Reviews (page 5 of 8)
Not sure who thought the 80's synth sound and Leonard Cohen voice goes together - maybe in the 80's it sounded fine but hasn't aged well. At least Leonard Cohen's voice overcame the production.
Previously rated: Songs Of Love And Hate (2/5) Songs Of Leonard Cohen (2/5) ********************************** Better than the other two. Interesting dichotomy between that voice and the cheesy 80s sounds in some of it. Still has the creepiness. Best track: Everybody Knows
3 stars. I've never been a huge Cohen fan, and this doesn't change my mind. He's got better albums. This shouldn't be on the list -- though it's not bad. It's just not a "must listen". Exposure to Leonard is worthwhile, but this isn't the best example (or even 2nd or 3rd best). The 80s synth-based production doesn't help.
This was definitely better than The Songs of… “Everybody Knows, Jazz Police, Tower of Song, & First We Take Manhattan are all pretty cool. His voice is haunting. 1001 album worthy: yes - 68/125
Not a fan of new wave. The poetry in his lyrics are undeniably great, but his voice was sometimes hard to listen to. Some songs were pretty good, but others were completely not. It was listenable at least, but not really for me. However, I was generally compelled to listen to the lyrics to see where it was going, and to discover the next track and what possible genres it would combine. For that I give it a 3.
Not that I’m an advocate for it or anything, but how the hell did Leonard Cohen get away with not being cancelled? Not that this has anything to do with anything. Middling album. Is this the one he did after his accountant ran off with all his money? If so, explains a bit. (You know, there’s a genre there - the financial obligations album)
6/10 This was a confounding one. Cohen gruffs his way monotonously through an album full of pop vibes and perky backing vocals. A strange contrast, might have thought his producers didn’t like him much but then a song like jazz police showed he was in on the joke. Strangely I kind of liked this. Best: First We Take Manhattan
Solid, but not something I feel the need to revisit.
Had it on while I was working on switching around my laptop for work, nothing really caught my attention though.
I am very ambivalent towards Leonard Cohen. On one hand he brings a very unique style, and voice, to the table. That is refreshing. On the other hand, I am baffled by how out of tempo (and tune?) he can be sometimes. It really sounds amateurish at times. I think I wrote this in my last review of one of his albums, but it is so obvious that he was a poet before he was a musician. I sometimes think he should just have stayed that. All of that aside, I think this was a decent album. 'First We Take Manhattan' is such an unexpected sound and song. I don't think I've heard Leonard Cohen in a synthesizer setting before, and I must say that while the actual synth sounds are very basic, it still feels quite grand. "First we take Manhattan, then we take Berlin" is such a cool line as well. The rest of the album also holds up quite well somehow. Even though I am, not always a fan of his performance, his voice and the music still somehow works together? It is a very strange feeling. Overall I find this album completely OK. Not my thing, but fun with something that stands out.
Classic singer songwriting vibes from Leonard Cohen, this time with 80s pop instrumentals. Not bad if your into this sort of thing. I think the value of Cohen really comes from appreciating the poetry in his writing.
Boring stuff. I don't like it and don't want to listen again
Jazz police is lowkey cringe tbh but Everybody knows is goated AF
Oof. Cheeseball.
i saw someone in the reviews say this is an album for people who value lyrics above all else, which makes sense, because the music sounds like it was made on garageband. the titular song is still a banger though.
Initially wasn’t a fan, but as I listened and got more in tune with his sound I thought it was quite nice. Bit too slow for my liking but love the themes.
This was..okay? Leonard's voice is pretty soothing for being so deep but it definitely sounds like it's written word with music accompanying it rather than actual songs (I get that's maybe the point)
Way back in the day I actually owned this on cassette, which translates into I copied this onto a cassette from my brother. There was something ethereal about this album that always caught me at the time. It was like that magazine you weren’t supposed to have hidden under your bed or taking a sip of someone’s drink when they weren’t paying attention. The song that grabbed me was Everybody Knows which is still a fantastic song. I also love the song I’m Your Man because of its slow waltz like quality. But really you can’t go wrong with most of this album. His voice is like velvet sheets on a sultry night. I do think this is his best album he did.
Random thoughts: * Leonard Cohen's voice is unmatched. Such a great voice to listen to. * Everybody Knows was first brought to my attention from that Christian Slater movie, Pump Up The Volume. * Jazz Police sounds like it was written for a pop musical that Leonard was conceiving but never made it to Broadway. Still a fun ditty. I would have definitely gone to see that musical. * First We Take Manhattan was a good opener and caught my attention. I'm not sure who is taking Manhattan and Berlin but it sounded great.
Choices were made production-wise. I'm not sure these were always the best choices... Highlights: "Everybody Knows" (the music at least matches the haunting vibe of the vocals), "I'm Your Man" (smoky 40s club vibe), "Tower of Song" (the minimalist production works) Notable: "First We Take Manhattan" (weird juxtaposition between Cohen's dour, Teutonic vocals on the verses and the almost disco-like female choruses)
There’s something about the mixture of Leonard Cohen and 80’s pop production design that feels really wrong. Like the musical equivalent of drinking orange juice right after brushing your teeth. Leonard’s gravelly voice makes this album feel like an old man doing a cover of Madonna. And there’s a backing female chorus to boot for some of the songs. To be honest, some of it works…sort of. Honestly, I think only think Take This Waltz and Tower of Song work best, because the production takes a backseat in those songs. Other than that, results may vary. The stuff like Everybody Knows and Ain’t No Care for Love are alright. But then there is Jazz Police, which goes full 80’s and, I swear to God, there’s a piano part in the song where it just sounds like a midi file going through a blender. Overall… it’s okay. This was the last thing I expected from Leonard Cohen, but it’s not awful. Just very, very weird. Favorite track: Everybody Knows Other hits: Take This Waltz, Ain’t No Cure For Love, Tower of Song, I’m Your Man
Struggled a bit to get into this one, though I didn't dislike it either. The lyrics are the highlight, not to say I enjoyed every one. Some sounds I found oddly catchy, some I just couldn't wait to end. Real mixed bag, but it held my intrigue.
It is good. It leans very heavily into 80s cheese. So heavily, that it almost ceases to matter. Some of these songs are excellent, the lyrics are, as usual, hilarious and insightful. In truth, it's 3.5 stars.
Not what I expected! Great lyrics but dated production - afraid it didn't grab me as much as his earlier and later work does. Favourite tracks: Everybody Knows, I'm Your Man
My first Leonard Cohen album. He has a great voice, but it's a bit boring.
Sigh. Another classic Leonard grumbles over a music score album. Yes, they're perfect for when the mood strikes, but...
Jazz Police - what a bop
A soulful voice and I thought the song "everybody knows" was really good. The album flower well, and was an easy listen.
I don’t know if this was a good first “real” introduction to Leonard Cohen (I know Hallelujah, of course). I am sure that I don’t understand all the intricacies of the lyrics on this album, going off of what I’ve heard about Cohen. So lyrically, there is probably a lot of interesting things going on. Musically, this was nothing like I expected this to sound. I liked the three track run Everybody Knows, I’m Your Man, and Take This Waltz most of this wasn’t really for my taste.
Album with Everybody Knows
Pretty good a bit dull but a good listen.
такое
It's fine. Totally fine album. The poetry is on full display here, but my brain craves something meatier.
Not sure what to think about this one the lyrics are dark as expected but some of the backing is a bit kitch (especially. The female backing vocals) Some decent songs that stay with you though. 3.5
I tried on this one, and I remember he played some of these songs at Coachella. I just found the arrangements and 80s production w bit corny. I’m sure it probably gets better with it multiple listens.
I've heard covers of Leonard Cohen songs before but have only listened to one of his original songs before. This is an artist where the lyrics are the main point, like Bob Dylan and Tom Waits. Leonard has a better sounding voice than the two I mentioned, but his lyrics aren't as good. The music itself tries to be something unique, but doesn't push far enough like Waits does, and it just sort of falls flat. I wouldn't say it's a bad album, but it's nothing special.
Hat n erkennbaren Sound und Stimme, aber nichts was ich mir nochmal unbedingt anhören müsste. 3 Sterne
It was nice
Not what I expected from a Leonard Cohen album. Doesn’t make it bad! It’s just that he released a Leonard Cohen album in 1987, and that’s exactly what it sounds like. I was expecting guitar but instead there was a lot of synth and more electronic beats. “Everybody Knows” and “First We Take Manhattan” remind me of how dystopian it feels to live in the world both then and now. “Everybody Knows” is particularly timely and honestly, how much more cutting would it have been released in 2025?
Rating: 7/10 Synth-pop Leonard Cohen sounds like a terrible idea, but this was infinitely better than I ever thought it would be. The 80s synth sound suits his voice surprisingly well.
First we take Manhattan … THEN WE TAKE BERLIN! Great fun introducing Fleur to that song (I was very pleased with myself for having remembered the track was on this record specifically), but barring a couple of grooves this wasn’t a great record for me. Still, enjoyable enough. 2.75.
I love him but this is definitely not my favorite album of his. Just because it’s him, I will give it a three.
Dang, what a weird album. Did this sound good and/or cutting edge when it was released? Sorry, Leonard. A lot of people seem to like you, this 1,001 list really likes you, but your music is just not my thing. The one positive takeaway I have from this album is that I will now say the term “jazz police” on a regular basis. Per orders of the jazz police this album gets 3 stars instead of 2 stars.
I don’t know, there’s something about Leonard Cohen that just doesn’t grab me. I like his songwriting, but hearing the songs themselves I’m not moved. These arrangements were strange in an interesting way though. Feels like the kind of thing that might click for me one day but for now I say okay.
We’ve got to be done with Cohen by now, right? It’s odd that so many artists are front loaded on this generator.
Ach
Really great songwriter
I approach Leonard Cohen like I approach Bob Dylan - excellent song writer, terrible voice. Seriously, it's like nails on a blackboard. That said, listen to this for the songs, not the singer. It's brilliant in that way.
I'm ambivalent. I don't particularly enjoy his voice, I suppose it must be an acquired taste. There are a couple of songs I like -- the first track is a bit of a classic, I think -- but overall I listened to this twice and it just didn't make a strong impression. Not my cup of tea, not bad by any stretch, but nothing that really grabbed me.
Pretty decent, I only knew one song. I assume that this was a great album back in the day, but nowadays I feel like Leonard Cohen is just speaking, although he does have some pretty melodic songs. Overall, not too bad and it was a decent album.
I’ve tried for years to like Leonard Cohen to no avail. This synth-heavy album did nothing to help. I was leaning 3/5 until Jazz Police. That may have knocked this album down a peg.
Not my favourite bit of Cohen. Some of the 80s vibes were just too much for me. The title track was wonderful though and it was an enjoyable listen
Wat is dat eerste nummer een bijzonder samenspel. Deze lijst presenteerde al een jaren '60 Leonard. Nu krijgen we full frontal jaren '80. En dan doel ik niet alleen op de madonna-stijl zangeres die met wat geplingel begeleid wordt. Ik doel ook op de Kraftwerkachtige begeleiding van zijn eigen stem. Als ik dan toch in Duitsland zit met mijn associaties. Die theatrale stem kenden we al. Maar dit nummer lijkt wat betreft het stemgebruik wel een grondlegger voor Rammstein. Het lijkt mij dat Berlijn inderdaad veroverd is. Dit is helaas wel het enig nummer dat mij pakt. De rest is maar saai en/of theatraal. Gelukkig is er een aardige variatie tussen de nummers. Uiteindelijk zal ik alleen First we take Manhattan vaker aanzetten ben ik bang.
Wtf is Jazz Police loooool
Ik vind hem altijd hit or miss. Heeft fantastische nummers maar ook mindere. Vond hier First we Take Manhatten, Everybody Knows en Jazz Police playlist material, maar de rest is miss voor mij, ondanks dat ik wel snap wat mensen fantastisch aan hem vinden Oh en hij is cringe levels of zwoel af en toe met zn lyrics Not sure what to rate this ik ga maar voor 3/5
Relaxing set. High 3
I prefer his other albums. Not that it's bad, just the others are better.
S'okay. I liked the instrumentals throughout, but couldn't get into the vocals much at all. 'Take This Waltz' is my pick for fave.
My favorite Leonard Cohen song is "I'm Your Man", and it's thanks to a cover by a smooth singing former heavy metal vocalist Dax Riggs around 15 years ago. Since then it's become a song that I adore. Track 1 is a bit of a crazy introduction. It feels like it never stops and keeps throwing ideas at you. I was surprised at the second vocalist that comes in around the three minute mark. This album has a really cool sound on it and I'm impressed by him embracing the Blade Runner-esque synths that were so ubiquitous at the time. It's a little awkward at times though, and I think the mix engineer probably didn't have a great idea about how loud to make his primary vocal. "I'm Your Man" is definitely a strong and memorable song. It's enough to prop up this album a bit and be a strong 3 for me, probably a 3.3/5.
not my favorite Leonard Cohen album 3
Pretty cool album. Standout songs: I'm your man Take this Waltz
I like Cohen to a point, but he was trying to hard to be an 80s man here. I think he just finished Revenge of the Nerds one day and said, “that’s the sound for me!”
Leonard Cohen is one of the greatest songwriters/musicians of the 20th century. But this album was pretty cheesy. Very heavily 80's inspired. Electronic influences. Weird dark humor lyrics.
Considering the last two Leonard Cohen albums i have listened to (those being Songs of Love and Hate and You Want it Darker) If you were to tell me that I'm Your Man had a lot of 80s new wave sounding songs throughout the whole thing, I probably would not have believed you prior to listening this album but now that i have, i have no choice but to believe you now. Honestly, this album actually worked pretty well with it's sound considering that this is not the kind of sound that Cohen typically does. It was still very easy to recognize that this was a Leonard Cohen album too due to his voice and some folkish elements. This album isn't the greatest thing ever but for what it does, it does well. Best Song: Everybody Knows Worst Song: Tower of Song
Cool album
ok
This album is indistinguishable from the one he released in 2016. I like his voice, but it's not terribly creative.
non riesco a spiegare perchè, ma non mi ha colpito particolarmente. lui però voce sempre molto bella.
nice. leonard cohen is cool.
Disjointed and anachronistic but some good.
Okay why did I actually love this album. This album, and I can’t think how else to describe it, sounds like if Jarvis Cocker wrote my Grade 4 modern syllabus. I really REALLY want to give this a 5/5 for sheer comedic value but that doesn’t distract from the fact that I did think it was a bit shit. Not giggled this much in a while
good vibes
Much more a lyrical listen than a musical listen. Not my favorite but I appreciate what it’s going for and why some may like it more.
Interesting- the more I listen to cohen the more I am sucked in
Best Song: Take This Waltz. A classic from the king of melancholy. I also always like when Cohen contrasts his deep and sonorous voice with a higher register female vocalist. Worst Song: Jazz Police. Hard to believe this song isn't a parody. Overall: As much as I love Cohen, I am not a fan of this era of his, when his voice (and more importantly, his lyrics) are constantly drowned out by overproduction. Proof that the 80s made even good artists worse.
I want to like Leonard Cohen. I really do. But his voice is so monotone and dull that I really struggle, even though he’s got beautiful lyrics and really interesting songs. And he got worse with age - his stuff from the 60’s is more interesting to me. So this is only a 3 star album, because of the potential it has more than what is presented.
I don't normally tend to check others' reviews while I've literally got the album on but I just had a peek at some for this. Alternately scathing, hilarious, and in some cases richly insightful. A bit like the man himself. There's a full spectrum of responses from active dislike, through simply not getting into it, right up to hero worship. Put me somewhere in the middle. I find the music and production here quite unedifying for a lot of the time, though the sarky, sardonic, poetic lyrics always hold plenty interest. 2.5, tending to 3
No idea what was happening here but I kind of dug it.
The value of this album lies in the lyrics. It’s great songwriting, somehow still on the nose in our current social and political context. Take this Waltz was my favorite on the album, probably because it was the most distinct song on I’m Your Man (meaning it didn’t have as much of that forced 80s synth sound, coupled with its clever songwriting). Lyrically I also appreciated First We Take Manhattan, Everybody Knows, Jazz Police.
Ik had niet eens zo heel lang geleden een Leonard Cohen album waar ik onverwacht van heb genoten, omdat het zo'n lekker luisteralbum was. Bij het aanzetten van deze hoopte ik eigenlijk op iets soortgelijks, maar dit is compleet andere koek. Deze is voor de liefhebber van 80's synths en de pornosax. Ome Leonard zit lekker met een foute stem, half zingend een bende verhalen op te hangen. Het is nog wel een beetje catchy, ik vind het weer knetterfout maar het is nog wel te doen deze keer. Ik ga daarom een keer mild zijn, voor een 80's hater dan. Drie sterren.
Kind of mixed. I don't think i'd listen to this again.
I like Leonard Cohen, but always find an entire album to be a bit challenging. His voice is .... unique. The music is sparse and not very interesting, but the lyrics are killer.
Damn this is tough. What do you call something that you both love and hate in equal amounts? This works and bombs at the same time. Intentionally ridiculous.
meh
An enjoyable listen but not my favourite Leonard Cohen album I have to say. Glad I heard it though. Maybe I needed to listen more deeply...
A couple of good songs.
Alku vähän outoa kasari synapoppia, mutta loppua päin parani, paitsi Jazz Police vei takaisin sinne synapoppiin. Näissä kappaleissa laulu jostain syystä tosi heikkoa. Muissa ihan siedettävää. Vähän Nick Cave tulee mieleen. Parhaat: Take This Waltz
Nice album
Getting more of Cohen's discography I see. I got his very last album just a few weeks ago, so it's nice to be able to hear something from Cohen's prime to get a better idea of what he brought to music. With only two Cohen albums under my belt, it's clear that he used his signature, low vocal delivery the best way he could; creating a sense of gloominess without being totally serious. "Everybody Knows" is probably the best example of my aforementioned point. Instrumentally, the album is a bit here and there (i.e. "Jazz Police"), but that doesn't negate the poetic chops that Cohen displays brilliantly here.
bin sehr gspannt, s erste album vo ihm wommer gha hend het mier ja recht gfalle. ouh oke tönt ganz andersch als ich denkt han hahaha cool mitem synthi undem backgroundgsang, au wenner immernanig chan singe aber das isch au sekundär hahah ain't no cure for love kinda cute, aber jz nüt unglaublichs hmm finds jz nöd unglaublich, au de title track isch so ja no spannend aber würkli nöd meh take this waltz hani na gern will ich eifach us irgeme grund walzer amigs gern han hahaha ich find en walzer tut amigs guet es album ufbreche miteme eifache drü viertel jazzpolice easy funny ich chegg iwie nöd ganz, wie das album ja en rechte erfolg gsi isch? POAH RIESE KLAVIER I can't forget isch sehr herzig, bis jz s beste okay tower of song findi au sehr herzig ja es isch recht inoffensive, zwar find ich die erngetischere, synthi-dominierte lieder spannend für sich, aber mier hend jz die langsame, "eifachere" lieder (wie tower of song und I can't forget) besser gfalle. DREI
I like the production more than others, but it's very front loaded (the opening half is as strong as anything in Cohen's catalogue). Tower of Song is a great closer too.
Leonard Cohen is an artist who has a surprising amount of placements on the list, but hasn’t popped up for me yet. I know vaguely of his music. And of course I’ve heard Hallelujah before. That song still doesn’t do much for me though. Either way, Leonard was still one of the most storied and respected figures in contemporary folk and pop history. He began his artistic endeavors as a poet, and that aspect of his life definitely transferred over into the music. His lyrics often have a strange and poetic feeling to them. Although he started in folk, his last album before the 80s ended fully delved into a far more synthesized sound. And I mean fully. It’s about as late 80s as you can get. And personally I think it’s the last context Leonard’s voice should be heard in. It feels so off. There is something strangely off-putting and jarring about hearing such a deep voice over music that is generally accompanied by the exact opposite. And the addition of those backing vocalists makes this juxtaposition even more glaring. Cohen’s voice and striking lyricism are by far the biggest highlight here. It’s unfortunate that what he chose to sing over is pretty cringeworthy. Because I can see how much better he would fit on proper folk or pop music. But you know what? Some of these songs are actually not horrible. Like cringe in a somewhat tolerable way. But this bounces back and forth between actually using the synth style well and just jumping the shark completely. This doesn’t put me off to his music. I’m not going to go into the next record ready for disappointment. Because I know this isn’t his best, and it’s probably only up from here on out. Rating: 5/10
Favourite Song: First We Take Manhattan
Låter jätte "eighties" men tycker det är ett mysigt album. Take this waltz och ain't no cure for love är klara highlights
Love the songs - and the cover picture 😃
A journey through a world where everyone's secrets are out in the open and love is a transaction. The title track, with its smarmy charm, sets the tone for an album that revels in its own cynicism. Cohen, ever the poet of the smoke filled, dimly lit bar, delivers lines like "If you want a lover, I'll do anything you ask me to" with a voice that suggests he's both offering and mocking the deal. The album's standout, "Everybody Knows", is a jaded anthem for the end of the world. Cohen's gravelly voice, accompanied by a somber piano and ominous synthesizer, paints a bleak picture of a world where corruption, addiction, and disease are commonplace. But hey, at least the song is catchy! If you're looking for an album that will confirm your suspicions that the world is going to hell in a handbasket, look no further
56
More fleshed out musically than his early stuff, but some of the arrangements are a little overdone. Amazing lyrical imagery as always.
não fechei com essa versão sintetizadores do cohen. parece que estou ouvindo um disco cover do aha
Honnêtement pas si mal, plutôt sombre et lent mais c'est jamais vraiment plate
Toller Einsatz seiner Stimme. Texte so lala.
Jennifer Warnes version of First We Take Manhattan is the superior one (aided by Stevie Ray Vaughn's guitar). There's something jarring about the backing singers' voices contrasted with Cohen's. It doesn't really work IMO. Having said that, some good songwriting here and I enjoyed a fair bit of it.
This was a weird vibe
Such thoughtful words and music
I've never listened to Leonard Cohen before, although apparently I have heard many covers of his songs. Didn't expect to like the album but between the deep crooner voice, lyrics that made you go "wait, what?", the cheesy 80s sounds and background singers that didn't quite fit the vibes, it was fun weird listen. Tower of Song, Take This Waltz made for a better rating. 3.5 stars
I originally thought I wasn’t going to like this, his voice got so deep and took on an almost creep tonality. However the further in I got, the more comforting his voice came across.
2.5
Thoughts before listening: There sure is a lot of Leonard Cohen on this list. I just can't get into his music, but I guess I'll keep trying. Review: I hated this on first listen. Leonard Cohen with weird 80s synths? Sounded terrible. But you know what, something hit for me and I started liking this more. I ended up listening through 2 or 3 times. Its definitely an interesting album. 3-stars
Really liked First We Take Manhattan, but the rest of the album is nowhere near as good
That's not my taste in musik. Some nice Songs.
This works and bombs at the same time.
Leonard Cohen is another artist that always thought I should get into but never seemed to have the time. From reviews and what people told me his music might fit into the dark and moody music which I seem to collect. I have listened occasionally and whilst his lyrics fit into the dark and mournful criteria I didn’t always care for his voice and his vocal delivery. I did actually buy (or rather acquire cheap at charity shop) the live album of his Isle of Wight appearance which apparently was quite special. I’ve yet to listen to that in full but because this one appeared on my list I did dutifully listen in full. Like others have said I think he has overblown the synths on this album. He ain’t no Depeche Mode or OMD and should have stuck to acoustic guitar but I suppose well done in trying to keep up with the 80’s sounds. I liked some of the lyrics which are not as gloomy as expected so the album as a whole was miles away from what I expected a Leonard Cohen album to be. I became bored after a few tracks but promised myself to investigate Cohen further this time and to get to the bottom of his true sound which people rave about. 2.9/5 (Just enough pleasure derived to tip it to a 3) 15/5/24
- this album sounds like the 80s - honestly the best out of his we've heard cuz it has actual music behind his voice - 3.5
- very conflicted on this album - his spoken word isn’t really for me - entertaining music behind him tho - and the backup singers kind of carried
A synth driven album by Leonard Cohen. I'll never be sure if I like it or not. Cheesy arrangements and fake instruments kind of do not always match the vibe. Great poetry from this man as always, tho.
Not a fan of his voice at all, but ok
Another good one. Great voice. 3.5 stars.
hmmm.. not too bad
An interesting listen. It's the great Cohen, so the lyrics are brilliant, but I can't get past the 80s style arrangements. None of it sounds quite right to me. I listened twice and "liked" maybe two songs, but I'm not interested in playing this album in it's entirety again. Three stars.
Very strong lyrics, very strong vocals. I like Cohens voice, very rich, very deep. And his lyrics are very well done, I may revisit some songs just to pay more attentions to the lyrics. But outside of that, this album was kinda average. The instrumentals and production was kinda just fine. 3.5
Not what you'd expect from big Len, cold war synthpop vibes. I liked a few of the ideas - Jazz Police reminds me of a Momus track - but most of it didn't really do anything for me. 2.6/5
This is my third Leonard Cohen album to review, after You Want It Darker (4 stars) and his debut album (3 stars). I figured I knew what to expect heading into this album, but those expectations were immediately dashed within the first two seconds of this album. I was not expecting Leonard Cohen to go full send on the eighties, but he absolutely smashed it with “First We Take Manhattan.” I loved the synth heavy sound of this song, and the backing vocals were outstanding. Cohen’s lyrics and vocals really shone on this track too. “Ain’t No Cure For Love” was really good too, and the sound reminded me a lot of some songs on Alex Cameron’s album Forced Witness. I loved the jazzy sound, and the background vocals were perfect once more. “Everybody Knows” was another brooding tune, and I thought the cynicism in the lyrics was really well done. I really enjoyed the first three songs, but the rest of the album was just fine. The title track had some interesting horn sounds, and I liked that the sounds of the late eighties were still present via some drum machines and more synthesizers. The backing vocals didn’t shine as much on the latter half of the album to me, but Cohen’s vocals and songwriting were still good. This album was pretty good, and it was really interesting to hear Cohen adopt this sound that’s very different than what I’ve heard from him previously. Outside of the first three tracks, I can’t see myself firing up this album again, but it was worth my time to listen to it today.
There is something incredible about Cohen’s voice and lyrics but god that Casio-preset-1 soundscape is hard to get past
This one is frustrating. The songwriting is good, and some of the production is great, but overall it just doesn't stand out to me. His voice is good but boring, feels like he could give a lot more but he doesn't. I'm glad there's a lot of backing vocals to make it more interesting. I'm also disappointed by all the fake instruments used in the production. The songs also feel very repetitive. I want to give this a higher score, but I feel like there's too much holding him back.
This is my third Leonard Cohen album and probably the weakest of them. I like his lyrics and delivery as always, but the backing instrumentals are so 80’s and I don’t think they have aged very well. My favorite songs were First We Take Manhattan and Tower of Song.
Turns out putting Leonard Cohen into 80s production sensibilities results in something almost Nick Cave-like (it's better when Nick Cave does it, though)
Can appreciate the lyricism but not really for me.
This is a tricky one to rate. Leonard Cohen is one of those legendary songwriters that peaked long before my time. Cynical and cutting lyrics, and great songcraft. Tunes are catchy. Arrangement and production on this album is terrible and has aged like milk. There are cover versions of these songs that work far better than what we have on show here. The roster of artists (Nick Cave, REM, SRV) that have covered his songs is a testament to the songwriting strength.
ну это хорошая музыка, что тут сказать
Leonard Cohen is always cool, but I don’t think the 80s synth palette really brings out his best characteristics. Still not bad, but there’s better Cohen out there.
Liked this more than I thought I would honestly.
For me, the music gets a 2 and the vocals get a 4.
I've never heard anything quite like this
I know, I know, but for the most part I simply don't get it. While his "genius" is not for everyone, songs like Everybody knows, Ain't No Cure for Love, Take this Waltz, and Tower of Song are nice and overall this speaks to my lyric loving mind to help me hear some of the "brilliance" others have said to me is Leonard Cohen.
As always, I appreciate his ability to write a well-structured verse. However, I find it hard to appreciate the execution. This is singer-songwriter meets 80s revolution.
I wanted to like this more.
Pretty nice. Gives me some gothvibes/really cunty music lmao
First we take manhattan, then we take some lessons of how to use my beautiful voice in a meaningful manner.
It was fine
A mishmosh of genres, I didn't think people were out here blending some of these so well. Leave it to Leonard Cohen and his cool demeanor and raspy voice to blend them together. A great layer of emotion and honesty is felt through the synths that comes off really clean
MANLY voice
I am definitely one to put on an album by Leonard Cohen although I have heard several of his (popular) songs through the year. So I did not expect much. But in this case I was positively surprised. I sure do not like all the songs on the album, but "Take This Waltz - Paris Version" and a quite funny "Jazz Police", as well as "Tower of Song" were ok/good.
The only other Leonard Cohen record I've heard was "Songs of Leonard Cohen" in '67 and that record was a folk, singer-songwriter record entirely. Then here we are, nearly two decades later and I hear "First We Take Manhattan" and it's entirely new wave-influenced. Flashy, glitzy synths dominate the brighter female vocal portions, while these low-end eerie-sequenced synths loom over Leonard's bleak lyrical depictions of terror. The imagery of taking Manhattan and then taking Berlin sparks something unsettling within me. It's certainly a striking start. Once the initial shock wears off though, there isn't much of note in this album. "Ain't No Cure For Love" is enjoyable but doesn't try to provoke imagery that's as compelling as the opening track. I understand it's not supposed to, it's a love song, and for that, I think it does a fine job but it sounds generic and reeks of the cliches of the era it came out in. "Everybody Knows" string-synth-backed instrumentation spliced with (what sounds like) Spanish guitar is quite pleasant and another highlight. It's another darker track lyrically, painting a dreary and pessimistic view of the world. The baroque-inspired "Take this Waltz" is another highlight, primarily because I feel like it's a much-needed switch-up in sound, with gorgeous string-backed instrumentation and charming vocal passages that very much evoke the gleeful emotions one would feel when in a ballroom waltz. I also like the lowkey closer "Tower of Song" though admittedly, I can't pinpoint what this song is about, maybe an old man reminiscing over the songs he's written over his career and his everlasting appreciation for the art form. I think Cohen's deeper delivery alongside the longer, unsettling tracks filled with varied synth tones and solos are the drawing factors here. I'm certainly intrigued and appreciate an artist switching up their sound this drastically (especially when it comes to hopping on new trends), but I can't say I am personally a fan of this one. 6/10
It was like Scar from Lion King was singing to me
Good stuff! Great lyrics!
A pretty quaint and humble singer-songwriter album despite the synths and backing vocals. Leonard Cohen has his clear limitations, and I almost didn't make it through Take This Waltz, but there's some decent songs in a well-defined mood here. Best song: Tower of Song
Great lyrics.
While I love Cohen, this isn't necessarily his best work
It was good ig
His distinctive gravelly voice and song writing skill are cool to hear.
Leonard Cohen will never be cooler than when Happy Harry Hard-on blasted Everybody Knows on pirate radio. Pump up the volume!
Great attitude but the 80s production and instrumentation really hurt this. Man he can go low with that voice. Two or three actual bangers on here that would be good just with an acoustic guitar.
Zu glatt, zu poppig. Vielleicht schön zum Nebenherhören.
Weird. Sad Leno are Cohen but 80s-ified
3.5/5 - The first half is confusingly fantastic. The second half feels like an extended version to the theme song of an 80's mystery drama that didnt make it past the pilot. The songs that are good are pretty damn good though.
Enigmatic.
The combination of Leonard Cohen's deep, poetic, almost spoken-word delivery and the 80s synth production on this album make for a really unique sound which I think people will either love or hate. Personally I love it, and some songs on here such as First We Take Manhatten are brilliant, but some other tracks on here don't combine the vocals and instrumentation very well.
12/12/23 10:40 S Tier————————— A Tier————————— Ain’t No Cure For Love First We Take Manhattan I Can’t Forget B Tier————————— Take This Waltz Tower of Song Everybody Knows C Tier————————— Jazz Police I’m Your Man
Tuesday 12/12/2023, 10:43, office S Tier————————— First We Take Manhattan Everybody Knows A Tier————————— Tower of Song Take This Waltz B Tier————————— I Can’t Forget Ain’t No Cure for Love C Tier————————— I’m Your Man Jazz Police
LC has the most unique and recognizable voice. He’s not really singing, but more than talking. Maybe poetry? Just a chat? Not really my bag, man.
I'm a massive Leonard Cohen fan - he's written some of my favourite songs ever. But often his arrangements are pants and especially in the 80s, it's almost unlistenable to me it sounds like karaoke backing tracks I used to hear in Russia in 2001. Still I like the voice and lyrics to an extent but think this isn't his best work
OK album.
Enjoyed, but several songs were a bit too samey. Likely won't listen much in the future. Maybe here and there.
I have to admit that I'm not a big fan of Leonard Cohen, except for his final album You Want It Darker, which I think is a masterpiece. So when I heard that I'm Your Man had a lot of synthesizers in it, I didn’t have high hopes. However, I was surprised to find that I actually enjoyed some of the songs on this album, especially the ones where Cohen's deep voice and witty lyrics creates a dark and moody atmosphere. Unfortunately, the album also has some flaws, such as the cheesy backing vocals and the almost cheap sounding backing tracks. I think this album is worth a listen, but I can understand why some people will hate it. I give it 3 stars out of 5.
Favourite songs: Ain't No Cure For Love, First We Take Manhattan, I'm Your Man Least favourite songs: Jazz Police 3/5
Better than the last Cohen album. A few songs were pretty good, and had some fiercely good lyrics.
Leonard Cohen wrote such wonderfully deceptively simple songs. The super-80s production here serves these songs in an way that works very well. First, we take Manhattan....
Leonard cohen never really resonated with me. I know brilliant lyricist etc. But for whatever reason I never embraced him the way others did. Having said that, this is a pretty good album. Cohen IS a terrific lyricist and can draw a picture in the mind’s eye that is detailed and clear even when the lyrics are obtuse and hidden in allegory, allusion and metaphor. Everybody knows is probably the track I most enjoyed.
Per i classici
Really not a fan of his vocal styles but this is the album I’ve liked the most. The funky instrumentals help (2.5/5)
Some REALLY good songs and some REALLY meh songs.
First we take Manhattan on hyvä kappale ja erinomainen avaus! Hyvin ranskalainen, kuten on lopulta koko levy Sinatra-flirttisen lisäksi. Ehkä se on just huumori, joka tätä kantaa niin hyvin. Muutenhan tämä olisi liian nokkelaa huokailua (liian ranskalaista).
More of first we take manhattan
I see you, Leonard Cohen.
fine ig
A certain charm, but not very exciting
Didn't enjoy the music that much, i think it was very naive, although i understand the main focus on the album was the lyrics, i didn't find them that interesting.
Better than expected but I'm still not a Leonard Cohen fan. First we take manhattan is good, others felt forgettable to me.
Good but not his best album
Leonard Cohen don't give a fuck, just look at this badass mofo, superfly, eating a banana, not a friggin' care in the world!
80’s Cohen is all about his dark voice. Contrasts well with female backing on a lot of songs. Better than I remembered but still too eighties.
Can't dispute his lyrical genius but his voice is an acquired taste. And the music has not aged well - it sounds like something you'd here in a 80's arcade game.
Funky, soulful, and a very clever reimagining of Leonard Cohen for the late 80s/90s. 3.7
Dark, dated (production is so 80's) and very blah. Not his best.
finalement un album où sa voix ne me dérange pas. 6/10
LC is a great lyricist with a distinct singing style. I love ‘Everybody Knows’. The Concrete Blonde cover is fantastic.
It's hard to separate what I hear when I listen to Leonard Cohen and the idea that he's "important" or influential or "good." I can't hear him with fresh ears anymore, so I can't tell if I really am enjoying the music or if I've been convinced that it's worthwhile. On the surface, it isn't. The synth and electronic drum sounds on some of this are terrible, the juxtaposition of Cohen's spoken-word delivery with the R&B background singers is close to scandalous, and moments like "Jazz Police" expose the potential for this to be awful on its face. But for the majority of the album, I was buying what Cohen was selling. "Everybody Knows" was first introduced to me by Concrete Blonde, though I was familiar with his version before this. But taken as a whole, this particular group of songs never rose to a full-fledged 4, and certainly "Jazz Police" dragged it below that status, so a 3 it is.
Interesting record by Leonard Cohen, with some electronic sounds brought in. But at the heart still trademark Cohen. Not his greatest work, but still some strong songs I liked! 7 out of 10
Solid
Me duele ponerle solo tres estrellas a un disco de uno de mis cantantes favoritos, pero la verdad es que debe ser el disco que menos me gusta de su carrera, sobre todo porque debe ser el que peores arreglos instrumentales tiene
Leonard is brilliant. But soggy and soaked with 80's drip
everything but the synduck
This one had its goofy moments (first we take Manhattan and jazz police being the prime offenders) but overall I enjoyed it. Really liked the run from Ain't No Cure for love through I'm your Man. For me this is a high 3.
Len’s beautiful poetry set to music played on a Casio organ. The artistry shines through but would prefer to hear it without the 1980’s gloss.
Cohenin kasaripoplevy joka kyl on ansainnut paikkansa! Avausraita on hieno kuten muukin levy. 3/5
Leonardin musiikin nosti uudelle tasolle vanhan miehen perspektiivi. Nää vanhat levyt on toki hyviä, mutta mestariteokset syntyivät myöhemmällä iällä. 3/5
Lou is an interesting person
This feels like it might be good if someone else was singing. I saw "Leonard Cohen" and thought "Hallelujah" but then the first song started playing and I thought "this sounds like every generic eighties song I've ever heard". This whole album seems like a good album in need of a remake. 3.5 stars
I like this Leonard Cohen fella. Good voice, good lyrics, some interesting sounds/instruments used in this one.
Pretty interesting album but just doesn't hit me the way some other albums do. His voice is pretty incredible though.
Like it more than the last one but still not a huuuuuge fan
This was my first interaction with Leonard Cohen. I’m not if it was the best way to be introduced to him but I can’t be sure. I was familiar with “Everybody Knows” already, but otherwise this album was a weird product of its time. Late 80’s synths cheapened the overall sound of the album along with his voice being mixed too loudly. It was interesting, to say the least.
Not my favorite Cohen album...
Not a huge fan of this, but it's smooth and sexy in a way I can't quite explain. Not in standard rotation, but I see the appeal for date night.
The vocal delivery paired with the extreme 80s vibe is too wild for me. I bet Leonard was a big weirdo in real life.
It was fine. Much like pretty much every other Cohen album on this list. I think this was number 5 or 6, maybe 12? I think I'm good now. No more please (though I realize it could be much worse)
kinda vibey ig
you lost me at jazz police
Sterk begin, verder niet mijn stijl
Not a fan of Cohen's "modern" sound, but it did revitalize his career and found a new younger audience for his work. There are some good songs on here and maybe even some of his best known works. Let's face it, he's not a great singer and I prefer his earliest albums, but someone thinks he's cool. His old fans (middle-age women) and younger woman in their 20's love this old French-Canadian guy for some reason. He's just not my man.
This is my second album of Leonard Cohen's, and although I enjoyed the other one slightly more, this one was decent in it's own right. He is a very eloquent and poetic way of using words to tell stories. His method of saying the lyrics did get a bit tiresome here and there. I'll be looking forward to listening to more of his work.
Not his best work, not a fan of the synth
Solid, and the contrast between Cohen and the 80s cliche instrumentation is kind of interesting, but ultimately it didn’t grab me
Un Cohen qui s'essaie à la synthpop avant que son entourage ne débarque dans le studio et lui demande de se calmer. L'album finira plus tranquillement.
Robert nous a donc sorti sa carte spéciale "double Leonard Cohen". On ne s'attendait pas à le voir utiliser cet atout majeur si tôt dans la partie, il prend ainsi tout le monde à contre-pied et s'impose encore un peu plus en tant que patron du générateur.
3.5
Some songs great. Some not so great. I was never a huge fan of Cohen’s so this is about what I expected.
At the risk of damning with faint praise, this album is okay but I can't say it has left much of an impression on me. I know a lot of people absolutely love Leonard Cohen, but on the basis of this album, I really cannot see what the fuss is about
eh
This felt like a weird vibe from Leonard, but I didn’t hate it completely.
Singer/songwriter, folkrock, Cohen med lidt mere smæk på
Het album dat van Cohen een bestselling artist maakte. Gelukte poging om Cohens poëtische muziek de jaren '80 in te lanceren. Fascinerend doch lastig om relaxed naar te luisteren door de pessimistische thema's en toon en Cohen's zware stem. leukste nummer: Take This Waltz Album is een favoriet van Tom Waits.
ballads, listenable but not my favorite
I like Leonard Cohen a lot. I'm not always a fan of his music and production (though it's never bad and some of it is really, really good), but I am such a big fan of his lyric and artistic position that it almost doesn't matter. I'm not here for musical virtuosity or for jazz theory or for clever staff work. I'm here for the art and he doesn't need all that shit to get his ideas across. That's why he's one of the greatest songwriters of all time, but not really on the list of greatest musicians of all time.
Leonard is playing us, right? Jazz Police is completely over the top but catchy if you can look past or even embrace the campy lyrics and choir. Fun album — I might listen to it again sometime — but I’m mainly happy to have experienced it.
This whole albums feels like a big "you had to be there" joke. After 2-3 songs I wanted to stop and move on to something else, but instead I kept listening with it in the background and actually found that I started enjoying it. That's got to be a rare phenomena for me, but I think it's because the music being produced here is SO different and unique than anything i've ever listened to.
Some parts I liked, and some that were very very 80’s that I very much did not like.
This was weird. Lyrically, it was really good and I liked most of it sonically too. The background vocals are camp tbh. But Leonard Cohen’s talk-singing got annoying, fast, and made some of the tunes blend together for me.
It has its moments, but just didn't stand out.
Beautiful voice. Not something I'm going to seek out as an album. 3/5
Good album. Not every song was a winner for me but most kept me interested.
The open synth melody on First We Take Manhattan always reminds me of the Vangelis soundtrack for Blade Runner. It's such a relic of its time, but also incredibly interesting. I can't imagine the meeting that convinced Cohen to go from acoustic rumblings to this synth masterpiece(?). Another one of those that I discovered more or less accidentally as I was trying to expand my musical vocabulary. I had downloaded a bunch of Warren Zevon on Limewire that ended up being misattributed Leonard Cohen. The humor is surprising. I like the vague quote of the theme to Star Trek when the girls sing the chorus on Jazz Police. This seems to be a Cohen without something to prove, but I can't say I think it's his best work. It almost feels like he's telling a really obtuse and deadpan joke in album format.
A very smooth listening experience.
J'aurais donné plus mais impossible avec les arrangements cheezy et le saxophone.
I’ve always been more a fan of Cohen as a writer, not a performer. This does little to change that, but there are some great moments. First We Take Manhattan is a triumph on both fronts.
That opening track is 80’s personified Everybody knows is an all time track
30 seconds in - not what I was expecting. Down with the clapping percussion!
This is kind of weird to listen to after just listening to this same man coming to terms with death just a few weeks ago, so the whiplash of this 80's cheese is a little goofy. Certainly not bad, but hard to get into, as the words don't much the artificial sounding music, unlike the guitar playing of earlier albums or orchestra of later. I have to give credit that a lot of similar singers were struggling in the 80's, such as Bob Dylan, but perhaps if I looked at these albums of Cohen's all as purely poetry they would all be equals.
I can imagine Leonard Cohen being taken, against his will, to a meeting with a bunch of corporate executives from his record label. There, they force him to make an album that will guarantee commercial success. "Try to channel Depeche Mode." says one suit. "But also, put in some B52's and The Go-Go's in there!" says another. "And you know those emotional or sexy ballads like Straight from the Heart or Careless Whisper? Do one of those too!" adds a third. It's gonna be great, they think. A quintessential '80s album from a traditionally folk artist, no one will ever expect it. It'll take over the airwaves! Before Cohen leaves the meeting, they hand him a CD with the most basic backing instrumentals probably meant for a seventh grader's music class. Bravo! Another musical masterpiece! Three stars, if only for the amusement I got out of listening to this record. So so weird.
This is like... fine? But the production is weird, man
Well, this is a much different sounding Leonard Cohen than I'm used to, even though his voice and poetry are as rich as ever. I'm not sure that I like the addition of synthesizers and drum machines to his oeuvre as compared with his being accompanied by analog instruments. There's nothing wrong with this album, I just think that his voice is better complimented by folk and/or orchestral instruments than by synthesizers 3/5
I can’t work out how I feel about Leonard Cohen. His voice is certainly unique. I don’t hate it but I don’t exactly love it either. The songs are a bit cheesy but I think with better vocals and arrangements they could be amazing.
I liked several of the songs on this album, but not sure I'd listen again (except in a very cynical/depressed moment). Lyrics are incredible, and I'm a sucker for a voice like Cohen's. Musically though, quite esoteric. Highfalutin, even.
No lo escuchen en un día gris o en una ruptura amorosa, hace mal
Very Leonard Cohen-y
I liked it. Little Cohen album i never listened to before
Pretty good album. My first Leonard Cohen album, and I could see where the love for him comes from. I didn't completely enjoy the production, but it worked pretty well on a few songs. Would love to hear more from him. 3.5/5
More pop and synth driven than I expected but an enjoyable listen nevertheless
Surprisingly modern album by Cohen which still works good with his singing style. The faster music is a good counter balance to his slow, almost spoken like singing style
Just not for me. Lyrics, and music were actually good, his voice ruined each song 2.5
Can really see the inspiration for purple mountains at parts, other parts sound like the voice at the end of thriller made an album
He has a spooky voice
I think this album is a little too slow for my liking. Instrumentals and vocals are great, but I don't think this is the tempo I was looking for today. Sometimes, the songs feel a little empty, like instruments are just missing, but I think that adds to some of the charm of this style.
His voice only became better and better the older he became. This album is a bit to slick for me, prefer his older work and final masterpiece You Want it Darker. His last album would be my candidate for the 1001 albums.
An album by Leonard Cohen that's actually decent! Favorite track: Take This Waltz
Its got one or two good tracks, but its fucking leonard cohen. again. 3/5
Kinda weird but got some bops.
Just don’t love his kind of deep voice. :/
As Leonard Cohen albums go, this one is rather uneven and strange. Lyrically the album is as rich and poetic as anything we might expect from Cohen, but he struggles a little to land on a sound, leaning on a kind of limp, synth backed pop. "Take This Waltz" and "I'm Your Man" are the best songs on the album, with an honorable mention to "Everybody Knows." Bonus points for that album cover. Fave Songs: Take This Waltz, I'm Your Man, Everybody Knows, Tower of Song
A distinctly dark sound, with Cohen's gravelly voice offering lamentful tales
I'm not a fan of the 80s production, but it is still Leonard Cohen
prima
My therapist: "Funky Leonard Cohen" was just a phase he went through in the 80s, he can't hurt you. Funky Leonard Cohen: Jazz police are talking to my niece A couple of great songs on here, no doubt, but some stinkers too. Fave track - "Tower of Song" - that's epic!
Man has a very soothing voice. Especially when he says “then we take Berlin”
I like Leonard Cohen, but I want it darker.
Older, rougher, deeper voice that doesn’t stand out to me. Everybody Knows was as far i got and the best song i listened to.
Love the dorky 80’s sound.
Good poetry by Leonard Cohen, music is not bad, tasteful. But it's not an album for all, more for 40+ lonely people
Elvis- 1965 4/5 Classic rock/country, very tame in consideration to modern sensabilities. enjoyed Leonard Cohen - I'm your man 3/5 Not bad by any standard, but not for me. Very spoken word, poetry. Reminds me of some songs from The Wall. Electronic Jazz felt strange to me.
First we take manhattan, everybody knows standouts. Rest is interesting and a solid modernization, but not much else would make his greatest hits
I have very mixed feelings about this album. The lyrics are generally pretty great (it's Cohen, of course they are), and he really makes the best use of this unique voice here - whereas some earlier albums have him straining for high notes he can't reach, he gives a commanding gravelly performance throughout this album that really works. The instrumentation has aged very poorly though, and probably was behind the trend at the time as it's quite late in the decade to go all in on that '80s production. Still better sounding than Death of a Ladies' Man, but some of the instrumentals sound like rejected pitches for the Seinfeld theme. Overall, a decent album from a legendary talent
More lively for Cohen, but still cohen
Everything about this album was pretty good, except for his voice, I just can’t get over it
-Oh God, I have not enjoyed Leonard Cohen's albums in the past ("Songs from Leonard Cohen" and "Songs From A Room" (both got 2 stars)) Wikipedia says that this has some of his biggest songs, so I'm hoping for the best -Good start. "First We Take Manhattan" has a cool, creepy vibe with the electronic beat going and the low voice singing. Actually reminds me of David Bowie's "Earthling" album, which I really enjoy. The song creates a cool scene in my head -I don't really like how much the backbeat slowed down for "Ain't No Cure For Love" and "Everybody Knows," but the low voice singing is still nice -The low singing is really helping this album. The drop on the word "man" in "I'm Your Man" is cool -Woah, "Jazz Police" has a crazy driving synth riff. That was pretty cool. It kind of does towards the end? -"First We Take Manhattan" and "Jazz Police" were definitely the standout track with their faster, more interesting instrumental. The rest of the instrumentals were slower and more plain. The best part about the other tracks was his low singing which is always fun. Congrats Leonard Cohen, you got your first 3 star album. A weak 3, but a 3 nonetheless. It was generally tolerable, with two nice tracks.
Općenito kad njega slušam, dobijem tu neku kombinaciju glasa Nick Cave-a i instrumentalno osjećajno early Waitsa (na ovom albumu najviše). Ne znam, Cohen je sam za sebe, to je meni jasno, ali evo morao sam podjeliti na šta me podsjeća. Ne puštam si njega inače, nije mi nužan, ali poštujem.
Loved the first track but overall it was just fine
Old man passed his best some good tracks. Some real shit Jaz one
Favorite track was "First We Take Manhattan"
3.8 - I was skeptical but I ended up liking this album. Gone is the flamenco-style guitar picking in favor of a more "updated" synth background, reminiscent of a Casio keyboard. It shouldn't work but this aesthetic switch is applied with artful subtlety so it somehow ends up sounding sophisticated. I'm reminded of soundtracks for adult dramas of the 1980s. Cohen's baritone sounds smokier and more seasoned, which adds even more atmosphere and gravitas to his poetic lyricism. I like also that he's kept the female backing vocals to punctuate certain lines throughout. Standouts: "Everybody Knows", "Take This Waltz", "Tower of Song."
First We Take Manhattan is such a dark song and album opener, made only more bizarre by the juxtaposition of the bubbly backing vocals (which is a continuing juxtaposition throughout the album); it stuck with me the entire time I was listening to this album. It was easily my favorite song on the album and it set the precedence for me going into the rest of the album. Leonard Cohen's singing style sits almost like sultry spoken word over the musical layers of the songs. I never could quite decide if I liked that or not, but it certainly made for an interesting, engaging listen. Leonard Cohen is like no other in that regard.
Hoo boy, I am not totally against the concept of electronic Leonard Cohen but I was not expecting it. The 80s cheese is strong with this one. It just feels like an older guy saying "music these days has synths, I need to do this now". Production-wise it's good though. Definitely prefer stripped-down version of Cohen. This is pillow-soft rock.
Same haunting voice, but the music seems dated and a little 80's. 3 stars
I'm not in the cult of Leonard Cohen but I don't dislike him. This album is interesting and weird. I feel like it's from a David Lynch film or something. I feel like I should give it another listen.
Felt very 80s and a bit strange for Cohen. Fun though!
This one's a bit bizarre, right? Leonard Cohen, famed folk artist, puts out a late 80s album featuring his expected story-telling roots on top of some greatly dated 80s production featuring plenty of keyboard synths and female backing singers. On paper this sounds terrible, but in practice it does pull through with its strong songwriting. If you can get used to the dated style of production, there is a lot to enjoy here. Personally, I still feel a bit juxtaposed by its production, and folk music already isn't my usual thing, so I can't say I'm into this that much. Favourites: "First We Take Manhattan", "Everybody Knows", "I'm Your Man"
Cheeelin
A little too much 80s synth.
Leonard cohen goes bubblegum. Even wennen, maar leuk om eens te horen.
Fun fact: Leonard Cohen ate 6 packs of sliced ham during every recording session.
Leonard Cohen doing all the 1980s and still managing to sound typically Leonard Cohen.
Great lyrics, and it draws you in. But not the full package.
He has a good voice. Not all the songs were my favorite but he’s unique.
Pas le meilleur de Cohen. S'écoute bien mais je préfère de loin son style plus folk.
The songs aren’t bad but his voice is. If these songs were written for other people they’d be better.
Es muy raro escuchar a Cohen haciendo algo que suena tan a Pop, pero que de todos modos no pierde su sello. La verdad no me encantó y en especial algunas partes de la instrumentación me sonaron demasiado a organito de bar. Rescata la tercera Estrella por Jazz Police que me gustó más que el resto.
Leonard Cohen discovers a casio.
You know how Bob Dylan does Bob Dylan stuff like record a Christmas album when he's a non-practicing borderline atheistic Jew, records Sinatra cover albums, etc, because he's Bob Dylan? I'm Your Man is like that, only not as good. Cohen's lyrics are good here, but my gawd. The music has to be a joke, otherwise the thought of using a 1987 Compaq Presario to generate the tones was a serious artistic oversight. 3.5/5.
Very interesting switch up, not sure if I like it or not
Ritmo pausado, elegante, tranquilizante. Toda una voz grandiosa
Generally decent songs (maybe not "Jazz Police") offered up in a production that generally serves them poorly (especially "Jazz Police").