Released on September 24, 1991—though some sources cite on September 16—"Don't Get Weird On Me, Babe" was the second solo offering from the iconic Lloyd Cole. It is regarded by critics and fans with such sophisticated taste as one of the best albums of the 1990s, filled with smooth melodies, sophisticated lyrics, and refined arrangements. For many, the album was perhaps a decade and a half ahead of its time; and if it would had it been released in 1996, it would might have enjoyed greater commercial success across the boards, the album spawned the singles "Butterfly", "Weeping Wine" & "She's A Girl And I'm A Man."
Another great recording arrived on the same magical day as other major albums like, "Nevermind", and "Blood Sugar Sex Magik". It was considered one of the artist's finest works, divided into two parts—the first dedicated to the United States and the second to the rest of the world.
Its sound wandered between rock tunes featuring jangly pop guitars—highlighted by tracks like "Tell Your Sister" and the rocker "She's A Girl And I'm A Man"—and the orchestral, jazz-infused atmosphere of "Margo's Waltz." Indeed, that was the essence of the album: a rock side and an orchestral side, both seasoned with refined pop. The orchestra was conducted by Paul Buckmaster, and the project featured other excellent collaborators—such as Suzie Katayama, Matthew Sweet, Robert Quine, Fred Maher, and Blair Cowan—who helped make the album a bold, solid release in that impeccable 1991.
The style changed from the modern indie-rock sound of "Tell Your Sister" which reached No. 6 on the Billboard Modern Rock Tracks chart and the 60s-influenced "Weeping Wine"—along with "The One You Never Had" and the raw "To The Lions"—to the mellower "Pay For It." Then it was the hit "She's A Girl And I'm A Man," which hit No. 7 on the Modern Rock chart, paving the way for orchestral songs like the friendly-sounding "Butterfly"; "There For Her," another track that could have been a radio hit; the exquisite "Margo's Waltz" (soft and delicate); and "Half Of Everything," with its fine string arrangements, before moving on to "Man..." ...Enough"—which many consider the album's weakest track—and finally the melancholic "What He Doesn't Know," bringing to a close a great album—the kind that doesn't come along often—but one that was unfortunately misunderstood and, consequently, underrated at the time.
Critics were mixed at the time, by some considered the album as a rare album that somewhat surprisingly offered some Cole's sharpest, smartest-writing since Rattlesnakes. Others called the album as a great pop record featuring Lloyd's perennial concerns all set to great, big-screen arrangements" One of the most genuinely nervy and idiosyncratic major-label rock albums of the year, and therefore it was considered as a masterpiece" and "a breathtaking record full of inspired writing, smooth melodies and eloquent instrumentation. It was clearly one of Lloyd Cole's finest albums so far.
Don't Get Weird On Me, Babe Track List:
1. Tell Your Sister
2. Weeping Wine
3. To The Lions
4. Pay For It
5. The One You Never Had
6. She's A Girl And I'm A Man
7. Butterfly
8. There For Her
9. Margo's Waltz
10. Half Of Everything
11. Man Enough
12. What He Doesn't Know
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