He went on to LA to become ABC's booth announcer, most notably, on the Carol Burnett Show, which also featured his fellow ex-Cleveland radio guy Tim Conway. The popularity of his show coincided with the emergence of the Beatles and the British invasion (and all that followed) and etched an indelible impression on every local teen-aged brain during those years, including mine.
Plus, Paul Thomas Anderson is the son of the late, great Ernie Anderson, who mesmerized the city of Cleveland in the early and mid-60s as TV late night horror movie host Ghoulardi. Just the right amount of surreal stuff, too, just like Magnolia. Reminds me of Lindsay Anderson's 70s O Lucky Man!, which also sucked me in with the great music, it its case, by ex-Animal Alan Price. The structure and performances are amazing. I agree about Magnolia: it's a phenomenal movie, one that truly deserves repeated viewings. 2 is a substantial improvement over the regular CD issue, am I safe in assuming that it isn't? Just want to save my $31, if I'm correct. In 1999, Mann recorded original material for the soundtrack to the Paul Thomas Anderson film Magnolia, which earned both Academy Award and Grammy Award. With the absence of a posting on this thread raving about how the stereo-only MFSL SACD of Bachelor No.
Certainly not everyone's cup-of-tea, but if you like this acoustic guitar folk-pop married to Yankee Foxtrot-like electronic manipulations with every now and again rock backbeat and electric guitars and downer lyrics of the "Blood on the Tracks" / "Sea Change" variety, then definitely search these out. The production is quite good, as is the "artificial" pop soundstage, and I believe both albums were recorded to analog masters. My system is modest compared to most, but I don't think you'll have any complaints about the sound quality. She's a critic's darling, but I think she remains highly underrated by the music community. Her lyrics are a cut well-above her contemporaries, dealing primarily with issues of loss, depression, alienation, self-loathing, and drug abuse, and her utterly distinct voice has both a natural, lilting, unornamented "folksy-flat" tone that's also as haunting and ethereal as anyone's. Generally speaking, the music on both albums is introspective pop, dark and haunting, its stripped down arrangements augmented with unusual instruments/soundmakers/electronic manipulation, and not terribly unlike Beck's "Sea Change" in both mood and musical style. My wife is a huge Aimee Mann fan, and I believe she prefers "Lost In Space". 2" is her strongest work, I've come to appreciate "Lost In Space" nearly as much.
I love both of the Mofi Aimee Mann SACDs.