Product Description

Originally slated for release in 1992 on the Imago label, Aimee Mann's solo debut remained caught in contractual limbo until a year later. Already a 10-year veteran with a music-industry Purple Heart (see Til Tuesday), Mann used her brainy, pointed songcraft to hit new heights on WHATEVER, while also articulating more mature levels of disillusionment and disappointment.
Featuring classy production by Jon Brion, WHATEVER begins with "I Should've Known", a Lennon/McCartney-esque tune of romantic betrayal that became a minor hit months before the record's release via its inclusion on TV's MELROSE PLACE. On other tracks, Mann expresses the desire for success ("Put Me on Top"), sepia-tinged nostalgia ("Fifty Years After the Fair", with Roger McGuinn), and an affair with a much older man ("Mr. Harris"). The highlight of the album,however, is the gorgeously refined "4th of July", which stands as one of her loveliest compositions. Fans of Mann's previous work will be impressed with her ever-advancing lyricalskills, and any doubtful '80s pop aficionados who ever considered her a "one-hit wonder" will find their new heroine right here.

Track Listing

1. I Should've Known
2. Fifty Years After The Fair
3. 4th Of July
4. Could've Been Anyone
5. Put Me On Top
6. Stupid Thing
7. Say Anything
8. Jacob Marley's Chain
9. Mr. Harris
10. I Could Hurt You Now
11. I Know There's A Word
12. I've Had It
13. Way Back When

Product Details

• Amazon Sales Rank: #26453 in Music
• Released on: 1999-03-20
• Number of discs: 1
• Running time: 53 minutes

Customer Reviews

Brilliant stuff...Whatever.
I first saw Aimee Mann perform material from this album on Jools Hollands' 'Later', I was impressed straight away. I've only just bought it now though because back then I was a teenager with a sparse amount of pennies--translates as none. The time that's passed though, doesn't suggest it's not a record you'd run out and buy, my reasons for not buying it were out of my control in any case, rather it's a record that doesn't leave your mind until you do have the opportunity to acquire it.
Her style, in terms of songs and vocals is a hybrid of Chrissie Hynde/Tanya Donelly/Suzanne Vega. On the first listen it gave me the chills, you know how something does when it impresses you so much.
It's the perfect record in that there isn't one dud on here. Just put in the disc and play on repeat for as long as you like.
While some may think some of the songs lyrics aren't necessarily that cheerful, I wouldn't describe them as depressing, rather they are simply very raw and honest.
Also, the song 'Jacob Marley's Chain' was clearly, to my mind, a huge influence on Joan Osborne's 'One Of us', regarding it's melody.
Anyway, a very good record, highly recommended.

People have made careers out of ripping this album off!
I came to this album by an odd route - a good review in Q Magazine plus a nagging suspicion I'd seen the name somewhere before. Couldn't retrieve the source until after I'd bought the album, then suddenly...Yes! It was the woman I'd last heard singing haunting backing vocals on "Time Stand Still" by...Rush. WHAT?!! This is not usually thought of as a good career move by sensitive female singer/songwriters, but there's a great deal more to Aimee Mann than that. This album is an extraordinarily diverse brew of delicate ballads and bursts of wonderfully crunchy rock. How to describe? Well, let me put it this way. Although she sounds nothing like Del Amitri (being female, American and critically acclaimed), she somehow shares a kinship with them. Her songs tend toward introspective tales of doomed relationships sung in a breathy, breathtaking voice over delicious, rousing melodies that you simply cannot get out of your head. And just when all the relationship disasters might start to get a little too much, just when you find yourself thinking "Oh for goodness' sake, woman, find yourself a decent man for a change" she does exactly that with "Mr Harris", which is simply one of the sweetest, most un-cynical songs I have ever had the pleasure of listening to.
Oh, by the way, she's amazing live.

Superb power pop with biting lyrics
Formerly the vocalist with briefly-fashionable pop-rockers Till Tuesday, Aimee Mann disappeared from circulation for a few years and re-surfaced as a solo artist with this stunning debut. That one is put in mind of the vocals of Colin Blunstone and the music and words of Elvis Costello is a tribute to the sheer quality of this album -- fiercely intelligent songs documenting a deeply individualistic view of the world, delivered in a powerful yet intimate voice. Possibly just a little over-produced, but has far more sublime moments per minute than almost any other album I own. "Jacob Marley's Chain" and "Fifty Years After The Fair" are achingly brilliant.

Buy this, then get hold of Bachelor #2, I'm With Stupid, and the Magnolia soundtrack. You won't regret any of them.