Customer Reviews

Don't Get Weird on Me Babe

5 star:		(11)
4 star:		(4)
3 star:		(2)
2 star:		(0)
1 star:		(0)

 

 

Lloyd was feeling his oats as a songwriter at about this time, so he decided to stretch a bit stylistically and the result was this somewhat schizo, but uniformly excellent album. The first six cuts are mostly Commotions-style Byrdsy pop songs, with the shoulda-been-a-hit Weeping Wine and the vaguely funky and ironic-in-a-Randy Newman-sorta-way She's A Girl And I'm A Man as the standouts. Then Cole takes a left turn onto Lonely Street right by the Heartbreak Hotel and serves up an astounding suite of songs that deal with a wide tapestry of dark feelings, vitriol and heartbreak. From the self-loathing tone of Butterfly, with its marvelous string arrangement, to There For Her, which could be a great lost Jimmy Webb song by Glen Campbell; down to the centerpiece of the album, the harrowing Man Enough, which sounds just personal enough to be discomforting; then finally he brings the album to a close with the calm after the storm serenity of What He Doesn't Know, probably the finest cut on the record and in my opinion Cole's finest hour.

In no way is Don't Get Weird an entertaining happy fun record; I've heard Cole wrote a lot of these lyrics about a relationship that ended about this time, so make no mistake, this borders on uneasy listening to be sure. But it is also an album of stylistic chance-taking, excellent playing, and insightful writing...I think everybody should at least give this outstanding music a listen and decide for themselves.

Couldn't disagree with the first reviewer more. Far from filler, I found the second half of the CD to be stronger than the first half and to contain some of Cole's best solo work to date.

"Don't Get Weird On Me Babe" is the second solo album by Lloyd Cole after he broke up the Commotions, his '80's Brit-rock band. Half the record is guitar and drum numbers, the other half orchestral-backed numbers. No smarm at all, in spite of the violins. His lyrics are intelligent on the subjects of relationships gone wrong, sometimes funny, never short on heart. Although I don't know many people who own this record, all that do count it among their favorites.

Hard to believe it's been 22 years since Lloyd Cole burst upon the (then) college radio scene with "Rattlesnakes". On that album, he skillfully intertwined electric with acoustic and 12 string guitars to make a very subtle, yet powerful sound.

Both "Rattlesnakes" and his sophomore effort "Easy Pieces" are great albums. I noticed that "Easy Pieces" is fetching $75.00 and more, but I ain't selling my copy.

Tom Verlaine was asked in an interview once if he was offended when he heard Lloyd Cole, since at times, you'd think you're hearing Verlaine when listening to Cole. True to his icy cool style, Verlaine said something to the effect he didn't really care.

On "Don't get weird on me", Cole takes the Verlaine/Television connection one step further by recruiting Robert Quine on lead guitar. Quine, who sadly passed away recently, in turn brought Fred Maher onboard (also, like Quine, a Lou Reed alumnus).

Cole arguably gets a little too sugary at times, but manages to keep your attention even on the slower ballady tracks by letting Quine loose with some wicked guitar magic.

"Bad Vibes", where he veers more in a Beatles/Lennon direction, is also a great record.

I was disappointed in some of his later 90s material as well as "The negatives", but Lloyd Cole is still alive and well, and working on new material. It'll be interesting to see whether he can reach or surpass this and the two first albums.

I love this CD; especially the second half. In fact, oftentimes, late at night - either driving, or sitting at home - reflecting on lost loves, I'll play the last half of DGWOMB only, starting with Butterfly. Like Sinatra's In The Wee Small Hours of the Evening, it has the beautiful, tasty effect of allowing me to wallow in the pain of unrequited love. Or as Sinatra once put it, "I'm so unhappy, but oh so glad." I love it.

English singer-guitarist Lloyd Cole former lead member of the Commotions "My Bag" fame, released his 2nd solo album in 1991. This is Lloyd's best solo effort to date, in my opinion. "Don't Get Wierd On Me Babe" is half pop-rockers and half orchestration, I love the orchestra part the best but puts out some great pop too. The Orchestra was contucted by Paul Buckmaster who did early Elton John albums, the concert master was Sid Page (Dan Hicks And The Hotlicks and Sly And The Family Stone), and the copyist was Suzie Katayama who played cello on ELO's "Zoom" CD. Matthew Sweet played bass, the late Robert Quine (Lou Reed,The Voidoids) played great guitar here,Fred Maher (Scritti Politti) drums and Blair Cowan (Commotions) hammond organ. The Songs:

"Tell Your Sister"- #6 modern rock
"Weeping Wine"- Very 60ish pop-rocker, a great 2 1/2 minute tune.
"The One You Never Had"
the Stoneish "To The Lions"
the sweet sounds of, "Pay For It"
and the big hit "She's A Girl And I'm A Man" #7 modern rock it hit the hot 100 but I forget where it reached. Great guitar riff and solo by Robert and bass by Matthew.

The full orchestral arrangments (recorded in Tower Studios in Hollywood where Frank Sinatra recorded with Nelson Riddle in the 50's).
"Butterfly"-mood friendly,could of been a sure fire hit!
"There For Her"-A song that also should of been tried on radio.
"Margo's Waltz"- Love this song, Leland Sklar (great session bassist) plays bass here, smooth.
"Half Of Everything"- Love the strings on this one.
"Man Enough"- Accordian domanated number, is the weakest number here.
"What He Doesn't Know"- Very Melancholy tune.

This was a very brave album in 1991, it should of sold a lot better than it did.

No album has ever hit me as hard as this one. I first listened to it about 7 years ago while in my late 20's. Now, at 37, I still enjoy it as much as ever. Mr. Cole has created some beautiful melodies, and simply smart lyrics. Not really sure which I enjoy more- lyrics always surprise, music always sounds just perfect. Together, outstanding.
I've collected many more of his albums, and have never been dissapointed. Hope you enjoy also.

Won't say much in addition to what's already been said here; I'll just add I've been a Lloyd Cole fan since the first album, and that this is easily his best post-Commotions record. Get this, get 'Rattlesnakes,' and go on from there.

This really should be two records as the first half is so stylistically different from the (better) second.

I rarely if ever listen to anything before "Butterfly", it should be titled Falling off a Log for the easy familiarity of Lloyds writing. But side two - or the last six tracks if you prefer - is a whole different species. I've worn out the second half of two copies. The arrangement and song writing is sublime and conjures such beautiful melancholy for lost love. A truly brilliant half an album that's worth twice the price. Highly recommended.

I bought this when it first came out on the strength of 'tell your sister', and it hasn't left my consciousness for more than a month or two since then. It's not even my usual thing. But it's so brilliant, it commands attention. The album is split in two. The first half is guitar jangly, sparkly, the second 'side' settles in with "butterfly" and is an orchestral, sweeping, but never dull song cycle evoking languid Southern California afternoons in lonely hot parking lots. Throughout, Cole's vocals are strong, and heartfelt. The songwriting is flawless. Heartily recommended to anyone who likes Morrissey, Aimee Mann, Elvis Costello, Badly Drawn Boy, or other intelligent singer-songwriters.