Customer Reviews

I'm With Stupid

5 star:		(51)
4 star:		(8)
3 star:		(5)
2 star:		(1)
1 star:		(2)

 

 

This record is a masterpiece production. First, Aimee Mann's voice is crisp and clear, and seemingly unprocessed, it stands a little higher in the mix than most artists - but it works for her. Perhaps the reason it works so well is that her lyrics are fantastic, and they deserve to be heard.

The record follows the style of her previous release "Whatever", which also followed the style of Til Tuesday's final release "Everything's Different Now" (which could have more aptly been referred to as the first solo Aimee Mann record, because of it's stylistic divergence from previous Til Tuesday work).

Whereas "Whatever" was very polished and Beatles-influenced, "I'm With Stupid Now" intentionally takes a bit of the polish off. The recording and production is still stellar, but this time there are a lot of special effects, and subtleties put in, which give the album a feel of cohesiveness whereas "Whatever" may have seemed a little more sterile. In one track, there is actually the scratching of an old LP record mixed in quietly to the song (Amateur).

One of the strongest tracks on the song are "It's Not Safe", which is ironically the final song. In an age where artists often stack a record with the best 3 or 4 tracks up front, often followed by filler material, this stands as another example of Aimee Mann's bucking the system (another example being that the lyrics for this record are printed on the inside cover - in alphabetical order, word by word! So she has a sense of humor as well). "It's Not Safe" stands out in all aspects, but primarily the lyrics which discuss the topic of trying to be a good person in an inherently messed-up world. The sentiments she offers, "All you want to do is something good - so get ready to be ridiculed and misunderstood", are keenly stated.

Other very strong pieces include "Choice in the Matter" and "That's Just What You Are", both of which are catchy tales about painful relationships - a common theme for Aimee. In spite of her tendency to repeat these topics from song to song, her bitterness is tempered with hopefulness and enough creativity to never sound overdone.

Every song on this release is strong, so it is with hesitation that I list only the above. It is one of those records that you can listen to from start to finish and actually feel like you're going on an emotional ride.

I recommend it.

I'm writing this to those who have recently been acquainted with Ms. Mann since the release of the soundtrack, "Magnolia". As amazing as her songs featured in PT Anderson's film are--"I'm With Stupid" is tops. With little airplay, but awesome reviews..It's too bad that she wasn't selling then like she is now. But alas, she's finally getting what she has long deserved! I bought this album in '96 after hearing it in my brother's car. It's one of those rare CD's in which EVERY song is aesthetic to the ear and liberating to anyone who has ever suffered a broken heart (haven't we all? ) I've been enjoying IWS for 4 years now and have not let it gather dust. If you want to know who she is similar to, I cannot say. She stands alone. But if it's any help to you, other female artists that are high on my list are Ani Difranco, Liz Phair, and Fiona Apple.

Buy this CD--acquaint yourself with Aimee--support her--for she is a goddess of singing and songwriting.

I am one of those people for whom lyrics matter more than the music. Both harmoniously coupling to make beautiful music is great, but if given the choice, I choose lyrics. Aimee Mann is a lyrical genius... intellectual, clever, poetic, singing some of the most touching, surprising lyrics of any songwriter writing today. And why isn't Aimee a household name? Okay, record-company greed and Aimee's unfailing loyalty to herself and her artistic vision play their roles here... But I guess Aimee is not a household name also because her lyrics are a little bit intimidating to many people. Maybe too literate, maybe too incisive. However, this is why her most ardent fans love her music so much.

I'm With Stupid was fresh, rough, biting, witty, sarcastic, and heartfelt all at once. It still is... its effects have not dulled with time (and admittedly, for me, overplay!) Mann is gifted with making you nod in agreement with her while feeling like you are walking across gravel barefoot. She has a unique voice coupled with an aggressive style (on this album; toned down hereafter in her songs on the Magnolia soundtrack and in Bachelor #2).

One reviewer wrote that you cannot sing along with these songs... cannot listen to them in the car... and for me, this simply isn't true. All the songs are catchy; all of the songs get stuck in my head... and I sing along (in the car) all the time. It is all a matter of taste, yes. I am a fan of other contemporary female performers, and I believe Aimee Mann to be the best of them all.

"There is nothing that competes with habit,/And I know it's not that deep nor tragic.../simply that you have to have it" Mann sings in the bitter ballad "You Could Make a Killing". And while this is an evident statement it is also a true statement to which we can all relate...

Or in the biting "Sugarcoated" Mann sings, "Out of your mouth, comes a string of clichés; now I have given you so much rope, you shoul'd've been hanging for days.." Does it get any better than that?

I am hard pressed to provide a list of my favourite tracks, although I love "Par for the Course" most of all. This entire album is stunning and rare. This album is a powerhouse, overwhelming showcase of lyrical wizardry and sentiment and powerful music. You won't regret at least listening.

Aimee Mann's solo debut Whatever in 1993 was a very pleasing, promising album that thankfully put to rest the overproduced cod pop of Til Tuesday, her former band. The long-awaited follow-up I'm With Stupid is a completely different affair, more measured and subtle than Whatever, it creeps up on your unawares and makes you feel alternately gooey and sad. The best bits are the Bernard Butler collabaration Sugarcoated (for gooey) and the unbeatable Par For The Course (sad). A must for anyone into female songwriters, and then some. Still waiting for a new album, although the Magnolia soundtrack should suffice for now.

I have admired Aimee Mann's progression as an artist since the mid-1980s, from her origins with Til' Tuesday. She just keeps getting better, which is why it's always so frustrating that she's had so little commercial success. Seeing all of these reviews for this album makes me believe that her work with "Magnolia" may finally be paying off for her. Certainly the Internet can give her more options for reaching people directly.

This album is fantastic. I've listened to it over and over again. It kills me that none of these got airplay, because they're just so good. I don't even know if I could single out a top song from this album, because they're all so fantastic. "Choice in the Matter", "You Could Make a Killing", "Superball", "All Over Now", and "Frankenstein" all stuck in my head the first time I heard them. All of the songs are intensely personal, beautiful, and memorable. This album is addictive.

Aimee Mann is a true talent; she is my favorite singer-songwriter out there, and she really blows everybody else out of the water. I was gratified with her recent exposure, because it gives me the hope that she'll get the success she deserves so much.

Not everybody loves a melodic, melancholy whinger, but maybe they should. Aimee Mann, our only female Strewelpeter--has had her share of record-company (as opposed to musical) ups and downs, and this album took far too long to appear. Though perhaps not as instantly lovable as her first solo album, "Whatever"--whose first five songs are sublime--"I'm With Stupid" is a musical morality play of sorts. The moral: Don't be taken in by sugarcoating of any sort, especially from a record-company flack. "You Could Make a Killing" (featuring the killer couplet, "I wish I was young and stupid / Then I too could have the fun that you did.") is a cautionary tune for all time. Of course, sometimes you can't tell whether Mann is lamenting business or love affairs--and perhaps there's a reason for that as well. As for the great lament "Ray," never has the artist been more expressive, her voice initially acompanied only by an acoustic guitar before the other instruments (including a clavichord?) sneak in and the chorus rocks. Besides, only a true poet could rhyme "foster indecision" with "one of recognition." She's a pistol! As she puts, "Some things you know / And some you just believe in / And hope it comes out even."

When I'm going through a rough time, or even just a bad day, I turn to Aimee Mann's music. Not because it will necessarily cheer me up, but it's nice to know there's another voice out there that just 'gets' what I'm feeling. Aimee Mann writes about life, love, loss, just like everybody, sure. But her songs aren't filled with the cliches that most groups or artists have. Aimee is wonderful at juxtaposition and creating clever lines in songs. In 'I'm with Stupid', we have two radio-pop-friendly songs 'Frankenstein' and 'That's Just What You Are' that are so catchy, you wonder why they didn't go straight to the top of the charts. Oh, that's right, people today don't listen to good music. I forgot. If they did, they would check out this and Aimee's other albums.

This is my favorite Aimee Mann album. By far. There isn't a bad song on the album; absolutely no filler such as you might find on other albums. The two songs in which the incomparable Juliana Hatfield guest ("You Could Make A Killing" and "Amateur") are brilliant. Particularly exceptional tracks are "Par For The Course" -- a breathtaking ballad of sorts (think Aimee's "Wise Up" from the Magnolia soundtrack) and "Frankenstein", a pitch-perfect song about the way a seemingly perfect relationship can be transformed into a monstrosity. Aimee Mann never fails to impress, and on her sophomore solo effort, she proves once again that she's the real deal. This album has it all.

I love this CD and find myself putting it on when so many other CDs have worn out their welcome. Nice melodies both quiet and noisy, good vocals, guitars and production, intelligent and world-weary lyrics about men and record companies reflecting the times she was going through. She is a real talent who's CDs should sell better.

I am just amazed with this cd. This whole cd from start to finish is filled with many interesting songs that deliver numerous messages of life. After seeing Magnolia, which was one of the best of 99', I decided to get this cd and I'm glad I did. You will not go wrong with this disc. You should also check out the soundtrack for the movie. It is so thought filled and timed perfectly, I actually could sense some of the pain the characters were going through. Too bad she has not recieved the attention she deserves, but maybe Magnolia will get her on track.