Leonard Cohen’s ‘Death of a Ladies’ Man’: a Phil Spector disasterclass
Today marks the 45th anniversary of Leonard Cohen‘s fifth studio album, Death of a Ladies’ Man. Until its release in 1977, Cohen’s sound had primarily been defined by a minimalist composition of his nylon string guitar, beautiful deep vocals focused on the lyrical content, and the occasional additional instrument joining the mix.
Death of a Ladies’ Man was produced by none other than Phil Spector, the notorious producer known for his Wall of Sound recording techniques as employed on the Beach Boys’ masterpiece Pet Sounds. However, where Pet Sounds was made all the more glorious by layer upon layer of tracks, Cohen’s album suffered from an overproduction in which his poetic yearnings were lost in the mix.
From the off, Death of a Ladies Man does not feel like a Leonard Cohen album whatsoever. Cohen’s eternally beautiful lyrics are entirely overshadowed by the utterly unnecessary complex instrumentation, particularly evident on ‘Paper Thin Hotel’. Cohen’s words are as moving as ever, yet they are drowned out by strings, bells, whistles and whatever else Spector dared to suggest. Elsewhere’ Memories’ is terrible, almost to the point of doo-wop, and Cohen’s voice sounds strained. Not through difficulty, though, but as though he is stunned by what Spector is doing to his art. Namely, beating it within an inch of its life.
It’s not as though Cohen wouldn’t have known what he was in for. Spector had grown increasingly chaotic and erratic in the 1970s after producing records for John Lennon and George Harrison. Even fellow Canadian folkster Joni Mitchell had warned Cohen about working with Spector after seeing the booze and drug-fuelled session turn into disarray with John Lennon.
Cohen had been introduced to Spector through their mutual lawyer Marty Machat at one of Cohen’s shows in LA. Spector had been quiet at the show but invited Cohen back to his house. They drank heavily that night and decided to write some songs together. It’s been said that despite Spector’s wild behaviour, as soon as he sat down with an instrument, he seemingly turned back to ‘normal’.
However, upon beginning the sessions for Death of a Ladies’ Man, Cohen was overwhelmed by Spector’s moods. He said, “It was one of those periods when my chops were impaired, and I wasn’t in the right kind of condition to resist Phil’s very strong influence on and eventual takeover of the record. When I was working with him alone, it was very agreeable, but the more people in the room, the wilder Phil would get. I couldn’t help but admire the extravagance of his performance, but at the time couldn’t really hold my own.”
Spector even pointed a loaded gun at Cohen and told him, “I love you, Leonard”, to which Cohen replied, “I hope you love me, Phil”. Spector then started not showing up to the studio and began mixing the final versions of the songs without Cohen. Cohen himself thought that the vocal takes were mere guides and certainly not the final variations in his mind. Given Spector’s behaviour, Cohen thought it better just to let it go, especially considering Spector’s love of guns.
There are evident shades of beauty in Death of a Ladies’ Man, although they were ultimately ruined by Phil Spector. Cohen seemed in two minds on the whole ordeal. He said, “People were skating around on bullets, guns were finding their way into hamburgers, guns were all over the place. It wasn’t safe. It was mayhem, but it was part of the times. It was rather drug-driven. But I like Phil, and the instinct was right. I’d do it again.” Fans of Cohen’s at the time were utterly confused upon the album’s release, and it must be said that the same confusion is still rife today.