on 4 December 2000
Out of all her albums, this one is my favourite. An eclectic mixture of songs, ranging from upbeat with a nice hint of bitterness (Sugarcoated and Long Shot) to practically tear-inducing (Par for the Course). Aimee once again demonstrates the sheer diversity of her writing and also the diversity of her voice as she winds her way through memorable melodies and haunting ballads. Although she will currently be best known for her work on the Magnolia soundtrack, this should currently be seen as her finest album. It is worth noting that this is one of the few albums that I listen to the entire way through, instead of skipping either irritating or dull tracks!
on 17 February 2013
"I'm with Stupid", Aimee Mann's second solo album of 1995, is an excellent album.
The production could be a little more polished in places, but the melodies and the lyrics are both interesting without exception. This album has a little more of a angry, rebellious feel (e.g. "Superball", "It's Not Safe") in comparison to some her later albums, but also maintains the quality of all of Aimee's work, past and present. Lyrically, "I'm with Stupid" stays true to her other work; witty and thoughtful, but often dark and sardonic. All the songs without exception are catchy and interesting.
As a fan of all of Aimee's work, I couldn't possibly choose a best album of Aimee Mann's, as they are all great. But I would say that "I'm With Stupid" sits comfortably in the "best albums" category, alongside all but perhaps "@#%&! Smilers" and "Charmer" (although don't get me wrong, they are both great- just not quite as great as the others).
on 4 August 2015
I own about 7000 CD's which makes it hard for me which album to choose for my next ironing session. But Aimee's album "I'm with stupid" hasn't left my cd player for 10 days now. It's an amazing album from an amazing artist. Wonderfully ctafted, haunting songs that stick with yoi long after you've pulled the Iron's plug. My advice: Take some time and discover this beautiful mmusic.
on 21 July 2012
This is a small set-back from Aimee's fantastic debut album, Whatever. The great thing is that it contains a set of stunningly strong tracks but the mood of the album starts to become quite gloomy, which can be a little overbearing if you are listening to it entirely.
The majority of the lyrics are quite bitter and defeatest, especially in tracks like All Over Now, Par For The Course and You're With Stupid Now. It seems as though Mann has given up and given her struggles at the time, one can hardly blame her.
It really creates a gloomy mood over the album, which otherwise does have a lot of standout songs, Frankenstien, That's Just What You Are, Choice In The Matter among them. Even the gloomy tracks are quite strong set apart from the album, particularly the title track, which has some incredibly witty Lyrics from Mann.
This album certainly doesn't rock as much as Mann's first album, it is a lot mellower and more pop oreientated, not that this is a bad thing, for Aimee Mann's pop has always been crafted for an intellegent audience rather than the average teenager.
on 29 May 2010
I've really enjoyed Aimee Mann's music and lyrics since the magnificent and beautiful 'Welcome Home' an album I play nearly every day and never get tired of. 'Everything's Different Now' and 'Whatever' were great too.
'Frankenstein' has Elvis Costello's shadow looming over it, at his most cutting and witty. Word play and music blend superbly as the song makes you gasp at the quality, intelligence and delivery.
The title track is subtle and witty- I laughed out loud at the rhyming of 'compound fracture' and 'Margaret Thatcher'
But it's delivered in glum tones and accompanying plodding tune.
Unfortunately GLUM is the word that most describes the rest of the record, the songs and delivery.