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Yahoo
a day ago
- Entertainment
- Yahoo
Michael Penn on Brightening Up a New ‘Sweet Relief' Charity Album With Songs From the Great Depression: ‘It's a Mirror Image of Where We Are Now'
It doesn't have to be a Great Depression — yet — for musicians who lack health care to get downtrodden about their prospects. To that end, the Sweet Relief charity has put together a new compilation album, 'Sweet Relief — We Can Help,' which features choice covers from artists like Lucinda Williams, Richard Thompson and Blake Mills. But only one singer is heard from twice in the collection, and it's someone whose name hasn't appeared on a lot of records lately: Michael Penn. Penn's two contributions to this philanthropic effort are classic prewar anthems that spoke to how many members of the middle class were falling into economic ruin in the chaos in the late '20s and early '30s — 'Brother, Can You Spare a Dime?' and 'Hallelujah! I'm a Bum,' the latter of which also includes a duet part from Aimee Mann. More from Variety Aimee Mann on Being 'Freaked Out' at Reuniting Til Tuesday After 35 Years for a Single Gig at L.A.'s Cruel World Festival (EXCLUSIVE) 'Busk-Aid-L.A.' Benefit Will See SoCal Music Favorites Hitting Echo Park Sidewalks to Raise Funds for Fire Victims Paris Jackson, Tinashe, Aimee Mann Help Raise Awareness for Linda Perry's EqualizeHer at Troubadour Event His two tracks will add to the collective that will throw more than a few dimes the way of the struggling musicians that Sweet Relief supports. He's been a supporter for a while. 'In fact, my first tour' — soon after his breakout single, 1989's 'No Myth,' was all over the radio — 'I had Victoria Williams on the road with me, and it was just a blast. It was around that time that she was first dealing with her MS diagnosis and thinking about forming Sweet Relief.' These two songs were actually first recorded more than a decade ago, with the intention of being included in a previous Sweet Relief compilation. It was determined that they didn't fit the mood then, conceptually. But now, with not just musicians but the wider world worried about recession (or worse?), these Depression anthems felt practically ripe on the vine. While 'Sweet Relief — We Can Help' came out in an exclusive vinyl double-LP edition for Record Store Day in April, the official digital release of the album waited until this weekend. (Scroll down for a full track list.) Penn's contributions really drive the wayback machine hard, but 'both these songs are so applicable now because they both come out of historical situations that are analogous to where we're headed,' says Penn. 'If I was going to do any song at all, I knew 'Brother, Can You Spare a Dime' was the one I wanted to do, because Yip Harburg is one of my favorite lyricists of all time.' (Harburg also co-wrote 'Over the Rainbow' and the other 'Wizard of Oz' songs as well as 'Brother.') 'And then with 'Hallelujah! I'm a Bum,' I was a little worried that people would not get the sarcasm of it — because it really is a mirror image of where we are now. It was written around the time when the oligarchs and the quote-unquote 'titans of industry' building the railroads were in control in the late 1800s. And it's the same as fucking Elon Musk! I mean, the guys who ran the tracks across the nation were the same kinds of crazy oligarchs that we have now.' With 'Brother, Can You Spare a Dime,' he was particularly taken with a quote he found of Yip Harburg's, from later in the famed lyricist's life, when he was recalling his Great Depression anthem. Penn pulls it up on his computer and recites it: 'I grew up when America had a dream, and its people, a hope. Whether we were struggling against the shackles of slavery or the shackles of scarcity, the hope was there. In 1930, the dream collapsed. The system fell apart. The people were not angry. They were not in revolt. This was a good country on its way to greatness. It had given our immigrant parents more freedom, more education, more opportunity than they had ever known. What happened? We were baffled, bewildered… The man in this song is not a self-pitying breast-beater, begging for a handout, but a man proud of what his hands had contributed to the wealth of the country. And he was now, for the first time, questioning the emptiness of those hands.' Penn was taken by the timeliness of those words: 'I mean, it's just so perfect in that way.' With 'Hallelujah! I'm a Bum,' as he says, getting across the irony was paramount. 'Bill Hein reminded me that the exclamation point was an important part of the title.' Of the historical sarcasm, he notes, 'Listen, sometimes it's the only thing we can count on.' Is Penn a student of socioeconomic songs from the 1920s and '30s? He laughs at that question. 'No, I'm not. I'm certainly not a student of the ins and outs of union songs from the 1930s.' And 'Hallelujah' definitely counted as that — enough so for it to be interpolated as an instrumental in-joke in the score of a Charlie Chaplin sound picture. 'It became the official anthem of the International Workers of the World at some point,' Penn notes, 'and a snippet of it shows up in 'Modern Times,' when Chaplin is mistaken for a union protestor,when he picks up a flag off the back of the truck.' But, he says, 'It's just stuff I have sort of always thought about. My last record, God help me, was 20 years ago, but it was a record set in sort of the post-World War II world. It was relationship songs in the context of a post-World War II America where they were starting to figure out how to dismantle the New Deal. And in fact, when I put that record out, I had this very elaborate website where you could watch these old Encyclopedia Britannica documentary films from the '50s about fascism. Because it was clear that that was the model that was (coming). 'Remember that phrase where somebody was saying that 'you people live in a reality-based community'? That was the clue of: This is where they're going. They think that they can completely change reality for us — that they can fill us with propaganda and change the way we perceive our environments, and it was obvious that that's where shit was heading. So those kinds of topics were always sort of top of mind for me, for sure.' Bringing Mann in to play the part of a woman who is turning a beggar away from her door makes for a fu turn. 'There was like a little dialogue portion of that lyric, and it just felt perfect for Aimee to come in and do that.' Not that we should expect to hear a lot more duets with Mann. Reminded that the two of them previously turned up singing together on an original holiday song called 'Christmastime' and a soundtrack cover of the Beatles' 'Two of Us,' he can't remember if there are any more beyond that. Q: Yeah. Um, now I'm thinking, is that.I I, as far as duets go, and I know it's, it's maybe not [00:08:00] quite a full on duet, but, uh, I, I was, you, you've done a couple before this, uh, Christmas time and two of us, so I don't know if this this is the third time that you've had that collaboration or whether there have been more. 'Oh, God, my brain is addled — I don't remember. I think we haven't done it too much. We kind of keep it somewhat separated, but certainly those two.' Penn does take what's happening economically in the world personally, as he well knows musicians as much as anybody have seen their whole paradigm change. It's partly why he hasn't made an album of original music since the aforementioned 20-year-old release… although that may change, very soon. Penn is thinking 'not only of Trump and what's happening with basically the dismantling of the New Deal, which is what's been on the books for these guys for decades, but also just the shift in our world to a digital world. Because to whatever extent there was a middle class in music, it has been eviscerated by what's going on. It's not based on record sales or any of those things, and so it's even tougher for musicians out there, because you can't make a thing that people would like to buy, even in small quantities. So that's tough. It's all based on touring now, and for somebody like me who never wanted to tour, I was left few options.' No temptation to get back out on the road at all, if that's where the money is? 'N,. For me, I mean, I never enjoyed touring. I was like the original shoegazer. I'm like an anti-performer,' he laughs. 'So if I had my druthers, I would be sitting in a room making records throughout my life, but that wasn't in the cards anymore. So that's why I shifted to (film) composing, because it's like at least I can be doing what I love, which is recording music. So I wish I could make records, but…' There's a shift in his thinking now, though. 'You know, I'm doing it now' — working toward a new album — 'just because I don't give a shit anymore' whether it brings in income or not. And to that end, 'I told my agent that I didn't want to do anything this year. I did the Pee-Wee Herman documentary which just came out; I finished that at the end of last year. And I'm taking the year to write a record because I just figure I need to do it for me… for my own therapeutic use. I feel like I don't want to produce myself again, because it's just too many hats to wear, but I'll figure that out later. First, I just want to generate a bunch of songs. I'm about halfway through writing a record.' So for those who have clamored to get fresh songs as well as scoring out of Penn… hallelujah! (Exclamation point intact, unironically.) He says it's never bothered him when fans would come up and ask when there would be another Michael Penn album. 'Oh, no, no. I'm very happy that a few people still remember me, so that's nice. Listen, man, I mean, if I'm out in the world and somebody recognizes me or says something to me, it's a delight.' The full 'Sweet Relief — We Can Help' track list: Michael Penn & Aimee Mann – Hallelujah! I'm a BumLaura Viers – Please Let Me Get What I WantPeter Case – Help MeAngela McCluskey & Paul Cantelon – I Think It's Gonna Rain TodayWatkins Family Hour – The Object Of My AffectionPeter Holsapple – I Can HelpRichard Thompson – Humpy Back ManBen Harper & Peter Case – HelpWillie Watson – Always Lift Him UpLucinda Williams – Somebody Loan Me A DimeDennis Witcher – That's How I Got to MemphisSixpence None The Richer – The Needle and the Damage DoneHaroula Rose – A Heart Needs A HomeVictoria Williams – Sunny Side of the StreetChris Pierce – Paper MoonMichael Penn – Brother Can You Spare A DimeJonah Tolchin – Sixteen TonsBlake Mills – While My Heart Keeps Beating Time Best of Variety New Movies Out Now in Theaters: What to See This Week 'Harry Potter' TV Show Cast Guide: Who's Who in Hogwarts? 25 Hollywood Legends Who Deserve an Honorary Oscar
Yahoo
08-06-2025
- Entertainment
- Yahoo
Fans Swoon Over ‘Still Smokin Hot' '80s Singer, 64, As Band Reunites for the First Time in 40 Years
Fans Swoon Over 'Still Smokin Hot' '80s Singer, 64, As Band Reunites for the First Time in 40 Years originally appeared on Parade. Aimee Mann looks and sounds like no time has passed since she dazzled fans with her bluesy vocals in her band 'Til Tuesday's '80s hit Voices Carry. Forty years later, the band reunited, and Mann's understated, bluesy vocals show no sign of wear and tear. 'Til Tuesday disbanded in 1990, and Mann's debut solo album Whatever was released in 1993, but fans were transported back to the 1980s when the band reunited in Pasadena, CA, for the Cruel World Festival in May who still sports her signature platinum blonde locks, took the stage quipping, 'This is the song that made us recognizable in airports across America,' before launching into the iconic bassline of Voices Carry. Wearing a cropped leather jacket, jeans, and bold black glasses, Mann looked anything but her 64 years—and fans were quick to notice and celebrate her youthful appearance. One wrote, 'She's still smokin' hot,' while another commented, 'Aimee Mann is 64 still rocking and better than a lof acts half her age.'Many more fans were quick to comment on how good Mann—and the band—still sound, but one summed up Mann's enduring appeal perfectly, writing, 'I wanted to be Aimee Mann in 1985.' Same, girl. Same. 🎬SIGN UP for Parade's Daily newsletter to get the latest pop culture news & celebrity interviews delivered right to your inbox🎬 Fans Swoon Over 'Still Smokin Hot' '80s Singer, 64, As Band Reunites for the First Time in 40 Years first appeared on Parade on Jun 7, 2025 This story was originally reported by Parade on Jun 7, 2025, where it first appeared.
New York Post
27-05-2025
- Entertainment
- New York Post
Singer-songwriter Aimee Mann on ‘Lost in Space' tour, new musical
Singer-songwriter Aimee Mann is on the road again this summer with a tour of the East Coast that will take her to the Music Hall of Williamsburg in Brooklyn and out to the East End of Long Island this June. Known for her witty, personal lyrics and clear, melodic voice, she's playing the hits from her fourth studio album, released back in 2002. That means fans at her 21+ shows might be hearing these songs — which the elder millennials among us might remember from 'Buffy the Vampire Slayer' — for the very first time. We caught up with Aimee to check in on the tour, her life in LA and what's inspiring her latest work. You're celebrating the 22 1/2 year anniversary of your album 'Lost In Space' with an East Coast tour (playing the Grand Ballroom at Canoe Place Inn in Hampton Bays June 12). Why this album and why now? We were a little slow off the mark. We wanted to do the 20th anniversary thing but for a variety of reasons it took longer. Obviously I like all my records, but I feel like this one has just such an interesting sound and really creates a mood. Your catalogue cuts across genres — from the hit 'Voices Carry' with the new wave band 'Til Tuesday to 'Save Me' the breakout 90s ear worm from the Oscar-nominated 'Magnolia' soundtrack. Your album 'Mental Illness' even won the 2018 Grammy Award for Best Folk Album. Are you still evolving as an artist? The first band I was in was this really unlistenable kind of art rock, punk, new wave band — one of those bands where you say to yourself, 'Let's do everything weird.' Which is super fun, but not necessarily fun for the listener. 'Til Tuesday was a reaction against that. I wanted to play music that was more melodic. I think it takes a lot of practice at songwriting to figure out what you like and what you're good at. It's a lot of experimentation and over time you realize, 'Oh, this is the kind of thing I'm really good at, or 'This is the kind of thing I like to do.' And acoustic guitar-based pop with a little folk flavor is my favorite place to park. Left to right: Robert Holmes and Aimee Mann, both of the group 'Til Tuesday perform onstage at Liberty State Park, Jersey City in 1985. Getty Images But there's also this writerly quality to your songs that I think defines you. Do you agree? I like that description. That's a fun way to think of myself. But no, I haven't really thought of it that way. I just know that words are very important, and it's fun to try to get better at writing lyrics and to be more exact in your language. You're based in LA with your husband Michael Penn. Do you have plans for your time in New York when you aren't on stage? I have really good friends in Brooklyn that I stay with when I go to New York. So it kind of feels like I have my neighborhood coffee place. But I never lived in New York; I was in Boston for 15 years. On this tour, it's hard to say. It might be in and out, but it all sort of depends. I'll let karma decide. Wherever the tour bus goes, that's where I'll go. Mann performs as part of 'The Aimee Mann And Ted Leo Christmas Show' at City Winery last November in NYC. Getty Images Are you working on new music? I'm writing songs for a new record. I'm not sure exactly what I want it to sound like yet, but I have a record called 'The Forgotten Arm,' [2005] and I've been playing a lot of songs from that so I'm kind of interested in returning to that sound. I'm also developing a musical based on those songs. That record was written about drug addiction and the musical is about two people who are together, and one is a drug addict. It's the dynamic of that relationship. I think we'll do a workshop presentation at Joe's Pub sometime this fall.
