Personnel includes: Aimee Mann (vocals, acoustic guitar, bass); Jon Brion (various instruments, background vocals); Buddy Judge (acoustic guitar, background vocals); Scott Mitchell (guitar, organ, Celeste keyboards, glockenspiel, percussion); Michael Penn (guitar, background vocals); Michael Lockwood (12-string acoustic & electric guitars, melodica, Chamberlin & Celeste keyboards, background vocals); Brendan O'Brien (slide guitar, bass); Keith Brion (piccolo, euphonium); Mike Breaux (oboe); Patrick Warren (accordion, piano); Jon Lupfer (baritone saxophone); Bentmont Tench (piano, Chamberlin keyboards); Dan MacCarroll, John Sands (drums, percussion); Scott Mitchell, Ric Menck (drums); Michael Hausman (programming); Juliana Hatfield, Neil Innes, Chris Difford (background vocals).

Producers include: Jon Brion, Brendan O'Brien, Michael Penn, Buddy Judge, Aimee Mann.

Engineers include: Mike Denneen, Brian Scheuble, Nick DiDia.

Includes liner notes by Paul Thomas Anderson.

"Save Me" was nominated for the 1999 Academy Award For Best Song.

MAGNOLIA was nominated for the 2001 Grammy Award for Best Compilation Soundtrack Album for a Motion Picture, Television or Other Visual Media, "Save Me" was nominated for Best Female Pop Vocal Performance and for Best Song Written for a Motion Picture, Television or Other Visual Media.

For Aimee Mann, the soundtrack to Paul Thomas Anderson's Magnolia was her first opportunity to release new material since 1995's I'm With Stupid. True, some of the songs are a few years old, but this is their first release, and each of her nine songs for the film seamlessly fit together, achieving a perfect blend of musical and lyrical tone. They feel like a miniature album, and while some of these tracks are on Bachelor No. 2, the way they flow and play off of each other makes Magnolia feel like a unique, individual work. Of course, it helps that Mann is at a peak in her craft, creating songs that are not only beautifully melodic, but musically and lyrically rich. Sonically, they're of a piece - even her cover of Nilsson's "One" fits perfectly -- but there's a lot of variety here, from the bouncy, irresistible "Momentum" to the gorgeously melancholic "Deathly." Mann has shined before, but never quite so consistently. It's easy to get lost in her music, which is why it comes as a bit of surprise to hear a gameshow bell ring at the conclusion of "Save Me," cleanly dividing Mann's songscore from the oldies that are also used in the film. Essentially, the two Supertramp songs ("Goodbye Stranger," "Logical Song"), Gabrielle's "Dreams," and Jon Brion's theme for the film act as a bonus EP after Mann's mini-LP. They don't sound out of place, but rather act as a reminder that Magnolia is not a proper Mann album, but a soundtrack. It's a testament to Mann's strengths as a songwriter and pop craftsman that during those first nine songs, it's hard to think of Magnolia as anything other than a Mann album, and her best one to date, at that. ~ Stephen Thomas Erlewine

The stars have never seemed entirely aligned for Aimee Mann. The brilliant Boston singer/songwriter with an ear for enticingly sweet hooks and somber, reflective lyrics was constantly overlooked and underappreciated throughout the '90s as she released two quietly heralded pop records. To make matters worse, she ended the decade with a wealth of material and suddenly no label on which to release it all. Thankfully, Aimee has friends like filmmaker Paul Thomas Anderson, who catapulted to celebrity with 1997's surprise critical hit BOOGIE NIGHTS. For his follow-up, MAGNOLIA, whose tone he has credited in part to listening to hours of Aimee's songs, he has tapped this muse to provide the musical backdrop.

She opens with a stark rendition of the Nilsson-penned Three Dog Night hit "One," which becomes pure, delicate simple beauty in her hands. She proceeds to softly belt out eight more tracks of blissful understatement, including the haunting highlights "Build That Wall" and "Driving Sideways." MAGNOLIA is fleshed out by a couple of '70s Supertramp AM staples, an underrated early-'90s dance nugget by Gabrielle, and score material from Jon Brion. The only thing lacking here is more Aimee Mann.