Despite that unwieldy, rather craven title, @#%&! Smilers has already been acclaimed by some critics as the best record in Aimee Mann's long career. Few fans will be disappointed. The opening "Freeway" may be built around a fairly slight play on words ("you got a lot of money but you can't afford the freeway" goes the chorus) but the nagging melody and expansive synth-laden arrangement, reminiscent of her East Coast counterparts and fellow suburban critics Fountains of Wayne, is nigh on irresistible. "Stranger Into Starman" is a mere snippet, and all the better for its brevity, while "Looking For Nothing" is a perfect example of the southern Californian blankness Mann has captured for years now. The lush, orchestrated country-rock of "Phoenix" rhymes the title with "Kleenex" and truly captures the mood of someone leaving for good. Sean Hayes sounds uncannily like a boozy Antony Hegarty on the deceptively jolly closer "Ballantines," named for a whisky, while author Dave Eggers picks up a credit for his rather good "whistling" on the gloomy, undeniably pretty "Little Tornado." The painfully detailed "Thirty One Today," a distant memory for Mann, is another successful attempt to voice dissatisfaction. Only the chirpy horns on the admonishing "Borrowing Time" actually lighten the mood. Smilers is an excellent record, cleverly thought out throughout. But the smiles here are rueful at best -- Steve Jelbert

Limited edition book packaging of her 2008 album, Aimee's seventh solo release to date. The album is a return to form after the artistic detours of 2005's concept album The Forgotten Arm and 2006's Christmas CD One More Drifter in the Snow. Featuring thirteen new original songs, producer Paul Bryan describes the record as "deceptively powerful...very rich and grand-sounding." The songs range from the stripped-down-to-basics of "Columbus Avenue," to the almost Cars-esque synth-pop of "Freeway," alongside the classic Jimmy Webb/Glen Campbell-era "Phoenix," and the hushed creepiness of "Little Tornado." The final song "Ballantines" is a duet with Sean Hayes complete with barroom piano and trombone section. All songs were penned by Mann with the exception of "True Believer" which was co-written with fellow singer-songwriter Grant Lee Phillips.

Aimee Mann long time singer-songwriter with award winning music quality is back with another collection that is as well written, sung, and enjoyable as ever. Producing consistently good albums that are largely similar to one another is a double edged sword. Many Mann fans have said 'sounds about the same as the last one,' as if that is a problem. If she has produced an album with a very different feel (lets say she went pop in the vein of her cover of "Voices Carry," there would be just as many complains about how she had sold out.

In this reviewer's opinion, doing something really well, and repeating it, is extremely valuable. In sports, that is called super-stardom. In music, it is at times called 'boring,' or 'unoriginal.' Those critiques are amazingly unfair.

@#%&*! SMILERS is a great album, and a return to Aimee's slower, more intimate style. I must say that I did miss the full instrumentation and faster tempo of some of her other albums, but even a less than perfect Aimee Mann album is rewarding.

The shortest song on the album "Stranger into Starman," might be this reviewer's favorite. Careful phrasing, intriguing lyrics, and a wistful piano combine to make a strangely fascinating song.

"The Great Beyond," with a beat that Fionna Apple would love, is another quality track. Subtle backup singers give it just enough layering to support the simple lyrics.

"True Believer" is classic Aimee Mann: slightly 'honky-tonk' piano, cynical lyrics, and Aimee's beautiful voice pulling it all together and making it more than the sum of its parts.

"Ballantines," a duet with a strange voiced male, is funky, quirky, and probably an acquired taste. It's odd and I'm not sure I like it, or that it's long enough, and yet there is something captivating about it.

Aimee Mann is a superstar. Don't knock her for being as good as she is as often as she is. There are about a million other singer/song writers out there who would kill to have her voice, musical skill, and success. If your an Aimee Mann fan, this is a must buy. 3.5/5 stars.

I cautiously took Aimee Mann's cd Bachelor No. 2 from my local library because I want to acquaint myself with current music. Usually I listen to bits and pieces and return the cd's with a shudder. Bachelor No. 2 was so infectious that I bought it; then I bought Smilers and Aimee mann's Christmas album. Thinking that I was being a little crazy, I went on Amazon and listened to samples of all her recordings. There are no bad songs. I haven't purchased music in twenty years. And making matters worse I am ( or was ) a Frank Zappa and Tom Waits fan. Aimee Mann's music is GOOD in it's own way. It's creative, catchy, infectious, moody, original... and she has her own SOUND. I detect whiffs of Carole King ( Tapestry, I am that old ), Fountains of Wayne, and Emmit Rhodes ( which is why some of her songs sound like the Beatles ). But the conglomeration of influences is distilled through a unique vessel... Aimee Mann. I hum her songs while I'm living my life.

I'm With Stupid is one of my all-time top 25. Whatever is nearly as good as that one. Smilers almost put me to sleep. Medicine Wheel is pretty good. Balantine's? Heard it before. The rest... you get the picture.

I've read quite a few reviews stating that Aimee is retreading old territory and that she should experiment more. The last time one of my favorite bands started "experimenting" we ended up with a pretentious piece of crap called "Kid A". As long as Aimee keeps putting out well written songs with killer performances, I'm in.

In the case of Smilers I am not really hearing it as same old same old. It sounds like she has revisited her entire history - from the tender acoustic balladry of Whatever - the adventurous keyboard flavored songs of Lost In Space. She has birthed a new beast made up of her own parts. It also sounds like she is having fun. Something that I haven't really heard on the last few records. The only thing that is missing, and that I would like to see Miss Mann return to, is the rocking electric guitar songs that we got on Whatever and I'm With Stupid. Songs like "I Should Have Known", "Say Anything", "Choice In The Matter", and one of my all time favs "It's Not Safe". Songs like these need to make a comeback

As for the songs on Smilers there isn't a bad one in the bunch. The ones that stand out for me are the stunningly beautiful duet with Sean Hayes "Ballantines", "Phoenix", "Borrowing Time" (I'm a sucker for horns), and the heart wrenching beauty of "Columbus Ave". I'm sure my favorites will change from listen to listen. Why? Because Aimee's songs are alive and vibrant. They grow and evolve over time with the listener. That's what excellent songwriting is all about. That's why diehard Aimee Mann fans have stuck by her through thick and thin. It's always worth it.

I own most of Aimee Mann's albums, including her previous one before this, The Forgotten Arm. Some reviews felt that as a concept album, it was a bit of a departure for Mann but I find that she consistently makes good music, especially with sweet lyrics and vocals.

I was fortunate enough to catch one of her concerts as part of the tour for this album and she did a great job on the songs. The show helped reinforce just how well these songs fit into the Aimee Mann canon. The album opens with the single, "Freeway", which is the one song on the album that seems atypical for Mann. It's a catchy, adult-oriented pop song that finds Mann letting loose with some unusual lyrics for her, "you got a lot of money but you can't afford the freeway."

The album leads into "Stranger into Starman", which is just short enough to always leave you wanting more of this beautiful song. Other highlights for me are "Thirty One Today" and "Little Tornado", but the album is consistently good Aimee Mann from front to back.