The Associated Press State & Local Wire
February 24, 2000, Thursday, AM cycle
SECTION: State and Regional
LENGTH: 1006 words
HEADLINE: Aimee Mann's career set to re-bloom
with "Magnolia" soundtrack
BYLINE: By KIM CURTIS, Associated Press Writer
DATELINE: SAN FRANCISCO
BODY:
Even if you can't remember the song, chances are you know
the 1985 video for Til Tuesday's "Voices Carry," in which Aimee
Mann, stifled by an overbearing, abusive boyfriend, declares her
independence by ripping off her hat, exposing spiky, bleached blonde hair
with a skinny braided ponytail.
She begins singing from her seat during a stuffy opera, ignoring her boyfriend's
repeated attempts to shush her: "He wants me, but only part of the
time. He wants me if he could keep me in line."
Since childhood, the 39-year-old singer-songwriter has done things her own
way.
A tomboy who taught herself to play her brother's guitar while laid up with
mononucleosis when she was 12, Mann later dropped out of the Berklee School
of Music after four semesters when she was not learning enough about engineering.
She ventured out before Jewel, before Paula Cole, before Lilith Fair. And
while she's had some commercial success over the years - three solo albums
had critical success and even spawned a single or two - she remains mostly
unknown to the record-buying public.
Now she's tasting success again, on her own terms, for poignant, straightforward
pop with intelligent, honest lyrics rather than the in-your-face attitude
of years past.
"It's not tangible or immediate," she says. "I'm just making
a living and being moderately successful. There's not a big ego payoff.
It's the absence of feeling like a loser."
Mann's true breakthrough could be the movie "Magnolia," about
a traumatic day in the lives of nine characters in Southern California's
San Fernando Valley. She wrote eight of the soundtrack's 11 songs and "Save
Me" is up for an Academy Award for best original song.
Director Paul Thomas Anderson, who tapped Mann's musician husband Michael
Penn, actor Sean Penn's brother, for the "Hard Eight" and "Boogie
Nights" soundtracks, says he was listening to her music when he began
writing the script for "Magnolia."
"Everything she seemed to be thinking were things that I was thinking.
This may be due to the fact that she was articulating feelings and ideas
better than I ever could and I wanted to rip her off," Anderson said.
Speaking after a two-hour appearance in San Francisco - crooner Chris Isaak
joined her on stage for a pared-down, acoustic version of the technopop
"Voices Carry" - Mann appeared wired, her stick-straight, white-blonde
hair pushed behind her ears. It was midnight and her eyes were bloodshot,
but she was in a chatty mood.
"A show like this is great. The audience is fantastic, but it's very
stressful. If you're exhausted, you can't feel good about walking on stage,"
she said in the sparse, harshly lit dressing room.
Mann has known exhaustion. Some call her the poster girl for record deals
gone bad, for artists who get chewed up and spit out by the business. If
not for her determination and resilience, Mann might have quit altogether.
With that oh-so-'80s hair, Mann burst onto the charts at the height of New
Wave and MTV with Boston-based 'Til Tuesday.
"People have this idea that you get signed and your worries are over,"
Mann said.
Nothing could have been further from the truth.
The band was finished after its third release, "Everything's Different
Now," whose title proved prophetic. Mann had come into her own as a
serious songwriter. The dance-pop of the group's debut had evolved into
a more mature sound, which was unappreciated by her bandmates - and their
label.
It took Mann three years to get out of her contract with Epic. In 1991,
she released the critically acclaimed "Whatever" on Imago. But
just as she prepared for her second release, the label lost its distribution
deal and its financing.
Mann - and her album - languished for two more years until Geffen signed
her in 1994 and, a year later, released "I'm With Stupid," a sardonic
reference to her label woes.
What would she do differently?
"Virtually everything," she answers, from not being so quick to
form a band in the first place to hiring a lawyer.
"You've got to be ignorant" to try to be a professional musician,
she said. "It's nearly impossible to have real human relationships.
It's crazy and exhausting."
Her latest effort, "Bachelor No. 2," was supposed to be released
on Geffen, which was founded as an artist-friendly oasis by David Geffen
in 1980. Universal bought the label in 1990, but merged with Polygram last
year. It was then swallowed up by Interscope Records, which has made most
of its money from gangsta rap.
Seven songs for the album were ready in July 1998. But shortly after handing
them over, Mann was told the label executives "didn't hear a single."
"They have a formula," Mann said. "They really believe they
know what they're doing. They discount the fact that there are people who
want good, intelligent songwriting. ... They're listening for something
else. They will totally miss your meaning.
"They say they don't hear a single, but they can't tell you what they
want."
One of the two new songs Mann wrote to try to appease the record company
was "Nothing is Good Enough."
The melodic piano arrangement and Mann's mournful voice disguise the biting
lyrics: "It doesn't really help that you can never say what you're
looking for. But you'll know it when you hear it, know it when you see it,
know it when you see it walk through the door. So you say, so you've said
before. But nothing is good enough for people like you."
Finally, Mann quit fighting. She and her manager, Michael Hausman, bought
back the master tapes and released "Bachelor" on her own new label,
Superego.
She's weary of people telling her what can and cannot be done. When she
was growing up in Virginia she wanted to learn to box and surf and build
model airplanes.
"The level of opposition I received from people around me was phenomenal,"
she said. "You want to do things that express your personality. It's
hurtful to be told over and over your personality is wrong."
Everything's different now. Mann is back in line.
End Advance
GRAPHIC: AP Photos FX103-104 of Feb 24
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