If you grew up in the 90s, you were probably peripherally aware of Liz Phair. She came out with an album, Exile in Guyville, before being really marketed as this semi-feminist, semi-singer/songwriter, semi-obscure alternative rock star. Her first album is really good. I never heard it until really really recently and it has really good 'relationship' songs. The lyrics are really good, and the production is pretty minimal, so the whole thing ages pretty well. BEFORE: Well, she signed to Matador and her second album was advertised everywhere, the 'hits' off it were in heavy rotation all over the alt-rock stations, she was all over Mtv and it was ok. Super-production and overly obscure lyrics lost a lot of what made Exile in Guyville so great.
I never heard her third album. She then took time off to do family stuff, getting married, divorced, having a kid, etc. DURING: I had all but forgotten about her until her 'comeback.' Suddenly she was everywhere, in these baby-doll poses with a guitar and ultra-mega-production with a slick team of songwriters giving her these middle of the road pop songs. It was almost beyond my idea of selling out, I was just fascinated by this weird transformation, which wasn't really a transformation, just a weird progression, or perhaps peeling of layers. Underneath all we think of as anti-this or the underground-version-of-that or indie-this, is the same drive to be successful, to be famous, to get our work or ourselves out there, wherever that is.
Liz Phair did what Courtney Love did just without the craziness. It was the most boring ascension/descent in music history.
NOW: Liz Phair released an album recently. Did anyone notice? Why would they? The music industry that 'made' this wonder woman is drowning in a sea of blood and the person who wrote the incredible 'Fuck and Run' died somewhere along the line. So you have a dying man throwing a corpse at you.
Greene co mo active jail population springfield. He say all kinds of lies about the young bondsmen an I know they was lies an he says mean things an says that kid a crook and says the young bondsmens will take my money an turn round an revoke my grandsons bond. You know what ty says? Old fella like me i'm 75 years old an on ssi an 100 dollars means somethin. .i called down there bout a hour ago an told him I was tryinn to get the grandson out of greene county jail an he says well itll cost ya 500 I says the young bondsmens named Wes down the road says he will do it for 350 an I says I reckon ill use the young kid.
THE NEW ALBUM (Coincidentally the absolute ugliest cover I could ever imagine for an album ever designed and I've imagined some complete shit): Moral of the story: don't lose your soul on your way to the top. At least we can still listen to Exile in Guyville until this world goes up in flames.
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As I was writing yesterday's post about Liz Phair, I realized you really can't talk about Liz Phair's early work without mentioning her pre- Exile In Guyville recordings, the Girlysound tapes. Actually Girly-Sound was the moniker Liz Phair used when she self-produced several tapes in 1991.
They were recorded in her bedroom in her parent's house and were initially given only to two people. These tapes circulated and she eventually signed with Matador Records on the strength of a tape she sent the label that contained 6 songs from the Girly tapes. Many of the songs from Girly-Sound were reworked and re-recorded for her debut and altered versions of the other songs appeared on later studio albums. You could say Liz Phair became a bit of a phenomenon, as the tapes were traded within the taper community and Liz Phair fan music circles.
To read more about the tapes and the tracks on each and a guide to what album the tracks eventually appeared on, read the wikipedia page for. None of the Girly-Sound tapes have been officially released, though 5 tracks appeared on her 1995 Juvenilia EP and a bonus disc of Girly-Sound tracks were included on the physical version of 2010's Funstyle album. The tracks posted below are mp3's (probably 1st generation) from the three cassette tapes (sorry, I don't have the actual tapes!). These are truly a prize for any Liz Phair fan and an interesting listen for anyone curious about home recording.
Technology has come a long way from the 4-track cassette recordings of Liz Phair and probably hundreds of other musicians that recorded music in their bedroom (yes, I have made many recordings of myself from my single track cassette recorder and 4-track tape machine!), nowadays a bedroom recording can sound as slick and intricate as a professionally recorded album thanks to computers and software. Thank you Liz Phair for proving that DIY can be a launching pad for a successful music career. Tape #1 Yo Yo Buddy Yup Yup Word To Ya Muthuh (1991) 01. White Babies 02. Six Dick Pimp 04.
Divorce Song 05. Dont Hold Your Breath 07. Johnny Sunshine 08. Miss Lucy 09. Elvis Song 10. Dead Shark 11. One Less Thing 12.
In Love With Yourself (Combo Platter) 14. Fuck Or Die Tape #2 Girls Girls Girls (1991) 01. Hello Sailor 02.
Wild Thing 03. Fuck & Run 04. Easy Target 05. Soap Star Joe 06.
Ant In Alaska 07. Girls Girls Girls 08. Polyester Bride 09. Miss Mary Mack 11.
Love Song 13. Valentine 14.
Shatter Tape #3 Untitled (1991) 01 Flowers 02 Whip Smart 03 Open Season (Beg Me) 04 Go Speed Racer 05 Stratford Guy 06 South Dakota 07 Why I Left California 08 Batmobile 09 Gigolo (Cant Get Out What Im Into) 10 Easy (Its Not That) 11 Slave (Sometimes A Dream Is What Makes You A) 12 Chopsticks.
You break all kinds of unwritten rules when you're a guy who admires a girl. The white suburban kids who idolize gangster rappers are old news, and the rich kids have always loved to rub elbows with the poor. But when a man tries to identify with a woman, he doesn't just hit the normal problems of 'white male gaze' and 'exploitation of the other' and 'being a jackass': There's also the third rail of male sexuality, where identifying too closely with a woman might make you seem, perish the thought, sensitive.
So instead, the guys who dig a girl like Liz Phair have to play up the attraction, the lust, the submission to a rock'n'roll goddess- even when, for many of them, the lust ain't the main draw. The other tactic is to take credit for what she's done. And guys can take plenty of credit for Phair's early career. Rock critics like Bill Wyman brought Phair to Chicago's attention when they ranted and raved about Guyville weeks before the thing came out.
The Rolling Stones recorded Exile on Main Street, the loose template for Guyville's 18 tracks- and one of the blues-rock genomes that saved this from being just another singer-songwriter set. And a couple other guys, co-producer Brad Wood and engineer Casey Rice, helped nail the minimalist production of Guyville and its follow-up, the underrated Whip-Smart.
It was the guys like her Johnny or her Joe- the titular guys in the indie boy's club centered in and around Chicago's Wicker Park- who preened for her, dicked her over, and taught her how to push back, inspiring her and making it necessary for her to write these songs in the first place. And it was guys who took the piss when she started headlining at venues that were too big for an amateur. Playing a New Year's Eve show at the Metro as your sixth or seventh gig is a lot to bite off. And if I recall correctly, she bit.
But stagecraft and starpower weren't the point: Those of us who were taken in by Phair loved her because she was- sorry to use the word- real. Men and women have written paeons to Phair since Guyville was released, putting her swagger, strength, and mundanity in whatever context meant the most to them- 'girl next door,' 'older sister,' 'younger sister,' 'easy lay,' 'slut next door,' 'bitch.' But let's start with 'female rocker.' Guyville still runs up your spine on track one with its full-on opener, '6'1', which is the best song she's ever recorded: tough but exposed, with cute feints in the lyrics, a wicked riff, and the door slamming open on her sassy tomboy vocals.
On cuts like these, guys can dig Phair because she's one of the guys. The songs are mostly sprints or drones, and on relistening to it, it's striking to hear the full-band cuts next to the solitary head space of songs like 'Glory' or 'Shatter', where she's backed more by a memory of guitar than by the raunchy blues-rock of the album's other half. The production of the ballads replicates the intimacy of a bedroom recording without the tape hiss or bum notes, which is an awesome illusion; and only a beginning songwriter could make such elemental riffs sound so exciting. Phair has famously struggled to become a star, and never quite made it. Guyville turned her into an object of fascination, but those early gigs revealed she wasn't a superstar: She had to get by on talent, and perceptiveness. She has the gift of turning everyday downers into rock, and the shock came when she sang about things that nobody else discussed in public.
The cover shot nipple, 'I want to be your blow job queen,' the outro of 'Fuck and Run' ('.even when I was 12')- this stuff was startling at the time, but I'm guessing it won't register with any teenagers who discover this today. You can get Savage Love right on your cell phone, and young adults today can browse mainstream blogs and read about machines that will fuck you. Sad to say that at the time, it was shocking to talk about non-missionary sex with the girl you could take home to mom, but today, on 'Flower'- the one about blow jobs- the line that surprises is her Dungeons & Dragons-like reference to 'minions.” (On the original, she said she'd fuck the guy's girlfriend.) Also hard to explain would be the sound, which is grey and wedged entirely in the midrange. When a 'remastered' edition was announced, I had to wonder if the remasterer had actually heard the thing before taking the job- but hearing it now, the treatment works: the rhythm section, when there is one, has more punch, and Phair's vocals come a little closer to your earlobe. The package also comes with a poorly-made DVD of interviews that Phair conducted with people from Chicago who knew her when- Steve Albini, Ira Glass, the Urge Overkill guys. It makes a scene that fancied itself 'the next Seattle' seem exactly as insular and provincial as it really was.
More useful would have been a tighter focus on Phair- say, a better set of her B-sides and demos. Would it have killed ATO to throw in more of her early, even less-inhibited Girly Sounds material? Three B-sides grace this reissue, including the meandering 'Ant in Alaska' and a curious cover of Lynn Tait's 'Say You'. They're nice throwaways, but they explain little about what was going on around the making of her debut. Fifteen years on, Guyville occasionally sounds dated- for its particular sexiness, and its particular indieness. But the songwriting holds up. She ticks off all the bruises and embarrassments of relationships, and never lets her defenses get in the way.
Naturally as a guy, I can't speak for what women saw in the record back then, or how young women will take it now. But of all the albums written from a woman's perspective, this is one of the most accessible to men. It's intriguing to watch her deal with us- not as a mere revolutionary, but as someone who knows that sex will always be tough, so she always has to be tougher. She's been tested in ways we never will be, and we understand just enough to admire her for it. Men don't get what it's like to be a woman.
But spinning this record, you swear that you could.
What's the soundtrack of your youth? In ELLE.com's column, we revisit the tunes that made us who we are. In today's installment: the soundtrack to every crappy morning after, Liz Phair's 'Fuck and Run.'
When you're a kid, the word 'fuck' has an unassailable appeal; its rude naughtiness makes for a tiny bomb rebellious youths love to throw. And behind the frisson of the verb's cultural dirtiness is what truly makes it taboo: sex and the desire to have it. That's part of the long-lasting draw of Liz Phair's 'Fuck and Run,' originally released in 1991 on the Chicago indie legend's Girly-Sound cassette tapes, and then reworked for her debut studio album Exile in Guyville (1993). Today, on its 25th anniversary, Guyville is being reissued. 'Fuck and Run' is still its shrugging, blunt self: a post-hookup complaint song that's also a singalong jam. It remains the anthem for people who keep getting mixed up with the wrong people.
'I can feel it in my bones,' Phair laments on the chorus, 'I'm gonna spend another year alone.' ELLE.com talked to Phair about the song's origins, love, and what happens the morning after. Here's what we learned. The song's morning-after malaise was loosely based on her life experience. 'I don’t think the facts were exactly right, there was no one encounter that I went home and just wrote the song about—I think I had a couple different hook-ups where I wound up in someone’s room who was a perfectly nice person but I wasn’t ready to have sex with them. And we either had sex or almost had sex—some situations that I had gotten myself into, wanting something that wasn’t what I got and coming away with that confusion of I participated willingly but I still felt wrong about it. I couldn’t find a place to be in the world where things happened in a way that felt like they should.
It was a song lamenting my inability to find what I was looking for and placing myself in situations that felt bad. Every night you think, This is it, I’m gonna do it right this time, and then you wake up in the morning like, Nope, once again I feel like I’m harming myself trying to find love, which is something that I want to find. It was really hard. It’s still really hard, nothing’s changed.'
When Phair originally wrote the song, she didn't think many people would hear it. 'I think that’s what strikes me the most when I listen to it—the complete innocence of not really realizing anybody was going to hear it, or only thinking a few people who were my friends were gonna hear what I was recording.
That younger version of me was kind of just goofing around and being brash and saying shocking things to be shocking. The process of recording was unselfconscious and experimental—and embarrassing at times. That’s not who I was outside the recording environment. Does that make sense? I think I tried to pretend to be tougher than I was. I felt a lot of insecurity, I felt very permeable about the things that had happened to me emotionally.
But at the same time, I put forward a mask of toughness, coolness, and rawness, and shockingness. You know, there was a lie or two.
I was leading with a false front.' Phair was writing rock songs when the genre was dominated by a male point of view. Matador 'When we started to make 'Fuck and Run,' I was very clear that I wanted it to be a rock song. 100 feet horror movie torrent. On Girly-Sound, it could’ve gone a number of ways. We could’ve treated it as a more soft and intimate song.
When a woman back then decided she was going to step into the arena of rock, there was no way to do a rock song without somehow thinking about how men view rock songs. I think that was interesting, to take this song about my little weird, awkward morning-after insecurities.back then, to say, This is an important enough story to put in a rock song, was like making a political statement.
That my weird-girl, personal experience could be the scaffold for a legit rock radio song.' The song was completely misunderstood when it was exposed to a wider audience. 'A lot of stuff was very provocative back then. I was in a world where shock value was part and parcel in the indie-rock scene. But when Guyville was about to come out we were gonna do that whole thing all over again where other people heard it.
I suddenly got self-conscious and I thought, 'Oh shit.' I knew that in society at large, this wasn’t going to be understood in the context it was intended to be; my indie scene would get it, what I meant, and how much I was actually living it, but the larger society was just going to be straight scarlet letter. It was very, very frightening. I lost my knees out from under me because I thought, 'I’m not sure I can justify it in the public realm.
Exile In Guyville Lyrics
I’m not sure, even if I explain it—I don’t know if I can bridge that gap.' 'I was suddenly getting fan letters from music guys who wanted to have sex with me and thought I was up for it.'
It did become something so many music journalists picked up. I was like 'the blow-job queen' everywhere.
There was no context and it was literal to them. I was suddenly getting fan letters from music guys who wanted to have sex with me and thought I was up for it. It was just this whole avalanche of, No, no, no, you don’t understand, that’s what I’m kind of pushing back against—I’m trying to fight for women to have authorship in their sexuality and fighting to be a sex subject, not a sex object. That was just totally lost by the jump in audience size.' That line about understanding sex and power from a young age—'Fuck and run / Even when I was 12'—didn't cause much controversy at the time. 'I don’t remember that really being picked up. The funny part is, I didn’t lose my virginity until I was at least 18, probably 19.
But I had felt that energy and sort of bumped against guys prior to that. Though I hadn’t had sex and I wasn’t even close to having sex at 12, there was that awareness of how the world works. You know—when you’ve given something but you actually feel like it was taken away from you.
Like, giving sex because I was hoping it would turn to love, that classic thing, and that feeling of being used. That feeling of, How do I get to the sex that I want when they’re just trying to get sex from me? I understood that at 12—I probably understood that at nine, and it wasn’t necessarily linked to actual physical acts.'
Liz Phair - Exile In Guyville (Lossless) (1993) - MidwayUSA is a privately held American retailer of various hunting and outdoor-related products. Born: 17 April 1967.
Exile in Guyville,. Was enthusiastically praised upon its 1993 release,. Exile in Guyville, Liz Phair’s iconic 1993 debut, is receiving the deluxe reissue treatment for its 25th birthday. Elizabeth Clark Liz Phair born April 17 1967 is an American singer songwriter and guitarist She. Her 1993 debut studio album Exile in Guyville was released to. Random House has acquired two books by Liz Phair, whose influential 1993 album, 'Exile in Guyville,' made her an indie rock darling. Liz Phair has announced a deluxe reissue of her debut album, Exile In Guyville, complete with a remastering by Emily Lazar, bonus tracks from the Guyville sessions.
Before releasing her 1993 debut album Exile in Guyville, Liz Phair made three legendary tapes under the name Girly-Sound. Music Reviews: Exile in Guyville by Liz Phair released in 1993 via Matador. Genre: Indie Rock. Produced by Liz Phair, Brad Wood. Download FLAC Liz Phair - Exile In Guyville (2008 15th Anniversary Edition) 1993 lossless CD, MP3, M4A. Liz Phair - Exile In Guyville Released June 22nd 1993 Produced by Liz Phair and Brad Wood So, for those who don’t know who Liz Phair is,.
Exile In Guyville Liz Phair Album
Its been 25 years since Exile In Guyville titillated audiences with its raw, stripped-down take, part confessional and part satire, on singer-songwriter Liz Phair. See contact information and details about Liz Phair. Liz began her career in the early 1990s. Her 1993 debut studio album Exile in Guyville was. As Liz Phair celebrates and relives her 1993 album Exile in Guyville, we speak to the candid singer-songwriter about signing to ATO Records, relearning old sounds. Elizabeth Clark Liz Phair (born April 17, 1967) is an American singer, songwriter,. Her 1993 debut studio album Exile in Guyville was released to acclaim;.
Be Wow-ed by Speedy Results! Search for Phair Guyville. Be Wow-ed by Speedy Results! Search for Phair Guyville. Random House has acquired two books by Liz Phair, whose influential 1993 album, 'Exile in Guyville,' made her an indie rock darling. In 1993, no rock record was as divisive as Liz Phair’s Exile in Guyville. Posts about Liz Phair written.
Her brilliant debut Exile in Guyville,. Included is the sound check where you get to hear Liz singing and chatting and trying. Exile in Guyville is the debut studio album by Liz Phair, released in 1993. Liz Phair - Exile In Guyville Released June 22nd 1993 Produced by Liz Phair and Brad Wood So, for those who don’t know who Liz Phair is, here’s a one-sentence recap.
Liz Phair boasts the unusual distinction of having released one of the most universally acclaimed albums of the previous decadeher 1993 debut Exile In Guyville. Disclaimer: This is a review of an Advanced Readers Copy of Liz Phairs Exile in Guyville by Gina Arnold. In her volume on Liz Phairs controversial 1993 debut. Quintessential Albums:: Whip-Smart (1994)::.
1993s Exile in Guyville. And sexual than Exile in Guyville. Liz Phair was also responsible for a great part.
Strange Loops: Liz Phair - 'Divorce Song'. Liz Phair’s songs: Listen to songs.
Exile in Guyville, her gold-selling debut album, was enthusiastically p. Never Said Lyrics: Yeah / I never said. Exile in Guyville Liz Phair. Help Me Mary 3.
Dance of The. Exile In Guyville By Liz Phair. 1993 21 songs. Play on Spotify.
6’1' 3:06 0:30. Listen to Exile In Guyville in full in the Spotify app.
Beautiful Liz on her first video, from Exile in Guyville (1993). Download FLAC Liz Phair - Exile In Guyville 1993 lossless CD, MP3, M4A. The song was later re-recorded on her debut 1993 album, Exile In Guyville. Liz Phair Interview, 1994.
Liz dissects Exile in Guyville and how the album. Find album reviews, stream songs, credits and award information for Exile in Guyville - Liz Phair on AllMusic - 1993 - If Exile in Guyville is shockingly assured and. Exile in Guyville (1993) 6’1', Help Me Mary, Glory, Dance of the Seven Veils, Never Said,. Liz Phair is a performance name for Elizabeth Clark Phair.