Reviews (page 2 of 7)
played this at work in a shared office and walked away. Came back to Liz singing about wanting to be someone's blowjob queen and fucking him until his dick turned blue. Same here, girl
Another perfect album!
One of the best rock albums of all time. So earnest and so all encompassing of one woman's full breadth of experience. We all contain multitudes.
There was a year there when this record was permanently in my CD changer. It was probably this, Tori, Bjork, PJ Harvey and the Pulp Fiction Soundtrack. Makes me want to dig out the box of zines. It’s been 30 years and this still fucking rocks. 5/5
perfect
I didn't really discover Phair until later, so I don't have the same sort of history with it that others do. But this is her best album, so even though it is maybe just a strong 4, I'm bumping it up to 5.
Ani DiFranco's 'Not a Pretty Girl' might have been more blunt in it's messaging, but there was something equally powerful in Phair's sidelong take down of toxic dudes, which somehow also often managed to skewer herself, too. Anthems for insecure lapsed Catholic girls who know first wave feminism failed us.
I already know that this is a 5 star album for me. I've loved this one for decades.
There’s some famous quote about everybody that purchased the Velvet Underground album started a band. Something like that. Not sure about Liz Phair - but everybody who bought this loved loved fucking music. Not sure how many started bands. I didn’t.
Perfect rock record
Quintessential female indie rock that started a movement.
Lyrics cut deep. Unconventional, reminiscent of Lou Reed & Iggy in places.
Exceptional
> the Beatles
I can’t think of a better debut album from a 20ish year old female rock artist. Courtney Barnett maybe? Alanis Morrisette I suppose if you count it for rock. I listened to this while traveling through Chicago which kicked ass.
I've known about Liz Phair since this came out but I've never listened to her. There were a ton of killer albums released in '93 and this one slipped through the cracks. Which is too bad cause this is a really strong lofi indie rock record. I listened through 3 times and it got better every time. Dig the honest lyrics.
I didn't expect this to be so good. Sounds like a mixture of some of my favorite artists: Phoebe Bridgers, Car Seat Headrest, Elliott Smith, Stevie Nicks...
Taylor swift could never. Really vibed with this.
An all-time album and probably my all-time musician crush. I really think Liz and I would have a lot in common, tbh. Except that I can't play guitar and have no discernible talents.
What a great listen. One of those albums from before you were born, that you’ve seen on all the “best of” lists but you don’t take the time to listen to until you wind up doing this silly project. I found this album to be funny, moving, catchy, and ambitious, sometimes all at once. I won’t say that every track hit me with equal power but I appreciated its range, from short and quippy tunes to long, experimental jams. The lyrics likewise covered a lot of ground, from Greek mythology to fellatio and much in between. I will definitely be returning to this record, but on first listen, my favorite tracks were “Soap Star Joe” and “Mesmerizing.”
Quite a surprise, this album, a solid 5 from me ;-)
It was a big part of Oberlin lore that Liz Phair hated her time there as a student and refuses to ever come back and play a show. I liked my time there fine, but this story really makes me respect her as an artist. Mesmerizing absolutely rocks.
Love this record, especially F**k and Run. Sorry I never listened to her before now
Exactly my thing.
There's a lot you can talk about with this one but in particular I want to talk about how great that guitar sounds. She never really changes that part up, and yet it works equally well with the uptempo rockers, the slower stuff, and even the weird experimental bits! It's an absolute must-hear, for sure!
It's Liz Phair, obviously it's great. End of review.
Peak. Flera låtar jag kommer börja lyssna på om repeat och visste inte ens vad artisten var innan. Hade vart ännu bättre på svenska men fortfarande
Top 5 album for me.
wow, I didn’t read anything about this before listening and it is so mesmerising, powerful and shows complex emotions It’s also nice listening to a album written by a women she shows so many different sides and stories Also like this melodic rocky sound which I enjoyed
Great. Indie low-fi rock. Woman's perspective blunt. The guitar riffs and song structures are interesting.
I've already been a huge fan of this album. Was the first time I considered anything from a feminist perspective.
Oh dang! Didn't think I was gonna like this one, but I worked out pretty quickly that this was going to be a 5. I've listened to a few albums on here that have made me uncomfortable because of some of the more explicit content, and that's true of this one as well... The difference is that unlike Alex Harvey, Ian Dury or Dr. Dre, Liz Phair is being clever and confrontational. Where other albums got overtly sexual because horny, "funny" or braggadocious, Exile In Guyville is doing it subversively in a way that highlights sexualisation and goes full feminist on its ass. "Flower" in particular made me squirm, and really made me stop and think about some of the things men say about women in their music. Deeply uncomfortable to listen to, and that's exactly the point. I now have a problem: I was intending on trying to collect vinyl copies of all the albums I give a 5 to, so I can listen to them and enjoy them... and now for the sheer songwriting and artistry I'm going to have to get a copy of an album that made me feel gross, and that I definitely can't put on around my kids! For real though, this album went hard even when you take the lyrics out - musically it's full of bangers. I'm not even mad, this was an experience!
I don't know what passed as a passport photo in 1993 but these days that album cover is not ticking any boxes. It says a lot about someone if they can sound like Sheryl Crow and PJ Harvey simultaneously. 'Help Me Mary' is particularly corvine. It's a double album and one must always call in to question if any double album merits its length - especially when the aesthetic is a homemade one. Even over the last quarter though it keeps throwing up great tunes like 'Johnny Sunshine'. A marvelous two-chord, monotone lamentation. Or 'Shatter' with which you can just drift off without it being as actively enjoyable as the bangers on here. Or 'Stratford-on-Guy', a later album highlight; and 'Strange Loop' as catchy as any 80s R.E.M. track. They say this is an important album for its social commentary through a gender-lens, sexuality, and empowerment. I don't know about any of that, but this bitch can write a tune. A marvelous album.
Forgot how great this record is!
One of my all-time favorites! Liz is a queen.
Her voice is unspectacular, but I loved this album anyway, because it's the feminist 90s scene plus her lyrics and music style are great.
One of the greatest albums ever recorded.
Thrilled when this popped up this morning. Just a pleasure to listen to a perfect album. Frank, unsparing, catchy. One of my desert album islands. I love it start to finish. Top tracks: Fuck and Run (one of my favorite songs of all time), 6’1, Help Me Mary, Divorce Song, Flower, Never Said
There is a bonmot to describe albums like these: SEMINAL. Also, the songwriting is catchy as hell. I mean, the Lo-Fi predecessor recordings are even more seminal (if that's even possible), but once you get over the "Hi-Fi" shock, there is no reason to love Exile in Guyville just the same.
10/10
there’s no way for me to really talk about this album in a normal way. i wish i could articulate what i find so brilliant about it—what about the structure of the songs, the lyrics, her delivery, the insistent strum of the guitar, the production which is lo-fi without becoming compressed or thin (begrudging shout-out to my ex tumblr mutual’s dad for that), etc. there are so many lines on this album that raise all the hair on my arms and the back of my neck every time i hear them. all i know is that i’m clean as a whistle, baby… something that always strikes me is the way liz phair sometimes purposely sings just below her own register, which renders her voice deceptively quiet, folded in on itself, seething. to call anything (especially anything written by a woman) “confessional” feels so trite but this particular affect that she adopts does lend itself to an impression of hushedness, everything made immense and urgent for having been conveyed in low tones. i'm there with her in everything, pressed up against the feeling of it, regardless of whether i relate to it personally or not. the only song i don't really care about it the final one. i always forget about it for some reason. fav tracks: flower; divorce song; never said; fuck and run; canary; gunshy; shatter; mesmerizing; 6’1”
I think I didn’t appreciate this album as much when I was younger and I’m glad I revisited. There’s a lot more variety in the sounds of these songs than I remember and they range from emphatic, energetic earworms (“Never Said”, “Divorce Song”) to hypnotic meditations (“Shatter”, “Flower”). (The latter actually remind me a bit of the Velvet Underground for their drone-like single-chord construction.) Her lyrics a delivery are arresting in their straightforwardness which makes it very engaging. There’s something familiar and relatable about the way this album feels, while simultaneously sounding unlike anything else.
gatekeep gaslight girlboss
Guys
Repeat listen
Hell yeah. Is there a more 90s album on this list? Or one that touches more musical to chat nes of the era - a little lofi, a little Lilith/riot girl, a little straight "alternative". It works because the songs are great. Hooks abound. The fanciful bits of production all work. Ultimately - this album feels full of life.
Glad this album was suggested. I've never explored Phair's music before. Girl power all the way. Songs are paired down to the bare minimum using only her voice and a single instrument but they could easily be paired with a full band to produce a bombast. Good job Liz.
She was great, one of the best in nineties. Love her naked covers
Dosta dobar album, jako raznovrsan, ima i bržih i sporijih pjesama. Puno zanimljivih melodija i ritmova, jako dobri instrumentali. Dobar glas, onako opušten, super za vibeanje
Gotta listen to this alone in your bedroom a couple of times. This record is very intimate and I really like this one, it definitely influenced quite a bit of indie music after it like Car Seat Headrest and Soccer Mommy. There’s a ton of songs on here and I like just about every single one. Never Said is such a 90s song, love it and get why it’s the single, but it’s the combo of Fuck and Run and Girls! Girls! Girls! Right in the middle of the record that really does it for me. I’m gonna have to drop a 5 on this one, I know I’m going to keep coming back to this when I’m alone and no one can judge me. 5/5
This album cover used to frighten me when I was 12. I couldn't pronounce the name of the record back then. The combination of the words Exile and Guyville (which isn't even a word) clashed too harshly on my tongue. I didn't realize it was a rather explicit cover until years later, but here I am now. The only thing left to judge is the music and I have to say: I'm overall impressed. I read that Liz said that it was a direct response to The Stones' Exile On Main Street, and while I don't think it compares from direct track to track, the pacing feels similar. Maybe that's why I enjoy it. While it may not be explosive all the time, its relaxed lo-fi style takes clever shape. The real explosiveness is in the lyrics which ring honesty and humor alike. How did Matador have GBV, Pavement and Liz Phair at the same time? That's insane. Long Live Matador, this is great (8/10, 5/5 on this scale)
This is a 5 based on lyrics alone. She skewers so many subjects; the music business and misogyny in many forms. When I first heard this album, I was like hell yea, rock n roll for women! I wish it wasn’t still cutting edge, but we’re back to the Stepford Wives as a norm. She’s a voice I can relate to and hope she’s inspiring young women to be honest and gritty instead of fake and pretty!
Simply a great album!
“I want all that stupid old shit/like letters and sodas.” It's like having an extremely candid conversation with a close friend. Her writing is sharp, honest, often funny, sometimes truly heart wrenching. And what an ear for melody. The track list is long but it's absolutely stacked. It's been a minute since I listened to this one, but I'm as taken with it as I was the first time. Thanks Liz.
This is the 159th album I’m rating. One of the best album names of all time up there with Stories from the City, Stories from the Sea. By the way I just listened to Pictures at an Exhibition and it wasn't as good as Pictures at an Exhibition but it was still good. Adding to my Playlist - 6'1", Help me, Mary, Glory, Dance of the Seven Veils, Never Said, Soap Star Joe, Explain it to me, Canary, Mesmerizing, Fuck and Run, Girls! Girls! Girls!, Divorce Song, Shatter, Flower, Johnny Sunshine, Gunshy, Stratford-on-Guy, and Strange Loop?. Not Adding to my Playlist - Nothing. 6'1" - I am very disappointed. I saw this was the 56th best album of all time and I was expecting more. Also, I just now realized she's naked. Nevermind I just relistened to it and I’ll add it. Help me, Mary - Sounds like Lucinda Williams but a little worse. Flower - This is fantastic. One of the best songs I’ve heard in a while. Johnny Sunshine - This song is great too. The end of this album is great. Gunshy - Great song after great song. All in all I liked 18/18 songs. Felt like the Ramones in the way that it was good in an annoying way mainly from the voice.
I loved this!
At first, Liz's monotonous delivery and sparse instrumentals suggest a snoozy record; however once the record picks up steam, this facade soon fades. Beneath the droll tone, Liz provides energetic, clever, and direct lyrics with wonderful backing that makes the overall record incredibly enjoyable. The influence is incredibly visible on indie even 30 plus years later
low voice
Rocking good songs
I love this album. One of the best.
Yep, this one definitely lives up to the hype. Love it!
Wow, a new-to-me first listen five star. The balance between the angry lyrics and disaffected delivery is perfect.
Absolutely loved this, definitely a new favourite album. Highlights for me were, ‘Canary’ and ‘Strange Loop’
I’m a cunt in springtime.
Exile in Guyville is Liz Phair's debut release, but was not her first musical project. She first released a few limited release EP under the name Girly-Sound. This debut was created as a track-by-track response to the Rolling Stones' Exile on Main Street. The album was very well received critically, and topped many "Album of the Year" lists. Commercial success came more slowly, but it did come. Phair writes guitar-centered, indie rock songs, that use the elements that made the Stones' work famous: vivid story-telling, solid guitar riffs, in sparse, blues-based rock songs.
Now here’s an album that’s on my list. I love how stripped down some of these songs are, very simple guitar parts made a little more complex with effects. She’s such a great songwriter, a shame she decided to go the generic pop star route later on.
Absolute classic album. I used to play this album and her Whip-Smart album constantly back in high school. Been a huge fan of Liz Phair ever since. Absolute perfection here!
I’m at a 4.5 that I think I’ll bump up to a 5. Very early on, when I was sort of making mental comparisons, my brain went to Alanis Morrissette, and specifically, how she’s able to project her voice to get the emotional pull of a track across. Her vocals on “Jagged Little Pill” are sort of a benchmark for me, as far as 90s women-led rock goes, and while I don’t expect artists to match her, I think the way she uses her voice to really drag the most of out of the lyricism & instrumentals are sort of a standard to go by. This album slowly but surely challenges the idea of “power = emotion” as a benchmark, and it did eventually succeed. Liz Phair is not Alanis Morrissette, nor is she trying to be; the more apt comparison, perhaps, is like Joni Mitchell deciding to tackle Nirvana. Alanis Morrissette projected herself as more of an iron woman, ready to take on the struggles of the world with a “look at me now” demeanor that better fit the cultural imprint of 1995. Liz Phair, on this album, projects herself as sort of a battle-tested, scarred but still standing woman, coming from a place of confidence, yet projecting a light air of insecurity, adding a sincerity to the whole thing that feels unique compared to some of the other women-led rock albums we’ve gotten. These are more thoughtfully written tracks, and the introspection present on the lyrics overrides the need for a more powerful vocal performance. That’s not to say Liz Phair doesn’t have good vocals on this album, because she does; a little shakier, a little more nasal-y, not as pitch-perfect on the held notes as it could be, but that vulnerability lends itself to each track in a good way. Instrumentally, I do think this album doesn’t quite find a set identity, but that’s not necessarily a bad thing – there’s a lot of variety between piano-driven tracks, acoustic stuff, more Blues Traveler-y instrumentation, Sheryl Crow-esque stuff, and obviously, a lot of Nirvana. It jumps around a bit, but the core messaging of each track is what keeps the album afloat, and she can adjust really nicely to each style, still all guided within “rock” itself. It is a bit long at 55 minutes, and I do think it treads water a couple of times in the subject matter, but it’s not enough for me to really bump it down to a 4. I would rather leave it at a 4.5, if only because for my own personal tastes, the vocal presence is still a little short for me, and occasionally, the lyricism is a bit too broad to paint the picture she’s going for, but it’s too good of an album to give it a 4. It’s a solid 5, and I do recommend it – you have to be in the right sort of frame to accept her brand / musical projection of femininity, but it’s a very rewarding album once you get deeper into it. I really liked it.
Like if Elliot Smith wasn't such a downer. Raw, honest, interesting as hell
Honestly some of these albums have an ability to take u back to an epic microcosm of music in culture in history and this album 100percent does that. This takes u str8 backto 1992 and in the best way possible. i would put this album in any situation. too cool.
I like it. Nice vocal. Nice music. perfect album.
Love the guy.
There is that one album that are so good and hard to replicate on future recordings that they become a career defining album. Exile In Guyville is Liz Phair's definitive album. Seemingly coming out of nowhere, Phair's debut album contained songs she previously recorded on her own, lo-fi bedroom recordings that were known as the Girly-sound tapes. I've heard these tapes and though the songs had potential, the sound quality and performances were rough, so to transform these pieces into what Exile became was amazing. The album is a fully realized concept and the songs and performances were outstanding, it's hard to believe this was her first professional recording. Start to finish, it's great record and while many consider the 90's as the decade of Nirvana and Green Day, I would say Liz Phair is the most important, making people take notice of the rise of indie-DIY musicians, that gave space and a platform for interesting unique indie artists. Definitely, a game-changing record.
5/5. An excellent collection of short songs, akin to the main street version, except with a more slowed down and down to earth approach. There is a sense of calling people out, mostly men, while also being a girl's girl. It's aggressive without her raising her voice a lot, just very direct about her feelings. It sounds a lot like a lot of soft rock indie artists today so most likely an inspiration for those newer bands. I honestly don't have many notes. This genre can suffer from annoying or boring songs but each one was well written and enjoyable to listen to. Also a great repeat listen, you always find something new to like. Best Song: Never Said, Divorce Song, 6'1"
Loved this album. The almost spoken word style vocals and very clean yet muddled production created a really cool sound. The lyrical content was raw and filthy, made me feel like I was in her shoes. Just a great album.
How did I not know about Liz Phair - so good!
It’s a shame that this record isn’t as widely known. It’s an amazing debut from an artist who seems fully formed already. There’s a dark wit and brilliance to Liz’s writing. I really enjoyed this.
Blown away.
There was a year there when this record was permanently in my CD changer. It was probably this, Tori, Bjork, PJ Harvey and the Pulp Fiction Soundtrack. Makes me want to dig out the box of zines. It’s been 30 years and this still fucking rocks.
This sounds very much of its time. Glory is a good song...it has an Elliott Smith vibe. This is a good album and you can still hear the influence in indie rock today. A lot of later 90s acts owe Liz Phair a debt of gratitude. I bet Fiona Apple had this on repeat in 1993. Fuck and Run is a great song. I thought I remembered this album better than I do. It's good though, great album cover. I'm not sure if there even was a single off this album that got a ton of airplay but I do like this album. The lyrics to Flower are hysterical. It's hard to pick a favorite song, a lot of good candidates, Johnny Sunshine might be it though.
It’s the Rosetta Stone between alternative music and indie rock. I have a huge crush on Liz Phair. Very pleased that this album made it.
holy peak
pre: omg do I have thoughts I love this album. I've listened to it a million times and listen to it a million more. I'm sure it's not everyone's cup of tea but it is mine. A couple of thoughts while trying to listen critically: 1) the phased guitars sound really dated, and the production overall sonuds more like a street corner busker than a studio album. Not sure if that's a bad thing or not. 2) I have always been dismissive of the "It's a response to Exile on Main Street" line. But this time through I think I could build a case about taking a feminine position in the world vs the hyper masculine Stones album.
Lived with this album since college - don't know how/why I bought it originally. My best guess would be reading "it's a female answer to Exile On Main Street" (which I love too). I don't think that was her intention - maybe just a takedown of the old boys rock and roll collective. Probably more about all the dumb male indie musicians she knew from Chicago.... Regardless, love the low fi production, it fits the album so well. And her lyrics are great, the sarcasm and wit on Soap Star Joe alone just blows me away every time. Can't recommend it enough, it's a winner.
Really pleasantly surprised by this one. I’m normally not a fan of 90s grungy guitar girls but this is really interesting while still being very pleasant on the ears. I’m completely on the fence between a 4 and 5 but will lean towards the high end, so that I can remember to revisit this again in the future.
my apologies ms phair I was unfamiliar with your game
Ультра-альбом, который сто процентов повлиял на кучу современных инди-рок звезд всех мастей. Очень честная и при этом крутая музыка. Лучшая песня - Girls! Girls! Girls!
"Exit in Guyville" is the debut album by American singer-songwriter Liz Phair. The album was produced by Brad Wood and Phair and was recorded at Idful Music Cotporation in Chicago. Indie rock and lo-fi are the Wiki-genres. Yep. The album concept combines small town mentality with the Chicago Wicker Park music scene. The songs are sequenced to match the Rolling Stones' "Exile on Main Street." Commercially, the album hit #196 in the US and was critically well-received. "6'1"' opens the album. Fast strumming guitar, bass and drums. Hey, this does has a Stones' sound to it. Phair's deadpan vocals and a tambourine. On the surface, you might think she's attracted to a man of that height but she hates him. She continues the hate on the next song "Help Me, Mary." This time she targets friends who have rules.... She's not giving in. More straight-forward rock. A melodic guitar is one of the highlights of the first single "Never Said." Harmony and backing vocals. Keepin' the rock thread going and a decent response to "Tumbling Dice." This song addresses the music scene and comments made. She never said nothing. "Fuck and Run" definitely carries the Stones' torch. Phair expresses regret about "it" happening again. She wants a relationship but this particular action has happened throughout her life. The album's lyrical tone changes a little at the very end. "Gunshy" has electric guitar strings and a droning synth background. Subdued as she's relegated to the normal life. The second single "Stratford-on-Guy" might have her best lyrics. A snare drum and electric guitar. Phair with rapid, emotionless vocals describing the wonder of flying into Chicago as a movie and being n a Galaxie 500 video but that noise just disappears shortly later as she goes into that grid. I find it hard to believe that these songs are not personal as Phair says that they are based on fictional characters. Well, she comes out swinging lyrically, in your face, but there are more subdued songs. The focus of this album are the lyrics as she takes aim at early 90 guys, the social scene, the music scene and bad relationships but points the thumb backwards with living the humdrum life and random meaningless sex. Lo-fi is a good description of the music as it is tripped down with vocals being the only thing layered. There's a variety to music with acoustic and electric guitar-driven, bluesy, and piano-driven songs and even an electronic song. This is a great and original album. I don't think she topped this but I do like some of her later songs. Two days in a row for one of the best albums of the 90's (at least early 90's for this one).
Really liked this.
Gets stronger with every listen
Amazing.
Album 546 of 1001 Liz Phair - Exile In Guyville (1993) Rating : 4.5 / 5 I just really like this album. A higher rating than might be expected but it is what it is. An extra half point just for being a favorite.
This came out when I had a CD changer When this album came out, I had a five CD changer that had a spiral mode: you could put in discs and it would play the first track from each desk the second track from each desk, etc. So I put in the Rolling Stones “Exile On Main Street”, and this CD and listened in spiral mode. It was very cool to hear her response to each Stones track throughout the whole album.
Brilliant, and a clear influence on a bunch of artists I love
Good alb7m
Refreshing rocking style singer songwriter
I had the completely wrong expectations of this album after seeing the album cover. It had me expecting UK rap, as she seems to give the impression (at least to my eyes) of a UK rapper. I was very wrong. This is the perfect balance of raw alternative rock and catchy melodies. It reminded me a lot of Plumtree, who I had a bit of an obsession with once upon a time. I went into this expecting not much, and it ended up blowing me away. Fantastic!
This album just about saved my life when’s it first came out. I was her exact target demo and this was released during a tough life year for me. Her “I am going to create music that tells my truth no matter that it sounds like nothing anybody else is doing” attitude was and remains inspirational. Thirty years later I am a bit more aware of some vocal shortcomings, that musically it may not live up to some five star albums. But I remember what this album meant. And I can hear what this album meant to female rockers decades later. Liz Phair paved the way with this one. It is historically significant and emotionally powerful.
Fuck this album is great. Love the lyrics/songwriting so so much. Not only unique in writing but also in sound, 90's alt rock, but with an air around everything making it stand out above the rest, production is solid
I can’t remember when I first heard of Liz Phair, but I know it was sometime in the last ten years or so. I don’t remember ever hearing about her or any of her songs when this album came out. My only exposure to Liz’s music was through the 60 Songs That Explain the Nineties podcast that talked about “Fuck and Run,” but other than that, I’ve never heard one of her songs. But I’ve heard that this album is supposed to be fantastic, so I’ve been looking forward to this one, and I’ve resisted the urge to listen to it before it came up for me to review. I think this album absolutely lived up to the hype I’ve heard surrounding it. The songwriting is some of the best I’ve ever heard. I loved the rawness of the lyrics and that no topic seemed to be too taboo to be covered on this album. There’s so much to unpack in the lyrics of this album. I found myself really focusing on the music and Liz’s voice, but when I would pay attention to what she was actually singing, it was like a jolt that shook me awake. And even with the unfiltered quality of her lyrics, I had a hard time deciphering what was literal and what was hyperbole, trying to decide what was Liz’s real pain and what parts were her emotional reactions. The instrumentation was also raw and simplistic, but provided the perfect contrast and often distraction from the themes being sung about. The guitar playing was fantastic throughout, whether the melodies were faster and louder, or whether they were slower and softer. One thing that blew me away about this album was how strong it was from start to finish. The second half is still incredibly powerful and contains plenty of punches and surprises, and I found my jaw dropping open countless times over the whole runtime. I wish I had more time to go into individual songs, but I’ll just list my favorites: “6’1”,” “Help Me Mary,” “Never Said,” “Canary,” “Fuck and Run,” and “Flower.” This album was fantastic, and I think I’ll only enjoy it more with repeated listening. Exile in Guyville delivered on its hype, and is easily one of the best albums from the nineties that I’ve heard so far.
It's been awhile since I found another gem which made this project a bit tedious. I'm not sure I've heard from Phair before this. This is however a fantastic find and I like it very much so far.
“Exile in Guyville” is incredible, though I struggle to explain why. Some reviewers take issue with Liz Phair’s voice, but I love it. It’s not conventional or pretty, and she leans into the imperfections from the start on “6 '1.” The overall sound and vibe feels stripped down, raw and real, lo-fi but recorded with clarity rather than sounding like it was recorded in a shoebox or underwater. And that’s all before you get to the bluntly honest songwriting or the broader ballsy concept of responding to the Rolling Stones’ “Exile on Main Street.” That Stones album was boring, it turned out. Liz Phair’s “Exile in Guyville” is anything but - I wish I had crawled out of the Seattle grunge-hole long enough to embrace it and recognize Phair’s refreshing voice in the mid-90s, but I’ll make up for lost time now and am happy to listen to it on repeat.
My intro to Liz Phair was the video for Supernova probably on MTVs 120 mins. I immediately fell in love.. I bought Whip-Smart and this album right after. Guyville just rocks and it holds up very well for an album over 30 years old. I bet it would do much better if was released today.
I’ve been waiting for this record to come up. Another all time favorite for me, I remember being pretty blown away when it came out. These songs feel like diary entries translated into bitter, angry, acerbic, heartbroken / heartbreaking lyrics. The songs have the perfect level of raw-edged production. I went to see Phair perform the record for the 30th anniversary and she was fantastic.
This is a great album. I've listened to a lot. Probably the best Liz Phair record. If you're not digging it, at least check out Stratford-on-Guy.
Never heard of her but it still somehow made me nostalgic
I think I first heard of this album via the Pitchfork 'Best albums of the 90s' list a couple years ago. If I remember right, it was in the top 10, and one of two albums in the top 10 I had never listened to. Lucinda Williams was the other one, which I listened to, but never got around to Liz Phair until now. I have to say, I'm very surprised, as I was expecting it to be overrated. It's not at all, I'm very impressed! I love the guitar tone all the way through, and the songwriting is top notch. I get that it is probably a bit too vulgar for some people, but I think to some degree songs like Flower are attempts at trolling, or something similar. Like Courtney Love was doing around the same time, Liz has put out a very "unladylike" album that was definitely on par with the best male artists of tge time. After listening to this a third time, I was surprised to read on the wiki that most of the songs aren't about Liz herself. Most of them are so direct and confessional in nature that I assumed they were at least semi-autobiographical. That really shows how great the songwriting is on here IMO. Not to mention that there's 18 songs on here and none of them are duds!
I must be in a good mood. Liked every track. I really liked her voice. A sardonic story teller - keeps it interesting, and feels original, interesting. Like a less boring and less jagged version of the following, all rolled into one. Sheryl Crow , Courtney Love, Amanda Palmer and maybe hint of PJ - fits for me anyway. I have a head cold so maybe everything is wonderful or crap today. Let's be generous as I want to hear this again and follow what she does next....
I have been ruminating on what to write for this album for a long time. I think the genius of the Guyville album is the way that it riles up rock snob white boy critics. Even the title is a provocation of the veneration of the Stones' Exile album and a call-out to the inherent sexism of alternative rock scenes. This album makes a lot of uptight white boys really mad. Liz Phair struggled for acceptance in a pretty exclusive male dominated indie scene, and she uses her gender and sexuality (a common target for criticism) to bait those white boy critics with their own fears and desires. She wants to be heard and so leans into being deliberately provocative. I don't think she was quite prepared for how this would resonate with audiences (her success was a bit surprising) and the subsequent fierce backlash from al rock gatekeepers. I think many of her critics were intimidated by her unapologetic persona and especially her blunt sexuality, and they really pushed back. But I think she captures well the weird and uncomfortable feeling of being a human being. There is a vulnerability and openness, and strength and humour and unvarnished desires and a willingness to be unlikeable. This is a picture of a real and complex human. The fact that she was a young woman was unforgivable to some but makes it real art in my opinion. It is soemthign we haven't really seen or heard before. I like the songs and the relatively unpolished production. It feels really immediate and real to me. I think these days there is a grudging respect for Guyville, although her later output was met with condescension and scorn, as if this was the only thing she was ever allowed to do (see Pitchfork's infamous 0.0 review of her self-titled album). I think this is an important album -- it is an intimate and complex portrait of a real human being. The way Liz Phair was treated was shamefully sexist. 4.5 stars, rounding up.
Reading some of the reviews here, I can only say: embarassing. This is a great record by a great and serious artist. Some here obviously do not understand that this record is SURELY not about female sexual phantasies, but about how easily males consume females and attribute how the execution of power - be it socially, culturally, economically established - pertains to their self-perceived grandiosity and establishes an interpretation of male/female relation that could not be more biased. This is a record about being outside and the longing to belong without having to submit. Apart from that, this is a bold statement musically, and one that deserves a place in this list.
I do love me some 90s chick rock. Everyone likes to say how Liz Phair peaked at her first album but when you’re first album is a masterpiece, how could you not.
I've heard of Liz Phair, but had not, knowingly, listened to her music before. Initial reaction? Whatever indie-alternative. But this quickly grew on me. To the point where it became pretty great. If 90ies kids didn't include this on mixtapes along with songs from Kurt Cobain they surely made a mistake. That kind of 90ies great. Even if only as a document. That said, I did lose a bit of interest along the almost an hour. Tracks along the lines of Shatter, Glory, Explain It To Me or Mesmerizing? Yes. The upbeat ones, maybe not so much. Still, enjoyed this. A nice discovery, for me. Ah, come on. 5.
I enjoyed this a lot - mellow, lo-fi indie-pop. Clear to hear the enduring influence on female artists even up to the modern day (I'm thinking of the likes of Courtney Barnett, Soccer Mommy, Snail Mail, Boygenius). Love the guitar playing and lyrics. I also enjoy the laid back vocals - people expecting Whitney Houston wouldn't like this I guess, but it fits the vibe perfectly. This is an album I'd never heard before that's right up my street
love this album. Liz Phair was great before she turned poppy.
My Gosh I love this album so much!
Another album I wore the grooves out of back in the day. Another album that I struggle to properly rate. When I set out on this project I envisioned the 5 star rating to be reserved for the greatest albums of all time. The icons. But I’m approaching 15% completion of the list and I have come across a few of these albums that were monumentally important to me as a young man that I hold in very high regard but can quite call them some of the greatest albums ever made. But this album is higher than a 4 star album. So I’m doing it. 5 stars for Liz. She is an icon.
Liz Phair, Urge Overkill, Lemon Heads, Juliana Hatfield, The Breeders, Sebadoh etc etc all made some excellent indie rock albums during the first half of the 90s (counterpointing all those copycat grunge albums). Exile In Guyville is one of these albums. At the time I liked, for some reason, Phair's second album Whip-Smart a bit more, but in 2024, playing both albums back to back, I can see the appeal of EiG much clearer and agree EiG is the better album. I am not sure if I can still stand the typical 90s-indie-rock lyrics, but just give five stars for nostalgia reasons.
I really like this so far and it really exemplifies the sound of women's rock in the early 90s. The more I listened to it, the more I liked it. Definitely has a couple tracks I'll come back to! There's a variety of sound to the album but it never strays from a core sound so that it all ties together really nicely
Ok I don’t know what I expected, but I really enjoyed this.
I never knew enough about the Rolling Stones to appreciate the intertextual conversation between Exile in Guyville and Exile on Main Street, but that absence has never meant that Exile in Guyville is somehow lacking or that my enjoyment was any less. This is a record that was excellent upon arrival and has stood the test of time for me. Incredible songwriting that is still affecting from humor to heartbreak and a lot of other vibes along the way.
Another classic
8/10 would listen again
I have always loved this record. When this came out we were a couple years into grunge being everything. Liz really flipped grunge on it's head for a second. They writing is so clever and the hooks ands grooves are infectious. This is basically a female Matthew Sweet.
Yes, yes, yes! I'm very surprised I didn't come across this album in high school/college -- younger me would have loved it (and honestly needed it). Inject this anti-patriarchal rage into my veeeeiiiiins
inject it into my veins
Bold and sweet. This is a really really really good record from an eclectic collection of a prolific songwriter. I’ve got the CD in my car. Four and a half. Fave track: Fuck and Run
Muchaasmuuy guaysss
Classic. Iconic. 5⭐️
"Fuck and run, fuck and run, even when I was 17 / Fuck and run, fuck and run, even when I was 12". *Exile In Guyville* is filled with shocker lines like that, but it shouldn't divert your attention from how *elegant* Liz Phair's songwriting can also be at times. Phair knows how to craft a memorable song, both lyrically and melodically (see "Fuck And Run", "Glory", "Flower", and especially the stellar hooks of "Stradford-On-Guy" towards the end). Musically speaking, the tracklisting is a little patchy and indolent once in a while--especially in the first part of this record--and I'm always surprised reviewers rarely comment upon that "flaw". But keep on listening, by all means. Soon, you'll find your way into the bedroom-aesthetics displayed here, evoking a sense of intimacy very few records can pull off (sometimes disturbing, sometimes charming, sometimes both in the same tune). I never bought that selling point stating that this LP was a song-by-song response to "Exile On Main Street", by the way. To me, it's clearly an afterthought justifying the strange twists and turns in this album, going from MOR-so-called-"alternative" cuts to more leftfield or minimalistic ones. That selling point sure placed Liz Phair as a complex artist who had something extremely relevant to say about how sexist and prejudiced male rock musicians can be--a message that has lost none of its potency in 2024. Still, a lot of her songs, exploring her own contradictions, sheer impulses, and somewhat confusing aspirations, speak for themselves. No need to invoke the ghosts that the Rolling Stones had already become in 1993 to enjoy said tunes, even ironically. It sounds as if I'm partly criticizing Phair here, but I'm only underlining how fresh and "original" and personal and pertinent *Exile In Guyville* still sounds today. Its "lesser" tracks are not exactly "fillers", for instance, they're just part of a poetic patchwork-like structure that few artists can create. Oddly enough, sophomore LP *Whip-Smart* is much more cohesive AND dynamic, at least musically speaking. And yet it wasn't as praised as Phair's debut. I always found that quite unfair (un-PHair?). But I guess this situation says something about the particular impact this debut had for so many listeners. *Exile In Guyville* is a record where the whole is clearly more than sum of its discrete parts. And those are the albums you will always return to with a lot of pleasure, even decades after. If only because you will never fully solve their mystery. 4.5/5 for the purposes of this list of "essential albums" (rounded up to 5). Which translates to a 9.5 grade for more general purposes (5 + 4.5). Number of albums left to review: 317 Number of albums from the list I find relevant enough to be mandatory listens: 306 (including this one) Albums from the list I *might* include in mine later on: 167 Albums from the list I won't include in mine (many other records are more important to me): 221
Liz is horny
nice
canary walked so labour could run last quarter is a little flat but many stellar love at first measure moments and great style from phair
Angry girl rock that I might like more than Alannis!
Hurray! So good.
I felt lucky to discover this album through the best 500 albums challenge and now I just love this album so much
A classic. The perfect indie rock guitar album. Amazing lyrics and guitar tones.
I didn’t need to listen because I have played it over 100 times and it’s amazing
Don't know what they told you Don't even care what about All I know is I'm clean as a whistle, baby I didn't let the cat out I love this album. Everything about it is great. 5/5
Love this album
This album is a nice exile from ho-hum music
Honest, stripped down and raw at times. Really enjoy Liz Phair's delivery and there's enough mix of pretty basic arrangements with some more melodic/driven alt rock songs. A great set.
i've heard a lot about this album but I haven't ever listened to it. i like glory, i like never said. i like explain it to me. so far i like it i can see why it has this acclaim. the sound is cool. it's all blunt and matter of fact on this album but melodic still. it feels kind of timeless. no all these songs are good and have a point of view. deserves multiple listens. its real in a way that most of us think about things but never dare to say those unfiltered thoughts. she does it unapologetically and that's so damn cool.
There is not much to be said about this album that has not been said in every other review of it. It is truly one of the best albums of all time. I personally love the rawness of this album and the honesty in the lyrics throughout this album. It seems like it is a very personal album which makes it feel better in a way. I don't really have any criticisms except for the fact that I feel like it may be a track or two longer than it need to be and some of the songs on this album are a little too slow for me but besides that this album is perfect from start to finish. Easy 10/10.
Goddess. I wish I'd been aware enough to appreciate Phair in the early 90s.
This album turned 30 years old yesterday The first time I encountered Liz Phair was in the 2000s and she had that song Why Can’t I come out and it was all over MuchMusic and the radio (seems like it’s her most popular song on Apple Music). All of the stuff I was reading about her though was about how she had sold out, wasted potential and now she’s just pop music. The other time I would hear about her (and this album specifically) is as a footnote in writing about Exile on Main Street. I’m pretty mute I had read in Rolling Stone or Spin a piece written by Phair about the Stones record and how much she liked it. 30 years on now, this is about the most contemporary sounding album I think I’ve heard on the list. If you listen to indie rock radio there are a ton of acts that are going after this lo fi, confessional style of rock. I’m thinking Courtney Bartlett, Phoebe Bridgers and Boy Genius and Lana Del Ray. Yet Phair is still more pointed in her lyrics regarding sexual relationships especially. This album sounds timeless, while even on her next album songs like Supernova are peak 90s production. I’ve got to say this has been one of my great discoveries and one I think I need to own on vinyl.
Wow! This was great. Loved the music, voice, lyrics. So exciting to see an artist like this burst out with something really exceptional.
I have listened to some Liz Phair before, but never a full album. I really enjoyed the sound and experience!
At first, this just had a vague 90s indie sound that is not generally my jam. But I warmed up to it pretty quick. Her voice has an interesting atonal tone and I found many of the songs musically and lyrically compelling.
I was introduced to Liz Phair and this album by a friend about ten years after its release. I spent the early 2000s listening to a lot of Liz Phair. It was great to reconnect to this today. I listened to the remaster and it sounds terrific! Liz Phair has that imperfect delivery that makes these songs really special to me. There's real passion and emotion driving these song that connects with me every time.
I wish I had heard this album when it was released. Someone gave me a copy of her album, Whip-Smart, which I loved. But I didn't hear this album until the early 2000's. It's such a great album.
An all time favourite of mine. Never hit this level again and that’s ok.
This album is an aggressive feminist alternative masterpiece. The jangly guitar playing in particular reminds me of something the Smiths might play though it has been co-opted into more of a grungy style. The lyrics are confessional, angry, occasionally transgressive and openly talk about female sexuality. The candor with which Liz Phair sings is arresting and pleasantly surprised me. The closest album I can think of is Jagged Little Pill though I think this is the better album overall.
This is, without a doubt, one of the more realized, original, and expressively uninhibited debuts in rock history.
Maybe she wouldn’t like to hear it, but she is a modern goddess and this is her “birth of the Venus”. This album is a life and sexuality manifesto coming from what you’d call a normal suburban girl from the 90s. It is sincere and yet ambitious. From the cover, with the iconic black and white photo - a wide open mouth and naked chest, like screaming “I’m tired of keeping this to myself, I’ll tell it all, guys”- and the purple font with the title of the album -a reference to “Exile on main St.”- you can tell what it’s coming: a girl fantasizing about freedom and happiness in a male-dominated world. Love how Liz Phair invites us to her head to see how she unfolds this story… so pure. Regarding to the music, I think that the sequencing is perfect and, oh gosh, the creamy guitar tone always gets me. The downside of this work could be the number of songs, maybe a lot for many people, but it’s justified for the concept of the work itself: a track by track response to The Rolling Stones legendary album. If not all the songs are fantastic, the place this album has for me is well-earned for its impact on pop culture (and I’m not going to lie, I have a crush on Liz, too, so fuck it, I’m giving it 5 stars)
Knowing that every song is a response to a song on Exile on Main Street by The Rolling Stones really adds a layer to this album. At the very least, it's something to separate her from the wave of Morissettes and Apples and Loves and whatnot that were making the same kind of music around the same time. I also love whatever you call this kind of music. Everyone in this scene had such a biting sense of humor and it's great to see how much of it made it onto the list. It's refreshing to get albums like this after a lot of the most male-focused music on the list so far, as much as I love Motörhead and Megadeth.
Those lyrics! I enjoyed this album a lot. She's got a great voice, the instrumentals were solid - I see why people still talk about this album.
Interesting. You can tell she is trying to push herself.
I know the name Liz Phair, but I don't think I had ever listened to her music before. It feels so very 90's, i thoroughly enjoyed it.
Love it
I have never heard of this album or this artist and was pretty prejudiced when I saw it pop up today. I gotta say though, really impressed. There's something really intriguing about her voice and how flat and deadpan it is. I read through a couple reviews and everyone seems to be critiquing it and saying she cant sing, but she really hits the notes that compliment the music. It's got a charming quality and I enjoyed listening through it. This album reminds me of life after I left college to go live on my own in a big city away from the world I knew and grew up in. I moved to Kansas City after living pretty rural and experienced some pretty severe culture shock. People of all colors, creeds, and beliefs living aside one another trying to do what makes them happy and keeps them and their loved ones alive. I remember going down to the Power & Light district to see a concert and it was my first experience with street corner prostitutes and the lengths people are willing to go to to make ends meet. I was single for years in KC and experiencing all that is what this album sounds like. Raw, uncut, unfiltered, trying to do something to shine a little brighter than the rest. It's a real treat and has me nostalgic for that life. I don't live there anymore and have moved away but think of those years occasionally acknowledging how much it changed my perspective on people and living this life alongside them. This album is going to get a 8/10 from me because it bubbled up some emotions and memories I hadn't thought about in years.
Yeah, I gotta agree with most of the reviews I read… good tunes, interesting lyrics,… but why can’t she stay in tune or on time with her singing? I wanted to like it more.
Super cool album. Every now and again this list throws something at me which I'm surprised that I've not heard of. This is one. She exists in a genre and era of music that I enjoy, I'm familiar with a lot of her contemporaries, but never come across this. It's great. And it's not just rebellion without substance, it's all there.
Good vocals. Lyrics seem like there's anger under the surface.
Pretty important 90's rock record and quite moody too, despite how flat Liz Phair can sound at times. She's pretty damn brash and honest all throughout; whether it's of heartbreak, sexual desires, or just overall angst.
This is a trancendent album for some, and I can't help but mention it because to me, it's good — great in places — but never quite there. Impressive collection of four-track (right?) recordings. Phair is original and raw, though it does blend together — 18 is a lot of songs, especially with limited production. Anyway, I really put this at a 3.5.
Someone really hurt Liz 6’1” is the start to a this breakup album one that is in the myst of the grunge movement and building on everything Cyndi Lauper and even Joni Mitchell has built. Men have really hurt this woman. Maybe I am crazy but this is 100% Olivia inspo. Fuck and run is exactly the type of music that feels so novel a concept so juvenile and I love it some of the guitar and instruments are so dreamy and loud it’s a tru rebel album and it ends so epically. Talk about liberating and freeing. A lot of the female artist seem like They have to really bring it so much mediocre guy shit compared to women for sure anyways anyways amazing record which such a great concept female manipulator music is awesome empowering and metal af
330/1089 quite liked this indie rock girlie moment and will definitely have to go back to it. i really liked her sound and energy faves: shatter, never said, strange loop 76/100
this eats. if i had hear this like 6-7 years ago it woulda been a 5 for me.
Just a really solid album. I like the raw lo fi production and the songwriting is great too Fav tracks: Shatter, Explain It to Me, Canary, Divorce Song, Never Said, Fuck and Run
I enjoyed it, there were some 90s alt rock songs on there but it went a bit left field which took me by surprise
Wasn’t familiar with Liz Phair or this album before, but really enjoyed it - a strong 4 for me
Has always seemed to me like a really solid 90s indie album than a great one, though definitely one with an original, distinct voice. I like it. 3.7*
Way better than I thought this would be. I got PJ Harvey and Courtney Barnett vibes.
Cool album, it has some grunge in it. Anyway it seems from the first 2000, not an album from 1993.
Like an Angry Tori Amos. Decent record. I get why people like her.
7/10 I had never been exposed to Liz Phair before and, on first listen, this just came across as fairly well executed but ultimately fairly bland 90s indie alt-rock. But this is one of those occasions where my obsession with giving every album I review 2-3 full listens really paid dividends. The opener of the album does fall more or less in line with those initial assessments. It's pretty well executed and reasonably decent stuff, but nothing particularly standout or special. But when reaching Canary, things start to change. I don't know how much was me getting into the feel of the album, but at that point a sort of simmering, unsettling edge started to percolate below the surface, sometimes pushing further forward and sometimes settling further back. But all of a sudden, the album had a bit of life and uniqueness to it that really grabbed hold of me. There's sparseness in places, haunting repetition and sound design in others, but it rarely returns to the more standard alt-rock playbook for the rest of the record. It was still a touch uneven, and there were bits that I really liked and others that were just a bit bland and forgettable, but there was also some really cool vibey stuff in here that only a closer listen really exposed. It's a bit of a shame that this album is nearly an hour long, because with a touch more work on evening out the production slightly and trimming more of the blander fat from the record, I think there's an excellent 35-40 minute album in here. It's just a slight shame that there's an hour of it to wade through to pick out the gems. 6'1"- Quite a pleasant jangle-pop indie starter. She's not the best singer, but has a bit of charm about her delivery and a nice bit of attitude. It all feels a touch sloppy and rough around the edges, but there are some nice chord progressions and some decent melodies, with the subtle vocal harmonies in places working pretty well. Help Me Mary - This has a very 90s indie sound to it, not just production wise, but melodically too. The rhythmic thrust is pretty good and there are some more decent enough melodies in here. Again, it feels a touch rough and ready, but it's not bad. Glory - I think the melody here is good and then it just starts to drift a bit, particularly when she kind of bumps up against the bottom of her vocal register. Again, not bad, but feels almost more of a sketch than a finalised song. Dance Of The Seven Veils - I feel like the melody is going somewhere here but then drags on a bit too long and then tails off. It's a bit meandering and unfocused, like she's got a starting point and something she wants to say, but she's hasn't completely worked out the journey she needs to take to say it. Never Said - We're on to something a bit more single-y now. It's a solid chorus hook, particularly with the lead and backing vocals working so well together. It's got good drive and a really full sound. Super 90s, but that's par for the course. She does repeat the chorus too many times though. It feels like two verses surrounded by over-long choruses does this song a bit of a disservice, which is a shame, because at its core, it's pretty good. Soap Star Joe - Now we get a bit of a weird, slightly disorganised collection of sound choices. It sounds like a demo, rather than a finished idea and is also a tad rambling and repetitive. Not quite sure what to make of this one, but it doesn't feel overly coherent. Explain It To Me - This is quite rhythmically muddled. It's also not very interesting. There's not a great deal to it, really, but it feels very musically confusing, but not in an exciting way, while at the same time feeling quite bland. Canary - And this is much better. It's got a creepy and slightly confusing vibe, but it feels purposeful in comparison to the last track. It's stark, has a bit of attitude and venom to the delivery and the sparsity of the arrangement, alongside the reverberant piano is excellent. Mesmerizing - We're back to something a bit more straight alt-rock now, with a slightly grungy edge. It feels like it's building to something where her fury will boil over and things will get intense, but it kind of mellows into the chorus/solo section instead. And I'm not as disappointed in that as I was expecting to be. I quite like this actually. The rhythms are subtle and it's fairly sparsely arranged, but everything feels like it pulls together into something really good. Fuck And Run - Again, this has a bit of a soft-grunge edge to it. It reminds me a little of the Meat Puppets, actually. There's anger and sadness in the vocal which is backed up by the insistence of the instrumentation. It's got good hooks and attitude, alongside a decent groove. Another solid effort. Girls! Girls! Girls! - There's something slightly unhinged bubbling under the surface here which I really like. I think the execution isn't completely to my taste, but the slightly unsettling and relentless vibe to it is quite cool. Divorce Song - Back towards single town now. Musically and thematically. The groove is pretty engaging and the pulling in and out of the bass works well. The increasing intensity of the vocal is cool. I kind of wish it went somewhere heavier, rather than somewhere oddly country at the end, but again, a decent track. Shatter - A slow, vibey burn now. The droning underneath gives it more of that slightly shifty, unsettling vibe that some of my favourite tracks here have had. It feels almost hopeless in it's starkness, but there are little moments in the vocal that lift it out of the murk really nicely. It's the longest track on the record, but vibe-wise, it definitely earns its place and justifies its length. Flower - The sound design here is pretty cool and there's more of that unsettling, creepy relentlessness to it. It's intense and softly aggressive in a really unique way. Excellent. Johnny Sunshine - The layered vocals here are good. It does become a bit disorganised in places though and doesn't feel completely structurally coherent, unfortunately, despite the individual sections each being quite good. Not a bad vibe though. Gunshy - The shimmering, watery chorus on the guitar here is really nice. The vocal gets a touch lost in the mix, but it's another with a slightly creepy edge to it and a drifting yet oppressive feel. Not so keen on the double-timed chorus, but I think the rsmeat is really good and super vibey. Stratford-On-Guy - This has some slightly extreme chord progressions, but it gives things a purposefully weird, off-kilter sound. And then things focus in during the chorus, throw in a bit of fire, centre us and then spit us back out again. It's a great chorus actually, and I think it works all the better for the slight weirdness of the verses. Strange Loop - This drifts back a bit to the less inspiring stuff from the early album. There's still some decent bits and pieces in here, but it feels a bit more generic 90s alt-rock and less special than the more dark and unsettling part of the record. There's still a touch of that in there, but not quite enough. As with those early tracks, it's still not bad, just a touch too bland. The complete collapse at the end is quite cool though.
Good 90s vibes
Really liked this. Sounds like a precursor to Courtney Barnett etc.
Very smart album commented back to Stines’ Exile in Mainstreet album…
Visit "Exile In Bookville", quite amazing.
6’1” - I don’t like her voice I think? It’s flat and gravelly? Help Me Mary - voice suits this range better. So melancholic. Never Said - I normally hate repetitive lyrics but this felt appropriate, asserting innocence in the face of pressure to admit wrongdoing. Canary - listening to her talk about a number 2 pencil made me wonder how old she is when recorded this song. Believe she was 17 so it fits the oeuvre of the rest of those songs. Mesmerizing - really captures the teenage need to more than
This grew on me as it went on. I liked the simplistic nature of it, and I can see where it had influence on the 90’s. Worth a round up and a revisit. 3.5/5
I bought this when it came out and wasn’t too impressed. Most likely due to the imperfect guitar playing, the far from perfect lower range vocal delivery, and the lo-fi production. Revisiting this 30+ years later I’m realizing I missed the point. Those are the very things that make this a good record, and honor the 4-track/cassette-driven aspects of its derivation. It’s not a great record, but it stands as a pretty strong influential foundation for so many future indie female artists that no doubt would not have gained as much were it not for Liz being somewhat of a trailblazer.
Great album. This is a best-in-class type album, like this is as good as it gets for this niche of 90s singer/songwriter category. Particularly enjoy the more atmospheric moments. Lyrics are fantastic, gritty with a biting sense of humor. Whole thing is good, second half is really good. I used to loooove this album when I was an adolescent. Would get stoned and listen to it a lot. Doesn't quite do the same for me now, but that's a ME thing 'cause I'm not as cool now. Need more Liz Phairs in this world.
Liz Phair was hot. Had an edge to her. And rocked hard. Everyone fell in love with her. Once you listen to this album you will too.
Excellent. Maybe not a ton of range, but so good as what it's trying to do.
jako dobro! malo mi je vrludalo, nekako sve skupa između trojke i četvorke, ali zbog nekih snažnijih stvari (fuck and run; flower) dat ću četvorku
Fearless and raw. Outstanding debut.
Muy buen disco, no lo conocia, ni tampoco a ella. Una grata sorpresa.
Good.
1. "Never Said" 2. "Fuck and Run" 3. "Stratford-on-Guy"
Really good album! Definitely an album that needs to be played more then once.
Quite excellent!
A good listen for sure - most of this still holds up. Fuck and Run esp is still really hard-hitting and still a great vibe.
debut work answering to the stones? hell yes, raw & feminine? even better!
Good honest music
Highlights: 6’1, Help Me Mary, Dance of Seven Veils, Fuck and Run, Divorce Song, Stratford-On-Guy. In a nutshell: "temper my hatred with peace" Previous reviews have said it better than me, so I'll say this instead: One has to learn the word cunt from somewhere, why not from a song by a woman who takes ownership of it? Give this album to a dejected or pissed off older teen (female or non-binary). Or a music-loving friend downtrodden by life. Let them listen, alone. It might give them something to reflect on and perhaps after they will brave the world again. Hopefully feeling empowered. Overall: 7/10
Feels like the American pop version of PJ harvey as a compliment.
Really enjoying listening to this. Never came across Liz before but really liking the homespun feel. Sounds like it was recorded on a 4 track in someone’s kitchen, but the sparse production puts the interesting vocals to the fore. Comes across as being lyrically honest and the non/half rhyming adds charm. 4
Albummet jeg kender fordi jeg ikke kender det. Et hypet album fra min ungdom som jeg aldrig havde hørt om før jeg opdagede folk undre sig over andre folk som ikke kendte det. Mest amerikanere der undrede sig over at europæere ikke kendte det. Det lyder lidt som Sherryl Crow møder PJ Harvey. Det er ret godt med sin low-fi lyd. Men det fanger mig aldrig sådan helt. Måske lyder det lidt for amerikansk. Måske også derfor jeg ikke husker det fra MTV. Tror faktisk slet ikke det blev spillet der.
90s gold
Founding mother
4 ya this slaps
Enjoying more than I thought! Has such a familiar feel despite not having listened to Phair’s work before, which I guess goes to show what an influence she has had!
Another one to file under 'Never heard of this, no idea why it's here but I really enjoyed it'. Also another one to file under 'Thought it was just ok on first listen while working, but liked it a lot more on further listen with headphones while listening more closely'. A lot of interesting, stripped-back production and nice guitar touches revealed themselves on closer listening. Reminded me a lot of the more commercial-flavoured Hole and just as much of a righteous potty mouth to go with it.
I really like the low fi charm of this one. I miss those early 90s days when independently recorded albums were cool. I didn’t know about the Exile on Mainstream connection until now (other than the name of course). I may try to listen to them song for song one day. This one rocks.
It grew on me
Pochette choquante! Vraiment une belle découverte après le dernier album décevant. Un bon petit indie rock du début des années 1990. Un mélange de ballades et de chansons somme toute entraînantes. On oscille entre le 3 et le 4, mais je vais mettre un 4 surtout pour l'amélioration par rapport au dernier album.
i can feel my femcel senses tingling! songwriting was great of course, liz really knows how to relate with her lyricism, but the instrumentals still left something to be desired
I was surprised how much I dug this. Reminded me of Jeff Buckley's posthumous Sketches for My Sweetheart. 4 - a great album even among this list
if living with privilage is a crime than ill be on death row tomorrow due to how im unable to detect sexism and never have been dealt with shitty men in my life. jarvis cocker will be my excutioner cause he once said "you'll never live like common people". also i will eventually say that "exile on main st. is better" at one point cause hey, i own that album on cd! sadly i havent listened to it in whole since i acquired it during my classical rock phase. anyway, one of my favourite critics on rym have said that guyville looks like an album that talks about how liz phair is putting on her rocker persona for the attention of men. but then he changed topic and said "well actually men also do that for the attention of women like look at all the manosphere influencers" and arrived at his final theory that guyville is about the shared experience between sexes, the experience of "disgust with the things one has to do when one is disgusted with oneself, and disgust with the parts of life that make one disgusted with oneself. Those being: the impulse we learn, often from an early age, to judge ourselves, in anticipation of the imagined judgement of others", to quote his words. and that just made me want to listen to guyville less. but still i brute forced myself through this via the sheer will to live, and guess what? he is actually right! there are songs that shows vaguly feminist themes but more of the time there is a light wave of dissatisfaction and disgustion covered around here, its not that type of "wake up and ruin the fucked up society" album but is instead just "frustrated". i like it but now, as i have been blocked by some really stupid radical feminists and gets really triggered by the whole topic andnow ive finished this, let us all raise a cup, to life! 4/5
Que disco surpreendente! Letras engajadas mas irônicas. O som é um low-fi/ pop-rock alternativo de ótima qualidade. Gostei dos vocais. CVJ Aria.
I really liked it
Started this album and thought, “I like the music, but she’s not a very good singer.” As the album went on, the music continued to be consistently good, and her voice started to grow on me. In the end, this nearly joined the 5-star club, but fell just short. Maybe it’s because her voice can still be a little irksome at times, but in general this is a great album. It earns my highest 4/5.
The raw emotion and vulnerability here is breathtaking. Her guitar work is really interesting. I had to roll my eyes at all the reviews here saying she "can't sing." Perhaps her vocal style is an acquired taste that some may never acquire, but if you actually listen to this album, there are multiple moments when she gets out of the slacker mumble-tone and it's pretty clear that she can sing.
4/5 https://rateyourmusic.com/release/album/liz-phair/exile-in-guyville/ Oh but this is nice! I was kinda expecting the overproduced Alanis Morissette 90s rock, but this is a lot more alternative than that. A bit too long, but I can see myself listening to this more and liking it more too.
Weird to think that this album is (slightly) older than you guys. Curious to know whether either of you were already familiar with it (and also what you make of it). When it came out, it was BIG, especially in the Chicago area, since it was at the forefront of the 90s Wicker Park scene, when Wicker Park was the epicenter of coolness (or at least thought it was, lol) - a lot of indie music came out of there (or with connections there) then, and achieved a fair amount of success, probably not matched since, in the Chicago area. Before I forget, I just noticed that the video for "Never Said" (track 5) was filmed at the Garfield Park Conservatory. Trying to think of which of the 19 (!) tracks stands out, I'd probably (without thinking about it too much) choose that track, plus Fuck and Run, and Stratford-on-Guy. Feels more difficult than usual to rate this one, but I guess I'll choose 4 (rather than 3). Not something I'd choose to listen to a lot, but every once in a long while it's just the thing -- but maybe this is partly (and this wouldn't apply to you two) as a landmark of a certain time in my life. Also, though, I think the album has an impressive overall cohesiveness; the flip side of this, I suppose, is that (you could argue that) after a while, the songs start to sort of sound the same, and blur together. Still, I'm sticking with 4 stars, for an album that's a good way to spend an hour (every once in a while), plus, for me, a milepost from a certain time in my life, just before my sons came along :)
Manages to embody classic rock tropes while being super weird and abstract at the same time
Not the best singer but I do enjoy the lyrics. Hit hard if you’re listening. The albums built very strong and the story is what gets me. Realistically a 3.5 but defintley closer to 4 than 3.
Love the range. Glory was sexy and strange, Explain To Me sad and sweet. The intro on Shatter is some of the best guitar I've heard in a while, and Gunshy perfectly encapsulates all of the album's offerings. Also Flower made me seriously LOL
I was ready to die on this hill, but it wasn’t all there
Good album- reminds me a bit of cat power?
gasped out loud at a few of the lines on this, i don't think the singer-songwriting girls of today would ever be so bold and daring. this is confessional in a way that makes anything less look like phony posturing. she had her heart and her pussy on her sleeve (complimentary)
It is very good, but also extremely easy to ignore. I've had this album since it came out and every listen I have to force myself to focus on it; I enjoy it when I do, but it often just becomes musical wallpaper.
This was interesting. Has one of those coffeehouse 90s alt vibes that reminds me of growing up. The contents itself are all pretty interesting, but if I were to conceptualize this it is like an acoustic Courtney Love (though there's a chance this person hates Courtney Love, idk)
A very minimalist Lucinda Williams/Hole sound, with very forward lyrics. I was pleasantly surprised by this album.
Not sure how it's never heard of Liz Phair before, as she's very much in the same area as artists I'm a fan of like Ani DiFranco and Jill Sobule. I enjoyed this and immediately listened to a couple more of her albums.
Shoe gaze rock that feels very 90s … in a good way! 4/5
Quite horny
Wonderful 90’s pop rock. Forget the Exile on main st comparisons and just enjoy.
“The fire you like so much in me Is the mark of someone adamantly free But you can't stop yourself from wanting worse 'Cause nothing feeds a hunger like a thirst.“ – from “Strange Loop” Before Jagged Little Pill, there was Exile in Guyville. Liz Phair manages to be cool, sexy, and alternative throughout this album, all while managing to put out a record that sounds as fresh in 2026 as it did in 1993. Though not every song lands, there’s a lot of good material in this album, and some parts that are excellent.
I've heard of this artist for years, but never listened to her music. I left the country the year this album came out and so missed it. What a treat to "discover" this album more than 30 years late! Definitely the kind of music I like--rough around the edges, great voice.
Incredibly frank.
Really liked the sound. This was fun.
She was a sensation when this one came out, saw her in a small theater in Chicago shortly after this one was released .Nice record
like it. an odd one where I think I might appreciate it more if it wasn't similar to some of my very favourite music. music: appreciated. (⌐■_■)
What a treat. I didn’t know this was a sorta janky bedroom sounding recording, I guess I assumed because of the time it came out that it would be slick and produced. Liked this a lot, a definite go-again after I’m done this list.
This is a rare instance of me seeing your review before writing mine. I don’t have much to add, even though I have listened to Exile In Guyville many more than three times. I wouldn’t dare compare anything to The Holy Bible. Phair dares us to compare it to Exile on Main Street, but I won’t take the bait. 90s rock critics would compare it to other female alternative rock artists, because they didn’t have the imagination. The most interesting comparison, I think, is to Eurythmics’ 1987 Savage, where Annie Lennox utilises a similar oppositional structure, taking male rock cliches and subverting them. While Phair is more upfront about that with her title, I feel that it is much less of an intellectual exercise for her than for Lennox. More importantly, I think that take the oppositional stance does not result in binary opposites. The work of these two women are vastly different and diverge from their source targets in very different individually specific ways. I don’t know that the specific, individual charm of Phair extends past this one album, but what an album it is, warranting many listens. 4 This gets better every time I listen to it - the first time I can say that since this was only my third time. I finally unpacked my CDs at the weekend, having acquired a nice new 12 rank cd tower into which to stuff my top ranks. Exile in Guyville went straight from rank 11 - the little wooden stand that I bought from that business enterprise club that you were in in school - up to rank 7! …or so. Truthfully the ranks have changed a bit. The new (fixed) tower takes fewer CDs per rank than the rotating tower did. So 7 is actually higher than it sounds. Liz Phair’s isn’t difficult songwriting to appreciate. Striking lyrics - jaded in tone but amusing and colourful. Subtly tricky, counter-intuitive melodies. All apparent on my first couple of listens a few years ago. Why didn’t I return? I suppose I never found myself in the mood. That there might be a prerequisite mood is a credit to the album all the same. I am never in the mood for The Holy Bible either - though I am entirely absorbed by it every time something prompts me to listen to any particular track. Exile in Guyville probably isn’t that good. Probably. Give me another 5 years and another couple of listens and I’ll know for sure. 3.5/5
This one surprised me in a good way. It has that rough post punk sound and honestly reminded me a lot of Courtney Love, in terms of attitude and delivery. There is a rawness here that feels intentional and confident. Eighteen songs in fifty five minutes gives it that punk rock pace where things move fast and rarely overstay their welcome. Mesmerizing, Fuck and Run, and Divorce Song were the clear standouts for me and really carried the album. Favorite song: Mesmerizing
Beautifully grungy. Had never heard of Liz Phair but this album checked all the right boxes for me.
Not aware of Liz Phair previously. Enjoyed it a lot. i liked the lofi guitar / vocals and caustic nature of the songs. Not one to play in front of the kids. Alot of the reviews on the platform slate her singing - but that was one of the high lights for me.
Excellent 4.5/5
Every time I listen to this album, I’m reminded that it isn’t as screamy as the cover would make you think. I get why Gen X got so excited about this one but the edge is worn off a bit.
Liz is masterful here. Some really catchy tunes.
Dunno if it's cos I've not listened to albums for a while but I swear I'm enjoying everything atm... this one was a bit different and I really liked it.
6' 1" Never Said Fuck and Run Divorce Run
Saw a Stones IMAX concert film from ‘91 today. That shit rocked. So does this album which is notably inspired by the Stones’ Exile on Main St.
Fun! ★★★★
No private session used for Spotify. I have listened to this album quite a bit over the past few decades, listened it to it three times today since it came up. I like how it has some 90s rock, but some indy and moody mixed in. Some raunchy lyrics without coming across as juvenile.
Listens: 3 Standout Tracks: Mesmerizing, Flower, Fuck and Run This album was... hypersexual, but like in an authentic kind of way? Singing about wanting a normal boyfriend or relationship. Getting ravenously turned on in normal sorts of ways by normal things. Female sexual escapades. There's a little bit of everything (sexual) going on. I get a lot of Smashing Pumpkins vibes, though without the cryptic, esoteric lyricism that's normal present in Billy Corgan's songs. Very early 90s grungy, stripped down alt-rock. And then on a couple of songs, like Mesmerizing, there are some really good guitar licks going on.
Never heard about this
Another artist I had not heard of and a progenitor to Alanis Morissette was an interesting discovery.
4 stars 90s female singer songwriters are a soft spot for me since my first musical love was Alanis Morrisette. I wouldn’t be surprised to find out that Alanis listened to Exile in Guyville, even though it’s not really similar sounding and generally poppier. I first heard this album in 2017 when I was looking for break up albums to mope to. This didn’t quite fit the brief, but was enjoyable and I took note. I enjoyed what I listened to, but I don’t know that I have the full album a complete listen front to back. In doing so for this project my initial reaction was that it was enjoyable and light. But I found myself wanting to give it a second listen right when it finished, which is a good sign. I listened more intently and appreciated it more. Each song is well written and unique. There is a lot of character in it. It flows well, and the songs have an emotional impact. I will continue to listen and it may grow on my list.
Love me some 90’s chick rock. Personally, I’d take Alanis, Veruca Salt, The Breeders, or Natalie Merchant with or without the 10,000 Maniacs, but I liked this too. 3.5⭐️
I was in college when this album came out, and it was all over the college radio station (late at night) and in every one of my girl friend’s 3-CD Aiwa bookshelf stereos. The low-fi guitar, mixed with funny yet biting lyrics does what feminism does best…make sure that everyone knows that anything a guy can do, a girl can do as good, if not better. Though this album is very much a product of the 90’s, it is timeless and forward thinking. You can hear the roots of a lot of what female artists today are doing on this album. 4.5⭐️
7.5/10
At first I really didn't like it as she was off key a few times, but her style really grew on me as I jammed the album. By the end, I was suggesting her to other people to give a listen.
I’m pretty sure Liz Phair existed first but I’ll say it anyway. Liz Phair sounds like she is trying to be Hole. I mean, this is prime Hole sounding. If Courtney Love did a whole cover album of this album I wouldn’t think twice about it being a Hole album. About the album as a whole. It sounds dark. It’s on the south side of feeling pop. Definitely not a sell out album. These songs don’t catch you bobbing your head to the beat but they do keep you engaged. Man, this is so much like Hole it’s ridiculous. So I guess that’s a healthy formula to me. I give this a pass. And not even a pass. A 4 star I think. I can’t quite put my finger on it. It’s just not a middle of the road album. It has something extra in it that makes me appreciate it more. It’s an odd feeling. I will remember I listened to Liz. I won’t remember this album other than I think I see her nipple. I won’t recommend her to anyone Yet I’m struck by it in a way that is best reserved to almost mind blowing music. Hmmmmm Choice cut: Never Said
I remember downloading this off Napster in high school and I really enjoyed it. Turns out it was actually Whip-Smart and it was mislabeled. Consequently I kinda like that album better. Still enjoy this though.
Men are the fucking worst and it’s the cross we have to bear. That mini riff in Never Said will be in my head for a week.
I've come across references to this album for years and years but this is the first time I've heard it. I definitely expected something bigger, brasher, more bombastic, simply because of its reputation. But I do actually like this quite a bit. It's kinda like some of the earlier Fiona Apple or Elliott Smith material in that it's accessible material delivered with a plain, easygoing attitude - like you could imagine your friend playing these songs to you on a porch, despite the fact that the songwriting is so strong. I'll definitely revisit this. Must-listen #245.
Love this album, so playful and fun and real!
classic, good, all timer
Every song I didn't love was under 3 minutes long.
You know, not something that I would seek out. However, I dig the punk, alt style. She’s got the attitude and the music is dynamic while also engaging.
Stripped down and sharp.
Not entirely for me, but a really interesting listen. A couple songs like 6'1" and Girls! Girls! Girls! don't do a whole lot for me. It feels a little lo-fi without being difficult to listen to. Nice guitar, her vocals are usually great if a bit monotone.
Brash, unapologetic, and sometimes still genuinely shocking more than three decades later. Phair's deadpan vocals suit these lackadaisical songs perfectly, sometimes coming off as sarcastic, sometimes indifferent, and oftentimes both. Similarly the lyrics range from obviously confrontational to subtly angry. These topics have been explored in indie rock since, but in 1993 the genre was even more of a boy's club than it is now, making the album feel all that more impressive. And that indie rock - mostly of the slacker variety - is the heart of this album, but there's a lot of experimentation within the genre here too. That makes the pure rockers - "6' 1", "Fuck and Run," "Divorce Song" - hit even harder. But of course the experimental songs are important too; this album wouldn't be the same without "Flower."
My first thought was a poor man’s PJ Harvey but then this continued to grow on me. Really solid album with some interesting tacks.
Phair’s delivery is inviting, but it’s the smart writing that really pulls me in. Both “6’1”” and “The Divorce Song” are incredible. A good break-up song is dang relatable!
I remember when this came out, it received quite a bit of critical acclaim. Never listened to it until now. I like her sound! Enjoyed. Four stars
Really surprised by this record, have come back to it a lot since my first spin
#151/1001. Can’t sayI knew too much about Liz. The first few songs didn’t really speak to me, generic songs in a way I think has been done hundreds of times. But then the album grows, has some great tunes and moments, quiet and loud, simple and less simple meditative instrumentations. The simplicity works here and I’m interested in listening more. What else could a first listen achieve?
surprisingly fun
pretty cool
Fun indie rock.
I bet every lesbian in 1993 was foaming at the mouth for this
not my fave album but a truly worthy addition to the list. i don't love liz's vaguely atonal singing style but i do appreciate her massive impact on music today (especially for other female singer/songwriters). she was doing weird horny stuff before it was cool. go crazy liz!!!
i enjoyed this one overall. liz is not my favorite singer by any stretch but these songs are varied and interesting. that said, there sure are a lot of them and the album starts to wear out its welcome about halfway through. her 2003 self-titled album is still my favorite. favorites: 6'1", dance of the seven veils, never said, canary, fuck and run
This came out 32 years ago. I haven’t heard it in 20 years. Somehow makes more sense in 2025 with Soccer Mommy, boygenius, Snail Mail, Wednesday etc.
Such a great record. Great, Stonesy guitar licks. Perfect 90s slacker attitude and delivery. Self-effacing, honest, funny, and sometimes shockingly vulgar lyrics. It all comes together in a terrific indie rock package.
first listen i like the rawness of it
I had often heard of but never heard Liz Phair. Her voice isn't perfect but it is a perfect fit for her lyrics, raw and powerful. I listened to this one three times, trying to get the feeling and meaning, and it was worthwhile.
For as much 90s indie that I’ve listened to, I really should have listened to Exile in Guyville much sooner. Very solid indie rock album. It has the potential to be bumped up to 5 stars on repeat listens
Such a seminal album that hit the Chicago music scene in my era.
I'm kind of surprised that I've never heard of her before, she had some fun songs
LOVE LizPhair!! Loved her so much when she came out, everyone was floored bc she was (kind of) matching Exile on Main st track for track and laid a strong feminist backbone in indie rock. This record for me is clever, cheeky, fun, funny and still so much fun to listen to. This was her debut! Hopefully Whipsmart will show up on this list too, it also kicks a**. Heartfelt 4.5-5 for Guyville
Starts off as a complete 5/5 classic, but the back half wasn't quite as strong IMO. Still a solid album and I can understand while it is so historically lauded. 4.5/5
Not really my thing but I felt it growing on me through my second listen and added a decent number of songs. Putting 4 cuz I think it’ll grow to a 4 and I don’t wanna regret.
Thoughts: 1. I should NOT have been listening to this when I was 13. 2. Liz Phair could’ve been an all-time icon if she hadn’t tried to become a pop star, bless her heart. She still has so much goodwill from this album, though. I feel like anyone who knows her knows her from this album and her failed pop career. No one knows her from her mini pop hit.
- estilo bem da época, até o tipo de composição e letra, meio grunge, folk e punk - tem músicas bem legais, mas no geral parece um lugar comum, talvez por ser um estilo saturado hoje em dia - foi lançado no auge do grunge então faz muito sentido pra época e provavelmente foi muito influente também
Honestly a pretty enjoyable album. Maybe not one that'll ever be in a discussion about the best albums ever, but definitely a solid album that's an enjoyable listen.
Kultni album koji meni nikad pa ni sad nije do kraja sjeo
Liz iw what you want to be still in 2025
I kinda thought this was going to be some fairly stereotypical 90s riot grrl, which I don't have a problem with but it's a derivative sound. What I heard greatly surprised me.
Quited liked this as a concept. It certainly makes you stop and think. Previous album was 'aftermath' by the stones. And with its misogynistic leanings this album seemed a timely antidote. Although musically it does not quite carry it off.
Restrained and raw. Fuck and Run is the easy standout for me. A bit long but easy to listen to.
I think Liz Phair is underrated. This is a witty and acerbic record like all of her work. The songs are stripped pretty far down and remain good rock and rollers. She deserves more credit but I don't think this is her best album so not perfect.
So she must have been a Lucinda Williams fan right? This album marries 90s alt rock well with Lucinda Williams like vocals and packs a punch. This is not a woman I’d ever want to be on the wrong side of. Album was a little long in my opinion but Liz Phair clearly had a lot to say! Personally I had a hard time hearing the connections to the Exile on Main St tracks she says she’s responding to.
One of the greatest records albums of the 90s, incredible song after incredible song. Liz rode an incredible wave of inspiration that populated her first three records with great songs, but most of the best ones are here. Everything after that is garbage and it honestly one of the most shocking drop offs of any artist I can think of. Anyway, she gets a free pass for this record alone. I guess if you weren’t around in the 90s, you can’t understand what this record meant to people and how revolutionary it was. Read a book, y’all