I'm Your Man is the eighth studio album by Canadian singer Leonard Cohen, released on February 2, 1988 by Columbia Records. The album marked Cohen's further move to a more modern sound, with many songs having a synthesizer-oriented production. It soon became the most successful album which Cohen had released in the US, and it reached number one in several European countries, transforming Cohen into a best-selling artist.Wikipedia
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.
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
Sounds like a PSA for the dangerous of cocaine. Leonard re-establishes that he's a total creep. I hate this so much.
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.
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.
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
Sounds like a bootleg 80s synths Johnny Cash.
“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
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)
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.
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
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.
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
Classic. Leonard is not the strongest singer but the lyrics maku up for it all.
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.
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.
O cara é foda, que vibe maravilhosa!!
Una maravilla infinita.
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
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.
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
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.
This was really nice. I'm still getting used to Leonard Cohen's tone, but I quite enjoyed each and every song.
Pretty good, my man Leonard Cohen
Leonard Cohen is my man
Not sure how to feel about the more pop feel but the lyrical songs make up for it I guess
Very up and down - some great tracks, some that didn't age well.
Great album, you can really hear the influence of 80's pop and new wave, but it's infused seamlessly into Cohen's stripped back style.
This was my first Leonard Cohen album and I didn’t know what to expect, but I was especially not ready for dark and brooding lyrics for over plasticy eighties synth production. It seemed like the entire album was digital instruments but somehow hardly felt cheesy or fake. I enjoyed it and can see the depth of Cohens lyrics. Jazzer, drop your axe, it's Jazz police
"First We Take Manhattan" is a fantastic track. I really like Leonard Cohen clearly from previous rankings, but this one with its synths, holds a special place for me.
yo what did i just listen to it’s like the italian mob and love songs made this. It’s pretty good though
Very cool album. Cohen has this deep, soft voice, that just pierces you. Most of the songs are very calm, which gives it a cool feel. Cohen is the one who first performed "Hallelujah" This is one of his later albums. He began 1967, this album is from 1988.
Very cool album!
Now this is an ominous yet silly album. I am shocked by how much I like this. Vocals are a little odd but endearing, content is just a thinly veiled joke. Keep telling 'em Leonard.
Leonard does the 80s. Cohen is a poet first musician 2nd and throughout this is lyrically fascinating but the most impressive slight of hand he performs here is producing an album that is both unmistakably him but also pure 80s. Maybe I need a few listens to dampen my enthusiasm but having only really known Cohen's big hits like Marianne, Suzanne and Hallelujah, I have been a little blown away by the two albums of his this group has thrown up. Its clear how hes influenced other artists I love, particularly Nick Cave. The man was a Genius. Truly the Godfather of gloom. Highlights: Everybody Knows, Tower Song. 4/5 but close to my 3rd 5.
I like this one so much better than the last leonard cohen album. Thought his voice was great n deep, and the synth popped
Very pleasantly surprised. Enjoyable listen that. 4/5
Liked Lenny’s style…. Good one!!!
It was much better than the last Cohen album. Just adding better instrumentation helped to make the songs enjoyable.
The mans voice is awesome.
Interesting, yet odious experimentation with 80s synthesizers along great ballads. My first Leonard Cohens album, liked it a lot
Surprisingly groovy and quite synthy at times
Smooth and easy, really like his voice.
Great album. I really enjoyed the vibe all the way throughout. He has this quiet energy that sort of encompasses everything your doing while you listen.
the lyrics are good the 80s seem fun
Fantastic, love Leonard Cohen.
Tower of Song - one of my favourites
A cornucopia of musical flavours, some industrial, some serene, Jazz police was a dud but hey that's the eighties.
Smooth, voice like caramel.
Great songs...dated 80s production. Did I mention Great songs!
Three songs in all three songs are good. Everybody Kows is excellent. If I were to nit pic I could complain about the 80s production sounding somewhat dated. But the quality of the songs transcends any complaints about production. First half stronger than second half. But, Tower of Song is a solid album closet. I feel like it's a 4, his earlier albums are slightly stronger .
I love this album one of my all time favourites
I liked it much more than I thought initially. It's strange to listen to it so "sad" songs with this electronically vibe, but the Cohen voice is so interesting that hypnotizes anyone independentilly of the song. For sure, I'll include it in my favorite albuns list.
4/5. Classic Cohen, even with the 80s vibe, he still is amazing. Standouts: First We Take Manhattan, Everybody Knows, I'm Your Man, Tower of Song,
Questo album non era quello che mi aspettavo. Sono riuscito ad ascoltarlo una sola volta e mi ha lasciato l'esigenza di sentirlo ancora. L'impressione è positiva, l'utilizzo di strumenti elettronici ricorda per certi versi anche i Kraftwerk e lo stile canoro, in linea al trend degli anni 80, nonostante tutto mi piace e non risulta eccessivo. Il voto per me è 3.5 ma che premio con qualcosa in più.
very foundational music!
Ok so I really love 4 of these songs, 3 of them are very good and 'Jazz Police' really belongs on a completely different album? Really threw off the vibes with that one Leonard. Still though, great album
Very Noir, light simple instrumentation and a smooth deep voice singing poetry. The whole album reminds of me that "Nick's Cafe" song. I dug it, added Everybody Knows to the playlist. Probably not an album I would go out of my way to put on but I appreciated it. Edged it to a 4 over a 3 but it was close.
Good old Cohen, stubborn and unbending in a new synth entourage.
The first track was a little 80s and synth-y for me... but then as Cohen's deep, gruff voice took over the dark, cynical lyrics really hit me... I really enjoy this. Probably more like a 3.5 but let's give it a 4.
Interesting to see Leonerd Cohen try something very different. I still prefer his folk albums, but this is pretty good.
This is not bad at all, something to relax to, but too wordy for my tastes to give it 5 stars.
Lento pero atrayente
Good Album, enjoyed.
I know your supposed to dump on 80ies Leonard Cohen, but tbh this was the Leonard Cohen I got to know first - Manhattan was a bit of a radio hit if I remember correctly, Everybody Knows was on the Pump Up The Volume soundtrack - so it's got a special place in my heart. Yes, it's got lots of synths but it works with these songs. I wouldn't know how else you'd produce them. 8/10
Rock suave de Cohen.
Very good. I’ve never delved into Leonard Cohen before but I think I’ll rectify that error.
on the first song I swore I was listening to some German industrial... and that's before he was talking about taking Berlin. and I didn't think I was going to like this album, then it surprised me. not something I'd put on a lot but I dig it.
Cohen fucks man. The writing on this is solid, followed with a fucking sultry ass voice. It's good, I am vaguely familiar with him but not enough to say I am a fan or anything like that.
smooth, chill music, manhattan is a bop
26th November 2021 Listened on my headphones while working on Friday before meeting ebbs and Charlie for duckpin bowling and jen's fam coming for the weekend. Loved it - cohen's most accessible album. Big, brash, but still with lyrical intricacies.
I’m Your Man represents a return to form for Leonard Cohen. The album has a sultry late night feel but is brighter than his previous work. It’s obvious why Tom Waits thinks so highly of this album. My only qualm is the synthesizer based production which grounds the music in a recognizably 80s sound and takes me out of the timelessness of Cohen’s music. Obviously it’s a brilliant album nonetheless
2x na elkaar Cohen. Dit album vond ik beter dan dat van gisteren. maar zeker niet het maximum waard
Enjoyed the album - had kind of this futuristc 80s vibe.
When I saw this was a Leonard Cohen, I was NOT ready for those sequencers in the first few seconds. What a stylistic shift. But overall it's a solid entry. Cohen's vocals are even more raunchy and mature than before. Lyrics are dark, covering themes such as desperation, loneliness, and mid-life crises. I can really get into the more synth-heavy songs. Got pretty weak in the second half but it still had notable ideas, like the unusual techno-waltz theme. Favorites: Everybody Knows, I'm Your Man, Tower of Song
Some great songs on here, synth sound is a bit dated. Worth another listen
Interesting album. Very wistful and emotional. The synths have aged better than you'd think. Great vocals.
A welcome return to form after a patchy period. It doesn't quite live up to his first four albums in my opinion, but it's great to hear Cohen being this adventurous at this point in his career, and his longevity and relative consistency such a testament to his skill as a songwriter
Some all time great songs on this. But, off, 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.
Middle-period Cohen: masterful songcraft dressed in the tackiest 80s production. I can see why it took a Jeff Buckley to get Hallelujah the credit it deserves. But you know what, I'm charmed. It adds a (deliberate?) layer of absurd humour to the whole thing. And anyway, there are a handful of 24-carat classics on this album (Everybody Knows, I'm Your Man, Tower of Song etc). Leonard you horny devil, you've done it again.
Band: Let's score this like an upbeat '80s film! Leonard: Here's some lyrics about the AIDS crisis.
This is the polar opposite of the cheesy crooner I'd (very wrongly) imagined Leonard Cohen to be. Dark, brooding, enigmatic music which is often synth-led. Dark, interesting, menacing and sad lyrics, all sung in a distinctive baritone voice. An interesting and emotive album. 4/5
Enjoyed this much more than I thought I would. Was hooked right from the start when Cohen intoned "first we take Manhattan.....then we take Berlin". I really didn't expect this to feature synths at all, let alone have them as prominent as they are.
Eu esperava algo completamente diferente pela capa. O veio é bao, gostei
Solid album, really enjoyed the singer songwriter aspect of the album. However the musical aspect seemed a bit of an odd choice to me and prevents the album being a 5 star for me at least. "First We Take Manhattan" probably my favourite song, but all songs were enjoyable.
Six times Platinum in Norway! I have fond memories of “Manhattan” from the winter of 88. I was in France and it was being played all day long in the cafes and bars. There are some great songs here, like “Everybody Knows” & “Tower of Song”. There are also some borderline-muzak stinkers, but as always, the lyrics save the day. He's still relevant 25 years after his first release. I usually think that back-up vocalists are a great addition, especially if the lead singer is as flat-line as LC, but here they could have been used more discreetly, like on “Songs of Love & Hate”.
I'm not fully sure why we are taking Manhattan or Berlin but I'm pumped to do it! "Everybody Knows" is an all time great track. "Take this Waltz" is a beautiful song. "Jazz Police" however is a terrible track in the midst of beauty. Ironically I first found this album through a video of the worst songs on great albums (shoutout to Alfo Media). The album recovers in the last two songs though. As a big fan of folk I know and love a lot of Cohen's early work. I do forget just how good Cohen's mid career was. Some of the songs are a little long and "Jazz Police" is what it is. I would give it a 4.5/5.
kind of strange 80s sound. Cool. Everybody knows.
A voz abençoada de Cohen! Ótimo álbum! Melhores músicas: I'm your man e Ain't no cure for love.
Randomly had 2 Leonard records in a row! What are the chances of that! This one from the end period of his first career, (Before his manager nicked all his money!) This is a bit like Leonards "Highway 61 Revisited" His (over)use of synths on this was a shock to some. A great album with some classic Cohen Tracks "First We Take Manhattan" "Everybody Knows" "I'm Your Man" and the wry, humourous "Tower Of Song" (I was born with the Gift Of A Golden Voice!) Love this album and some of the classics on it, my second favourite LC album after "Death Of A Ladies Man". Rightfully on this list and in my collection.
mon chien n'a pas aimé du tout
C'est journée chill aujourd'hui.
It was good
I really enjoyed this album. Fantastic lyrics, and I don't understand the criticisms of his voice and delivery which are perfect. I also think the production adds an interesting layer as well.
Don't let the peeled banana fool you, this is a divine collection of songs that do not guarantee spoiling upon neglect. Leonard works surprisingly well with the synth sounds, rather bending it to his will as opposed to the other way around. Is he our man? With this album, he sure is. Favorites: First We Take Manhattan, Ain't No Cure for Love, Everybody Knows, Jazz Police, Tower of Song.
wow, a good album from leonard... I gotta say, im impressed
Very different from his early work. I wasn't expecting this sound at all. I kinda like it more, actually.
I came into this project already a big Leonard Cohen fan, so it was nice to see him being recognized with several albums. This album is right up there with the others. First We Take Manhattan is a great song that many already know, or recognize. It makes a great introduction to an amazing album. Standouts: First We Take Manhattan, The Tower Song, I'm Your Man, Take This Waltz, Everybody Knows 4.5/5
Backing music hasn’t aged well, but brilliance comes through
Never heard of him, but seeing a dapper guy eating a banana at a warehouse is always a great first impression. Actually really like this. Enjoyed the vocals, the slight 80s cheesiness was endearing (I love stupid songs. "Jazz Police" was great). My favorite song though was probably "First We Take Manhattan" - sounded like a Bond villain speech and I'm always a sucker for that kind of evil sound.
I expect a lot of people don't like 80s synth Cohen but I actually think it gives his music a bit more identity beyond his voice. Some of his best lyrics on this album
Blijft me fascineren die Leonard. Ditmaal een iets vrolijkere kant van hem.
Sequencia certeira das composições.
The casual coolness of an absolute badass posing on his album cover with a half eaten banana perfectly exemplifies what this album is all about: it's a bold new Cohen for a bold new world, it's the juxtaposition of his poetic songwriting with his synth heavy 80's sound. He gives no fucks, takes no shit, and does what he wants. Then he takes Berlin! Everyone went a little synth crazy in the 80's... you were contractually obligated to try it. But you know, we salute a Canadian icon, always. Do your cool different thing with the 80's cheese factor dialled up past 11, it's all good. If you wanted Tom Waits and The The rolled up into a dang tortilla this is a close enough approximation of what you'd get.
Really have to listen to the lyrics. Type of album to impress a date with. His voice is something else.
Fourth Leonard. At this point I just assume all of them are on here. My favorite one by FAR. Like a skeleton singing you love songs.
Didn’t know Leonard Cohen like this existed. Pretty cool. This is how you adapt to a new era of sound while still maintaining what makes you great
Fine record from Leonard Cohen. Probably my favourite of his that I've heard so far.
One of my favourite Cohen albums (but not his best by any measure). I find the more sophisticated production far superior to his earlier kumbaya albums, even if it’s overtly eighties sounding and the world has moved on since (and we’re better for that). Several really good tracks here!
He really makes the 80's synth thing work for him. His voice is so commanding, it demands that you take it seriously regardless what he's saying or what's happening around it.
Cool as it gets. Cover art: 3/5
Better than I'd expected
He’s such a cool guy
Rock suave de Cohen. Un 4.
Nice deal voice, dark and spooky, got a few love songs i could send you girls
I’m torn, idk if jazz police should get the album 5 stars or 1
I've never heard Leonard Cohen like this before. What a groover.
I've listened to this album before, I think when I was going through a 'I should listen to more Leonard Cohen' phase. The album is VERY 80s. But somehow manages to avoid being cheesy. Best song: Everybody knows
A great Cohen album. Very poetic.
actually found it rlly interesting! liked tower of song, everybody knows and take this waltz. jazz police just made me laugh. his voice is rlly cool & lyrics are good, kinda used to his weirdness bc of my dad. :D
Þessi er klassík. Þægileg róandi rödd. Skemmtilega 80s raddanir í viðlögum sums staðar. Poppljóð.
8/10. I listened to this one before it came up on the list, and on a second listen I think I like it a bit more. I still think that it's a bit over-wrought, and would have been better without some of the backup vocals etc, but I still really like a couple of these songs, which manage to sound good despite the cheesiness of the affair. Everybody Knows and Take This Waltz are probably my favorites from this album, but Jazz Police fits the awkward style better.
7/10 sometimes creepy, and sometimes the 80s sounds were a bit much, but overall i really enjoyed the atmosphere that this album had.
This album was pretty weird. I can’t say I loved every track, the backup vocals and synth was a bit too much at times but even the ones I didn’t really like at least kept me entertained or interested. Listened to this one twice today, didn’t expect such heavy 80’s vibes. Kinda had me thinking of Dan Bejar/Destroyer with the witty odd lyrics. Everybody Knows was my favourite song and Jazz Police was the weirdest but fun. The cover is also hilarious. 3.5 stars rounded up to 4
Börjar bra men tappar lite mot andra halvan.
Some date production going on. Great songs and even better lyrics!
Great vocal performance and awesome chord progressions but the musical arrangement often triggers me. Imo, it hasn't really stood the test of time, unlike his folk records.
The production choice is immediately charming when paired with Cohen's vocals, but fails to land in any further sense. If the lyrical themes of the opener showed up more often I may have been convinced, but there's not enough ironic detachment to pull a, say, Alex Cameron (who I'll have to relisten to in Cohen's light now to be time-honest). While the other tracks with backing vocals provide additional highlights, the words and music never quite adhere. In the space between is the cheese, and there needs to be either more of it or none at all.
There's better Leonard Cohen albums out there
en god trea. trevligt att sitta och lyssna på men inget som man kanske kommer komma ihåg.
Cool darkness quality, very Nick Cave
lol holy crap, a stark contrast to "You Want It Darker" but i dug this album. I'm still not a huge Leonard Cohen fan, but this album had some good songs, my favorite of which was "Take This Waltz".
I’m sure the only album I’ve heard from Leonard Cohen was the one released just before (or just after?) he died. This album starts very strong, three fantastic hits right out the gate. He’s a bit like Tom Waits, in that he’s got the signature vocal that everyone remembers (and funny enough, Waits cites this album as a favorite). But there’s much more character to these tracks for me, I enjoyed it a hell of a lot more than the Waits album. But still, it wore a little thin after a while. A good album, but wish I could say I liked more on here. Favorite tracks: Everybody Knows, First We Take Manhattan, Ain’t No Cure for Love. Album art: Comically simple. I can’t look back up at this without grinning. What a dumb album cover. The massive text, and the tiny text, and the pic of Cohen lost in a warehouse eating a banana. Is this supposed to be funny? 3.5/5
I can't say I've listened much of Leonard Cohen before, so I was half-expecting this to be some sort of near-spoken word-styled folky/bluesy jazz. However, it turned out to be a rather 80s-sounding affair which I more or less enjoyed, more than I expected, for sure. 3 stars.
3.5. good album but some songs were kind of weird. not bad just kinda weird. feels like a fever dream of an album
Leonard Cohen will always remind me of watchmen. In the movie his cover of Hallelujah was used and during the credits, First We Take Manhattan, which is featured on this album. He has always reminded me of a deeper and slower voiced Bob Dylan. His songs remind me of driving in a neon soaked town at night. They are a little weird and out there but very enjoyable. I mean, look at the guy, it’s like Anthony Bordain meets Dustin Hoffman and he’s eating a banana on the cover! Guys a baller.
Very 80s. Not really my style. It was good. But I didn't really like the style and personally didn't like it that much
This album sound like a year long haunted Halloween! What a great deep voice with lyrics you’re trying to figure out befor he sings them. It was and interesting switch from all the Brits!
7, enjoyable voice
You gotta like Leonard Cohen to be cool. You gotta dig his lyrics to be cool. You gotta wade through garbage bags of synth to be cool. You gotta realize that you sorta actually like the garbage bags of synth to be cool. You gotta let your eyes drift from your laptop to lazily gaze at the Rainier cherry tree outside your window while realizing you didn't understand a word he said to be cool. Being cool is a journey, not a destination, and you gotta let ol' Lenny take the wheel to be cool.
Hated this at first. So dated, synth, backup singers, etc. especially relative to his other work I’ve heard. I started to come around later in the album, when it seemed to stop taking itself seriously, it got all whimsical. Interesting. Having trouble to put it into words. Wasn’t floored, but ultimately I didn’t hate—except for the first two.
Jag gillar im your man men resten är nog 3/5
Saved Prior: None Off Rip: First We Take Manhattan, Everybody Knows, I Can't Forget, Tower of Song Cutting Edge: None Overall Notes: The missing link between Frank Sinatra and Nick Cave. I can see how people absolutely adore this whack poetry crooner, but it was average (for this list) listening. I get what he's doing with the cheesy 80's stuff highlighting the cheesiness of the lyrics, but that doesn't make it more enjoyable.
Tough to rate, amazing songs, awful production. Listen to the same songs on later live albums
хз то ли я уже приобщаюсь, то ли этот реально лучше зашел чем предыдущий альбик Леньки
Не-не-не, без акустики вся магия пропадает. С гитарой - бард, а с синтами - уже Бардиж какой-то. Конечно, не осмелюсь спиздануть, что музло хуёвое. Открывающий трек и заглавная тема покачивают. Take This Waltz неплоха. Заметил, что местами чувствуются мотивы а-ля Hallelujah. Пока гуглил, как пишется это слово, выкупил, что оригинальная Hallelujah как раз авторству Коэна и принадлежит, находится на предыдущем альбоме, лол. Jazz Police душноватая. В общем, неплохой альбом, но возвращаться я к нему, конечно, не буду.
The songs got less interesting as the album went on. Fist we take Manhattan was an awesome opener but I soon lost interest
It was quite calm, I really liked Cohen's almost spoken word sound.
alright but not my style
Too poppy for Cohen. Not bad, but not his best.
The synth-pop stuff is definitely not what I expected, but then again it was 1988... Backing vocals are excellent. Not a huge fan of his delivery in some parts but generally the lower he goes the better. Some songs verging on being too simple for me to stay focussed. Enjoying having this on as background music though. Haha Jazz Police is gas. Favourite song so far. Yeah all fairly enjoyable. I think it probably wasn't the best idea to listen to this while working as a lot of the "value" probably comes from dissecting the lyrics. But anyway, glad I listened but wouldn't be a go-to in future.
Better of an opener. Backing vocals are the key throughout. Love Cohens baritone voice and how clear it is in every song. Highlight for me is Take This Waltz
Very of its time. Grew on me after a couple of tracks, but not something I’d listen to again.
Ruhiger, dunkle atmosphäre, klassich 80 jahre rock, hörbar