I'm Your Man

A friend of mine had this theory that you become attached the first version of a song you hear. It doesn’t matter if it’s the original, a cover, a live version, a demo - the first arrangement you listen to is the one that will forever hold the most sentimental value. In a perversion of the natural order of things, I first heard most of these songs on his Live in London album. And I like those versions better, much better, than these things dripping with 80s production sensibilities. But of course, one could not exist with the other, so how to rate this? How? Ah to hell with it, let’s just review based on the banana on the cover.

I did not expect this from mr cohen. I kinda don't really like it but it's got something to it Will I listen to again: 10%

it's listenable i guess, but i don't really like what he does with his voice and the songs weren't really that engaging as a whole.

As sung by some sort of lecherous cartoon cat. This kind of carrying on really just isn't for me. I've been making a playlist of one song from each album as I go, and if you think anything other than 'Jazz Police' is going on that playlist, you're off your gourd.

Okay, that was 40 minutes of weird. This album certainly didn't change my opinion that Leonard Cohen is not a singer.

It's Leonard Cohen. Even though I don't love every song on this album I absolutely love some of them!

This is a fun album and I love Leonard Cohen's voice

Other than "Take This Waltz", I really didn't like this album of Leonard Cohen's

Difficult to rate. Not interested musically interested in this (second for me) Cohen album. Like covers of everybody knows. The album did get me to laugh or smile at times, so maybe another listen sometime?

I've always considered Leonard Cohen one of the greatest wirdsmiths if our time. Apparently I was wrong

Leonard Cohen, the 1980's version. The same gritty voice softly growling near-impenetrable lyrics, this time with added synth. I think a listener might get more out of the lyrics the more effort that they put in, but I kind of resent having to put in that much effort, you know? Musically this is just OK, and the album ends on a minimal, even unfinished-sounding note with Tower of Song. This is nowhere near as bad as Songs Of Leonard Cohen elsewhere on this list, but nowhere near as good as You Want It Darker.

Added it to the list.

Very good record. I was surprised to hear those drum machines at first, but the album turned out to be really good.

1,5

#429 My Dad once asked me to get this for his birthday so I obliged and thus, I have listened to it before. I don’t think I gave it many listens, probably just what I heard when he played it but returning today, the whole album felt very familiar. Hard to put this album into words, it combines Cohen’s gruff vocals with upbeat 80s keyboard/synths. I got a distinct Nick Cave vibe listening here and the vocals even reminded me slightly of Mark Knopfler at times, which might explain why my Dad likes it. Heard before? ✅ Would I revisit? ✅ Listen before you die? ✅ Fave track(s): First We Take Manhattan; Tower of Love Rating: 8/10 ⭐️⭐️⭐️⭐️

Safe to say this list has proven that I'm not a Leonard Cohen fan.

Qué descubrimiento tan maravilloso

Leonard Cohen is really good at the creepy, dark and brooding, sad guy stuff. And what a lyricist. He's not someone that I would listen to often but I do enjoy him when he comes up. The problem that I have with him is that it's actually a little hard to just throw on a Leonard Cohen album and listen to the whole thing. I don't want to say that it's boring, that's not the right word at all. It's something you really have to pay attention to and focus on. At least for me. And while I like this record, I can't see myself running out to buy it, or any other of his records for that matter. 3/5

"First We Take Manhattan" 6 fun super poppy 80s tune "Ain't No Cure for Love" 5 ok but his voice dosnt really fit in some spots for this slower tune. "Everybody Knows" 6 I like the subtle kinda spanish style guitar backing on this "I'm Your Man" 5 kinda starting to get bored with this one. "Take This Waltz" 4 sounds like a runescape plugin was used to make this song "Jazz Police" 5 I fear with this one we have officially lost the plot. at least its kinda fun "I Can't Forget" 4.5 tropical marimba? this was not what i expected following "jazz police" lol, i am ready for this ablum to be done. "Tower of Song" 4 good song to listen to if i wanted to pregame napping.

Wonderful! The vocals, music & lyrics are arranged masterfully & are stunningly powerful.

Ummmm what lol. Scar ?? Kinda cool?

je crois que je le comprends un peu

01) First We Take Manhattan - 10,0 02) Ain't No Cure for Love - 9,0 03) Everybody Knows - 9,5 04) I'm Your Man - 8,0 05) Take This Waltz - 8,5 06) Jazz Police - 8,5 07) I Can't Forget - 8,0 08) Tower of Song - 9,0 TOTAL: 8,81 (88/100) Current ranking: 113/1015

I miss you so much

No the hell you're not.

This was rough. I don't always know what he's talking about, but in these songs I don't even believe he's talking about anything. I was actually skipping tracks.

Going in, I knew that Leonard's voice would be deeper by this point, but what I didn't know was that the production would be very 80s in nature. It's a curveball, but honestly, Leonard Cohen's voice and songcraft still shine through. A good album.

The Good: I do believe this is the last album of Cohen on the list that I will be forced to listen to… The Bad: The simple fact I’ve had to listen to so many Cohen records on this list… The Ugly: My Man? Really? I am going to keep this one short and sweet… During my walk, on the third song of this record, my earbuds decided to crash out… this made me happy as I could finish off the album in silence. Massive fan of the song Hallelujah, yet that album is not on the list… So, to all you Cohen aficionados, I am happy that you got to listen to 5 of his albums… Do me a favor, and listen to Prince’s Around The World In A Day, that way we can call it evens-stevens, okay? 2* out of respect for the man’s oeuvre

I love the titular song, but the rest of the album isn't engaging.

Leonard in his 80’s phase, great songs naff production.

Weird hearing Leonard Cohen do synthpop.

Ah the baritone poet. Love Cohen’s voice. It just pulls you and puts you in the scene. It’s dark and smoky and cool as hell.

A bizzare record, so much so that I don't really know what to make of it. It's got Cohen's signature wiring and structure to it, but over these cheesy 80s synths. Some tracks are so eccentric that I actually begin to really like them (Jazz Police), but the rest just melds into an odd-sounding mess.

My second Leonard Cohen album- this one was a little better for me. Still a little sappy for me but I appreciated the varied instrumentation and emotion behind the songs. Overall- decent album

Okay, he wrote some great lyrics, I give you that. But he can not sing! To me it sounds like drunk Uncle Bob doing Karaoke in a hotel bar - but without the fun. Awful!

Overrated.

Sounds very 80s and outdated.

Correcto

Sounding this good sticking to his signature sound while also going for more of a typical 80s style is honestly insane. Leonard Cohen, famous for his dark lyrics and deep voice along with very simple but sad instrumentation should not be sounding this good while also blending the more typical late 80s style of pop music. I almost want to say it sounds a bit silly because of the combination of styles, but by some miracle he makes it work. This is far from his absolute best, but it's still one of those once in a generation albums that very few people would actually be able to pull off.

I know folks love his lyrics, but I’m not a fan of his style

This is a good example of an artist who peaked in the 1970s to make a good album in the 80s, especially the late 80s, with that commercial and synthetic sound. That's what this album is a decent example of and while I wouldn't say its great, it has a few okay tracks on it.

Not for me... Too jazzy

This is not my favourite Cohen's album musically (and I'd say, the arrangements and music itself is his weakest point overall), but I am really partial to his voice and lyrical abilities. Because of his lovely voice - the later in his carreer the lovelier - and interesting - as always - lyrics, let's give this 4 stars.

What a fabulous album, such a beautiful and enchanting record, and even eclectic at times. It is hard to find an album from which you love every single song, where every single song is a highlight. And, extraordinarily, Cohen makes of this album an ear-warmer, a wonderful record full of sensuality and elegance, with great songwriting, marvellous arrangements, some dark sounds and a very nostalgic feeling too. This I'm Your Man is a masterpiece, a fantastic album in which everything flows really well, and really quick. The first song is maybe the most up-beat this album can be, and the final track is just a magnificent end, a melancholic and liberating song... so beautiful. This album is simply beautiful. And a very enjoyable one too.

Leonard Cohen looks exactly like the style of music he makes. Very smooth. Easy listening. Not much else to say about this one.

I usually like 80s music, but this one sounds a little bit too cheesy for me, plus this dude sings terrible.

It sounds a bit like an above average Karaoke session and that kinda ruins otherwise probably great songs for me. It's also too 80s....

Голос интересный, музыка - нет.

This is a collection of eight terrific songs, presented in an altogether more contemporary fashion with a European 80s producer. I can't help thinking that the drum and synth sound have an '83/4 sound as opposed to 1988. The vocal presence of Jennifer Warnes adds class whether ghosting a lead or harmonising with herself. A real range of topics are present in the lyrics and the European sales gave Cohen a commercial success hitherto not experienced. Tower of song is one of the most subtle uses of a twelve bar blues I've heard. His voice has a now distinctive depth - he's no vocal technician, but what a writer.

Cohen's dark, heavy vocal delivery works pretty well with this synth-laden 80s style. It doesn't quite verge into pop – where the worst music of the decade lies – though in some moments it teeters dangerously close. The chorus of Ain't No Cure for Love definitely reeks of "we need to make this more digestible for the Yankees". First We Take Manhattan has some pretty solid verses, making use of a ridiculously heavy bass synth part set to a minor key. The backing vocals could be better, be less derivative of half of all backing vocals from the era. Cohen's singing, on the other hand... heck yeah. Keep on chuckling, man. Everybody Knows is an immediate highlight for its straightforwardly menacing chord progression, plonky bass notes, husky (what else?) singing, and of course the Latin American-esque guitar playing. Next, I can't help but wonder if the opening synth line of I'm Your Man singlehandedly caught every listener's attention because of its resemblance to one of Wright's synth lines in Shine On You Crazy Diamond. That aside, the song is really solid, and I enjoy the switch-up to a slow swing, almost suggesting a jazzy or slow-dance style. Take This Waltz? I think I will. Love the ambiguity between whether we're hearing a weirdly recorded string quartet or a particularly deceitful synth. The singing reminds me a bit of Johnny Cash or Bing Crosby. I don't normally judge music by its lyrics, but here some of them caught my attention for being especially entertaining and off-the-cuff. A little unusual for Cohen, maybe. Yet in the very next song, Jazz Police, he does the same again. Throw a dart blindfolded: "Jazz police are paid by J. Paul Getty / Jazzers paid by J. Paul Getty Two". Plus some crazed high piano. I have no idea what's happening here but I guess it sounds pretty good. After an enjoyable but uneventful I Can't Forget (its title is a bit ironic), we get the soft, groovy outro Tower of Song. This might be the only song where I think the backing vocals contribute strongly to the final product. Great bass part too. I can't lie, though – that keyboard solo is really bad. So bad they had to play it twice at two completely separate times. 4/5 Key tracks: Everybody Knows, Take This Waltz

As a poet and lyricist, Cohen is utterly talented. I don't know who collaborated with him on the production of this album, but they should be ashamed of themselves. I get the 80's was cheesy, but there are still so many great songs and musicians in the era, it's sad that Cohen didn't collaborate with anyone else other than...hang on I have to go look up who it was...omg it was mostly him!?. Well his mates weren't honest enough with him! Blagh, I wish I could give this more stars but the music ruined this for me.

Lyrics of a legend to the tunes of a cheese ball

I was a convert to Leonard Cohen later in life. Initially rejected now appreciated. Lyrics that are telling the story while the music takes us along for the ride. And the voice of dark red velvet....

The songwriting is great. The music and backing vocals are sometimes odd

I do love a bit of Leonard Cohen, and this album delivers.

Odd album but not that interesting

Cohen was as much a poet and author as he was a musical artist. Good job too as he was never much of a singer and his voice got worse as he aged. On this evidence, so did his arrangements and musicianship: this sounds like it was composed using the pre-programmed rhythms on a cheap high school keyboard.

Odd. I like Leonard Cohen. I even like that voice that puts so many off him. He’s a great songwriter and a genius. I hated the backing vocals on this. At first it was almost a joke but then they got old. They’re so nice and soulless and really put me off.

Well I suppose they can't all be winners... This felt like an odd release compared to the others we've heard from Leonard Cohen

Leonard Cohen is a terrible singer, and this only becomes more pronounced when combined with synthpop beats because of how jarring it is. 1.5 stars.

Unlike the other reviews here I do not think his singing is bad. His singing is just really jarring with these synth beats, and the music itself is pretty boring too.

Oh man, this is one of those times where the algorithm gave me the same artist a week apart. I listened to one of his late-60s albums last week and it was...fine. Not for me, but whatever. Sad guy in a turtleneck with velvet drapes trying to drop some panties. Not what I like, but okay, fine. But this is a different beast, and it could have been so much better. “First We Take Manhattan” had a chance to be so awesome. It’s dark. It’s dangerous. “First we take Manhattan / and then we take Berlin.” OKAY, I’m in! What’s the first step? But then all of a sudden there are Debbie Gibson synths, and backup singers that belong in a Salon Selectives commercial immediately undercut the whole vibe. “Ain’t No Cure for Love” starts with sax that is pure late night Cinemax, and then he drops the line “I need to see you naked in your body and your thought,” which, holy fuck, someone get this guy a glass of ice. The production is just so 80s, and the backup singers, once again, shoot this thing in the foot. But here we go...“Everybody Knows” is a fucking banger. If you’ve seen that Christian Slater movie Pump Up the Volume, you’ll know this song. And damn, it’s good. The delivery, the lyrics, the whole thing. Everything is done. Everything is fixed. Everything is fucked. Everything is rigged. I know it and you know it and there’s nothing you can do. The synths hit, the backup singers don’t try to do too much, and the vibe intersects perfectly with the lyrics. Give me a whole album of THIS. The title track is just horny lounge music, but not even really endearing in any way. The rest of the album just misses, unfortunately. Cohen has a really distinct voice and a distinct delivery, even if I don’t care for all of the lyrics or the production here. “Everybody Knows” is the song that really rises above the rest and it’s the one song I could actually return to. “First We Take Manhattan” could have been incredible but it shoots itself in the foot with poor decisions. The rest of the album is pretty forgettable. Giving it a 3 because I respect him and I’m glad I listened to it, but I won’t return to it outside of “Everybody Knows.”

I’m (not) a fan.

Wow. I really didn't like the last Leonard Cohen album I got. This is like that but with added 80s instrumentals and production. Fascinating. Which doesn't necessarily mean enjoyable.

This one sounds as if some idiot record company executive tried to make him a pop star. Lyrics and vocals are mostly good, if a little repetitive, but the production is really appalling at times with cheap synths and that awful background choir. I kind of liked the finale, that bumped the rating up one point. All in all it's definitely not one of his best records and of course it's not an essential listen by any standard.

crazy synth-sounds on here! but really fun to listen to

I feel like I’m on Candid Camera. How does this guy have so many albums on this list?? How are any of these albums rated highly by the critics?? It’s just a joke. Really bad music and singing.

Clearly the weakest of Cohen's in the list, it is not without its highlights in 'Everybody Knows' and mainly, the opener 'First We Take Manhattan'. However, it is of the bunch of his albums here the one I'd be less interested to listen at any given time. 8/10 [DROP]

I couldn't take the few 80's-heavy songs seriously, so that brought it down for me, but I still loved it.

A peculiar little record. More synth heavy than I was expecting.

Haven’t really listened to much Cohen but I was impressed by the lyrics and song structures. Would definitely give another listen.

No disrespect to the fella, but this is poor. My third album of his thank god there’s only two more. Couldn’t even finish it

👍 good.

the jazz police are coming to arrest leonard cohen. 1/5.

Having already listened to four of Cohen’s albums, I was looking forward to this, his final album as part of this project. The music is pretty cool—maybe a little intellectual—and not really suitable as background music. But I’m rewarded when I give it a chance. I’d gladly listen to it again. 4/5

I respect what he does but not into it.

I honestly don't really like his music, and like Hallelujah even worse

So many beautiful moments, demands repeat listening.

enjoyed listening to this album. wished it would have been more joyful

Another excellent album!

This is now the 3rd Leonard Cohen album I've had on this list, and so far I've given them 2/5. This is mostly because I don't hate them and I understand that there is a lot of respect for the man. But honestly I'm not really sure why, I get that his lyrics are clever, but they don't make up for his voice and the music which in this case is some of the worse of the 80's sins all on one album which what seems to be little to no production value. This is my 264th album on this list and I feel as if they need to introduce the "Ed Sheeran rule" from the UK charts, which is where an artist can only have 3 songs in the charts at one time. It seems crazy the Leonard gets 5 albums, David Bowie gets 9, The Beatles 7, and Bruce Springsteen gets 5 as well. But then Artic Monkeys and Dr Dre only get 1 each how is 2001 not on this list? I'm sure there are other artist that deserve better as well. And I get that the ones I listed are considered some of the best we have but really it should be "here are 3 of their albums that best represent various parts of them, if you like it go listen to the rest." Rather than it all being on the list and preventing some lesser know artist getting some love.

Kinda enjoyed despite initial misgivings

Alright

good

Leonard I think I'm just done with you buddy. The first two tracks made me cringe, hard. It got a little better, not much.

Sounds an awful lot like a guy with an impressively deep voice speaking over music, so essentially exactly what you would expect from Leonard Cohen.

It took me about 30 seconds to know I wasn't going to like this album. The music is perfectly adequate synthpop with a talented set of background singers. The problem is Cohen; he doesn't sing, he *intones,* trying to invest the cryptic nonsensical lyrics with some sense of importance. It doesn't work - not for me, at least, although apparently there are lot of people who are big fans.

This one has some of his good songs, that’s for sure, but I dunno about a lot of his sonic choices. Lots of the synths and drums in this sound silly. Strangely, I think The Future is my favourite Cohen, and it’s fully synth. Those synths sound more evil though, that’s probably why.

Lyrically it is quite good in parts but the 80s productions has not aged remotely well. Jazz police is particularly heinous, how does this get released? 2.5*

Opening track banger

I love an extremely dated 80s sound. It’s like being wrapped in a cozy blanket. I’m Your Man is extremely good, not what I expected from Cohen at all, but it really does it for me.

- I apparently like older, raspier Cohen more than younger...less raspy Cohen. But that is a low bar to clear. The dude continually gives himself notes that he cannot actually hit and his held vowels often kill me. - The lyrics can be interesting, but most of these melodies are just not. The songs often take the most predictable path. - "Ain't No Cure For Love" is not a bad utilization of his older voice, but "Tower of Song" is legitimately well-suited to his tones. - The total track is not for me.

Среднее

I don't like his voice

Старый сиплый голос на синтах будто дышит тебе в спину

Although this is not the type of music I usually enjoy listening to, I must admit that the record is consistent and enjoyable. Favorite track: Ain't no cure for love

A classic Cohen collection, Signed, L. Cohen.

mixed - I like some of the tracks but had to skip through some over them. 2/5 I think

Some of the songs were solid, but it did feel a bit boring.

The music has a lot of 80s style with the synths but the vocals are very bland and one note. It sounds like he isn't putting much effort into the singing and is expecting his voice and the lyrics to carry the songs. The mixing is also very lopsided with the music super quiet and vocals too loud for my liking.

You could take the top-rated review for this album on this website, and take everything it says about "funny banana music" and mean it in a 100% positive way, and that's about how I feel about this album. Sure, sure, to reference another review: I would not call it my *favorite* Lenoard Cohen album; not as long as 'If You Want It Darker' still exists. But it certainly confirms a suspicion I had when I gave two of Leonard's early albums 2's: I would like his stuff a *lot* better if there was more going on in the background than endless loops of acoustic fingerpicking. Even if that "more" is 80's synthesizer cheese — and believe me, I like it *very much*.

Leonard Cohen + 80's synths = a very interesting album. Solid 4 Stars.

I’m at a 4.5 that I’ll barely bump up to a 5. It’s a pretty damn good Leonard Cohen album. Lyrically, he’s still as sharp as ever (albeit a bit more horny than usual) & the cynical attitude that underlines most of these tracks meshes well with his darkly-shaded voice. His delivery is still not quite that of a singer’s, but he often comes a bit closer here than he does on most of the prior albums we’ve gotten. There’s genuinely a few times where he hits a good rhythmic state & kinda naturally elevates with it. Obviously, the thing that makes or breaks this album is the choice to fully adopt the ‘80s soundscape, and I would say it’s made about 70% of the time. Yes, it’s a bit dated to the era & half of these tracks sound like SEGA Genesis chiptunes, but somehow, Leonard’s voice contrasts well with the higher tones of this album to help paint some of his lower-leaning lyrics. Throughout most of the first 5 tracks, it surprisingly comes together pretty nicely. The album falls apart just a bit for its final 3 tracks, though it’s not quite enough to pull this down to a 4 for me. It was close, though. “Jazz Police” felt a bit too hokey, and while it might be a bit of a critique on the entire decade for shunning jazz artists at the time from having the same critical & cultural impact as say, a Miles Davis or a John Coltrane, it still just comes across as hokey regardless. Still some biting lines in there (especially “Wild as any freedom loving racist”), but as a whole track, it just felt too outside of his box. “I Can’t Forget” is really nice, but I do think “Tower of Song” feels a little stagnant instrumentally as a closing track. The rest of the album has a bit of a bombast behind it, one that’s meant to contrast well with Leonard’s aged voice playing the sounds attributed to a younger man’s game at this point. The proverbial “Tower of Song” is pretty vividly imagined, especially with his own self-deprecation in his comparative impact on music & his slight ego in saying he’s high enough for his lady to listen. It just doesn’t carry the same bombast in a way that kinda dilutes the message, though I do still like the track. I’ll say this: it’s certainly the most ‘fun’ sounding Leonard Cohen album we’ve gotten, and it’s nice to hear this curmudgeonly man allow a bit of a happier tone into his soundscape & some of his lyrics. His love songs here feel wrapped in some amount of affection, albeit with a bit more touchiness than just the mind. He was 54 when he made this album, so it is awkward, but I didn’t mind it too much. Ironically, I think a lot of the songs here would make for great cover versions, if only because I’d much prefer to hear a Bobby Brown or D’Angelo or some other male R&B singer nail some of those lines with a less awkward passion. Overall, this is on a shaky slope; it’s an album that could certainly fall to a 4 over time if certain tracks don’t hit as well in the future (most likely “I’m Your Man”, if only because I can’t quite take the track too seriously with the SEGA Genesis-sounding synths), and I can easily see the overall soundscapes here lightly souring on me over time. However, on a first pass, I just found myself pulled into a lot of these tracks, & Leonard’s slightly hypnotic delivery of some villainous lines along with a great backing vocalist keeps it glued enough to bump it up to a 5. I’m glad it’s on the list.

A strange album, and strangely my intro to Lenny due to loving R.E.M. cover of 1st we take.. so looking at who's song it was. And yeah the weird 80s sound didn't stop me hearing his other stuff. As there are as with Lenny great poetic songs on here. Yeah it’s weird, of it's time but still can listen all day to Len. 4 Stars ( would be a 5 but have to take it down 1 for the sound, though still thinking 5, had a modern folk album just yesterday and thought was ok but compared to this it was actually a pale shadow)

bruder was geht ab

8/10

This gives me the ick

# Leonard Cohen - *I'm Your Man* (1988): An In-Depth Review When Leonard Cohen released *I'm Your Man* in 1988, he was 53 years old and facing a career at a crossroads. His previous album, *Various Positions*—which contained "Hallelujah"—had been effectively rejected by his own label, with Columbia's president reportedly telling Cohen, "We know you're great, but we don't know if you're any good" . Rather than retreat, Cohen delivered a startling reinvention that embraced the synthesizers and drum machines of the late 1980s while retaining his poet's soul. The result remains one of his most accessible and influential works . --- ## Music and Production: A Deliberate Leap into Modernity The most immediately striking aspect of *I'm Your Man* is its production. Cohen, who earned his first solo production credit here, traded his signature acoustic folk arrangements for a landscape of synthesizers, electronic drums, and programmed rhythms . This wasn't a reluctant concession to the times but a calculated artistic choice. The album opens with "First We Take Manhattan," where a funky bassline, spooky keyboard lines, and heavily treated saxophone create an ominous, almost cinematic atmosphere . The title track features a stripped-back arrangement with sparse synth chords, placing Cohen's vocal delivery front and center . "Tower of Song" was famously recorded in a single take using a toy synthesizer in Montreal, its cheap "plink-plunk" instrumental passage serving as a sly commentary on the era's keyboard wizardry . Cohen's production team—including Michel Robidoux, Roscoe Beck, and Jean-Michel Reusser—worked across studios in Montreal, Los Angeles, Paris, and New York . The result was intentionally lo-fi and minimal, with Cohen's gravelly baritone positioned high in the mix against synthetic textures . --- ## Lyrics: Poetry, Irony, and Unflinching Realism The production may have been modern, but the lyrics remained unmistakably Cohen—witty, dark, and meticulously crafted. ### Love as Submission The title track, "I'm Your Man," explores love as total devotion. Cohen described it as a response to the question that has perplexed men for "5 or 6,000 years": "What does a woman want?" . The lyrics—"If you want a lover, I'll do anything you ask me to / And if you want another kind of love, I'll wear a mask for you"—portray a willingness to obliterate one's identity for the beloved . ### Social and Political Critique "Everybody Knows" stands as a masterpiece of sardonic social commentary. Its opening lines are devastatingly sharp: "Everybody knows that the dice are loaded / Everybody rolls with their fingers crossed / Everybody knows that the war is over / Everybody knows the good guys lost" . The song catalogs systemic injustice with a weary, knowing humor that has only grown more resonant with time . "First We Take Manhattan" presents a chilling fantasy of cultural takeover, framed as "an ominous fantasy of commercial success bundled in crypto-fascist imagery" . ### Artistic Self-Reflection "Tower of Song" finds Cohen meditating on his own craft: "I was born like this, I had no choice / I was born with the gift of a golden voice" . The self-deprecating humor—he mocks his own famously limited vocal range—is characteristic of the album's tone . ### The Poet's Touch "Take This Waltz," based on Federico García Lorca's "Pequeño vals vienés," showcases Cohen's poetic depth with lines like "Now in Vienna there's ten pretty women / There's a shoulder where death comes to cry" . --- ## Themes: Power, Desire, and Endurance The album's central themes intertwine romantic submission, political disillusionment, and artistic endurance. Love is portrayed as both redemptive and self-destructive—Cohen's characters will debase themselves, wear masks, disappear—all in service of desire . Politically, the album reflects the Cold War era's anxieties while offering more timeless observations about power and injustice . And throughout runs a thread of artistic perseverance—the image of Cohen as a tireless worker "paying my rent every day in the tower of song" . --- ## The Singles and Standouts | Song | Key Characteristics | |------|---------------------| | "First We Take Manhattan" | Ominous synth-driven opener with cryptic political imagery | | "Everybody Knows" | Bitterly humorous social critique with oud accompaniment | | "I'm Your Man" | Sparse, romantic ballad exploring total devotion | | "Take This Waltz" | Hypnotic Lorca adaptation with classical string arrangement | | "Tower of Song" | Self-referential meditation on artistic labor | --- ## Pros and Cons of the Album ### Pros ✅ - **Bold Reinvention**: Cohen successfully updated his sound for a new era without sacrificing his artistic identity - **Lyrical Brilliance**: Contains some of his wittiest, most quotable lyrics - **Cohesive Vision**: The eight tracks form a tight, focused statement - **Commercial and Critical Resurgence**: Became Cohen's best-selling album at the time and re-established his career - **Influence**: Paved the way for a new generation of artists to discover and reinterpret his work ### Cons ❌ - **Dated Production**: The heavy use of synthesizers and drum machines can sound jarring to listeners accustomed to Cohen's folkier work - **"Jazz Police"**: This track is almost universally cited as a misstep—"the only turkey on the album" - **Polarizing Sound**: Some purists found the electronic arrangements superficial or distracting - **Short Runtime**: At only eight tracks, some listeners feel it ends too quickly --- ## Influence and Legacy *I'm Your Man* marked a turning point in Cohen's career that would define his later years. It introduced him to a new generation, inspired covers by artists as diverse as Nick Cave, The Jesus and Mary Chain, and Marianne Faithfull . The documentary film of the same name (2005), while criticized for focusing too much on other performers performing Cohen's songs, testified to the album's enduring cultural weight . The album's impact can be felt in the work of artists from Suzanne Vega to Morrissey to indie singer-songwriters of subsequent decades . As one critic noted, it "re-establishes Leonard Cohen's mastery" and proved that even in his fifties, Cohen could command the cultural conversation . --- ## Final Verdict *I'm Your Man* is an album of remarkable contradictions: modern yet timeless, cynical yet romantic, self-deprecating yet confident. Its 1980s production may date it, but its lyricism ensures its survival. "Everybody Knows" and "Tower of Song" remain among Cohen's defining statements, and the album as a whole stands as a testament to artistic reinvention. As David Bennun wrote in *The Quietus*, if forced to choose one Cohen album to hear "again, and again, and again, this would be it" . For listeners willing to embrace its synthetic textures, *I'm Your Man* offers one of the richest rewards in Cohen's catalog.

no me gusto

music is love

I thought I was done with Leonard Cohen on this list, but I guess not. This was one of the more palatable albums of his, but that’s due to the music and not his voice. 2.5 / 5

'& I don't like these drugs that keep you thin.' This & the debut remain the best Leonard Cohen ever recorded, tho Songs of Love and Hate, New Skin for the Old Ceremony, & The Future ain't so far behind. 'But I don't call soft enuf.' 8 tracks, 6 singles, sure, this is probably the poet's most successful album, but that's not why it's a remarkable thing. It's b/c I'm Your Man is the most profoundly Jewish record in his catalogue, a kabbalistic stroke of pop genius from the man who really did invent a new sort of songwriting. I love how hypnotic yet intelligible it is. Not complex in spite of it's simplicity, just sensibly boasting uncanny flows. Who would've thought the eighties would proffer the most beautifully Jewish pop record of all time? It yet did.

Okay, 5 Cohen album are extremely excessive ...

Joj bože dosade. Sjećam se da je već bio na listi i ne bih ga ni prvi put uključila, dvaput je zbilja nepotrebno. 2/5, 3/10

The goofy 80s-ness on this was kinda charming

Una faceta que no conocía de él. No me gusta su voz y su música me parece aburrida

Blind album and artist. I cannot stand this at all. I was so glad the album ended. He's a talented musician with a beautiful low vocal range, but i would've rather had an album with just the background singers. Its like his voice and theirs created an uncanny valley too wide for me and it was offputting. For example, I love pizza. Its got everything that you like, but this dudes voice is the anchovies on the pizza and I do not want god damn fish on my pizza. Ruined. 1.

250325 4.5

I generally like Leonard Cohen's voice, but this is pickle ice cream.

Fucking Jazz Police, man. It's like the weirdest song to come out of the 1980s and I love it. Everybody Knows is a banger, too. I like to dunk on 80s synth garbage, and there's plenty of that here. I also like to slag on wordy fucking assholes like Bob Dylan and Leonard Cohen. And yet, I'm going to embrace the hypocrisy because I love this album. Not 5 material, but close!

Like most of his albums, the production is a weak link. It's really weak on this one. It sounds not only dated, but like it never made sense. The backing vocals are tragic. It's a shame because Everybody Knows and Tower of Song are really great songs. In another universe where he works with Rick Rubin or Jeff Tweedy or someone else this is probably great.

Leonard Cohen wrote some amazing songs, and I like his voice, but the sound of this album is terrible. The stacked female backing vocals clash with his style, and the bright synthy sound sucks.

2/5 - Some good songs here, but I don't like how this album sounds at all. Cohen's voice is always a tough hill to climb for me, and this one was too much.

Somebody should have been honest with Leonard. This ain’t it.

I respect Leonard Cohen, especially his backstory, more than I enjoy his music. But it's hard to respect "Jazz Police."

Strange sounding album, not sure the baritone vocals entirely mesh with the synth heavy instrumentation

So sue me for thinking this is his best album. It really is bizarre and I'm here for it

Ветхозаветное величие, чем гаже мир вокруг, тем ярче в нём сияет Коэн

Ну вот такого Коэна я могу слушать. Добавились инструменты помимо гитары, и сразу музыка появилась, мелодии хоть какие-то, сразу стало интересней. Напомнило позднего Дилана. Он мне тоже больше нравится, чем ранний или средний Дилан. И еще немного почувствовал вайб Ника Кейва, только менее мрачный.

Хайповала плесень. Две песни, конечно, забавные и смешные. Остальные по классике классные. Но с двух кринжанула.

интереснее ранних альбомов, как по мне, но это все равно 3.5

The song started off beautifully... Until he opened his mouth

A great artist with an ability to create emotions from his music. Its not music that works well for every day listening to me though. I have to be in a certain mood to enjoy it but when you are there its great.

Fantastic

Dated production but good songs, though I still prefer him with an acoustic guitar

This was fun and not what i expected. Everybody knows is cracker

He is my man

Tower of song is a perfect song.

Not a bad album. He is a very interesting musician.

Un álbum de una audacia formal extraordinaria que ha envejecido bien como el testimonio definitivo del desencanto moderno. En el plano de diseño de ensamble, la reinvención sintética es impecable; las cajas de ritmos y los teclados ochenteros configuran un entretejido que da claridad a la voz, permitiendo que cada palabra de su densa carga poética resalte sin interferencias sobre el pulso electrónico. La interpretación vocal, un barítono cavernoso casi hablado, proyecta una fuerza y calidez innegables gracias al perfecto balance con los coros femeninos de fondo. Este contraste transmite una autenticidad descarnada, otorgándole a Cohen una autoridad superior basada en la madurez y la experiencia. Líricamente, piezas fundamentales como "Everybody Knows" y "First We Take Manhattan" actúan como un potente e irónico llamado a la conciencia sobre la decadencia social y política, entregando un documento profundamente conmovedor, crudo y real. Un trabajo de inmensa riqueza intelectual que posee una magnética sensación de paz y fluidez oscura, volviéndose óptimo para múltiples usos nocturnos o de concentración, desde el trabajo creativo hasta una profunda reflexión solitaria.

Also da habe ich schon besseres gehört von Leonard Cohen ...

𝘐’𝘮 𝘠𝘰𝘶𝘳 𝘔𝘢𝘯 finds Leonard Cohen fully embracing the electronic sound of the late 1980s without losing what makes him unique. His unmistakably deep voice remains the centre of the album, delivering lyrics with the same wit, melancholy, and quiet authority that define his best work. What makes this record stand out is the quality of its songwriting. It features some of the finest songs in Cohen’s catalogue, including 𝗙𝗶𝗿𝘀𝘁 𝗪𝗲 𝗧𝗮𝗸𝗲 𝗠𝗮𝗻𝗵𝗮𝘁𝘁𝗮𝗻, 𝗔𝗶𝗻’𝘁 𝗡𝗼 𝗖𝘂𝗿𝗲 𝗳𝗼𝗿 𝗟𝗼𝘃𝗲, 𝗘𝘃𝗲𝗿𝘆𝗯𝗼𝗱𝘆 𝗞𝗻𝗼𝘄𝘀, and the title track, 𝗜’𝗺 𝗬𝗼𝘂𝗿 𝗠𝗮𝗻. Each of them showcases a different side of Cohen while remaining unmistakably his. The synthesizers may place the album firmly in its era, but the songs themselves have aged remarkably well. Strong melodies, sharp lyrics, and Cohen’s commanding vocal presence make 𝘐’𝘮 𝘠𝘰𝘶𝘳 𝘔𝘢𝘯 one of the highlights of his career.

7.2.26 some beautiful lyrics, but I don't love love the sound (and I definitely a person who listens to music before lyrics). Cohen has an interesting and pretty smooth voice, but I just wanted more from this musically. still enjoyed. Favorite Song: Tower of Song Rating: 3/5

While the lead vocals, arrangements and performances are excellent, and the shift to an electronica style suits the material perfectly, the female backing vocals are largely jarring. They create an awkward 1980s sonic collision with the main tracks and, rather oddly, date this album much more than his earlier releases. These twee additions would be better suited to a Tina Turner album; the material here does not require them. Barring 'Jazz Police', this is a fine, enjoyable collection of songs, but it stops short of being essential. Three stars. Side one 1 "First We Take Manhattan" (4/5) 2 "Ain't No Cure for Love" (3/5) 3 "Everybody Knows" (4/5) 4 "I'm Your Man" (4/5) Side two 5 "Take This Waltz" (3/5) 6 "Jazz Police" (2/5) 7 "I Can't Forget" (3/5) 8 "Tower of Song" (4/5) Total - 27 Average - 3.4 367/1001 194/367 albums reviewed were new to me.

He is The Man.

A strong, later career comeback, introducing Leonard Cohen to a new audience. A unique artist with his own style, I still enjoy this even if the electronic effects leave some tracks sounding of the moment.

🤮

Jazz Police gotta lock this guy up for this album

Cara eu amei a voz desse homem. Ele fala sussurrando e é algo que eu amo viu. Essas letras tbm são muito boas. King behavior.

Most of this was great, and then we hit Jazz Police, which was awful, and the rest after that was not nearly as good. Still a fine album, but wowza, J.P. was a stinker.

Such a weird album - maybe that’s why it’s on the list? I had heard this version Everybody Knows before, and thought it was interesting and quirky, but an entire album that sounds like that was a little too much.

I like Leonard Cohen, but slightly odd, Miami Vice, electro-pop Leonard Cohen isn’t really doing it for me.

First We Take Manhattan - 8/10. Very 80s synth, but not typical synth pop. Cohen's deep basso hits right where I live. Cynical about the excesses of the time. Ain't No Cure for Love - 9/10. Excellent. And very true. Everybody Knows - 11/10. Everybody knows the war is over. Everybody knows the good guys lost. Doesn't matter how many times I listen to this song, it gives me goosebumps every time. This one goes to 11. I'm Your Man - 9/10. Still excellent, if not as good as Everybody Knows. Take This Waltz - 9/10. Really great. Jazz Police - 7/10. Super 80s in some of the corniest ways. I Can't Forget - 8/10. Excellent. This man can sing. Tower of Song - 9/10. Incredible songwriting. Overall Rating - 4.38/5 (8.75/10). An incredible songwriter and lyricist, with a voice that sounds like strong, black coffee. Awesome album. Everybody Knows is as good as it gets.

Very progressive and perfect. I like it.

This was a weird one for me. I had never heard of Leonard Cohen before, and was initially put off by his baritone delivery and presence on the song. Why is this guy trying to seduce me over his lackluster instrumentals? Around halfway through the record, I was not enjoying it and questioned how it made it on the list. Fortunately, at 8 songs and under 45 minutes, it does not overstay its welcome. I decided to try and meet it where it was at instead of shaping it to what I liked. The rest of the album was much more enjoyable. Leonard's vocals, instead of coming off as the creepy guy next door speaking to my teenage daughter, morphed into a style I found more soothing and relaxed. Similarly, the instrumentals I had previously written off as sterile and lacking a driving force, began to accompany Leonard spectacularly. This album is slow, and you have to be in the right headspace for it. For my money, I prefer other albums for that headspace, but I could see myself listening to this on very rare occasion. The opening track is a tough pill to swallow, and tainted the following three. Upon revisiting them, I found them all much more palatable, and I can groove with what Leonard is doing. This isn't an album I would have sought out, but I am glad to have heard it. Now it’s the next day, and I’ve returned to not liking it. Definitely depends on my mood.

A classic.

No private session from Spotify. Not my favorite Cohen era, he can't sing at this point and the music is just generic sounding 80's keyboard heavy pop. He can still write great lyrics, but this album just doesn't work for me. There are some songs with great potential(and there is Jazz Police) I can't help but wonder what this album would sound like without the 80s over production.

I fucking hate Leonard Cohen. I sure hope I don't get any more albums from him on here. SHIT!

I was really not looking forward to another Leonard Cohen album. I understand how respected he is as an artist, but he is just sooooo so boring to me. This album completely proved me wrong. Its very good, very 80s production and somehow his voice works so well with the production style.

"Call me good, Call me bad, Call me anything you want to baby" Sadly not included here.

I knew "Everybody Knows" but didn't know the rest of the album. I'm not super into Cohen's style of talking as singing, but I think it hides what are actually pretty decent melodies.

This has that Lou Reed almost-spoken-word quality to it, but it is pretty frequently undermined by some seriously dated production.

Can kiiiind of appreciate that Leonard Cohen didn't let himself get pegged into a soft acoustic folk corner - but man, I don't know that his borderline spoken word approach works with 80s instrumentation. It just lands as a largely *weird* listen more than anything else, and if it wasn't Leonard Cohen, you'd wonder what mid-life crisis prompted the somber philosophy professor to record a pop album.

Mr Cohen, I was not familiar with your game. This felt like when I'd deliberately make my voice deeper when calling a girl.

Oh boy…this one stunk. Some of the tracks are so cheesy that I got second hand embarrassment just listening to it. There’s maybe 2 songs that are passable but not really anything special. But man most of the album is a boring old man reading out his lame “romantic” poetry over some half assed digitized bass/drums and cheese synths…

What an interesting mix of pop and folk. Sometimes it sounds like he’s barely singing, just his whispering gravely voice right in your ear. It actually makes me uncomfortable. Favorite songs: First We Take Manhattan & Jazz Police.

I love Leonard Cohen. And while there are some absolute bangers on this album, Cohen succumbed to the same trap as some other great songwriters (like Dylan and Simon) did... the 80s synth. Just for some real dated sounding production he loses a star for this one.

I don't know when Cohen started recording with the big deep voice of his old age but this album was the first time I liked him as a recording artist, not just a writer. Yeah, Martine hates the weird backup singing too, but I love the mayo with ice cream - Leonard was born for synths and over the top girly chorus.

The first song had me sceptical because it sounds so 80s and that's not what I go to Leonard Cohen for. This actually turned out to be a great album though. Everybody Knows, I'm Your Man, and Take This Waltz are standouts. The rest of the album does have its charm too. This pleasantly surprised me.

This felt like something I had to get through

Leonard Cohen and Synthesizers is the equivalent of putting mayonaise on your icecream sunday. It just feels wrong. It just doesn't feel right. I get it, as an artist wanting to keep with the times, but this feels unnecessarily forced. Like some old guy trying to be young & fresh by using the word dope every few sentences. I'm sure the lyrics were deep and poetic, but I just could not get over how bad the instrumentation sounded, the backup singers just added to the cheese. Crazy how I loved his other albums so much, and this one just majorly flopped for me, huge let down. I am shocked that this did so well when it was released, something must have been in the water back in the 80's. Also the album art sucks... sorry not sorry Leonard, I know you can do wayyyyy better than this.

Cohen precisa de menos ruído à volta

I like Leonard cohen.

Šitas patiko labiau nei praeitas klausytas, man patiko senoviškos melodijos.

Loved this. I only really knew his sixties stuff, and it's great to hear how he moved with the times and kept on making great songs.

Just one of the best Canucks of all time I

This is pretty ultimate.

Sounds like the pet shop boys soundtracking Miami vice with Leonard Cohen singing…. I actually dig it! 3.7

There some really great songs on here like Ain't No Cure for Love and also some absolute bollocks like Jazz Police. It's so weird that these two songs like this could possibly exist on the same album.

Pretty nice, "I'm Your Man" and "Tower Of Song" were my favorites

absolute decency. last lenonard cohen album got my hopes super low but this one was listenable. Still not the biggest fan tho. love u leonard <3

Everybody knows I used to be a poet Everybody knows I have a gift for words Everybody knows my songs are inconsistent Ah, that some of them will be turds Everybody knows I've got no choice Everybody knows I've got limited range So I sing real low Everybody knows. Everybody knows I'm from North of the border Everybody knows I've got backup singers Everybody knows I'm a real bummer Ah, the haunting chords still linger Everybody knows there's a hit here somewhere If I can just decide where it goes Everybody knows.

I’m pretty conflicted on this singer-songwriter genre. I often find it pretentious. But this album has good movement to it. Enjoyable.

♥️

Such a joy

"Jazz police are talking to my niece" was an unexpected bit of internal rhyme. The synths and drum machines sound very 80s but kind of charming? I also wonder why and how he chose to pose with a banana in the album cover photo.

(3/7) did not know he had a weird synth phase

Love early Cohen. Never knew he had a synth era. At first the cheese was overwhelming but there are some solid tunes here. I'm Your Man and Take this Waltz rock. Jazz Police is deranged. It's not my favorite of his but I admire him taking a big artistic swing in changing his sound so drastically.

A beautifully melancholic sound combined with Cohen's deep, drawl makes this a genuinely remarkable album.

631/1001 2026.06.08 🌕🌕🌕🌑🌑

I can't believe they're going to make me listen to 2 more albums by this hack. This one might be worse than Songs of Love and Hate.

Not his best, I was expecting something totally different and unfortunately the upbeat tempos I found quite jarring.

This was a nice journey.

not as shit as I was expecting it to be

3.5

Did not expect to like this at all but I found it interesting and kinda haunting

A fine display of the sheer, audacious brilliance of Leonard Cohen. Trading his guitar for a Casio keyboard, cheap synths and drum machines into his 50s was a drastic pivot that could have screamed "mid-life crisis" territory, had it not been executed to as stunning a degree as it was on here. It shouldn't have worked, but it somehow does. I'm Your Man is the sound of a man completely reinventing himself to mirror the absurdity of the 80s in a clever, self-aware manner, and that wry self-awareness is reflected in the album's artwork. The friction between Cohen's sophisticated, world-weary lyricism, the unabashedly corny yet cold production, and glossy female backing vocals from his long-time collaborator Jennifer Warnes paves the way for a truly enduring experience.

Lenny ain’t one of my favorite artists for the simple fact that I don’t think his music is that interesting. But he is such an obvious master of songwriting that I find myself eventually returning to his albums anyway. Here, he’s middle aged and funny, and it’s a good time. Not much else to say, it’s Leonard Cohen. Great writing.

Really loved this one. Sent me down a Leonard Cohen rabbit hole

The first time I heard Everybody Knows it was while watching Pump Up the Volume at the theaters and I was hooked. The movie version was different than this album version, but it was a fantastic introduction to Cohen. I have found other songs of his I enjoy, but none of them is on this album. This album, with the exception of Everybody Knows is abysmal. Many tracks are jarringly bad. If I had purchased this album directly, I would have been really mad. I was mad anyway as the Soundtrack version is this album version and not the slower one played in the movie.

Leonard: “I’m Your Man” Me: “No, you most certainly are not after being forced to listen to five — that’s right, FIVE — of your albums.” Leonard: “Five? Yeah, that’s far too many.”

A bit weird. He has a sultry voice but no range. It's more like he speaks without singing.

more excellent Cohen

It’s undeniably 80’s

More fun than his previous releases, but equally hard for me to take seriously. And with the 80's synth treatments, Cohen on this record starts to sound like a pretentious Wesley Willis (Rock over Manhattan/Rock on, Berlin). Is 'Jazz Police' intentionally funny? I genuinely want to know. Yes, the lyrics are sometimes good, but they also sometimes feel like they were written by a musical improv group.

MIDI spoken word poetry. Banana is a good fruit. Jazz Police is tough.

3 seconds into the first track and I was put off by the instrumentation. Leonard Cohen's voice and lyrics were able to elevate the standard synthesizer music here. Everybody Knows is a great track. I'd like to say that maybe the list has enough Leonard Cohen, but I think this one belongs on the list. Sonically the closest album I've heard before is McGruff's Smart Kids Album. Do yourself a favour and look it up if you have not heard it before.

Wait what? Leonard Cohen with synthesizers? I actually really like the mix of sound.

This was pretty boring.

I do like me some Leonard Cohen. His rasp, his poetry, his simplicity. This album wasn't as necessary to introduce or celebrate him.

What's the opposite of Dylan going electric? I find this to be a tough, schmaltzy listen. I think the songwriting itself is actually very strong, but it's totally misserved by the synth arrangements here. Ja-azz po-lice, arrest this man, he talks in sophisti-pop. I like Cohen's quote about the opener: "There's something about terrorism that I've always admired." The best I can say it that it's an economical record, each of these tracks with its own identity. I think my favourite is Take This Waltz, which which an orchestra instead of MIDI strings could ascend into real greatness.

dnf

Lubię Cohena ale nie siadł mi ten album

this is the album that convinced me to send a few coins to this website's maintainer. i vaguely heard about leonard cohen before but did not expect to like his music as much as i did. incredible voice, groovy tunes, wonderful lyrics. fuck yes give me more of this

2.5/5. The 1980’s were really not a good decade for the folk artists of the 60’s/70’s. Though I will at least give Leonard Cohen this, he fares better on a synthesizer-heavy album than Bob Dylan or Neil Young did, this is nowhere near as bad as an “Empire Burlesque.” But it’s still not great, it is almost entirely carried by the fact that Cohen is still a good storyteller. The fact that this is his highest selling studio album is kinda insane, he has so many better albums.

Production ruins some good songs

All I knew about Leonard Cohen was the gravelly voice, the fedora and “Hallelujah”, I couldn’t understand why he was such a cult figure so I was looking forward to listening to this album. It did not disappoint. The clever lyrics and the backing music, brought his deep jazzy voice to life. It was a pleasure to learn what all the fuss was about. I’m sure he would’ve been fun to see in some smoky cabaret. Like a male version of Rickie Lee Jones…

I don't really like this

This is my 17th Leonard Cohen album from this list (nevermind, it is the fourth Leonard Cohen album) and it is certainly different from the other albums on this list from Cohen. It's hard for me to get too angry I'm Your Main is on this list, but this is another one where I have to decipher lyrics to see what they mean. Feels a bit like homework. I didn't go crazy over Cohen's earlier albums but this one has synths on it and feels a bit more upbeat to me. I found I'm Your Man to be one of Cohen's most engaging albums and having more than a dreary guitar over his lyrics suited my ears well. I already knew 2-3 songs on here already, so I did come into this with some familiarity. Of all 17 Leonard Cohen albums, this one is my favorite thus far. My favorite songs: First We Take Manhattan Ain't No Cure for Love Take This Waltz Everybody Knows I Can't Forget

I'm Your Man is famous for its synthy 80s production, which is obviously atypical for Cohen. But I think it could have gone bigger. Yes, there are background vocals all over this and a big cheesy sax on "Ain't No Cure for Love." But at least half of these songs are subdued enough that the synths can be forgotten and they become typical Cohen fair. At that point it makes sense to judge them on lyrics, and it's a mixed bag there. "Tower of Song" and "Everybody Knows" are very strong. On the other hand, the opener and "Jazz Police" are difficult to follow (and that's not the only negative for "Jazz Police"). Despite some great songs, the album ends up being fairly average, dragged down by a weak second half. If this leaned harder into the sophisti-pop sound, I think it would be better.

Everybody knows this is a two-star album.

Leornard Cohen wrote great songs, but was only an okay singer.

A confused man eating a banana is a pretty good representation of how I felt throughout the album. A lot of interesting songs that range from odd to downright weird, and very few are alike. His voice is pretty fire though I can't lie. Best: First We Take Manhattan Worst: Ain't No Cure for Love Liked songs: 5/8, 63% Mid 3

I can’t really see myself replaying most of these songs other than “Jazz Police” but I will say the instrumentals in this album are well done. 6/10

Álbum equilibrado, tiene elementos bastante pop, contrastados con el tono de Leonard tan característico Me parece que el nivel de expansión musical que tiene es muy interesante Acá me parece que artísticamente hablando no busca complacer a nadie, simplemente necesita evocar los elementos con los que él conecta Reescuchable y sé que eso permitirá agarrarle aún más gusto 3.5

Not a fan of Leonard Cohen and this didn't change my mind

Len + synth nonsense is an enjoyable idea (less enjoyable listening), there are some great songs on here. And, sure, it was a return to form. All that aside, there are far too many Len's on this list, you could cut this one.

He’s growing on me.

Certainly took some getting used to, and the arrangements are all over the shop, but there's some gems to be found in here, "Tower of Song" especially

Gosh his voice is sexy!! Feels like a proper old school gent omg. Would. Love the synthy beats in this too, the combo is brill

it doesnt get any greater than jazz police. but for real tho, I'm your man is so classic leonard cohen- so sexually poetic, raw, and beautiful. the arrangements are dated but the theme and lyrics are timeless. listening to this makes me lament the degradation of loss of great lyrical poets - father john misty is the only current artist i listen to that writes anything that approaches this level of poeticism.

Hurts me to rate him so low. I love his lyrics. But the 80s keyboard sound and the backup singing on most songs are quite distracting. Love him though. For poetry he gets 5 out of 5.

This sounds like music made by a cool guy who had a cool speaking voice and had people tell him that he should try his hand at singing, but he didn't really want to.

Interesting! He might have lost a few fan with this one but it's nice to see artists trying to live with their time.

Took and extra listen or two but found some appreciation for this. Turns out to be a solid addition to his discography for me, with some fun tunes on. 3.5.

Not my fav of his works, 80’s synths maybe the culprit

The only thing holding this back from 5 stars is the chintzy production, which has always been my biggest gripe with Cohen’s ‘80s work. His early albums and his later work just sound so much better with a sparser sound.

kalo sxetika. stin arxi apla mou fanike ligo vareto gt den sunuthizo na akouw tetoia fasi alla meta mou arese kai epsaksa gia ton tragoudisti

#942. Yet again I just come to the conclusion that his stuff is just boring. I've also come to the conclusion this time that this album exactly is probably what Tom Waits is trying to accomplish, except he's terrible. 2/5: bored

Liked this more than I was expecting after hearing other people's opinions. Plus I already had 'Everybody Knows' and 'I'm Your Man' in my liked songs.

Leonard Cohen op zijn best? Misschien wel. Gave nummers, geweldige stem!

Would give it a 4 but giving a 3 because I have to be in a specific nostalgic mood to really enjoy Leonard Cohen’s music. Otherwise I’m always thinkin this man needs to speak up!

What the fuck am I missing with Leonard Cohen? I listened to I’m Your Man expecting to at least understand the appeal, and instead I got one of the most joyless, talentless, self-important piles of musical sludge I’ve ever heard. His “singing” sounds like a drunk funeral director mumbling into a broken answering machine, and the music underneath it is somehow even worse: cheap, limp, lifeless synth garbage that feels less like production and more like punishment. I can usually hear something in music I don’t personally like. I can respect the craft, the energy, the originality, the performance, something. But with Leonard Cohen, I hear absolutely nothing. No hooks, no beauty, no emotional power, no musical talent, no reason for this to exist except for people to pretend boredom is depth. The whole thing feels like bad poetry stapled to the most miserable karaoke backing tracks ever made. The fact that I’m Your Man ends up on “albums to hear before you die” lists is genuinely insulting. Before I die? I want the time I spent listening to this back. This album has all the charm of a wet ashtray, all the energy of a corpse in a suit, and all the musical value of someone whispering depressing pickup lines over a Casio demo track. I hated every second of it.

Wow, I can't think of an album with music that sounds so dated. I hope that someday a "remaster" is possible with better instruments because this sounds like garbage.

The combo of Leonard Cohen’s voice/writing and this music is hilarious in a great way

Great lyrics, but man are the synths a bit much

This was not anything like previous Leonard Cohen we have done, in a very interesting and good way. I wasn't expecting silly synth pop out of him, but this was very fun. Can I give a full 5*s to an album with something as goofy as Jazz Police on it? I don't think so, but I did seriously consider it!

Dark and broody Likes: First We Take Manhattan; Everybody Knows; Take This Waltz

3.0

Yikes 80's leonard cohen is a tough listen. But he's prime for that gothy droning sad song type. I'm not floored by this album but its fine for its time.

6/10 There really are some great songs here, but they are buried under 10,001 tons of 80s garbage. Still they fight to get out and sometimes they make it through, only to be dragged back down. Reminded me too much of Paula Abdul

The man’s got it

not as good as Joni Mitchell’s Blue

Some songs I recognized and some interesting stuff here but not really my cup of tea. Still a worthwhile listen though. 3.5

I already know this is fantastic!

I'm supposed to love this, at least Turk Tuckahaw says so. I like his songs when other people sing them. The Casiotone and golden voice together were too much for me to find enjoyment in listening.

I love the two folk albums by him that we've gotten, but I don't think this super-80s album from him works. Very low 6/10.

I can’t believe I have to suffer through Leonard Cohen five times on this damn album generator. His voice is like nails on a chalkboard to me. I was thinking of maybe giving this a 2 because I know it’s supposed to be more lyrics-based but the music behind him got worse as the album went on. It just made me more and more mad as I listened to more songs. Ugh. Terrible.

Cohen's one of the rare folk singers that truly draws me into the stories any time I listen. With how dated synth-heavy 80s records tend to sound, I was actually surprised that it suits his singing pretty well here (even if they overdo it pretty bad on Jazz Police). The stripped-back Tower of Song is still Cohen at his best though; one of my favorite songs of his to date, and a beautiful closer to this album. Not bad! Standouts: First We Take Manhattan • Everybody Knows • Tower of Song

One of the best things about this album challenge has been realizing how much I love Leonard Cohen. However, I can't give this any higher than a 3. The first four songs are an absolute tour de force. Take This Waltz is not good. Jazz Police is abominable and the last two are forgettable.

2.4/5 It was ok. A few of the songs dragged on abit but it wasn't awful to listen too.

I love good lyrics but I personally liked the different style of production Cohen used here.

No muy mi estilo, y creo que tampoco el de Leonard Cohen. Supongo que la década lo influenció demás. Tiene sus cosas, pero a propósito le daré un 2.

What a poet. What a voice.

felt like he tried to be more 'hip'

Pues un poco irregular…las buenas, joyas…pero las malas muy malas. Entiendo el mame pero no me subo por completo. Inevitable pensar en Sabina

It's like Bela lugosi came back & put out an album. I never got the fascination with Leonard Cohen & it looks like I'll never get it.

I liked this

Easily the best album by this guy on this list so far, though that isn’t saying much. Decently listenable album that moves along. I didn’t hate it as much as his other stuff. 3/5

Sorprendió, buena voz grave, canciones bastante variadas. Algún día lo pondría de fondo.

ily leo

Raspy, gravelly, typical Leonard Cohen

I see the appeal, but it's not for me

I think the lyrics lovers love this album but for me something was lacking. The man is a genius for sure but I prefer a little bit more melodic and a bit more music. Just don't think it's entirely for me but definitely worth a listen. Favorite track - First we take Manhattan.

Probably my least favorite Nick Cave album. Not my favorite Leonard Cohen album either

Alright, final Leonard Cohen album. I'm going to miss hearing this man's albums. I don't think this list needs 5 of them per se, but 3 or 4 I think is good. Even then, I'm much more okay with 5 Leonard Cohen albums than many of the over-represented artists on this list considering just how much I enjoy his music. I'm Your Man is a very interesting album. It's got synths on it. That's funny. Yeah, the production on this album is pretty dated in many regards, but I don't know, I kinda enjoy it. It's not bad on songs like "I'm Your Man" and "Everybody Knows." Besides, it's not like the atmosphere on the album is cheesy. There's still a slight sense of seediness to the whole thing that highlights the songwriting. Speaking of songwriting, it's as excellent as ever. We've been through this, okay? Leonard Cohen is a songwriter first, and a musician second. His music is often enjoyable, but it's the songwriting that takes an album like this from a neat experiment to a genuinely great experience. Like, "First We Take Manhattan" shouldn't work as a song, but the political theming matches weirdly well with the sharpness of the music. I don't know what it is, but it works. Of course, not every song makes as much sense as the album's best songs. I don't hate "Jazz Police" nearly as much as some others do, but I still don't know what the hell it's about or what it's doing on the album. Cohen's voice on the album is as dry as ever, but seeing as the writing is equally as dry, they compliment each other well. That's the magic of Leonard Cohen for me. He takes these elements that shouldn't work as well as they do and make them compliment each other perfectly. Admittedly, I'm Your Man isn't the best showing of this. I definitely prefer the earlier folk-focused material from the "Songs" albums. But, I have respect for I'm Your Man. It's cool. 4/5.

2.5 trop repetitif

Me enamoré bastante de él.

Boring but not bad

About as good as I can go with Leonard Cohen. Somewhat enjoyable, but not my favorite and I honestly think he's overrated. 3.

4.5

Idk. Is this for real? Its campy, ill give it that. This is not the LC im grabbing. Its a reluctant 3. Maybe a 2.5. Jazz police IS funny af.

Idk about this one I’ve been trying to get more into Leonard Cohen but I feel like this was just a little bit boring and I got distracted very easily. Maybe I’ll give it another try in the future

7.5 / 10

5 de 5 Un disco que va más allá de un estado pesimista, ansioso o que está en espera de la esperanza. Probablemente no hubo un disco en la carrera del poeta y cantautor canadiense que haya representado un cambio estético más notable, Leonard Cohen nos entrega un disco donde se reinventó, un disco donde nos dio más elegancia y porte que nadie.

This was not terrible, he almost tried singing! The songs do have a nice vibe.

This was significantly better than the first Cohen album I got, which ironically was his last album. And that one was insufferable. I actually enjoyed this one.

Dark and gloomy, classic from this guy. I am rarely in a mood to really sit down with this, but it's nice when it passes by.

I’m Your Man by Leonard Cohen is an album I’ve always enjoyed, and one I was really looking forward to revisiting today. Vocally, this is Cohen at his best. His delivery is confident and commanding, and the lyrics are as strong as ever, full of sharp, powerful storytelling. Musically, I know this album divides opinion, but I really like the production. It’s different from his earlier work, more synthetic and polished, but it creates a unique atmosphere that really works. The first half of the album is particularly strong. First We Take Manhattan is a brilliant track with a great sound, while Everybody Knows and I’m Your Man are standout songs that show just how good this album can be. For me, it tails off slightly in the second half. Take This Waltz and Jazz Police don’t quite hit the same level, and if the consistency had been there throughout, this would easily be a 5/5. Favourite tracks: First We Take Manhattan, Everybody Knows, and I’m Your Man Least favourite tracks: Take This Waltz and Jazz Police Album artwork: A great cover that really suits the tone and style of the album

I get it, but it’s a rough listen

Woah

yo this guy spits barrssssssss 1. First we Take Manhattan is giving Be Prepared vibes 2. Ain’t no cure for love reminds me of the Police and also That’s the price for love by New Order

Sexy

First we take Manhattan then we take new york,

Leonard Cohen is not for me. I can’t take the vocals seriously.

Leonard Cohen in the 80s. You felt the 80s for the first half then more Cohen the second. Nice album

1.9/5

This one’s not hitting for me as well as the others have. Lyrically great and musically fun, just nothing I would ever come back to.

This is really a strange one. Leaning into nascent synthesizer tech was probably fairly forward looking at the time and maybe Leonard Cohen was interested in modernizing his sound and didn't want to sound stuck in some old way of doing things. The instrumentation to these tracks is honestly pretty heinous. From a lens of many years later this gives vibes of something like Wesley Willis. It sounds like a karaoke machine. It's really just confounding to me that this was so successful. It makes me conflicted on how to rate it. The fact that the intent is so confusing and the difference from previous albums almost makes it noteworthy on its own but just listening to it absent of other context wasn't very enjoyable for me. I'm going to go 2 stars for the listening experience and maybe 4 stars for being worth knowing about so average to 3.

This would have been more compelling with a proper band instead of synth