Aimee Mann

I'm With Stupid

I've actually heard this CD, and its great...

Review Score:

(10/10)
Have you ever noticed some of these reviewers have not actually listened to the CDs that they proceed to pan? I'm writing to tell you that Gus G. above is clearly one of those people who, for various reasons, have a need to falsify information or to incite reactions from others (an internet peculiarity -- those people who have an innate need to provoke argument now have a home on the web). All it takes is a simple listen to the samples to recognize the truth. Mann's solo work , of course, is much different from the debut record of til tuesday.

This CD is the second of her collection, and marks a progression from the layered production values of 1993's Whatever to a sound heavily influenced by her exposure to the work of Liz Phair, Beck, the Brit rock scene of the mid 90s, and to other "alt-rock" sounds of the era. This CD had its release delayed when her original label, Imago, lost its distribution deal with BMG.

The first track sets it apart immediately from "Whatever". The crunchy guitar and almost hip-hop beat of the first track "Long Shot" transitions to the fuzzy, distorted bass line of the second track, "Choice in the Matter". Bernard Butler drops in for the third track, "Sugarcoated", where the Brit glam rock influences surface (she was living in the UK for a time). Next, "Superball" spins with kinetic energy with clear sonic references to Liz Phair.

Other standout tracks include "That's Just What You Are", a 1994/5 top 100 hit (when this CD was originally supposed to be released) and Amateur, a waltz-tempo ballad that has appeared in numerous movies (like Sliding Doors).

All in all, IMS is a very different CD from Whatever (which is well different from her work in til tuesday), but reflects growth in new directions. The 2nd half of the CD does overlap sylistically with some of the tracks on the Magnolia soundtrack, for those new listeners out there. All three CDs, however, reflect different influences and growth in new areas, tied together with core influences in melody, theme, and imagery.

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