Like many people, Mann believes that Trump doesn’t really want to be president, that he fell into this role almost by accident and certainly with no expectation that he could actually win the thing.
She is friends with a bunch of comedians and actors who make cameo appearances in her often hilarious videos. She hosts an annual Christmas/comedy show that bridges the gap between indie pop and vaudeville. Hell, she even had a memorable (though brief) role in The Big Lebowski.
This list is dominated by directors I number among my favorites, which raises the question: Am I listing these songs because I love the films of these directors, or do I love the films of these directors in part because of how well they use these songs?
I’ll argue for the latter. My favorite filmmakers make great use of music, whether it’s Woody Allen’s Gershwin tunes, Spielberg’s John Williams scores or Wes Anderson’s ear for 60s Brit Pop.
When ‘Dear John,’ the opening track of Aimee Mann’s excellent concept album The Forgotten Arm, came up as today’s random iTunes selection, I figured I’d featured the record, if not this song, before.
And sure enough, I did… five and a half years ago.
#19 – Aimee Mann – Charmer
In counting down my top 20 albums of the decade so far, I’m considering only albums that are meaningful to me. That might seem obvious, but I want to be clear that I’m not necessarily looking to capture the most important, ground-breaking or ambitious records of the past five years — just the ones I like the most.
In other words, you won’t find any Kanye West or Radiohead here.
Following up on yesterday’s Broken Bells post is another release by an indie supergroup. Of course the phrase “supergroup” is a bit of a stretch for either of these bands, given the relatively low profiles of their members.
The Both is a collaboration between Aimee Mann, who I adore, and Ted Leo, who is completely new to me. Leo is a punk-rock songwriter and performer who has been recording with various bands for 23 years. He and Mann have been friends for the past decade and started this professional partnership in 2012.
If there’s one thing this blog does on a regular basis, it’s remind me of how freaking old I’m getting.
I love how this album really sounds like a bridge between Mann’s work with ‘Til Tuesday and the much more polished sound of her later records.