Lloyd Cole's second solo album, 1991's
Don't Get Weird on Me, Babe, was about a half-decade ahead of its time. If it had come out in 1996, after
Richard Davies'
Cardinal project,
the High Llamas' Gideon Gaye, and the new belief in indie circles that Pet Sounds and
Burt Bacharach were musical icons worthy of veneration, this would have slotted right in. In the year bracketed by
My Bloody Valentine's
Loveless and
Nirvana's
Nevermind,
Don't Get Weird on Me, Babe (title courtesy of Raymond Carver) was considered a self-indulgent oddity. In retrospect, however, it's clearly one of
Lloyd Cole's finest works. The album is divided into two distinct parts. One (the first half in the U.S., the second half everywhere else) is more of
Cole's trademark literate, jangly guitar pop, featuring the sterling "Tell Your Sister" and the uncharacteristically rocking "She's a Girl and I'm a Man," the closest
Cole ever came to an American hit single. This side features a core band of
Fred Maher (who co-produced) on drums,
Matthew Sweet on bass, and
Robert Quine on guitar. That trio also appears on the other half of the album, but that set of six songs is dominated by a full orchestra arranged and conducted by
Paul Buckmaster.
Buckmaster's dramatic orchestrations add an entirely new dimension to the darker-edged songs without drowning them in
Mantovani-style glop. In fact, the arrangements are rather low-key, especially on the haunting, hushed "Margo's Waltz," a gorgeous song with a jazzy bass part by
Leland Sklar, subtle vibes, breathy female backing vocals, and almost subliminal brushed drums. Strongly reminiscent of
Bacharach's most restrained '60s work -- especially during ex-Commotion
Blair Cowan's lovely Hammond B3 solos -- "Margo's Waltz" is among the three or four best songs
Cole has ever written. However, it's only one of many highlights on this exceptional, underrated album. ~ Stewart Mason