Some of these songs have been released before the sad and typically articulate "Wise Up" was previously on the Jerry Maguire soundtrack (which, interestingly, makes it the second time that it's been wrapped in Tom Cruise's face), and "One" comes from the 1995 Harry Nilsson tribute CD. Magnolia the album meets that goal admirably, which is all the more astounding since the songs not only weren't written as a piece but come from many disparate phases of Mann's career, from the early, just-post-'Til-Tuesday demo of "Build That Wall" to bits and scraps of her (at the time) unreleased third record.
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Magnolia has some of the most sympathetic interplay between on-screen action and the pop songs underlying it of any movie I've seen in years Anderson realizes that a good soundtrack isn't just songs in the movie, it should be songs of the movie.
And so came Magnolia the movie, which was written under the influence of Mann's music to such a degree that while you don't need to see the film to enjoy the soundtrack, I have a sneaking suspicion that the soundtrack is absolutely vital to the film. Being Mann's friend gave him access to a heap of unreleased songs being an increasingly important filmmaker gave him a megaphone through which to shout them to the masses. Luckily for Mann, one of those chuckleheads was Paul Thomas Anderson, who not only saw the problem but was almost uniquely equipped to do something about it. This is a woman who, I gather, only wants to write and sing songs, and when she's even allowed to do that, chuckleheads like me come along and ruin it by endowing her every action with deeper meanings and motivations. Instead, she's experienced dizzying highs - universally-acclaimed albums, a high-profile single that piggybacked the Melrose Place phenomenon (the absolutely perfect "That's Just What You Are"), an Oscar nomination, poster-child status for the results of slash-and-burn record label greed - and staggering lows - the loss of not one but two labels, constant interference by music industry executives looking for a single, an album held hostage until the ransom came through, poster-child status for the results of slash-and-burn record label greed.
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Over the past decade, Aimee Mann has weathered professional ups and downs so dramatic and varied that she's probably just praying for a nice, quiet solo career where she can make a living making music.
SPACE CITY ROCK: CD/7" Reviews (V), Issue #3
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