Whatever

Очень приятный альбом! Я бы назвал его нео-кантри. Есть очень красивые мелодии, сравнимые с тем, что играл Пол Маккартни уже в середине 2000-ых.

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.

Enjoyed a lot more than expected. I was probably a bit primed for it as my friend is a big fan for some reason and I like some of her songs from the Magnolia soundtrack, but I was expecting some typical piano ballads and got a very guitar heavy album so was very pleasantly surprised

Great debut by a talented singer songwriting.

EU.

Loving this from the start. Very solid 4/5.

I love some Aimee Mann. she’s got that Alanis, Imogen, Poe, cigarette CD van rock vibe that I love in an artist. most of these songs were kinda forgettable but I jus love her vibe

I fully expected to be unenthused by the soundtrack artist of the M.O.D.O.K (???) series, but I liked this quite a bit! Got a little Cranberries vibe on a few songs. The lyrics that I was able to discern (as someone who has low grade lyric-deafness) weren’t my favorite. 3.5-4

Is it me or does Aimee Mann’s music sound like 90s Country? (!) First of all, I never heard anything she did after ’til Tuesday. I like it, but it’s maybe not essential listening for the project. Or maybe it is and I’m close in my assessment about 90s Country. Seriously, I think this is similar to Shania and Faith Hill, and even Martina McBride. Not as Southern for certain, but the feeling the music brings suggests that era to my admittedly tin ears. You know, it even sounds like Shawn Colvin, KT Tunstall, and Paula Cole. They had a modern-ish Folk sound that I might associate with Country. Did I mention that I like 90s Country? And then Jacob Marley’s Chain comes on and changes everything. Incredible transition and shift in musical style. Ah well, to each his own. 4 stars

Another one that was fine. Nothing bad about it but nothing that really stood out for me.

Love this album, such a lovely voice and well crafted songs

Thank god I listened to this right after today’s weird one to catch up. This is like romcom soundtrack music. So easy to listen to. 90s woman pop rock is chill

Loved 'Til Tuesday but never really followed Aimee after the band broke up - my loss since this was a really enjoyable album.

Nice surprise. I’ve never listened to Aimee Mann that much, but really liked this one.

very nice

was it p samey? yes. did i enjoy it? also yes.

Solid lady singer-songwriter. More “traditional” then say Tori Amos or Fiona Apple her sort of contemporaries.

Super keyed-in songwriting and such a signature voice. Some of the 90s alt-singer-songwriter production choices took me a little bit out, but not enough!

Better than I expected!

Enjoyable!

Nothing "Whatever" about this album!

I LOVE AIMEE MANN!!!!!!!

Surprisingly good! I thought it was going to be country music but it became more pop.

A good album with great singing and guitar playing as the stand outs. Easy music to listen to that fits a lot of different times in life it feels like.

I think I like Aimee Mann a lot, but when I actually listen to Aimee Mann, I never like it as much as I think I do. She's really good, and when she gets a song right, it's fantastic. I remember when I was first getting to know her music and downloaded her (then) complete discography, it was just *so much* music, so could be a matter of just not paring it down enough to the really good stuff (so that the good stuff gets watered down by ok stuff). This album brings back such a clear feeling of a particular era in my life, though, and I do like it. A little conflicted but I keep finding myself grooving along, so I'll go with a 4.

Brightly sung rock with pop elements. Not what I expected from the album cover, but I'm not complaining. This album reminds me of Avril Lavigne, but less annoying. Overall, it's a nice listen with some catchy tunes. More importantly, this gets the achievement of being one of the few popular albums that I rate higher than the average. 3.5 stars.

4 - enjoyed

Surprised this wasn’t bigger at the time. Reminds me a bit of a more poppy, less wordy, 90s version of Joni Mitchell. Mann’s vocals are very sweet, and the arrangements when the whole band gets involved are generally good. The more solo stuff can get a bit maudlin but not overly so.

283/1001 Aimee Mann - Whatever Heard before? ❎ Revisit? ✅ I enjoyed this a lot on first listen. Just from her vocal delivery there were shades of Carol King and Sheryll Crowe in my mind. Looking forward to delving deeper into this.

This was awesome pop. I love the laissez faire attitude of everything and the lyrics. I will say, it's amazing to me and I feel like if I heard it when I was a teenager this would be a lifelong classic, however! It's just a little TOO chill girl for me. Like.... this is more non-chalant than I'd like it to be. I am too chalant to connect enough. Still amazing, I'm happy I learned about her.

The often rocking version of the Carpenters or Joni Mitchell. More of a Sheryl Crow type. Pretty good.

She is the emo 90's Taylor Swift. It is catchy, gen-x vibes about female life. It is poetic and doesn't always follow the exact song formula but that is okay. It is pleasant and real. It is a little down in the dumps at time and somewhat one note but I do really enjoy her lyrics and desire to not be perfect.

Aimee Mann is a Gen X gem. Her songs are bitingly apathetic, catchy as hell, and hit on some deeply poignant feelings. I’m a HUGE fan of hers, particularly her 1996 album, I’m With Stupid, her 2000 album, Bachelor No. 2, and her 2002 album, Lost In Space. In all honesty, any of those deserve to be here more than Whatever, but this album is fine enough. The great thing about Aimee is that you’ll have a good time with her no matter which album in her discography you decide to jump in at. Her solid consistency is one of her greatest strengths. 4/5

I really liked this. She has a lot of power and strength in her delivery, and she’s a great songwriter. My socks weren’t knocked off enough for a 5 but happy to go with a 4.

Loved this since Its release.

General thoughts: A solid, catchy pop-rock album that glimpses some kind of potential. It's up or down at this point. The bad, the mixing was weird, somewhat flat. The lyrics were decent. The good, ballads like 'Jacob Marley's Chain', 'Mr. Harris', and 'Way Back When' are the ones that really stood out to me. The arrangements were cool, and the strings were beautiful; there's a kind of Beatles-esque feeling on this aspect. This spark of genious is more apparent in the second half of he album, Her voice was also cool; it's always nice to hear a female singer with a lower register. I get the image of a 90's Taylor Swift contemporary adult version, lol, with all this love breakup talk, which is kind of tiring for me. I got this along with my first listen to Alanis Morrisette, and they are kinda adjacent. Aimee's performance is less emotional when it's pop, so I feel she has a better delivery on ballads. Her composition is better, though; her songs are more varied and have interesting structures. For 'Whatever' the sum of the parts its bigger than the parts of it, for 'Jagged Little Pill' it's the opposite. Outstanding song(s): Mr. Harris - It's so goofy and dorky and beautiful, I love it Weakest song(s): 4th Of July Cover: Interesting, she gives a totally different appearance compared to her music. Still, it's a cool cover. Real rating: 3.54

These albums around love trouble have been a bit tough on me at the start of this. This is kinda the best on yet. 3/4

3.7 really cool and smooth, her lyrics are probly pretty deep and meaningful but I wasn’t paying enough attention. Still a nice listen

Very good

Alright, this one's pretty heavily slept on

Не лишённый приятности альтернативный поп рок.

Pretty cozy.

Perhaps because of her aversion to major labels, I had never heard or considered Aimee Mann's solo work, but I'm very glad to have been introduced to this one! Though their backgrounds and career trajectories have differed, I felt some Mary Chapin Carpenter vibes. These songs are literate and heartfelt, and the poetry of Mann's lyrics is beautiful. "I've Had It," "4th of July" and "I Should've Known" are great.

really love the instrumentals and the vocals, might listen to more songs and albums by Aimee Mann afterwards. fav songs were: I Should've Known, Say Anything, Mr. Harris and I Could Hurt You Now. really recommend.

Formulaic, but it's a good formula. Couldn't helped but be charmed.

The first solo album of the lead singer of Til Tuesday. It still cracks me up that one of the best under the radar songwriters of my generation was also behind an 80s one hit wonder. Anyway, AM is a great artist who has flown under the radar her entire (solo) career. This is a great start, an excellent set of songs and an enjoyable listen overall. The production is VERY 90s. They said, oh, lady songwriter? Make it sound like this! And they did. Her later albums were stronger and felt closer to her own sound and voice. But again, great set of songs and an auspicious start to a strong career

Peak Jon Brion and very enjoyable.

Aimee Mann walks a sharp line between pop rock polish and alt-rock bite on her debut, Whatever. Though I knew her later work—especially her contributions to Paul Thomas Anderson's Magnolia soundtrack—this album felt like an unexpected discovery. Even at its darkest, Mann offsets the weight with a brightness where result is a record that’s at once haunting, joyful, and consistently rewarding from start to finish.

Fun 90s listen

Not heard all of this before although I am a big admirer of some of Mann's later work. Excellent record, with distinctive sound and lyrical style already established. I ended up listening to this all the way through twice on the day, which kind of tells its own story. A top artist.

If her voice had a bit more meat to it this would be in 5 star territory. Really liked this!

She's good! 3.7

Different from her Til Tuesday music but I liked it, and the variety. She has a great voice.

It's pretty good stuff. 3.75/5

A more folk like Amy winehouse. Surprisingly good.

Ugh love. Great production. Really like her voice. Honorable mention: Stupid thing

sounds like a gilmore girls soundtrack

Aimee Mann Great songwriting and production. I don’t love her voice though. Favorite was “Say Anything”. and “ I’ve Had It” The collaboration with Jon Brion fits so well with their voices and writing styles. I like beatlesque quirkiness of Way Back When.

Didnt really love it but it was kinda well done and refreshing. Super 90’s sounding. Didnt like her voice but the production was good. Say anything was kinda fun. 3.5

Good songs from any album that was new to me

4/5

I really liked this. Aimee Mann hasn't really come across my desk before so it was a pleasant surprise! Will listen again.

This was pretty enjoyable, but I tend to like most lilith fair artists. What I could do without is the casual sexism from the average reviewer on the platform. I've already got the impression that a decent chunk of people on the site are middle age men or closely approaching middle age, but come on guys try and listen to something written or sung by a woman I promise it's worth it

There are so many bad and just unnecessarily misogynistic takes here. It's not the best Aimee Man album, that's Bachelor No. 2, but it's still really solid.

"Whatever" is the first solo album by American singer-songwriter Aimee Mann (former and founding member of the band Til' Tuesday). Pop, rock and alternative rock are the Wiki-listed genres. Mann had to wait three years to release new material due to her Til' Tuesday record contract with Epic Records. The album was produced by former touring member of Til' Tuesday Jon Brion. Mann sang lead vocals and played bass, guitar and keyboards. Other contributing musicians on the album included Jon Brion (drums, percussion, bass, guitars, organs, synthesizers, keyboards, glockenspiel, kazoo, flute and vocals - Wow!), Michael Hausman (drums, percussion), Todd Nelson (guitar), Roger McGuinn (guitar), Jim Keltner (drums), Buddy Judge (guitars, vocals), Randy Brion ((trombone, euphonium), Mike Sutton (drums), Mike Breaux (oboe, bassoon), David Coleman (cello) and the Sid Sharp Strings). The album had positive reviews noted for hooky songs and evocative lyrics and, commercially, it did not meet sales expectations reaching #127 on the US Billboard 200. The album opens with "I Should Have Known." A weird guitar feedback and random drum intro lead to melodic rock with layered guitar riffs and an organ. Mann sings about the painful hindsight of a selfish partner. Snappy production and a poppy, catchy vocal chorus. A good pop/rock song. A country guitar with a twang is added to "Fifty Years After the Fair." Easy sounding. Guitar accents. Broken promises of the future. "4th of July" is a softer song with an acoustic guitar and a dreamy, lush backdrop with the mellotron and vibraphone. A melancholic reflection of watching a celebration while in despair. Mann unabashedly takes aim at another partner in "Stupid Things." Layered heartfelt Mann vocals. The music and song builds with layered guitars and noticeable drumming by Jim Keltner. The Sid Sharp Strings highlight "Mr. Harris." A tender ballad in which the protagonist goes after an older man regardless of criticism. Mann's vocals are exhausted in "I've Had It." A light marimba beat and bassoon. Buddy Judge add backing vocals and plays the bottles. The music on this album has excellent production, mixing and arrangements with layered and lush instrumentation and lots of instrumentation (guitars, horns, strings, synths, piano, keyboards, organ and percussion. Pop, rock, folk and ballads. Mann's alto vocals are clean, emotional, exhausted and strong. The lyrics cover breakups, broken promises, disappointments in partners, heartbreak, jerks, stupid men and heartbreak in relationships with men and the music industry. This album has high-level, exquisitely produced songs with poignant and sometimes acerbic lyrics highlighted by Aimee Mann's unique and intimate vocals. Highly recommended.

That's SO GOOD. i like her storytelling and sound of her voice. Guitar solos are diabolically awesome. 4 stars only because I can suit this album only to some specific moods and situations

This artist's name seemed familiar to me, but I didn't recognize any of the songs on this album. Nevertheless, I still enjoyed it, it was calming and pleasant.

I have always liked Aimee Mann. This album was just pop enough for me to like it all the way through. I like her voice, songwriting and the production.

Aimee Mann gets way too much hate in these reviews, so I'm here to offer a controversial take: Aimee Mann sounds like a pop/rock version of Shania Twain. Not only are they similar vocally, but her songwriting... The lyrics, the melodies, the arrangements, it's all there. If you told me that this album was Shania Twain's attempt to write a pop/rock album under a pseudonym, I'd believe you. I personally think Shania Twain is a great songwriter, so this ticked a lot of those same boxes for me! One small gripe though: In the song "Way Back When", she sings: "They'll shoot you down like you was Al Capone". Al Capone was very famously arrested for tax evasion - he was never shot down.

I really liked this. It had elements of some of my favorite things about songwriters like Tom Petty and Elvis Costello, but with a style all its own. This is one I would come back to often I think. 4/5

Liked this more than I thought I would. It's pretty catchy and I liked the hooks. Good job, Aimee. 3.5/5

If you haven't lived through the evolution of music - the 60s, 70s, 80s....- you could well come to an album like this and find it to be very good. And you wouldn't be wrong. But to come to it for the first time after a lifetime of highly distinctive and ground breaking sounds it didn't seem to have much about it that's very innovative or unique. The production sound and arrangement of each track is excellent though. Quality. And a second listen was starting to win me over for sure. Mr Harris is a great track, for example.

Always like Aimee Mann!

7/10

If someone asked what 1993 sounded like

LOVED the first track and was convinced this would be a 5 but it really fell off in the middle :(

Aimee does a great job on her debut solo album. I hate to reduce artistic expression by using the word craft, but equally it would seem egregious not to acknowledge just how well these songs are crafted. The later half of the 80s spent with ‘Til Tuesday meant she knew what she was doing by the time of Whatever. That experience, and not being afraid to read a book every now and then, provides us myriad atypical points of view within these accomplished tunes. Chuck in some melodies for your memory bank and you’ve got a solid start to the journeyed career that was to follow.

7/10 Best songs: I Should've Known, Stupid Thing, Say Anything, Jacob Marley's Chains, I Could Hurt You Now A singer-songwriter from slightly before Lilith Fair who I've heard of before but never listened to. Located somewhere between folk, country, and alt rock, but done well - not just guitar, but a great backup band. That being said, the album kind of sounds like every other album from this period, albeit a bit stronger and with some really great moments here and there (harmonies & guitar solo in Say Anything, etc). I wonder if Mann is attributed to be a founding member of this type of music? Hmm. Anyways, I do think this is a very solid debut.

Just entertaining Rock!

At first I thought this was decent though very middle of the road and “safe” but it’s actually pretty joyous.

Not bad, singer songwriter vibes but her voice isn’t anything special

Alanis Morissette's Jagged Little Pill blew everything up in 1995, but by 1993 standards, there's some pretty edgy female singer-songwriter stuff here. I think that's important context. This record shows a remarkable range of songwriting for a woman who would have had that range closely monitored (at best) or heavily restricted (at worst) by an industry that only wanted to hear a certain perspective from women. Fortunately for Aimee, her "razor-sharp" lyrics are nestled into "sunny, surreal melodies" which make them a little more palatable for a wider audience (shoutout Rolling Stone for those descriptors). Some of this feels a little dated now, but songs like "Fifty Years After The Fair", "Stupid Thing", or "I Could Hurt You Now" sound exactly like what you'd expect from a pop-rock album in 1993. And you also get 'acoustic guitar music' like "4th Of July" and "I Know There's A Word", piano music like "Mr. Harris", and blush worthy double entendres like "Put Me On Top" (nope, Aimee swears it's not actually about that!). There's even some horns on "Way Back When"! That said, it's difficult to pick out an obvious radio banger, and that probably held this album back. Overall, this is an impressive debut solo album worth of the praise it gets (and probably more), and I say that as someone who's definitely not a singer-songwriter person. "I Should've Known" "4th Of July" "Put Me On Top" "Stupid Thing" "I Know There's A Word"

Really enjoyed this one. Unknown to me, but definitely my sort of thing

Yay finally not a man's album!

149/1089 definitely giving me a pop-rock Weyes Blood vibe which i enjoy quite a bit. An album I’ve had a good time listening to and will definitely come back to at some point faves: I’ve Had It, Way Back When, I Could Hurt You Now, Say Anything, Stupid Thing, Could’ve Been Anyone, Fifty Years After The Fair 79/100

*Solid singer/songwriter album *Very 90s sound but that's not a bad thing

3,4. Good highs for me, some underwhelming sounds. A 4 for the lyricism. Great writer!

I've always kinda dug Aimee Mann but this is the first album I've listened to of hers. I like it but it's not something I would porbably put on. She is clearly talented but it just doesn't seem to be music for me. Glad to have listened to the album.

Not convinced at first but got caught by her voice and melodies, consistant throughout the album

nah it's like normal but it's good btw

1993 fue el año de Sheryl Crow, pero debería haberlo sido el de Aimee Mann, con mucha mayor calidad en todos los sentidos (al menos no robaba canciones a sus compañeros). Ya después vendría el huracan Alanis, y aún más el de Fiona Apple, pero eso es otra cosa. Aquí nos encontramos con un buen disco de Rock. Desde la soberbia inicial I should´ve Known hasta el luminoso final con Way back when, pasando por esa joya que es Fifty Years After the Fair, nada menos que con Roger McGuinn. Put me on top y I Could Hurt You Now son buenos ejemplos de su buena mano compositiva. I´ve had it es otra de las mejores. Me gustan más Gillian Welch y sobre todo Neko Case pero Aime las mira de frente no por debajo, sobre todo desde su aportación a Magnolia. Las referentes podrían ser Chrissie Hynde o Bonnie Raitt, y eso no es poca cosa. Un disco por el que no pasa el tiempo, es más cada día envejece mejor.

I’ve been obsessed with Aimee Mann since she was the lead singer of ‘Til Tuesday and featured on the Rush song Time Stand Still in 1987. 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. But it is not her best work. For that, please check out the Magnolia soundtrack and Bachelor, No. 2 released in 1999-2000. 4⭐️

> The Beatles

Didn’t think I liked it, but I managed to listen to the album three consecutive times before noticing. I’ll round up from the 3.5 to give it a 4.

Good

Y’a pas grand chose de spécial, mais après les daubes des dernières semaines, un ptit album pop rock franc et honnête, c’est ça qui me fallait

Watched a superb film in which Aimee Mann provided the soundtracks to last night. Soundtrack was unfortunately better and would’ve got her a fiver. This was still excellent though. Simpsons: Yes

Excellent songwriting, of course, but I also love how well she fuses the 90s rock ethos with Magical Mystery Tour circus sounds. I previously only knew one album by Mann and on this one I heard some Laura Nyro-like arrangements that honestly shouldn’t work but manage to sound great. I just wish she dug into more of that funky intro on “Could’ve Been Anyone.”

The queen of cynical detachment. She captured a moment, and it was great.

netter singer-songwriter-rock mit toller stimme.

I wasn't expecting to like this album, but felt it was surprisingly solid

Enjoyed this

I liked it more than I thought I would! I’ve never listened to her music, but it made me feel nostalgic. Sounds like something I would have listened to in middle school.

The production for the first half felt overdone but still a cool listen.

I actually liked this album a lot. It reminds me of other cool records. "Stupid Thing" is my favourite from "Whatever". Why isn't "I've Had It" the last song? "Way Back Then" doesn't feel like a closing track. 4 stars for "Whatever".

Liked it.

The music is very good, and the singing is quite nice.

She’s got a great voice. I will seek her out again.

Good, upbeat, fun easy listen

Not bad, a bit mainstream for me but easy to listen to

Whatever - Aimee Mann I was not excited for this at all. Mostly because I’m not a huge fan of all 90s albums having 14 songs each 5 minutes. Which this album is kinda guilty of but it’s really good. I loved the opener and straight until track 5 is excellent. Honestly there wasn’t an actual negative moment in the whole record I felt

71/100. A well-produced debut with solid songwriting. Could benefit from trimming a few tracks for consistency.

A nice pop rock album from the 90's. Loved it.

I wasn't sure if I should give this a 3 or a 4, but based on how long I was deliberating and how kinda-interesting I was when I just flipped through the songs again I think I've deemed that this one might be one that opens up more on multiple listens and deserves a 4 Standouts I Should've Known Stupid Thing Mr. Harris 3/5

Wonderful singer/ song writer

I really enjoyed this. Unsurprising because this is the music that I grew up listening to as a teen

Aimee Mann is a clever lyricist with a good voice. This album confirms my appreciation for her music.

surprisingly liked this a lot will endevour to look for mor albums

great album. bought it when it came out what a voice

Ok so I got a lot of this album and appreciated how it made the most of its 90's sound pallet. I have a lot of little nuggets and moments to go over, so let's get into it (I ran my first marathon today and this album got the buff of being listened to while running so i was extra attentive). First of all, " Fifty Years After The Fair" doesnt have Tom Petty on it, but holy shit is that not a one-to-one impression of Tom Petty on backing vocals during the chorus??? It bugged me so much trying to figure that one out. Interesting song, just really threw me for a loop. "4th Of July" is when I'd say this record really perked my ears up and started to play itself out of my dread that this would be just another 90's rock/acoustica album. This is the first instance of some of the more serious, forlorn songwriting taking effect. "Stupid Thing" is probably the microcosm of this albums message as a whole - going through some breakup/bad shit and just being so done with it all. Also sonically picking up on how this could be a starting point of a line you could eventually draw to todays tastemakers like the Boygenius girls. "Jacob Marley's Chain" had an excellent, simple guitar into and a memorable topic that got a little more existential than the songs so far. I LOVED the grand percussion line that made everything sound a bit like a circus show march. "Way Back When" had a great ending, including the secret ending after some silence. But I have to go back to "Mr. Harris". What was this. WHAT was this??? In the midst of songs about personal strife, relationship failure, and general disappointment, Aimee Mann hands us a song about...wanting to marry a much much older man??? Who she really loves?? And that's maybe not even the craziest part. The wild thing is that this song is really, REALLY good! That woodwind section over the piano melody at 2:20 into the song is beautiful. This whole song is shockingly beautiful. I got shades of "Desperado" by The Eagles, which is like the highest praise I can give a piano ballad. It was just such a neckbreaker to hear a song was earnest and gushy as "Mr. Harris" buried behind 8 prior songs the opposite of hopeful about love. I will forever be equally puzzled and happy that she kept this one in the back pocket. I think I have to give this one a soft 4/5. "Mr. Harris" really pushed it over the line. I wouldve liked a bit of variation both in tempo and song topics, but that's about all I can nitpick. Good hidden gem!

Love her work. This particular album is new to me.

I really can’t imagine why this album is so low rated on this site. It’s pretty consistently great from front to back. Wikipedia suggests that Aimee Mann often writes songs about underdogs, and I think that’s an apt depiction of this album. It’s very up-lifting. It makes me happy, and her soothing voice is very pleasant to listen to. However, she also just absolutely rocks as well occasionally, like in my favorite 2 songs on the album “I Should’ve Known”, and “Say Anything.” This isn’t boring at all, some of the other reviewers are out of their minds if they truly believe that “Say Anything” isn’t a fantastic song. Plus, the guitar riffs in songs like “Stupid Things” are just incredible. Great album, hopefully a solid 4 star review will balance out the negativity surrounding this one a bit. :-)

Beautiful voice. Listened as I worked.

I'd give this 3.5 stars, but I think bumping it to 4 is good for this scale, as there is nothing bad with the songs or presentation, and there is a fair amount of "experimentation" (for a pop rock album) and just good songwriting. It's not entirely my thing, but I could see myself putting it on in the future, if I want something that is upbeat and just well-crafted music.

Low 4 Really surprising

a very specific mood. Not a bad one, but a very specific one. 4th of July could give the new moody girlies a run for their money.

Whatever! It was cool :)

Leuk, niet bijzonder goed maar wel gewoon goed goed

Quite 90s

Sounds like the early 90s in the right ways

really really solid!!! i love her lyrics in general and i liked how many of the songs on this album seem to be about her wrestling with her identity outside of the context of her former band…i just love when musicians write songs about being musicians LOL… i also like hearing a “grittier” (eh), slightly more coltish iteration of her style…all the foundation is there for the forthcoming genius of work like *bachelor no.2* and the *magnolia* soundtrack, it just hasn’t fully evolved yet!! and i think it’s cool that she was nearly 40 by the time she truly hit her stride as an independent musician. fav tracks: 4th of july; jacob marley’s chain; i know there’s a word; i’ve had it

really enjoyed that! i don't think these songs packed as much of a punch emotionally for me as some of her other songs from later albums but this is a lovely debut album that previews that type of wit and melodiousness that comes through even more in her later work.

I mean I fed myself for years on bands like Till Tuesday and have always had a special place for Aimee Mann in my heart. I had not heard this album and had kind of dropped her off my radar, simply by life and time and all that normal sort of stuff. But I am grateful for the re-introduction as I like her just the same as I used to and am glad to be able to add her back into my playlist. Good on the 1001 generator and even better on me!

Nice songs and a good voice. Voice has a little bit of the Kim Wilde about it I thought (albeit with an American accent), and a cute wobble that gives it a lot of character. Seems to be getting a lot of 'meh' on here which is surprising me - though maybe not with this crowd. Not that it set the world alight (probably why I've never heard of her across the pond) but there's not too much wrong with this. Looks good in Doc Martens too. A very pleasant 4½

Excellent

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*

I thought this was great but it wasn’t her best!

I have many of Aimee's albums but I hadn't heard this one before. She is so much more youthful in this one vs some of her later work. It's an interesting middle space from her 'Til Tuesday stuff to where she settled in. I'll be going back to listen more. So far I really like it but not sure it's as good as the albums I'm so much more familiar with.

I'd heard the name Aimee Mann but I didn't know her work. After hearing a few songs the voice sounded familiar and then I learned that she sang in 'Til Tuesday and I recognized the voice from "Voices Carry". This isn't typically the type of thing that I would listen to but I like her voice and found this to be a solid and enjoyable album. I'd welcome hearing this again.

I was unfamiliar with Aimee Mann but this was quite a pleasant introduction. Thought provoking lyrics are sometimes a lot harder to find than you’d think but when you hear something that’s actually deep you know it. I saved 5 songs for future listening. Really solid album and I’m happy to listen. I’m reviewing a few days past so unfortunately this is less detailed than it would have been but solid album.

I’m at a 4. This album was fighting for its life for a while there – the first 2 tracks clicked really well for me, and then somewhere around tracks 3-6, it just wasn’t really hitting in the same way – the lyricism got a bit broad, the instrumentation not as compelling or energetic, and in a way, it felt like “Stevie Nicks doing 90s teen dramas for a cheap paycheck”. It just went for a bit too long, and while none of those tracks are bad, they all felt… I dunno, just not as genuine as they could be. Every single track after that clicked for me – “Say Anything” is a really fun track that ironically channels Stevie Nicks in a good way. “Jacob Marley’s Chain” has some great lyricism that I simply loved, anchored by that titular reference to “A Christmas Carol”. “Mr. Harris” really clicked for me, despite the tricky-to-navigate subject matter, because it’s played up so genuinely and so lovingly, with a soundscape and vocal performance to match it. “I Could Hurt You Now” goes a little long (could’ve ended during the instrumental break), but also manages to channel Stevie Nicks in a compelling enough tale of silent revenge. “I Know There’s A Word” does a good job of making the mundane feel a bit compelling, and the super serious orchestration mixed with her vocal performance made the track work for me. “I’ve Had It” is a really nice track, explaining partially why she left her previous band Til Tuesday to go solo. “Way Back When” is fine – it really only won me over for being about as instrumentally goofy as a few Beatles tracks we’ve had, and her vocals simply sound nice on it. So, yeah, 9 out of 13 is a pretty good mark to hit. It’s not an all-time album or anything, but I took to it once the teen drama-core songs stopped, and I think her vocals / lyricism on the rest of the tracks are really engaging, and kind of lovely. There is certainly a lot of Fleetwood Mac / Stevie Nicks influence throughout these tracks, tinged with a hit of 90s grunge & attitude, and it’s a soundscape I really like. Every instrumental here worked for me, and her storytelling on the latter half of the album clicked for me. It’s not enough to go up to a 5 (although, if those “teen drama” tracks hit nicer in the future, it could be), but I feel pretty good at a 4. At worst, a 3.

This feels so 90s to me in such a visceral way, it almost makes me melancholy. My standouts: I Should've Known, 4th of July, Stupid Thing, I Know There's a Word

Pretty fly

Nice and pop-y with lyrics that actually tell a story. Not exactly my wheelhouse of music but I could/ would happily revisit the album.

I Should’ve Known got me through a breakup: “And I don’t know what else you hear, but it’s not me weeping/ I should’ve known that it was coming down to this”. Hell yeah Aimee Mann.

Solidly crafted pop rock album that I would have guessed was released a handful of years later. Some poignant lyrics and instrumental choices as well!

Solid! I hadn't heard of Aimee Mann's stuff before, but now that I have, I'll definitely check out more of her work. I'm a huge fan of that female singer-songwriter sound from the 90s - Belle and Sebastian, Tori Amos, Fiona Apple, Liz Phair, etc.

nettspend geeked on the cover i actually really fw this, i dont get the hate. its so pleasant. does goes on for a little longer than i would appreciate but still good a 90s pop-rock record i can get behind it.

Actually coole (soft) rock, harmonisch interessant und ich find ihri stimm het epis spezielles.

Her voice always hit me. I'm grieving right now and although lyrically it's not the same, it makes me very emotional.

Till Tuesday and then this album. Talented all week.

This was better than I remembered.

Better than I expected. Solid 90s album

Brigtht, bouncy and brilliant, bascially. It's the details, like the glockenspiel quoting "Born to Run" after mention of NJ (which Hornsby noted) that add up to make this such a treat. The countryish guitar hook and backing vocals on “Fifty Years.” The ragtime piano and hidden penny whistle (if that’s what it is) on the closer. Her late-career renaissance produced several really good records beyond this one.That song alone would be worth the price of admission, but there are multiple other winners (“Stupid Thing” and “Say Anything” are standouts) and little to no filler. A street-smarter and more urbane Joni Mitchell. A more mature Liz Phair and more jaded (and more literate/bettter educated) Cheryl Crowe. She’s better than so many quality contemporaries near and far. But she seems to have become so much more distinctly herself on these later records, which were a pleasure to be surprised by first time around and are still holding up well.

Good album. A couple of questionable moments cement it at 4 stars rather than pushing for 5.

i've known about aimee mann for a while now but i've never sat down and listened to any of her albums, so this was a nice treat for me. i've often found her music to be nice and pleasant to listen to and i really like her voice so i expected to enjoy this one. and i was right. i got exactly what i wished for. a pleasant, well-sung album. perhaps my only complaint is that i'm not sure i found this one quite so memorable. it was nice, for sure, but i don't know if it had enough for me to come back to it.

Good album.

Aimee Mann is such a strong songwriter with pop sensibilities, this is really good. I'll fight anyone who is mean to her.

Female songs

P chill.

really great!! nice and chill

4.0

I’ve always loved Jon Brion’s production, and I think it works really well with this witty polished sounding rock. It’s not 100% my bag, but still good.

Some fun catchy tunes on here

Great songwriter. Feel like her best work was still to come in the 90s.

I recognized her voice from Til Tuesday's "Voices Carry"! I had no idea she had a solo career. This was pretty good! I really liked her voice and the songwriting. I was wishing for a bit more excitement in the music though.

I think I know someone who was named after Aimee Mann, which made this a fraught listen, because what if I didn't like it and had to be like "Aimee your namesake is overrated" next time we ran into each other? Luckily this will be a non-issue, glad I wound up with this one in the project.

Easily listeneable. 3, maybe 4

I wasn't expecting much from this album as I don't typically like pop, but maybe I do? This surprised me in nice ways, as the music was far more interesting and the lyrics more intricate than whatever I was planning on hearing. Around Stupid Thing, the album starts picking up. Jacob Marley's Chain through I Could Hurt You Now sounded really good to me.

Only knew her from the Magnolia soundtrack but this is a very fine collection of songs

I liked it in Nineties, good pop-rock

I really liked her work that I heard on the soundtrack of Magnolia. Always. Liked her voice found it very soothing. Her one hit wonder with til Tuesday is still a good song. Looking forward to this one. Well it started out pretty guitar driven. Second half was very mellow. Interesting record. Not sure I would revisit it. That said I’d round up to a 4. I’m in a good mood.

Everybody's favourite 9-toed German nihilist, Aimee Mann is also a superb singer songwriter and this, her debut solo album, is a perfect showcase for her ear for a good melody and her knack with lyrics. Opener 'I Should've Known' is an excellent upbeat pop track and '4th of July' and 'Jacob Marley's Chains' a superbly realised haunting tracks. Mann's follow-up 'I'm With Stupid' and music that featured in the movie 'Magnolia' were even better.

Overhated and underrated by a longshot. Aimee Mann happens to give grade A performance almost every time. I've seen a few comments go on about how mediocre the LP is but I personally believe this album has a lot to offer, Aimee has a lot to offer as an artist. It may not be groundbreaking or something new but the songs are enjoyable I can't lie. Her writing is solid and the guitar performances are my favorites. Even some cuts on here that feel comforting when you're upset. Definitely deserves more of a chance with open ears. It has good replayability, great track run, and has a little something for everyone. If this isn't considered her best then I can't wait to hear more.

i had only known Aimee Mann from Rush before this but this was a great album!!

4/5 - surprisingly good

Some people are just supposed to sing, and Aimee Mann is one of those people. I'm not a superfan or anything, but literally any time I've ever heard her voice, I've enjoyed it. That's rare talent.

Really liked this. I like that Brion sound.

Pleasently suprise at how much I enjoyed the album

Not my thing at all - but four stars nonetheless. Mann's songwriting is sly and intelligent, the music trips along pleasantly, and there are some kicky little additions to the arrangements that made my ears prick up. Funny that I'll probably not swing by Whatever again in a hurry despite the high rating. It's not my bag, but I can recognise its quality.

Ethereal sounds that enoke the early '90s. Not really what I would usually listen to but I found the light dreaminess comforting. Admittedly it didn't grab me at first, having finished my first play through of the album with none of it sinking into my brain. But I gave it a few more listens as it kept me coming back for more. Not being instantly engaging is part of this albums beauty as it feels at times like a mystery that doesn't give away it's answers too easily

Mann is a criminally underrated songwriter. Whatever is one of the unsung records of the 90s.

yay 90s girl power jacob marley's chain - the riddle??? bisschen lame aber kriegt einen frauen bonuspunkt

Listened twice. Great sound, consistent, and pleasant. I would return to it.

This album will definitely send me down an Aimee Mann rabbit hole. I suspect I will like some of her other albums more, but this is very solid! I can't believe I've never listened to her before.

For reasons unknown, I had really ever listened to Aimee Mann that I know of. I like this style of music in general and really enjoyed the album. Definitely will listen to again.

Way better than I’d thought. Great songwriter. Varied approach to songs.

I love it when an album turns out to be a banger. Really enjoyed this one.

I was a 'Til Tuesday and bought Voices Carry back when choosing which album to spend my babysitting money on was a big decision. I like Aimee I like her attitude. I'm a little more a fan of her poppier phase but her solo work is solid, Say Anything is a particular highlight on this album. I'm realizing I haven't kept up with her as much as I should have which will change today.

Every Aimee Mann album speaks to me. This might not be her absolute best but I dig it

Lyrics: Mann's lyrics in "Whatever" are a masterclass in introspection and observation. She skillfully weaves narratives that delve into themes of alienation, disillusionment, and longing, capturing the zeitgeist of a generation grappling with existential angst. Tracks like "I Should've Known" and "Stupid Thing" showcase Mann's ability to craft vivid, emotionally resonant stories that resonate with listeners on a deeply personal level. Her keen eye for detail and knack for crafting memorable turns of phrase elevate the lyrical content of the album, making it a compelling and immersive listening experience. Music: Musically, "Whatever" strikes a delicate balance between melancholy introspection and infectious pop sensibility. Mann's evocative melodies, characterized by their understated elegance and haunting beauty, serve as the perfect backdrop for her introspective lyrics. The album's instrumentation, featuring lush arrangements of guitars, keyboards, and percussion, adds depth and texture to the songs, creating a rich sonic tapestry that draws listeners in and refuses to let go. Tracks like "I Should've Known" and "4th of July" showcase Mann's gift for crafting melodies that linger in the mind long after the music has stopped, cementing her status as one of the preeminent songwriters of her generation. Production: The production on "Whatever" is understated yet immaculate, allowing Mann's lyrics and melodies to take center stage while still providing a rich, immersive listening experience. The album's sound is characterized by its crisp, clean production values, which enhance the emotional impact of the songs without overwhelming them. Producer Jon Brion deserves credit for his role in shaping the album's sonic landscape, deftly balancing intimacy with grandeur to create a sound that feels both timeless and contemporary. The careful attention to detail evident in every aspect of the production elevates "Whatever" from a collection of songs to a cohesive artistic statement, showcasing Mann's vision and talent in its purest form. Themes: Thematically, "Whatever" explores a wide range of topics, from the complexities of romantic relationships to the alienating effects of modern society. Mann's lyrics delve into the intricacies of human emotion with honesty and vulnerability, offering listeners a glimpse into her innermost thoughts and feelings. Themes of longing, regret, and self-doubt permeate the album, lending it a sense of universality that resonates with listeners across generations. Mann's ability to capture the nuances of the human experience with such clarity and insight is a testament to her skill as a songwriter, making "Whatever" a timeless classic that continues to resonate with audiences decades after its release. Influence: The influence of "Whatever" on subsequent generations of musicians cannot be overstated. Mann's unique blend of confessional songwriting, melodic craftsmanship, and understated production has left an indelible mark on the alternative rock landscape, inspiring countless artists to explore similar themes and sonic textures in their own work. From indie darlings like Elliott Smith and Fiona Apple to mainstream acts like Lana Del Rey and The National, Mann's influence can be heard in the music of artists across a wide range of genres and styles. "Whatever" remains a touchstone for aspiring songwriters and musicians, its legacy enduring as a testament to the enduring power of honest, heartfelt music. Pros: Superb songwriting: Mann's lyrics are introspective, poignant, and emotionally resonant, showcasing her exceptional talent as a wordsmith. Memorable melodies: The album features a wealth of catchy, well-crafted melodies that linger in the mind long after the music has stopped. Immaculate production: The album's clean, understated production values enhance the emotional impact of the songs without overwhelming them, creating a rich, immersive listening experience. Universal themes: "Whatever" explores themes of longing, regret, and self-doubt with honesty and vulnerability, offering listeners a glimpse into the complexities of the human experience. Lasting influence: The album's influence on subsequent generations of musicians is undeniable, cementing its status as a timeless classic that continues to resonate with audiences decades after its release. Cons: Lack of sonic diversity: Some critics have argued that the album's sound can feel somewhat uniform at times, with few deviations from its established musical and lyrical themes. Occasional pacing issues: While the album flows well as a whole, there are moments where the pacing can feel a bit sluggish, particularly in the album's middle section. Limited experimentation: While the album's production is impeccable, some listeners may lament the lack of sonic experimentation or risk-taking, which could have added additional layers of depth and complexity to the music. In conclusion, Aimee Mann's "Whatever" stands as a testament to the enduring power of honest, heartfelt music. From its evocative lyrics and memorable melodies to its immaculate production and universal themes, the album represents the pinnacle of Mann's artistic achievement, showcasing her exceptional talent as a songwriter and musician. While not without its flaws, "Whatever" remains a timeless classic that continues to captivate and inspire listeners decades after its release, solidifying Mann's status as one of the preeminent voices in alternative rock.

Tämä oli kyllä yllättävän hauska levy! Mukavan ennakkoluuloton ja monipuolinen genressään. 4/5

3.5 rounded up

Bem-bom, mesmo não reconhecendo nenhuma música, ela é garantia de boas melodias e vocal envolvente.

4/5⭐️ Best song: Fifty Years After the Fair Worst song: I’ve Had It Comments: Love Aimee Mann!! I’ve listened to her ever since her guest appearance on Buffy lol. I’ve never listened to her first album before though so I’m glad this one came up!

I liked it very Pretender like

After the horrific noise pretending to be music from Metallica and The Sex Pistols finally music that is actually pleasant to listen to. Somehow I missed Aimee Mann until now. Fortunately that has now been corrected. Good album with good songs.

Great record that I'd never heard before. Everything is consistent. The highlight would be Stupid Thing, which was immediately so catchy I could sing along by the end. Really enjoyed it. Just about a 4

No time to write but listened to this and moved on to Bachelor No 2

I liked it! Sort of like emo girl music very listenable.

I liked it very much

Expected standard 90s singer-songwriter soft rock, and it is that to an large extent, but I was pleasantly surprised by the voice, the melodies, the occasional orchestral left-turn and especially the lyrics. Maybe that’s all still not enough to make it a ‘must hear’, but as it’s here I’ll give it the ol’ ‘3.5 rounded up’, as it’s always nice when I enjoy an artist I’d never heard of before so much.

Gillade denna mycket, lite långt men jättekiva vibat

Good

I liked this a lot. Like a pop album by Brandi Carlile. Listened to it all day and never got old.

Really enjoy mellow Indie music. She has a pleasing voice, easy to listen to

Beautiful album. This was the first time I had heard Aimee Mann and it hopefully won't be the last. Shame this album was never released on vinyl.

It was pretty solid. Definitely super angsty and her voice was nice.

Very pleasant to listen to these well crafted, well performed songs.

There's nothing more GenX / Latchkey than Aimee Mann's 'Whatever'. While Alanis shoved the disgruntled chick rock down your throat, Aimee's freshman album is more subtle yet direct. Good songwriting and production have her straddling several genre's in true 90s fashion. 4/5.

An excellent sort of pop album. Has lots of elements from different genres. Lyrically engaging. Sounds very modern while also showcasing 90s rock themes. A great listen. 4.5 stars

I had relatively low expectations, but enjoyed the album.

The global reviews are tripping on this one. This is a lot better than some of the shit a lot of you give 5s to 🤨

4.2 - lovely album, up my street this

Brings back memories...oh 1993!

A couple songs jump out to me when they play: 4th of July, Put Me On Top, & Stupid Thing. The rest kind of blend together, but are still enjoyable.

Een album dat beter wordt als je het een paar keer luistert. Relaxte singersongwritermuziek, even wennen aan de stem die klinkt alsof ze verkouden is en je zit goed.

The film Magnolia turned me onto this album in the late '90s. Great accessible guitar pop. Absolutely NOT sounding anything like Alanis Morisette, but I can hear why some critics compare Aimee Mann to Elvis Costello (easier to hear lyrics and less spiky).

I knew Aimee Mann first through comedy before her music. This is the first time really listening to her and I liked it. Still a little long and a few songs could be cut to tighten it up. Love the album cover.

Pop. Rock

Easy car music, she has a really nice deep voice. Stand-out: Fifty Years After the Fair

Haven't heard this in ages. I used to listen to Aimee Mann all the time in the early 2000s. I like I'm With Stupid a little bit more but this album has a bunch of great songs too.

Some nice 90s guitar-based stuff, very emotive

Muy buen disco, con una gran voz femenina. Parecido a The Pretenders. Sorpresivamente me ha gustado. Canciones que parecen historias contadas

A disarmingly low-key but exquisitely written collection of songs. The lyrics are well worth paying attention to.

Not my cup of tea. I will never listen to this album again. She can sing well. Production was high. Songs sound nice. It is the kind of album I might give my mentally disabled sister to keep on in the background.

Spent a while trying to figure out why her voice is so familiar, even if her songs aren’t. It’s her guest vocals on Rush - Time Stand Still. Great tunes. Nothing so totally revolutionary, but I could listen a bunch more, by which time the lyrics would get to me. I appreciate Jon Brion and I think I can hear his influence. eg. the horns / marimba on the last track.

After a bit of a difficult run it was a pleasure to hear this - light maybe but lovely songs and a beautiful production.

nice pop, a bit of crunge

I've always loved her music and have not explored this album before, as well as a few of her other releases, so this excellent record is a good prompt for me to dig more deeply into her catalog. Reinforced by what I hear in the outstanding tracks on this record, she is such a gifted writer and composer. I would like to see her get more credit for her lyrics as well as her musicianship. She does an amazing job of balancing edgy and unusual writing and composing with deceptively catchy and pop-like structures. I've never tried it but I have a feeling that's one of the more difficult feats to pull off in songwriting and arranging. Too much in any direction, and it could easily fall into parody or snarkiness, but it doesn't. There's a vulnerability and sincerity in what she does along with the indie-pop-punky-rockishness. Pretty darn impressive.

Big Alanis vibes here, but I would say higher quality song writing. Just a real solid album with clever lyrics throughout. I think Mr Harris was my fave but a lot of good ones.

Really good pop/folk/singer songwriter stuff. Her lyrics are very clever and the backing band is tight. Maybe cutting a song or two would make it even better as I did start to lose interest by the end. Still very solid. Adding it to my collection.

This was a nice listen. I’m not sure it would make my personal 1001 list but I enjoyed it well enough.

I thought this was a really cool album. 1993 is sort of a tough year for me to contextualize for rock, since so much had happened in the previous few years with grunge coming into the mainstream and bringing the rest of alternative rock with it, but perhaps it doesn't matter. This album very much has a timeless quality about it. There's a lot of variety in the music of the album without it feeling incoherent, and her voice and lyrics fit the music perfectly. It feels very intimate 4/5

What a voice!

Bright literate songwriting. Nice contemporary pop music with catchy hooks, driving beats and clean clear production. 4 stars

oh my god I loved this, poppy angst is so so good. Few moments that didn't hold up quite as well but I just had so much fun

This is better than most of the albums I've listened to so far, so while I'm not sure why it's on the albums you must listen to list, it's still a 4 just for being listenable.

Aimee Mann really knows how to write a song.

7/10. You know this only made the list because Elvis Costello likes it, but I did rather enjoy it. Little long, though.

I might be more familiar with Aimee Mann as a podcast guest than as a musician, but I've always thought her to be a warm and intelligent presence. I think this is the type of album that would grow on repeated listens. The melodies are catchy if a little generic, but the lyrics I was able to parse were far more intriguing and honest. I'm typically unable to pay much attention to lyrics on first listen, focusing rather on the song as a whole, but I want to revisit this album while scrolling Genius. I think there's something here.

Before today, I'd never heard of Aimee Mann before, so was unsure what the album was going to be like. Aimee is a singer/songwriter, alternative artist with country influences. She sounds like Sheryl Crow, or Lucinda Williams. Her writing style is awesome, and really spins a story for the listener. The picture painted by her lyrics in the song Mr. Harris (her falling in love with an old dude who is raking leaves, and her mother dismissing it as a phase) was beautiful. Overall, a perfect album for a rainy Saturday. I was able to really listen to this record while sitting and drinking a cup of coffee this morning, it was perfectly suited for that. I enjoyed it so much I listened twice. Favourite songs: Put Me on Top, Could've Been Anyone, Stupid Thing, I Should've Known, Mr. Harris, Jacob Marley's Chain, Fifty Years After the Fair, I Could Hurt You Now, Way Back When Least favourite songs: Say Anything 4/5

First half I didn’t love possibly d/t some anti 90s prejudice but by the end I really started to enjoy it 3.75/5

I had to listen to this a second time, because I felt I was missing something the first time I listened to it. It reminds me a bit of Tracy Bonham / PJ Harvey in some ways, but more in the troubadour-esque feel. Songs like "Fifty Years After The Fair" had a lot more maturity to it than I would expect for a first solo album. The opening number really kicked off the whole album, gave you a good sense of everything. "Say Anything" is probably one of my favorites off of this album. I felt there was a lot more to her voice here than what I was expecting (you know, the girl from 'Til Tuesday...). Hard to believe this is 30 years old. Really good starting album.

first listen great artistic pop record

Jon Brion you crazy bastard

I was actually a little let down by this, not quite as good as lost in space or some of her other stuff, but still some great songs

I don't know what Ben was talking about, this was pretty good.

It's a little bit singer-songwriter, a little bit americana, all cloaked in the hue of the 90s, a little irony, a little alternative. Aimee's voice is very far up in the mix, but I think that's a good thing to focus on her writing, which is very strong, save a few spots. It's all very earnest, and I like it. Favorite tracks: "I Should've Known", "Say Anything", "I Could Hurt You Now"

Really great, nice mix of styles.

Catchy music. Clever lyrics. Nice.

Not my cup of tea. Not bad, but did not get me interested.

Nice one

Solid if unspectacular, but maybe an album that would benefit from repeated listening. Sounds kind of like a lot of artists I love, so probably someone I could get into. Really torn on how to score this - might as well err on the side of generosity!

This is really nice power-pop. I'm a sucker for jangle under any circumstances, and she just has a great sense for catchy hooks and fun harmonic touches. It starts a little stronger than it ends (the first song is easily the best), but pretty consistent quality. Lots of nice backing vocals, little flourishes on the organ, good stuff.

I need to listen to more Aimee Mann.

Wonderful times less stories, sometimes can date itself in the music

Nice.

You could say I’m an Aimee Mann man

Good album i never heard.

Just made me really sleepy and relaxed but defiantly a relaxed and clam album with Beautiful vocals along with nothing ever to fast but just slow so not too bad

I hadn't ever listened to this particular album which is ridiculous because Aimee Mann is amazing.

Great power pop, unmistakably produced by Jon Brion

Pretty dang solid pop rock country album. Proto-sheryl crow

I like Aimee Mann