So let's consider Mann's soundtrack for Paul Thomas Anderson's movie "Magnolia" as if she'd never been sidetracked by bad breaks and greedy record labels, as if her effortlessly pointed wordplay and her smartly decked out melodies existed in a pop world of their own, a place no one ever has to worry about how well a record sells or how a contract can trip you up.īecause unlike any number of singer-songwriters who kick around for years, having their share of ups and downs, Mann just seems to get better. Her music is so self-assured, especially at this point in her career, that victimhood just doesn't become her. But she's also too good to become anyone's token. Of course Mann deserves better luck than she's had.
2" is currently available on her Web site.)īut so much has been written about Mann's disappointments - she has no qualms about airing them in interviews - that she's already become something of a poster child for all the hundreds of lost souls out there who make great records and just can't get a break. Mann, a member of the '80s outfit Til Tuesday who went on to make consistently astonishing solo records, hasn't had an easy time of it in the business, and she's recently taken the wise step of making her own records and selling them directly online.
There seem to be legions of them, a not-so-secret, not-so-underground network of fans for whom she's a symbol of all that's not right with the music business, the taste of the public, the world.Īnd they're not so wrong. The people who love Aimee Mann do so with a vengeance.
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