Whatever

This is like The Gilmore Girls in album form - not necessarily a bad thing! Had never heard of Aimee Mann before, and it definitely sounds of its time, but I enjoyed listening to it. The songwriting is really good. On another note, how much lazy misogyny is there in some of the reviews on this site?! "Mom rock", "stuff an ex girlfriend would make", etc... Come on, music dudes.

Disappointed to see all the lazy and sexist Lilith Fair comments here. Aimee Mann is one of the great but underrated pop songwriters of the late 20th/early 21st centuries and this is a wonderful solo debut.

Extremely mediocre 90's pop rock. The opening track grabbed me a little, but I quickly became bored with this album. Skippable, in a word.

- HELLO, IS THIS NASA? - YES. - GOOD. LISTEN. I'M SICK OF YOUR BORING SPACE LAUNCHES. I'M JUST AN ORDINARY, BLUE-COLLAR SLOB, BUT I KNOW WHAT I LIKES ON TV. - HOW DID YOU GET THIS NUMBER? - SHUT UP!

3.1 - SCENE: Garage sale. Shopper approaches seller. Garage sale shopper: Hey, I grabbed a couple CDs from the box over there. Lemonheads and uhhh… (looks down at CD’s) Aimee Mann. How much? Seller: I was asking 75 cents a piece? Shopper: Would you take a buck for both? Seller: Sure, that works.

Whatever

"Whatever" she says, like she doesn't have a care in the world. Like she's not bothered about my opinion. Well, Aimee, you should be bothered. Here it is: I absolutely adore this fabulous gift you have given the world, you beautiful, beautiful woman. Thank you. Only joking, it's shite.

Aimee Mann is super talented. She writes and produces well crafted pop songs, almost Beatle-esque in quality. My only complaint about her is her songs sometimes lack emotion - she's almost too cool. Minor complaint though. Really well done debut solo album. 4 stars.

Reasonable nice. It just kind of feels like the music an ex girlfriend would make. You want to be supportive and it’s cool she’s doing stuff but it all sounds a little bit average…

Amazing production. One of the best recorded albums on the list so far. I really enjoyed the vocals and multi-tracked harmonies. However, the songs are forgettable, ultimately taking away from such a great sound overall.

I am biased. Aimee Mann went to my high school. I wasn't aware of this fact until I was 24 and working on the film Magnolia. One of the sound guys brought his nephew to the set who was visiting from out of town. He was wearing a brown and orange Monican t-shirt. Aimee Mann happened to be on set that day and noticed the shirt. She said something along the lines to him, "Midlothian and Monican are high school rivals, and I attended Midlothian." A couple hours later she was gone and I approached him to comment on his shirt, saying basically the same thing. "You're the second person to tell me that today," he said. Crazy. What are the chances? I kept hoping she'd come back to the set before the end of filming, but she never did. A couple months later I worked on a Fiona Apple video with PTA and he was signing Magnolia soundtracks and giving them out to the crew. For the foreseeable future, I bought all of Aimee Mann's music and saw her perform a few times at Café Largo on Fairfax. She was great. All of this happened AFTER Whatever was released and until now, I wasn't super-familiar with this album. Jon Brion was heavily involved in the Magnolia soundtrack and he's here too. Though not as fully formed as her later work, the album has all the hallmarks of the work I know. Reaching vocals against basic distortion, slower acoustic songs with a smattering of samples with a heavy emphasis on her soothing voice. This album was best played in the 1990s in middle-suburbia. Ideally listened to on CD, but definitely in the bedrooms of late-teen-anxty girls who yearn for a life far from Midlothian and closer to Melrose Place.

I like her voice and the music is pleasent, although the country vibe is not for every mood. Good vibes but doesn't feature a memorable song.

I did not like this very much.

fucking dog shit.

1st time listening to this. Love it. Great voice and music. Interesting lyrics.

Every bit of 90's rock with a female lead that you'd expect. Similar to Sheryl Crow and Meredith Brooks in vibe for me. A good mix of some moody, some peppy.

I have always been a sucker for what I call "Lilith Fair music" -- you know the type: 90s singer songwriters that aren't too pop but aren't too rock, either. This album fits right into that. Also typical of artists in this category, the lyrics are often sharp and thought-provoking, overlaid on generally upbeat music. Even though I liked it based on the baseline qualifications mentioned above, I do feel like other females singer songwriters in the 90s did the same thing, only better. For me, it started to drag the longer it went on. Maybe somewhat forgettable to me, but it was very easy to listen to, though!

Mom rock bullshit, sorry mom

Reminds me a lot of Alanis. I like the music and angst behind her lyrics!

mid tempo pleasantry. slightly over-wrought in places but I like her vocals. From a similar mould to Tori Amos with the alt turned down and the country turned up and that's no bad thing

The production and songwriting was pretty great

Whatever conjures up the best elements of surf-pop, new wave, and folk rock (Roger McGuinn has a benevolent eye cast over this recording). Out on her own with a truly great batch of confessional but self-assured songs, Aimee Mann crafted a classic right out the bag with her first solo record. I'm with Stupid was more openly defiant and rougher, but way back in 1993 Whatever already found Mann at the peak of her emotional and musical strength. Check out the layers of distorted guitars on "I Should've Known" coupled with an irresistible melody; the Byrds-isms on "Fifty-Years after the Fair" with its wonderful vocal harmonies and McGuinn's 12-string guitar resounding; the gang voices on "Say Anything" and the poignant "4th of July". Mann even tackles a May-September romance on "Mr. Harris" and sounds as dark as Days of Open Hand-era Suzanne Vega on "Jacob Marley's Chain". Meticulously produced (by Jon Brion), written and performed, Whatever is a pop powerhouse.

The first half felt like I was trapped in a Macy's commercial from 2009, but the back half a a couple nice bits that brought it up a tad for me.

Wow, I hate this. Her voice is annoying and the style is very adult contemporary. 2

Boring, forgettable. You really have to wonder how some of these albums make it onto this list.

Ok if you are not already familiar with Aimee Mann I am going to recommend that you absolutely don't listen to this first. Listen to the Magnolia soundtrack which has 8 of her A-star songs (plus a great cover). That will key you into her subtle, ironic downbeat world far more quickly. Then come back to this which is an excellent album. Yes it's a nineties female singer-songwriter and at times the production, playing and arrangements are of that time. But her lyrics, her delivery, her vibe, her songwriting are all absolutely excellent here as on this and next four or five albums. she is one of music's best kept secrets.

Women in rock have it tough. Aimee Mann's cynicism about the music industry is well earned. As Chris Molanphy of the Hit Parade podcast points out, the alternative/college scene in the 80s had a lot more opportunity for female artists, but the shift in the early 90s when the mainstream industry began strip-mining the alternative music scene heavily favoured male artists. Grunge and post-grunge were very blokey, and many female artists found themselves largely shut out. A token handful of female artists (Sheryl Crow, Alanis Morissette) found support to develop multi-platinum success, some said "fuck it" and forged their own path (riot grrl), and some tried to make it work with the crumbs they were offered, like Aimee Mann. This is an accomplished rock album with smart lyrics, beautifully crafted melodies and harmonies, a crack band and terrific production from Jon Brion (who subsequently left his creative mark on a bazillion records and soundtracks over the subsequent decades). I particularly like the Beatles references throughout, which never descend to slavish imitation. But all this was not enough to break through the sexism of the rock industry; support and opportunities demied. It was shameful that,when female artists proved that there was in fact a wealth of female talent and a market for it through the (highly successful) Lilith Fair touring festival, this was used to mock and denegrate female artists even further. The backlash is intense and ongoing; I am ashamed at some of the sexist comments in reviews of this album ("mom rock" -- WTF is that?). This is a smart album of melodic and muscular alternative rock, and deserves respect. In a universe where women get a fair shake, this album could have been huge.

Probably not the Aimee Mann album most of her fans would pick for this list and not really my style of music, but I appreciated the densely layered production and sophisticated songwriting.

Mellow 90s fem rock - reminds me of a mix between the Carpenters and Liz Phair for the slightly more upbeat songs.

Looks like sexist morons had a field day looking down upon this record. Not good, especially since "Whatever" is filled with many interesting and/or pretty arrangements, beyond its "alternative" / MOR / post-REM surface. The subtle 'chamber pop" ones, especially, are awesome. Unfortunately, the production values and overall sound haven't aged that well (some of those horrible "gated" drums shouldn't have seen the light of day in 1993). And beyond the arrangements, I personally feel that some songs and melodies in the record are far better than others--when the chamber pop arrangements disappear, Aimee's music indeed sounds a little too sweet and tame, even a little quaint. The middle of the record feels like a slog to go through, especially. And even for the rest of the album, it is my opinion that there were far more exciting things happening in the early nineties than that part of Aimee Mann's albums (and I also feel like some of her later records are a tad bit more impressive than this debut overall). Reading myself again, I fear that I might actually rehash some of the points made by haters on this app. I don't want to, but on the other hand, it's always a fine line when you want to wear your heart on your sleeve. I sometimes have trouble reconciling some of the different intents of the album--between the few off-kilter touches and the incredibly formulaic ones. I'm glad the first are here, but they fit so badly with the rest that some awkwardness lingers in the air every time a song leads to another... That said, *Whatever* succeeds in kindling my interest again in its final run ("I've Had It" is a gem). Not so bad, I guess... Essential, though? 3/5 for the purposes of this list of essential albums. 8 for more general purposes (5 + 3) Number of albums left to review: 66 Number of albums from the list I find relevant enough to be mandatory listens: 404 Albums from the list I *might* include in mine later on: 232 (including this one) Albums from the list I won't include in mine: 299

Never heard of Aimee Mann before, but wow, the album really sucked me in. Her voice is nice, light, and airy. The songs feel like just the right mix of rock and pop. It might not stand out next to other albums, but it was a really enjoyable listen.

I enjoyed listening to this, but found myself lingering on the album’s potential rather than the album itself . It’s not surprising that it’s Amy Mann’s first album because it seems like one of someone who hasn’t yet come into their own, which we all know Amy Mann does just a few years later. Instead of having an original take, this album takes the best of 90’s music and puts it all together. Which makes it good, but not great.

This is way too dense and too 90s. The melodies are boring and same-y, with lyrics that are way too verbose. Maybe it’s a product of the time but every song feels like it needed an edit pass.

Wetter than SHACK's luscious locks after one of his infamous six-hour showers.

I think its cool when someone's first and last name both end in double letters. That's potentially the most stand-out aspect of this album. Expert songwriting that sums into something unremarkable. This is a softball tossed underhand straight down the middle. No spin. No mustard. No funny business. No affect. No risks. No fun. D

Banging

nuts to the haters, this was a great album. i don't think i'd heard anything by aimee mann before, but there's plenty here to like! the songs are vibrant and engaging, the lyrics paint a scene or express a mood better than most, and there's a great push-and-pull here between the more upbeat/peppy and sad/ballady tracks. i'm a fan! too bad all the misogynists out there can't appreciate a great album. favorites: i should've known, 4th of july, put me on top, stupid thing, say anything, jacob marley's chain, i could hurt you now, i've had it

OMG can't believe i missed this. goat obv

Es gibt sie noch: die wunderbaren Melodien. Es gibt die noch: die kreativen Arrangements. Es gibt sie noch: die sehr guten Texte. Es gibt sie noch: ein hörenswertes Album.

That was cool

This was already one of my favorites, so easy to give it five stars.

awesome I loved it

melodic Friends type music easy to listen to good lyrics. good background type music.

Fell in love with this album, and Aimee when I first heard it as a grubby art student. Her video for Should've Known was getting plenty of airplay on MTV at he time.

i've yet to hear a bad Aimee Mann song. whether that's through luck or simply her sheer consistency, in every track from her that i've heard, she's generating this peculiar warmth in each song thick as a rainforest. Jon Brion's no slouch either -- if this is a test run for Aimee Mann's skills as a singer-songwriter, it's his test run for his 70's studio nerd production style. i get that '93 was a stacked year, but what the hell was wrong with people that they weren't buying this? were they stupid? deaf? both? is this also why Spilt Milk didn't sell well? when i die, don't bury me. wrap me in an Aimee Mann song then throw me in the ocean. i'll stay warm forever.

This is a really good indie pop album. The songs are catchy, Mann's voice stands out, and the instrumentals are varied and fun. I liked everything about it. As far as dreamy pop music goes, this stands out as some of the best.

This album is untapped nostalgia. I loved it. Alt pop/folk/storytelling album that feels almost wholly unique. Endearing and fun. A modern band that feels adjacent would be Men I Trust, but this is a more pop feel. Nothing here I felt was bad or out of place, the only exception being that the ending has too much of a high school theater kind of vibe. I’ll say it’s a guilty pleasure for me. Standouts: Pretty much everything here.

Love her voice. Chill album.

cool

I'm all in in what Aimee Mann is selling. Though there's not a track that stands out as "i have to listen to that over and over again", from start to finish the album is approachable and has a good amount of energy for a alt-rock-folk-pop vibe. I really like her voice and delivery. I say Yes!

Id never listened to Aimee Mann but I really loved this one. I'm not sure what I was expecting but it wasn't quite this! Really great songwriting, some interesting piano work and really good vocals!

Engaging lyrics, yes, but the voice has the hypnotic beauty that carries the tune. All-star instrumentation. Frequent driving interplay between the voice and guitar. Pop should always be this good.

One of my favorites

This woman has a wonderful voice. Her story telling in song is fantastic. It was a great pleasure to discover this album.

Surprisingly great acoustic Alanis

Big lover of Till Tuesday…. Really enjoyed hearing her incredible vocals and lyrics… now, I just wanna hear more!!

Albums like this make this whole exercise 100% worth it. "Voices Carry" was always a not so guilty pleasure at the karaoke bar, and I've read a lot of critical praise since about her lengthy solo career, and of course her long term personal relationship with Michael Penn makes them sort of latter-day saints of Laurel Canyon, but none of it got me off the dime to actually check out her work. Masterful in every way. Immediately from the jump, just the basic sounds of it are interesting and well-considered in a way that betrays deep craftsmanship, care and, frankly, budget. But she knows how to spend that budget in a way few do. Compare the production to the flat monotony of Fiona Apple's album, for example. Or that of most albums on this list, for that matter. Over the course of its tunes, the same depth of manicured mastery is revealed in the songwriting, both musically and lyrically. This kind of well-rounded depth of talent is extra rare but as Charles De Gaulle once said, sort of, the cemetery is full of masterful albums made by talented people. And in the immortal words of Van Hagar, only time will tell if this we, this album and me, will stand the test of time. All I can say today is that any album that can be this genuinely interesting the very first time you hear it deserves the highest praise.

Nice, pleasant.

The girlhood my god <3

I have loved Aimee Mann since watching Magnolia. This album being on here makes me wonder if there are others of here on here. Bachelor No. 2 is my favourite of hers. Here's hoping.

Nothing was saving our day There was nothing to say But you said something anyway Claiming I stepped out of line Which forced you to leave me As if that idea was mine. Oh, you stupid thing Speaking of course as your dear departed Oh, you stupid thing It wasn't me that you Outsmarted Oh, you stupid thing Stopping it all Before it even started I fucking love this album. 5/5

I’ve never heard of Aimee Mann before, but I really enjoyed this album - she’s a clearly skilled songwriter and this album is packed with great songs.

Aimee Mann is always 5 stars in my book. I could listen to anything of hers every day.

Loved this — my first 5 star album of the project! I only knew one Aimee Mann song (Labrador), but I'm not surprised at all that I'm into this. I'm such a sucker for upbeat melodies with sad lyrics and female harmonies. A few of these were a little two slow to be top favorites, but I loved "Fifty Years After the Fair," "Put Me On Top," and "Stupid Thing." Also hilarious that she's got a song about Jacob Marley, I love A Christmas Carol.

10/10 reminds me of Poe, who I’m also a huge fan of

dense and tasteful

All Aimee's lp's are worth having - but this the the must 'must have'. Gorgeous tunes and intelligent lyrics. Every home should have one. Jon Brion deserves praise too!

Not gonna lie that there is some 90's nostalgia here...but I love that!! I also loved this!!! You go, girl!

Mann's melancholy warbling was a perfect accompaniment to my granola-making on this chilly late-summer day.

I'd always thought of this as Aimee Mann's least strong album, and it's true (IMO) that she has better ones (Lost In Space, Forgotten Arm might be the top of the list), but I enjoyed this a lot more than I remembered.

One of the best artist’s best albums

I first met Aimee Mann watching sitcoms, back in the (now) distant 90s. What a trip back in time listening to this CD, and the certainty that good music never ages.

Really really good!! It felt like an unhinged Michelle Branch. I'd probably revisit it again.

I've loved this album since it came out. The slightly flat, pitchy vocals matched the 90s vibe for me. I'm just hoping that the 1001 trend of similar albums two days in a row brings some Juliana Hatfield. Swoon

This was really good. Not a bad song on here. Consider me a Mann Fann.

3.5/5

It sounds like a good song playing at Walgreens.

I like this record and don't think Aimee has made a bad record. I even like her moody xmas cd. But I'd have chosen Lost in Space or maybe Magnolia if she only gets one on The List. Fun fact: Aimee was briefly a member of Ministry. Yes, that one.

Not bad at all

Good stuff, lovely voice. Tickles at deep but not cringey

Solid album theoughout. There wasn’t any one song that really blew me away though. Say Anything probably came closest

Influential. What a chiming sound she created and used for all her other albums. Matthew Sweet should pay her royalties. Great stuff, brilliant writer

Sounds strong

I actually had such a good time listening to this. I went in with low expectations but was pleasantly surprised. I could see myself actually going and listening to this album just for fun. I am a little concerned for her with Mr Harris, I wonder how that age gap relationship worked out. I think it is generally a little basic, she doesn’t have a ton of interesting sounds or lyrics going on but it’s good stuff still. And for that it’s a four.

I’ve never been this impressed with unimpressive music. Everything you’ve heard before, but it’s done so delightfully. I enjoyed it, quite a lot.

Aimee Mann's career never again reached the heights of her work with 'Til Tuesday. Her solo work is underrated, but is too sharp and subtle to reach bigger audiences. The music is better suited to listening on headphones in a dark corner of the bedroom than to arenas. Extra half-star for her hilarious cameo (along with Sarah McLachlan) in an episode of "Portlandia."

Really enjoyed this

Vocals not quite my thing but overall very good

I really enjoyed this album. There were no standout songs but I enjoyed the melodies and how distinct the early 90’s sound was. I wish I could give it a 3.5 because it’s not quite a 4 but I enjoyed it more than other albums I’ve rated a 3.

Pretty cool, hearing a lot of Tom Petty in it. I was expecting it to sound a little dated but the guitars and drums have that 70s feel that lend itself to a sort of timelessness, stays away from the overly jangly guitar of some of the 90s. Strong voice and really good songwriting, a confidence to the whole album really

Nooit van gehoord. Als ik haar opzoek, blijkt ze vooral bekend van Magnolia, een film die ik ook nog nooit gezien heb of uberhaubt van heb gehoord. Ik denk ook dat dit het album is met het minst aantal streams van al haar albums, dus interessante keuze ook. In eerste instantie klinkt het een beetje als the Pretenders. Al bij al wel nog een wijs album. Typische 90s sound, waar ik wel van houd. Een paar nummers die ik in m'n playlists heb gezet. Haar stem klinkt wel echt goed. 3.5

soooooo 90s singersongwriter in the best way. haters are misogynists.

de arranque ta muy bien. que gran mundo los 90

8 For those familiar with Poe/Anne Danielewski, you'll find Mann has a similar power pop sound with a focus on sentimental (but not sappy) lyrics. Although the album runs a few songs too long and the occasional dud crops up ("put me on top“), there are some really great tracks, notably "4th July" which is simple yet poetic, poignant, and effective. "Say Anything" shines as a more upbeat track, with a great electric guitar part. If you like other 90s female soloists like Alanis Morisette and Tori Amos, you'll likely enjoy Aimee Mann's "Whatever". Best track: “4th July", "Say Anything"

I enjoy Aimee Mann’s work and listen to a lot from her catalogue. Just not sure what pushes this into a 1001 record.

This album was more rocking than I had anticipated. I didn't think it would be quite as loud as it ended up being. I also enjoyed this more than I thought I would, especially since the Magnolia soundtrack was my only real exposure to Aimee Mann. The first four songs are a really strong start to the album. As far as early 90's rock goes, this is an excellent album. I would probably put this in the book as a lighter version of Liz Phair. Happily surprised how much I liked this one.

Solid 90s era rock. Beautiful voice, liked most of the tracks, outside of a couple of the ballads. Gonna check out more of her catalog for sure.

Very pleasant to listen to

BEST SONGS: - 4th of July - Stupíd Thing - Jacob Marley's Chain - I Know There's a Word

4*