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@#%&*! Smilers (Deluxe Version)

Aimee Mann

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iTunes Review

For her 2008 solo album, Aimee Mann threw out the electric guitars and wheeled in the keyboards for a lush, orchestrated collection of primarily mid-tempo tunes that feature her usual literate observations, careful character sketches, and a subtle sense of humor. The electric guitar is never missed. Mann simply soldiers on with her usual melodic gifts turning out songs that haunt with somber overtones. “Freeway” begins things with the tale of a wealthy speedfreak with all the right connections to well hide his troubles. “Thirty-One Today” sends the 47 year old songwriter back a few years to reminisce. “Medicine Wheel” settles as a ballad at the piano, “Ballantines” utilizes a saloon piano apropos of its sentiment, while “Great Beyond“ prefers the comfort of several layers of synths and organs to couch its sentiments. “True Believer,” written with Grant Lee Phillips, has a zen-like calm to its slow build. “Borrowing Time” adds a horn section, while “Columbus Ave.” features piano and strings that recall Mann’s penchant for songs that belong on the silver screen with their emotional sweep. Mann remains a master of the somber mid-tempo.

Customer Reviews

Same Old

I've been a huge Aimee Mann fan since way back when Til Tuesday first started, but finally she's losing me. She's so talented, but she's stuck in a rut: the same mid-tempo songs, the same world/love-weary attitude, the same meticulous but bloodless production. And getting Dave Eggers to participate in a song verges on self-parody for both. It's all too precious. I think it'd benefit Aimee immensely to work with a different producer, one who came in and said, you know, your records have grown boring and predictable, and really shook up her sound, took her out of her comfort zone. Someone totally different for her—Mutt Lange or something. Otherwise, there's just no reason to buy a new Aimee Mann album; she'll have done it before, and better.

An American Genius

One of the great [modern?] singer-songwriters (female or otherwise) releases yet another gem/masterpiece/touchstone/reason-for-being. Mann is an effortless melodist, her songs' characters have a novelistic quality and are filled with witty and sarcastic retorts, and she has a keen, sage understanding of human psychology. It doesn't hurt that her voice is pitch-perfect, her bass-lines inspiring, and that she surrounds herself with metric tons of pure talent to bring it all home. Her new record is terrific, and I can't wait for my physical copy to get here tomorrow.

Lets be honest

Ok, not fantastic. It's ok to love an artist and still feel lukewarm about the material. My point of view is that Lost In Space was amazing. Arm was a notch down from that, and I think Smilers is a notch down from that. If you're making a 25 song mix cd of Mann songs, how many of these are going to make that list? I would say a pleasant , but forgettable batch of songs. All the posts about the brilliance of this release are a bit over the top. I think a 3 of 5 is a pretty fair analysis. I'll be first in line for the next release though.

Biography

Born: September 8, 1960 in Richmond, VA

Genre: Rock

Years Active: '80s, '90s, '00s, '10s

During the '80s, Aimee Mann led the post-new wave pop group 'Til Tuesday. After releasing three albums with the group, she broke up the band and embarked on a solo career. Her first solo album, Whatever, was a more introspective, folk-tinged effort than 'Til Tuesday's albums, and received uniformly positive reviews upon its release in the summer of 1993. However, the album was only a small hit, spending only seven weeks on the American charts, where it peaked at 127. Nevertheless, Whatever rejuvenated...
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