Supposed Former Infatuation Junkie Alanis Morissette
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- 1Front Row04:13
- 3Thank U04:19
- 4Are You Still Mad04:04
- 5Sympathetic Character05:13
- 6That I Would Be Good04:17
- 7The Couch05:25
- 8Can't Not04:36
- 10I Was Hoping03:51
- 12Would Not Come04:05
- 14So Pure02:51
- 15Joining You04:24
- 16Heart Of The House03:46
- 17Your Congratulations03:56
Info for Supposed Former Infatuation Junkie
Supposed Former Infatuation Junkie is the fourth album by singer-songwriter Alanis Morissette, originally released in 1998. After the massive success of Jagged Little Pill (1995), Morissette was considered one of the biggest music stars in the world, and many fans anxiously awaited a follow-up album. A dark and wandering album, the mystery of Supposed Former Infatuation Junkie began on its cover, with an image of Alanis's mouth while laughing and a text printed over that image that refers to The Eight Precepts of Buddhism.
The album debuted at number one on the U.S. Billboard 200 with the highest first-week sales for a female artist at the time, selling almost half a million copies in its first seven days. The first single from Supposed Former Infatuation Junkie, 'Thank U', charted high because of the anticipation for the album. Other singles off the album include 'Joining You' which became the album's second single in Europe. 'Unsent' also charted and 'So Pure' made it to the top 40 in the UK.
„While it's not a repudiation of her blockbuster, Supposed Former Infatuation Junkie is a clear step forward, teeming with ambition and filled with new musical ideas and different sonic textures. Alanis Morissette's voice still sears, but she has more control over her singing, rarely reaching the piercing heights that occasionally made Jagged Little Pill jarring. Also, she has clearly spent some time crafting her lyrics; not only do they never sound like straight diary entries, she no longer is trying to fit too many syllables into a phrase. These two differences are subtle -- the brooding, Eastern-styled music that dominates Supposed is not. There are numerous extensions of the vague hip-hop and pop fusions that made 'Hand in Pocket' and 'All I Really Want' huge hits ('Front Row,' 'UR,' 'Thank U,' 'So Pure'), but much of the album is devoted to moody ballads and mid-tempo pop, where the textured production functions as a backdrop for Morissette's cryptically introspective lyrics. Far from being alienating, this approach works surprisingly well -- not only do the pop tunes sound catchier, but the ballads, with their winding melodies and dark colors, sound strong and brave. If anything, the record is more coherent album than its predecessor, and even if it isn't as accessible or as compulsively listenable, it's a richer record. That said, it won't win any new fans -- for all of her success, Morissette is a weird acquired taste, due to her idiosyncratic vocals and doggedly convoluted confessionals -- but it certainly confirms that she doesn't quite sound like anyone else, either.“ (Stephen Thomas Erlewine, AMG)
Alanis Morissette, vocals flute, harmonica, piano
Glen Ballard, synthesizer, guitar, piano, programming, string arrangements
Joel Shearer, guitar
Nick Lashley, guitar
Benmont Tench, organ, chamberlin
David Campbell, string arrangements
Chris Chaney, bass
Gary Novak, drums, percussion
Recorded Royaltone Studios, Los Angeles
Engineered by Scott Campbell, Chris Fogel, Roger Sommers
Mastering by Chris Bellman
Produced by Glen Ballard, Alanis Morissette
Please Note: we do not offer the 192 kHz version of this album, because there is no considerable or audible difference to the 96 kHz version!
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