Born in Buxton, Derbyshire, Cole grew up in nearby Chapel en le Frith and went to New Mills Grammar School. After failing in law at University College London, he later attended (but did not graduate from) the University of Glasgow where he studied philosophy and English and met the other members of band that would become The Commotions. Their 1984 debut, Rattlesnakes, contained numerous literary and pop culture references to figures like Norman Mailer, Grace Kelly, Eva Marie Saint, Truman Capote and Joan Didion. The group produced two more albums, Easy Pieces and Mainstream, before disbanding in 1989, when Cole re-located to New York to record with legendary musicians like Fred Maher and Robert Quine (as well as a then largely unknown Matthew Sweet).
This solo setting produced two acclaimed albums, Lloyd Cole in 1990 and 1991's Don't Get Weird on Me Babe. The latter was recorded in two parts: one side continued the New York rock mastered on his first solo album, while the other side featured a session orchestra, much in the style of Burt Bacharach or Scott Walker. Although some reviewers have claimed Don't Get Weird on Me Babe (the title being a quote from the American neo-realism poet Raymond Carver) to be a creative peak, it produced significantly lesser record sales, and the contract with Capitol Records ended.
Subsequently signed by Rykodisc, Cole continued redefining his sound with Bad Vibes (1993), a collaboration with producer/remixer Adam Peters using a harder, grunge and psychedelica inspired sound. Love Story (1995) established stripped-down, largely acoustic sound landscapes with the help of Stephen Street (famous for his work with Blur and The Smiths) and former Commotions Neil Clark and Blair Cowan; the album produced a minor hit with the song "Like Lovers Do".
In 2000, after years without a contract, Cole recorded a disc with the New York band The Negatives, featuring Jill Sobule and Dave Derby of the Dambuilders. He has since released solo albums on smaller independent labels. Sanctuary Records, the company responsible for the revival of Morrissey, released Music in a Foreign Language (2003) in the U.K. Recorded largely by Cole himself (including tracks recorded directly into a Mac), the songs had a stark, folk-inspired singer-songwriter style. One Little Indian, home of Björk, released Music in a Foreign Language in the U.S.; they also collected a number of outtakes (recorded from 1996 to 2000) on 2004's Etc. and released an instrumental ambient electronica album, Plastic Wood, the same year.
Cole continued to tour, playing intimate club venues in a one-man acoustic setting. In 2004, to mark the 20th anniversary of the release of Rattlesnakes, Lloyd Cole and the Commotions reformed to perform a one-off, sell-out tour in the U.K. and Ireland. An avid golfer, he is also known for playing concerts in towns suspiciously close to famous golf courses. He also shares a passion for this sport with Alice Cooper who is said to introduce the song "Only Women Bleed" claiming "not even Lloyd Cole has written a song about menstruation" when playing live.
Cole's album "Antidepressant" was released in 2006 featuring the former Commotions guitarist Neil Clark on some tracks.
The follow-up Broken Record, released in September 2010, marked a departure from his solo recordings, as it was performed by a band of longstanding friends and working partners, including Fred Maher, Joan Wasser, Rainy Orteca, Dave Derby and Blair Cowan – as well as two musicians, Matt Cullen (guitar; banjo) and Mark Schwaber (guitar; mandolin).
An album co-funded by fans, Standards, was released in June 2013.
A studio album – Guesswork – was released on July 26, 2019 by earMUSIC.
The One You Never Had
Lloyd Cole Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Seen what you've left behind
And I don't know if I like what I see
When it's knocking at my door
[Chorus:]
And you don't know if you're laughing or crying
And I don't know if I care
I've got me something that you never had
You might laugh, but what are you looking at?
Sending your own valentines to the one you never had
Well, I don't know, but I've been told and
Seen what you've left behind
And all those ladies you left standing on the corner
They're laughing at you now
(You never had, you never had)
So you drink all night and you sleep all day
'Cause you see what you've left behind
And standing on the corner - hey lady, got a quarter?
She's passing you by
[Chorus]
In Lloyd Cole's song, The One You Never Had, the lyrics depict a sense of dissatisfaction and regret about the past. The first verse speaks about how the singer has heard stories and seen things left behind by someone he may have had a relationship with. He is unsure about whether he likes what he sees and is hesitant to pursue anything further. The chorus reflects the confusion and ambivalence he feels towards the situation: he doesn't know if he cares, but he knows that he has something that this person never had. The second verse speaks about the consequences of this person's actions; they've left a trail of brokenhearted women behind them, and now they're left with nothing but drinking and sleeping all day. The last line of the chorus is a mocking taunt at this person, who is now sending valentines to someone who they never had a chance with.
The song seems to be about two things: the regret of not pursuing something that could have worked out and the satisfaction that comes from knowing that you have something that someone else has missed out on. The singer feels that this person is now left to wallow in the emptiness they created for themselves, while he has found happiness somewhere else. The chorus is particularly powerful, as it lays out the confusion and uncertainty of the situation in a way that anyone who has been through something similar can relate to.
Line by Line Meaning
Well, I don't know, but I've been told and
I may not have firsthand experience of what it's like to be you, but I've heard and learned about your past.
Seen what you've left behind
I've witnessed the consequences of your choices and actions.
And I don't know if I like what I see
I am unsure if I approve of the outcomes of your deeds so far.
When it's knocking at my door
When it starts affecting me personally, it becomes harder to ignore.
And you don't know if you're laughing or crying
You're feeling very confused or mixed emotions about your own life right now.
And I don't know if I care
As to my concern, I'm not really sure if I should worry much about what's happening to you, either.
'Cause I know right here
Because I'm convinced that at this moment, my own situation is better than yours.
I've got me something that you never had
I possess a valuable item, experience or feeling that you'll never come close to having.
You might laugh, but what are you looking at?
You may try to ridicule me, but it only reveals your own insecurity and jealousy.
Sending your own valentines to the one you never had
You're trying to win the affection or attention of someone who doesn't reciprocate your feelings or even know your existence.
And all those ladies you left standing on the corner
Those women whom you've hurt or abandoned are still present and mocking you indirectly.
They're laughing at you now
They find your misfortune amusing and see it as a payback for what you've done to them.
So you drink all night and you sleep all day
You resort to alcohol and sleep to escape and numb your pain and regrets.
'Cause you see what you've left behind
You're fully aware of the detrimental outcomes of your previous actions or relationships.
And standing on the corner - hey lady, got a quarter?
You've hit rock bottom and have to beg for money from random strangers on the street, including those women you once took for granted.
She's passing you by
That woman is ignoring and avoiding you, not giving you even a bit of sympathy or compassion.
Lyrics © OBO APRA/AMCOS
Lyrics Licensed & Provided by LyricFind
Oppothumbs M
The A-side of “Don’t Get Weird on Me Babe” is all big-guitar music . Side B is fully orchestrated One plus one is three. The words on both sides are wonderfully morosely in love with life, feelings, himself, other people, making Lloyd sound like some sort of New York City version of Morrissey. Morrissey’s music is pessimistic and terminally depressed but lovely. Lloyd is just realistically romantic. It’s an “Okay, go ahead and fall in love and affect me, hurt me, leave me – then do it all over again” kind of thing. Meaning there’s always hope. But not for the mass appeal Lloyd deserved.
Matthew Christoffersen
On the import, the A/B sides are switched!
Jean Vùvù
🎸
Sounds like a Mozart Concerto for Violin-Guitar ... As often when the great Robert is on the strings ...
But What an album ...
Heavens !
What a huge sound, the most luxuriant album I have ever heard
... i can hear all Bowie, all Prince and all Miles Davis on it ... ...
An exceptionally rich, full and overpowering sound, with miraculous harmony and balance ...
Yes, that is a miracle ... A shock ... Pure genius ...
Take care, Maestro Lloyd Cole
And Thank you
From France,
Salim
Kind Regards
🎻
Neil Sutherland
you can hear his vocals are improving
Fernando Cabrito
The first time I heard this song l think in 1991 it became one of my favorites , real nice beat and good vocals by loyd Cole thumbs up
Bruce
Great sing
Epic bottle flips
My favourite of his
nitedreamer23
Should've gotten some radio play. In Chicago, they played two singles. This, unfortunately, wasn't one of them.
ted norton
@nitedreamer23 he's got to be the most ignored troubadour of his generation. He committed the cardinal sin of debuting flawlessly. They never forgive you for that one.
Fabrizio Garattoni
Vas y mon gars tu déchire