12 Leonard Cohen Albums, Ranked From Worst to Best

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sirius
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12 Leonard Cohen Albums, Ranked From Worst to Best

Postby sirius » Wed Oct 01, 2014 2:10 pm

I disagree with the order and ranking and with some of the comments expressed here. Also I am not sure about the whole idea of ranking from best to worst, rather a crude method of looking at Leonard's subtle evolution as an Artist and his work. I think I would find it near impossible. Maybe others would not. _Sirius_

12 Leonard Cohen Albums, Ranked From Worst to Best

By Tom Hawking

http://www.vulture.com/2014/09/12-leona ... -best.html

Image

On September 21, Leonard Cohen turned 80. At an age where most people are happy just to be able to make it down to the shops and back unassisted, Cohen celebrated his birthday with the release of a new studio album, titled Popular Problems. It's the 13th album in one of the most celebrated and fascinating musical careers of our time. It seems like a fine time to reflect on his discography — so here are the great man's 12 studio records to date, ranked from worst to best.


Recent Songs (1979)
Our hero has never really made a flat-out bad record, but Recent Songs found him at something of a creative impasse. After the somewhat disastrous experiment of recording with Phil Spector (on which we'll say more shortly), he returned to his trademark folk-influenced sound. And his heart didn't really seem to be in it, because Recent Songs is a mishmash of sounds and influences. The fact that Cohen rarely plays anything from this record live these days speaks to his own displeasure with the result.

Various Positions (1984)
Everyone knows this as the one with "Hallelujah" (and perhaps to a lesser extent, the one with "Dance Me to the End of Love"). Beyond those two songs, though, there's a sense that Cohen was treading water here. Nearly two decades into his career, he seemed ripe for a creative reinvention, which would arrive four years later in the form of "I'm Your Man."

Death of a Ladies' Man (1977)
This album gets a pretty raw deal from Cohen fans. It's certainly true that Phil Spector's production methods are an awkward fit with Cohen's songs, making for a strange listening experience (it's like hearing Leonard Cohen's Christmas album), and the sessions for the record were ... fraught. Famously, Spector pulled a gun on Cohen, pressing it to the singer's neck and proclaiming, "Leonard, I love you." (Cohen's characteristically droll response: "I hope you do, Phil.") But despite the strangeness of it all, there are some fantastic songs here, especially the epic title track and the startlingly bleak "Paper Thin Hotel."

Songs From a Room (1969)
Cohen's second album didn't quite match the glory of his first, but it's one worth revisiting if you haven't heard it for a while. Opening track "Bird on a Wire" is quite possibly the most poetic way anyone's ever conceived of saying, "Look, I fucked up and I'm sorry." But this album's best moments are generally the ones where the lyrics eschew personal reflections for storytelling: "Story of Isaac" is, indeed, the biblical story of Isaac, while "The Partisan" tells the story of a French resistance fighter during WWII, and "The Butcher" — one of the strangest songs in Cohen's catalogue — seems to be from the perspective of Jesus (and, amongst other things, catalogues him shooting heroin).

New Skin for the Old Ceremony (1974)
The last record of the first part of Cohen's career, if you will. It's a difficult piece of work to get a handle on — sonically, it's a transitional record, moving away from the simple arrangements of his early work to a bigger, more orchestrated sound. Lyrically, the tone is curiously ribald — "Is This What You Wanted" name-checks KY Jelly, "Chelsea Hotel No. 2" famously narrates getting a blow job from Janis Joplin, and "Field Commander Cohen" describes how Leonard would amuse himself slipping acid into the punch at fancy parties. It's something of an underrated record, overshadowed by what had gone before and what was yet to come.

Old Ideas (2012)
Cohen's most recent album is the most "old-style Leonard" album he's made in decades — the songs and arrangements here would sit comfortably with his mid-'70s output, although the lyrics are shot through with the wisdom of a man well into his 70s. (Particularly fascinating is opening track "Going Home," which takes the form of a monologue from some higher power, reflecting on how the narrator "love[s] to speak with Leonard.") There's nothing here to rank with his very best work, but there's nothing wrong with it, either.

The Future (1992)
The last record before our hero took to the mountain for a decade was a dark, world-weary affair — the title track proclaims, "I have seen the future, brother/ It is murder." Musically, The Future is a curiously mixed bag. Its strongest tracks are up with the best work Cohen's ever made, most notably "Anthem," which is certainly a contender for Best Leonard Cohen Song Ever — he described the closing lines of the chorus ("There is a crack in everything/ That's how the light gets in") as "the closest thing I could describe to a credo." But the record's padded out by a couple of largely superfluous covers and, strangely, an instrumental, the only one of Cohen's career.

Dear Heather (2004)
The Leonard Cohen experimental record! This is a curiously underappreciated entry in Cohen's canon — the songs are great, and the music traverses an impressively wide range of sounds, from the traditionally Cohen-esque "The Faith" and "Nightingale" to tracks like "Morning Glory" and the title tune, which deploy decidedly unconventional song structures and unusual arrangements. "Villanelle for Our Time," meanwhile, abandons music entirely for the first couple of minutes of its running time, leaving Cohen to recite the titular villanelle unaccompanied.

Songs of Leonard Cohen (1967)
Cohen was in his 30s by the time he released his debut album, which proves that it's never too late to start something, and also perhaps explains why it was such an accomplished and assured piece of work. No one had written songs quite like this before, or certainly not in the field of pop music, anyway — the lyrics were dense and poetic, so heavy on imagery and allusion that people still scour them for meaning nearly half a century later, and yet somehow, they were also accessible and emotive. The highlights are well documented — "Suzanne," of course, along with "So Long, Marianne" and "Hey, That's No Way to Say Goodbye" — but there really isn't a bad song here.

Songs of Love and Hate (1971)
The greatest accomplishment of the early part of Cohen's career. As its title suggests, the album divides into a "love" side and a "hate" side, neither of which are particularly easy listening. The love songs contemplate affairs that have fractured and broken, damaging their participants in the process: two lovers who can never be together ("Let's Sing Another Song, Boys"); Joan of Arc and the fire that consumed her ("Joan of Arc"); and, most memorably, a strange love triangle (the peerless "Famous Blue Raincoat"). The "hate" side, meanwhile, is pretty much the most desolate Cohen ever got — people who call Cohen's songs "depressing" generally only reveal that they're not listening carefully enough, but one could be forgiven for being somewhat downcast by listening to "Avalanche," "Last Year's Man," "Dress Rehearsal Rag," and "Diamonds in the Mine" in quick succession. Of course, that doesn't stop you from wanting to listen to them again, and again, and again.

I'm Your Man (1988)
The great reinvention. From the opening bars of "First We Take Manhattan," it's clear that I’m Your Man is very different from anything Cohen had made to this point — out went the finger-picked acoustic guitar, in came copious synths and distinctly danceable bass lines. The lyrics found Cohen in playful form, too, indulging his oft-underrated sense of humor more than he'd ever done before: "Tower of Song" was a wry, self-effacing reflection on advancing age and his career to date, while the aforementioned "First We Take Manhattan" found him chuckling cryptically about monkeys and plywood violins. And yet, beneath the new veneer, the songs were as moving and beautiful as ever.

Ten New Songs (2001)
As the 1990s turned into the 2000s, the last the world had heard of Leonard Cohen was that he'd retreated to the Mount Baldy Zen Center and had been ordained as a Buddhist monk. There was no indication that he'd ever release another album — it was almost a decade from The Future, an album pretty much everyone had assumed was his swan song. And then, out of nowhere, this. Ten New Songs is a late-career masterpiece, with arguably the strongest and most coherent collection of songs on any Cohen record. Those songs catalogue its creator's descent from the mountain back to the world — it's an album that finds him, in his own words, "back on Boogie Street." There's a sense that his years of seclusion brought insight, if no ultimate conclusions — the album looks gravely on the state of the world, although the visceral disgust of "The Future" has been replaced with a calmer, more compassionate brand of reflection. There's also a newfound sense of levity, and it seems significant that the depression that he'd experienced for most of his adult life apparently disappeared of its own accord in the run-up to recording Ten New Songs. The contrast between dark and light is best embodied in the sublime "Alexandra Leaving," a song about resigning oneself to the end of a love affair that's run its course, and resolving to appreciate the love that was shared instead of mourning their loss. If there's a message here, it's that life's meaning is whatever you choose it to be, and that you can take comfort in the fleeting moments of beauty that life has to offer. If you're going to take an idea away from a record — or, indeed, an entire discography — you could do a lot worse.
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DennisZ
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Re: 12 Leonard Cohen Albums, Ranked From Worst to Best

Postby DennisZ » Wed Oct 01, 2014 4:09 pm

Interesting ranking.

Personally, "Recent Songs" is one of my favorite ones though.
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Re: 12 Leonard Cohen Albums, Ranked From Worst to Best

Postby Janetld » Thu Oct 02, 2014 1:50 am

I agree, Recent Songs is one of my favourites.
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Re: 12 Leonard Cohen Albums, Ranked From Worst to Best

Postby Andrew (Darby) » Thu Oct 02, 2014 4:14 am

Me too, regarding 'Recent Songs'. :wink:

Ranking may make interesting reading, but when it comes to works of art, is so fraught with the subjectivity that relates to taste and assessment of merit.

I've noticed there is a trend to publish lists/rankings on all sorts of subjects (online and in printed material), though some are clearly derived on a more objective scientific basis.

Cheers,
Andrew :)
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I only sing the tunes
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The madness of the moons'
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Re: 12 Leonard Cohen Albums, Ranked From Worst to Best

Postby sirius » Thu Oct 02, 2014 6:12 pm

Here is another list:

Leonard Cohen's albums: worst to best

As Popular Problems is released, Neil McCormick runs the rule over all 13 of the singer's albums

Leonard Cohen released his first album in 1967 Photo: Rex Features
Neil McCormick

22 Sep 2014


http://www.telegraph.co.uk/culture/musi ... -best.html


With the release of Popular Problems, Leonard Cohen will have made 13 studio albums in his 46-year-long musical career. He is not exactly a fast worker, famously writing and rewriting verses and claiming it can take him years to complete a song, but in so doing he shows a care for the lyrical form and its relation to melody that few songwriters can match.

I would say there is no such thing as a bad Leonard Cohen album (well, with one dishonourable exception, perhaps) but here are my rankings of his entire recorded output, (relatively) worst to best.




13. Death Of A Ladies' Man (1977) 2 stars

Pretty much universally regarded as Cohen’s worst album, there is something intriguing about the disastrous conceit of pairing a vocally limited folk singer with Wall of Sound producer Phil Spector. Cohen wails like a drunken troubadour determined to strangle his songs at birth, while Spector surrounds him with bells, whistles, choirs, orchestras, rock instruments and quite possibly the kitchen sink. The self-loathing spirit in which Cohen conjured up these songs of failed romance is perhaps best encapsulated by the funkily absurd Don’t Go Home With Your Hard-On.

Key lyric: "So the great affair is over / But whoever would have guessed / It would leave us all so vacant / And so deeply unimpressed" (Death of a Ladies' Man)


12. Dear Heather (2004) 3 stars

Cohen has suggested that his lifelong vulnerability to depression has been gently lifted by his devotion to Buddhist meditation. This might be best considered his Buddhist album, with Cohen boiling his usually extensive lyrics down to almost Zen-like aphorisms, often drily and unmelodiously recited to a gentle, easy-listening cocktail produced by collaborator Sharon Robinson. There is a mood of quiet wisdom and emotional lightness but it inevitably suggested either a waning of poetic powers or dwindling interest in the song form. Fortunately, subsequent releases proved this not to be the case.

Key lyric: “Because of a few songs / Wherein I spoke of their mystery / Women have been / Exceptionally kind to my old age" (Because Of)


11. Recent Songs (1979) 3 stars

After the overproduced Phil Spector disaster, Cohen returned to the safer ground of understated acoustic folk, albeit adding bold new flourishes of gipsy violin and a Mexican mariachi band. Such touches lend the album a beguiling world music flavour, and Cohen sings his songs of longing and regret with sombre seriousness, yet it is an album that might be said to mark the end of Cohen’s first great period, not quite scaling the heights of his early masterpieces, and preceding the stylistic advances he would make in the Eighties.

Key lyric: “You say you’ve been humbled in love / Cut down in your love / Forced to kneel in the mud next to me / Ah, but why so bitterly turn from the one / Who kneels there as deeply as thee?” (Humbled In Love)


10. Ten New Songs (2001) 3 stars

There was a nine year gap between Cohen’s late masterpiece The Future (1992) and Ten New Songs, much of that time spent in seclusion at a Buddhist monastery in California. This was a subtle, understated comeback from a man many thought would never record again, co-written and produced by longtime musical associate Sharon Robinson, who played everything and conjured smooth, late-night ambiences for Cohen’s now whispery vocals. There may have been some indication of a lack of confidence or conviction in his reliance on Robinson, and the album doesn’t exude the charismatic engagement and towering intellectual dynamism of his greatest work. Still, it conjures up a seductive mix of thoughtful couplets and gentle melodies.

Key lyric: “I fought against the bottle / But I had to do it drunk” (That Don’t Make It Junk)


9. Songs From A Room (1969) 4 stars

Unhappy with the production on his debut (although I suspect he was alone in that regard) Cohen adopted a stark sound for his second album, focused on his acoustic guitar with just the faintest of backing instruments to accompany his mournful voice. This is perhaps his most grave and professorial set of songs, from sorrowful Biblical epic The Story of Isaac to the mysterious depiction of frustrated ardour and seduction in Lady Midnight. Opening track, Bird On The Wire, remains among Cohen’s finest works, an anthem of freedom that will ring out as long as there are voices to sing it.

Key lyric: “Like a bird on the wire / Like a drunk in a midnight choir / I have tried in my way to be free” (Bird On The Wire)


8. Various Positions (1984) 4 stars

Cohen’s label, Columbia, rejected this album, refusing to release it in the US. Quite astonishing when you consider that it contains one of the most universally beloved songs of all time, Hallelujah, as well as such works of distilled, meditative genius as Dance Me To The End Of Love, If It Be Your Will and The Law. Perhaps record executives were put off by the bleak production of John Lissauer, introducing thin synthetic keyboards to Cohen’s sound for the first time, as well as stark acoustic guitars, Cohen’s deepening vocal gilded subtly by Jennifer Warnes' softening vocals. While flirting with electronica, it is not a very Eighties album, with no hint of gaudiness. This is an album for all time, a work of quiet genius. It was initially put out by small independent Passport Records, before a remorseful Columbia reclaimed it in 1990.

Key lyric: "Dance me to your beauty with a burning violin / Dance me through the panic 'til I'm gathered safely in / Lift me like an olive branch and be my homeward dove” (Dance Me To The End Of Love)


7. Old Ideas (2012) 5 stars

Mortality may have fascinated Cohen throughout his songwriting career but, at 77, his ruminations on age, the shedding of desire, loss of power and speculation on the final destination took on a more elegiac tone. After a long keyboard-based period, Patrick Leonard’s production reintroduced more organic, live instrumentation to support Cohen’s voice, resulting in a richly autumnal sound palette. The result was a work of powerful wisdom, a meditation on the inevitable dimming of the flame, lightened by wry, sly, sardonic humour.

Key lyric: “He will speak these words of wisdom / Like a sage, a man of vision / Though he knows he’s really nothing / But the brief elaboration of a tube” (Going Home)


6. Songs Of Love And Hate (1971) 5 stars

If your idea of Leonard Cohen adheres to the notion of a miserable bedsit poet of depression and suicide, this is the album for you. His picked acoustic guitar shines above gloomy orchestral strings, his vocal strains at the fragile edges of his limited range, while the songs are among his most personal and forensic dissections of failed romance, populated by damaged souls sinking into a melancholic mire. On the ruminative, heart-baring Famous Blue Raincoat, addressed to “my brother my killer”, he signs off “sincerely, L Cohen.” And it is certainly sincere and deeply, darkly moving.

Key lyric: “And thanks for the trouble you took from her eyes / I thought it was there for good, so I never tried' (Famous Blue Raincoat)


5. Popular Problems (2014) 5 stars

Cohen’s new album is as powerful as anything he has ever recorded. Shifting away from the mortal ruminations of Old Ideas, Cohen engages with the state of the wider world, contemplating the terrible lesions of civil war in both the micro and the macro senses, from domestic strife to international conflict. Producer Patrick Leonard maintains the organic feel of Old Ideas, but with bluesier grooves and greater vigour. Cohen’s triumphant return to the live arena is reflected in the growling assuredness of his vocals. An absolute treat.

Key lyrics: “The war was lost / The treaty signed / There’s truth that lives / And truth that dies / I don’t know which / But never mind” (Nevermind)


4. New Skin For Old Ceremony (1974) 5 stars

This is Cohen at his loosest, the introspective acoustic troubadour growing in confidence as a musician and performing with an expanding band set-up, violas, mandolins, banjos and percussion adding dynamism, corresponding with a growing emphasis on his mordant wit. His famous ballad about his brief affair with Janis Joplin, Chelsea Hotel #2, contains one of the great self-deprecating lines in popular song: “You told me again you preferred handsome men / But for me you would make an exception.” There are big themes of conflict and division played out with a surprisingly light touch on songs like Field Commander Cohen and the rough riding There Is A War, while Cohen strikes out for high spiritual ground on the sensual Who By Fire and Take This Longing.

Key lyric: “There is a war between the rich and poor / A war between the man and the woman / There is a war between the ones who say there is a war / And the ones who say there isn't” (There Is A War)


3. The Future (1992) 5 stars

The lush production was the work of Cohen and his then-girlfriend, actress Rebecca De Mornay. If it is not quite the equal of his triumphant masterpiece I’m Your Man, it is arguably darker and more serious, peppered with fantastic couplets that ring with deep truths. Cohen’s poetic voice is set to a playful pop soundscape, but he tackles big subjects like mankind’s apocalyptic future prospects and the human essence of global politics (“It is coming through a crack in the wall / On a visionary flood of alcohol,” he sings, before delivering his punchline “Democracy is coming to the USA”). Cohen embraces the complexity and contradiction of prayerful belief on the wonderful Anthem, singing “There is a crack in everything / That’s how the light gets in.”

Key lyric: “Things are going to slide, slide in all directions / Won't be nothing you can measure anymore / The blizzard of the world has crossed the threshold / And overturned the order of the soul” (The Future)


2. Songs Of Leonard Cohen (1967) 5 stars

The Canadian poet’s debut as a folk singer-songwriter at the age of 33 is an enduring masterpiece. He poured a lot of his life into these first songs, and many of them remain at the core of Cohen’s canon: Suzanne, Sisters Of Mercy, So Long, Marianne and Hey, That’s No Way To Say Goodbye. Elegant, philosophical lyrics of love and loss are perfectly matched with flowing, melancholic melodies. Cohen himself was unhappy with producer John Simon’s arrangements, wanting something starker to emphasise his seriousness, yet it is hardly a big production and all the little touches and flourishes that brush against Cohen’s picked guitar add atmospheric nuance. Cohen’s singing voice was dry and limited and never likely to connect with mainstream pop tastes but he imbues his extraordinary lyrics with introspective commitment.

Key lyric: “And when he knew for certain only drowning men could see him / He said all men will be sailors then until the sea shall free them” (Suzanne)


1. I’m Your Man (1988) 5 stars

Drum machines, synths, funky bass: at 54 the old folk troubadour went electropop. The results were a revelation, emphasising the playful, mischievous wit that had increasingly become central to his work, making the intellectual and philosophical seriousness more palatable. A choir of luscious backing singers led by Cohen's stalwart collaborator Jennifer Warnes and including his future partner Anjani Thomas delivers choruses with almost saccharine melodiousness, contrasting with Cohen’s deepening vocals, but there was new boldness to his delivery. “I was born like this, I had no choice / I was born with the gift of a golden voice,” he intones on the masterful Tower Of Song. Extraordinary tracks like Ain’t No Cure For Love and Everybody Knows cast a sharp eye on concepts of love, freedom and morality in dangerous times. This really marks the beginning of Cohen’s late period that has arguably been even greater and more productive than his early years. Always more popular in Europe than the US, the album was number one in Norway for 16 weeks. They do love a melancholic in the fjords.

Key lyric: “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 / Everybody knows the fight was fixed / The poor stay poor, the rich get rich / That's how it goes / Everybody knows" (Everybody Knows)
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Re: 12 Leonard Cohen Albums, Ranked From Worst to Best

Postby BlizzardofIce » Fri Oct 03, 2014 9:24 am

Various Positions (1984)
Everyone knows this as the one with "Hallelujah" (and perhaps to a lesser extent, the one with "Dance Me to the End of Love"). Beyond those two songs, though, there's a sense that Cohen was treading water here. Nearly two decades into his career, he seemed ripe for a creative reinvention, which would arrive four years later in the form of "I'm Your Man."
I fell off his list here, "beyond these two songs (halleluja +Dmtteol) , there's a sence of what?
......eeeeeh? "If it Be Your Will", Lc's masterpiece, "treading water"???
With all due respect : WTF?!
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Re: 12 Leonard Cohen Albums, Ranked From Worst to Best

Postby LisaLCFan » Fri Oct 03, 2014 9:11 pm

Relax, Blizzard... When I read these kinds of articles (IF I read them), the first questions to come to mind are, "Who are these people?" and "Why should I care what they think?" In some cases, I think that these writers may have listened to Cohen's albums for the first time, a few days before writing these "I-am-oh-so-insightful-and-full-of-authority-on-all-things-Cohen" bits of trifle. Rather than getting all "WTF?!", the better response, if I may suggest, is, "Who TF cares?"
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Re: 12 Leonard Cohen Albums, Ranked From Worst to Best

Postby Athnuachan » Sat Oct 04, 2014 3:53 pm

It's all relative, is it not.

I will always love "Various Positions" , because it was the first LC album I became aware of, hearing it played on RTE.
After that it was a wonderful voyage of discovery which still continues, thanks be to LC.

Best? I still think it's hard to equal that brilliant debut "Songs of Leonard Cohen", but several have come close, including the latest!
Times change, we change, the great thing is LC is not afraid to change too. Praise be to him.
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Re: 12 Leonard Cohen Albums, Ranked From Worst to Best

Postby Donata » Sat Oct 04, 2014 8:44 pm

It's amazing how much nowadays people care for "ranking" that decides whether an album is "hip" or not - and thus a commercial
success.There is a harsh competition and ambition among singer-song writers, and good ranking results mean more fans, more
money for the artists. (Neil Diamond's "Sweet Caroline" comes to my mind - if you know what I mean ... )

But Leonard is not a composer of ear worms and ditties. He has never and will never write songs to please a broad audience and gain more popularity (and money). He has his fan base, people who love his non-mainstream music and are ready to dig deep into the
often cryptic metaphors, to get involved in the "psychological" analysis to understand the full meaning of his lyrics - it means WORK.
Does anyone here think that Leonard is dreaming of a Platinum Album?

Leonard's songs appeal much to your hearts and souls, offering a large scale of emotions and thoughts that appeal to different people in different ways.You can see it in the posts on the forum: everyone has his/her own favourite LC albums or songs, so not even a
ranking of favourite songs on this forum would make any sense, less so an official ranking of his whole work!
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Re: 12 Leonard Cohen Albums, Ranked From Worst to Best

Postby RainDog1980 » Sat Oct 04, 2014 8:52 pm

These lists are always subjective.

I almost lost my mind (figuratively) seeing Ten New Songs as the best… and Dear Heather above Old Ideas, and THE FUTURE??? Not a chance, not even the least discerning critical ear could agree with that assessment.

For me, personally, Ten New Songs and Dear Heather are Cohen's couplet of missteps… and Death of a Ladies Man and Recent Songs fall much higher on my list.
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Re: 12 Leonard Cohen Albums, Ranked From Worst to Best

Postby songwriter » Mon Oct 06, 2014 6:05 pm

these lists have been composed by cretins
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Re: 12 Leonard Cohen Albums, Ranked From Worst to Best

Postby fusional » Wed Oct 08, 2014 8:20 pm

Well the second list is far more to my liking - don't understand the first at all to be honest (unless the guy got into LC in the early 90s).

Clearly I'm Your Man and The Future win a lot of plaudits. I understand why, so can't complain with their position on the lists, but they don't really do it for me.

New Skin and Songs from a Room are two of my favourites, I'd pick them in my top 5.

And, to be honest, I think Songs of Leonard Cohen remains the best - and possibly doesn't get to the top of the lists because it's such an obvious choice. But with Suzanne, Sisters of Mercy and So Long Marianne you've got probably his three greatest melodies, and 'singalong' tunes. With Hey That's No Way to Say Goodbye you've got arguably his best love song. And in Teachers and One of Us Cannot Be Wrong you've got two of the best examples of his increible imagery and storylelling.
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Re: 12 Leonard Cohen Albums, Ranked From Worst to Best

Postby Roy » Mon Oct 27, 2014 6:03 pm

MY WORST TO BEST

13. Death Of A Ladies' Man
12. Dear Heather
11. Ten New Songs
10. Popular Problems
09. Old Ideas
08. Recent Songs
07. Various Positions
06. I'm Your Man
05. The Future
04. New Skin For The Old Ceremony
03. Songs Of Love And Hate
02. Songs From A Room
01. Songs Of Leonard Cohen
LEONARD COHEN | HALLS OF FAME
The Official Halls of Fame Biographies of Leonard Cohen
http://www.leonardcohenhallsoffame.blogspot.com
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Re: 12 Leonard Cohen Albums, Ranked From Worst to Best

Postby BigPink68 » Fri Oct 27, 2017 5:50 am

Songs from a Room should be far higher. Every song on that record it a delicate masterpiece. The Partisan is possibly my favorite Cohen song.
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Re: 12 Leonard Cohen Albums, Ranked From Worst to Best

Postby Anthony Lawrence » Fri Oct 27, 2017 8:14 pm

Roy wrote:MY WORST TO BEST

13. Death Of A Ladies' Man
12. Dear Heather
11. Ten New Songs
10. Popular Problems
09. Old Ideas
08. Recent Songs
07. Various Positions
06. I'm Your Man
05. The Future
04. New Skin For The Old Ceremony
03. Songs Of Love And Hate
02. Songs From A Room
01. Songs Of Leonard Cohen
Ten New Songs at number 11???


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