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Page Artiste Leonard Cohen

Détails sur le produit

  • CD (25 octobre 1990)
  • Nombre de disques: 1
  • Format : Import
  • Label: Mis
  • ASIN : B0000026K9
  • Moyenne des commentaires client : Soyez la première personne à écrire un commentaire sur cet article
  • Classement des meilleures ventes d'Amazon: 715.254 en Musique (Voir les 100 premiers en Musique)
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Liste des titres

Disque : 1

  1. True Love Leaves No Traces
  2. Iodine
  3. Paper thin Hotel
  4. Memories
  5. I Left A Woman Waiting
  6. Don't Go Home With Your Hard-On
  7. Fingerprints
  8. Death Of A Ladies Man

Descriptions du produit

Descriptions du produit



Attention ! Grand disque fou ! Imaginez plutôt : Leonard Cohen poète folk intimiste rentre en studio avec le nabab mythique Phil Spector connu pour ses productions pop néo-wagnériennes ("Unchained Melody" pour les Righteous Brothers, "River Deep Mountain High" pour Ike et Tina Turner...). La rencontre tourne parfois au cocasse, comme lorsque Cohen, Dylan et Ginsberg braillent de concert "Don't Go Home With Your Hard-On" soit dans la langue de Charles Péguy : Ne rentrez pas chez vous avec la trique !!! Mais la beauté et le lyrisme sont aussi au rendez-vous avec les somptueux "True Love Leaves No Traces" et "I Left A Woman Waiting", aux arrangements veloutés. Death Of A Ladies Man peut dérouter certains fans de Cohen, mais il ravira les plus curieux. --Hubert Deshouse

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Commentaires client les plus utiles sur Amazon.com (beta)

Amazon.com: HASH(0x9b26bf0c) étoiles sur 5 48 commentaires
25 internautes sur 27 ont trouvé ce commentaire utile 
HASH(0x9b3599d8) étoiles sur 5 Listen again, more closely this time... 30 janvier 2006
Par David L - Publié sur Amazon.com
Format: CD
Just like many fans of Cohen's early work, at first listen I was absolutely appaled by this album. The soaring violins and overwrought orchestration struck me as disgusting, and I found myself unable to listen to the album all the way through, even though some of the lyrics that I did hear seemed interesting. Still, even lyrically it seemed a step down from the poetry of his first four studio albums, as though Cohen hadn't given the same meticulous attention to these songs as to many of his previous works (and indeed, I found out sometime later that he and Spector co-wrote these lyrics in less than two weeks, which is an anomoly for Cohen, who typically spends at least a couple years fine-tuning his songs). So I discarded the album, and moved on to explore his later catologue (which, by the way, I am not a fan of. Everything after Various Positions, particularly Ten New Songs, I find incredibly embarassing. I cringed the first time I heard Sharon Robinson crooning over a cheap smooth jazz backing , "whoa whoa, in my secret life!"). A few months later, I decided to give Death of a Ladies' Man another go. About halfway through "Paper-Thin Hotel", I suddenly saw what this album is about. Yes, the orchestration is grotesque, but that's precisely the POINT. It is vulgar, hard to swallow, but somehow grotesquely beautiful. Listen to "Paper Thin Hotel", "I Left a Woman Waiting", "Iodine", or the title track--and listen closely--and you'll see what I mean. This is "sound art" in the truest sense, not at all concerned with being pleasing or agreeable. Cohen's earlier albums were brooding and introspective, but Death of a Ladies Man is downright deranged, a manic-depressive album (comparable in some ways maybe to Lou Reed's Street Hassle, though DOaLM is a better album). Consider the first line sung on the album (from "True Love Leaves no Traces": "As the mist leaves no scar on the dark green hill, so my body leaves no scar on yours, and never will..." If you made the mistake, on your first listen, of thinking this a simple love song, listen to it again (I'm not going to get into a discussion of themes in this music, but needless to say, as with all of Cohen's music, there's a lot going on here beneath the surface). The next song, "Iodine", says "You let me love you until I was a failure", and "Your saintly kisses reeked of iodine". Then probably the greatest song on the album is "Paper-Thin Hotel", in which the narrator hears his woman making love to another man and feels (get this) blissful about it, obviously having some sort of manic depressive breakdown ("I heard your kisses at the door; I never saw the world so clear before," "I felt so good I couldn't feel a thing"). Then consider the perversity of "Memories" and "Don't go Home with your Hard-On", or the mournful depravity of the title track ("She said 'I'll make a place between my legs; I'll show you solitude..."), and it becomes clear that a more "ordinary" or traditionally "pretty" arrangement just wouldn't have worked. It had to be ugly, it had to be off-putting. It's just that sort of album. This is not music to sing along with, or to play in the background at a dinner party; it is a glimpse into a tortured, sexually depraved psyche (moreso than Cohen's other albums, likely because of the influence of Spector, who truly is a depraved lunatic), and you'll come out of the experience perhaps a little shaken, but certainly glad you listened.
13 internautes sur 13 ont trouvé ce commentaire utile 
HASH(0x9b359de0) étoiles sur 5 An appealing record that won't appeal to everyone 16 juillet 2006
Par Thomas Horan - Publié sur Amazon.com
Format: CD
The problem with this idiosyncratic album is that only fans of both Leonard Cohen and Phil Spector, two individuals with very different approaches to recording music, will appreciate it. Cohen's confessional, singer-songwriter lyrics call for simple, understated arrangements, not Spector's grandiose wall of sound, so die-hard Cohen fans will probably think this album is egregiously overproduced. On the other hand, the lavish string and horn arrangements will leave Spector enthusiasts expecting the commanding vocals of a gifted pop singer, not Cohen's brooding, world-weary groan. Both Cohen and Spector were past their primes and clearly coping with midlife crises at the time this record was made. Their music is saturated with lust, dissipation, and nostalgia, all from a very male perspective. Many will find it tawdry and overwrought, but for the right listener it can touch the rawest nerve.
19 internautes sur 23 ont trouvé ce commentaire utile 
HASH(0x9b359e58) étoiles sur 5 a heck of an about face for Leonard, and it's impressive 25 février 2005
Par Missing Person - Publié sur Amazon.com
Format: CD Achat vérifié
Leonard Cohen's "Death of a Ladies' Man", from late 1977, is clearly the most controversial album among his fans out of all his '60s & '70s albums, and it's obvious as to why. This isn't just because it's a heck of a lot different from all of his other albums, it's the WAY in which it's so different that makes it hard to swallow for many fans. I'm suspecting that there aren't a whole lot of people who are big fans of both Cohen AND Phil Spector's legendary Wall Of Sound productions, and indeed, this album sure is a long way from the starkness of albums such as "Songs From A Room" and "Songs of Love and Hate". However, it's not just the presence of Phil Spector as producer & co-writer, not to mention wailing sax solos from Steve Douglas, that results in this album being such a change of pace. It's also in Cohen's lyrics--track after track gives you the impression that Cohen was feeling REALLY sex-crazed and lustful around this time, & the lyrics on songs such as "Paper Thin Hotel" & "Memories" are atypically straightforward for him. All that said, the combination of music & lyrics on this album is, for the most part, uncanny--even though Cohen himself has continually dismissed this album over the years, it really feels as though Cohen & Spector, who co-wrote every track here themselves, had a genuine writing collaboration going on. It's not as though Spector merely took songs like "Seems So Long Ago, Nancy" or "Famous Blue Raincoat" and inappropriately plastered them with Wall Of Sound productions. For example, the cathartic ballad "Paper Thin Hotel" has a lush, soaring musical backing that meshes marvelously with Cohen's confessional lyrics. Likewise, the boisterous, doo-wop style "Memories" is an ideal match for the teenage lust lyrics--it's a fun track, and it features Cohen going into one of his screaming fits on the fade (imagine him trying to sing/ scream like that nowadays). There's also the swinging, toe-tappingly catchy "Iodine"; the nicely dreamy "I Left A Woman Waiting"; & the rousing, uptempo "Don't Go Home With Your Hard-On". The album closer, the musically hazy title track, is an effective, moody piece, although it is excessively, annoyingly dragged out with not one, but TWO false endings--musically speaking, this track very strongly recalls George Harrison's "Isn't It A Pity (Version 1)" which, not so coincidentally, was co-produced by Spector. There are some unfortunate problems here--the thin, sloppily performed female background vocals annoyingly drown out Cohen on "Iodine" and also get in the way on "True Love Leaves No Traces", the latter of which is a decent, breezy track, though it's a bit dull; and the countrified "Fingerprints" is also a little annoying. Overall though, "Death of a Ladies' Man" is a pretty damn good album. It's become increasingly clear over the years that Spector has long been a dangerous lunatic, but the incredible musical talents he possessed are undeniable. Whether you're a serious Cohen fan, or a big fan of Spector's productions, "Death of a Ladies' Man" is a must-have; if by some chance you're a fan of both, then you REALLY can't go wrong.
58 internautes sur 76 ont trouvé ce commentaire utile 
HASH(0x9b359c00) étoiles sur 5 This just pisses me off. 21 juillet 2001
Par J. Wimmer - Publié sur Amazon.com
Format: CD
I don't even know what to say, except that I owned "Death of a Ladies' Man" for about 12 hours before I actually got to listen to it; and during that time, naturally, I looked at the liner notes.
The lyrics are absolutely beautiful, from "True Love Leaves No Traces" to the title track. I don't remember the last time I was so excited about hearing words sung.
Then I played the album. Of course, Phil "I Should Be Tried For Crimes Against Humanity" Spector ruined the whole thing. "Overdone" does not begin to describe it. Honestly, I think Phil Spector is Satan. There is no other feasible reason for his using all the horns, snare drums and backing vocals at his disposal to squeeze every last ounce of feeling out of what were perfectly perfect songs.
Now I am learning to play guitar for the sole purpose of eventually rerecording this album, the way it should be. This is a massive undertaking, because I am entirely lacking in musical talent, but this album is worth it. That's how good it could have been. Get thee behind me, Phil Spector. Get thee behind me.
8 internautes sur 9 ont trouvé ce commentaire utile 
HASH(0x9b02d33c) étoiles sur 5 People forget this is a good album 24 octobre 2004
Par filterite - Publié sur Amazon.com
Format: CD
Alright it's unlike a lot of his other works, and the mayhem with Spector's ego has given it an edge of notoriety which ultimately attracts a lot of people to these things. You have to say that this is an album that Cohen himself has devalued, whether rightly or wrongly is up to you. I personally think he's wrong but I can understand his point of view. Specifically when you get a gun pointed to your head after another one of Spector's egomanic/megalomanic mood had taken full control of the proceedings.

But I truly do love these songs. True Love Leaves No Traces seems like a mantra Bill Clinton should take on himself. Iodine is very truthful and all too real of obsessional love and how things can quickly sour. But of course, the full blown masterpiece of comedy is Don't Go Home With Your Hard-On. There was always subtle humour in Cohen's work but here in general it's blasted to full extremes. But no matter what way you think of the song title and how hilarious it seems, he's got a point you know!

I suppose this will only test the adventurous or the most willing of customers but they should enjoy it. It's not as bad as people will make it out to be and nostalgia seems to look a bit cruelly on it but it's a great album - whether you take the chance on this or not is up to yourself
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