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FORGOTTEN ARM


Price: £6.69
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Amazon's Aimee Mann Store

Music

Image of album by Aimee Mann

Photos

Image of Aimee Mann

Biography

Interested in the full range of human faults, foibles, dysfunction, and self-delusion? You could spend your evening re-reading the DSM-IV Manual. Or you could opt to spend some time with an even more entertaining catalog of idiosyncracies: Charmer, the latest album from Aimee Mann, as fine a chronicler of the human comedy as popular music has produced. Names have been obscured to protect the ... Read more in Amazon's Aimee Mann Store

Visit Amazon's Aimee Mann Store
for 34 albums, 13 photos, discussions, and more.

Frequently Bought Together

FORGOTTEN ARM + Lost in Space + Whatever
Price For All Three: £30.01

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Product details

  • Audio CD
  • Number of Discs: 1
  • Label: SuperEgo Records
  • ASIN: B0007YLLK2
  • Other Editions: Audio CD  |  MP3 Download
  • Average Customer Review: 4.3 out of 5 stars  See all reviews (10 customer reviews)
  • Amazon Bestsellers Rank: 934,621 in Music (See Top 100 in Music)

Product Description

I will ship by EMS or SAL items in stock in Japan. It is approximately 7-14days on delivery date. You wholeheartedly support customers as satisfactory. Thank you for you seeing it.

Customer Reviews

4.3 out of 5 stars
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Most Helpful Customer Reviews

12 of 12 people found the following review helpful By Colin C on 29 Jun 2005
Format: Audio CD
I would guess that most Aimee Mann fans have already bought this album. I'm glad I didn't review it immediately when it was released, because it's definitely a grower. On the first couple of listens it sounded pretty unremarkable, but once you take time to get to know it, this is a superb album. The melancholy melodies of 'That's How I Knew This Story...' and 'Video' are completely beautiful, but for me the highlight is 'Going Through The Motions', which is faster than most of her midtempo songs and unbelievably catchy and singalong.
'The Forgotten Arm' isn't quite up to the highest standards set by 'Lost in Space' - some of the songs are slightly samey, and after a while, perhaps on its 1,000th use, the repeated word baby begins to grate, but for quality songwriting and the uniqueness of an Aimee Mann album, this should be bought. Oh and, again, the packaging and artwork is superb, with the songs presented as a short story narrative in the colourful inlay.
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9 of 9 people found the following review helpful By J. Fitchen on 8 Jun 2005
Format: Audio CD
Just about everyone who encounters Aimee Mann's music tends to be impressed. Clever lyrics, catchy tunes and neat middle eights in which one can slot one's own ideas whilst listening to the very talented band. This album though is a little different. Yes it is catchy, yes it has great lyrics (etc) but there is something more on offer here. The 'something' in question is a well worked out narative of one of the million human relationships that starts with a look and then gently begins to go off the rails.
It is really difficult to precisely express what Ms Mann has actually achieved, in terms of transcending the medium, without falling into similies. For those who like similies, here are a couple, this album is like a classic movie without a picture, another way of expressing the point is to imagine what sort of a musician E Hopper (Nighthawks etc) would have been had he been forbidden to paint.
Possibly certain critics have made too much of the boxing motif, it provides a thematic connection and an ample supply of metaphorical material but the album has more to do with troubled love than boxing: not only boxing matches come in bouts.
Overall this is a great album that will in a few years be seen as a Great Album. If you like songs written from the heart, buy it.
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12 of 13 people found the following review helpful By "mikesname" on 27 July 2005
Format: Audio CD
I wouldn't give out the 5-star rating lightly, but this album is really special. I should say that I'm fairly new to Aimee Mann and have been working backwards through her output for the last several months, and whilst that may limit my perspective, the latest is my favourite.
A few reviews here has described this album as a grower. I wouldn't entirely agree. Musically, this is the most homoginous of her records, having reportedly been recorded mostly live in a five day stint, and as such it will probably *initially* sound more 'same-y'. That's because all the instruments pretty much sound the same from song to song; the piano, which sounds like a battered old upright propped up in the corner, is always in the same place in the mix - on the left, with Sheryl Crow's guitarist dualing on the right. This homogeny serves the ultimate goal, because this album is very much 'as a piece'.
You may of heard that it's a concept album. Don't put too much stock in that - it's not Tommy, for instance, and the narrative for its part is elaborated in a very open and to some extent ambiguous way. But the songs on this album do form a natural progression, and having the same musicians hammering out the same basic sounds from song to song lends itself to emphasising the emotional flow of the album as a whole. The lyrics, the tempo, and Mann's expressive voice work beautifully to deliniate the overall picture she's trying to build.
That said, I don't think you'll find a single song as exquisitely awesome and *poppy* as Humpty Dumpty or Pavlov's Bell on this album, but there are more exquisite songs on The Forgotten Arm than on Lost In Space, and the whole is even more than the sum of its parts. It'd be hard to list my favourites, but to choose the first song; Dear John - one from the middle; Video - and the last song; Beautiful - would do me.
I'll be listening to this album in years from now.
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3 of 3 people found the following review helpful By film fan VINE VOICE on 28 April 2007
Format: Audio CD
I have a couple of Aimee Mann's albums so I knew what to expect on this album. Great songwriting and excellent delivery. This album, as far as I'm concerned, doesn't disappoint on either level.

My favourite tracks on this album are the sublime "That's How I Knew This Story Would Break My Heart", the rocky "Goodbye Caroline", "Dear John" the opening track, "Beautiful" and "I Can't Get My Head Around It".

The artwork and design concept of this album are first rate and it's presented like a book with each song being presented in Chapters telling their own story that links to the main story of the album. It's a genius idea and it works amazingly well. As an album, I would think this is Aimee Mann's finest.
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2 of 2 people found the following review helpful By Edrome on 9 May 2010
Format: Audio CD
There is always an undertone of apology about any review of The Forgotten Arm, always a nod and a wink to the effect that this is a departure, an experiment, specifically interesting but not universally relevant. A bit like Dylan's Pat Garrett soundtrack, Joni Mitchell's Mingus or Randy Newman's Faust.

But this is where Mann shows her craft at its very best - the rare talent which led Nick Hornby to describe her as the natural heir to Paul McCartney's Chair of Song-writing. Amid her usual embarrassment of musical and lyrical wealth she manages to make the specific universal. Yes, she is writing about two protagonists in a movie we have never seen - John the boxer and his girl, the King of the Jailhouse and the Queen of the Road. But the songs reach beyond that world and into ours. She abandons her usual introspection and, liberated by the fictitious context, sketches a broader range of subject matter than on any other album.

The melodies are gorgeous as ever: she is in Abba's league when it comes to a sheer facility with tunes, the music is bathed in the fading sunshine of late summer. She conjures an atmosphere as evocative as Henley's Boys of Summer or Waiting in the Weeds. "And the midway I knew, where the sky was so blue with the memory of you, is gone, dear John". And the lyrics are as tricksy as ever, with twists like the promise to "tell you a secret I don't even know".

But the alchemy she works is where specific references seem to cross over into universal themes. The 22nd floor of the Lennox Hotel in Atlanta becomes the scene for a distant look at the world, "while perspective lines converge, rows of cars and buses merge" and "life just kind of empties out" (in Little Bombs).
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