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DISCID=fd0d1512
DTITLE=Liz Phair / Exile In Guyville
DYEAR=1993
DGENRE=Rock
TTITLE0=6'1"
TTITLE1=Help Me Mary
TTITLE2=Glory
TTITLE3=Dance Of The Seven Veils
TTITLE4=Never Said
TTITLE5=Soap Star Joe
TTITLE6=Explain It To Me
TTITLE7=Canary
TTITLE8=Mesmerizing
TTITLE9=Fuck And Run
TTITLE10=Girls! Girls! Girls!
TTITLE11=Divorce Song
TTITLE12=Shatter
TTITLE13=Flower
TTITLE14=Johnny Sunshine
TTITLE15=Gunshy
TTITLE16=Stratford-On-Guy
TTITLE17=Strange Loop
EXTD=Originally Released June 22, 1993 (Matador Records)\nRe-released December
EXTD= 21, 1999 (Capitol Records)\n\nAMG EXPERT REVIEW: If Exile in Guyville is
EXTD= shockingly assured and fully formed for a debut album, there are a numbe
EXTD=r of reasons why. Most prominent of these is that many of the songs were 
EXTD=initially essayed on Liz Phair's homemade cassette Girlysound, which mean
EXTD=s that the songs are essentially the cream of the crop from an exceptiona
EXTD=lly talented songwriter. Second, there's its structure, infamously patter
EXTD=ned after the Stones' Exile on Main St., but not the song-by-song respons
EXTD=e Phair promoted it as. (Just try to match the albums up: is the "blow-jo
EXTD=b queen" fantasy of "Flower" really the answer to the painful elegy "Let 
EXTD=It Loose"?) Then, most notably, there's Phair and producer Brad Wood's de
EXTD=ft studio skills, bringing a variety of textures and moods to a basic, lo
EXTD=-fi production. There is as much hard rock as there are eerie solo piano 
EXTD=pieces, and there's everything in between from unadulterated power pop, w
EXTD=inking art rock, folk songs, and classic indie rock. Then, there are Phai
EXTD=r's songs themselves. At the time, her gleefully profane, clever lyrics r
EXTD=eceived endless attention (there's nothing that rock critics love more th
EXTD=an a girl who plays into their geek fantasies, even -- or maybe especiall
EXTD=y -- if she's mocking them), but years later, what still astounds is the 
EXTD=depth of the writing, how her music matches her clear-eyed, vivid words, 
EXTD=whether it's on the self-loathing "Fuck and Run," the evocative mood piec
EXTD=e "Stratford-on-Guy," or the swaggering breakup anthem "6' 1"," or how sh
EXTD=e nails the dissolution of a long-term relationship on "The Divorce Song.
EXTD=" Each of these 18 songs maintains this high level of quality, showcasing
EXTD= a singer/songwriter of immense imagination, musically and lyrically. If 
EXTD=she never equaled this record, well, few could. -- Stephen Thomas Erlewin
EXTD=e\n\nHalf.com Details \nProducer: Brad Wood, Liz Phair \n\nAlbum Notes\nP
EXTD=ersonnel: Liz Phair (vocals, guitar, piano, bongos, hand claps); Brad Woo
EXTD=d (guitar, organ, synthesizer, bass, drums, percussion, background vocals
EXTD=); Casey Rice (guitar, cymbal, hand claps, background vocals); John Casey
EXTD= Awsumb (harmonica); Tony Marlotti (bass); Tutti Jackson, O (background v
EXTD=ocals).\n\nFrom Big Mama Thornton to Madonna, the sexually aggressive wom
EXTD=an has always held a special fascination for pop fans. With EXILE IN GUYV
EXTD=ILLE, Liz Phair became the latest and by far the most foul-mouthed additi
EXTD=on to the line. Her mission was to put a lacquered fingernail up the post
EXTD=erior of alternative rock's 'Guyville' establishment. Her model was the R
EXTD=olling Stones' EXILE ON MAIN STREET and its portrait of a lonely, nihilis
EXTD=tic world. Phair's ingenuous voice, stripped-down arrangements, and catch
EXTD=y melodies made her sound like a female Jonathan Richman. However, it was
EXTD= her biting lyrics that drew the most attention, making EXILE IN GUYVILLE
EXTD= one of the most critically acclaimed albums of 1993.\n\nIndustry Reviews
EXTD=\nIncluded in Rolling Stone's Essential Recordings of the 90's.\nRolling 
EXTD=Stone (05/13/1999)\n\nRanked #13 in Spin Magazine's 90 Greatest Albums of
EXTD= the '90s.\nSpin (09/01/1999)\n\nRanked #1 in the Village Voice's 1993 Pa
EXTD=zz & Jop Critics Poll.\nVillage Voice (03/01/1994)\n\nIncluded in Q's lis
EXTD=t of `The 50 Best Albums Of 1993' - ...superior garage rock...\nQ Magazin
EXTD=e (01/01/1994)\n\n3.5 Stars - Very Good - ...Despite its low-fi productio
EXTD=n, EXILE IN GUYVILLE roams giddily all over the pop landscape...Phair wri
EXTD=tes sturdy riffs that render her rudimentary guitar technique beside the 
EXTD=point...\nRolling Stone Magazine (06/10/1993)\n\nHighly Recommended - ...
EXTD=an astounding hunk of fresh-faced, edgy pop capped by Phair's clean but l
EXTD=acerating guitar-strum and a remarkable sense of vocal delivery...\nSpin 
EXTD=(04/01/1993)\n\n...what makes Phair worth hearing isn't her conceptual am
EXTD=bition, but the sheer strength of her writing...she's an ace at conveying
EXTD= mood through melody and expressing complex feelings with simple, vivid i
EXTD=magery...\nMusician (09/01/1993)\n\n4 Stars - Excellent - ...a melodic sl
EXTD=eight of hand that invokes the detachment of Suzanne Vega, some Throwing 
EXTD=Muses opacity and Big Star's thoroughbred rattle...the kind of record to 
EXTD=give your little sister some very big ideas...\nQ Magazine (08/01/1993)\n
EXTD=\n...[Phair] brings something a little bit fresh and dangerous to the art
EXTD=iculate chantootsie genre...comes on like Polly Harvey with a sense of pu
EXTD=rpose and as much melody as attitude...\nMelody Maker (09/04/1993)\n\n7 -
EXTD= Very Good - ...she's capable of communicating her sexual politics with a
EXTD= fair degree of incisive anger, sarcasm and humour...\nNew Musical Expres
EXTD=s (08/28/1993)\n\n...Phair's confidently off-kilter voice gets over like 
EXTD=a poetry slam winner unsatisfied with her last verse... - Rating: A\nEnte
EXTD=rtainment Weekly (06/04/1993)\n\nRanked #83 in AP's Top 99 of '85-'95 - .
EXTD=..The eighteen pop songs of EXILE IN GUYVILLE are a sweeping tour through
EXTD= the stupid blisses and devastating abuses of sex and love....Every song 
EXTD=is self-contained and freshly conceived...\nAlternative Press (07/01/1995
EXTD=)\n\nIncluded in AP's 10 Essential Breakup Albums.\nAlternative Press (05
EXTD=/01/2001)\n\nRanked # 24 in Rolling Stone's Women in Rock: The 50 Essenti
EXTD=al Albums - ...A perfect debut album...\nRolling Stone (10/31/2002)\n\nAM
EXTD=AZON.COM CUSTOMER REVIEW\nI can feel it in my bones..., May 24, 2000\nRev
EXTD=iewer: Jeff Williams\nhis album is a hit-or-miss case. I have friends who
EXTD= can't stand it, and I have friends who love it and claim it in their Top
EXTD= 10 of all time. It's worth listening to just to see where you stand. The
EXTD=re isn't much debate about whether or not Liz can sing...she can't. She h
EXTD=ad to take singing lessons for her latest album. So ignore her voice...it
EXTD=s whining, its monotone, it cracks, and it sounds like she was singing in
EXTD= her garage. That's also one of the strong points to those people who lov
EXTD=ed this album so much. When Liz's voice cracks, its usually because of th
EXTD=e emotion in it. That's generous, given she doesn't really show much emot
EXTD=ion...but she does deliver angst, longing, despair, guilt, and a little r
EXTD=aw hatred. Her lyrics are witty, yet sometimes simple, but what her voice
EXTD= fails to deilver, her words do. Take the warnings of parental advisory s
EXTD=eriously...she doesn't edit her feelings at all. It took me a long time t
EXTD=o love this album. The songs don't work the first, oh, let's say 10 or so
EXTD= times you hear them. But if you think you hear something in her style, t
EXTD=hen listen some more. Memorize the songs...because they will grow on you,
EXTD= and infect you, and take you over. This is an ideal album for someone wh
EXTD=o just got out of a relationship. It runs the full range of emotions abou
EXTD=t breaking up...longing, hope, anger, guilt, despair, anguish. But ultima
EXTD=tely the real charm of this album lies in its simplicity...most of the so
EXTD=ngs feature Liz as the sole musician. The songs seem as if they were reco
EXTD=rded by Liz, her guitar, and a tape recorder (and actually, most of the s
EXTD=ongs came right from the demo tape that got this album recorded). The pro
EXTD=duction quality may disapoint those looking for a studio-hyped album with
EXTD= richly woven melodies. I personally thought that the power and the charm
EXTD= of the album came from the fact that it was nothing more than Liz, strip
EXTD=ped down to nothing but herself and her guitar. You'll either love it or 
EXTD=hate it. But those who love it never take it out of their CD players.\n\n
EXTD=AMAZON.COM CUSTOMER REVIEW\nFantastic Record, June 24, 2006\nReviewer: Mi
EXTD=chael C. Daly\nThis album will grow on you faster then moss in a swamp. L
EXTD=yrics that when you hear them - your just happy she's not singing about y
EXTD=ou - yet are sexy enough that you also wish she was singing about you. Al
EXTD=so, in the songs you really can see Liz's inner thoughts and insecurities
EXTD=. It was said when she went to support this record her stage fright was e
EXTD=normous - you can also see that nervousness in her songs. Do yourself a f
EXTD=avor and put up the 14 or 15 bones and be entertained by the sexy girl ne
EXTD=xt door Liz. \n\nAMAZON.COM CUSTOMER REVIEW\n"I jump when you circle the 
EXTD=cherry...", April 11, 2006\nReviewer: ADRIENNE MILLER (TENNESSE)\nExile i
EXTD=n Guyville is raw, honest, and brilliant. Liz Phair's first and most pers
EXTD=onal album to date. Standout tracks include: F#ck and Run, Divorce Song, 
EXTD=Flower, and Glory. Her lyrics are incredible, "And the license said you h
EXTD=ad to stick around until i was dead but if you're tired of looking at my 
EXTD=face guess i already am." Awesome title, intelligent songs, and superior 
EXTD=songwriting, Exile in Guyville will "shatter" your senses. \n\nAMAZON.COM
EXTD= CUSTOMER REVIEW\nThe Phairest of Them All: a M-A-S-T-E-R-P-I-E-C-E, Dece
EXTD=mber 3, 2005\nReviewer: Blake Maddux (Cambridge, MA United States)\nExile
EXTD= In Guyville is a landmark record. It is perhaps the biggest musical stat
EXTD=ement in indie rock by a woman, not to mention one of the first. It is ea
EXTD=sily the one of the best CDs of the 1990s. And it is one of the greatest 
EXTD=debuts of all time. But Exile In Guyville is more than just a great recor
EXTD=d in terms of specifics. It is a great record period. Even if the rest of
EXTD= her catalog cannot hold a candle to it, any artist in popular music shou
EXTD=ld be so lucky as to have a record like this as his/her crowning achievem
EXTD=ent. This is one of those critically revered records for which the reason
EXTD=s for such reverence are obvious, not obscure. \n\nIt is not really impor
EXTD=tant to me if this is, as is claimed, a song-by-song response to Exile On
EXTD= Main Street. The fact that that record obviously inspired her to make th
EXTD=is one is good enough for me. And whether this is a "post-feminist" maste
EXTD=rpiece is also a moot point, as I don't think that she sat down to make s
EXTD=uch a record. I don't think her intention was to make a political stateme
EXTD=nt, even if by making such an emotionally and sexually explicit record, s
EXTD=he ended up doing so anyway. (I know, I said the same thing about The Hid
EXTD=den Cameras CD The Smell of Our Own. Hey, if the shoe fits....) I am more
EXTD= interested in what exactly makes this such a damn fine record, by any st
EXTD=andard. \n\nI remember seeing Liz Phair on MTV in 1993. She was asked by 
EXTD=Tabitha Soren, "Are you afraid that people might think you're a slut?" Ob
EXTD=viously, that piqued my interest, but I was still in my tragically unhip 
EXTD=classic rock phase at the time, so I didn't seek out the record that they
EXTD= were talking about. Over the years, I would constantly see this CD refer
EXTD=ed to as a masterpiece, but I still didn't buy it. That is until Ms. Phai
EXTD=r's much-maligned 2003 CD was released and she began to get so much press
EXTD=. That was when I decided it was time to hear it. Needless to say, I was 
EXTD=immediately taken by it, and never for a second did I ever have to wonder
EXTD= why this was such a critic's favorite. It was enough that several of the
EXTD= disc's 18 songs were brilliant, but I quickly realized that almost all o
EXTD=f them were. I loved it so much that it may have caused me to like the af
EXTD=oremetioned eponymous CD a lot more than I would care to admit today. \n\n
EXTD=As I have made the move from prog-rock junkie to indie-rock fan, I have c
EXTD=ome to think that any CD outside of the 30-40 minute range better be able
EXTD= to justify the extra time spent listening to it. I tend to believe that 
EXTD=any CD over 45 minutes could have and should have been trimmed. Exile In 
EXTD=Guyville remains a major exception. I am almost tempted to say that this 
EXTD=CD makes me wish more records could be this long and this good. Guyville 
EXTD=easily justifies its 55-minute running time. Its tracks run the tempo gam
EXTD=ut, and the spare production doesn't starve the songs. Rather, it allows 
EXTD=their details to be revealed over repeated listenings, instead of overwhe
EXTD=lming the listener all at once. But producer Brad Wood isn't afraid to tr
EXTD=y a few tricks on songs like "Flower" and "Soap Star Joe". It is surprisi
EXTD=ng Wood did not become a more sought after item in the 90s. Everything on
EXTD= this CD is so perfectly in place that it seems that no one else could ha
EXTD=ve done the job. \n\nAllow me to begin the discussion of the songs themse
EXTD=lves by mentioning what I consider to be the two weaker tracks on the dis
EXTD=c. Although she continues to perform these songs live, I personally do no
EXTD=t think that "Help Me Mary" and "Divorce Song" are as strong as the rest 
EXTD=of the record. They are certainly not bad songs, they are simply not as i
EXTD=mpressive as most of the other ones. And when the other songs are as good
EXTD= as the ones on this record are, the not-so-great moments tend to stand o
EXTD=ut. \n\nThere. Now, it is true that Liz Phair comes across as a sex kitte
EXTD=n in heat in some songs, and as a manhater in others. Be that as it may, 
EXTD=I think that in some of the slower songs, ones in which the lyrics may no
EXTD=t stand out as much, she is able to admit her flaws. While "Girls! Girls!
EXTD= Girls!" has her bragging about how she "takes full advantage" of every m
EXTD=an she meets, "F--- And Run" (aka, "Oops! We Did It Again") has her reali
EXTD=izing that two can play at that game. She is a bit, oh...hypersexual on t
EXTD=he songs "Glory", "F*** and Run", and "Flower", but she never seems like 
EXTD=she is playing it up for effect. After all, she is just as sincere when s
EXTD=he is vulnerable, as demonstrated on songs like "Dance of the Seven Veils
EXTD=", "Canary", and "Shatter". And while the Exile On Main Street song-by-so
EXTD=ng response claim might be a bit far-fetched, she achieves a beautiful St
EXTD=onesy swagger on "6'1"" and "Mesmerizing", two of the best songs on the d
EXTD=isc. The former song has her insisting that she doesn't need a particular
EXTD= man in her life, the latter has her lustfully wanting one. (It is easy i
EXTD=magine Mick and Keef having a ball with these songs.) \n\nPhair covers al
EXTD=l of the singer/songwriter bases on this record: folk, confessional, spok
EXTD=en word, and rock 'n roll. And she does each in expert fashion. Her lyric
EXTD=s are literate but not pretentious, explicit but not juvenile. The instru
EXTD=mentation is neither virtuosic nor sloppy. Some songs are great to sing a
EXTD=long to ("Never Said"), others are better off in her own voice ("Stratfor
EXTD=d-On-Guy"). She is fully formed on this record, and this is a major state
EXTD=ment worthy of classic status and to be listened to 30 years from now, at
EXTD= which time it will still be in its own category. Two reviled pop records
EXTD= may have undermined her credibility, but if there is any justice in the 
EXTD=world - and one has to wonder sometimes - it will not obscure the fact th
EXTD=at the woman who recorded Somebody's Miracle was also the mastermind behi
EXTD=nd Exile In Guyville. Granted, she may never revisit the territory of her
EXTD= masterpiece, but that should not cause us to forget that she was once th
EXTD=ere to begin with. \n\nIn my honest opinion, this CD is good enough to ra
EXTD=ise your standards of what qualifies as a great record. Suddenly, certain
EXTD= records that you thought were great may not sound as good. I am not real
EXTD=ly sure what would make a person dislike this record. I don't understand 
EXTD=why anyone would not consider it as matter-of-factly great as any other m
EXTD=asterpiece of rock music. Some people say that she doesn't have a "great"
EXTD= voice. Even if I were willing to grant them this (and I am not), my resp
EXTD=onse would be that a "great" voice is not essential to this brand of lo-f
EXTD=i indie rock. I think that even those who love the CD say this so as to n
EXTD=ot seem too hyperbolic in their praise. The only other explanation I can 
EXTD=imagine is that guys see her as a manhater. Granted, she is quite confron
EXTD=tational on several songs, but as I said before, she is just as often abl
EXTD=e to concede her own culpability. Ah, the hell with it. I am not going to
EXTD= lend any further credence to those who can't hear exceptionally good Exi
EXTD=le In Guyville is. It holds its own against any given record, be it Patti
EXTD= Smith's Horses, Closer by Joy Division, or, well, Exile On Main Street.\n
EXTD=\nAMAZON.COM CUSTOMER REVIEW\nan essential indie classic, January 16, 200
EXTD=5\nReviewer: Chris Stolz (canada)\nPhair's debut, even ten years later, i
EXTD=s refreshing in its honesty, lyrically provocative and consistently music
EXTD=ally inventive. \n\nMade on a shoestring budget, with Phair and producer 
EXTD=Brad Wood doing all of the instruments, Exile in Guyville does it all-- f
EXTD=rom full-on stompin' rock and roll to eerie piano-based dirges. What the 
EXTD=album lacks in professinal polish, it more than makes up for with Phair's
EXTD= unusual arrangements, bang-on ear for hooks and often suprisingly comple
EXTD=x melodies. \n\nFrom the pornographic "Flower" to the tough-love "Divorce
EXTD= Song," you get the feeling listening that this is the coolest girl in th
EXTD=e world, and even if she tries something totally stupid, the result will 
EXTD=be hugely entertaining. Phair is sometimes lyrically allusive, and more o
EXTD=ften wittily direct, and indeed often screamingly funny. The disc is so r
EXTD=efreshing, because you never feel that the producers, or the writer's sel
EXTD=f-consciousness, get in the way of what is happening. You feel, listening
EXTD=, like you are reading the diary of the weird but kinda hot chick who did
EXTD=n't open her mouth much in English class but had you, and everybody else,
EXTD= in stitches when she did. It is only when she tries to Make Big Points (
EXTD="Soap Star Joe") that Phair becomes boring, like Ani DiFranco (an artist 
EXTD=who is so insistent on her listeners GETTING THE POINT that she leaves th
EXTD=em no room to use their imagination). \n\nAfter Exile, Phair has made dec
EXTD=ent records and written some superb songs, but none of them have the quir
EXTD=ky charms and often profoundly moving writing we see here. This record be
EXTD=longs up there with other female classics: Patti Smith's "Horses," PJ Har
EXTD=vey's "Rid of Me," Joni Mitchell's "Blue," Laurie Anderson's Mister Heart
EXTD=break" and Lauryn Hill's "The Miseducation." Essential.\n\nAMAZON.COM CUS
EXTD=TOMER REVIEW\nUnorthodox, jarringly honest, and brilliant debut, May 4, 2
EXTD=003\nReviewer: whipsmart "ms.mystified@gmail.com" (Huntsville, AL USA)\nL
EXTD=iz Phair's debut album is, quite simply, one of the best debuts ever. It 
EXTD=is no wonder that "Guyville" is consistently ranked highly in almost ever
EXTD=y "best of" and "must have" alternative album list to ever exist. From th
EXTD=e stutter-drum introduction of "6'1" to the discordant instrumentation at
EXTD= the end of "Strange Loop?," "Guyville" will hold you captive and pound i
EXTD=tself into your brain.\nMost people mistakingly assume that the majority 
EXTD=of "Guyville" came from Phair's earlier Girlysound demos, recorded in her
EXTD= basement, but this is false. Only 6 of the 18 songs on "Guyville" are fr
EXTD=om these early recordings, and all of them have been at least slightly re
EXTD=written from the previous versions. (Also, the Girlysound demos did not i
EXTD=mmediately prompt Matador Records to sign Phair--at the signing, they had
EXTD= only listened to a scant few of the demo songs.)\n\n"Guyville," however,
EXTD= retains the lo-fi feel of the early demos, with relatively simple instru
EXTD=mentation, imperfect vocals, and a much less glossy production than her l
EXTD=ater albums ("Whip-Smart" and "whitechocolatespaceegg"). The songs are al
EXTD=most like diary entries, with Phair baring her soul to the world in blata
EXTD=ntly open, sometimes shocking, ways.\n\nMany people characterize Phair as
EXTD= "angry female rock," but I don't see it. Phair is many things on this al
EXTD=bum--self-deprecating, sad, arrogant, and sexual--but I don't see a lot o
EXTD=f overt anger. Rather, her songs deal simply with the wide range of emoti
EXTD=ons everybody feels with regards to life. Sometimes her issues are comple
EXTD=x, such as in "F*** and Run," where she desires a stable relationship but
EXTD= is at the same time ashamed and seemingly incapable of having one. Somet
EXTD=imes they are simpler, like in "Help Me Mary," a reaction against the mal
EXTD=e-dominated independent music scene. Sometimes she even finds what she's 
EXTD=looking for, like in "Strange Loop?"\n\nAlso, much has been said about he
EXTD=r sexuality with regards to these songs. Phair takes traditional male vie
EXTD=wpoints and standards with regards to women and sex and turns them on the
EXTD=ir head. She pokes fun at men and their conventions, but then, she pokes 
EXTD=fun at herself, too. "Flower" especially, with its graphic sexual imagery
EXTD=, has to be taken with a grain of salt. She asks the question: Why is it 
EXTD=that we react so harshly when these words are spoken by a woman, when we 
EXTD=accept them from a man?\n\nMusically, the strongest songs are probably "F
EXTD=*** and Run," the poppy "Never Said," and "6'1." The most memorable songs
EXTD= are probably "Flower," "Girls! Girls! Girls!" (again turning the male-fe
EXTD=male dynamic in relationship upside down), "Glory," and the infinitely sa
EXTD=d "Divorce Song." My personal favorite is "Mesmerizing," in which Phair a
EXTD=sks her lover to think of her in better terms than what he does ("You sai
EXTD=d things I wouldn't say / straight to my face, boy").\n\nPhair has made m
EXTD=any claims regarding "Guyville's" relationship to the Rolling Stones' 197
EXTD=2 double album "Exile on Main Street," calling "Guyville" a "female respo
EXTD=nse" to the Stones' album. I highly recommend that you listen to the two 
EXTD=albums together sometime. They really do work amazingly well together (pl
EXTD=us, "Main Street" is just a great album, anyway).\n\n"Guyville" is a femi
EXTD=nist work, and any woman who wants a fresh perspective on male-female dyn
EXTD=amics should certainly check it out. However, it transcends that and beco
EXTD=mes a commentary on life in general, for everyone, and the complicated em
EXTD=otions we have to face every day. Therefore, I recommend "Guyville" to an
EXTD=yone who likes their music to be thoughtful and fresh.\n\nWhether you're 
EXTD=a hard-core indie music fan or someone who is just discovering the genre,
EXTD= "Guyville" is a definite must-have. More listener-friendly than many ind
EXTD=ependent albums, "Guyville" has something for just about everyone.\n\nAMA
EXTD=ZON.COM CUSTOMER REVIEW\nSublime, June 13, 2001\nReviewer: K. Roon - See 
EXTD=all my reviews\nAlong with The Breeders' "Last Splash" and Hole's "Live T
EXTD=hrough This", "Exile in Guyville" is one of the best albums of the 90s. T
EXTD=he first thing to check your ear is, of course, that Liz has a mouth that
EXTD= will make a sailor blush. "Flower" has simply got to be one of the most 
EXTD=overtly sexual songs ever recorded. But don't be fooled by the obscenitie
EXTD=s, because they're only adjectives and also because this album is so much
EXTD= more than that. \n"F*ck and Run" perfectly describes that terrible morni
EXTD=ng after feeling when you know that the other person just wants you gone.
EXTD= "Divorce Song" is a musical I-told-you-so and "Canary" shows just how mu
EXTD=ch someone is willing to do to be the perfect mate. My favorite song, aft
EXTD=er eight years, is still "Mesmerize". I have never heard anyone so perfec
EXTD=tly convey the feeling of contentment that comes from being in love. A fr
EXTD=iend and I sat and listened to it for three hours one night over and over
EXTD= completely enthralled by Liz.\n\nAMAZON.COM CUSTOMER REVIEW\nLiz Phair?s
EXTD= Explosive Debut, December 19, 2000\nReviewer: M. Allen Greenbaum (Califo
EXTD=rnia) \nThe first song blew away me from the beginning. Punk dissonance f
EXTD=ollowed by a peppy 60's beat? She takes more chances than you realize, an
EXTD=d they work. No way to pick out highlights, (every track is a winner) but
EXTD= I especially liked 6'1", Help Me, Mary (pulls on trad. Rock riffs), the 
EXTD=jangly rocker "Never Said," Mesmerizing," f**k and run ("whatever happene
EXTD=d to a boyfriend, the kind of guy who tries to win you over. . .I wan' al
EXTD=l that stupid old sh*t, like letters and sodas...letters and sodas"), the
EXTD= dreamy, incredibly romantic "Shatter," and "Strange Loop?" The whole alb
EXTD=um is infused with the spirit of rock.\nFinally, a pared-down, somewhat m
EXTD=inimalist album where every note counts. Co-Produced by band members Phai
EXTD=r and Brad Wood (with Asst. Engineering credited to guitarist Casey Rice)
EXTD=, each short song is a small gem, with the intimacy and immediacy of a ga
EXTD=rage recording (without the ego and the lousy sound).\n\nLiz Phair's voic
EXTD=e is not particularly noteworthy, but that's not the point. The word pain
EXTD=tings are as vivid as Patti Smith, and as cutting as Tracey Chapman. Her 
EXTD=sometimes monotonic, weary voice has undertones of strength and defiance,
EXTD= and the lyrics are as poetry perfect and emotion-tinged as Lene Lovich o
EXTD=r Joni Mitchell. (And there's an interesting Midwest accent to boot).\n\n
EXTD="The fire you like so much in me. . . is the mark of someone adamantly fr
EXTD=ee" \n\nThis (too cool fer school) persona could go stale after a while, 
EXTD=but she doesn't seem pretentious or announce how hip she is (with the pos
EXTD=sible exception of some of "Divorce Song"). Rather, the tone is matter-of
EXTD=-fact; she knows when to let the music do the talking. The only artifice 
EXTD=is her perfection of the virgin/whore male fantasy in such explicit songs
EXTD= as "Glory," "Dance of the Seven Veils," and "Flower." This got a lot of 
EXTD=almost-hysterical attention from critics (she's the FEMALE Mick Jagger!!)
EXTD=, and if it helped sell a lot of records, fine.\n\nBut that would miss th
EXTD=e point. She knows how to construct an intense, personal statement with n
EXTD=o waste, and she has a knack for the engaging hook. Every song shines on 
EXTD=this CD: It's amazing how the power she achieves with some piano and harm
EXTD=onica, jangling/droning guitars, some background vocals, and peppered dru
EXTD=mming. It's a tribute to the SONG qualities of rock, and especially, to t
EXTD=he emotional complexity and accuracy of Ms. Phair's writing.\n\nWith the 
EXTD=release of two excellent follow-ups, Liz Phair has proven she's no one-CD
EXTD= wonder. That was one question when she burst on the scene with this "Rol
EXTD=ling Stone Album of the Year." And, though her output has been less than 
EXTD=prodigious, this CD alone stands as one of the best of the nineties.\n\nA
EXTD=MAZON.COM CUSTOMER REVIEW\nLove It, June 22, 2000\nReviewer: "nishana" (T
EXTD=he Country That Kicked England's Ass)\nThis CD is extreamly varied in it'
EXTD=s songs. On one hand, you have "6'1"", "Never Said", and "Stratford-On-Gu
EXTD=y", the rock songs. But then you have "F**k and Run" and "Flower" which a
EXTD=re a cross between Alanis' angst and well . . . I guess you can't compare
EXTD= Liz Phair to anyone. A warning: Beware of "Flower"! It sounds so innocen
EXTD=t, so pure, so chaste. It's title is the total opposite of "F**k and Run"
EXTD=. It's about a promiscous woman lusting after a young man. She "wants to 
EXTD=f**k him like a dog", and this is a quotable part of the song! Hey, I'm n
EXTD=ot saying this song is bad, it's certainly different, and I don't think w
EXTD=e'll ever hear a song like it agian, but I'm just warning you not to play
EXTD= the song in front of your grandma.\nThe rest of the songs on Guyville ar
EXTD=e mostly ballads, or ones with long piano/guitar intros (ie: "Canary" and
EXTD= "Shatter"). This can get old fast, especially since I don't want to wait
EXTD= around for a minute or more, waiting for lyrics. I don't like instrument
EXTD=als, I like lyrics! And the lyrics on this CD are fabulous, if you can wa
EXTD=it to hear them. "Help Me Mary" is a favorite, because it reminds me of a
EXTD= wife and her in-laws. At least it did until I found out the last line wa
EXTD=sn't "And watch how fast the run to the plane", but "to the flame". Ooops
EXTD=. But it's still a good song. "Dance of the Seven Veils" paints a nice pi
EXTD=cture in your mind and "Divorce Song" is just a great song, period. "John
EXTD=ny Sunshine" is another great song about a girl getting dumped by her boy
EXTD=friend who "killed the cat, put it in antifreeze". Ahh, young love.\n\nAM
EXTD=AZON.COM CUSTOMER REVIEW\nMesmerizing debut, March 1, 2000\nReviewer: Myk
EXTD=e O'Clock (Seattle, WA - US)\nSince its release, this CD remains as a one
EXTD= of the musical milestones from the 1990s. It topped the lists of many cr
EXTD=itics, propelled Matador Records further into the big time, and helped op
EXTD=en the door for Alanis, Fiona, Meredith Brooks and a hundred other female
EXTD= artists to follow. With a title adapted from an Urge Overkill song ("Goo
EXTD=dbye to Guyville" from their 'Stull" EP), this impressive debut was suppo
EXTD=sedly structured as her song-by-song response to the Rolling Stones' "Exi
EXTD=le On Main Street" album. Brad Wood's subtle production brings her sound 
EXTD=out of the bedroom without sacrificing the intimacy and honesty of her "G
EXTD=irlysound" days. Several of those songs get updated, including the explic
EXTD=it "F&@k and Run" and "Flower." Pottymouth lyrics aside, the songwriting 
EXTD=is outstanding and her quirky guitar riffs perfectly compliment her dry s
EXTD=inging style. The subject matter is much more blunt than her later work (
EXTD=where her perspective was changed by marriage and motherhood), and the in
EXTD=strumentation has a stripped-down feel. For those just discovering this a
EXTD=lbum, the freshness of the material will no doubt suffer a bit in the wak
EXTD=e of Lilith Fair and the media's "Women In Music" saturation, but it's st
EXTD=ill superior to a lot of what came after it. Highly recommended.
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