![]() Mann would leave Geffen Records following an Academy Award nomination for her Magnolia soundtrack single “Save Me,” feeling like she was being pressed to write hits. But it was scoring films - he composed music for Magnolia, Punch-Drunk Love, Hard Eight, and Eternal Sunshine of the Spotless Mind - that kept the boat afloat in the crunch of the late ’90s when mergers and evolving tastes led to wavering support at major labels for critically acclaimed acts. A lively partnership with director Paul Thomas Anderson would lead to additional gigs as a film composer, while work in the aughts with Michel Gondry netted a job co-producing alongside Ye. The atmospheric slide guitar in the Wallflowers’ “One Headlight,” the delicate Chamberlin keyboard notes in Fiona Apple’s “Criminal” and Aimee Mann’s “Wise Up,” and the elegant vibraphone part in Elliott Smith’s “Waltz #1” were all played by Brion. Brion garnered attention among the blossoming ’90s singer-songwriter set as a producer, session player, and finisher, a guy who shows up with dozens of instruments to flesh out arrangements and help your ailing studio album make the deadline. ![]() If you’re a prodigious reader of liner notes, you’ve probably seen Jon Brion’s name somewhere over the last 30 years.
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