Supposed Former Infatuation Junkie

by Alanis Morissette

Overview

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

Product Details

Release Date:	07/29/2014
Label:	Imports
UPC:	8718469536214
Rank:	29723

Album Credits

Performance Credits

Alanis Morissette   Primary Artist,Flute,Piano,Vocals,Harmonica
Glen Ballard   Primary Artist,Piano,Guitar,Synthesizer
Benmont Tench   Guest Artist,Organ,Chamberlin
Chris Chaney   Bass,Guitar (Bass)
Gary Novak   Drums,Percussion
Joel Shearer   Guitar
Nick Lashley   Guitar

Technical Credits

Chris Bellman   Mastering
Chris Fogel   Mixing,Engineer,Programming,Remix Engineer
Roger Sommers   Engineer,Second Engineer
David Campbell   Arranger,String Arrangements
Glen Ballard   Arranger,Composer,Engineer,Lyricist,Producer,Programming,String Arrangements
Scott Campbell   Engineer
Alanis Morissette   Composer,Lyricist,Producer,Photography
Jolie Jones Levine   Production Coordination
Kevin Reagan   Design,Art Direction
Dash Mihok   Loop,Photography
Regina Thomas   Photography
Stefan Bucher   Design
Heather Stanley   Photography
Shad T. Scott   Programming
Glen Ballad   Lyricist
Blink Digital   Musician

Editorial Reviews

Disco diva turned alternagoddess Alanis Morissette is back with the follow-up to her zillion-selling Jagged Little Pill. The new dose of Alanis brings another bestselling smash to the charts. Like its predecessor, Supposed Former Infatuation Junkie is a confessional work with a smart pop sheen. But this time the once raging singer is kinder, trippier, and funkier. Now, that's personal growth. Release date: November 3, 1998.

barnesandnoble.com

It's hard to believe that either Alanis Morissette or Glen Ballard, her producer and collaborator, ever thought that Jagged Little Pill would become a phenomenon, establishing the singer-songwriter as a global superstar. It may have cleverly channeled a variety of post-alternative styles into one slickly commerical yet oddly confessional juggernaut, but there was no telling that it would have connected with millions upon millions of listeners. To her credit, Morissette never sounds daunted by her gigantic following on Supposed Former Infatuation Junkie, her eagerly anticipated sequel to Jagged Little Pill. While it's not a repudiation of her blockbuster, it is a clear step forward, teeming with ambition and filled with new musical ideas and different sonic textures. Morissette's voice still sears, but she has more control over her singing, rarely reaching the piercing heights that occasionally made 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"), 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 deeply introspective yet cryptic 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 a better, more coherent album than its predecessor. Even if it isn't as accessible or as compulsively listenable, it's a richer record that reveals more upon each listen. 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. -- All-Music Guide

Stephen Thomas Erlewine