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The good news is that Penn's pop instincts seldom fail him. Just how arbitrary, silly and predictable can Penn's rhyme schemes get? It's hard to beat this verse from "Lucky One," the album's opening track: "Things got bad, things got worse/ I got loaded in a hearse/ All I needed was a nurse/ Believe me, I'm not lying." Michael Penn: 'MP4' Where Mann's tone is often caustic and cutting, Michael Penn occasionally settles for cute on his new release, "MP4 (Days Since a Lost Time Accident)" (Epic).
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(To hear a free Sound Bite from this album, call Post-Haste at 20 and press 8153.) 2" isn't a pretty picture, but it's filled with images and scenarios that are hard to forget. Which is why most of the songs on "Bachelor" find Mann piercing illusions, sidestepping snares and ridiculing fools who keep making the same mistakes over again, herself included. Mann, the former 'Til Tuesday vocalist, may be happily married now-to singer-songwriter Michael Penn-but she continues to write as if she were determined to stay single and sane. On the following tune, a bitter ballad called "Nothing Is Good Enough," Mann sounds like Pretender Chrissie Hynde as she kisses off a lover-turned-foe: "Critics at their worst could never criticize the way that you do/ No, there's no one else I find to undermine or dash a hope like you." "What do you care about the great divide," she asks a potential mate, "as long as you come down on the winning side?" Indeed, the qualities that Anderson finds so appealing about Mann's songwriting-the candor, the nerve, the vivid and often unforgiving characterizations-are apparent throughout the album, a song cycle that examines the cost of love.īeginning with the opening track, "How Am I Different," Mann dismisses outright the notion of happy endings, at least as far as her love life is concerned. While several songs on the album also appear on the "Magnolia" soundtrack (Reprise), "Bachelor No. 2" (Superego), her third and most provocative solo release. They surface time and again on "Bachelor No. The director goes on to extol Mann's virtues as a songwriter, calling her "the great articulator of the biggest things we think about: 'How can anyone love me?' 'Why the hell would anyone love me?' and the old favorite 'Why would I love anyone when all it means is torture?' " Had he not listened to Mann's music in the summer of 1997, Anderson wouldn't have found the inspiration to write "Magnolia." It was as if she were "articulating feelings and ideas better than I ever could and I wanted to rip her off," Anderson confesses. In the liner notes to his film soundtrack "Magnolia," director Paul Thomas Anderson acknowledges a huge debt to singer-songwriter Aimee Mann.