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Lost in Space [Bonus Disc]

( 2 )

Editorial Reviews

Barnes & Noble - Lydia Vanderloo
Since her early days in Til Tuesday remember the new wave hit "Voices Carry"?, Aimee Mann has forged a career rich in contrasts: from her bleached hair and deep-set eyes to her velvety voice and bleak lyrics. No wonder her narcotic power-pop songs so aptly shaped the aching 1999 film Magnolia -- an artistic marriage that called attention to Mann's prodigious, but largely unheralded, talents. Magnolia shared a handful of songs with her quietly incendiary 2000 album, Bachelor No. 2, a self-released disc that, in part, indicted the music industry for its failure to promote substance over fluff. The disengaged relationships continue on Lost in Space, which -- amid a ...
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Editorial Reviews

Barnes & Noble - Lydia Vanderloo
Since her early days in Til Tuesday remember the new wave hit "Voices Carry"?, Aimee Mann has forged a career rich in contrasts: from her bleached hair and deep-set eyes to her velvety voice and bleak lyrics. No wonder her narcotic power-pop songs so aptly shaped the aching 1999 film Magnolia -- an artistic marriage that called attention to Mann's prodigious, but largely unheralded, talents. Magnolia shared a handful of songs with her quietly incendiary 2000 album, Bachelor No. 2, a self-released disc that, in part, indicted the music industry for its failure to promote substance over fluff. The disengaged relationships continue on Lost in Space, which -- amid a subdued backdrop of Mann's melancholy singing and ensnaring melodic hooks -- finds lonely characters stymied by addictions and failing to connect. Yet singing lines as raw as "All the perfect drugs and superheroes wouldn't be enough to bring me back to zero" "Humpty Dumpty", Mann sounds lovelier than ever, approaching the sweetness and light of Karen Carpenter. While the grist of Mann's sound remains rooted in Beatlesque melodies and arrangements with '70s rock-pop touches, such as retro-sounding keyboards and edgy guitar solos courtesy in no small part of her guitarist and producer, Michael Lockwood, she's ditched a few of Bachelor's influences, like Bacharachian production flourishes, in favor of a bluesy touch on "High on Sunday 51" and a subtle string section on "Lost in Space." But no matter the embellishments, Aimee Mann's voice, songs, and words carry a weighty message that tastes sweet as sugar.
All Music Guide - Robert L. Doerschuk
It is, in a sense, a trick of the times that Lost in Space conveys such a vivid visual quality; thanks to the high profile given to her music on the Magnolia soundtrack, it's now impossible to miss the narrative strength of Aimee Mann's writing. The mood throughout this album is autumnal, with filmy keyboard beds and expressive shifts between major and minor enhancing the subdued eloquence of her lyrics. A major chord at the end of "Guys Like Me" offers an ironic twist on the smug portraiture that precedes it. Though recorded free of the legal snarls that plagued most of her previous albums, Lost in Space seems to be mainly about alienation and, at least as a metaphor, addiction. The latter point is made clear in "This Is How It Goes," with its assertions that "it's all about drugs, it's all about shame." But it's clear as well when Mann offers to "be your heroine" -- or is it heroin? -- amidst slithering slide guitars and rainy gray textures on "High on Sunday 51," or confesses to seeking salvation where "It's Not." Recorded largely in Ryan Freeland's home studio, some of these songs receive discreet electronic treatments -- moments of abstract noise whose application always enhances the otherwise low-tech arrangements. For all the shadows that stretch across Lost in Space, what lingers in the wake of this music is the realization that Mann remains spectacularly underrated among contemporary songwriters; no one surpasses her as a master of poetic regret, and few albums examine the peculiar beauty of depression with the skill she brings to Lost in Space. [A little over a year after the release of Lost in Space, the album was reissued in a elaborate limited-edition, packaged as a mini-book and containing a ten-track second disc. Half of this is live, including five live versions of songs from the 11-track album, and then two B-sides that could have fit on the album -- "Nightmare Girl" and "Backfire" -- and two okay previously unreleased songs, "Fighting the Stall" and "Observatory."]
Entertainment Weekly - Josh Tyrangiel
Call her the most ambitious busker working the charts. (B+)
Blender - RJ Smith
Aimee Mann is the Martha Stewart of misery: She decorates romantic depression and turns it into the most comfortable nest you'd ever want to hang your head in....Misery loves company, we know. Thank God it loves a sinuous melody, too.

Call her the most ambitious busker working the charts. (B+)
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Product Details

  • Release Date: 12/9/2003
  • Label: Superego Records
  • UPC: 698519001023
  • Catalog Number: 10

Album Credits

Performance Credits
Aimee Mann Primary Artist, Acoustic Guitar, Bass, Percussion, Piano, Drums, Bass Guitar, Electric Guitar, Keyboards, Tambourine, Vocals, Background Vocals, Shaker, Egg Shaker, Guitar (12 String Electric), Roland Synthesizer, Guitar (12 String Acoustic), Clappers
Michael Penn Drum Loop, Guitar Loops
Jon Brion Bass, Percussion, Marimbas, Vibes, chamberlain
Paul Bryan Bass
Denyse Buffum Viola
Darius Campo Violin
Larry Corbett Cello
Julian Coryell Guitar
Mike Denneen Harpsichord, Electric Piano, Wurlitzer
Joel Derouin Violin
Jason Falkner Bass
Armen Garabedian Violin
Berj Garabedian Violin
Buddy Judge Background Vocals
Peter Kent Violin
Joe Meyer French Horn
Carole Mukogawa Viola
Glenn Tilbrook Vocals, Background Vocals
Patrick Warren Horn, chamberlain, Marxophone
John Wittenberg Violin
Michael Lockwood Synthesizer, Acoustic Guitar, Bass, Dobro, Guitar, Autoharp, Celeste, Electric Guitar, Harmonium, Keyboards, Theremin, Background Vocals, Zither, Melodica, Slide Guitar, ARP, chamberlain, Loops, Shaker, Omnichord, E-bow, Lap Steel Guitar, Machines, Marxophone, Casio, Mini Moog, CS-80, Arp Strings, Guitar (12 String Electric), Guitar (Leslie), Prophet 600, Roland Synthesizer, Guitar (12 String Acoustic), Guitar (Baritone), Clappers, Crumar
Jay Bellerose Drums
Susan Chatman Violin
Jebin Bruni Piano, Keyboards, chamberlain, Prophet 5
Darian Sahanaja Harpsichord, Background Vocals
Suzie Katayama Conductor
John Sands Drums, Shaker
Natalie Leggett Violin
Rusty Squeezebox Background Vocals
Ryan Freeland Clappers
Mike Randle Background Vocals
Dave Palmer Organ
Dan Smith Cello
Steve Richards Cello
Michele Richards Violin
Mario de León Violin
Technical Credits
Michael Penn Composer
Neil Young Composer
Chris Bailey Engineer
Aimee Mann Composer, Sound Effects, Producer, Art Direction, Drum Fills
Jon Brion Composer, Producer
Dewey Bunnell Composer
Greg Calbi Mastering
Ornette Coleman Composer
Mike Denneen Arranger, Producer, Engineer, Drum Engineering
Yolisa Phale Producer
Rachel Portman Composer
Clayton Scoble Composer
Glenn Tilbrook Composer
Michael Lockwood Sound Effects, Producer, Engineer, Orchestration
Jonathan Quarmby Horn Arrangements, String Arrangements
Gail Marowitz Art Direction
Ryan Freeland Producer, Engineer, Radio Sound Effects
Billy Schmidt Monitor Engineer
Ben Holt Engineer
Emily Lazar Mastering
Will Champion Composer
Guy Berryman Composer
Jon Buckland Composer
Paul Dalen Composer
C.F. Martin Composer
Stef VanAlsenoy Engineer
Janne Waldenmark Engineer
Nathaniel Chan Engineer
James Frost Video Director
John Hemingway Engineer
Mats Landb Engineer
Nenne Zetterberg Producer
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Customer Reviews

Average Rating 4.5
( 2 )
Rating Distribution

5 Star

(1)

4 Star

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3 Star

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Sort by: Showing all of 2 Customer Reviews
  • Anonymous

    Posted October 1, 2010

    Soothing

    makes ya wanna go in a room alone and paint. (i dont know thats just me)

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted November 22, 2009

    No text was provided for this review.

Sort by: Showing all of 2 Customer Reviews