Reviews (page 5 of 8)
What a rollercoaster of feelings! First, don't judge an album by the cover, but this looks like prefabricated pop-rock from my childhood. Then I started listening to it, and I actually liked it! It is more folkish rock than I thought, with good vocals and superb production! It actually reminded me somehow of some of my favourite 80s songs, like Moonlight Shadow, but with less guitar and a more modern approach. But in the end, this is a bit boring for me. The songs are not engaging, and I feel this is a subpar Alanis. But I moderately liked it anyway. Probably will come back to it later. Adding to the "Songs for driving" list.
It sounds like a good song playing at Walgreens.
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.
I like Aimee Mann! I don't like this Aimee Mann.
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.
2.0 - Weak
no
I really like a lot of these songs but the production is just too much and takes away from the organic feel that would make them stand out. At times, the production takes the lyrics from being heartfelt and raw to sounding cheesy and superficial. It's a bummer because I think if this were taken by a different producer it would have been significantly better. Apparently this was a sentiment shared by Aimee because she has stated in her later work she tried to shy away from the 90s clean production style. Would love to hear this remastered in a way that is more true to an 'artist recording in their bedroom' style. Great voice and obviously exceptional songwriter. My dislike of the production might just be a me problem.
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
Yeah "whatever" is a good choice for a name it's just not good
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.
Is she the gal that was in a Buffy episode? I give her points the that
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!!
Hate hate hate. Ok maybe that’s a bit strong. It’s not especially offensive, but also of no interest to me whatsoever
Snoozefest
I don’t hate this music, but I also don’t see anything special about it. I struggle to understand why it’s in this list.
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!
Not bad at all
it's not going to stop :)
whatever. this is 90s sitcom background music.
As much as I like some later Aimee Mann work — the Magnolia soundtrack, particularly — this didn't do much of anything for me. Very whatever.
1001 albums to take with you into the sensory deprivation tank
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.
Things I didn't know about Aimee Man. She sang "Voices Carry". she features on a Rush Song. I also hadn't heard this album before, and it didn't make me a fan. It was okay, but I was definitely glad when it ended.
This started off really strong and I thought I was in for a hidden treat. While it isn't a terrible album, I just didn't find it particularly good either. For a first album (and for a first listen to this particular artist), there's potential for good songs probably throughout her discography.
A very 'whatever' experience.
Good but not great. Not bad. Not essential listening before you die. Definitely not one of the most important 90s albums to hear.
Pop country. Rom-com soundtrack
love the album cover
There’s a certain type of album that is really important for a minute and then stops. This screams ‘1993 acoustic music’. And it hasn’t dated well. It’s good. But it’s barely relevant anymore. She does better stuff later (which you’d hope for in any artist) So another non essential album. 2stars.
Women in rock have it tough. Aimee Mann's cynicism about the music industry is well earned. As Chris Molanphy of the Hit Parade podcast points out, the alternative/college scene in the 80s had more opportunity for female artists, but the shift in the early 90s when the mainstream industry began strip-mining the alternative music scene heavily favoured male artists. Grunge and post-grunge were very blokey, and many female artists found themselves largely shut out. A token handful of female artists (Sheryl Crow, Alanis Morissette) found support to develop multi-platinum success, some said "fuck it" and forged their own path (riot grrl), and some tried to make it work with the crumbs they were offered, like Aimee Mann. This is an accomplished rock album with smart lyrics, beautifully crafted melodies and harmonies, a crack band and terrific production from Jon Brion (who subsequently left his creative mark on a bazillion records and soundtracks over the subsequent decades). I particularly like the Beatles references throughout, which never descend to slavish imitation. But all this was not enough to break through the sexism of the rock industry; support and opportunities denied. It was shameful that, when female artists proved that there was in fact a wealth of female talent and a market for it through the (highly successful) Lilith Fair touring festival, this was used to mock and denigrate female artists even further. The backlash is intense and ongoing; I am ashamed at some of the sexist comments in reviews of this album ("mom rock" -- WTF is that supposed to mean?). This is a smart album of melodic and muscular alternative rock, and it deserves respect. In a universe where women get a fair shake, this album could have been huge.
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.
Argh! More mindless American pap! There is more to music than just playing notes. I can see the boardroom execs thinking this is so bland it will offend no-one, and be loved by middle aged bunnies every where as its so "safe". Someone said it was beatlesesque!? Dung Beatles.
Good stuff, lovely voice. Tickles at deep but not cringey
So so booring
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
A bit boring honestl.y
Pretty uninspiring guitar pop. Nothing exceptional.
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
ngl a bit boring for me?
Aimee Man is one of those artists whose name I've heard for years and years but never (knowingly) heard any of her music. We all have those, right? I wasn't intentionally ignoring her, I just never had a reason to seek her out. She's never mentioned much in terms of "great" artists. I couldn't even have told you what her genre was. Not sure I can now after listening, either. Pop? Pop rock? Soft rock? I don't know. This was a very alright radio-safe pop rock album, is what I've come to. Catchy in all the right places, a nice clean sound that won't offend the ears, and a singer-songwriter with a voice so clear and listenable that while it might sometimes be a little annoying, you'll never feel the urge to shut it off completely because there's something pleasant about it. I didn't remember much of anything about this album after the fact. It's been over a week since listening and I couldn't have hummed you any melodies. I couldn't tell you what any of the lyrics were, or what the songs were about. Except "Jacob Marley's Chain." Because that one is so drastically different than the rest of the album. You might say - "Can you remember any songs from an album you heard once a week later?" Well I could with Tracy Chapman's album, soooooo...... This is the most fine and most inoffensive album I could've imagined. And I really do not understand why it's on this list. Two stars. It wasn't bad. It was just bland. Standout Track: I Should've Known
Fine 90s fare.
Sounds strong
good
I Should’ve Known by the name that this album would be Whatever.
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.
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
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.
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.
Vllt war ich nicht in der mood aber das hat gar keine Emotionen bei mir geweckt
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."
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.
I have an odd aversion to most female singers. Most. Dunno why. They all sound the same to me or extremely auto tuned. It either bores me to death or sounds like nails on a chalkboard. I don’t know why. This sounded pretty generic to me. Like a lady singing country music. Kinda generic.
would probably go hard if I were a teenage girl in the 90s but as it is, pretty boring
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.
Really enjoyed this
first track got me but then it got mild still good though
Struggling to see how this album ended up on this list as it seemed remarkably unremarkable. Nothing particularly stood out and it was pretty bland. Plenty of other similar bland records out there so just not sure what raised this about the rest.
I had assumed that the 90s would be my favourite decade on this list as most albums I own come from this great time in music. This kind of album proves why it is not my favourite decade so far. Never heard of her and will instantly forget her too. Very bland pop which should not make this list. On the plus side if she was starting her career now the industry would demand that she was paraded around in her underwear and sing songs dissing her ex boyfriends and fellow artists.
About as uninspiring middle of the road pop/indie/rock as you can get. Not awful as such, but it seemed to take forever to get to the end.
Vocals not quite my thing but overall very good
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.
1.62
Banging
Didn’t grab me first time. Not heard of this person before. Reminded me lyrically of Elvis Costello. Will listen again.
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.
I have no idea why this is popular. well produced is the best I can say
Yeah a new one on me, looked at the date (1993) and wondered how I had not heard of this artist but then had a listen and can understand why, 90's pop rock was not my favourite in the 90's and that hasn't changed, not my thing, I find it to be very boring, really don't like this album much ⭐⭐
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.
4.5/10. This album has a track called 'Could've been Anyone' and I agree, this album could've been written by anyone. It just felt super generic, super middle of the road and none of the songwriting really stood out to or motivated me. It was fine to listen to but just quite uninspiring which started to rub off on me, a couple of the songs were a little better than this description but overall in the context of the list I feel this album is pretty underwhelming.
Its ok!
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
Whatever
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
p709. 1993. 2 stars. Sheryl Crow, but without the tunes. Well done, but not exceptional in any way. Bonus point for "Stupid Thing". Why is this album on the list?
soooooo 90s singersongwriter in the best way. haters are misogynists.
nuts to the haters, this was a great album. i don't think i'd heard anything by aimee mann before, but there's plenty here to like! the songs are vibrant and engaging, the lyrics paint a scene or express a mood better than most, and there's a great push-and-pull here between the more upbeat/peppy and sad/ballady tracks. i'm a fan! too bad all the misogynists out there can't appreciate a great album. favorites: i should've known, 4th of july, put me on top, stupid thing, say anything, jacob marley's chain, i could hurt you now, i've had it
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.
Well that tailed-off steeply after a mildly interesting opening track. Became all a bit boring, like a Poundland Sheryl Crow.
Whatever sums this up. It's too smooth and well produced for my palette. I'm sure Americans lapped it up, but I can't see why it's on this list, asit hasn't improved my life in any way at all.
Good writing, boring execution
did not like this very much.
This really doesn’t do much for me at all. It doesn’t fill me with rage like the 1s on my list, but it also feels completely forgettable…
No
Ganz nett anzuhören, aber nichts was sich in mein Gehirn eingebrannt hat.
Medium Langweilig
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
de arranque ta muy bien. que gran mundo los 90
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.
Probably not the Aimee Mann album most of her fans would pick for this list and not really my style of music, but I appreciated the densely layered production and sophisticated songwriting.
OMG can't believe i missed this. goat obv
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"
This was ok not really my thing
I enjoy Aimee Mann’s work and listen to a lot from her catalogue. Just not sure what pushes this into a 1001 record.
I swear when they made this list, for every album after 1990 they just threw darts in a record store
Not for me. Mediocre. Loved the magnolia soundtrack though
Really enjoyable pop rock that scratches the right itch, not exactly memorable though.
Good for a first solo album. Consistent vibe and energy. Didn't grab me and felt a bit long but I could see this being right on the money for some people. Decently well done, probably makes sense to have something just like this on the list but I doubt I'd relisten.
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.
This album sounds like she recorded it lying right where the cover picture was taken. A bunch of mediocre songs with her singing over them. Don’t get me wrong, she has a great voice, just a boring album 1001 album worthy: No - 45/80
Good
She was fun in 'Til Tuesday. Too bad she ended that for this.
Not bad, nothing too exciting either imo.
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.
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.
I guess it's fine. Not really my style.
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.
ganz nett anzuhören, plätschert so dahin
Very pleasant to listen to
BEST SONGS: - 4th of July - Stupíd Thing - Jacob Marley's Chain - I Know There's a Word
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
Es gibt sie noch: die wunderbaren Melodien. Es gibt die noch: die kreativen Arrangements. Es gibt sie noch: die sehr guten Texte. Es gibt sie noch: ein hörenswertes Album.
That was cool
El sonido que todos conocemos y esperamos de Aimee Mann. Nada diferente. Está bien, pero llega a ser un poco cansado.
4*
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.
This must have come out during the heydays of Jewel, Merideth Brooks and Alanis. If it did, it’s weak in comparison. It’s just poppy bubblegum pop gum pop….. I don’t like anything about this album really. It won’t get a one star rating because its not horrible pieces together like more deserving 1 star albums. It’s just lacks any sort of emotion from me.
Wasn't moved by it initially, but I got into the second half of the album.
It sounded like she wasn't really trying vocally, and there wasn't anything exciting instrumentally.
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.
This was already one of my favorites, so easy to give it five stars.
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 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.
Nothing really wrong with it, but it doesn't stand out
You can hear why there is mutual appreciation with Elvis Costello. Supposedly the lyrics are great but the production was too off puttingly bland to make me want to listen again yesterday.
Bleh. Not for me.
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 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.
Just not my bag really
3/5
Ew
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.
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
Not for me
For me, it's music to do stuff by. Pleasant, but didn't really get my attention. There may have been other factors at work though, and I think I'll give it another try sometime.
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.
Did not like it
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.
Pretty fly
The only Aimee Mann song anyone needed to hear was "Give Up", which is not on this album. The songs that are on here are mediocre and forgettable. Maybe it's essential to her fans, but it didn't win me over at all.
1. knouun - 1 2. fair - 1 3. july - 1 4. anyone - 1.5 5. put - 0 6. thing - 1.5 7. zay - 1 8. jacob - 1 9. harriz - 1.5 10. hurt - 1.5 11. uuord - 1.5 12. it - 1.5 13. uuhen - 1
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 can't stand this album anymore. Shame.
Not exceptionally bad or good. Didn't get bored, didn't enjoy much. I never heard of her before, so that was nice.
Awfully generic.
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.
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.
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!
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?
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.
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.
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.
Ze klinkt een stuk minder alternatief dan je na het zien van de hoes zou verwachten. Het begint een beetje als een soort Nickelback met Shania Twain ofzo. Natalie Imbruglia - Torn komt in me op ook. Een soort pop-country-rock act die in Amerika gewoon middelgrote stadions zou uitverkopen, maar waar we in Nederland weinig van meekrijgen verder. De stem heeft ook wat Joni Mitchell-achtigs, maar ons Aimee gebruikt haar stem wel wat minder irritant. Gelukkig. Naarmate het album vordert valt het stukje Nickelback iets weg en wordt het meer Ilse de Lange, om nog maar iemand te noemen. Een laaag country twang hangt als een klamme deken over het hele album. Vanaf track 6 begint de verveling (misschien zelfs iets eerder al wel, maar vanaf toen viel het me op) en het album heeft 13 tracks. Er worden stiekem een hoop instrumenten uit de grote bak getoverd, maar toch is het wat saai. Onbekend maakt een beetje onbemind in dit geval. Als er nou 2 of 3 hitjes tussen zaten denk ik dat ik dit wel een drie zou toeschuiven, maar nu is het toch wel een beetje vergeetbaar en onnodig allemaal. Het is het voor mij net niet.
Solides Rockalbum durch und durch. Leider nichts herausstehendes für mich.
Actually coole (soft) rock, harmonisch interessant und ich find ihri stimm het epis spezielles.
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.
Dumb lyrics. No thanks.
Her voice always hit me. I'm grieving right now and although lyrically it's not the same, it makes me very emotional.
nice melodies
I absolutely fucking hated this.
Till Tuesday and then this album. Talented all week.
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.
Like Fiona Apple, but far less interesting. Formulaic singer songwriting.
Fine album
This was better than I remembered.
it's not as the title suggests as Whatever. album is very basic, if you want to call it that, as there isn't many lyrics that don't go past the surface level, but that doesn't make it a bad thing. more of a radio friendly level of music, something that plays in the background when you're shopping at K-Mart.
I wish she had kept the energy of the first track all the way through. It gets pretty stale as the songs get softer.
Better than I expected. Solid 90s album
Kind of catchy. Kind of campy. Straight up the middle.
I love magnolia (1999)
awesome I loved it
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.
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.
Good album. A couple of questionable moments cement it at 4 stars rather than pushing for 5.
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.
Biased against this album from the jump just based on the overprocessed sounding drums preceding I Should've Known. Otherwise, the song is actually just fine. Would actually be quite good if the production weren't flat as a piece of paper. Fifty Years After the Fair sounds like an Elvis Costello song in formation -- and even the backing vocals have his twang. Most of this is kind of disposable pop bullshit, but Jacob Marley's Chain > Mr. Harris is solid one-two. The later sort of plays as a Christmas song, but it feels modern in tone. Ya know I honestly didn't hate this. At times, it reminded me of Gwen Stefani (circa No Doubt) and at others it felt like Elvis Costello. That said, in the spirit of this list, I really don't think it should be here... Stands around a 6 objectively, but scoring as a 2 because I don't think I'll come back.
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
This is kinda some forgettable 90s pop bullshit. Meh not a fan.
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
melodic Friends type music easy to listen to good lyrics. good background type music.
See the album title.
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.
I kind of like Put Me on Top
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.
Fell in love with this album, and Aimee when I first heard it as a grubby art student. Her video for Should've Known was getting plenty of airplay on MTV at he time.
I bought this album as a punt cheap at a record store sale. Had never heard of Aimee Mann but the cover attracted me for some reason. Probably thought she was a bit like Alanis Morissette and that rebellious female rock stuff that was around at the time. It turned out to be money wasted as although Aimee might have thought she was like the Alanis set, she was a lot lot more MOR. Got rid of this CD and never expected to hear the album again so was surprised that it turned up on this list. Listening through the album again confirms that my initial view of it stands firm and there is nothing here to interest me. 2/5 12/11/24
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.
Stupid Thing is such a banger.
Pretty nice, first half is much better, I like it overall.
Not for me
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 comparisons to Elvis Costello are fleeting. The first few songs are alright, kind of reminded me of Ryan Adams more than Costello. Mann’s singing is pretty painful at points, kind of like Joni Mitchell, but without the earnest magic. It all comes to a head at Jacob Marley’s Chain, a really awful song. Mr. Harris and I Could Hurt You Now are somewhat redeeming, but this album mostly falls flat.
The vibe takes me straight back to the 90’s, hanging out in the college town with a cup of Joe in hand.
Surely this can't be in the top 1,001 albums everyone must hear before they do. Maybe the top 100,001. She doesn't even sound sure of herself when singing. She sounds like me when I'm embarrassed about my singing voice so I mumble most lines out. Wouldn't even want to hear this in an elevator or a reception lobby which is where it probably gets the only airtime nowadays.
Not my cup of tea my G
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.
So boring
Glad to finally have an album by a lady pop up. It was ok but not really my taste.
What a perfect name for a 90s album, Whatever. Unfortunately that pretty much sums up my thoughts about the album as well, Whatever. It’s very dad rock 5.0/10
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.
Good album.
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.
mal luege, hans gfühl chönnd sehr cool oder sehr ass sii hahaha s isch iwie weird aber hans na gern? weiss nanig was ich vo ihrere stimm sött halte s solo isch chli whatever ui fifty years findi seehr weichgspüelt dito für vierte juli could've been anyone isch wieder chli besser aber in scho jz am kämpfe poah ich finds so unglaublich inoffensive und friede feuer eierkuchen (rein musikalisch, d text hani nanig ahgluegt) dass es mi nervt say anything macht chli meh für mich aber bin auchli abgschweift wnl ok s wird chli besser I could hurt you know, machsch scho aimwe kei angst I KNOW THERES A WORD TÖNT MEGA WIES ANDERS LIED ABER WELLEEEES aber das isch kinda cute aber eifach seicht iwie I've had ir isch na schön, au mite männliche stimm au way back when isch so unglaublich arschlangwilig sorry aimee du machsch kei scjlechti musig, es isch eifach langwilig
Beside the fact that the music was lousy, that woman cannot sing. Why is this album on the list?
Really excellent songwriting, good songs top to bottom.
i've yet to hear a bad Aimee Mann song. whether that's through luck or simply her sheer consistency, in every track from her that i've heard, she's generating this peculiar warmth in each song thick as a rainforest. Jon Brion's no slouch either -- if this is a test run for Aimee Mann's skills as a singer-songwriter, it's his test run for his 70's studio nerd production style. i get that '93 was a stacked year, but what the hell was wrong with people that they weren't buying this? were they stupid? deaf? both? is this also why Spilt Milk didn't sell well? when i die, don't bury me. wrap me in an Aimee Mann song then throw me in the ocean. i'll stay warm forever.
I want to like this album, but I won't return to it. I recognize she's a talented songwriter and musician, but this just do anything for me. She was a great performer, very personable and enjoyable, when I saw her live and I love the segment with her on Portlandia, but I just can't get into this one. Rating reflects my likelihood of relistening.
if you had a girlfriend in the 90's you undoubtedly have heard this more than enough for one lifetime. Myself included.
pretty good vibes but didn't grab me
Aimee Mann is such a strong songwriter with pop sensibilities, this is really good. I'll fight anyone who is mean to her.
Mellow 90s fem rock - reminds me of a mix between the Carpenters and Liz Phair for the slightly more upbeat songs.
Knockoff Sherly Crow. Fine.
Whatever is the first solo album by Aimee Mann, originally released in 1993. Never heard of this artist prior to listening. This is straight-up 90s indie-pop. Lots of jangly guitars and catchy hooks. Maybe too many catchy hooks. A lot of the songs were very similar in style. Like they were all constructed in the same way. The songwriting is pretty ok. Nothing stood out to me but this is pretty inoffensive overall. Just your average 90s pop.
A weird predicator of Madonna's most mediocre songs.
Aimee Mann is an artist I’ve never got into much. Literally only knew one song called “Wise Up” I heard in tv show “Community”. Well here’s my chance to hear a whole Album by her Stand Out Tracks I Should’ve Known Fifty Years after the fair Mr. Harris This album is fine almost has a Joni Mitchell vibe but with a 90s sound. It also has that CD era album length. It’s pretty good but beside a few songs can’t see me coming back to it. it has merit but isn’t anything above a high 2 2.5/5
Your aunt who thinks she can sing.
There's very little that I like about this album. Her voice is nasally. The instrumentation is sometimes interesting, but then it gets really basic and boring. The lyrics are ??? (odd, weird, confusing). This feels like a bad album by a new artist that should have been faded. The only song that isn't ruined is I've Had It, but it also kind of fills it's potential, based on what was on the rest of the album. This didn't need to be on the list. Favorite Song(s): I've Had It
Ok for some background music, but definitely not top 1001 material. I’m not sure I agree with most of this list, actually.
Let's be honest, there are a lot of unpleasant reviews for this, but it's really not great is it? Still better than Bob Dylan though.
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
Nothing wrong with this, but there were probably 1001 better albums just in 1993.
Female songs
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 is a really good indie pop album. The songs are catchy, Mann's voice stands out, and the instrumentals are varied and fun. I liked everything about it. As far as dreamy pop music goes, this stands out as some of the best.
P chill.
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)
really great!! nice and chill
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
90’er poprock, nice nok, men heller ikke noget st være helt oppe og køre over
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.
Ammattimuusikko. Levyn kuuntelu ei ollut nautinnotonta.
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
90-е типикал поп рок ура круто
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.
Aged like milk and drivel...meridith brookes she ain't.
Whatever. Did not finish.
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)
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.
Looks like sexist morons had a field day looking down upon this record. Not good, especially since "Whatever" is filled with many interesting and/or pretty arrangements, beyond its "alternative" / MOR / post-REM surface. The subtle 'chamber pop" ones, especially, are awesome. Unfortunately, the production values and overall sound haven't aged that well (some of those horrible "gated" drums shouldn't have seen the light of day in 1993). And beyond the arrangements, I personally feel that some songs and melodies in the record are far better than others--when the chamber pop arrangements disappear, Aimee's music indeed sounds a little too sweet and tame, even a little quaint. The middle of the record feels like a slog to go through, especially. And even for the rest of the album, it is my opinion that there were far more exciting things happening in the early nineties than that part of Aimee Mann's albums (and I also feel like some of her later records are a tad bit more impressive than this debut overall). Reading myself again, I fear that I might actually rehash some of the points made by haters on this app. I don't want to, but on the other hand, it's always a fine line when you want to wear your heart on your sleeve. I sometimes have trouble reconciling some of the different intents of the album--between the few off-kilter touches and the incredibly formulaic ones. I'm glad the first are here, but they fit so badly with the rest that some awkwardness lingers in the air every time a song leads to another... That said, *Whatever* succeeds in kindling my interest again in its final run ("I've Had It" is a gem). Not so bad, I guess... Essential, though? 3/5 for the purposes of this list of essential albums. 8 for more general purposes (5 + 3) Number of albums left to review: 66 Number of albums from the list I find relevant enough to be mandatory listens: 404 Albums from the list I *might* include in mine later on: 232 (including this one) Albums from the list I won't include in mine: 299
köntrí skotið gáfumannapopp. frekar gott. gef þessu annan séns. 3,5.
I don’t get it.
Some fun catchy tunes on here