up, dude.

Hard to believe this is the same artist who put together ‘Songs.’ Arrangements are one-note, instrumentals are cheesy, and the overall product is just disappointing

p586. 1988. 2 stars. This has not aged well - it sounds like every bad drum machine, synth and mid-80s cocktail bar musical cringeworthy cliche you can imagine. In particular the female backing vocalists and whoever did their arrangements need to be taken outside and shot. Twice. Shame, as there are some cracking tunes here, and lyrically he is still light years of the game.

I prefer the folky Leonard Cohen to this by far. This sounds like a satire of late 80s production values. Almost painful hearing him trying to reinvent himself. I don't think it's the songs themselves that are bad necessarily, it's the arrangements (and how they were recorded). I take that back, "Jazz Police" is just plain bad all around. Is it intentionally ironically bad? "Guys like me are mad for turtle meat?" WTF? It's like something from Tim and Eric's Awesome Show... If I want to listen to some deep voiced 60s/70s icon reinventing themselves in the 80s, I'd much rather listen to Scott Walker's "Climate of Hunter."

The 80’s really did ruin everything uh? Wtf is going on with those choruses and keyboards?

I LOL'd. Then I tried to give myself a chance to "get" it and never did. When Jazz Police came on, I LOL'd again. The backing tracks are certainly stylized but they are interesting in the way Ween's tracks are interesting. I don't find the lyrics particularly poetic or deep, however. I must be missing something but I won't be back to find it.

Hey Len. I've got good news and better news. Let's go with the good first. The record company love your new songs. And the better? They feel inside the Laughing Len persona (so passe) there's a modern MTV star just waiting to be unleashed. They do. They do so much they've put it in your new contract. You do want a new record contract don't you? I guess so. Excellent. So sign here for gated drums. Here for over-assertive backing singers. Here for casio tone synths. Here for fretless bass. And here - very exciting this - for what they're calling 'Paul Hardcastle style' for Jazz Police. What's that I hear? It's the sound of MTV Heavy Rotation Baby. You know the wierdest part of the whole thing? Cohen produced the album himself. Listen to Jazz Police and wonder if the whole thing isn't a satire on the 80s music industry. Four stars for the songs, 0 for the production.

The synths are so out of place here it is really strange

Oh Leonard. You were better than this. This album is SO disjointed. Waltzes, and synth and crazy high background singers... I'm gonna start making people listen to Jazz Police when the say they like Leonard Cohen but can only name one song. (And you know what song I mean)

I'm Your Meh

And I thought I liked Leonard Cohen... It genuinely sounds like a parody of 80s production, like I'm stuck inside a cruise ship bar for lonely middle-aged men on karaoke night. The loneliest and oldest man, whose wife disappeared in mysterious circumstances, now earns a living mumbling words while demoing the worlds first MIDI keyboard. Up until 'Jazz Police' I would have argued it's just extremely dated production. But I now insist this entire album was an elaborate troll and somehow 80s audiences unironically ate it up. It's the only logical explanation. The literal opposite of polishing a turd.

A few decent songs but Jesus Christ

Is he an amazing poet? The lyrics on this made me chuckle in a couple of places, but generally this sounds like an old guy who is being indulged in order to make a bit of cash. The backing music is just ridiculous. This album deserves a 1 just for the gratuitous use of corny plastic sounding slap bass. Not quite though, it's unique and charming enough for a 2. Just.

Not sure why this is on the list really, feels like Cohen trying to ride a wave that he really doesn't belong on. First We Take Manhattan is quite a fun song, but really doesn't suit his voice, the rest is at best okay with a few wanderings into dreadful (Jazz Police in particular). 2/5.

The wiki notes for I'm Your Man say "the album marked Cohen's further move to a more modern sound, with many songs having a synthesizer-oriented production" and, while that's true, God it's cheesy. It's awfully 80s for late 80s, it's like a kid discovering all the possibilities and throwing them into all the songs, and it's only really his voice and some other small details that make this slightly listenable, like most of the songs do hold a tune and keep your attention. It's not good though, it's a 2.

No. 199/1001 First We Take Manhattan 2/5 Aint No Cure For Love 3/5 Everybody Knows 2/5 I'm Your Man 2/5 Take This Waltz 3/5 Jazz Police 2/5 I Can't Forget 3/5 Tower of Song 2/5 Average: 2,38 My least favorite Leonard Cohen so far. Didn't really like the musical arrangements here.

No you are not.

It's... like some dude started songwriting when he was HORNY then by the time came to record he was hopped up on barbiturates

I can't think of a world where I would find this album remotely enjoyable. 80's casio keyboard music and spoken word vocals that overwhelm everything else on every track is just god awful. A dumpster filled with diarrhea and cat piss would be too good of a trash receptacle to throw this away into.

Did Leonard Cohen find a Casio keyboard in a dumpster and decide to make this album with it? Not enjoyable or good.

Now I don't like Leonard Cohen. But I can appreciate the man is a talented poet. And whoever decided it was a good idea to butcher his words with an 80s synth album doesn't deserve to work in the music industry. Good god this is an insulting album to everyone involved.

Imma be real, I hated this. Sounded very 80s (derogatory)

Classic. Leonard is not the strongest singer but the lyrics maku up for it all.

Such an amazing album. Four of the songs are all-time classics, with Everybody Knows being one of the greatest songs ever written. The synthesizers are a little cheesy, but I have to give this one 5 stars.

No bad songs, so many great ones. Would've given it 4.5 stars if I could because it's not a 'perfect' record.

MUY GUAY

O cara é foda, que vibe maravilhosa!!

Una maravilla infinita.

Obvious 5

One of his best.

Mjy buen albúm, de lo mejor de Leonard Cohen

Amazing album. Has loads of my favourite Cohen songs! Could listen to this one forever

Very nice album Love the dark witty lyrics Paul Simon singer/songwriter vibes Everybody Knows, I'm Your Man, Jazz Police and Tower of Song were particular favourites

The easy way the music entangles with the lyrics show the mark of a poet in love, in love with music, with women, with love, , with life and death. Easy to listen, easy to remember, impossible to forget.

Favoriete nummers: - First We Take Manhattan - Take This Waltz - Jazz Police

One of the classics I've never heard of that is so good

Great Album!!

Stacked! Some of my favourite Leonard tunes here Fav tracks: "First We Take Manhattan", "Tower of Song" "I'm Your Man"

Love it! Dreaming away with that voice

Leonard Cohen proves he isn't just a miserabilist. Brilliant album.

Leonard never was the most photogenic guy around but his banana photo sure does work. This album was a continuation of Leonard trying to freshen up his sound. This and Various Positions are the two original studio albums of his that I played the most. So I guess that means the fresh sound worked for me although I never really liked First We Take Manhattan and Jazz Police which are the most freshened up.  There are some monster songs on here. Everybody Knows, I’m Your Man and Tower of Song are classics and showcase his sense of humour. The best lyrics from a purely artistic sense are in Take This Waltz. It’s the masterpiece on this album.

Un dels grans clàssics de la década. Tots temes inoblidables amb algunes de les millors lletres de cançons dels 80, musicades amb un estil molt del moment però que en el seu cas no ha passat de moda. Fins i tot els dos únics talls que no han sonat fins a l'extenuació des d'aleshores, 'Jazz Police' i 'I Can't Forget' mereixen ser revisitats cada poc temps

This guys voice is like being lowering into a steaming hot bath.

I’m a big fan of Leonard Cohen’s warm, cozy style and this album stood out to me for using more retro instruments I wouldn’t have expected but still super cozy sound; like if Nick Cave made the Runescape soundtrack overall amazing album, 10/10

A true classic, very 80’s vibe

Beautiful and cool

I’m all about Leonard Cohen and for me this is the pinnacle of his latter career albums. Lyrically impeccable and musically precise, even the singing (it’s hard to deny that Cohen increasingly was a singer in spite of his voice as he aged) delivers perfectly suited to the material.

LC has a fantastic voice. Some real cool instrumentals in this album. Reminds me of a mash of white rabbit (George benson) and some nick cave. Course LC came first but still cool to hear those similarities

the only song i knew of leonard cohen before this album was "everybody knows". while i was looking forward to that song, i wasn't aware i'd fall in love with the rest of the album. there's a great mixture of topics and cohen touches different genres, but there's a cohesiveness despite that. it isn't easy to create an album with every song being unique! this is a well crafted album. cohen's deep, gravelly voice adds to the album. his voice allows the songs to be lyric driven. you can hear and focus on every single line! you hear his message and thoughts that much clearer. singing with his kind of voice makes for something beautiful. "ain't no cure for love" in particular grabbed me. well, if by "grabbed me" means i mean "listened to on repeat," then yeah. jennifer warnes' vocals paired with cohen's are quite powerful. "first we take manhattan," while catchy, creates such an image for the listener. then there's "take this waltz," which maybe should seem out of place on this album but it isn't. it's a beautiful opening to side two. as mentioned earlier, cohen dabbles in a few genres: classical, country, jazz--perhaps ironically in "jazz police". i like the album cover very much. it's a simple shot, really. this shot being an accident makes me think those might be the best kinds of album covers.

LP

I love Leonard Cohen, and for me this album ist the absolute high point of his second phase, perhaps even his best overall together with You Want it Darker. The songwrighting is stronger than ever here, with every single song being different, and almost every single song being a masterpiece. (Jazz Police is so-so). The lyrics are unmatchedly deep and witty, with Cohen's dry humor shining through in most of the eight tracks. To the casual listener, it might sound like a typical 80s record, but the arrangements often are even more stripped down than that, and generally fit the lyrics pretty well. The most important instrument, however, is Cohen's voice, which is deeper here than ever. - Could Cohen sing? You can argue about that, but whatever he is doing with it, his voice is more expressive than what most other artists can muster. To quote from Tower of Song, the final song on this album: "I was born like this, I had no choice, I was born with the gift of a golden voice." 5/5

Love Cohen and mixing his style with this VERY 80s vibe is honestly a match made in heaven. Great stuff that somehow doesn't feel dated while still feeling very of its time.

Si tuviera 10⭐ se las daría

Love it!!!!

Another long-time favorite. Almost loses a point for "Jazz Police" but the rest is so good I can't be mean. Incredible that so many cheesy elements work so well together. The Cohen album I listen to the most

He sure is

First we take Manhattan: 9/10 love the vocals Ain’t no cure for love: 9/10 Everybody knows: 8/10 I’m your man: 8.5/10 Take this waltz: 8.5/10 Jazz police: 8/10 I can’t forget: 8/10 Tower song: 8.5/10

Everybody knows this is a great album. My introduction to Leonard Cohen. I'm not a poetry man but this hits a spot All fantastic apart from Jazz Police, not my jam.

I love this album since I ve bought it in Hungaria in 1989 approx. although some of the cheap synthie-sounds were strange. Leonards songs are undestoyable and last forever.

Just excellent!

Fantastic.

Leonard Cohen + late-80s music production techniques is such a crazy and incongruous combination, but it somehow works so well. The album cover's sunglasses and banana sums it all up. Gravitas and humor go head-to-head here with some absolute classic tracks like the ominous 'Everybody Knows' and the sly 'Tower of Song'. I'm your fan.

I was reminded how great a songwriter Leonard Cohen was, and how terrible a singer he was. 5/5

Love that rough voice. Canadian legend. Was very happy to see this album on the list. I listened to it twice. "Everybody Knows" and "FIrst We Take Manhattan" are personal favourites. They've been covered many times, but never quite surpass the original. "Jazz Police" was kinda weird.

Bastante cool la instrumental de este álbum, cada canción la disfrute bastante y no se porque me recordó a la música de Depeche Mode que solía escuchar. Siento que tiene un poco de jazz o blues pero de buena forma

Incredible record but maybe not as good as “Songs of Love and Hate”, at least in my eyes

Raspy

Great as always. Leonard Cohen is one of the best songwriters

Not bad. But his work started to all blend in together.

Like most people I prefer the more guitar-based Cohen. But from his 80s era this is really good. There are some very political, complex themes in this album which portrays the maestro with a banana on its cover. Cohen knows how to deal with life.

Interessante, ritmato lento con voce suadente e calda. Da riascoltare

The poet.

My first prop introduction to Leonard Cohen was through this album, specifically Everybody Knows appearing in the movie Pump Up The Volume. With the exception of the song Jazz Police, this is my favourite Cohen album. It has more range than his folkier albums and it excels at a sardonic humour that stops this from being moribund.

His best.

Top Album

I'm a sucker for Cohen. I'd love his poetry if it were on a metal album sung by Gilbert Gottfried. First We Take Manhattan, Everybody Knows, and Tower of Song are truly exceptional.