Aimee Elizabeth Mann is an American singer-songwriter. In the 1980s Mann was the bassist and a vocalist for 'Til Tuesday, and wrote their top-ten single "Voices Carry". She released her debut solo album, Whatever, in 1993, and has released many albums since.

The Forgotten Arm is the new studio album from the Grammy and Oscar nominated singer/songwriter Aimee Mann. Aimee's songs have a literary quality to them — sharp, spare short stories set to music — so it was probably inevitable that she would one day make a concept album, the musical equivalent of a novella. The Forgotten Arm , her fifth solo release, is exactly that: a dozen songs that tell, rather loosely, the story of John and Caroline as they meet, fall in love and road trip across America.

Oscar-nominated, Grammy-winning singer Aimee Mann always provides her fans with well-crafted music and lyrics that reflect her wry worldview. Mann returns in early-2017 armed with her first solo effort in five years and the follow-up to the eponymous 2014 debut from her collaborative project with Ted Leo entitled The Both. Mann certainly isn't taking any prisoners on the forthright Mental Illness and her songwriting is as pointed and poignant as ever. She returns to a more musically soft-spoken but still lyrically barbed approach here, as heard on lead single, "Goose Snow Cone," and remains a student of human behavior, drawing not just on her own experiences to form the characters in the songs but tales told by friends.
"I assume the brief on me is that people think that I write these really depressing songs," Mann says. "I don't know – people may have a different viewpoint – but that's my own interpretation of the cliché about me. So if they thought that my songs were very down-tempo, very depressing, very sad, and very acoustic, I thought I'd just give myself permission to write the saddest, slowest, most acoustic, if-they're-all-waltzes-so-be-it record I could...I mean, calling it "Mental Illness" makes me laugh, because it is true, but it's so blunt that it's funny."

99年有部叫Magnolia的电影不知道大家还记得否（Tom Cruise主演），当然我要说的是那部电影留给人很深刻印象的音乐：一首叫Save Me的歌被金像奖提名，让一个名不见经传的女歌手Aimee Mann家喻户晓。
而实际上从80年代的新浪潮乐队Til Tuesday，Aimee的音乐生涯就开始了，这个乐队一共发行三张专辑，之后Aimee解散了乐队，独立发行唱片。
1993年，Aimee的专辑Whatever发行，这张专辑取得小面积的成功，之所以这样说，是因为她所受到的关注度仅限于短期内，而且专辑并不是大热大卖，虽然评论一直在赞扬这位女歌手的创作功底，但始终她没能被所有人关注。而且非常不幸的是当她即将发行她的第二张专辑时她当时所在的唱片公司Imago却突然食言，迟迟不肯帮她发片，于是她开始了与Imago长达2年的官司，最终她脱离这个公司，转向签约新厂牌，并先行发单曲That's Just What You Are，单曲取得相当大的成功，还被收录进Melrose Place的原声。她的第二张唱片I'm With Stupid很快发行，很可惜情况并未因单曲的热门而改观多少，始终她的音乐叫好不叫座。
当然，之后的Bachelor No.2情况完全不同，相信Aimee是苦尽甘来，这张专辑在Save Me（无耻一下，当年听到这歌就看好这个歌手，虽然人家在美国早都被看好了，不过咱这资讯不行，也不能怪我，嘿嘿）这首歌热门后一年发行，被认为是她迄今为止最好的作品，我还很喜欢Deathly，Red Vine这两首歌。
2002年她发行Lost In Space，今年又带着The Forgotten Arm回来，虽然当年听不到Lost那张，却也看评论说没有Bachelor No.2的水平，难道人真的只有在没成名前才能努力或者说才有创作的灵感吗？虽然Aimee的风格依旧是带着点民谣味道的流行摇滚，但听着似乎没有以前那么有感觉了，怀念一下听Deathly，Red Vine和Save Me这些歌时候的Aimee，并且希望她以后的专辑能比Bachelor No.2更好。
转Amazon的介绍：
Mann has retired the 'Til Tuesday moniker, but the elements that made Everything's Different Now (1988) so superb--heartrending songs, baroque pop arrangements and lovely melodies--remains intact. Jeff Bateman

The long awaited new album from Aimee Mann, Charmer, will be released September 18 on Superego Records. Influenced by what Mann calls the “super pop” of the 70s and 80s, the album is her first release since 2008’s celebrated @#%&*! Smilers, which the BBC called “undeniably beautiful.” Of Charmer, her eighth studio album, Mann comments, “I’m fascinated by charming people and the whole idea of charm. It's hard to remember sometimes that there is usually an agenda behind the act of being charming, and that is what I'm most interested in. Is someone’s charm being utilized just to try and entertain people, make them feel special and interesting, or is there a more sinister purpose behind it? Sometimes I think ‘charm’ can just be another word for ‘manipulation.’” The album also includes a duet with James Mercer of The Shins on “Living a Lie.” Mann will support the new album with tour dates this fall. See reverse for tracklist.
Charmer was produced by longtime friend and band member Paul Bryan and recorded with Ryan Freeland (Ray LaMontagne, Bonnie Raitt) at Stampede Origin in Los Angeles. Bryan joins Mann on the album, among many other friends and collaborators including J.J. Johnson, Jebin Bruni and Jamie Edwards. Mann wrote all of songs on the album, though two, “Living a Lie” and “Soon Enough,” are collaborations with Paul Bryan and Tim Heidecker, respectively.
Mann began her solo career in 1993 with the album Whatever and made a name for herself through her independent success and the founding of her record label, SuperEgo. In addition to her solo work, she has appeared on many film soundtracks and composed the soundtrack for Paul Thomas Anderson’s much-lauded Magnolia. Since @#%&*! Smilers, Mann has performed for the President Obama and the First Lady at the White House, appeared as herself on the hit indie TV series Portlandia and fast become an internet darling. Named one of The Huffington Post’s “13 Funny Musicians You Should Be Following On Twitter,” Mann has gained a diehard social media following for her quick wit and stinging observation, much of which is reflected on the new album.

Limited edition book packaging of her 2008 album, Aimee's seventh solo release to date. The album 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," alongside 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 songs were penned by Mann with the exception of "True Believer" which was co-written with fellow singer-songwriter Grant Lee Phillips.

Grammy winner and Oscar nominee Aimee's first Christmas album is a collection of holiday classics and two original, beautiful, and bittersweet songs written by Mann and Michael Penn. Reminiscent of classic albums of the 40's and 50's, but without any retro kitsch. Like Frank Sinatra, Johnny Mathis, and Peggy Lee, Aimee Mann captures the emotional beauty of Christmas.

99年有部叫Magnolia的电影不知道大家还记得否（Tom Cruise主演），当然我要说的是那部电影留给人很深刻印象的音乐：一首叫Save Me的歌被金像奖提名，让一个名不见经传的女歌手Aimee Mann家喻户晓。
而实际上从80年代的新浪潮乐队Til Tuesday，Aimee的音乐生涯就开始了，这个乐队一共发行三张专辑，之后Aimee解散了乐队，独立发行唱片。
1993年，Aimee的专辑Whatever发行，这张专辑取得小面积的成功，之所以这样说，是因为她所受到的关注度仅限于短期内，而且专辑并不是大热大卖，虽然评论一直在赞扬这位女歌手的创作功底，但始终她没能被所有人关注。而且非常不幸的是当她即将发行她的第二张专辑时她当时所在的唱片公司Imago却突然食言，迟迟不肯帮她发片，于是她开始了与Imago长达2年的官司，最终她脱离这个公司，转向签约新厂牌，并先行发单曲That's Just What You Are，单曲取得相当大的成功，还被收录进Melrose Place的原声。她的第二张唱片I'm With Stupid很快发行，很可惜情况并未因单曲的热门而改观多少，始终她的音乐叫好不叫座。
当然，之后的Bachelor No.2情况完全不同，相信Aimee是苦尽甘来，这张专辑在Save Me（无耻一下，当年听到这歌就看好这个歌手，虽然人家在美国早都被看好了，不过咱这资讯不行，也不能怪我，嘿嘿）这首歌热门后一年发行，被认为是她迄今为止最好的作品，我还很喜欢Deathly，Red Vine这两首歌。
2002年她发行Lost In Space，今年又带着The Forgotten Arm回来，虽然当年听不到Lost那张，却也看评论说没有Bachelor No.2的水平，难道人真的只有在没成名前才能努力或者说才有创作的灵感吗？虽然Aimee的风格依旧是带着点民谣味道的流行摇滚，但听着似乎没有以前那么有感觉了，怀念一下听Deathly，Red Vine和Save Me这些歌时候的Aimee，并且希望她以后的专辑能比Bachelor No.2更好。
转Amazon的介绍：
Bachelor No. 2 is the product of a woman whose 40th birthday looms months ahead, and it illustrates how a little seasoning has paid off creatively for Aimee Mann. Always an incisive lyricist, the eloquent singer-songwriter further hones her wordplay to a razor-sharp edge. Her subjects are so adroitly sliced and diced that little blood is shed, though they're permanently cut down to size. "Calling It Quits" targets some cad who is "numbering himself among the masterminds 'cause he's hit upon the leverage of valentines." Not that Mann spares herself from a steely assessment: "I know I had it coming / From a Caesar who was only slumming" she admits in "The Fall of the World's Own Optimist." Though this 13-track collection borrows three songs from its immediate predecessor, Mann's soundtrack to Magnolia, its musical ingenuity and consistency (notable considering five different production teams are credited here) make the scattered redundancies irrelevant. Mann's artistic growth has been evident with each new release, and Bachelor marks her biggest leap forward to date. --Steven Stolder

99年有部叫Magnolia的电影不知道大家还记得否（Tom Cruise主演），当然我要说的是那部电影留给人很深刻印象的音乐：一首叫Save Me的歌被金像奖提名，让一个名不见经传的女歌手Aimee Mann家喻户晓。
而实际上从80年代的新浪潮乐队Til Tuesday，Aimee的音乐生涯就开始了，这个乐队一共发行三张专辑，之后Aimee解散了乐队，独立发行唱片。
1993年，Aimee的专辑Whatever发行，这张专辑取得小面积的成功，之所以这样说，是因为她所受到的关注度仅限于短期内，而且专辑并不是大热大卖，虽然评论一直在赞扬这位女歌手的创作功底，但始终她没能被所有人关注。而且非常不幸的是当她即将发行她的第二张专辑时她当时所在的唱片公司Imago却突然食言，迟迟不肯帮她发片，于是她开始了与Imago长达2年的官司，最终她脱离这个公司，转向签约新厂牌，并先行发单曲That's Just What You Are，单曲取得相当大的成功，还被收录进Melrose Place的原声。她的第二张唱片I'm With Stupid很快发行，很可惜情况并未因单曲的热门而改观多少，始终她的音乐叫好不叫座。
当然，之后的Bachelor No.2情况完全不同，相信Aimee是苦尽甘来，这张专辑在Save Me（无耻一下，当年听到这歌就看好这个歌手，虽然人家在美国早都被看好了，不过咱这资讯不行，也不能怪我，嘿嘿）这首歌热门后一年发行，被认为是她迄今为止最好的作品，我还很喜欢Deathly，Red Vine这两首歌。
2002年她发行Lost In Space，今年又带着The Forgotten Arm回来，虽然当年听不到Lost那张，却也看评论说没有Bachelor No.2的水平，难道人真的只有在没成名前才能努力或者说才有创作的灵感吗？虽然Aimee的风格依旧是带着点民谣味道的流行摇滚，但听着似乎没有以前那么有感觉了，怀念一下听Deathly，Red Vine和Save Me这些歌时候的Aimee，并且希望她以后的专辑能比Bachelor No.2更好。
转Amazon的介绍：
Dividing her time between waging war on the music industry and writing sublime pop songs, Aimee Mann shows on her fourth solo album that she is equally adept at both. "Let's hear it for guys like me," she sings over the lilting rhythms and stylish guitar work of "Guys Like Me." Her case for toppling the corporate structure is airtight; just check her Web site for the latest bulletin. Her music, meanwhile, keeps getting better. The success of the Magnolia soundtrack may have restored her confidence following the record company strife that followed her first two solo releases--Whatever and I'm With Stupid--but the wounds have not healed. "All the perfect drugs and superheroes wouldn't be enough to bring me up to zero," the former 'Til Tuesday singer imparts over the layered, lush tones of the opening "Humpty Dumpty." Meanwhile, on the emotionally distressed "It's Not," she muses over a forlorn 16-piece string section, "I keep waiting for a change but I don't know for what." It could be the prettiest, most polite battle cry ever. --Aidin Vaziri

99年有部叫Magnolia的电影不知道大家还记得否（Tom Cruise主演），当然我要说的是那部电影留给人很深刻印象的音乐：一首叫Save Me的歌被金像奖提名，让一个名不见经传的女歌手Aimee Mann家喻户晓。
而实际上从80年代的新浪潮乐队Til Tuesday，Aimee的音乐生涯就开始了，这个乐队一共发行三张专辑，之后Aimee解散了乐队，独立发行唱片。
1993年，Aimee的专辑Whatever发行，这张专辑取得小面积的成功，之所以这样说，是因为她所受到的关注度仅限于短期内，而且专辑并不是大热大卖，虽然评论一直在赞扬这位女歌手的创作功底，但始终她没能被所有人关注。而且非常不幸的是当她即将发行她的第二张专辑时她当时所在的唱片公司Imago却突然食言，迟迟不肯帮她发片，于是她开始了与Imago长达2年的官司，最终她脱离这个公司，转向签约新厂牌，并先行发单曲That's Just What You Are，单曲取得相当大的成功，还被收录进Melrose Place的原声。她的第二张唱片I'm With Stupid很快发行，很可惜情况并未因单曲的热门而改观多少，始终她的音乐叫好不叫座。
当然，之后的Bachelor No.2情况完全不同，相信Aimee是苦尽甘来，这张专辑在Save Me（无耻一下，当年听到这歌就看好这个歌手，虽然人家在美国早都被看好了，不过咱这资讯不行，也不能怪我，嘿嘿）这首歌热门后一年发行，被认为是她迄今为止最好的作品，我还很喜欢Deathly，Red Vine这两首歌。
2002年她发行Lost In Space，今年又带着The Forgotten Arm回来，虽然当年听不到Lost那张，却也看评论说没有Bachelor No.2的水平，难道人真的只有在没成名前才能努力或者说才有创作的灵感吗？虽然Aimee的风格依旧是带着点民谣味道的流行摇滚，但听着似乎没有以前那么有感觉了，怀念一下听Deathly，Red Vine和Save Me这些歌时候的Aimee，并且希望她以后的专辑能比Bachelor No.2更好。
转Amazon的介绍：
What we're getting here is what we've come to expect from this talented songstress: pop arrangements of literate songs that deal with knotty relationships involving lovers, critics, and corporations. Mann co-wrote a song with Elvis Costello for the final 'Til Tuesday album, and it was an apt pairing. Like Costello at his best, Aimee is equal parts adroit and direct. A couplet like "I came back twice, now I'm the Anti-Christ" or "A thousand compromises don't add up to a single win" may be accompanied by something a little more to the point--"Don't you know you're a [内容被过滤，请注意论坛文明]ing freak in this world?" Mann and producer/multi-instrumentalist Jon Brion keep the songs pithy and punchy, bringing on guests like Juliana Hatfield (on the particularly intoxicating "You Could Make a Killing"), Suede alumni Bernard Butler, Michael Penn, Chris Difford, and Glenn Tilbrook for occasional adornment, but mostly maintain a hands-on approach. The result frequently recalls Abby Road-period Beatles, which isn't a bad source. --Steven Stolder

美国女歌手Aimee Mann演唱单曲《Drive》，为热门美剧《美国犯罪故事》第二季原声。

The first single taken from the soundtrack to director Paul Thomas Anderson's acclaimed 1999 film 'Magnolia', 'Save Me' is former 'Til Tuesday leader Mann's Oscar-nominated hit ballad (for Best Original Song) that she performed at the Oscars. 'Save Me' ha

Import edition of the critically acclaimed singer/songwriter's wonderful third solo album, originally released in 2000. Featuring 15 tracks (two more than the domestic), it replaces 'Driving Sideways' with 'Backfire' and CD-ROM video for the Academy Award nominated song 'Save Me'. V2.

The second single off the critically acclaimed singer/songwriter's 2000 album, ' Bachelor No. 2'. It's backed here with her cover of the Harry Nilsson-penned Three Dog Night hit 'One', off the 'Magnolia' soundtrack as well as previously unreleased versions of two songs from 'Bachelor No. 2', 'Ghost World' (Acoustic Version) & 'Nothing Is Good Enough' (Instrumental). 2001 release.