13 Songs, 52 Minutes

EDITORS’ NOTES

No one marries romantic melancholy to an exquisite melody quite like Aimee Mann. After her hit-making years with 'Til Tuesday, she launched her solo career with 1993's Whatever, a richly bittersweet blend of poignant lyrics and exhilarating pop-rock. Mann's brilliant wordplay dissects heartache with raw honesty and scathing wit in "I Should've Known," "Stupid Thing", and "4th of July." She's equally effective with wry show-biz snapshots like "Put Me on Top" and "I've Had It." "Mr. Harris" and "Fifty Years After the Fair" strike a note of tenderness and nostalgia. Aiding Mann throughout is producer/guitarist Jon Brion, who embellishes the tracks with brightly Beatles-inspired sonic shadings. One of the truly essential singer-songwriter albums of the '90s, Whatever secured Mann's stature as pop's undisputed Mistress of the Minor Key.

EDITORS’ NOTES

No one marries romantic melancholy to an exquisite melody quite like Aimee Mann. After her hit-making years with 'Til Tuesday, she launched her solo career with 1993's Whatever, a richly bittersweet blend of poignant lyrics and exhilarating pop-rock. Mann's brilliant wordplay dissects heartache with raw honesty and scathing wit in "I Should've Known," "Stupid Thing", and "4th of July." She's equally effective with wry show-biz snapshots like "Put Me on Top" and "I've Had It." "Mr. Harris" and "Fifty Years After the Fair" strike a note of tenderness and nostalgia. Aiding Mann throughout is producer/guitarist Jon Brion, who embellishes the tracks with brightly Beatles-inspired sonic shadings. One of the truly essential singer-songwriter albums of the '90s, Whatever secured Mann's stature as pop's undisputed Mistress of the Minor Key.

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