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Aimee Mann

Aimee Mann

  • Avg user rating: 4 stars Out of 105 votes
  • Your rating:  Write your review
  • Similar Artists: Suzanne Vega, Shawn Colvin, Michael Penn, Amy Rigby

Playlist

Thirty One Today (4:52) Date added: 04/18/08 | Total listens: 7,523
I'll Be Home For Christmas (3:19) Date added: 11/06/06 | Total listens: 20,541
Dear John (3:08) Date added: 04/18/05 | Total listens: 32,502
Long Shot (Live) (5:32)
explicit Date added: 12/10/04 | Total listens: 43,769

User reviews for Aimee Mann

Average rating4 starsOut of 105 votes

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Editor's review

Since emerging in the '80s as the voice of 'Til Tuesday, and following that with a series of thoughtful, introspective solo albums, Aimee Mann has maintained her high status as a thoroughly engaging and accomplished singer-songwriter. Her songs carry the weight of complex emotions, yet they never get bogged down in too much sentimentality.

Biography

Aimee Mann?s seventh solo release to date, @#%&! Smilers, is a return to form after the artistic detours of 2005?s concept album The Forgotten Arm and 2006?s Christmas CD One More Drifter in the Snow.

Featuring thirteen new original songs, producer Paul Bryan describes the record as ?deceptively powerful...very rich and grand sounding?. The songs range from the stripped-down-to-basics of ?Columbus Avenue?, to the almost Cars-esque synth-pop of ?Freeway?, along side the classic Jimmy Webb/Glen Campbell era ?Phoenix?, and the hushed creepiness of ?Little Tornado.? The final song ?Ballantines? is a duet with Sean Hayes complete with barroom piano and trombone section. All of the songs were penned by Mann, with the exception of ?True Believer?, co- written with fellow singer-songwriter Grant Lee Phillips.

An amalgamation of sounds, Aimee explains ?we tried not to echo any previous albums?for this one we wanted to use a different palate, thus replacing electric guitars with distorted Wurlitzers, Clavinets, and analog synthesizers. We made the low end and rhythm section full and organic- sounding, with Jay Bellrose?s quirky approach to percussion and my acoustic guitar together. For this album the acoustic guitar is present in a new way, one that melds with Jay?s rhythm section and acts as an adjunct to the high-hat. On top of that we layered detailed interwoven keyboards and on select songs added a lush string section; on others a full horn section.? The album was recorded in the latter part of 2007 at the Sound Factory studios in Los Angeles, engineered by Ryan Freeland and mastered by Gavin Lurssen.

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