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I'm Your Man

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iTunes Review

Only a few years prior to the 1988 release of I'm Your Man, Leonard Cohen was no longer signed to Columbia Records in the United States. Yet, at 50-something, the Canadian poet staged a most unlikely artistic comeback with a song cycle as lyrically rich as his earliest, critically acclaimed work. The music corresponded perfectly, highlighted by shopping-mall keyboards and drum boxes ("Tower of Song") and disjointed back-up singers ("Jazz Police"). In this alienated environment, Cohen went to work less as a singer than a secret agent reporting on a world mesmerized by glitter and rouge. "First We Take Manhattan" is the opening tour de force, merging pillow talk with cosmopolitan crisis, whereas the hypnotic "Everybody Knows" rumbles with a refrain made menacing by Cohen's basso profundo growl. A romantic, he sings Gabriel Garcia Lorca ("Take This Waltz") and offers "Ain't No Cure For Love" with the grace of an elder statesman.

Customer Reviews

He's everyone's man

Although the music for First We Take Manhattan is a bit much, this album is superb later Cohen. Everybody Knows is the first song of his I heard, and it will always been one of my favorites, and this album is filled w' superb cuts, I'm Your Man, Take this Waltz, I Can't Forget, Tower of Song. Jazz Police may be the most unLeonard Cohen song he's ever done, and I forgive him because of the rest of the album.

synth and backup singers, ugh

Having recently listened to 'Songs of Love and Hate' and 'Songs of Leonard Cohen' I was shocked by the production decisions of 'I'm your man'. The poppy background singers and frequent use synthesizers are unwe;lcome. I might pay to hear it remixed in a stripped down version. Cohen's voice dips down into the Nick Cave range, which is appealing.


Born: September 21, 1934 in Montreal, Quebec, Canada

Genre: Rock

Years Active: '50s, '60s, '70s, '80s, '90s, '00s, '10s

One of the most fascinating and enigmatic -- if not the most successful -- singer/songwriters of the late '60s, Leonard Cohen retained an audience across six decades of music-making, interrupted by various digressions into personal and creative exploration, all of which have only added to the mystique surrounding him. Second only to Bob Dylan (and perhaps Paul Simon), he commanded the attention of critics and younger musicians more firmly than any other musical figure from the '60s who continued...
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