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Editorial Reviews
Amazon.com
Dividing her time between waging war on the music industry and writing sublime pop songs, Aimee Mann shows on her fourth solo album that she is equally adept at both. "Let's hear it for guys like me," she sings over the lilting rhythms and stylish guitar work of "Guys Like Me." Her case for toppling the corporate structure is airtight; just check her Web site for the latest bulletin. Her music, meanwhile, keeps getting better. The success of the Magnolia soundtrack may have restored her confidence following the record company strife that followed her first two solo releases--Whatever and I'm With Stupid--but the wounds have not healed. "All the perfect drugs and superheroes wouldn't be enough to bring me up to zero," the former 'Til Tuesday singer imparts over the layered, lush tones of the opening "Humpty Dumpty." Meanwhile, on the emotionally distressed "It's Not," she muses over a forlorn 16-piece string section, "I keep waiting for a change but I don't know for what." It could be the prettiest, most polite battle cry ever. --Aidin Vaziri
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Customer Reviews
Most Helpful Customer Reviews
21 of 21 people found the following review helpful
Format:Audio CD
It seems like forever since Mann's last record 'Bachelor No. 2', although in reality it's only been a year. Yet again she proves herself with a collection of songs that's not only excellent but also articulate and intelligent. The album starts with the superb 'Humpty Dumpty', with an almost nursery rhyme chorus that seems appropriate to the tune. Aimee also tries her hand at a country lilt on 'High On Sunday 51'. Of course, it would be impossible for me, a hardened fan, not to like anything that she's made and whilst this probably isn't quite as good as last year's 'Bachelor' it's still by far the album of the year and is unlikely to be beaten. I know that fans have looked to it in great anticipation and Mann has, as usual, delivered. Using a large variety of styles, especially on the superb 'Lost In Space', every single song delivers.
However, despite it being easy to talk about the catchy tunes and the fact that Mann plays her own instruments and uses different styles to achieve the desired result, there will not be one person out there who buys this album who doesn't end up reading through the lyrics. This is certainly something of a gift where Mann manages to articulate exactly what you yourself have been thinking but have been able to put into words, despite keeping her records remarkably personal. Something like 'The Moth' isn't just a good song in its own rights but lyrical genius because it hits the nail on the head. Doubtless others who listen will find the Aimee Mann song that defines them at this moment in time and this is why she's become such cult listening to anyone who's heard of her (which is sadly few). And despite her intelligent lyrics this does't dilute Mann's ability to write a piece of music that's incredibly poignant, such as on 'This Is How It Goes' or 'It's Not'. Whether she's world-weary, upset or smiling Aimee Mann is one of the most talented songwriters that I have ever heard and no doubt will go on making records to great critical acclaim. As a side note to anyone reading this review - congratulations, you have found Aimee Mann, may your lives be better for it.
14 of 14 people found the following review helpful
Format:Audio CD
I am in love with Aimee Mann. Seriously. Amidst all of the glamourpuss posturing of the majority of pop girlie icons, there exists a select number of truly poignant and magical female songwriters that are churning out tunes that capture the helplessness and confusion of our generation. I would venture to say that among them, Aimee Mann rules as queen.
This is not the sweet interplay between love and anger a la Sarah McLachlan, nor is it the goofy yokul cum pop princess coquetishness of Jewel. This is bare bones grief, confusion and longing, all balled up in Mann's beautifully understated voice, subtle acoustic strumming and plucking, and perfectly buoyed up by fabulously raw production values.
"Lost in Space" is truly a thematic album. Nearly all of the songs deal with feelings of dissapointment, nonconformity, and the struggle to find meaning or lasting happiness. Some may find this as depressing. I see it as sheer poetry, as I often believe the best writing/drama comes from struggle and conflict. Nearly all of the best lines from the songs have been previously quoted, but needless to say, these are some of the best love songs in recent years, and they're not happy. "Lost in Space", "It's Not", "Today's the Day" and especially "High on Sunday 51" and "Pavlov's Bell" are pure pop rock gems, devoid of obnoxious noodling guitar work or ridiculously overt drum fills.
Most importantly, Aimee Mann is intelligent enough to not tell us how smart she is. Where some lyricists seek to pronounce their erudition by shamelessly ripping lines out of the popular literature of the day (Incubus, Sting, Rush), Aimee is content with painting portraits of diverse characters. Rather than merely talk about her many romantic conquests (John Mayer, Ashlee Simpson, pratically every new songwriter), Aimee inhabits the bodies of a number of characters, and we're sure to find ourselves among them. And she tells the stories with a brazen honesty: that life sucks sometimes, but it's okay. To quote a song from the album, "this is how it goes."
My only niggle here is that the album isn't longer. It reaches an emotional peak with "Today's the Day", then finishes with two fantastic, if brief pop tunes. I was hoping for something bigger, such as the tunes from the Magnolia soundtrack, but we can't have everything, can we? In short, a fantastic album, and worth every penny. You can listen to it over and over for hours and feel the same emotions. Go buy it.
This is not the sweet interplay between love and anger a la Sarah McLachlan, nor is it the goofy yokul cum pop princess coquetishness of Jewel. This is bare bones grief, confusion and longing, all balled up in Mann's beautifully understated voice, subtle acoustic strumming and plucking, and perfectly buoyed up by fabulously raw production values.
"Lost in Space" is truly a thematic album. Nearly all of the songs deal with feelings of dissapointment, nonconformity, and the struggle to find meaning or lasting happiness. Some may find this as depressing. I see it as sheer poetry, as I often believe the best writing/drama comes from struggle and conflict. Nearly all of the best lines from the songs have been previously quoted, but needless to say, these are some of the best love songs in recent years, and they're not happy. "Lost in Space", "It's Not", "Today's the Day" and especially "High on Sunday 51" and "Pavlov's Bell" are pure pop rock gems, devoid of obnoxious noodling guitar work or ridiculously overt drum fills.
Most importantly, Aimee Mann is intelligent enough to not tell us how smart she is. Where some lyricists seek to pronounce their erudition by shamelessly ripping lines out of the popular literature of the day (Incubus, Sting, Rush), Aimee is content with painting portraits of diverse characters. Rather than merely talk about her many romantic conquests (John Mayer, Ashlee Simpson, pratically every new songwriter), Aimee inhabits the bodies of a number of characters, and we're sure to find ourselves among them. And she tells the stories with a brazen honesty: that life sucks sometimes, but it's okay. To quote a song from the album, "this is how it goes."
My only niggle here is that the album isn't longer. It reaches an emotional peak with "Today's the Day", then finishes with two fantastic, if brief pop tunes. I was hoping for something bigger, such as the tunes from the Magnolia soundtrack, but we can't have everything, can we? In short, a fantastic album, and worth every penny. You can listen to it over and over for hours and feel the same emotions. Go buy it.
13 of 14 people found the following review helpful
Format:Audio CD
Aimee Mann's latest is the second released on her own finger-to-the-recording-industry record label, SuperEgo. Mann has been described by many as one of the greatest songwriters of our time and rightfully so. Her songs are portraits of people and situations that most people run from much less base a career in music on. And Lost In Space is her most candid piece yet.
At first listen, the album seems to be her most laid back lacking the crunchy guitars of I'm With Stupid and the Burt Bacharach stylings of Bachelor No. 2. In their place are quiet melodies and arrangements containing a multitude of instruments and sounds (in part to sonic-loving co-producer Michael Lockwood) that lift Mann's pop sensibilities into a new level of character development and make for an incredible listening experience.
Songs like "Real Bad News" and the lovely "Invisible Ink" are bolstered by orchestral arrangements, a device Mann has not experimented much with and is very complimentary to her writing and her voice; however, it's songs like "Humpty Dumpty" and "Pavlov's Bell" (one of the best denial songs since 10cc's "I'm Not In Love") where Mann really shines, as she does most brightly on the title track. Mann sardonically intones, "So baby beware/I'm just pretending to care/Like I'm not even there" as a person so cold to the world they have lost even themselves. Aimee Mann is like a mirror put up in front of all the messed-up people in the world. You just don't get any more honest than that.
Most Recent Customer Reviews
"Lost In Space" brings Aimee down-to-earth
Who knows what planet the ever-guarded and wry Aimee Mann's was missing, but longtime collaborator Jon Brion's hipster production values probably wouldn't take her there. Read more
Published 1 month ago by G. A. Skala
One of my All Time Fave CDs
This is one of those rare discs for me that I can listen to start to finish, no matter how many times I have heard it, and just love it.
Published on June 11, 2008 by ellawitch
TIMELESS
Great Lyrics, Great Compositions, Great Performance, Great Packaging. This is my first Aimee Mann album and I'm blown away.
Published on July 8, 2007 by District Dave
The Best of Aimee
This in my opinion, is the best of Aimee Mann cds. It's not a cd you listen to when you are in a good mood. It's kind of depressing but it is also very good. Read more
Published on June 27, 2007 by N. Bartek
bachelor number what??
"lost in space" is almost a perfect album. i don't like how some of the songs were performed on "bachelor no. Read more
Published on August 12, 2006 by David Smith
Gets better with every listen
I've been listening to this album in fairly heavy rotation for over a year. It not only holds up to repeated listenings, it just gets better, which is really extraordinary. Read more
Published on June 5, 2006 by Ken Zirkel
loneliness and isolation make great company.........
listening to this cd is like trying to find your way home in the dark.
great lyrics, tremendous songwriting structure. Read more
great lyrics, tremendous songwriting structure. Read more
Published on March 4, 2006 by MATT
overrated chicle chick
A warm and delicate record, however these are very predictable and quite mediocre songs.Teenagers will like Aimee Mann singing about the "big nothing". Read more
Published on October 6, 2005 by Robert F.
Mann Magic Mostly Missing
OK, I'll admit I'm rating "Lost in Space" RELATIVE to Aimee's previous albums, but that's exactly the rating system I use in my mind when I'm listening. Read more
Published on September 26, 2005 by Polymorphorism
Lost In Admiration
A mere three years after Bachelor No. 2, and again on her own SuperEgo label but without the celebrity guest names, this is a consummate collection of songs, fully realised by some... Read more
Published on September 25, 2005 by Laurence Upton
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