Bachelor No. 2

( 7 )

Editorial Reviews

Barnes & Noble - Lydia Vanderloo
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 ...
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Editorial Reviews

Barnes & Noble - Lydia Vanderloo
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.
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.
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Product Details

  • Release Date: 5/2/2000
  • Label: Superego Records
  • UPC: 698519000224
  • Catalog Number: 2
  • Sales rank: 14,464

Tracks

Disc 1
  1. 1 How I Am Different (5:03)
  2. 2 Nothing Is Good Enough (3:10)
  3. 3 Red Vines (3:44)
  4. 4 The Fall of the World's Own Optimist (3:06)
  5. 5 Satellite (4:10)
  6. 6 Deathly (5:37)
  7. 7 Ghost World (3:30)
  8. 8 Calling It Quits (4:09)
  9. 9 Driving Sideways (3:49)
  10. 10 Just Like Anyone (1:22)
  11. 11 Susan (3:51)
  12. 12 It Takes All Kinds (4:06)
  13. 13 You Do (3:43)
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Album Credits

Performance Credits
Aimee Mann Primary Artist, Acoustic Guitar, Bass, Guitar, 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
Shawn R. Britton Mastering
Tony Monaco Graphic Design, Recreation
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Customer Reviews

Average Rating 5
( 7 )
Rating Distribution

5 Star

(6)

4 Star

(1)

3 Star

(0)

2 Star

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1 Star

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Sort by: Showing all of 7 Customer Reviews
  • Anonymous

    Posted October 1, 2010

    helps us get through

    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.

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  • Anonymous

    Posted October 1, 2010

    songs for the everyman

    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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  • Anonymous

    Posted October 1, 2010

    A banner year for Aimee fans!

    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.

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  • Anonymous

    Posted December 3, 2008

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    Posted November 22, 2009

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  • Anonymous

    Posted April 9, 2010

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  • Anonymous

    Posted October 26, 2008

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Sort by: Showing all of 7 Customer Reviews