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Bachelor No. 2 or, the Last Remains of the Dodo
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Bachelor No. 2 (Or, The Last Remains of the Dodo)
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MP3 Music, May 2, 2000
"Please retry" | $9.49 | — |
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Track Listings
| 1 | How Am I Different |
| 2 | Nothing Is Good Enough |
| 3 | Red Vines |
| 4 | The Fall of the World's Own Optimist |
| 5 | Satellite |
| 6 | Deathly |
| 7 | Ghost World |
| 8 | Calling It Quits |
| 9 | Driving Sideways |
| 10 | Just Like Anyone |
| 11 | Susan |
| 12 | It Takes All Kinds |
| 13 | You Do |
Editorial Reviews
Amazon.com
Bachelor No. 2 is the product of a woman whose 40th birthday looms months ahead, and it illustrates how a little seasoning has paid off creatively for Aimee Mann. Always an incisive lyricist, the eloquent singer-songwriter further hones her wordplay to a razor-sharp edge. Her subjects are so adroitly sliced and diced that little blood is shed, though they're permanently cut down to size. "Calling It Quits" targets some cad who is "numbering himself among the masterminds 'cause he's hit upon the leverage of valentines." Not that Mann spares herself from a steely assessment: "I know I had it coming / From a Caesar who was only slumming" she admits in "The Fall of the World's Own Optimist." Though this 13-track collection borrows three songs from its immediate predecessor, Mann's soundtrack to Magnolia, its musical ingenuity and consistency (notable considering five different production teams are credited here) make the scattered redundancies irrelevant. Mann's artistic growth has been evident with each new release, and Bachelor marks her biggest leap forward to date. --Steven Stolder
Product details
- Is Discontinued By Manufacturer : No
- Language : English
- Product Dimensions : 4.99 x 5.48 x 0.2 inches; 3.04 Ounces
- Manufacturer : SuperEgo Records
- Item model number : 8066
- Original Release Date : 2000
- Run time : 49 minutes
- Date First Available : December 14, 2006
- Label : SuperEgo Records
- ASIN : B00004RG4Y
- Number of discs : 1
- Best Sellers Rank: #185,152 in CDs & Vinyl (See Top 100 in CDs & Vinyl)
- #852 in Rock Singer-Songwriters
- #3,639 in Adult Alternative (CDs & Vinyl)
- #3,809 in Indie Rock
- Customer Reviews:
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Top reviews from the United States
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Somewhere in this world are a couple dozen corporate record companies that look at the bottom line and stop right there. Quantity over quality. Aimee Mann became a casualty of the mindless trend of corporate mergers and the dropping of good singer-songwriters from major labels to make way for more of (gulp) Britney Spears. If any of you want to stop the onslaught of Christina Aguilera & Backstreet Boys clones from taking over the world, then do everything you can to spread the music of artists like Aimee Mann. (And don't stop with Aimee Mann.)
Ok, I really DID listen to the whole album. And its better than both of her solo albums and all 3 of the 'til Tuesday albums combined! (Another notch for Boston.) If you're like me and can't get past those first few songs because they're that good, then be patient and listen to the other songs, because they're just as good. I haven't played an album over and over again this much since, um, Liz Phair's debut in 1993. So...wow. I've followed Aimee at least since 1986 when 'til Tuesday was just a really good band...and she just gets better and better with age. If you're over 18...you'll love this record.
Shame on corporate conglomerate record executives. Its about time for another indy-label revolution to shake up the world. Strike a blow for talent over fluff.
It should be noted that four tracks were also released on the "Magnolia" soundtrack (although one as an instrumental)-- these tracks, excepting "Deathly", were not among the better material on either record-- "Deathly" is another story altogether, in many ways, its really the best example of where Mann's strengths are, a biting, ironic lyric with a fragile arrangement and brilliant vocal harmonies. This is a pretty common sound for Mann and shows on several tracks-- "Nothing Is Good Enough", "The Fall of the World's Own Optimist", the moving and brilliant "Satellite" for example. But there's no shortage of the sort of alternative/pop stuff she was doing earlier in her career-- "How Am I Different" and "Red Vines" are both superb pop songs with more robust arrangements. And again, she branches out on cuts like "Just Like Anyone" (a song so sacchrine that had it stretched longer than it does, it'd be overbearing) and the piano ballad "It Takes All Kinds".
There's a couple weak moments on here ("Ghost World" and "Callling It Quits" are pretty uninteresting), but overall, this is a fantastic album, and a great place to start with Mann's music. Recommended.
Man oh man oh MAN, do I LOVE this LP.
Who in rock would have the guts to start an LP with a line like "I can't conceive I'm everything you're trying to make me believe," as Mann does on "How Am I Different?"? For that matter, how many musicians have the guts to start an LP with a downbeat depresser like "How Am I Different?"?
Certainly very few male rockers.
It moves and swings in long, low, graceful lines; it is atmospheric without any trendy, triacle oversweetening the mix.
Is it depressing? Well, yeh, at points. But it's also witty and smart and the depression is genuine, or at least spoken by someone who obviously knows what she's talking about.
"Deathly" is caustic, "Ghost World" roars with a big ol' Stones sound--if the Stones could sing backup so good and sweet--and "You Do" has some of the best singing on a rock record in I don't know how long.
I spent two months listening almost exlusively to this LP. It is a real world-changer, a mind-bender with a spine like you've never seen. If I could give it a rating of 35 stars, I would.
Now...who decided this flimsy little cardboard scrap was a worthy wrapper for this world-class LP? CD packaging is bad enough as it is, don't start downgrading it now.
Top reviews from other countries
lebendige und anspringende Stimme, toll. Die Lieder sind nicht immer eingängig, aber immer anhörbar
und nicht langweilig, sondern vielschichtig und vielseitig. Schön. Macht Spass. Zu Empfehlen.
"Bachelor N. 2" is Aimee Mann's third solo album (the soundtrack of "Magnolia" excluded). The album was released in 2000 and it has since been widely praised as her perhaps most important / powerful.
The album was the first Mann released on her own record label V2 and some of the songs had been previously released on the soundtrackalbum "Magnolia" from 1999.
Let it be said at once that "Bachelor N. 2" is an unusually fine collection of songs that has no weak points and which are both beautifully and varied produced and arranged.
Some of the songs may remind you of Sheryl Crow from her strongest period around "The Globe Sessions", while others have a more soul-like expression (ex. "Calling it quits"). As mentioned, the music is both beautifully arranged and produced by, inter alia, guitarist Jon Brion and Mann herself.
The list of musicians is both exciting and long and you may notice Benmont Tench and her husband Michael Penn. A very Beatles-esque and great guitar sound is flavouring many of the songs.
All the songs from "Magnolia" are very strong ( "Deathly," "Wise Up", "Save Me" and "You Do"). The former you may at first not really notice, but it's very likely to grow on you. Both "Wise Up" and "Save Me" are likely to become new classics and one can easily imagine these covered by many upcoming artists. "You Do" is in the lighter mood - melodic and charming.
Among the other songs especially two stand out. "Red Vine" is an incredibly catchy and countryflavoured ballad that could easily be track that convince new fans. The same is said about the great "Calling it Quits." Also "Backfire" deserves to be highlighted. An easy song slightly in the vein of "You Do".
Not very often you these days I have the luck of discovering "new" great albums like this. I won’t hesitate to predict "Bachelor N. 2" a place among the greatest albums of this century.
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