Customer Reviews

Magnolia: Music from the Motion Picture

5 star:		(136)
4 star:		(48)
3 star:		(10)
2 star:		(5)
1 star:		(3)

 

 

The trajectory of Aimee Mann's career is one of the more unusual ones. Whereas artists typically toil in obscurity for years, slowly building a rabid fan base who turn their noses when that artist makes a successful compromised play for mainstream success, Mann started her major label career with the successful compromised album ('Til Tuesday's "Voices Carry"), then proceeded to follow it up with a brilliant-but-less-commercial discography (now numbering four LPs, plus assorted other contributions) that built the rabid fan base out of the ashes of the mainstream success.

If there has been a fault with her output post-Voices Carry, it has been that there simply has not been enough. This is due in large part to her problems with major labels. Columbia rejected what was supposed to be the fourth 'Til Tuesday album. Imago, who released her first solo album (Whatever) went under before the second solo album could be released. Geffen Records, who released the second solo album, was turned into a decimated shell following the Universal/Polygram merger, and after some well-documented chain pulling, Aimee was dropped by a label who clearly didn't "get" the idea of art versus commerce.

And along the way, Mann also had the distinction of being the "girl singer" not signed by A&M because they could only sign one such singer at the time, and Sheryl Crow got the nod.

OK, so now you know why the rabid fans (myself included) anticipate with drool spilling from our mouths ANY new Mann music. When you get beyond the packaging and tie-ins, the Magnolia soundtrack is essentially a half an Aimee Mann album. There are nine Mann tracks, a couple of old Supertramp hits, a track by what can only imagine is a Warner Bros. label priority (Gabrielle), and a snipped of score by the estimable Jon Brion (who has also occasionally served as Mann's producer).

Let's start by pruning away the junk. Goodbye Supertramp, it's been nice. Goodbye Gabrielle, it has not. Goodbye Jon, too. Your score is fine, but I'd rather wait for either a full score or else your delayed solo album (another story).

That leaves the nine aforementions Mann tracks. Of these, two have been available previously. Her cover of Nilsson's "One" was on the "For the Love of Harry" tribute. And "Momentum" was a "b-side" on a UK CD-EP for "That's What You Are". Suprisingly, these tracks share not only the distinction of being available elsewhere, they also share the distinction of being inferior to the other Mann material here. A third track here, "Nothing is Good Enough" is an instrument. And while it's a pleasant enough instrumental, doesn't play to Mann's strengths. So that leaves six new Mann songs on which to base a review.

And the verdict: Those six songs are wonderful. Grade A Mann material. And good enough that I'm willing to give the sountrack a 4 star review on the basis of those songs alone. I only wish they were joined by another 6 to make this a true album.

My suggestion: Buy the Magnolia soundtrack and the Bachelor No. 2 EP (available from Mann's Web site, aimeemann.com), then burn your own CD compilation combining the six important tracks here with that EP. It may not be the album Aimee Mann wants to release, but until a real one appears it'll beat just about anything else you can put in your CD player.

And tell your friends to buy this. Maybe if they sell enough copies SOMEONE at a major label will wise up and realize there is a market for wise and wonderful pop records. We can dream, can't we?

dap

To be honest, I haven't heard of Aimee Mann before this terrific soundtrack. She totally encompasses the emotion of the film and enhances the viewing experience. Her music and the film work together to create an emotion within yourself that is so hard to depict through mass media. "Save Me" is the hit, but I feel that "Wise Up" is one of the best tracks on the soundtrack because it truly defines what the film is all about. I have now bought all of Aimee Mann's collection and will be eager to hear more from this artist. No longer will the corporate record labels be able to silence one of the greatest songwriters and vocalists I have ever heard. Buy this soundtrack and go see the film if you want to experience some of the best personal and social commentary that can be shown in this commercialized, mass mediated society.

Buy this CD and program tracks 2-9--since Aimee's version of One--Track 1--is dispensable, as are the Supertramp, Gabrielle and, I hate to say it, Jon Brion, tracks. That leaves seven sterling examples of Aimee Mann's musical and lyrical virtues. As always, there's the expert songwriting, guitar playing, musical arrangements, vocals, lyrics and relentlessly penetrating insight. But,that's just the beginning. Once you've immersed yourself in the music, go see Magnolia This isn't the usual snippet here and verse there type of Soundtrack. As director P.T. Anderson acknowledges: Magnolia is based on these songs and he gives full rein to most of them during the course of the movie. In one beautiful passage, each of Anderson's lovingly developed characters take turns singing Wise Up in sad, broken, heartfelt voices as Aimee's plaintive voice rises above them all. For my money, it's one of the most affecting movie moments in memory. Though P.T. Anderson is clearly the auteur of Magnolia, it stands as a sonic collaboration with Aimee Mann...and the whole thing is utterly awesome.

Aimee Mann's eight or so introductory tracks on the soundtrack to "Magnolia" are, quite frankly, some of the best moody, angsty music I've ever heard. Better than Alanis. Better than Fiona Apple. Better than Tori Amos.

From her cover of "One" to the brilliant, brilliant "Wise Up," Mann's tracks alone make this album a must-have. The Oscar-nominated "Save Me" is a great song, the sort you put on repeat in your CD player when you feel like you're part of "the ranks of the freaks who suspect that they'll never love anyone," a feeling I hope I share with lots of people.

The Supertramp tracks and that song "Dreams" are OK, but they don't really fit with the feel and sound of the Mann songs. The album, though, is very clearly split into two halves - with the Mann stuff basically filling the first half and the poppier, more upbeat stuff coming at the end.

"Magnolia" the film requires multiple viewings to understand, but the songs of Aimee Mann, which inspired the film's creation, are fairly straightforward, moving and beautiful to work both with the film and without it.

The multiple listens you'll give the "Magnolia" soundtrack won't be to help you better understand its meaning. You'll just want to relive the beauty of the thing.

With the exception of the Supertramp junk food & the cloying 'Dreams' song (both tacked on for their comical use in the film), 'Magnolia' is one of the finest soundtracks in ages. Original song material written specifically for the film not a soundtrack is hard to come by & with talents like Aimee Mann & P.T. Anderson working together, the results are flawless. From the spunky 'Momentum' to the wrenching 'Save Me,' Mann combines a folksy, offbeat style that embodies the heartbreak & awkwardness of modern life.

Paul Thomas Anderson's latest film "Magnolia" is a film of such briliance. I could not believe what I had seen at the end of its three hours. It is quite a masterpiece. Like his last film (Boogie Nights) the music was chosen very wisely. He chose Aimme Mann to compose the film's wonderful music. The songs on the album are filled with a variety of emotions and such beautiful lyrics. I was pleasantly suprised.

The album opens up with a cover of Three Dog Night's "One" (written by Harry Nilsson) which I had not originally liked but Mann captures the song with a voice that the song was truly meant to have. The originals are the real treat. The real stand out songs are "Momentum", "Deathly", and "Wise Up". The song "Save Me" also got a well deserved Golden Globe nomination.

I had not heard Mann's music since her days with 'Til Tuesday. But if the rest of her solo material is this good I think I am missing a lot and I am very anxious to hear it.

The album closes out with two Supertramp songs from the "Breakfast in America" album. It may seem odd but they appear in the movie as does "Dreams" by Gabrielle and "Magnolia" by Jon Brolin who produced Mann's songs.

This album is an essential album as is the film itself. P.T. Anderson really works wonders with his movies as did Aimme Mann with this album. I think both are masters of their art and to see them join together in this wonderful film, "Magnolia" is something that cannot be missed.

Whoa.....am I the only person on this list that feels that the cd is not only just amazing Amy Mann songs? Granted, the nine songs she has on this cd are amazing (especially Save Me and Wise Up) but to say that the Supertramp and Dreams songs are tacked on for comical effort is totally incorrect. They are intergal to the movie scenes and (regarding Dreams) to the movie chracters. Put aside the "cheese factor" and you'll realize that all of these songs are excellent. Damn...."Dreams" is pretty catchy and who doesnt love a little "Breakfast in America" Supertramp?

We longtime Aimee Mann fans are reeling with shock these days. The Magnolia soundtrack at number 13 in sales at Amazon.com? Over 90 reviews?

Huh?

Word has finally gotten out and our beloved Aimee is at last getting much deserved recognition for her solo work. Funny then, that it should be for this album, which is fine by anyone's standards (Mann's included), but lacks the coherence of her other work. As "popomatic" points out below, most of the songs were not actually written for the film, which gives the soundtrack a rather patchwork, piecey sort of feel to it, especially when compared with the organic wholes that are "Whatever" and I'm with Stupid".

Not that the pieces are bad, however. In fact, "Wise Up" and "Momentum"-which was originally a b-side(!) back in 1994-rank among her best. "Deathly" is tremendous and "Save Me" gets more exquisite with each listen. In fact, the only disappointment is the instrumental, though the full version on her upcoming "Bachelor No.2" album is much better. No, this is not so much an Aimee Mann album as a collection of some very good songs.

Like the film, these songs are subtle, witty and restrained. If you like your music in your face, you will be bored by this. It's quiet, personal stuff, and so is bound to not please everyone. But if quirky, cerebral, irresistably catchy, folky pop sounds even remotely interesting, your neighbors will curse the day you bought this disc. Or more likely, they'll ask you to make a copy for them.

But be warned, Aimee virgins. Her three other solo albums are even better.

Although, strictly speaking, this is not the new Aimee Mann album I've been waiting for since 1995, this soundtrack includes nine gems from pop music's most trenchant singer/songwriter. Thank you, Paul Thomas Anderson, for recognizing Ms. Mann's genius and showcasing it. This would easily rate five-stars if it were an all-Aimee record. While the two Supertramp "hits" may be good for a laugh the first time you spin the CD, upon repeated listening they destroy the mood so carefully set by the first nine tracks. Even so, I wholeheartedly recommend this CD. I had the good fortune to see Aimee and Michael Penn in concert last week. At the show, her newest, "Bachelor No. 2" was on sale. This is her masterpiece--a five-star effort all the way. By all means, hunt it down. In the meantime, buy "Magnolia." There is little crossover between the two and together they represent Aimee Mann at her best.

Also recommended: I'm With Stupid-Aimee Mann; Whatever-Aimee Mann; All This Useless Beauty-Elvis Costello; Utopia Parkway-Fountains of Wayne.

Somewhere at Interscope there is an executive who is feeling a little bit nervous right now as the public encounters the wonderful new music by Aimee Mann that her former label rejected. Okay, this album and the upcoming Bachelor #2 may tank, but then maybe the film and the promotion surrounding the film will expose CD buyers at long last to the brilliant talent of Aimee Mann. This record dispenses with the kitchen sink approach of her "I'm With Stupid" album for a more carefully arranged and slicker approach. It works well -- with a voice like Aimee's you need to construct the supporting instrumentation with great delicacy. A couple of the songs almost sound like Carpenters' arrangements - and I mean that as a huge compliment. Aimee's songs are better than ever -- especially "Deathly" and "You Do," but it's hard to pick favorites. Supertramp is represented on this soundtrack with two excellent oldies that comment nicely on the mood Aimee establishes here. It is a great album.