Believe This Hype: Aimee Mann's Third Album is a Classic
Written: Jun 10 '05
Product Rating:
Pros: Amazing vocals, songs, arrangements, great consistency
Cons: no.
The Bottom Line: If you enjoy female singer-songwriters but have tired of Tori or are unsatisfied with Sarah, why not try on Aimee Mann's Bachelor No. 2 for size?
lambchops's Full Review: Bachelor No. 2 by Aimee Mann
While she is best known for her haunting soundtrack to Magnolia and her work as front-woman of Til Tuesday, Aimee Mann is indeed an accomplished solo singer-songwriter. She has been making music since 1985 or so and has been pursuing her individual career since 1993 when she released her solo debut Whatever.
Mann has always earned a good deal of critical support but her folk-tinged records haven’t ever sold too well. Whatever was a good (bordering on excellent) debut and helped to pave the way for her four subsequent albums. It’s clear that her greatest success came with the quirky soundtrack for Magnolia (which is, if you want to count it a sixth release). This release is what prepared listeners for her third “official” album, 2000’s Bachelor No. 2, or the Last Remains of the Dodo. They were indeed recorded at roughly the same time and share a general style but the fact remains that Bachelor No. 2 is a beautiful, comfortable, and confident album. It is clearly the work of Mann who has continued to impress even as years have passed. She’s something like a fine wine—as she ages new highlights, talents, and facets emerge.
Bachelor No. 2 is something of a cooperative effort. Indeed, Mann hangs her hat at the helm. However talented music-man Jon Brion (who has worked with artists like Rufus Wainwright, Badly Drawn Boy, Fiona Apple, and Grant Lee Buffalo) did have a hand at some of the writing and a good deal of the production. Whether or not Bachelor No. 2 will indeed go down in history as Mann’s best is as always a matter of taste and time. Fortunately from whichever perspective you come from, it is indeed an excellent album.
Sharing four songs in common with the aforementioned soundtrack (Nothing is Good Enough, Deathly, Driving Sideways, and You Do), Bachelor No. 2 comes across as entirely original and cohesive album. Beauty can be found in the nuanced subtlety of the piece. There are very few albums that simultaneously make me think and feel; Aimee Mann accomplishes this with great ease and grace. If you’re looking for an album which gets under your skin but is beautiful, unpretentious, and creative then check this one out.
Bachelor No. 2 is surprising in its simplicity. Mann’s disaffected, flat voice is sensual and thoughtful. As backed by acoustic guitars, piano, occasional soft percussion, and various other background strings it proves forceful. She is able to subtlety make soundscapes without coming off as trying too hard. Pull up a seat, sit back, and relax. Mann’s got a tale (or thirteen) to share. She is indeed the thinking (wo)man’s Sarah or Tori or Alanis.
While it is true that this album is best absorbed at once, there are points which sparkle a little more to me. This isn’t to say that there’s not something special about other songs but a few wrap around my heart so tightly that I can’t imagine life without their loveliness. They are evenly distributed throughout which is, of course, an indication of a consistently outstanding. I’m immediately attracted to the first two songs, How I Am Different and Nothing is Good Enough however it is the second that really gets under my skin. Those organs, that flute, the mandolin—oh yes, and then there is Mann’s voice. She really, truly is a deeply touching artist. And her words, well, they too are excellent as evidenced by this sampling:
It doesn’t really help that you can never say
What you’re looking for
But you’ll know it when you hear it,
Know it when you see it walk through the door
So you say--
So you’ve said many times before
But nothing is good enough
For people like you
Who have to have someone take the fall
And something to sabotage--
Determined to lose it all
Continuing on, Red Vines is another gorgeous song. It’s low and melodic and peppered with guitars, drums, clarinet, and maracas. On the first listen it may seem as if Mann’s music is simplistic, but listen again as great attention has been paid to even the tiniest of details. Speaking of tiny details, I can’t help but adore the folky-country-pop of Deadly and the surprisingly smooth lounge jazz of Calling It Quits. I’m however once again swept away in the music with Driving Sideways. It is best described as haunting, but there’s much more to it than the fact it sticks with me. It’s fragile and moody, hopeful and clean. Mann is seemingly a master.
Bachelor No. 2 doesn’t falter as it draws to an end. The album is a good length and is of consistently excellent quality. Susan, It Takes All Kinds, and album ender You Do provide further proof that Mann’s third album is perfect. Yes. That’s right—Bachelor No. 2 has earned the coveted “p-word” from little ol’ me. The thing I’m really impressed with is that it is timeless. It has aged well for the past five years and I expect it to age well for the next fifty. If you enjoy female singer-songwriters and are tired of the old standbys, why not check out Aimee Mann?
Rating: 5/5 stars
Track Listing:
01. How I Am Different
02. Nothing is Good Enough
03. Red Vines
04. The Fall of the World’s Own Optimist
05. Satellite
06. Deathly
07. Ghost World
08. Calling It Quits
09. Driving Sideways
10. Just Like Anyone
11. Susan
12. It Takes All Kinds
13. You Do
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