I’m prepared to call “First We Take Manhattan” the greatest intro to an artist, and, hell, to anyone, I’ve ever heard. The crap synths adduce Leonard Cohen’s flaneur idea of seduction. I would teach it in class as an example of dialectical thinking.
Meh
The Guests
Go No More A-Roving
Sound, Solid
Dance Me to the End of Love
Bird on the Wire
Slow
True Love Leaves No Traces
Good to Great
First We Take Manhattan
The Future
You Want It Darker
In My Secret Life
Is This What You Wanted
Suzanne
Avalanche
Going Home
Humanizing The Vacuum 
It’s weird. Before 1988 I never heard Leonard Cohen. And all I’d heard of him was mocking innuendo on The Young Ones as Neil The Hippie’s favorite singer. I’d expected something much more tragic, but when 120 Minutes on MTV showed the “First We take Manhattan” clip it really impressed. The cheap, nasty synths only served to illustrate his confidence and vision. Songs that well written surmount limitations of technique that would hobble lesser artists.