for a Miracle" that I recorded. The rhyme scheme was developed by toeing the line with that musical version that I put down. But it didn't work." "Ain't No Cure for Love", with its slick AOR sound, was chosen as the first single. Although I'm Your Man did not do as well in the United States as it did in other countries, CBS Records awarded Cohen with the Crystal Globe award, reserved for artists who have sold more than five million albums overseas, to which Cohen famously quipped, "I have always been touched by the modesty of their interest in my work." Album cover The album cover may be Cohen's most memorable, featuring the dapper singer eating a banana. As recounted in Ira Nadel's Various Positions, Cohen was at a Los Angeles warehouse to watch the filming of Jennifer Warnes's video "First We Take Manhattan" and was photographed by publicist Sharon Weisz in his dark glasses, charcoal gray pin-striped suit, and white T-shirt chomping on a banana: "Sharon showed it to me later and it seemed to sum me up perfectly. 'Here's this guy looking cool,' I thought, 'in shades and a nice suit. He seems to have a grip on things, an idea of himself.' And it suddenly occurred to me that's everyone's dilemma: at the times we think we're the coolest, what everyone else sees is a guy with his mouth full of banana." Cohen liked the image so much that he not only used it for the album cover but as the poster images of his 1988 world tour. Critical reception I'm Your Man was hailed by music critics as a return to form. It was No. 1 in Norway for 16 weeks. The album is silver in the UK and gold in Canada. In the original Rolling Stone review, David Browne called it "the first Cohen album that can be listened to during the daylight hours." Jason Ankeny of AllMusic writes that I'm Your Man "re-establishes Leonard Cohen's mastery. Against a backdrop of keyboards and propulsive rhythms, Cohen surveys the global landscape with a precise, unflinching eye: the opening 'First We Take Manhattan' is an ominous fantasy of commercial success bundled in crypto-fascist imagery, while the remarkable 'Everybody Knows' is a cynical catalog of the land mines littering the surface of love in the age of AIDS." It was ranked 51 on Pitchforks list of the