Lloyd Cole

Formed at the University of Glasgow, Lloyd Cole & the Commotions made their debut in 1984 with the single "Perfect Skin," a U.K. hit and an American college radio fave that arrived amid a wave of smart guitar-pop bands (Aztec Camera, Prefab Sprout, the Smiths). But it is just one of numerous highlights on their charming debut, Rattlesnakes. Painfully romantic and teeming with lovelorn bohemian characters, literate references (Simone de Beauvoir, Leonard Cohen), and guitarist Neil Clarke's exquisite playing, it remains a high-water mark in Cole's yeoman's career. The followup, Easy Pieces, suffers slightly from rushed second-album syndrome and synth-heavy '80s production but remains a fan favorite due to such classics as "Why I Love Country Music" and "Lost Weekend." Cleanly produced and oft-overlooked, Cole's third and final Commotions album, the cynically titled Mainstream, is also his most well-rounded. After critical comparisons to Morrissey, Lou Reed, and Dylan, Cole finally finds his own voice on tracks such as the cheeky, upbeat "Sean Penn Blues" and gorgeous, melancholic "These Days."

Something of a love letter to his new hometown, New York City, Lloyd Cole was fueled by his late-night lifestyle and a band that included former Voidoids/Lou Reed players Fred Maher (drums) and Robert Quine (guitar). The songs rock harder than Cole ever had before -- or has since. It has aged well and finds balance in its gentler moments, such as the quietly resigned "To the Church," wherein he begs, "Driver, can't you drive me a little more slowly . . . can't you find me some George Jones on your radio?"

Dropped by his label as part of a massive housecleaning and left to his own devices and home studio, Cole resurfaced with the limp, glam rock-dabbling Bad Vibes. A new deal with U.S. indie label Ryko (which finally gave Bad Vibes a U.S. release) resulted in a mid-'90s comeback of sorts with the effervescent Love Story, a pleasant return to the Cole style of old (including guitar contributions from former Commotion Neil Clarke). The Negatives announced another rebirth of sorts with Cole this time hooking up with a younger group of NYC musicians (including Jill So-bule and ex-Dambuilder Dave Derby) and delivering another set of solid and upbeat, if familiar, songs. A pair of low-key "catch-up" releases followed: Etc. is a surprisingly good collection of outtakes/demos/extras (including a Dylan cover) from the late-'90s that any fan will love, while Plastic Wood is a less engaging foray into ambient instrumentals. Either of the best-of collections are decent starting points, but newcomers would also do well to just head straight for the classic Rattlesnakes. (DEV SHERLOCK)

From 2004's The New Rolling Stone Album Guide