Her next album, I'm with Stupid, languished in legal limbo until Geffen Records released it-two years late. Whatever, her fine 1993 solo debut, came out just as her label, Imago Records, hit the financial skids. In two solo albums of exceptionally beautiful tunes and casually caustic commentary on the pitfalls of romantic relationships, Mann, 39, has remained a cult-size pleasure. Because of hard luck and an incurable case of artistic independence, the gifted Los Angeles folk-pop soloist has been left untouched by the wave of acclaim that buoyed Jewel, Tori Amos and the Lilith crowd. Their offspring-literate, bitingly introspective, deeply contemptuous of money and fame-would be a lot like Aimee Mann. To understand Mann's place in the pop universe, imagine, if you would, crossing Kurt Cobain with Emily Dickinson. Word leaked that Aimee Mann was recording the sound track to director Paul Thomas Anderson's hotly awaited film Magnolia, it was hard to know which was the bigger surprise: that a maverick songwriter from pop's margins had landed such a plum job, or that Mann was releasing anything at all.
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