Next time, the pendulum swingeth, first one way, then the other. Lost in Space is so underrated, it’s untrue. All this, and some of Mann’s very best writing, too: the title track, Humpty Dumpty, High on Sunday 51, Guys Like Me, Pavlov’s Bell, This is How it Goes and Today’s the Day are some of her very finest songs. It’s rare to hear a record where the songs are so sympathetically and imaginatively served by everyone involved, in production, arrangement and mix. Mix engineer Michael Brauer (one of the most reliable guys in the business) backs the players up astutely with his work, filling the picture with detail but never cluttering it up with anything unnecessary. The guitarists (Lockwood and Mann) make heavy use of time-domain effects (reverb, echo and delay) to create a sense of space in the music, particularly during verses, while tinkling electric pianos and synths, as well as bursts of static and white noise, are used to evoke outer space and vast distances, both physical and emotional. Produced principally by Michael Lockwood, who stepped into the Jon Brion role (playing many instruments as well as producing and arranging), Lost in Space is an album about disconnection, and it derives its strength from how strongly and empathetically the music supports the text. Part of the reason I love it so much is that it’s her most consistent collection of songs in mood and texture. Lost in Space is my favourite Aimee Mann record. Most of her regulat cast of players were, however, still there: Clayton Scoble, Buddy Judge, Michael Lockwood and Michael Penn (her husband), and they outdid themselves. Still, Brion’s ear-grabbing work was a key reason this material connected with audiences, and it’s a big reason why he has the career he has.īy the time Mann released Lost in Space in 2002, Brion was gone*. And I do find, though this may just be a coincidence, that the songs that cut deepest for me from this era of Mann’s music – Wise Up, Just Like Anyone, the absolutely beautiful You Do – are the ones Brion didn’t produce. Certainly, his work with Fiona Apple at the same time was in the same style, as was the cover of Everybody’s Got to Learn Sometime with Beck for the soundtrack to Eternal Sunshine of the Spotless Mind (a lot of his film-score work, come to that, sounds similar). But having said that, and for all the credit he deserves for the arrangements of Deathly, Build that Wall, Momentum and Mann’s spine-tingling cover of Harry Nilsson’s One, I’ve always had a nagging feeling that there’s something facile about his work: that these sorts of fairground-organ sounds and marching-band euphoniums come too easily for him: that given any songwriter to work with, he’d reach for the same tools. Brion is vastly talented – a creative arranger and producer who can play pretty much any instrument he picks up. They were also the last of Mann’s records to feature Jon Brion in the driving seat. The albums share four songs (or three and a half, really, since Nothing is Good Enough is an instrumental on Magnolia), feature the same pool of players and were largely mixed by Bob Clearmountain, whose work here is first rate. All thanks to the haunting sounds of a sad, cerebral indie film.Bachelor No.2 and the Magnolia soundtrack can fairly be considered one piece of work spread between two releases, especially if you’re not familiar with Magnolia the film ad can hear the songs without them being tied specifically to the movie. 1 on the Billboard charts, later winning the Grammy for Best Rap Album.
JON BRION ETERNAL SUNSHINE OF THE SPOTLESS MIND SONGS REGISTRATION
He succeeded, and a year later Late Registration hit No. "His attitude was, 'See if you can make me like this,'" Brion told MTV. Brion then delivered "Gone" and "Celebration." On the latter song, West laughs "Looking for some hos!" which is a pretty good summary of the movie, if you think about it.
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After an afternoon together, they had finished " Gold Digger," one of West's most popular songs to date. Kanye got in touch with Brion, who had never done any rap work, through Rick Rubin, mutual friend and future Yeezus producer, and they met. When Kanye West was watching Eternal Sunshine, he was captivated by the score. But it commonly pops up in the strangest places. It's strange enough that a Malaysian pop star would sample the soundtrack nearly 10 years after its release as she crosses over to American audiences.