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Don't Get Weird On Me Babe


Download links and information about Don't Get Weird On Me Babe by Lloyd Cole. This album was released in 1991 and it belongs to Rock, Alternative, Songwriter/Lyricist genres. It contains 12 tracks with total duration of 48:18 minutes.

Artist: Lloyd Cole
Release date: 1991
Genre: Rock, Alternative, Songwriter/Lyricist
Tracks: 12
Duration: 48:18
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No. Title Length
1. Tell Your Sister 3:31
2. Weeping Wine 2:38
3. To the Lions 2:41
4. Pay for It 6:20
5. One You Never Had 2:30
6. She's a Girl and I'm a Man 4:17
7. Butterfly 3:02
8. There for Her 4:06
9. Margo's Waltz 4:03
10. Half of Everything 7:03
11. Man Enough 4:03
12. What He Doesn't Know 4:04



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.