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Published on: 7/24/2006
Last Visited: 8/7/2008
And how many wish that this was true, that Mandy had indeed made a total ass of herself.
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In an interview, appropriately enough, in Interview Magazine, Moore insists she picked the songs all by herself like a big girl.This is the stuff "people have been getting [her] into recently and [she] wants to spread it around" sort of like a disease.And while a majority of her favorites are chart hits by their respective original artists, a choice like "Mona Lisas & Mad Hatters" makes it all worthwhile.This Elton John classic is perhaps one of his most overlooked and, thankfully for Moore, also not a cover of "Tiny Dancer" (shame on you, Ben Folds!).
Most importantly, though, the implications of this album are significantly more impressive than the actual music itself and that boldness should not be overlooked.Moore, while trying to maintain relevance and growing up in the spotlight, i.e. hitting puberty, is also trying to bring her audience along with her on the road to integrity.She is unabashedly saying, hey guys (insert Mandy Moore Giggle (TM) right about here) there was music before 1997 and it's pretty damn good.
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And Timberlake could also never get away with using a xylophone as Moore does in her treatment of Joe Jackson's "Breaking Us In Two."
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This is Mandy validating herself to the gods of Where Are They Now, successfully so.Coverage is a sincere homage, her way of showing appreciation for a glorious back catalogue of never-ending pop ingenuity.
Truthfully, Mandy is also much easier to like.To quote a slightly fey friend of mine, "she is and always will be a treat."And after listening to this refreshingly guilty pleasure, I couldn't agree Moore.
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Her assistant, Amanda, who was as helpful as a flashlight in mid-day, kept on forgetting who I was (and here I thought I was unforgettable).
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