Bachelor No. 2

Bachelor No. 2

4.8 7
by Aimee Mann
     
 

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Aimee Mann has long boasted one of power pop's most delightfully poisoned pens -- fueled as much by her nuanced take on matters of the heart as her contentious relationship with the music industry. Her triumphant third solo effort, the independently released Bachelor No. 2, finds Mann's world as lyrically edgy as ever. Coming on the heels of the hit soundtrack

Overview

Aimee Mann has long boasted one of power pop's most delightfully poisoned pens -- fueled as much by her nuanced take on matters of the heart as her contentious relationship with the music industry. Her triumphant third solo effort, the independently released Bachelor No. 2, finds Mann's world as lyrically edgy as ever. Coming on the heels of the hit soundtrack Magnolia, which included nine Mann songs, Bachelor refines the former 'Til Tuesday songbird's glowing pop sound -- imagine Matthew Sweet and Burt Bacharach channeling Dusty Springfield. Four songs from Magnolia reappear on Bachelor No. 2, and they all deserve another listen. "Deathly," which begins with the wining line "Now that I've met you/Would you object to/Never seeing each other again," is now layered with lush harmonies and spun around a beautifully airy chorus. The piano-based "Driving Sideways" has a swagger that recalls both Bacharach and Elvis Costello. The previously instrumental "Nothing Is Good Enough" now has lyrics, which trace a relationship -- could be music biz or personal -- gone sour, and the plaintive "You Do" makes a lovely, melancholy album-closer. New songs like "How Am I Different," "Red Vines," and "The Fall of the World's Own Optimist" confirm Mann's skill at elevating her own personal stories to a more universal level and at sewing them to melodies that just keep giving.

Editorial Reviews

All Music Guide - Stephen Thomas Erlewine
It's no shock that Aimee Mann's Bachelor No. 2, or the last remains of the dodo sounds identical to her songs for Paul Thomas Anderson's Magnolia, since it was written and recorded at roughly the same time (the two records share four songs). Yet Bachelor No. 2 is hardly a retread, having its own identity and flow; it's more intimate, a little more fragile, a little more craftmanslike -- more like an Aimee Mann record, really. That, of course, is not a bad thing, especially since Mann has never sounded as assured as she does here, nor has she ever had a better set of songs. Surprisingly, this cohesive album was produced by a handful of different producers and Mann collaborated with three songwriters (Jon Brion being the most noteworthy of both categories). It sounds like the work of one writer and one production team, which is testament to the fact that Mann has finally found the ideal sound to match her literate, mildly self-deprecating, clever, melancholy, melodic style. Bachelor No. 2 is crisp, clear, and direct, but deceptive. It's hardly a guitar-and-voice record, there are layers of details in the arrangements, particularly in how the various guitars and keyboards weave seamlessly together. There has never been a better sound for her songs, and she's never been more consistently compelling as a writer either. To call Bachelor No. 2 a masterpiece may be overstating the matter somewhat, since an album this unassuming (but not unconfident) is too intimate to be labeled as such, yet it isn't hyperbole to call it the finest record Mann has made to date.

Product Details

Release Date:
05/02/2000
Label:
Superego Records
UPC:
0698519000224
catalogNumber:
2
Rank:
127008

Tracks

Album Credits

Performance Credits

Aimee Mann   Primary Artist,Acoustic Guitar,Bass,Bass Guitar,Tambourine,Vocals,Background Vocals,Hi Hat
Michael Penn   Guitar,Electric Guitar,Background Vocals,Slide Guitar,Guitar Feedback
Juliana Hatfield   Background Vocals
Jennifer Trynin   Electric Guitar
Benmont Tench   Piano,chamberlain
Jon Brion   Drums,Electric Guitar,Keyboards,Background Vocals
Michael Hausman   Percussion,Tambourine
Buddy Judge   Background Vocals,Wurlitzer,Drum Loop
Ric Menck   Drums
Brendan O'Brien   Bass,Slide Guitar
Grant-Lee Phillips   Background Vocals
Clayton Scoble   Guitar (Electric Baritone)
Patrick Warren   Piano,Accordion,Celeste,Keyboards,chamberlain,Soloist
Michael Lockwood   Guitar,Electric Guitar,Keyboards,Background Vocals,Soloist,Guitar (12 String Electric),Guitar (12 String Acoustic)
Mark Flannagan   Trumpet
John Sands   Drums
Michael Panes   Violin

Technical Credits

Michael Penn   Introduction
Aimee Mann   Producer,Art Direction
Jon Brion   Producer
Mike Denneen   Producer,Engineer
Nick DiDia   Engineer
Michael Hausman   Executive Producer,drum programming
Buddy Judge   Programming,Producer,Engineer,drum programming
Hank Linderman   Engineer,drum programming,Drum Engineering
Brendan O'Brien   Producer
Brian Scheuble   Engineer
Gail Marowitz   Art Direction
S. "Husky" Hoskulds   Engineer,Vocal Engineer
Ryan Freeland   Engineer
Dustin Jones   Engineer
Tony Monaco   Graphic Design,Recreation

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Bachelor No. 2 4.9 out of 5 based on 0 ratings. 7 reviews.
Guest More than 1 year ago
i'm going through hi school, which as everyone says is a hard time in different ways for each person. but aimee's album, both melancholy and uplifiting, one can use to control a mood, surprise, awaken. not only are the lyrics original and catchy, the arrangements are her most creative. this album inspires me to write songs quickly. to try to make up the day-changing tunes like those that she leaves behind.
Guest More than 1 year ago
The Magnolia soundtrack was typically dark, rich and thought-provoking. To have an even better bunch of typical finely-crafted pop magic from Aimee in the same year is as much as I can handle. Well worth the 5 year wait since ''I'm with Stupid'', ''Bachelor'' is her best effort to date. Aimee Mann is, indeed, a national treasure--a SONGWRITER, arranger, and performer on a par with Elvis Costello. Buy it.
Guest More than 1 year ago
mann has proven once again that she has the special talent of writing songs that are specific only to the human condition-something we all have in commmon. her stories, cleverly disguised with a fantastic vocabulary, rhymes and catchy melodies often leave the listener sure that she is singing about him or her. Combine this effect of universality with the layeredness of the melodies and vocals and you have an album to listen to again and again
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