Whatever

Very Disney Channel. Nothing special.

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

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

Whatever mann

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.

I don't know, it's just kinda boring

ok

Aptly named. Probably the most forgettable album in the entire list. This is my third time listening to it and I still can't remember 95% of what this album sounds like. Couple of great tracks near the end save this from a 1, and it's not outright bad anyways. Just outright boring and forgettable

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

Soooo boring. 2/5

Maybe this was ahead of its time, which is why it's on here? Idk, sounds very bland to me. Call hold music. 2* because I reserve 1* for albums I abhor.

All filler, no killer.

Not great

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.

Straight-forward, sarcasm-laced, heartfelt mid-90s pop. Not Counting Crows, Live, or Toad the Wet Sprocket? This instead? I’ll give it a bonus star for Aimee Mann’s pristine songwriting skills, but….well, whatever.

I don't like her voice or the vibe of the album, not for me. Made me feel like I was stuck in a 90s rom-com montage. 1.5

Hated the entirety of this

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

i've only ever had people i don't like recommend me aimee mann and so have avoided her work completely until today. it was perfectly fine and inoffensive, 2.5

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

If you liked Meredith Brooks or similar back in the 90s, then I would highly recommend this album as this is a strong competitor. Unfortunately, I dislike this genre so I have to give it a lower rating than it probably deserves. Fave Track: I Should've Known Rating: 2

Easily listeneable. 3, maybe 4

Really nothing too say, it's not bad but very far from deserving it's place in this list

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

This was perfectly fine but unremarkable. 3.0

It was fine, but didn't do anything for me.

I've only heard of Aimee Mann because of Connor Ratliff's Dead Eyes podcast. If I remember correctly, he interviewed her because 1) he really likes her music 2) she had an anecdote about coping with rejection that fit really well into the overall theme of the podcast. I think Connor may have played a few of her songs during the closing of a few episodes, but I don't remember much about those songs. I listened to a lot of adult contemporary music when I was a kid, but I don't remember ever hearing Aimee Mann's music back then. I tend to enjoy "Lilith Fair" type artists, so I'm interested to see what this album is like. Overall, this album was okay. The songwriting, arrangements, and production were nice, and Aimee Mann's vocals were pretty good too. This album was a fairly enjoyable listen, but it lacks a lot of the punch that its contemporaries have. While the vocals are well done, there's really a lack of emotion in them, which is a shame since a lot of the songwriting is pretty clever. I also felt like the album was far too long, and I really lost interest in it the deeper into it that I got. This album is pleasant enough to listen to, but the lack of emotion makes it kind of boring. With things like Jagged Little Pill or Exile In Guyville out there, I can't think of any reason that I'd listen to this album again. This one just doesn't live up to the sum of its parts.

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…

maybe this was interesting or revolutionary or whatever when it came out but to my born-in-2001 ears it just feels... meh. uninteresting composition and mediocre lyrics with plunky first-choice rhymes that do nothing for me. whatever indeed.

Love her voice. Chill album.

Crap

Fairly forgettable songs, not bad but not something that I see myself returning to.

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.

Day200 - aimee mann is a name i’ve heard for thirty years or more. i know the critics love her but it isn’t what i would listen to by choice

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.

ok

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

Too long and quite twee. Nothing outstanding here

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.

30/100 This was very 90s and parts of it are actually enjoyable. But the singing is mediocre and the production is very monotone. Also the outro ain't it chief.

Nja, det är inte dåligt men albumet saknar starka låtar.

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

This was not very interesting. Somewhere between Shania Twain and Alanis Morissette sprinkled with some PJ Harvey. The Harvey sprinkles are the best.

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

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

90s B-movie background music. 1.5/5.0: Bad

I liked it in Nineties, good pop-rock

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

It’s just a bit dull… it’s like the songs that play in a shop when they can’t afford the good stuff.

This felt like it would never end... in a bad way. Not a fan.

See title.

Props to Aimee, mann; she really captured the essence of her album with its title.

Yeah, title checks out. After listening to this album for seven decades and growing a grey beard, I checked Spotify and was horrified to see that I was still in the middle of the second track. Incredibly generic snorefest. One of the most pointless inclusions on the list, and that's saying a lot. Didn't sell well, no standout singles, no interesting story behind it, no new ideas .. genuinely what is even the point. 1/5. Waste of my time.

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

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

Most generic 90s pop-rock ever

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

It's not that it's bad, but how is this part of the top 1001?! Completely forgettable mainstream young woman country music, just like hundreds of others just like her.

Not impressed with this.

Ganz gut.

very Songwriter-y, very Professional Musician-y I don't much enjoy being able to hear the pencil scribble on the page or the questioning 'did I pass the audition?' look. music: hated. (⌐■_■)

Liked a few of the songs, but really suffers from over-smoothed 90s production.

Ben Folds does Lilith Fair

Tiene su rollo, pero no me cautiva. Es un rock sencillo con estilo bastante antiguo. Un 5 pelao.

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

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

What a nothing album. It's not awful, but there is nothing here that I'd consider worth coming back to. About 100 other artists do this exact schtick but better.

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

it's whatever. (AAAHAHAHAHAHAHHAHA)

sni, non mi ha fatto nè caldo nè freddo

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.

Jeg havde mest lyst til st at slukke. Ikke det mest fokuserede lyt, men det fangede intet i mig.

Mom rock Minder om Shania Twain (dog mindre country) og 4 Non Blondes (dog mere mainstream) Kedeligt

Was kept waiting for the good parts of Pop so probably not everything is bad.

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

meh whatever...

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.

While the writing may be solid, her voice just doesn’t jive with me. I don’t find the music particularly exciting. By the time the final track hit the chorus I was singing along with “I’ve had it” This music had a time and place, but it will rest obscure amongst the moody coffee shop rock.

Meh. I like Aimee Manns voice a lot but this was a little too pop for me. I prefer her folksie stuff

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

4/5 - surprisingly good

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

I anticipated subdued acoustic singer songwriter stuff (it's here) but there's more of a rock edge to these songs than I was expecting. Not bad, but probably nothing I will listen to again.

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

I knew in the first 10 seconds I was in for 52 minutes of doing everything I could to not keep hitting skip. It's not bad, it's just an hour of boring songs that blend together. The album title is very appropriate.

feels like a coffee shop singer who has all their friends enthusiastically cheering while you're just trying to have a conversation 1.7

Really liked this. I like that Brion sound.

kind of struggling to understand why this is on the list. maybe they wanted a bland album represented too?

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.

Pleasently suprise at how much I enjoyed the album

cool

It was okay, nice background music

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

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

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

More jangly guitar than I normally associate with her.

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

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

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

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

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.

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

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

Whatever

Forgettable, could barely finish the album

3+

The soundtrack to every bad hallmark film

Minivan Mom Music™️ for your elementary school Art Teacher who also works part-time as a barista at the place with the Global Village Coffeehouse wallpaper and smells slightly like weed, but, like, bad weed, like the kind grown by the Super Senior who isn’t attentive enough to have a green thumb but who will eventually become the CEO of a multi-million dollar dispensary chain that charges you $40 for a bag of five 10mg gummies that you take to delete the Sunday Scaries because you’re in your 30s now and for some reason the thought of spreadsheets trigger an anxiety attack. Oh, right, Aimee Mann, ummmmmm……🤷🏻‍♀️🤷🏻‍♀️🤷🏻‍♀️

I was hoping to like this but I really didn't. I didn't think any of the songs were particularly special or memorable, though I liked the sound of them. Her rhymes were often really trite and guessable, and her vibrato is all over the place. That makes her pitchy to my ear and it becomes sorta cringy to listen to. Not for me unfortunately.

I'll just emphasize what other reviewer escreveu, ok? "Boring, forgettable. You really have to wonder how some of these albums make it onto this list."

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

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

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

A nice listen. Would be good car music.

I can safely say, from the bottom of my heart, that was the worst album I've heard on this list thus far. Her weak, nasally voice, the uncomfortable lyrics, the sophomoric musical talent, all pulled into almost an hour long album. What an absolute waste of time. I refuse to listen to Aimee Mann albums again. 0/5 -> 1/5.

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

Pretty mid

This is fine

Very boring

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

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

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

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

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

good singing, but the soft alternative rock sound isn’t really doing much for me. Nothing specifically to criticize about, just not a salient sound to my ears.

This sounds like much more recent than 1993.

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

I couldn’t be more indifferent to this if I tried. It made less impact on me than a leaf fluttering in a forest 50 miles away. And not that fond of her voice- I’m sure her songwriting is solid but as I make a W with my thumbs and forefingers I whine ‘WotEva’! It’s really a 2.5 but hey…

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

There's just something about Aimee Mann that repels me. I can't quite explain it. But it encompasses everything — her vocal melodies, the tone of her voice, the compositions themselves. Marianne remarked not long ago that she can't understand why I don't relate to Mann's music as she seems to check all the boxes of music I like, but not so. A one-star is, of course, as harsh as it gets, but I couldn't even get through the second song before I bailed. It was actively aggravating me. Sorry.

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.

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

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

This is very 90s alt/pop and wouldn’t be out of place in an episode of Felicity or Dawson’s Creek, or accompanying the moody scene in a 90s teen romantic comedy, you know the one where the love interest realizes they messed up and may have lost a good thing. All that to say this is ok, but is dated and definitely a product of its time. I was a teenager in the 90s so I appreciate the nostalgic sound, but it just doesn’t hit the same notes as Nirvana, Bush or Alannis. No songs stood out and they all sort of sounded alike. 2

This was very mid.

I want to be supportive of other woman. I read other people’s reviews and I guess she does this all herself? I hope she follows her dreams. It’s a bit pitchy at times and not the type of music I generally go for. That said: it’s a no from me dawg.

Different, but I liked it.

Was disappointed with this album. I like 'til tuesday and Aimee's voice but this is firmly in the 'meh' category. How it made this list is a head scratcher. Maybe it could be replaced by The Way We Move by Langhorne Slim and The Law.

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

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

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.

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

3.5 rounded up

Whatever indeed. Utter ballads.

The album title said it all.

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

Drivel

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

One of my favorites

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

More country-tinged soft rock, sounds a bit like Sheryl Crow? Very early-mid 90s. Not really sure why this is here. It certainly has decent musicality and stuff going on within the songs when you listen for it, I just don't like the songs much. Although I have to admit it does grow better as it goes along. Well. The middle portion anyway. Say Anything was ok. Mr Harris was pretty nice. In fact the Rufus Wainwright connection particularly makes sense in this one. The producer is also responsible for the scores for Punch Drunk Love and Eternal Sunshine of the etc Mins, which are both excellent, amongst many others. Diverting enough to avoid bottom marks but no more.

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

Surprisingly great acoustic Alanis

What do you know, the title perfectly encapsulates my feelings on the album!

This was...ok, nothing more/

Pop/country americano. Lembra um pouco Alanis pelos vocais. Bem anos 90. Quase música de rodeio. Nada de demais. Médio.

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

I liked it very Pretender like

A pretty solid pop-rock album with that is able to send you back to that particular style of the mid-nineties singer/songwriter. Nothing mindblowing, but it was a good time to jam to

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

Mellow music

There is nothing memorable about this album.

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

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

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

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

não me pegou em nada

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

The most generic music you'll ever listen to in your life.

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

This is some pretty basic early 90s pop stuff. Some strong chamber sounding elements, definitely not for me.

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

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.

whatever

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

Pretending to be the Pretenders, much? Not on my watch.

Met veel tegenzin zette ik dit album om 23:26 aan. Ik beken eerlijk dat ik de meeste nummers heb doorgespoeld. De openingssong, ‘I should have known’ was zo verschrikkelijk nog niet. Maar daar is ook alles mee gezegd. Dit klinkt zo erg als van die Nederlandse ‘rock’ muziek. Dit soort meuk hoor je op de Nederlandse radio constant, het enige verschil is dat je de stem van Ilse de Lange of Anouk eroverheen hoort blêren. Het klinkt allemaal te lief, niks rauwigs aan. Een stemmetje alsof een 13 jarig meisje een zangauditie doet en veel te zenuwachtig is en bang is om een fout te maken. Wat de fuck doet dit album eigenlijk in 1001 albums generator? Kan echt 10001 albums opnoemen die me meer interesseren. Nu ga ik boos slapen. Ik heb geen highlights. Alles was even saai en tam. Aimee Mann kan lekker de tyfus krijgen! Rating: 2/10

Mann Mann Mann, wat was dit album - net als de albumhoes - kleurloos en slaapverwekkend. Het eerste nummer is an sich een aardig popnummer, dat tegen alle verwachtingen in nog eventjes uit de bocht vliegt naar het einde toe. Voor de rest van het album houdt Aimee keurig de handen aan het stuur, en blijft het bij dat ene bandje over de ribbelstrook. Ik kan popmuziek goed slikken als er óf een cross-over is met andere genres waardoor de songs ondanks de commerciële insteek toch nog een unieke indruk achterlaten, óf als een nummer zo catchy/dansbaar/ontroerend is dat hij er mee wegkomt. Dit album bevat geen van beiden. Af en toe komt ze vocaal wat venijniger uit de hoek, en heeft het ietsjes weg van PJ Harvey, maar het blijft me allemaal te vlak. Instrumenteel gebeurt er eindelijk wat interessants tijdens 'Say Anything', waar pardoes een golf aan new wave geluiden de luisteraar wakker laat schrikken. Maar het is mondjesmaat, en weerhoudt mij er niet van om deze plaat een onvoldoende te geven. De muziek doet het vast goed in een sitcom, Friends ofzo, maar ik zet het zelf niet meer aan. 4,5/10 Highlights: I Should've Known

Wat leuk voor Ilse DeLange dat ze ook een plekje in de lijst gekregen heeft. Wat minder leuk voor ons...

Nice, pleasant.

I liked it very much

Overly tied to the 90s

not my thing

Zzźzzzzzzzz, hey what!

Not my bag, strays beyond merely bearable into positively annoying.

Very middling singer songwriter stuff.

The album is fine, pretty much what we'd expect of female vocal-led singer/songwriter in the early/mid 90s, it's all fairly middle of the road, along the lines of Sheryl Crow, Liz Phair, Alanis Morissette, et al.

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

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

Good album :D

Gillade denna mycket, lite långt men jättekiva vibat

Totally indifferent.

Man, that's one of the most 90s albums I've ever heard. The production, the songwriting, the performances... all so painfully early 90s. The kid's toy xylophones, the oooeeeooo harmonies, the super chimey guitar chorus, the in-your-face vocal mix combined with the super-dry, extra-crispy, almost mechanical drums... it's all so over-the-top and locked into a very specific time. I will concede that Miss Mann is a talented songwriter. But I just don't like the way the songs were realized. It's just way too over-produced. I know that's just how it was done at the time but I don't like it and this is my review, so...

Good

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.

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

okay aber nüt ussergwöhnlichs für mich

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

Yeah, okay. Nice background music.

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

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

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

No lo escucharía

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

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

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

I'm surprised this is on the list, there is nothing here that is any different to thousands of other artists. Instantly forgettable, just background music.

Listened to this while playing ISS Vanguard solo. I lost the mission. This was an Aimee Mann album. I love her music...but this was nowhere near her best stuff in my opinion. Meh.

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.

Not my thing

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

I had relatively low expectations, but enjoyed the album.

Some nice melodies and riffs but overall a very mid pop album.

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

Nop

Quite uninspired. Did not pay enough attention to be able to tell if the lyrics were good or not.

The girlhood my god <3

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

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

Not my style. Wasn’t very catchy or have any songs that kept my interest

4.2 - lovely album, up my street this

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

No strong feelings against it, just can't work out why it's on the list

Geht so

I've been freezing my ass off all day. Warning: I didn't give this album much time. Every song sounded the same to me!

I like her voice

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

Ehhhh, nah. I had it on as background music and it was fine. If I were paying close attention, I probably would have turned it off.

Good for background noise by nothing really stood out.

Brings back memories...oh 1993!

I liked her work on the Magnolia soundtrack, but this album was not my thing.

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."

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

A couple of Aimee Mann tracks at a time I can really get behind. A whole album was far too much of a helping for me. I don't think this record is nearly dynamic enough for its length. Her idiosyncrasies still shine through however. Two and a half. Fave track: I Know There's a Word Fave track

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

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

Not much to write home about tbh. A very 90s voice, quite bland.

She isn't a bad singer, but also not a special voice.

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.

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

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

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

This album overstays it's welcome before the end of track 3. I think I would get more entertainment from a mason jar full of rusty nails. Could've Been Anyone and Jacob Marley's Chain were really the only ones I liked.

nicht wirklich aufregend

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

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.

Het vooroordeel alleen al bij het zien vd albumhoes en het feit dat dit uit de jaren 90 komt, is dat het een vd vele alto meisjes favorieten is, met haar dr martens en haar slonzige trui. In de lijn met Meredith Brooks, Melissa Etheridge, Tracy Bonham, en noem ze allemaal maar op. Een typisch jaren 90 verschijnsel. En dat vooroordeel klopt. Het klinkt typisch jaren 90, huismerk Alanis Morissette, met iets minder pit. Er zit niet 1 vermeldenswaardig nummer bij, vandaar dat we ook geen hitje van haar kennen. Het eerste deel van het album worden de gitaren er nog wel eens in gegooid, dat gaat er wel makkelijk in. In het tweede gedeelte wordt het wat langzamere singer songwriter muziek, waarbij namen als Joni Mitchell en Rufus Wainwright bij me opkomen. En dat is in mijn geval geen compliment. Het stevende af op een typische, ietwat saaie 3. Door deel 2 zakt het naar een 2 helaas voor Aimee.

It’s catchy and interesting but it starts to drag pretty fast. It’s too long as most early 90’s albums are

I didn’t have to hear this. Bad length. Bad songs.

whatever idc

Bad

Will have to listen again

3.5/5

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

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

Slow personal songs that tell interesting stories. Musically simple.

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

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

I found this to be a bit dull, repetitive and uninspiring. Maybe it was Aimee’s voice. She may be a wonderful songwriter and I may have missed out on that but the sound just didn’t do it for me. S

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

Dull

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