From her work in the 80s with MTV favorite ‘Til Tuesday through her acclaimed solo discs Whatever and I’m with Stupid in the 90s, Aimee Mann has always been at the forefront of contemporary songwriters. The close of the millennium brought her greatest success with the simultaneous releases of Bachelor No. 2 and the soundtrack to the film Magnolia, which garnered nominations for an Oscar, a Golden Globe and three Grammys. After a decade in which her music often took a backseat to corporate mergers and contractual obligations, the message was clear: Aimee Mann is here to stay.

From “Voices Carry” to the Oscar-nominated “Save Me,” Mann has always been known for her clever, literate, and dryly witty takes on emotional sabotage and self-destruction. Though happily married to Michael Penn (with whom she has toured extensively in a double-billed “Acoustic Vaudeville”), her fascination continues with “the freaks who could never love anyone.” With a songcraft often compared with the Beatles and Badfinger, Mann frequently pairs the bleakest of poetry with soaring, infectious melodies.

Mann continued her solo career with the 2002 release of Lost in Space the second release on SuperEgo Records, the label she co-founded with manager and former ‘Til Tuesday bandmate Michael Hausmann. The opportunity to release her own CDs independently allowed Mann the power to soar creatively. With Lost in Space Mann produced an album of songs that, like a book of stories or a novel, work collectively to become something more than the sum of the individual parts. “There were aspects of liberation that hadn’t even occurred to me. I became more creative all around, in terms of marketing and promoting the record as well as writing and recording.” To that end, Mann commissioned graphic novelist Seth to create a 40-page booklet that accompanied the disc version of Lost In Space.

Lost in Space Special Edition followed in 2003, featuring a second disc containing six live recordings, as well two B-sides and two previously unreleased songs. In November 2004, Mann released her first live album and DVD with Live at St. Ann’s Warehouse recorded at a series of July 2004 shows in Brooklyn..

Earlier this year Mann released what might be considered her most daring album yet with the critically acclaimed The Forgotten Arm. In a natural progression of her literary writing, the album is a concept album that follows the story of two lovers who meet at the Virginia State Fair. The main character is a boxer who is sent off to fight in the Vietnam War. The CD explores the themes of love, war, drugs and ultimately recovery and redemption.

In the end, The Forgotten Arm is, like so much of Aimee Mann’s music, really about the inexorable pull of co-dependency in human relationships. On “The King of the Jailhouse / and the Queen of the Road,” Mann sings, “think sharing the burden will lighten the load / so they pack up their troubles in an old Cadillac / that's her in the mirror, asleep in the back.”