"Death of a Ladies' Man" is Leonard Cohen's fifth studio album, released in 1977. The album marked a significant departure from his usual minimalist style, as it was produced by the infamous Phil Spector, known for his "Wall of Sound" production method. This approach involved dense, layered arrangements with heavy use of overdubs and studio musicians, which gave the album a much more bombastic and elaborate sound compared to Cohen’s previous, more stripped-down work.
By the mid-1970s, both Leonard Cohen and Phil Spector were facing commercial challenges. Cohen was successful in Europe but had not achieved widespread success in the U.S., while Spector, once a legendary figure in the 1960s, was in decline, with his behavior becoming increasingly erratic. The two were introduced by Cohen’s lawyer, Marty Machat, and despite warnings from others (including Joni Mitchell), they began writing songs together in Spector’s home, where the atmosphere was bizarre but productive. Their songwriting sessions involved long nights, heavy drinking, and the presence of firearms, as Spector was known for his erratic and dangerous behavior.
The collaboration was marked by tension, with Cohen finding it difficult to assert himself in the studio. Spector’s control over the recording process became overwhelming, and Cohen eventually grew disillusioned, particularly when Spector took control of the mixing and kept the tapes away from Cohen. This led Cohen to publicly describe the album as a "catastrophe," although he later admitted to a grudging admiration for Spector's vision.
Musically, Death of a Ladies' Man deals with themes of sexuality, voyeurism, and relationships. Tracks like "Paper Thin Hotel" explore intimate, often sordid scenarios with a mix of dark humor and pathos. The title track, a nine-minute epic, exemplifies the album's over-the-top, dramatic style. Songs such as "Fingerprints" introduced more country and folk elements, while others like "Don't Go Home with Your Hard-on" are more experimental and playful, featuring contributions from poets like Allen Ginsberg and musicians like Bob Dylan.
The album’s recording process was chaotic. Spector's paranoia and megalomania led to a tense atmosphere in the studio, with numerous musicians and assistants coming and going. There were instances of Spector pointing loaded guns at people, and the overall environment was unsafe and unpredictable. Cohen, feeling alienated and increasingly disengaged, struggled to maintain control of the project. Eventually, Spector mixed the album on his own, without Cohen’s input, which led to the final version of the album, which Cohen felt was far from what he had envisioned.
Upon its release, Death of a Ladies' Man was met with mixed reviews. Cohen himself was disappointed with the final product, calling it a "catastrophe." While it gained some cult following, particularly among "punksters," Cohen distanced himself from the album for years. In contrast, some tracks, like "Memories," became concert staples, and the song’s raw emotion resonated with audiences. Over time, the album’s lavish production and wild energy have been appreciated by some fans, but Cohen himself remained ambivalent about the experience.
In 1978, Cohen also released a book of poetry titled Death of a Lady's Man, which shared a title with the album’s title track, though the book and album were thematically unrelated, except for the poem “Death of a Lady’s Man,” which mirrored the song's lyrics.
The album’s cover features a photograph of Cohen with two women, taken by an anonymous photographer at a Polynesian restaurant, adding to the album's aura of mystery and intrigue.
In retrospect, Death of a Ladies' Man is often viewed as one of Cohen’s more experimental, flawed, yet fascinating works, reflecting both the chaotic energy of the 1970s music scene and the tension between artistic vision and commercial pressures.
