Whatever

Pues a ver ns, me gustó la vibra y tal, me recuerda un montón a the cramberries pero no me destacó nada ninguna canción. Tampoco lo escuché muy detenidamente.

3.3/sounds like fiona apple

Couple of tracks I recognised, a nice album for the background, but that's about it.

Nice bit of ‘90s nostalgia, in terms of sound anyway. I had never heard of Aimee Mann but the sound of this album is very familiar. It didn’t hold my attention for the duration though.

Not her best, but Aimee Mann is as clever and sardonic as you can get. The Jon Brion sound on this does have a bit of a dated feel, but you can't deny they know how to arrange a pop song, with a heavy Beatleseque tone without being slavish about it. If you dig this, check out Sam Phillips (wife of T-Bone Burnett) from the same era--clever lyrics and singalong harmonies.

Decent album, but not nearly as good as Bachelor No 2.

Pretty run-of-the mill mum -rock. Wasn’t bad

This is the most Gen X album title and artwork possible. It's OK. File under: Nick Lowe-core. Some different instrumentation or production might help Aimee's songs shine a bit brighter. She's a great songwriter and solid performer.

P4 Halland-rock. Snällt och småtrevligt.

Carole King-esque. Enjoy the listen, but I won't likely repeat.

Like a less inspired Fiona Apple, which sounds meaner than I intend, but I liked this (3.5/5)

This is a good album. And I could see liking it more upon second and third listens, which I’m planning on doing. Really liked “I’ve Had It”

Was that Tom Petty?

Fairly generic 90s pop rock. Aimee Mann is a fantastic vocalist that feels almost boxed into this album by very generic songs. Would love to hear her cover Bob Dylan or Leonard Cohen, something more sophisticated that she could absolutely do well. Top tracks: Could've Been Anyone, Stupid Thing, I've Had It

Lovely. Really my first experience with Aimee Mann even though I’ve known about her for decades. 3/5

Well written 'tambourine on the 2 and 4' pop rock. Nothing wrong with it. A little boring though.

Off the cuff remark: Lovely voice. Nice Pop tunes Already familiar with the album. A "classic"? No. But Decent pop. Standout Track: I Know There's A Word Revisit?: Already have.

Solid listen, just didn't really connect with it.

Songwriter Rock featured by Nick Hornby.

Vanilla. Talented but as middle of the road as it gets.

Better than I was expecting. Not particularly for me with hit and miss songs on the country rock to pop-rock scale, but a pleasant enough listen that I kinda enjoyed. Still don't feel thaaaaat strongly about it though.

Quite good. Started rocky ended more chilled 7/10

This captured the 90s well. Personal enjoyment: 4/5 Relevance to this list: 3/5

I think of this as straightforward 90s country-pop. It's pretty generic-sounding, but the compositions are still strong and sound good. Reminds me of the Indigo Girls without the two-person harmonies – and for that reason, it's strictly inferior (because its sound is more anonymous). Possibly Sheryl Crow-esque too. Aimee Mann's voice is clear, warm, and perfectly suited for the musical style. The production is excellent, even given its relatively recent release. You can hear the multi-tracked self-harmonised vocals, the backing instruments, the imperfections (which are great in moderation)... A bit long, though. And the songs aren't different enough from one another to justify an above-average runtime. Shoutout to the tone-deaf reviewer who called this album "mom rock bullshit". If that's all you have to say about a record that's objectively more than that, man, why are you even doing this project? 3/5 Key tracks: Stupid Thing, I Could Hurt You Now, Way Back When

I like Aimee Mann better when she's being really depressing.

Ideally I could devote enough time to give each of these 1,001 selections (well, maybe not *all* of them) more than one listen, as things often reveal themselves on subsequent listens that you missed the first time, fondness grows, etc. Alas. I respect Aimee Mann and like her work on the Magnolia soundtrack and with Til Tuesday. And I recognize her skill as a lyricist and songwriter. But this album comes off as a little too “adult contemporary” sounding to me, lacking a sonic edge. It certainly didn’t sound like what you might expect from the very Gen X album cover and title or the era (1993) in which it was released.

Thought this was a nice album. Not spectacular, but hardly terrible. Very 90s sounding, in a good way. 7/10.

This is a pleasant enough album but only the first song, I Should've Known, really hooked me in any way. 3.5 stars

Enjoyable album but nothing to write home about, I guess I was hoping it would grab me or jump out at me more but I just kinda felt like it faded into the background more than anything sadly

Loved the ending to the last song. Fun album.

“Jacob Marley’s Chain” and “Mr. Harris” are both great examples of an ability to blend melancholy with a kind of literary sharpness—not overdone, just well observed and emotionally true. Not flashy, but this has got staying power.

Not bad, but not my taste.

They heard me moaning so gave me a woman. I thought I didn't know this artist but then realised her music features in quite a few Gilmore Girls episodes and she cameos in Gilmore Girls: A Year in the Life. Fun!!

Very 90's - and fairly generic. But she has a nice voice, and I didn't dislike listening at any point. I will say 2.5 - round up to 3.

This wasn't bad! I like the melodies

She's quite good - this was decent!

it's not going to stop :)

forgettable

It was honestly kind of hard to get through, maybe because it was so long. Wasn't that impressed with the vocals and the music itself didn't really invoke anything in me. Some songs were quite nice, they kind of had that edgy rock vibe I like. I think I just don't like female vocals in general though for this genre which is why I was maybe not the hugest fan.

Never heard of artist or album, but love the album cover— organic and corporeal. Love the docs, love the typeface and its placement.. 1 Whoa, quirky drum intro aside this is kinda country, that guitar sound rips? Her voice is really great? Something’s weird about the mix, but haven’t decided if it’s bad yet or I’m just not used to it. I think it’s just a lot of moving parts panned to different places, like if each guitar in a shoegaze song was panned to a different part of the range? Hrm. Catchy hook, I like the little bopbopbops. Ooo the bridge is real fun, love the lyrics, but backups in the left ear a little too forward I think. Guitar solo good— gotta repeat myself, guitar sound is incredible, shit’s stadium ready. 2 Glockenspiel, twangy guitar, phenomenal snare sound. Like the mix a lot more on this, vocals are allowed a lot more space, and backups feel more contextually relevant. 3 “What a waste of gunpowder and sky” is an incredible line— really, the lyrics and vocals are the star of the show here, really incredible stuff. Just feels like the instrumental lets it down a little bit. That aforementioned stadium feel doesn’t work as well on a track that feels meant to be guitar and vocals— the drums are super boomy but somehow thin at the same time, and the strings could be real but they sound MIDI. Still good overall, just feel the chorus isn’t in tune with the track as a whole. 4 Twangier, and I like the sillier keybodard stuff matched with a couple of accents into falsetto. Her voice is so goddamned good! We’re back to the mixing of the first track, and I’ve decided I don’t like it— the drums being panned so hard to the left but EQed with such a flat, choral sorta treble feels counterintuitive to each other’s intent. Like, panned to the left feels intimate (think Blue Note— jazz trio in a small space; closeness of the audience) while the sound itself feels large and bombastic and distant. Still, this is undeniably catchy and really good, I love the compositional package. 5 First time the vocals are the biggest negative, hook sounds super flat. Bass and guitar sound good, kinda catchy— nothing super special, but good radio pop-rock. 6 Not really feeling this track, the rock ballad kinda feel is very dad-rock at a dive bar, and the hook’s repetition of “You stupid thing” is just kinda a bummer, totally tonally dissonant with what otherwise feels heroic. A fade-out is the cherry on top, no me gusta. 7 Hook is great, lower register sounds accusatory and higher register sounds distraught. The lil bridge fucks, the guitar has a great bounce, and there’s some real funky effects and keys and what not scattered about. Lots of personality on this oneof, definitely one of my faves. Also YES a solid practical ending! I totally thought I heard a fade-out coming, stoked to be wrong 8 Lil finger cymbal action and the sleigh bells really offer something hip to this. Got a bit of a folksy vibe with the anaphoric verses and general drinking song vibe. Sweet lyrics, even if I don’t fully get what’s going on. Love the Irish sound towards the end, dunno what instrument or instruments are in there (piccolo might be part of it?) but it’s good. 9 Proper sequenced slowdown, then, given the tempo of this song is a little downtrodden too. Strings feel much more organic here than earlier on the album, and her voice plays off of it perfectly. Love the lyrics on this, seems a precedent for Fiona Apple and Frances Quinlain and the like. Clarinet and French horn are beautiful. Like this a lot. 10 Lil melodramatic, and feels a bit quiet? But vocals are cool, lotta little textures and inflections. Bit of Stevie Nicks. Kinda just not that memorable of a song overall. 11 lyrics are proper cheesey, and rhythmically uninteresting. Strings are pretty I guess, but it’s in spite of the rest of the track. 12 I appreciate the drums backing the hell off, they’re occasionally way to greedy on this album. This song’s better for it, allows for more of the orchestral elements (woodblocks, chimes, flutes, strings and I think a bassoon— or maybe bari sax?) to come through. Her voice is beautiful, and with plenty of space to show it. Just a gorgeous, lush song. Second half of this album is inconsistent, but when it hits it hits hard. 13 Oo a little pscyhadelia, I like it. The drums being panned to the right after being leftwards everywhere else on the album does piss me off ngl, but I like the sound of this, it’s cute. Lyrics are pretty unremarkable, but serviceable. Love the xylophone and piano!! Album as a whole has some real bright spots, and the whole package is buoyed by legitimately great vocal talent. Just inconsistent mix, and I do wish the instrumentals were of a more consistent makeup— feels like a collection of songs more than an album.

love the album cover

Decent album. The songs didn't do it for me.

I'm really not sure when some of the entries here were considered, because while I can imagine this could have sounded pretty vital in 1993 I just don't get that listening for the first time 32 years later.

4/15/2025: Rachel says it's Tom Cruise Magnolia big songs. Like the 90s sound and good lyricism.

10. This album is pretty good. Even though not a lot of it really stands out, it still sounds solid enough. In general I enjoy it, it's not my preferred genre of music but there is still something here to be enjoyed by anyone. But the more I listen to the album the more it grows on me too. Favorite Song: Stupid Thing, Least Favorite Song: Fifty Years After the Fair Overall Score 6/10

ngl a bit boring for me?

good

90s singer-songwriter with a strong rock influence. I mean what’s not to love! Well, a lot actually haha. But starting with what I liked: I think I’m just a big fan of Mann’s vocal style tbh, it feels a lot like stuff I heard a lot growing up. And I did listen to a lot of the 90s rock scene thanks to my dad’s taste in music. So that’s probably where a lot of my love for this album comes from. There’s a lot more stuff to like about this album though including the fun variety of styles explored and executed generally quite well. Like the funeral march style of Jacob Marley’s Chain or the heavier dramatic rock of Say Anything. Or whatever the vibes were of I Could Hurt You Now. The only issue is there’s also a lottt of songs on this album like Mr. Harris where I’m sitting here thinking why is this even on the album. It just feels like it adds nothing but runtime to the album. Also even the ones with their interesting styles aren’t even necessarily that good, they’re just eccentric. Overall though, I think there’s a lot of stuff on this album that could grow on me.

Good discovery

This was ok

Rating: 3/5 | Favorite Track: I Should've Known --- Inoffensive, but a little forgettable. Most of the songs really blend together in a bit of a bland way. It's a fine album, but not for me.

Solid enough listen, felt the songwriting was strong throughout, very 90s sounding.

High 3 for me. I dig Aimee Mann's stuff, but there is some kind of barrier keeping her from being one of my faves.

I love her voice, but this sounds a bit dated.

Really enjoyed the mood of this album, it took me a few songs to get into it but after that I enjoyed most of the songs. I felt it really captured a certain feeling very well but can't quite seat what it is. I do feel that her voice isn't the best at some points in the songs. I do like the vocal dynamics of the songs and the melodies really work. My favorite song was Say Anything.

It's high-budget, well-produced pop rock. It's perfectly fine and listenable, but it's not trying to be good—and it's not. Kind of basic and a bit uninspiring but adequate.

It's alright. Not my normal listening fair, but I wouldn't turn it off if it were playing in the background.

first track got me but then it got mild still good though

I'm aware of Aimee Mann, but never really listened to her music. There are a lot of female artists I enjoy from the 90's, Juliana Hatfield, Liz Phair, The Breeders, Mary Lou Lord, Sheryl Crow etc...and Mann fits in nicely in that group. Her voice and overall sound is crisp and easy to listen to and for the most part it's enjoyable. It does begin to feel a little generic and dated (90's era), and I struggled at times to remember who I was listening to again. Fortunately, it doesn't sound too commercial (Alanis/Crow) or prefabricated and still has an alternative indie feeling to it. Which is a good thing! I'm not sure if I'd enjoy her later albums though, but I'll try.

Didn’t grab me first time. Not heard of this person before. Reminded me lyrically of Elvis Costello. Will listen again.

Kind of disappointed. I *love* the song "Save Me" from Magnolia, and also like some of her other hits ("One" and "Wise Up"). But the songs on this album are just OK. Aside - it was unexpected to learn that she sang with Rush on the song Time Stand Still.

Like Springsteen, I struggle to get into Aimme Mann's music. It's not bad, it just feels very middle of the road in a way that doesn't hook me.

Maybe Aimee needs tragic Paul Thomas Anderson characters to be really inspired? This just definitely pales in comparison to everything she wrote for 'Magnolia.' & 'The Forgotten Arm' is also a much stronger album.

I'm writing this a few days after listening to it. So it kind of says a lot that I had to replay the beginning of a few tracks to remind me what it was like. Rocky sort of country just about sums it up. Now here's the strange bit this review probably doesn't justify the score it deserves, but I did actually quite like it so I'm giving it a 3.

Ganz nett anzuhören, aber nichts was sich in mein Gehirn eingebrannt hat.

Really punchy, crisp guitar riffs with sharp songwriting that’s somewhat undercut by Aimee’s unpolished vocals. The lack of variety in sound design from track to track does get a bit stale. Starts to put you to sleep by the end. Listened to: on the Staten Island ferry! Favorite tracks: I Should’ve Known, Mr. Harris

empezó bien pero aburrió

Did not expect to hear a song about wanting to date an old guy, but it is definitely something I will remember about this album.

Really enjoyable pop rock that scratches the right itch, not exactly memorable though.

I can hear the potential but, her voice seems a little weak at times. Jacob Marley's Chain suits her vocal style better, and the track has an interesting vibe. Mr. Harris also clicks. I've Had It is a good one. The production is pretty good overall, but instumentals are a bit generic at times. The song writing is pretty good. Although nothing to do with the album at face value her story is interesting, being kidnapped, the fact that she is already like 15 years in to her musical career at this point. I think there is a more interesting album hidden in here.

Kind of a country vibe like Shania Twain

Average early 90’s alt female, but basically forgettable

Say Anything, Jacob Marley’s Chain, Mr. Harris - all solid. In fact, I’d say the album gets much better in the second half. Not bad, just not great.

Love her in the Magnolia soundtrack - but couldn't get into this one.

Good

This is a nice, well-made album. The production is strong, the variation in instruments is impressive, and her singing is reeal nice. There's some really nice little flavours sprinkled in there, even if it's some tiny detail like a small bell or something. The layered backing vocals also work really well. It started off stronger, and while it remains accomplished, it gets a little bit less interesting and more samey as it goes on. I'm a big fan of hers, having been obsessed with the Magnolia soundtrack when I was younger. It's been nice to go back and explore her other stuff. I've only recently listened to 'Bachelor No. 2' which was excellent, and this makes me want to continue and check out some of her other stuff. 3.5 rounded down.

This was very decent, I liked a couple of tracks, but wouldn’t listen to the whole album again

This is my first time with this album. While it is a bit poppy for my tastes it was still pretty good. I like about half the songs here.

I guess it's fine. Not really my style.

ganz nett anzuhören, plätschert so dahin

Nice, relaxing album. Got a bit boring by the end

Thoughts before listening: I remember Aimee Mann being a big deal in music magazines in the 90s, but I do not know much about her. I believe she is a folky singer songwriter who was in the general Lilith Fair scene of Sarah McLachlan, Ani DiFranco, etc. Review: So this is more alternative pop-rock with Aimee's sound more akin to Sheryl Crow than the more folky singers I assumed. I'm sure Aimee was still a hit on the Lilith Fair however. The songs on this album are well crafted and very catchy. In general this style is a little boring to me personally, but its a 3-star album.

грейси абрамс образца 1993 года… с кайфом послушала, пара красивых историй есть

Some nice 90s rock in this album. It was nothing special though, like it was just fine. Don’t know if there’s any outside history that warrants its being in this list, because it just sounds like an average 90s rock album. Overall, it’s another smack bang in the middle album.

decent indie/pop

El sonido que todos conocemos y esperamos de Aimee Mann. Nada diferente. Está bien, pero llega a ser un poco cansado.

Des textes plutôt bien tournés, mais je trouve la mélodie trop subordonnée à la narration, je m’attendais à plus de recherche musicale

Mesdames et messieurs, bienvenue en 1993. Une année formidable. Kurt Cobain est encore parmi nous, même si pour plus très longtemps, et le monde de la musique est un champ de bataille boueux où des types en chemises de bûcheron gueulent leur mal-être sur des guitares saturées. À la radio, où je passais encore le plus clair de mon temps à l'époque, on se tapait du R.E.M., du Pearl Jam, et on commençait à voir débouler des trucs plus bizarres. Bref, le raffinement et la subtilité n'étaient pas exactement à l'ordre du jour. Le mot d'ordre, c'était "FUCK!", hurlé si possible avec une voix éraillée par la clope et le Jack Daniel's. Et au milieu de ce merdier, débarque Aimee Mann. Pour les plus jeunes, ou ceux qui ont passé les années 80 dans une grotte, Aimee Mann, c'était la voix et la tête pensante de 'Til Tuesday. Un groupe new wave qui avait réussi à pondre l'un des plus grands tubes de la décennie avec "Voices Carry". Une chanson parfaite, un clip iconique. On pensait tous qu'elle était la prochaine Chrissie Hynde, la nouvelle Costello au féminin. Une songwriteuse hors pair, capable d'allier mélodies pop imparables et textes d'une intelligence rare. Puis, silence radio. Le groupe se sépare, et pendant des années, on attend, on attend le disque qui va la consacrer reine. Et en 1993, il arrive. Son premier album solo et il s'appelle "Whatever". Un titre qui, avec le recul, sonne presque comme une prophétie ou un aveu de faiblesse. "Peu importe". Alors, que dire de ce fameux "Whatever" ? Eh bien, pour être franc, c'est un album qui a le cul entre deux chaises, et qui, plus de trente ans après, a pris un sacré coup de vieux. Attention, je ne dis pas que c'est un mauvais disque. Le talent d'écriture de Mann est indéniable, on sent l'amour pour les Beatles, pour les Byrds, pour toute cette pop classieuse et lettrée qui a fait la gloire des années 60. Les mélodies sont là, les arrangements sont chiadés, parfois un peu trop. On est en plein dans ce qu'on appellera plus tard la power pop, un genre qui, en 1993, était à peu près aussi à la mode qu'un costume en tergal. Et c'est là que le problème car l'album est tiraillé. D'un côté, on a des morceaux pop-rock, brillants mais qui sonnent aujourd'hui un peu datés, un peu trop propres sur eux. C'est bien foutu, mais ça manque de ce petit supplément d'âme qui fait qu'un disque traverse les époques sans prendre une ride. On sent la production de Jon Brion, ultra-léchée, qui deviendra sa marque de fabrique (et celle de Fiona Apple ou de Rufus Wainwright), mais qui ici, donne l'impression d'emballer les chansons dans du cellophane. Et puis, de l'autre côté, il y a la facette folk-rock. Et là, je dois avouer, que c'est bien meilleur. Quand Aimee Mann laisse tomber les guitares électriques un peu trop clinquantes pour une approche plus acoustique, plus dépouillée, la magie opère. Des morceaux comme "Fifty Years After The Fair" ou "Jacob Marley's Chain" sont de pures merveilles. On retrouve la mélancolie poignante, la justesse du ton, cette capacité à raconter des histoires qui vous touchent en plein coeur. C'est dans ces moments-là qu'on se dit : "Putain, mais quel talent !". Mais ces éclairs de génie sont un peu noyés dans un ensemble qui peine à convaincre sur la durée. J'ai réécouté l'album plusieurs fois pour cet article, et à chaque fois, le même constat s'impose : il a mal vieilli. Pas comme un bon vin, mais plutôt comme un yaourt oublié au fond du frigo. Il n'est pas complètement tourné, mais il a ce petit goût acide, cette texture un peu bizarre qui vous rappelle qu'il a connu des jours meilleurs. Alors, pourquoi est-il dans cette fameuse liste des "1001 albums" ? Parce qu'il faut l'entendre, au moins une fois. Pour comprendre d'où vient Aimee Mann, pour apprécier son talent brut de compositrice qui explosera véritablement sur ses albums suivants. "Whatever" est une première étape, un brouillon de luxe, la promesse d'un avenir radieux qui, heureusement, se concrétisera. Mais en 2025, est-ce un disque que je mettrais sur ma platine pour le plaisir ? Honnêtement, non. C'est un disque que l'on respecte plus qu'on ne l'aime. Un disque qui force l'admiration pour la qualité de l'artisanat, mais qui peine à déclencher la passion. Un 3 sur 5, donc. C'est la note de l'élève doué mais un peu trop appliqué, qui a bien appris ses leçons (les Beatles, les Byrds) mais qui n'a pas encore trouvé sa propre voix. Pour ça, il faudra attendre un peu. Mais la suite, croyez-moi, vaut largement le détour. "Whatever" n'était qu'un apéritif. Un peu fade, peut-être, mais qui préparait le terrain pour un festin.

Wasn't moved by it initially, but I got into the second half of the album.

I don’t think I’d heard of Aimee Mann before. This album reminded me of early Avril Lavigne, but obviously way before Avril was in any kind of music scene. It’s a bit punky, but still quite poppy at the same time. Moody pop, I guess. I did enjoy this album, but as I write this review a day later, I’d be hard pressed to recall any melodies or lyrics that stood out. It’s a fun listen, but not exactly a game changer.

i dont really understand why this is on the top 1001, but it wasn't bad by any means... pretty standard alt pop album of the 90's.

I like the general style. Upbeat soft rock with pretty good lyrics in a lot of places. Nothing stuck out that really blew me away, and I got a bit bored toward the end of the album.

This album felt like it inspired a lot of late 90’s/early 00’s music. The singer very much gives me Fiona Apple with maybe some Sara Barellies? The song “I Know There’s a Word” reminds me of the verses for teenage dirtbag. I wouldn’t be surprised if they were influenced by her. 3!

Was vibing to this album and then Mr. Harris comes out of nowhere with a cringey sucker punch. Could still be a good song if you don’t pay attention to the lyrics either the composition. Aimee Mann also has a lot of qualities in her singing voice that remind you of other artists, so she seems like a familiar voice while listening. I also love the 90s melancholy rock sound that’s featured throughout. Not good enough to be a four, but a solid three.

A really solid album. Perfect to have on in the background while working. It's nothing to write home about, but I enjoyed it more than I thought I would.

3/5

If nothing else, at the very least, I hafta give it to this album that it wasn't what I was expecting. From its cover, I thought this was gonna be way more in the vein of... Y'know, Avril Laveigne, Alanis Morisette, Liz Phair... That kind of sound. "Chick rock," for lack of a better phrase. And from the top of the album, it did sound like that's exactly what it was going to provide me. However, then it had that small "Penny Lane"-like breakdown and I sat up in my chair — "Oh? There might be more going on here than I'd naïvely assumed based on no more information than the album cover aesthetics?" The next track confirmed it: yep, there's some Beatlesesque tracks on here. Much-produced orchestrated pop with a knack for a hook. Ah, something I could latch onto. And let me be clear, I don't dislike Avril, Alanis or any other artist who could be slotted into that crassly-blunt "chick rock" phrase I used. Simply, my worry is that this would just be **generic** to my ears, where I'd be left wondering what people like Elvis Costello were going to gaga over. Y'know, the whole question of, "Why would I go to this woman for this sound, when there's so many others in this field that could provide the same thing?" And good for her, I can't think of anyone else who provided this sound in the 90's, sliding between rock, orchestrated-type pop and even some country-style acoustic ballads. That's something I can be impressed by. However, at the same time... I'unno. Not even too far into the album I was kinda getting tired of it. Maybe if it's too much of a good thing, or because I wasn't splitting it up into "vinyl sides," or because I was distracting myself with making a work night playlist at the same time... Or maybe her voice just wasn't that unique to me. Seriously, I spent way too much of the album tryna figure out all the women I thought she sounded like, and I couldn't land on even one specifically. So maybe this is another album that would have benefitted from a little editing? Like, did it really **need** to be 52 minutes? And I don't wanna entirely kid myself; there **are** albums that are this long that I can listen to just fine without any kind of break. This just... Isn't one of them, I guess. At the end of the day, I don't think I can give this any less than a 3; I was too pleasantly surprised by its content to go lower. I just wasn't ultimately too engaged with a lot of what it ended up presenting, so I also can't go any higher. Just leave at an "it's fine" 3. Like — I mean, I'unno. Whatever.

I mean, it's just Fine Enough. It feels Very Generic, though, so it's getting Solid 3 Stars from me.

Not for me

Very meh 2.5 stars

Pretty nice. I think Way Back When is pretty playful and I've Had It has some good production behind it. Also my brain is broken because I associated the cover with her doing the Sonic Adventure pose.

Das Solo-Debütalbum bietet soliden Gesang und zeigt ihre Fähigkeiten als Songwriterin. Die Songs sind gut komponiert und angenehm anzuhören, auch wenn sie nicht unbedingt spektakulär sind. Manns Stimme verleiht den Tracks eine besondere Note, und die Produktion ist sauber und professionell. Insgesamt ein solides Album.

Not exceptionally bad or good. Didn't get bored, didn't enjoy much. I never heard of her before, so that was nice.

I remember quite enjoying this at the time but it sounds very middle of the road listening now. Good songwriter though.

Pleasant album, need to revisit.

It’s fine, but there’s really nothing on here I haven’t heard a better version of somewhere else. I would probably listen again, but does it actually belong on this list?

Excellent album of alt rock tunes! This was a real surprise, never heard of her before but will for sure investigate more of the catalogue!

1993 pop rock. Sounds as expected. not bad, nothing wowing.

Some strong songwriting here, but it’s a little too long and labored.

Whatever this entails, I'm sure that it will do whatever it is necessary to whet whatever appetite is there from whatever audience is there. Favorites: I Should've Known, Fifty Years After the Fair, 4th of July, Could've Been Anyone, Put Me on Top, Stupid Thing, Jacob Marley's Chain, Mr. Harris, I Know There's a Word, I've Had It.

Solides Rockalbum durch und durch. Leider nichts herausstehendes für mich.

ich schwanke zwischen 2 und 3 Sternen. Insgesamt finde ich das Album langweilig, ihre Stimme zu nasal und es ist mir zu viel Country. Allerdings finde ich, sie probieren viele multiinstrumentelle Sachen aus und die Harmonien sind nicht ausschliesslich basic, sondern manchmal interessant. Ab und zu kommen plötzlich unerwartete rock’n’roll oder fast klassisch klingende Intermezzi. Und die letzten Sekunden des Albums sind hilarious. Darum 3 Sterne.

nice melodies

It’s got a mellow vibe with some bite. The lyrics don't try too hard. The sound is simple and clean. It’s low-key but not boring.

Fine album

I wish she had kept the energy of the first track all the way through. It gets pretty stale as the songs get softer.

Kind of catchy. Kind of campy. Straight up the middle.

Not my typical fare. Musically it vacillates between alt country and Beth Orton style tales of the heart. It's a good representative of its ilk and I found myself enjoying several tracks. I recommended it to my wife who actually is a big Orton fan. I wouldn't change the album if I came into my house and it was on but, barring that, I probably won't critically listen to it again. All things considered I'd give it quite high praise aside from my personal preferences. The music is actually quite well realized and not merely an accompaniment to Mann's wry lyricism.

Not really sure why this is on the list. I couldn't see anything really special about it. It's not bad, necessarily, just nothing stands out.

A perfectly fine album. Little folky/country for the first half which was like a low 3. Then we got to the second half of the album starting with Jacob Marleys chain where I think it achieved high 3 status. This leads me to average it out to a square 3. Not the best album to run to, but I've had worse.

Some nice peaceful music with just the right mix of pop, rock, and some country to keep things interesting. The ending of the album was pretty whacky with the like 20's sounding circus theme piano

I remember opener I Should've Known from back then. Catchy song with a cute bit where she sings the ellipses (dot dot dot). Rest of the album is more of the same. Pretty ok singer-songwriter-y stuff with a bit of a powerpop edge in the rockier tracks. Albumlength I am less keen on the explicit smartness - in the lyrics and occasionally in the excess of different musical ideas in one song - than I was back then in that one song. I liked when she hooked up with Ted Leo for (a tour and) an album but I am unlikely to back to this album any time soon.

3 out of 5. Not bad as some reviewers here have said.

Pretty good

A pretty good album. Even though I am not convinced it should be a "must listen", I will give it a 3 for some thoughtful songwriting.

Pretty straight 90's pop. Decent.

No private session used for Spotify. I love Aimee's voice, sweet and lethargic. This is a solid album with a couple of standout songs.

Stupid Thing is such a banger.

Pretty nice, first half is much better, I like it overall.

A good record in Fiona Apple vein but with a pop-focus. A fun listen though not super compelling to me personally. I LOVE her voice and some of her songwriting is great. So great to have this era of female-vocals over guitar-driven rock.

The vibe takes me straight back to the 90’s, hanging out in the college town with a cup of Joe in hand.

A typical US singer/songwriter. Not really a fan but ok

Very 90s, from the cover on down. There are lots of good songs here, sharp, melodic, and performed with a distinct style. A strong album for sure. Best song: Stupid Thing

I found it just ok - despite everyone raving on this album.

Glad to finally have an album by a lady pop up. It was ok but not really my taste.

I wasn’t expecting to actually like this album, but I do. Female singer-songwriters aren’t my typical jam, but this was a good listen. Just kind of mellow, chill-out music.

Mir gfallt irgendwie eifach nöd wie sie singt. D production stimmt scho und d songs sind glaub voll okay aber ich has irgendwie aastrenged gfunde. Cha aber nöd würkli es zwei geh wels glaub scho gueti musig isch. Für mich aber nöd es album wo mer mue ghört ha

erste song zieeemliche banger. sie sehr adult contemporary sha dap dap dap dap. und irgendwenn penny lane piccolo trompete hinedra. sie spielt huere viel instrument selber letsgo. und noorml tony berg het produziert er het gschmack de guy. fifty years after the fair au seehr cool ich mag sieeee. couldve been anyone osch chli sehr adult contemporary gsi etz. put me on top au coool geils churzes giti solo. jacob marleys chain isch sehr ein erzählbär time hani mengmol no gern mengmol ischs sochli jooo mittelalter time? weiss nonig wo ufem spektrum dases isch. señor harris. el mister harri. no schön i guess? i could hurt you now. ok isch das e drohig? geeeils riff geili riibendi chords. nöd umwerfend aber cool. i know theres a word isch cute, geile gedanke irgendwie. irgendwie joni mitchell. hahaha way back when mega cartoon grüsch huere funny okeee dasch hert e 3. mega e 3.

Really excellent songwriting, good songs top to bottom.

pretty good vibes but didn't grab me

Knockoff Sherly Crow. Fine.

A weird predicator of Madonna's most mediocre songs.

Little too lowkey for me, nothing that hooked, ordinary voice, ordinary pop.

Pretty good, but not my jam. Feels very much of its time.

Decent Rick album

Album jako celekm dobrý, začátek a konec trochu slabší. Střídají se klidnější a rychlejší. Dost jich ale působí průměrné, 2-3 jsou výraznější. K albu se možná někdy vrátím. 6/10

I actually liked this one…didn’t love it, but liked it well enough to save it for another listen someday.

This album is painfully 90's, which isn't a terrible thing. The songwriting is actually clever and diverse with lots of variation. The singing is a bit off to me; she's not bad but she's got a weird twang in her voice that seems like it would've been shifted to pop-country if it came out a decade later. Throw in some lap guitars, jingoistic lyrics, and a cowboy hat and you have country music radio now. This album as a "must listen" might be true if we're trying to explore musical stylings of every decade. This is a time capsule of the 90's singer/songwriter. It doesn't have the edge of Alanis Morisette, or the terminally sad and emotional sounds of Ani DiFranco, or the whatever the hell Sarah McLaughlin was doing, it's just squarely in the middle. It's not bad but it really, REALLY, just fades in to the background after a while. It's the kind of music you hear in a cafe that has more than 1 location but less than 5. It isn't bad or performed poorly or mastered in a crazy way, it's just outdated. It's fine. Really just fine.

Very nineties. Inoffensive light airy music. It's fine.

Pretty iconic tbh, very of its era! Easy to give myself to it, very unsubtle in its lyrics in a way that I’m sure connected for people pretty hard… fun!

Not just Whatever! Pretty good! (trying to be Nick today)

This whole album was really nice, but not really particularly interesting at any point. She has a nice voice, she’s clearly a very talented songwriter (the best part of this), and something about it just was a bit lackluster to me. I'm really struggling to pinpoint it exactly, because I feel like I should like this more than I did. The songwriting is really strong, "4th of July" is beautiful and a bit haunting, "Jacob Marley's Chain" and "Mr. Harris" were unique and interesting. "I've Had It" is a really strong track near the end of the album. But I don't know, something is missing a bit. I could totally see something like this growing on me over time, but we will see. It's giving me PJ Harvey vibes, but PJ feels a bit more dynamic to me. Anyway, today it's solid, but a bit unexceptional. Favorite song: I’ve Had It Other: I Should’ve Known, 4th Of July, Put Me On Top, Stupid Thing, Jacob Marley’s Chain, Mr. Harris 9/23/24

Nice

Odotin hieman enemmän voimaa: alkoi todella vakuuttavasti. Tempo pysyy kuitenkin läpi levyn samana, joka biisin poljento on liian sama. Eroja pitäisi kuunnella tarkemmin - olisin kaivannut, että joku biisi olisi herätellyt tekemään niin. Vika biisi kyllä tuo pianolla erilaisuutta, hyvä lopettaa niin (ehkä kutsu kuuntelemaan toisen kerran?). Jäi kiinnostamaan, siitä pisteet.

I think Aimee is at her best here during the more subdued moments (4th of July, I Know There’s a Word, I’ve Had It). The more upbeat tracks didn’t do too much for me, but I suppose without some more lively songs, this album would be quite a somber affair. Anyway, this was pleasant enough, but I felt no burning desire to play it again (as I usually do) or to rate it any higher than a 3 (as I seem more inclined than many to do). Whatever, indeed. 3/5 Highlights: 4th of July Mr. Harris I Know There’s a Word I’ve Had It

Nothing remarkable for me here. I never heard of her before. Some tracks remind me of The Bangles, especially the harmonies, but they are not catchy enough. Production and arrangements are quite good, so it is not a total loss.

Unfortunately, I was just kind of bored by it. “Jacob Marley’s Chain” wasn’t bad. 2.5 rounded up (but it really should probably just be a 2)

köntrí skotið gáfumannapopp. frekar gott. gef þessu annan séns. 3,5.

Very Disney Channel. Nothing special.

3.4 listened 2x

Hay otros discos de AM que me gustan más, pero de aquí me quedo con 4th of Juky

May be one of those that requires repeated listens but it kinda washed over me without leaving an impression. Good production though.

Whatever is a little bit better than whatever, but not much. It's like a less good Sheryl Crow, and Sheryl Crow was only occasionally good. Aimee's voice is fine but overproduced, the lyrics are fine if predictable, it's all an average low 3 and is only on this list because Elvis Costello liked it.

This was fine, but nothing more than that. A pretty bog standard singer-songwriter album, she's got a nice voice but the songs are a little bland. Like a lightweight Alanis Morissette, a couple of these tracks could've been album tracks on Jagged Little Pill but none of it competes with the best tracks on that. A middle of the road 3.

ok

I like the sound but none of the songs really stuck with me. 3/5

It’s well produced with really interesting arrangements. And that cover screams 90s more than a FriendsxSeinfeld crossover event. But it’s just really not my thing.

Whatever. I like the stories she tells. I imagine this quality is what flagged this album up for Mr. Costello. I wonder how many pairs of Dr. Martens this album cover sold...?

This was perfectly fine but unremarkable. 3.0

Interesting voice.

Another pleasant surprise unlocked. Great listen.

Perfectly fine.

This was ok. Just a nice easy one off listen, Jacob Marley’s Chain being the stand out. 2.5 really but rounding up.

Competent pop rock that hits all the points you expect pop rock to hit. But there is a trend, that becomes a maddening tease, of opening as if there are about to become something else entirely, something much, much better. "Say Anything" is a good example of this. The first two instrumental bars and then the first two vocal bars seem to presage an homage to Pink Floyd, and then it just drops into the standard pop rock groove. After that the song periodically teases us with what it could have been, but you still end up with blue balls at the end. Still, it's highly listenable, at least one song at a time. I just end up wishing she was writing for a different band, one that would push for a rougher, grittier, more challenging sound. "I've Had It" is the best song on the album, IMO. I feel like most of the songs started off as good as that one was all through and I just wish they had payed off. So, a 3 that makes me wish for what could have been.

Enjoyed it more than I expected. Found much of it Pleasantly haunting e.g. Jacob Marley’s Chain and Mr. Harris.

So “Whatever” by Aimee Mann, is one of those albums that I never would have listened to without the 1,001… Always impressed with her work with “Til’ Tuesday” – and her backing vocals on the Rush track “Time Stands Still”, totally made the song, and was absolutely magical… That said, I didn’t really know what to expect – but was pleasantly surprised… Can’t say I know what the “genre” is, but it is exceptionally well done… Her vocals, and her range throughout were pretty close to perfect on this album – and her voice blends so well with the music… Obviously some tracks are better than others – but even the weaker ones were fairly well done… Best tracks IMO were – “4th Of July”, “Stupid Thing”, “I Could Hurt You Now”, & “I’ve Had It” would all be 4-stars out of 7 in my little rating scale… The weaker tracks were “Fifty Years At The Fair”, “Jacob Marley’s Chain”, & “Way Back When”… Again – it’s not that these songs sucked, it’s just that they weren’t nearly as well-done as the others… Though each of them still had moments of goodness – like the lyrics in “Way Back When”… The rest of the tracks were just fine… Just love the quality, ease, and range of Aimee’s voice – and really appreciate how well she compliments the music – which is no easy task… She’s just a talented and versatile artist, and I really enjoyed this album… Solid 3 from me…

I apparently forgot to rate this 6 months ago when it first came up, so I gave it another listen. I remember thinking a little better of it on the first play. It had that 90s female singer sound just like the Sheryl Crow, Paula Cole, etc. The second listen wasn't quite as good so I'd probably have given it a 4 instead of 3 this time. It's still a fine record to listen to in the background, but not something I'd buy as an album to play on purpose. I really wish I had my notes from the first listen because I feel like I was a lot more excited for the relisten before than after. Favorite track "Mr. Harris" 3/5

Good lyrics, didn't connect with the music though. Country is a hard one for me to enjoy. Mann's a talented songwriter, so maybe I'll try again another time. 3/5 for now.

Alright bit mor not nothing really excited me. Some good moments and well crafted. 5/10

90s girl rock that goes unappreciated and somewhat forgotten for these pioneers.

Uihh, eine Wertung von 2,8 ist aber schlechter als ich gedacht habe. Mein Verdacht: wenn das Album einen Smash Hit gehabt hätte, wäre das anders. Aimee Mann, noch nie gehört. Hätte ich einen Song davon im Radio gehört, hätte ich auf Sheryl Crow getippt. Aber Sheryl Crow hatte auf ihrem Debut Album den No.1 Hit All I Wann Do, Joan Osborne hatte auf ihrem Debut Album den No.1 Hit One Of Us. Macht vielleicht den Unterschied. Wer weiß.

Super average 90's alternative/pop-rock album, but not in a way I completely hate. Nothing new or exciting here, but I still had fun listening.

This was fine, 3 stars! TIL Aimee Mann dated Uncle Al & was in Ministry for a minute. She's quoted as saying she learned more effective song writing during her time w the band. Mind blown. Mostly I just thought about that Portlandia episode where Aimee is a maid lol

Sounds like the songs that play during a 90s romcom when they're driving into an American city for the first time

Aimee is a soothing and serious artist with things to say and pleasing ways to say them.

I love me some very average pop rock. Nothing really stuck out to me but I feel like if I had known of her/listened to this when she was new and popular I would probably have a more favourable opinion of this album. I can't lie I kept zoning out during each song but that's how you know the music is good at being average. I also always love to see female artists in the generator so there's that. My favourite tracks were I Should Have Known, Fifty Years After The Fair, Stupid Thing, and Way Back When. A decent start to the weekend, nice respectable 3 at least

This was fine. Mid 90's lady indie/Americana isn't my thing, but it's a step up from Sheryl crowe and I didn't dislike it.

The most aptly titled album of all time. This is fine, nice and OK. Possibly the most three star album I've ever heard.

90’s upbeat pop, I’d definitely describe my feeling of wanting to listen to this song as ‘Whatever’, it suits it well. Very aloof! 2.7

Ganz gut.

How come I've never heard of Aimee Mann? Definitely has that 90s sound! Love it! But not enough for 4 stars.

ci sta, ci sta. molto pop/rock anni 90 e a tratti mi ricorda Alanis Morissette, ma sarà perchè il genere è all'incirca quello lì. non so se tornerò mai a volerlo ascoltare, ma comunque si difende bene.

All’inizio dell’album ero carica, poi ho perso l’entusiasmo. Tutto sommato però l’ho trovato carino.

Tja… behagelig stemme, tekster som svinger imellem finurlige og banale. Jeg skal ikke afvise at jeg igen vil høre hende en dag hvor humøret er til musik der kan slappes af til eller endda døses hen til.

How did this album start off so Strong and then go seemingly nowhere three stars for a strong start and interesting Lyrics.

I have a soft spot for this kind of ‘90s singer songwriter stuff. And some of the tracks here verge in excellent with inventive arrangements and production techniques (at least for the time). Nonetheless most of it doesn’t really grab me.

And a half. Wish I’d listened to this album when I was 16.

Ah it’s nice but a bit generic rock. Good first effort. This lady would go on to give up her toe in the Big Lebowski. They thought they would get a million dollars. It’s not fair.

Bekannt gut. Aber nicht sehr gut.

More jangly guitar than I normally associate with her.

She's got a lovely voice, and it's a fine album. I would listen to it again.

ganz cute aber somethings missing

3.5 stars. But I do appreciate the song that started out something like I finally met you, now let's never see each other again. Kudos on that one.

3+

This album couldn't sound more early 90's pop/rock if it tried. Lo-fi drums in the background, jangly guitars and earnestness. The album is a tad overlong and soon the tunes begni to blend into one another. Some catchy melodies, some good lyrics but there are better albums around in 1993 than this. At least my twelve year old self would have argued and I suppose my current self would now. Best Tracks: I Should've Known; Could've Been Anyone; Stupid Thing

Boring, but somewhat pleasant as a soundtrack for a sunny afternoon.

A nice listen. Would be good car music.

I Should've Known 3 Fifty Years After the Fair 2.9 4th of July 2.7 Could've Been Anyone 3.1 Put Me on Top 3 Stupid Thing 3.4 Say Anything 3.2 Jacob Marley's Chain 3 Mr. Harris 2.9 I Could Hurt You Now 3 I Know There's a Word 3 I've Had It 2.8 Way Back When 3 Nothing n/a Score: 3

I don’t like giving star ratings if I’ve only heard it once so if I enjoyed listening to it I’ll give 3 stars.

Album title = review

This is fine

Generally enjoyable acoustic pop music. Standouts include I Should've Known, Fifty Years After Fair, and 4th Of July.

I enjoyed this one but it peaks at the start and that’s sad. Favourite track: I Should've Known.

This sounds like much more recent than 1993.

This is a solid record but her best was yet to come.

Aimee Mann leaves me a bit cold. I think she's technically a solid songwriter, but her songs have always failed to connect with me. (Except for Til Tuesday's classic, "Voices Carry," which has been in my head all day.) Anyway, this is more of a 2.5 but I'll bump it up because I like her as a person.

One reviewer called this album the Gilmore Girls in album form and I had that same exact thought while listening. The album has a very strong sense of melody and features perfectly fine guitar work. The album is very of its time and definitely sounds dated but not necessarily in a bad way. It’s a good look at female driven music from its time.

I’m sad to say that I don’t love this like I wanted. It’s not bad at all. It’s really good. She’s painfully cool. I just don’t think her voice is at its best on some of these tracks. Music feels a little too generic in some places. Say Anything, Jacob Marley’s Chain, Mr. Harris - all solid. In fact, I’d say the album gets much better in the second half. Not bad, just not great.

Pop.

Whatever, man

Different, but I liked it.

Excellent sounding guitars and there's a sweetness all over to the arrangements. I can't get into Mann's vocal style. This is peak 90s female singer songwriter. While it doesn't sound dated, it does lack a distinctive personality.

# Playlist track - Fify Years After The Fair # Notes - It's on OK album. Whatever, as the title says. - 90s balady, not groundbreaking, not too annoying. Whatever.

Couldn’t have put it better myself hyuk hyuk

Jotenkin olin ennakkoluuloinen mutta tämähän oli ihan jees, ellen jopa sanoisi että aika hyvä levy! Kokonaisuutena toimii hyvin puuhastelun taustalla, ja jokunen biisi saa jopa palaamaan. 3/5

Mannin kolmas levy (Bachelor) oli tuttu ja se on tosi hyvä. Tämäkin toimii, vaikkei ihan yhtä kovia biisejä. Tuntuu kovin aliarvostetulta artistilta.

The title kinda sums it up. Whatever. Not offensive, but super generic. I’m sure it slapped harder when it was released.

Extremely country sound, not at all what I expected from this artist. I guess it's interesting in that way, but I don't think it's all that great for a country record.

It sounds dated, but Aimee's voice is really good! It's decent pop, just not my cup of tea. It really does feel like a product of its time.

Les chansons sont catchy, la voix d'Aimee Mann est douce et énergique. 3,5

Cool stuff. Such a ‘90s jangle pop vibe.

Very 90s singer-songwriter lady, but definitely one of the better ones. A nice listen. Story driven lyrics, not poppy. She also sings Voices Carry, the 80s pop song.

This really encapsulates the 90s alt pop sound. This is soft and melancholic while still being interesting and unique. It feels like a precursor to phoebe bridges styles of music that so many female artists make in the 2020s but with more 90s flare. This was good and better than expected. 6.5/10

Whatever

HL: “4th of July”, “Jacob Marley’s Chain”, “Mr. Harris”, "Fifty Years After the Fair" Typical 90s pop rock or baroque pop brilliance? Or both? Or neither? What even is Whatever? Who am I? People suffering from Byrds fatigue will be pleased to know that Roger McGuinn's jangly guitar features in track 2 3.5

I imagine this was a fun album for 'Til Tuesday fans when it came out, and it seems like a solid album, although I don't have any real familiarity with 'Til Tuesday or Aimee Mann. It's kind of like a completely different version of Bob Mould going solo after Husker Du, I guess? It's a tight and poppy album, I suppose, but nothing very exciting to me, since I didn't have any history with her.

I enjoyed her lyrics more than I enjoyed the music or her voice--not that there was anything really wrong with those, but they didn't stand out as much as her lyrics where are really good. I'm not sure I would listen to this again, and no one song really stood out to me, though I have to give her credit for writing a song about Jacob Marley.

I did not know that there was a Liz Phair before Liz Phair. Now, seriously, I had listened to Aimee before and liked her style, but wow, she was in the same style even the year that Exile on Guyville was released. Moving to the album, it has nice songs and a good vibe. It has some filler, too. It starts strong and goes with ups and downs from there. Some of the harmonies hypnotized me, so I am tempted to say that I will come back to the songs I already flagged. Love girls with guitars and good stories to tell

not bad, kind of know what you're going to get country-indie

Good album :D

Totally indifferent.

They did Aimee hella dirty by including this over literally any of her other albums. She's got at least 2 that are 5s for me, this feels like a bit of a first draft for where she'd end up. Her voice is still killer though, I think it ends up as a 3.5 overall.

No es bueno, no es malo. Es un gran Whatever como el título del disco.

okay aber nüt ussergwöhnlichs für mich

Yeah, okay. Nice background music.

Boy did I hate the singer. But i hated more how much I liker the backing tracks

The name sounded familiar, but I didn't know this was the singer from 'Til Tuesday until after hearing the album. It didn't sound similar at all to me. This was pretty standard fare 90s pop. She has a nice voice and the songs were all pretty radio-friendly stuff. It was decent.

Very pleasant album. Softly sang. I don't really know if it should be on this list, but it's a good music.

I wanted to love it but the majority of the album blended into the background. Love the messaging and production.

i think aimee is rly cool but the songwriting on this record didn’t hit for me! i like some of her other songs but these felt a bit basic

I'm a bit worried that I'm just falling into a trap where any album that sounds something like this ends up with 4 stars. Nope, you know what, this didn't really capture my attention enough to warrant 4 stars. The ending of the album was funny, I liked that. Fave Tracks: Say Anything 3.4/5

Geht so

I like her voice

Not bad, but not much that was particularly memorable on the first listen.

Feels like this is where Cheryl Crow came from.

Surprised me. Listened to it twice. Good album. Falls just short of 4 stars as I don't see it as a "must listen."

Very nice album. Great vocals, good guitar sounds. Might not last for me as being an all timer but this was pretty decent. Three and a half. Fave track: Mr. Harris

Just one those middling albums, nothing wrong with it but nothing awesome either, it’s telling when the artist changes on Spotify and I don’t notice for at least 3 songs that it wasn’t going to stick out as great or terrible.

It's not bad but it's a little generic.

Wat schrijf je hier nou weer over? Het is een standaard popzangeres. Wat gedateerd, maar het houdt. Het zakt wat weg, maar het wordt niet saai. Het heeft een continue kwaliteit, maar geen nummer dat eruit springt.

Will have to listen again

3.5/5

The album title genuinely reflects my feelings on it. It's not bad, it's not great.

This entire album sounds like a 90s teen drama, and songs would not feel out of place in a 90210, Felicity, Melrose Place type of shows (let's be real she might've had something on one episode likely lost to time at this point). However, despite this feeling, Aimee was never really able to grab my attention with her pop/rock tones. Best: I Should've Known Worst: Mr. Harris

I definitely expected something grungier based on the album cover. But this was a nice series of ballads about love, loss and the passage of time. Favorite track was could've been anyone

Nothing too influential or memorable on here but it’s a pretty solid record

It's a good album, however it comes across very dated. Just also kinda drags at times.

This was just okay

didn’t love this one, not really my sound!

I had never hear of Aimee Mann, but given that it is early 90’s pop, that ‘s not shocking. I pretty much quit listening to the radio in the early 90’s. And it peaked at 127 on the Billboard 200. All that, combined with a score here of 2.78, didn’t have me too optimistic going in. but guess what. I rather like this. Very catchy songs, the vocal style reminds me a little of Sheryl Crow…. Maybe? It has a good clean sound, not overproduced. The right mix of instrumentation. “ Hooky” melodies. Nothing to deep, just solid and pleasant indie-ish pop. There’s a couple of songs that could’ve been trimmed, though. And it lacks anything truly memorable. 3/5

She's a brilliant lyricist and a great singer, but is surrounded by some of the blandest session musicians in the world Chirning out bluesy blandness. When they back off, as with Jacob Marley's Chains, it flies though.

Enjoyable listen. Was terrific background while I worked

A side note that albums like this prove that not all the reviews on this site are worth reading - a lot of sexism and just plain lack of an open mind from folks on here. Country, folk rock, girl rock, 'mom rock', all have a great place on this list and are important for millions of people. Dudes on here, do better. As far as this actual album - I'm not sure I'm a huge fan, but that comes down to my taste and not the merits of Aimee Mann. It feels of its time and like something I just missed out on. Then again, I've never been a huge fan of soft rock. But her lyrics are terrific and the production value is rock solid.

Jangly 90s power pop with an alt-country accent. Mostly guitar driven sound with dueling leads, high arpegios, and big open chords, though some songs have a piano foundation hinting at the more singer-songerwriter style Aimme Mann would turn to later on. Fairly standard stuff in terms of rock song structures and sounds. The vocal parts are the stand out - she has an engaging accessible sometimes a bit nasal voice, a good sense of pop melody and some very nice harmonies, all of which are in service of delivering a heady introspective and romantic set of lyrics.

- Fifty Years After the Fair - Stupid Thing - Jacob Marley’s Chain 2.5/5

Bija ok tas 90. gadu rebel vibe.

Nice! I know Aimee first and foremost from the Magnolia soundtrack, I think that song put her on the map in a big way. But I also know her from that Portlandia episode where she's working as a maid for hire. Good stuff. Anyway, like yesterday's David Ackles, she's a singer-songwriter. She's got the lyrical chops for sure, her voice is kind of muted. Not necessarily bad, but certainly distinct. I liked a few tracks on here, enough to say it's a decent album, but didn't blow me away at all. Favorite tracks: I Should've Known, Put Me On Top, Mr. Harris. Album art: Very tired of the world, it seems. Picture and pose definitely matches the album title. 3/5

Album 218 of 1001 Aimee Mann - Whatever Rating : 3 / 5 (Rounded Up) Favorite Track : Put Me on Top I've been hearing some great women performers lately. Notably Marianne Faithful, Poly Styrene, Siouxise Sue, Patty Smith , Debbie Harry, PJ Harvey, Liz Phair... Aimee Mann isn't them. Not terrible, but just there. She was part of that 90s wave of female singler/songwriters but kind of gets lost in that group, as well. Won't say it is bad but it is just something that others did and did better (Suzanne Vega, for one). Certainly servers it's purpose, I guess I enjoyed her stuff with 'Til Tuesday more.

This was pretty cool but nothing special for me

I liked it. Nothing MIND BLOWING, but solid.

Very 90ies

An album with a lot of creativity, energy, and talent.

Fine I guess

A few neat little tunes in here. I'm not sure I knew her music but hey I've forgotten lots of music from this era.

The first song is great, Aimee sounds like a pop-metal Chrissie Hynde. She has a good voice and the critics were smitten with her "snappy" lyrics. After a while the commerciality of the songs kind of dragged me down.

Listened Before? N I have only vaguely heard of her before, but I knew her without knowing her because she was in Til Tuesday! I thought her voice sounded familiar and now I know why. The album itself is 90s grrrrrl rock through-and-through. It's not great, as far as that goes, but it's decent. I like the guitars and the overall ambience but nothing stood out much here. 4th of July and I Should have Known are good. The more I listened, it grew on me. The slower second half would have been right up my alley in HS. Added to Library? N Songs added to playlist: 4th of July

Was thinking this would be unlistenable due to the rating but it's very bland pop rock. Nothing eye catching but not unlisenable.

This was my vibe a decade ago. Relaxing music. I will probably come back to this when I want to unwind after a stressful day

Funny how some albums or artists scream "throwback" to me as Aimee Mann does here (which to be fair 1993 is THIRTY GODDAMN YEARS AGO) yet something from say 1983 doesn't... At its best this is excellent pop rock that has the type of melodic progression that hits me right in the sweet spot. "I Should've Known" is a big opener that could have sit comfortably side by side with Jellyfish (greatest "never really made it" band in history) in '93. There's nothing bad in this album at all. Sort of a damning with faint praise there ... my issue with Aimee Mann is that I feel like I can ever only listen to maybe 5 or 6 in a row of her. She has a nice voice to be sure; recognizable as well - but I feel like her easy energy vocal clarity gets ... stale after a while. Gimme a little passion, a little difference somewhere. And that has an effect on the songs - again, they're all in isolation very nice to good. Just that for me her voice blends them all together after a spell and the entire effect becomes a bit boring. Excellent songwriting, but she's a perfect EP kinda artist for me. Not quite enough for me to hit a 4 star but I'd never turn it off (until like the 7th son of course...) Faves: "I Should've Known" and "I've Had It" 6/10 3 stars

Dece

Good but nothing too standout

beautiful voice. sounded like sheryl crow with better singing ability. not bad at all.

Alright, I guess.

I like Aimee Mann, probably the most out of her contemporaries, but I was surprised that this was the album chosen. It was pleasant but didn't really stand out much to me, melodically or lyrically. I feel like it's becoming my catchphrase but I do always appreciate a debut, cuz it gives me interesting context in which to place the artist. In this case it did more make me want to listen to her more popular stuff to try and discern where she evolved to earn her cult status as a songwriter.

Aimee Mann is definitely a good songwriter but nothing here blew me away. I think I wanted to like it more that I truly did. It sounded like Tom Petty was singing backup in “fifty years after the fair” but it was a Roger McGuinn. Close enough. 3.5 if possible.

It was OK. One or two songs were good, but overall just kind of there.

The piano in the album was excellent. Very chill mood. Reminded me a bit of Michelle branch. Overall a nice listen.

nice voice. easy listening good music. enjoyed.

When I got this assignment, I thought, "I haven't thought of Aimee Mann in a long time!" While I did enjoy listening to this today, I thought that there might be a reason I hadn't thought of her in a while. There were a few other singers of her genre that have stood with me a bit more.

I really don't hate this as much as I want to. Is it great? No. Could I have died without listening to it? Yeah. But there a lot more interesting arrangements in here than about 90% of the singer-songwriter albums in this book, so I appreciate that. I like her voice too. Favorite track: 4th of July