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." Interviewed for the 2005 documentary I'm Your Man, Cohen expressed disappointment in the record and felt that the songs "got away" from him; he also noted that it was a favorite among "punksters" as well as his daughter. At the time of the album's release, however, he was much less generous in his public response to the album, calling Spector's production "a 'catastrophe'". Of the album's eight selections, "Memories" is the only track Cohen regularly performed in concert (on tours in 1979, 1980 and 1985). He apparently liked the song enough that he included it in his 1983 experimental art film I Am a Hotel, as the sole non-acoustic piece alongside four other songs which have generally enjoyed more positive fan response: "Suzanne", "Chelsea Hotel #2", "The Guests", and "The Gypsy's Wife". A "de-Spectorized" version of "Memories" ended up being released when Cohen's album Field Commander Cohen: Tour of 1979 was issued in 2001. This version includes a saxophone solo different from that of the album version's. In 1978, Cohen would release a book of poetry with the slightly altered title Death of a Lady's Man. It has nothing in common with the album, with only one exception: it contains the poem "Death of a Lady's Man", which is identical to the lyrics of the album's title song. Album cover The photo shown on the cover of Death of a Ladies' Man is very similar to that of Art Garfunkel's 1975 album Breakaway. The liner notes of the Cohen album disclose that the photo was taken by an "Anonymous Roving Photographer at a Forgotten Polynesian Restaurant". It features (from left to right) Eva LaPierre, Cohen and Suzanne Elrod, the mother of Adam and Lorca Cohen. ReceptionDeath of a Ladies' Man was released to universal confusion and largely bad reviews, leaving many die-hard Cohen fans stunned. Rolling Stone headlined its review with "Leonard Cohen's doo-wop Nightmare" and observed, "Too much of the record sounds like the world's most flamboyant extrovert producing and arranging the world's most fatalist introvert." The Toronto Star declared in large type, "Leonard Cohen is for Musical Sadists". While defending the album, AllMusic writer Dave Thompson concedes, "It