Copyright 2000 The Washington Post
The Washington Post
February 4, 2000, Friday, Final Edition
SECTION: WEEKEND; Pg. N08
LENGTH: 1234 words
HEADLINE: SPOTLIGHT; Mann's Double Exposure
BYLINE: Richard Harrington, Washington Post Staff Writer
BODY:
SINGER-SONGWRITER Aimee Mann has spent much of the '90s
battling music industry indifference. For instance, not one of her three
solo albums has been released by the label it was originally recorded for.
So it's something of a miracle that as the millennium turns, Mann has two
albums out, including one on a major label: Reprise has released the soundtrack
to "Magnolia," which director Paul Thomas Anderson constructed
around unreleased Mann songs, and Mann herself will distribute "Bachelor
No. 2," recorded for and later rejected by Geffen/Interscope.
"Having two records at one time is a little extreme," Mann laughs
from her Los Angeles home as she prepares for a rare tour, the first with
her husband, the equally estimable songwriter Michael Penn. They'll be at
the Ram's Head Tavern in Annapolis Sunday and Monday and at the Birchmere
Tuesday.
"It's purely by accident," adds Mann of this seeming bounty of
music. "I could have had 'Bachelor No. 2' out in the summer, but most
of the album was two years old and I wanted to add something new. Then things
started to gear up for 'Magnolia' and that put me way behind schedule finishing
it up."
Anderson had become an ardent Mann fan after being exposed to her music
through his association with Penn, who contributed to the scores of his
first two films, "Boogie Nights" and "Hard Eight." Anderson
wanted to use a single writer to thematically underscore his film, much
the way Mike Nichols used Paul Simon's songs in "The Graduate."
Mann ended up contributing nine songs to "Magnolia," though only
two, "Save Me" and "You Do," were written specifically
for the film.
"Save Me" figures prominently--at one point, the film's emotionally
burned-out characters evince a communal misery by solitarily singing lines
from the song. Meanwhile, a lyric from "Deathly"--"Now that
I've met you, would you object to never seeing each other again?"--was
transformed into dialogue and birthed one of the film's central figures,
the addict Claudia (Melora Walters). Throughout, Anderson used Mann's material
to inspire and inform his film.
"We had discussions about the characters," says Mann of her working
relationship with Anderson. Most of the film's characters are emotionally,
romantically troubled, but looking for salvation, and many of Anderson's
and Mann's conversations had to do "with the idea of rescue missions."
"I knew the kind of people Paul was talking about," Mann explains.
"I knew what he was getting at, and I was pretty confident that I could
tap into stuff that was going on. I made it real for Paul, but it's his
personal interpretation. For instance, Claudia is a coke addict and I was
not writing specifically about a coke addict, but about other aspects: You
want to be loved, you want to love other people, but you can't bear to be
close to anyone. It's a more general idea and it's fine with me if Paul
takes that and makes it someone who's got a drug problem."
The "Magnolia" soundtrack includes an instrumental version of
"Nothing Is Good Enough," the full version of which appears on
"Bachelor No. 2." It's a caustic encapsulation of Mann's problems
in the '90s as she sought to connect with a label that would understand
and respect her work, not ignore or reject it. She sings, "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 walk through the door/
So you say, so you've said many times before."
Mann's not exaggerating about the "many times before." She hit
early as lead singer and songwriter for Boston's Til Tuesday, whose debut
single, "Voices Carry," was a Top 10 hit in 1985. Thanks to early
MTV exposure, the band's first album sold well over a million copies, but
as Mann abandoned synth-rock for a more folk-rock/guitar-pop approach, Til
Tuesday lost its support at Epic Records. After 1988's "It's All Different
Now," it took Mann three years to extract herself from her deal with
Epic, which wouldn't let her record for anyone else or release new material.
Mann's problems were just beginning.
Her 1993 solo debut, "Whatever," came out on Imago, a start-up
label with no idea how to promote Mann; by the time she recorded a follow-up,
"I'm With Stupid," Imago had lost its distribution deal and financing
with BMG but refused to release the album or let Mann out of her contract.
Imago eventually sold "Stupid" to Geffen. Then, as part of last
year's merger of Universal and Polygram, Geffen was absorbed by Interscope,
which didn't hear an immediate hit single and gradually lost enthusiasm
for the project.
"They wanted me to re-record or write new songs," Mann says. "The
instructions were very amorphous but they added up to the overall instruction:
Go away, change, be different, write other songs in a different way. The
impetus for me wanting to leave Interscope was hearing people there talk
about Sheryl Crow, who merely sold a million and a half records, as being
a loser, someone who was not producing for them. I realized this was not
the place for me."
Such ongoing problems seem absurd attached to one of the most critically
acclaimed songwriters of the '90s. After all, Mann's been favorably compared
to such past masters as Burt Bacharach, Carole King and Randy Newman and
contemporaries, all of whom she's collaborated with, like Matthew Sweet,
Jules Shear, Squeeze and Elvis Costello (Costello co-wrote "The Fall
of the World's Own Optimist" on the new album).
A sense of frustration and utility has informed songs on each of Mann's
solo albums: "I'm With Stupid," for instance, was a clever reference
to bad choices in both men and labels. Elsewhere in "Nothing Is Good
Enough," Mann sings "Ladies and gentlemen here's exhibit A/ didn't
I try again and did the effort pay?/ Would a smart man simply walk away?"
A smart Mann didn't simply walk away. Having bought back "Bachelor
No. 2" from Interscope, Mann is now starting her own label, Superego,
with that album as its first release (a preview EP sold close to 3,000 copies
during her fall tour). In addition, Mann and manager Michael Haussman (once
Til Tuesday's drummer) are starting United Musicians, a collective that
will address marketing, publicity and radio promotion issues.
It's all part of a burgeoning Internet-centered alternative distribution
system that is bypassing the creative and contractual hegemony of the major
labels. The actual numbers may be smaller, but the rewards may be greater:
For instance, Mann is likely to make four times as much per record through
her own distribution as she would have from a major label deal. And she's
finally free from "amorphous" instructions.
"My overwhelming feeling is one of relief," Mann says. "I
don't know anything about selling records or being on the Internet or Web
sites, but it's an interim stage of total relief. We hope to develop a system
for ourselves that works. In the meantime, even the mistakes are more fun
because they're our own mistakes."
"Bachelor No. 2" will be available at Mann's performances and
through her Web site: www.aimeemann.com.
AIMEE MANN AND MICHAEL PENN -- Appearing Sunday and Monday at the Ram's
Head Tavern in Annapolis and Tuesday at the Birchmere.
To hear a free Sound Bite from Aimee Mann, call Post-Haste at 202/334-9000
and press 8107. (Prince William residents, call 690-4110.)
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