Exile In Guyville

Great album! The lo-fi vibe and sparse, unadorned guitar lines remind me of the Velvet Underground. (Even Liz's singing style is sometimes reminiscent of Lou Reed.) The album mixes punk grit with jangly indie rock, and the result is wonderful. I'm glad this is on the list and inspired me to re-listen. 4 stars.

This is a rare album that gets better as it goes on. It starts off very punk, but as it progresses, the lo-fi elements really come into play. A ton of female empowerment and reality from a woman's perspective that is really important even in situations relatively innocuous. Soap Star Joe - great song mocking the typical local idiots that think they're hot shit. Divorce Song - Great song about Shatter - wow, there's that lo-fi sound. Very entrancing. Flower - another great sound, really letting loose, basically objectifying some guy she wants to sleep with. It's funny how much this one sticks out but there are so many songs with rock stars saying the same type of stuff about young ladies. I'm fine with it, and think it's great to have a song that shows these thoughts go both ways sometimes. Expressing these inner thoughts is great. I'm a bit surprised with how uneasy I was during the first couple of tracks, and then how much I was enjoying it as it progressed. It's an hour long album and it was an awesome album with a lot of depth and nuance. Really stands on its own in terms of sound and expression. I can only imagine that many people try to compare this to No Doubt, but this album is much deeper and intricate than No Doubt, who is more of your proper punk band.

Had somehow never heard of her, although I do listen to stuff that was clearly influenced by her. Particularly enjoyed "6'1" and "Never Said"

A really wonderful, catchy, intimate record. Liz Phair doesn’t hold back. This is a very special album.

I've always wanted to listen to this album and wanted to do this right so I listened to Exile in Main St. before this album. Meh, not necessary, saw the lunk but oh boy, Liz Phair did great. Grungey album in which she says quite a few things women wants to say about scum men we find in the way. Although with Sabrina Carpenter in mainstream now, it might not feel so much of a shock factor. But it was a good album and made me realise the criticism when Liz release "why cantI" for romcoms in early 2000s. 4/5

A lot of nostalgia for me here, which pushes this up to 4 stars. I owned all of Liz Phair's first four albums, and in truth I would only go back to 1 or 2 songs on each. And my huge teenage crush on her certainly played a role in my devotion. I probably don't need to listen to this all the way through again but thx for the memoreez.

I read plenty about this at the time and wanted to check it ou but funds were short and I didn't know anyone to tape it off. Then time moves on and the moment passes. A shame because I would have really loved it. I like it plenty now. I don't understand the one star reviewer justifying their review with the statement: "It's like a teenage girl singing her inner monologue."

Pretty good. Not totally into it, but the music is still really good. Seems like it deserves more than a 3.

3.6 I'll preface this by saying if I was a teenage girl in the early 90s I reckon I would have been *obsessed*. But I am not and I wasn't. One of those albums where I had to go back and relisten after reading up on it after first run-through. Obviously I was missing something. And I think was, but only a bit. I think the vocals are quite weak, but they're not disimilar to other lo-fi/punk bands that I like, so maybe I'm being too harsh. The run time goes on far too long, but on the flipside it's a response to album that also does. My score reflects it's importance, and the fact that it certainly deserves to be on this list. Musically it's no more than a 3*, but credit due where it's due.

Buy on vinyl

I think this album might be the one that needed the most listenings before I could write a review. Being a slacker rock record, the first listening felt a bit stale and flat, but with more and more listenings, I started to understand it and liking it. Liz Phair may not be an incredible singer that do crazy things with her voice, but she has a great attitude, a pleasent vocal timbre, and most importantly, she has a lot to say, telling her experiences and stories through the lyrics of the songs. In terms of instrumentation, being slacker rock, they don't do anything very fancy, giving the singer all the prominence. But they do have enough variation to not make all the songs feel like they are the same. A great example would be 'Canary', which instead of guitars, bass and drums, only features a piano that gives the song a great and deep atmosphere. I'm glad I gave this project these many tries. If I didn't, I would have given it a 3 stars, call it bland and call it a day, missing a lot of what the tracks have to offer. Now, I'm giving it 4 stars.

I didn’t like/understand this record growing up but now I cannot deny its impact and greatness.

I was kinda busy in 1993, and missed this. But I do remember the wave of new female artists in the 90s, with an edge in their voice, taking over airwaves and CD sales. Liz Phair was at the front of this pack. It's a great album. If you were to hear just one song, perhaps a hit such as "Never Again," it sounds GOOD. But the real strength is in how her lo-fi-yet-energetic sound is carried over an entire album with a variety of moods. The sum is greater than the parts. There are enough songs to make it a bit uneven. Whether by sound or subject matter, I can't buy into everything. But having missed this 30 some years ago, songs like "Never Said," "Explain it To Me," "Mesmerizing," and many more are worth the return. "F** and Run," with its provocative (and even misdirecting) title, is really a heartfelt song lamenting the "state of affairs" in her life. Songs like "Johnny Sunshine" and "Gunshy" are experimental and hypnotic, pulled off well, as the album closes.

This album surprised me. I had heard of Liz Phair, but back in the 90s access was still a big issue. As a result, I don't believe I ever heard this album. The sound and production value are great, and Liz's songwriting is tight, playful, and confrontational in a very accessible way. Obviously, she was taking on big issues, but the music doesn't come across as a string of complaints. Really good writing and execution.

I like this album. Now that I listen to it, I can understand why everyone was so angry with her mainstream swing. The differences are night and day, and she's so much more interesting this way.

Not sure where the lofi is but very good.

She's scrappy.

If this was released today, it would 100% be recommended to me by Spotify in the release radar.

I've always enjoyed this record even if it's made to feel important rather than good, there are too many good to great tracks on this to not like it I just think the talk about it can be exhausting, just listen and enjoy.

I would definitely listen to this in exile

I've really only heard "Why Can't I" from Liz Phair, so I didn't know what to expect from a full record. And I certainly didn't expect such a strong, DIY indie record! With hardly any drums! And such sharp lyricism! Yeah this really took me by surprise in the best way, I thoroughly enjoyed the minimal instruments. And Phair's guitar playing was especially impressive. She adds so much texture and detail to the simplest progressions, and the stripped-back arrangements help that extra dimensionality shine. This rocked, but not entirely out loud.

New artist new album first listen for me. Nice one!

beautifully crafted - wry, raw, provocative and powerful

This was a great album. Will definitely be listening again. Had a really strong 90s grunge/indie sound to it.

I had never listened to a Liz Phair album all the way through, but it definitely influenced a lot of the music I listen to.

Gotta say, the opening vocals on here were among the worst I've heard in recent memory. But the album improved from there. This has a certain energy to it that can be seen in modern(ish) indie acts such as Soccer Mommy. While this is a rather long album, and it felt that way, I enjoyed this one quite a bit more than I expected (hence waiting so long to listen to it). I don't really have specifics to comment on, but I imagine I'll be back for more here. Really enjoyed the calm energy of Explain it to Me and Stratford-On-Guy. This is a low 4 for me.

I'd give this 3.5 stars, personally, as I don't personally feel this album has stood the test of time. However, I admit I was never a fan of the sound of the 90's female alt-rock. I support the voice it was giving to women and the empowerment of its fans, but I have never liked the voices or the actual music. However, reading a lot of reviews about this album, I know it was powerful for a lot of people, and I can understand that and how the lyrics, that almost seem to me like they are used for shock value, would actually have been very significant at the time.

9/10 Pretty taken aback by the year this came out, 1993 and it still feels extremely modern

This wasn't what I expected at all; I thought it would be indie folk-ish, but turned out to be grungier and rawer than I expected - that's a good thing - this was a great listen. My only minor complaint would be that I felt the album could afford to be a little shorter.

I dug it - the early 90s indie-rock vibes are solid, and the songs are all well written and some are pretty funny/insightful - especially the apparently eternal truths about men and women dating ("Fuck and Run" seemed oddly relevant even though it was written in a pre-dating app world).

very surprised to know i already knew one of her songs. great album, really enjoyed the overall vibe. my favorite ones were: 6'1", Dance of the Seven Veils and Johnny Sunshine

I knew Liz Phair was involved in Lilith Fair and for some reason I’d imagined she was some willowy sensitive singer-songwriter Reader, I was not correct! This was a great scuzzy slap in the face of a record. Uncompromising lyrics, some lo fi guitar, good stuff!

She had me at “Fuck and Run”.

Прикольно, вокал приятный, мотивы не слишком скучные, хотя я особо не вслушиваясь в текст и слушаю на фоне. Весь альбом не прослушала

immediately thought of courtney barnett

Liz wants to be your blowjob queen and fuck you till your dick turns blue but she is absolutely not here for your shit.

Sometimes, listening to the albums the algorithm deems worthy of my time, I stumble upon a work so interesting that it makes me wish I was alive or at least of discerning age to fully appreciate it in its year of release but then I think that if that were the case I'd be old as shit or at least a few years older and that I don't like. Anyway, this is a cool album.

Liz Phair is one of those artists who can never seem to top their debut, let alone match it, in terms of either sales or critical acclaim. it's a statement so confrontational that it seemed to have the unintentional effect of pigeonholing Phair to a place she never had any business being pigeonholed to, culminating in her dismal self-titled album where she was being marketed as an alternative to Avril Lavigne, a far cry from the musical and emotional maturity displayed here on her debut. most of the ink spilled over Guyville concerns its famously crass and sexual lyricism, which is obviously a big selling point, but the music itself points heavily towards the future of alternative and indie rock, especially of the female-fronted variety. this definitely puts the music of your Mitskis and Lucy Dacuses into a clearer context! I'll definitely be returning to this to really get a fuller picture of just what Phair is talking about on each of these 18(!) songs; it's a lot to sift through, especially on a first listen, but I'd happily listen to this quite a few more times. light 8/10.

Knew her name, but this album was a discovery for more - favourite some was Mesmerising - but will come back for others too

Liz Phair’s 1993 debut, *Exile in Guyville*, stands as a landmark release and remains one of the definitive blueprints for what a female rock album should sound like, delivering a raw, conversational, and unapologetically honest perspective on sex, relationships, and power dynamics. The album's lo-fi grit, casual swagger, and deeply intimate lyrical content—a direct response to The Rolling Stones’ *Exile on Main St.*—established a new standard for authentic, guitar-driven songwriting that prioritized wit and vulnerability over polished commercial sheen.

Take a trip to Guyville for the hookup culture

Absolutely dynamite! How have I never heard of her?

I liked this pretty consistently throughout. Nice variation of song structure and dynamics. This type of melodic and confessional songwriting sometimes feel a little predictable musically but she surprised just enough to keep this feeling fresh throughout. On the whole, I compare this album favorably to others of its time. It more effectively and interestingly captures the ethos bands like pavement ere going for (loose vibe, disaffected attitude, edgy 90s slackerism) because the songs feel more intentional and also more personal. The raw emotion in her songwriting and voice makes it easier to connect to her on a human level. Plus pretty catchy. I especially liked glory, never said and dance of the seven veils and fuck and run. Album probably would have been better at 12 or so songs, but I think it was pretty consistently good (if maybe only great a few times)

The more I listened, the more I got it.

Melodic, badass, diverse, and timeless. 4/5

Love the perspectives and messages but not a huge fan of the general sound

She has her ripple out on the album cover?!

Lived the voice and storyline. Will listen to again

A great intro to this artist's music.

How could you hate it? For what it did for Indie music? For it's upfront themes of vulnerability and isolation in the face of other-ness? For being a very important mark in women gaining a conscious voice in music? That's the core of what makes this album great: an understanding honesty and sound that envelops the listener in the song. Aside from the strangeness, indie is all about connection.

For my 1st Liz Phair album, I like it a lot

Und immer wieder ein Push nach vorne. Großartig!

A classic. A nice listen, but doesn’t quite hit a five for me.

Felt a bit too 90’s but I spun it twice so it must be alright.

A very cool feminist response to the only Rolling Stones album that I ever really liked (well supposedly - reports vary about whether Liz Phair actually meant it as a track by track reaction to "Exile on Main Street" but it's definitely a marketable idea). Phair takes a relatively lofi and minimalist approach here, pulling elements from 60s blues rock and the 90s indie scene. During my first few listens to this album, there are a few stand out tracks but it doesn't quite reach the status of the 90s indie bands that she's criticizing. The more I listen though, the more I heard a deep foreboding throughout the album. The song that really struck me was "Canary" which has a really beautiful bleakness to it and is now the quiet centerpiece to the whole thing to me. It needs a little extra to be a perfect album, but it's painfully close.

Y'know, coming into this album, my biggest frame of reference for Liz Phair and her music was her album of weirdo goof tracks, FUNSTYLE. The one where she rapped. The one where she said "You're being a peñis — colada, tha is." The one she lost her record contract over. And it's like, as much as I thought that was a weird reference to go into such a critically acclaimed indie darling with, I figured at the very least it'd provide a good perspective for my expectations. "I've seen the bottom of the barrel when it comes to this woman's work — it can only be uphill from me." And, yeah, of course this album is better in every conceivable way. It's not like "Beat Is Up" is a hard song to top. Like, just talking about this thing on a pure melodic, instrumental level, it's a pretty good indie rock. I mean, it goes harder on the "rock" side of indie rock than I've come to typically expect from indie rock albums, so that's a huge plus in my mind. On that alone, I'd score this album big points. Goodness, I don't even have a problem with Liz Phair's voice; it fits in real damn well. It's when we come to the lyrics, though, that I hit a bit of a snag. To be crystal clear, I do not think they're bad. The distance between these songs and "peñis colada" is so vast, I shouldn't have to bring it up. But... I'unno. Part of me feels like this where the **inverse** expectations are hitting. Like, I'd long heard that the lyrics on this album are brash and confrontational; where even if they're not about her, they still paint such a vivid and complex portrait of a woman. Big feminist vibes that the wrong people are gonna take too much of an issue with, y'know? I mean, maybe it's just that I'm not much of a lyrics-first gal, or that my autistic ass has a hard time understanding lyrics even when I do try and pay attention to them. Heck, I might just be dumb, 'coz these don't strike me as necessarily complicated lyrics, despite the complex picture they're supposed to paint. I just... Didn't find myself terribly impressed by them? Like, OK, it's not like I can't hear why critics went so gaga for them, but... Like, in a world where I hadn't heard FUNSTYLE first, I still think I'd be trying to figure out why these didn't hit as hard for me as I expected them to. If nothing else, I don't think expectations are 100% to blame. I mean, the ones I had for Radiohead's KID A in general were a lot higher than I had for this thing's lyrics, and I still managed to come out of that believing the hype. When it comes to this album, then... Well, let me say that there **were** a couple of songs that did hit lyrically for me. There was "Soap Star Joe", for one. And "Divorce Song" — well, dang, add in that hot-ass harmonica and it's probably my favorite song on the whole album. But ultimately, I'm left thinking about the opinion I had on The Rolling Stones' EXILE ON MAIN STREET, which this album was infamously claimed to be a song-by-song response to. How I feel about that album as a whole is kind of how I feel about this one's lyrics — "it's far from bad, but this is the best thing they've ever done?" Big 3 energy. Still, though, how unimpressed I am with the lyrics hardly detracts from my overall feelings about this album. It's still really good indie rock. I mean, heck, I enjoyed this album overall more than I did EXILE ON MAIN STREET, so if nothing else it wins on that front. It's more than worth a listen, and certainly it's a better thing to know her by than FUNSTYLE. Like, goodness, if I were here, I'd rather everyone forget about **that** mess. Seriously, "peñis colada." I can never get over it, I swear.

Pretty good 90's indie rock. 4.5 bumped down to 4.

heard this many times in the past, will rate anyway 6'1'' - 4/5 Help Me Mary - 3/5 Glory - 4/5 Dance of the Seven Veils - 4/5 Never Said - 5/5 Soap Star Joe - 5/5 Explain It To Me - 4/5 Canary - 4/5 Mezmerizing - 5/5 Fuck and Run - 5/5 Girls! Girls! Girls! - 3/5 Divorce Song - 5/5 Shatter - 4/5 Flower - 5/5 Johnny Sunshine - 5/5 Gunshy - 4/5 Stratford-On-Guy - 5/5 Strange Loop - 4/5 Average score: 4.3/5 liz phair my beloved

Listened Before? N It's seriously hard to believe that this is her debut album. Very well made and well written. Very charged lyrics and apparently a scathing response to Exile on Main Street by the Stones. I really love this. Added to Library? N Songs added to playlist: Fuck an Run

aivan kelpo yksinkertainen poprock-levy! 4/5

I bought this back in the day...but it never became a favorite. Couple bangers but didn't resonate, and I left it on the shelf. Today it really does resonate. This is incredible. Fantastic! This gets back in the rotation! What was I thinking back then?

I've been avoiding Liz Phair for all the wrong reasons, but this album is actually pretty awesome. Has some grunge vibes.

I think this does deserve a spot on the list, but mainly for Voice and sentiment. The storytelling is great. Phair's singing voice is clear and pure. Jangly guitars of their time and can alternately be uplifting or annoying. Overall feel gets a bit repetitive song to song.

I enjoyed this. It's a good, solid album. Vocals, instrumentals, all decent. Nothing too fancy or pretentious. Just good music. Four stars because she seems to be interested only in making good music, not in being "clever".

Interesting rock album. Somewhat unique, but has a nice sound. Decent

I remember having several friends in college who loved this album and I just wasn't into that type of music at the time. Since then, I've come back to it on occasion and appreciated it a lot more. It's pretty great songwriting, edgy, but tight. Not quite grunge but in the same ballpark. I'm part of the crowd that didn't like her move to pop in the 2000's.

I like this sound and feel. Great mid-90s throwback that I haven’t listened to before. Good lyrics. Some nice melodies as well.

Indie rock debut from the 90s. Easy, fun singer-songwriter rock with a cool edgy voice. Very good in a laid-back way.

She's not a very good singer but her vocals seem to work in this context. I enjoyed this album and liked the vibe. 3.5/5

I liked this!

4/5

Some songs were really good. Didn’t think all of them were great, but overall very solid album. 3.5

7.5/10

Very 90’s, very horny, very edgy with a dash of snarl. Good stuff 4 stars

I liked this album for the most part

I like this album. It's got a punk vibe, but a calm sing song-y presentation. Borderline spoken word verses suits the music well and definitely feels very 1993 which it is. 4/5. Stratford-On-Guy stands out to me, great song.

I was looking forward to this album when I saw it come up, as I remember really liking it a lot when it came out. There really was nothing else like it to my knowledge at the time and it kind of blew me away. Listening to it again now and the highs are really high (Never Said is an all-timer) but there are some really slow parts that take away from the whole.

This is a soft 4 for me. Parts of it were fun, others felt a bit all over. The album was fairly cohesive and I think overall, the instrumentals were good and the vocal work was decent. 'Soap Star Joe' was my fave from the lot.

It's good all the way. I liked it even better second time I listened than the first time.

I thought the lyrics were actually pretty good for a lot of the songs. The name of the song wasn't sung over and over again or at all, sometimes. She has said in interviews that many of these songs are not about her, and that gave her a lot of freedom. I really liked the sound she had for each of the songs. Each one was different, but still in her style. Enjoyed the album a lot, and am interested to hear more. Top tracks: "6' 1", "Never Said," "Soap Star Joe," "Mesmerizing," "Divorce Song"

I wasn't sure I was into this at the beginning, then it clicked into place for me. A tor de force in angry girl rock, the attitude of fuck it I'll do what I want, say what I want, not worried about convention or being easy to listen to. I really think it kicked open the door for a lot of other bands and artists that would emerge throughout the rest of the 90s and beyond. And the fact that this came out in the early 90s when there was really a derth of good rock music is also striking. Unfortunately, I did find that it started to overstay its welcome. 18 songs is just so much, I'd have rather listened to 12 really strong songs. Still, have to bump it to 4 stars.

lo-fi rock

Starts off fairly average, but I feel like it is just a baseline for how much Liz expands over the rest of the album. Her coming out with this in 93 is strong, sets the tone for her career. Well done.

Brilliant.

I admire the ability on this record to make all the songs sound distinct from each other. Really good arrangement. No song overstays its welcome, but the album as a whole is just a tad long. I’d’ve preferred she spend more time on a couple of her stronger songs to make them really special. I think she would have had something undeniably exemplary. Great vocals, instrumentation, and production. Lyrics are iconic. I really enjoyed this album. I’d only heard “Fuck and Run” before, but heard great things about Liz so I’m glad this met my expectations. 4/5

Pleasant songs

Cool

Grunge/Alt Some shades of Hole and Nirvana. Good songwriting. 2nd half dragged a bit for me

Le genre d'album qui ne m'a pas séduit à 100% mais que je ne peux pas m'empêcher d'avoir été accroché. À plusieurs moments ça frôlait des styles que je n'aime pas, mais c'est fait avec tellement d'assurance et de cohésion que le produit final est vraiment intéressant. Le genre d'album qui mériterait une seconde écoute. 7.5/10

Haven’t listened to this in years. Lyrically and musically still makes me feel nostalgic and like I’m in a 90s teen movie

I had never truly listened to Liz Phair until this album popped up here and I was very glad to have had this opportunity.

I really enjoyed this album. There is so much emotion in every song.

How have I never heard this album? It must have been influential to a lot of the music I listen to now. I just can’t believe this isn’t talked about more. I’ve heard of Liz Phair and I’ve heard this album title before but I never listened to her/it. This album rules. I honestly think a ton of indie music owes a lot to this album and Liz Phair.

A great indie album. An amazing voice, lyrics that are sometimes funny and sometimes poetic (but always fresh), and peak indie rock melodies from the time before the genre became too self-referential.

Loved this provocative album.

This one surprised me, found myself getting more into it as the album went on and had to listen to it again. Really nice 90s alt rock/pop.

November 19, 2024 HL: "Never Said", "Shatter", "Divorce Song", "Canary" Not sure what it is about that track, but right at "6'1"" I was prepared to dislike this album, as sometimes happens with 90's alt/lo-fi releases on this website. Yet despite my misgivings, I ended up impressed with Liz Phair's debut. Having read about some career drama (self-titled album, the Pitchfork 0.0 blah blah), it's refreshing to actually listen to her work. "Never Said" is perhaps the poppiest tune, and MAYBE I'd overlook it on 90's nostalgia radio but it's a much needed bright spot amidst moodier, grungier pieces. "Explain It To Me" and "Canary" are curious ballads in the middle of the album, the former awash with cozy reverb and the second with wintery piano. "Shatter" makes a couple electric guitars sound cavernous, the eerie canons of "Flower" and "Johnny Sunshine" evoke both the Go-Gos and PJ Harvey. A couple songs (out of 18) seem unfinished & inconsequential, but there's enough strong ones that I won't dwell on them.

While raw in delivery, Ms. Phair's writing and musical wit shine through. It's difficult for me to be objective about this album among the fog of nostalgia, but I dig it.

I am a fan of this record.

27/10/24 Never heard of this artist before and it was an okay listen.

Incredible. Soothing yet invigorating at the same time. Love her vocals and the simple stripped back production. Great songwriting from beginning to end

Somehow I find this album to be simultaneously underrated and overrated. It's really good 90s alternative/grunge but it's also not the second coming like a lot of people act. It's so entwined with the sexism of the time (both to its benefit and detriment) that it's tough to get a truly accurate read on it. Regardless, it's definitely a good album at the very least.

Good

**Album Review: _Exile in Guyville_ by Liz Phair** _Liz Phair's 1993 debut album, Exile in Guyville,_ is one of the most significant releases in the history of indie rock, marking a pivotal moment for female artists and singer-songwriters of the era. It is an unapologetically raw, provocative, and intricate examination of the intersection between personal relationships, gender dynamics, and self-empowerment. Here's an in-depth analysis of the album, focusing on its lyrics, music, production, themes, and influence, along with a fair assessment of its strengths and weaknesses. --- ### **1. Lyrics** The lyricism in *Exile in Guyville* is one of its most striking aspects, standing out for its honesty, wit, and daring confrontation of topics often considered taboo at the time. Phair's writing is deeply personal, intensely self-aware, and at times, deliberately vulgar. The album's narrative is loosely structured as a song-by-song response to the Rolling Stones’ _Exile on Main St._, but instead of following a strict storyline, it chronicles Phair's exploration of life as a young woman, blending vulnerability with defiance. Phair’s approach is unapologetically frank, particularly in how she addresses sexuality. Tracks like "Flower" and "Fuck and Run" shocked listeners in the early '90s with their unfiltered expression of female desire and disillusionment. In "Flower," for instance, Phair subverts male-dominated perspectives of sex, singing explicitly about wanting sexual power. The song's bluntness is disarming and emblematic of Phair’s broader challenge to gender norms, presenting herself as both desiring and dominant in a way rarely heard in female-fronted indie music before this time. On "Divorce Song," Phair captures the devastating subtleties of a failing relationship, illustrating the emotional tug-of-war with incisive lines like, "It's true that I stole your lighter, and it's also true that I lost the map / But when you said that I wasn't worth talking to, I had to take your word on that." These lines reflect her signature mix of irony, bitterness, and humor. Phair's use of conversational language is one of the album's most compelling features. She writes as if she's having an intimate conversation with the listener, allowing her lyrics to oscillate between poetry and prose. This creates an emotional resonance that feels honest and unfiltered, as though she's not singing *at* the listener, but *with* them. #### Pros: - **Raw honesty:** Phair’s unflinching approach to sexuality and relationships made her stand out from contemporaries. - **Conversational tone:** The casual, almost journal-like style creates intimacy with listeners. - **Subversion of gender norms:** Phair's lyrics challenge conventional depictions of women in music, portraying them as complex, flawed, and powerful. #### Cons: - **Lack of cohesion:** At times, Phair's narrative can feel disjointed, a result of her freeform lyrical approach. - **Crudeness:** The explicitness of some lyrics may alienate more conservative listeners. --- ### **2. Music** Musically, *Exile in Guyville* spans several styles, from lo-fi indie rock to alt-country and pop-tinged ballads. The album's sound is intentionally unpolished, rooted in the lo-fi indie aesthetic of the early '90s, where gritty production and a DIY ethos were prized over studio gloss. Phair’s guitar work is simplistic but effective, often relying on minimal chord progressions to carry her melodies. This musical simplicity serves as a canvas for her lyrics, allowing them to take center stage. For example, "Never Said" rides a jangly, upbeat riff, balancing pop sensibility with a rough indie edge, while "6'1"" opens the album with a more aggressive, distorted guitar line that sets the tone for Phair’s confrontational attitude. While the lo-fi production is intentional and gives the album its raw energy, the arrangements can sometimes feel sparse or underdeveloped. Many tracks, such as "Help Me Mary" or "Glory," feature basic instrumentation with Phair's vocals and guitar taking the lead, creating a sense of intimacy but also revealing the limitations of her minimalist approach. One of the most striking aspects of the album's sound is Phair's vocal delivery. She doesn’t have a traditional "pretty" singing voice, and that works in her favor. Her delivery is often detached, deadpan, and matter-of-fact, heightening the conversational tone of the album. On tracks like "Stratford-On-Guy," her nonchalant vocals complement the dreamy, atmospheric guitar, creating a languid, almost hypnotic effect. #### Pros: - **Diverse influences:** Phair mixes indie rock with pop, alt-country, and folk, showcasing her versatility. - **Lo-fi charm:** The raw, unpolished sound adds to the album's authenticity and aligns with the ethos of early '90s indie. - **Vocal delivery:** Phair’s understated singing style enhances the intimacy and directness of her lyrics. #### Cons: - **Simplistic instrumentation:** Some tracks can feel musically underdeveloped, with repetitive structures. - **Production quality:** While the lo-fi aesthetic is a strength, it can also detract from the overall listening experience, as the album can sound rough around the edges at times. --- ### **3. Production** Steve Albini’s influence looms large over the indie rock scene of the early '90s, but it was Brad Wood who co-produced *Exile in Guyville* with Phair. The production is sparse and intentionally raw, reflecting Phair’s desire to retain the feel of her original four-track demos. There’s a sense of immediacy in the sound, as if the listener is in the room with Phair, witnessing these moments as they unfold. Wood's production approach lets Phair’s voice and guitar remain at the forefront, with minimal embellishments. The tracks are often stripped down, emphasizing intimacy over polish. This choice is central to the album's identity—it feels as if it was made by Phair on her own terms, outside of the commercial pressures of the music industry. However, the lo-fi nature of the album sometimes borders on amateurish, which is part of its charm but also a limitation. The drums, in particular, can sound thin or distant, and some of the mix lacks the depth that more polished production might have brought. This is especially noticeable on songs like "Soap Star Joe," where the muddy sound can feel a bit monotonous. #### Pros: - **Authentic production:** The raw, lo-fi sound reflects Phair's DIY ethos and the indie rock scene of the time. - **Focus on intimacy:** The stripped-back production places emphasis on Phair's vocals and lyrics, enhancing the personal nature of the album. #### Cons: - **Lack of depth:** Some tracks could benefit from more dynamic arrangements or fuller production. - **Inconsistent mixing:** The lo-fi aesthetic works in some tracks, but in others, it can feel overly simplistic or underproduced. --- ### **4. Themes** _Exile in Guyville_ is an album rooted in themes of female empowerment, vulnerability, and defiance. Phair wrote the album as a response to the hyper-masculine indie rock scene, where she felt women were often sidelined or objectified. In response, she crafted songs that placed a woman’s perspective front and center, tackling themes like sex, love, frustration, and self-doubt. At its core, the album is about agency—both in relationships and in Phair’s own artistic expression. Songs like "Fuck and Run" address the emptiness of casual hookups, where she longs for emotional connection amidst a culture of detachment. The frustration with gendered power dynamics in relationships runs throughout the album, particularly in "Divorce Song," where she navigates the emotional complexities of breaking up, not with anger but with resignation. Phair also frequently flips the script on male-dominated narratives. In "Flower," for example, she adopts a traditionally masculine perspective on sexual conquest, making the listener uncomfortable in a deliberate attempt to expose double standards. However, the album isn't just about anger or rebellion. There’s a deep sense of vulnerability in tracks like "Canary," where Phair reflects on the pressures placed on women to maintain a façade of perfection, singing, "I always sing, you want a song / So here’s a song for you." It’s a quiet moment of introspection, adding nuance to an album otherwise filled with sharp edges. #### Pros: - **Feminist themes:** The album boldly addresses gender dynamics and challenges the male gaze, making it groundbreaking in its time. - **Nuanced exploration of relationships:** Phair captures the complexities of love, sex, and heartbreak with wit and insight. #### Cons: - **Occasional thematic repetition:** Some songs cover similar ground in terms of subject matter, which can make parts of the album feel redundant. --- ### **5. Influence** _Exile in Guyville_ has had a lasting impact on the indie rock scene and beyond, particularly for female artists. Phair opened doors for women in a male-dominated genre, showing that it was possible to write music that was both confessional and confrontational. Her unpolished aesthetic and unabashed lyrical content helped redefine what was considered "acceptable" for female songwriters, inspiring a generation of musicians like Fiona Apple, Cat Power, and later artists such as St. Vincent and Courtney Barnett. The album’s raw, lo-fi sound also played a key role in shaping the DIY ethos that would continue to influence indie music throughout the '90s and 2000s. By eschewing traditional production values and focusing on emotional authenticity, Phair became a symbol of artistic freedom and independence. #### Pros: - **Pioneering for female artists:** Phair’s unapologetic voice helped pave the way for future female musicians in rock and indie genres. - **Influence on indie rock:** The album's lo-fi, DIY approach became a template for many artists seeking authenticity over commercial success. #### Cons: - **Niche appeal:** While highly influential, the album’s rawness and overtly personal content may limit its appeal to mainstream audiences. --- ### **Conclusion** *Exile in Guyville* is a landmark album that challenged the conventions of indie rock and pushed boundaries in terms of gender politics, musical expression, and lyrical honesty. Its rawness, both musically and lyrically, was revolutionary in its time, though it can sometimes feel uneven or underdeveloped. Still, Phair’s debut remains a crucial work in the history of alternative music, one that continues to inspire musicians today with its bold, unfiltered approach to art.

I remember when “Why Can’t I?” came out in 2003 and was everywhere all the time. Everyone complained that Liz Phair had sold out, but I had no idea who she was or what the fuss was about. I just didn’t really care for the song. That’s still the only song of hers I knew until putting on Exile in Guyville. This album is like a stripped down version of something Sheryl Crow might do if she had the edginess of Courtney Love instead of the sanitized edginess of “All I Wanna Do.” Which is kind of ironic considering Liz Phair seemed to be a bookish good girl in real life and this album was largely an exercise in creative writing. Yet somehow she manages to come off as authentic and vulnerable on these songs. They’re well crafted, well sung, and form a cohesive album that’s enjoyable to listen to. They’re a little grungy, a little poppy, and a little bluesy. I can’t speak to the claims that it’s a response to Exile on Main Street by the Rolling Stones because I mostly avoid their music (though I know I’ll have to get to it at some point for this challenge), but it’s still an impressive debut album either way. 4/5 (probably a 4.5)

A really cool vibe with a mix of rock and 90s pop. I really liked it! This one’s going on my usual rotation. The Vibe: You’re a college kid who’s just trying to figure things out (and by things, I mean the opposite sex)

Liked it a lot, I love her vocals.

What a great musician.

Don’t know what I expected but it was much better than expected. Some deep cut gems in here that caught me on a day and got their hooks 🪝 n me.

Bummer Liz Phair kinda ended up being a poser because this is so good. I fucked with this hard back in 2021 so it was nice to revisit it with new ears.

Unexpected this one - it didn't pass consciousness in the UK. It's a really interesting album. Lo fi, but tuneful and engaging.

There’s a lot to love here. A remarkably impressive debut. Could listen to Mesmerizing on repeat.

Surprised by this album. Id like a few of her songs but she is a full amazing artists more than just a few hits. This album is really good short and varied songs with really good lyrics. Im a new fan of Liz

Very pleasantly surprised by this one. I was aware of Liz Phair, but had only really heard her awful potty-mouthed-Avril-Lavigne attempt of the early 2000s, whatever the album was where she extols the virtues of using men's bodily fluids as moisturiser. Leaning pretty heavily into riot grrl sensibilities and having some pretty funny and biting lyrics while maintaining a sound that is both accessible and varied is a pretty neat balancing act. You can clearly hear its influences in 90s alt rock, 00s indie and beyond.

This is very lyrics forward, which usually isn’t my thing, but I was really digging it yesterday.

This is a pretty cool album, I see the vision. I can understand why people would love this, and while it isn't fully my thing I can 100% appreciate it. I'm tossing and turning on whether to give it a 3 or a 4, but I'll give it the benefit of the doubt with a 4

Statement piece for early 90's. Phair comes out in an honest way and delivers a indie sounding album about female experience in music.

4.5, great guitar tones, loved this one

Now this album was curious. I found the lyrics and a lost of the music itself entertaining. However, the vocals weren't great, but I still enjoyed them a bit regardless. I honestly don't know where to put this album. It feels like something I'd change my mind about in the future, but that is not a possibility on this website. Based on my somewhat mixed feelings, but general enjoyment, I will give it a generous 4 out of 5. And that's unheard of.

This had a really clear throughline to a lot of artists from the current day that I really like - people like Courtney Barnett or even Soccer Mommy. It feels very of a piece with very specifically 90s feminism - i.e. a slightly 'ladette' culture of empowerment, so I guess it's like Hole in that sense. Still, whatever, enough social history, is it good? Yes! It's really listenable, and I thought the lyrics had a lovely mix of vulnerability and confidence.

I'm of the female persuasion so a lot here spoke to me. I found the actual vocals a bit grating much of the time. Great but not pretty.

I'm at least familiar with Liz Phair, having heard her comeback album Soberish back in 2021. It was a decent experience from what I recall, but what we got here is her debut from when the hunger was fresh. From what I can gather, this album is framed with similar compositions and pacing to the Rolling Stones album Exile on Main St., which I unfortunately haven't listened to fully yet on this journey. Based on the songs I've heard off of Exile on Main St. thus far, there could be some merit to the comparisons. "6'1"" kicks the door down in the same way "Rocks Off" does, "Never Said" is as big and catchy of a single as "Tumbling Dice", and "Fuck and Run' does come off as a narrative flip of "Happy" where the woman is having trouble with finding a committed relationship. But I feel like there's more than just putting a spin on one of the Stones' classic albums. While it undoubtedly rocks, there's a lot more production techniques going on from the teamwork of Liz and Brad Wood that makes Guyville stand out, such as how the feedback of "Shatter" ebbs and flows in the background. Also lyrically, a lot of the content here is very transgressive, where Liz comes into a very male-centric scene with a lot of swagger in finding her place and exploring the various ways women have been taken advantage of in the past, with a bit of humor and wit thrown in. It's certainly commendable. I enjoyed this album a lot more than I expected. Guyville is one of those albums that is locked to a very feminist point of the early 90's, yet like other 90s classics this has stood the test of time. Check it out.

this is one i've been meaning to listen to for a while now. listening to this album, you can tell its dna has been passed on to many modern artists, particularly the women-driven indie rock of the last decade plus. it has a rawness that i think was unique for the time but has been emulated for decades at this point. from a standpoint of production, i did enjoy the slightly raw sound. i thought her lyrics were honest but i did feel like not all of the songs landed with me. that being said, there are a few on here that are fantastic, such as, 'never said' - which i think is an all-timer. all that being said, for me, this one is good, not great. i think with time, i can definitely grow to love it, but as it stands right now, it was not out of the park for me.

It was nice. At first I thought it was nothing remarkable (and it kinda is) but I liked it

If she hadn’t called herself the blowjob queen would pathetic sniggering white boy critics have cared? I think this is good though. And yes probably one of those albums you should hear.

Pretty damn catchy, and good songs. Can't complain

Very good!

I love this album. I love Liz Phair. I thought it would be hard for me to listen "objectively and with new ears". But it turns out I was able to do it. The songs that always hit hard, did again. And there are more than s few of them. But some if the songs I now hear as filler songs. Not great, maybe even just good. I would just skip them if listening on my own. They make the album too long and then by the end, I got a bit bored. I think maybe this album could be in just a slightly different order, and the boredom would be alleviated Still a wonderful album though

Creía que Exile In Guyville iban a ser hevilorros y resulta que son rock indieorros, y me gustan.

It's been over a decade since I listened to this album and I definitely like it a lot more now than I did over a decade ago. Feels fresher to me. Love the sound.

rebellious

This album is an excellent example of some of the challenges that come with the format of this project. I find myself over and over having a difficult time contextualizing the the records that we're listening to and as in everything, context matters. We hear these things out of context and then we're asked to rate them. Something feels not right about that. It's great to discover things that we've not heard before and it's great to go back and listen to things that we've heard numerous times and have forgotten about or dismissed on a certain level due to familiarity. But .... It's difficult to understand why these records were considered ground-breaking. We can't un-hear things while looking back. The way we hear about music has changed, the distribution channels have changed, the politics have changed and all of these issues matter when it comes to the reception of these creations put out by these artists. I remember when this record was released; the write-ups, the criticisms, the hoopla ..... Mentioning this record in the same breath as "Exile on Mainstreet" .... I'll admit, I scoffed heartily. I mean, that's one tight record; the playing, the writing, the production, it's all there. Who would dare? Well, Liz Phair did. Say what you will but that's a ballsy move and I gotta give it up for that. Additionally, in 1993 the sexual politics of this record (within the music biz) are so out front. Now, we take it for granted but then? So, I'm listening to this and I'm trying to keep this stuff in mind, admit to myself my built-in prejudices and assess fairly. There's some really good writing here, some really good songs. Sometimes it DOES remind me of "Exile on Mainstreet". There's also some of it that just doesn't hold up. There's some of her singing that I just can't get past. So, I ask myself, why do I give artists like Bill Callahan a pass on his singing but not Liz? She owns her voice just like he does and that's what matters; it's HERS, her art, like or not, here it is. I'm not sure I know the answer yet. Anyway, it's not perfect but 4 stars for owning it.

Pretty good no complaints

This was such a solid album, the singers got a wonderful voice that is supported by a solid tempo and great background guitar. Okay apparently this whole album is about fucking, her whole personality is lust and I kinda respect the shit out of that Favorite song: FLOWER JUST WOW Least favorite: none 4/5 so good, so underrated.

Neutral milk hotel meets velvet underground

Enjoyed her sound and the heavy guitar!

Great 90s guitar sound and very short songs with good hooklines! Liked it

Cool sound and guitar moves. It looks a bit raw, but that's what gives it life. Plus Liz has a very timbre to her vocals. A special plus for the fearless lyrics.

Awesome stuff. Had not listened to this whole album before. The 90s weren't so bad.

fantastic

Favourite tracks: 6'1; never said; girls girls girls; fuck and run; shatter; divorce song; explain it to me; johnny sunshine

Better than expected!

Finally an album I was glad to discover!

heldigt at jeg først hører denne som 35årig for hvis jeg havde hørt den for 15 år siden havde den nok været meget definitiv for mig...........

Yess, vild med den her specifikke genre af 90erindierock. Jeg synes hun har en fed stemme, i modsætning til andre kommentatorer her i gruppen!! Fuck and run, fuck and run, even when I was 17 😮 Fuck and run, fuck and run, even when I was 12 😱

This was sooo much better than I expected. Loved it. Almost a 5 star. Loved her voice and the instrumentals too. Well mixed album for sure.

Opzich wel goeie, dikke 4

It’s not like I’ve never heard of Liz Phair before, so why didn’t anyone tell me how good she actually is?

Prettt cool

This was bold and grand and good fun.

Great folky Punk vibe. Whyhyhyhyhy haven‘t I discovered this before?

3-4

One digs the melancholia and languor (plus the pluck and attitude generally). A few perfectly (if grittily) formed gems, but this one is more about mood and tone and vibe, on which dimensions it mostly excels. Def has a '90s feel and energy and one wonders how meaningful it might be to hip young women today compared to say Jenny Lewis or Courtney Barnett or the Boygenius ladies. Could it be that it remains slightly under teh radar, still? Rounding up only a bit for cultural influence and a certain cool factor and because one roots for underdogs, including confused young people of the '90s (because one can relate). One hopes that doesn't feel patronizing to LP.

good music

Maybe an influence to Sheryl Crow? I like the simple guitar and vocals well enough.

3.65

- These lyrics are so authentic and real - Love the soft rock sound - Guitar tone is super fun - High 4

No conocía a Liz Phair y estaba listo para hacer un chiste de que me gusta más Ric Flair (WOO!), pero me ha gustado bastante. Buen rock, buenas letras y buena voz: buen disco.

This was a nice album. i liked the vibes. Will listen to again

6'1'' Glory Never Said Divorce Song

fav songs: glory, dance of the seven veils, canary, flower, fuck and run, stratford on guy, ant in alaska i love female art.

A Woman's Grunge.

Horny 90s alt-grunge girl. Very strong songwriting, didn't add anything to the playlist but did enjoy it.

Creía que Exile In Guyville iban a ser hevilorros y resulta que son rock indieorros, y me gustan.

What a weird album. Making the wrong things work in a good way.

This is a great album. Liz has a great voice and a unique style - well, unique at the time. It's clear that a lot of other 90s bands stole from her bag of tricks.

I had heard of Liz Phair and heard some of her music before but this is my first full listen-through of one of her albums. It's excellent. I really like her style on all levels: as a composer, writer, and performer. I will have to listen to more of her work. It's really, really good.

Liz Phair, dearly beloved of mid 90s music press, but somehow passed me by. To my great regret, because I really enjoyed this

4.0

Olivia Rodrigo before Olivia Rodrigo

This was way better than expecting. I was figuring it would be a Alanis Morissette situation, but this is a bit more personal feeling than that! It's got an alt-rock vibe from the 90s that feels right on the edge of being mainstream and more lo-fi, and it makes it so while not every song song here is notable, a lot of it is at least interesting, and usually pretty good at that. It's at the very least way better than the Rolling Stones album this is riffing on.

Fun indie rock, I liked it :)

This was an album I loved the first time I heard it. It just has something, I don't even know how to describe it. The production is incredible and really lets her voice shine while keeping it well supported by the music. The lyrics are great and they feel accessible without being trite 4/5

The choice to use a clean electric guitar instead of an acoustic guitar on songs like Shatter is pivotal in how good this album is.

Another one that I actually really enjoyed way more than expected.

Didn't listen in the 90s, but yeah, very good deserves the plaudits. In the vein of Kristen Hersh and PJ. Initial standouts, Glory, Shatter.

This album ticks a lot of boxes, sounds way ahead of it’s time, hence clearly very influential on the bedroom pop we hear in the 2020’s, good concept themes, and a comparison to a Rolling Stones classic album. More than deserving of being on the list.

Very Lilith Fair

Good singer/songwriter album. Very 90s.

Some of the tunes on this album really don't seem that she's "into" the whole thing, but I guess that's part of her music. The message is really straightforward, though. Not as good as Whipsmart.

This had some really strong moments as an indie rock album and Phair's honest emotion is present throughout. Despite me not loving her voice, the guitar work and creativity meant there weren't really any low points. Standouts are "Never Said" and "Mesmerizing".

At first I thought it sucked but I’m actually liking it a lot. Like I want to listen to this album more than once. Glory made me give this album a closer look. Since then it’s been really good.

I hate to admit that I don't like many female singers. But I liked Liz. She's not a great singer, but her lyrics are dirty and raw and not lovely dovey shit.

Some very catchy songs! Some weren't my cup of tea

Own on Vinyl

A quiet minimalist indie album, this album would be highly influential on contemporary and modern female artists, most notably Alanis Morissette, whose waves of influence would touch dozens of female pop and rock artists. I could definitely hear "Flower" in artists like Le Tigre and Snail Mail. It's a melodic and accessible album, and despite being almost an hour long, it doesn't feel like it drags on too much, with only a few weak tracks near the end (most forgettable being "Gusher"). Fortunately, only 3 of the 18 tracks go longer than 3.5 minutes, so you get a diverse taste of what she has to offer. She has some great hits "Fuck and Run", "6"1'", "Divorce Song", and "Never Said" which are pretty tame yet catchy. Nothing is ever harsh or loud but still has a rocking sound to it. Many of the songs have a lovely atmospheric sound, don't know what that guitar strumming effect is called, but you can hear it in "Girls! Girls! Girls!" and "Canary" which has such a minimalist sound that incorporates some distortion and melts in the background. Sometimes it got excessive, like how "Shatter" went on for 5.5 minutes.

It took me a few listens to get into this but, revisiting today, it was just a lot of fun. Grungy bangers to haunting piano-led pieces to canon-esque risqueness

I wonder what Liz Phair was thinking when she unleashed this onto the world. Maybe not much, maybe nothing at all but what was plain to see is that Exile on Guyville set such a trail that it became impossible for Liz to not only follow up but to full live up to. What is seemingly a brash, in your face concotion just so happened to combine with a more somber, thought approach to relationships and the status quo in regards to those relationships and it is that connection that manages to seduce and mesmerize those who have come across its path in the ensuing three decades. Exile on Guyville has become monolithic in its stature and it is unsurprising that it has become Liz's sole source of awe and admiration, regardless of the records that have come in its wake, whether better or worse. All the praise that has come in the last several years was worth it. Favorites: 6'1, Help Me Mary, Never Said, Soap Star Joe, Canary, Mesmerizing, Fuck and Run, Girls! Girls! Girls!, Divorce Song, Shatter, Flower, Johnny Sunshine, Gunshy, Stratford-On-Guy.

this album give me chill vibes and i really liked it. tracks added: 6 fav track: johnny sunshine 7.5/10

Well balanced. I feel like the album wasn't trying to be pretentious but amounted to quite a lot. Relatively quiet, but otherwise I liked it. Favorite songs: Glory, Soap Star Joe, Mesmerizing.

Mid album and i remember someone.

Deze heb ik op lp. Staat niet vaak op, maar verdiend de sterren.

Great

I enjoyed this I like 90s alt rock

I like quite a few songs on this album - usually the ones with a upbeat, indie-rock feel. 6'1" is a great opener and Help Me Mary is also good. Never Said is another track that works well for me and Mesmerizing is my favourite on the album. The other less straight ahead and more "arty" tunes are often quite successful and worthy of close inspection. There's no doubting the talent on display here the level of songwriting is quite remarkable for a debut album as is the sheer breadth of ideas and sound stylings, how much of that is Miss Phair and how much the expert prouction is up for debate howeverthat's besides the point as each listen reveals new layers of depth. I never really listened much to this album when I first explored it, but this time I'm on my 3rd consecutive listen through and the reasons for its high acclaim are being revealed. 4 stars

Brings me back. Simple, raw, confessionary, in your face. Influential.

Cute but not groundbreaking

A really like the ideas and style here and it feels like a bunch of demos to me. This isn't a bad thing at all though and I think a lot of other artists could benefit from dialing the production back but I feel like this is lacking some oomph for me. The songs I liked the most were "Fuck and Run", "6'1"", and "Shatter". Personal Enjoyment - 8 Songwriting - 8 Lyrics - 8 Originality - 7 Production Value - 9 Artwork - 10 Overall - 8.1

I've heard a lot about this album, and honestly it's probably a victim of my expectations for it. It was solid, and I listened to it twice to ensure I was giving it a fair shake, but it felt kind of wanting for more heft. I have a feeling the more I listen to it, the more I'll come around on it, but it's not quite a 5 for me yet. Standouts: 6'1", Help Me Mary, Never Said, Fuck and Run, Flower

Cracking album, full of sass and sex... a great find!

Alanis type beat, a bit rougher around the edges but that's the early 90s

Just sat back and enjoyed this with a cold beer. It was pretty good.

I like this album. Not super relistenable, but I’ve tried to get into this album before but it was nice to finally have the incentive to finish it. Solid all around

I loved Glory I loved Divorce Song and Never Said The album is prime 90s angst

Excellent debut album. Raw and unpolished but still catchy and listenable. I’m not sure whether Liz Phair has done better in her career than this album. 4 stars.

Really good album. Definitely can feel how personal it is to her. I feel as if I would understand more if I were a woman.

Bold and catchy. Love the guitars and the vocals. Good songwriting.

Pretty chill vibes. Nice for rainy days

Not bad. Pretty gutsy and gritty. Better than I thought it would be.

Surprisingly, I enjoyed this album quite a bit. I don't think I would listen to it regularly but I'm happy with what I heard. I really like the sound of her voice, and the 90s female punk/grunge sound that it brings. While listening to "Never Said" I started humming to myself Sly and the Family Stone "Everyday People" and it fit the music perfectly. Overall pretty good.

8/10 pretty solid, a tad annoying, but also pretty cool and I dig the satirical aspects

I’m sure I would get more out of this if I took the time to listen to it head-to-head with the Stones. Someday.

I’ve never heard any of her music before, but can see how it would be influential and resonate back in the early 90s.

ragged, punky, eerie, fresh. this is a punk rock album from the 90s that still feels like a fresh take on the grungy feminist anthem. its simple guitar chords, fuzzy machinations and flat, rumbling vocals make for a compelling listen. it still has immediacy. it still belongs. glad its on the list. i likey very good like. get exiled peoples.

Extremely powerful debut which draws you in with its indie hooks and lo-fi production. The whole thing could easily have been 5-6 tracks shorter and benefitted from the reduced runtime, but the length also allows Phair to showcase a wide variety of song structures. The album takes a bit getting used to, but by the time the stripped down 'Dance of the Seven Veils' comes on, I start to get it. Highlight of the album for me: the groovy 'Mesmerizing' leading into the monster of a track; 'Fuck and Run'. What an extremely catchy and gritty track. This song has been living rent free in my mind for several years now since the first time I heard it.

I love this, beautiful esthetic, the voice the songwriting the production, chefs kiss. I would just say overall the album isn’t incredibly cohesive and some songs are very clearly better than others

A very raw album about a girl and her insecurities. There is no specific song that stands out but the album as a whole is very good and meaningful.

I'm trying to listen to most albums through a retrospective lens at the same time as I try to imagine how the music would have sounded when it was released. The matter part is really hard, but I think it's pretty safe to say that not many women at the time were doing what Liz Phair did on her debut album. Sonically it's not always my cup of tea, but the lyrics and the vision make up for it. I'm not surprised if many modern acts of female oriented indie pop and rock are influenced by Phair.

i thought i wasn’t going to like this anymore but even though it’s completely satanic she’s a real talent

Very good indded - even on first listen.

This is new to me and I enjoyed it much more than I thought I would. Reminded me a bit of L7 who I loved back in the day. Yes, her voice isn't the best and that comes out more on slower tracks, but it's unique. Would listen again.

Stunned to hear this came out in 1993, and I don't think I've ever heard it - it's way ahead of it's time, I'd guessed it was from the mid 2000s, though in retrospect that's probably from the resurgence of this sound then. Anyway, this is full of light and shade, heartfelt lyrics, and an assured voice.

Apparently this is a long sex album… The album opens with 6’1” it’s a good enough song other than the fact that it’s a warning shot for all the sex in the rest of the album it’s not very unique though. Help me Mary is good much of the same thing as the first sonic but works well as song 2. Glory is a really short acoustic track it’s okay just useless. Dance with the seven veils is a good acoustic song, it’s odd that the only thing I was surprised by was her saying the c-word though. Never said has a bit of a repetitive chorus but it’s still done well and it’s the only single from the whole album, which makes sense as the others are probably way too dirty. Soap star joe is solid, great lyrics (for this album). Explain it to me is okay but with all of the other pretty good acoustic songs on the album this is just meh. Canary sounds special and very tender not a song that I would personally listen too without an album but still good ( like songbird by fleetwood mac). Mesmerising is a solid banger, I love the build up at the start and the vocal distortion that occurs. Fuck and run is also decent ( chorus is a little disturbing though). The guitar is really cool in Girls! Girls! Girls! it’s lyrics are a bit meh. Divorce song is a banger lyrics are great, guitars good too! Shatter is a banger it takes its time but it’s all worth it, probably the best song so far once the intro is gone! Flower is wired, not a favourite tough it’s actually quite an unsatisfying listen. Johnny sunshine is decent it starts off as like a trucker song all loud and aggressive then goes full on tender. Great! Gunshy is a bit too obvious lyrically but the guitar in the chorus is cool. Stratford- on- guy is solid I guess in the grand scheme of the album it’s forgettable but still nice. Finally I’am at the last song strange loop it’s really solid that instrumental is just the way I wanted the album to end! After listening I decided to make a shortened track list of the album ( which would’ve given it a 5): 6’1” Never said Soap star joe Girls! Girls! Girls! Dance with the seven veils Canary Mesmerising Fuck and run Divorce song Johnny sunshine Shatter Strange loop

Creía que Exile In Guyville iban a ser hevilorros y resulta que son rock indieorros, y me gustan.

Extremely surprised by this album. Probably my favourite one so far. Liz Phair gave heavy Fiona Apple vibes and I love it. Production is smooth and wonderful, vocals are gorgeous, melodies are beautiful. Favourite songs are 6'1", Glory, Never Said, Fuck and Run (fav), Girls! Girls! Girls!, Divorce Song (fav), Shatter (fav), and Gunshy (fav). Really want to check out more of her stuff.

Lo-fi charm.

Liz is an under-rated gem who is too often forgotten.

Quirky 90s indie rock. Overall not too bad, but the instrumentation is a little sparse; I'd have liked to have heard bigger production and more distortion. a pretty good album though

Rock indie. Interesante

Love Liz but haven't spent much time with this album. I didn't really get into it as much as Whitechocolatespaceegg but still keen to dig in.

Solid 4 for lyricism

Finger pointin' relationship songs, played in a stripped back indie rock way. Just great. Best Tracks: 6'1; Fuck and Run; Divorce Song

I liked this, but didn't love it. I feel like it sorta grew on me over two listens, however, and think I'd like it more on future listens. It reminds me Breeders or something to that effect. 3.75/5. rounding up to 4/5

Musically, this is interesting, being a sassy mixture of up-tempo guitar based alternative pop/rock and mellow(ish) acoustic folk-rock. Her muttering vocal style sounds better on the mellower acoustic numbers like the short 'Glory', bluesy 'Soap Star Joe', folky 'Explain It To Me', experimental/avant-garde on 'Canary' and personal on ''Shatter'. To begin with I wasn't sure, at times her offhand delivery makes her sound a little off key (like the line "I wanna boyfriend" on 'Fuck and Run') but it's quite an arty & personal alternative styled album. My emotions ranged from finding her annoying early on to feeling a little sorry for her towards the end. Probably a few too many songs though.

Enjoyed this very much, had never heard of her before. Great lyrics and a groovy sound will defo check her work out.

Grungey 90s songwriter, low key pretty good

My first impression listening to track 1 is that the sound is quirky & fresh (even 30 years later) and she's clever, in a good way, and a bit angry maybe. The only song I was familiar with was The Divorce Song which had blunt, personal lyrics that really capture a relationship gone sour. For me, she could be a bit less explicit. I’m sure I've ranted on this before (maybe for rap albums?) but I think that great lyricists don’t need obscenity to catch your attention. I mean, Fuck & Run is a good song but does it get so many more plays because it's that much better than others or is it the title? She uses sex to sell herself, as this and a few of her other LP covers show, but it's with tongue planted in cheek.

most excellent.

I like this one a lot actually. I can influence she's had on the sort of bedroom rock vibe. She definitely has had influence on like Soccer mommy, Japanese breakfast, phoebe bridgers, and maybe Kacey Musgraves in a weird off way. I think it's good. And it's response to exile on main street which I got recomennded just the other day, that's super neat I gotta say. I liked this more though lol.

I kept listening to half of this, then getting sidetracked and coming back to it a week later. Happily, it kept growing on me each time. It's got raw punk-leaning rock moments, bluesy americana vibes, and vulnerable emotional stuff, all mixed into an indie rock package (but back before indie sucked). Name your favourite 1990s alt-rock album and this is probably better! I like her voice and songwriting quite a lot. It's fun and self-aware but genuine. 4.5*

I actually really liked a fair amount of this album. Think I would like it more if it was shorter. Solid 3.5.

Liked it, feels empowering

Brave to make this, brave to publish it, and wonderfully strange that such raw unpolished girl power was wildly successful. It’s rather inconsistent, but the good tracks are just phenomenal. 6’1”, Dance of the 7 Veils, Explain it to Me, Divorce Song, Flower, and Gunshy for me.

This was pretty cool but not much stuck out for me

Liked it!

compelling lyrics

I like Liz Phair. Makes me feel nostalgic. Wasn't a huge fan back in the day but had many friends who were.

I got into this a year or so after it came out and just loved it a lot, and still give it the occasional listen. Decades after the fact I still think it's very good. The signing is not terribly strong, though in that it's a class in playing to your strengths. And despite being very much a young person's product the lyrics still hold up. Certainly still a landmark of a certain facet of the 90s indie sound.

4.0 + This album wins because it’s honest. Liz Phair can’t sing or really play guitar. All she can be is herself and that’s what I hear on this record.

Good one! I dig her voice and the music - somehow both relaxing and uncomfortable at the same time. Will listen again.

Great lyrics. Edgy. Enjoyable sound. "Flower" is a great song.

o woman you

I expected some pre-packaged 2000’s trash pop. Instead I got a moody, thoughtful singer-songwriter gem that I would never have found without this website. It took forever to figure this out, she sounds like Johnny Cash Does Indie Grunge. Shatter is amazing. The guitar sounds like The Durutti Column (i.e. haunting, eerie, heartfelt). Divorce song was an enthralling listen, as was Stratford-On-Guy. I did not expect to give this album more than 3 stars, but it is a very strong 4!

Sounds like Courtney Barnett, or more she sounds like her.

she hits an emotional chord like few others do with her lyrics. My natural cynicism is now compounded by emotions.

Brilliant confessional singer-songwriting, this consistently engaging album is witty, caustic and unabashed.

I was surprised I liked it alot

Great guitar riffs and a “fuck you” attitude throughout the whole album

4.5

Good storyteller. She could be strong and vulnerable simultaneously eg. Fuck and Run and Shatter. Was also intrigued by the edginess/unique production of Flower.

Love it

Never listened to Liz Phair. Love her style. very Good album.

no

Felt real sad but sounded great. 8

never heard of Liz Phair, but this was fun. Like.... an indie Alanis Morrisette

Really good. Not something you listened to song by song or very often.

7/10. Maybe deserved an 8 as it was definitely quite good, but it did get a bit samey listening to the whole thing, and it's not really my style.

Pues cómo que sí fue underwhelming. No sé que esperaba exactamente pero igual... Me gustó Help Me Mary suena super super años 90. Mood: rockero, peo no lo suficiente

A special record, to dive in and explore on subsequent listenings. Very 90s. Very good.

Creo que nunca había escuchado a Liz Phair y muy agradable. Se puede distinguir ahora ese sonido noventero y a ratos me sonaba como un mashup de The Cranberries con un poco de PJ, algo de Fiona, hasta me cuestioné si existe una categoría llamada "rock de mujeres" así como hay "escritura de mujeres" (según). Varios moods, todo a su punto, ya fuera algo más ligero o divertidón. Canciones fav: "6'1''", "Never Said", "Explain It To Me" y "Fuck and Run". 8.5/10

No sé cómo descubrí este disco en su momento, pero me gustó mucho. Además el título, la portada, las canciones tienen un hilo conductor con un mensaje bastante claro e interesante. Canciones como Help Me Mary, Mesmerizing, Fuck And Run o Johnny Sunshine. Un gran disco que merece la pena escuchar.

Swagger and confidence.

Lots of good songs.

Each of these songs are fine mellow little songs in their own right, but I really did not 75 minutes of it. Give me one song every once in a while instead of all of them at once

It's a very interesting album in it's writing and themes, but the performances for most of the record are really grating.

Not exactly what I gravitate towards but the album does touch on certain double standards and woman’s issues which was quite eye opening

I need to spend more time with Liz Phair because I think her stars would rise, but she hasn’t really grabbed me yet. I like her vibes and style but she leaves me wanting something more. I’m not sure what.

As a debut album this is pretty tight. The attitude and message is the core of what helps this have some sticking power. Cool album. I don't think I got from what it what some people find but it was worth hearing.

A good example of the pop rock sound of the time. I was not familiar with this, but if it had caught me in the 1990s it might of had more of an impact on me. Great track lengths.

A troubadour for the grunge era. There's not a lot to dislike, but there's not a lot to really like either. 3*

Felt like a teenage girl’s diary. There are parts that are pretty good. It’s got that edginess that I like, but it’s just the lack of other instruments to me that make it sound very narrow. No fault of the artist really as it’s more of a stylistic choice.

not much of a singer. lyrics writing is decent but instrumentals are very nothing.

So back in the 90's we had coffee shops owned by people, not corporations, and they would play all kinds of music but would tend to be acoustic guitar, singer songwriter types usually with meaningful lyrics. It was because the folks working there tended to be college age, and listened to alternative radio. Music there was not radio pop. Also in the late 80's early 90's there was a movement against pop radio and corporate owned media that exploded when kids discovered Nirvana on Mtv. Yeah. We saw the irony of this as well. Enter Liz. She wasn't the first to do this, wasn't the last by a long shot. She proved to a lot of people that you didn't have to be a pop princess to sell a lot of albums. It grabbed the attention of a lot of us and we all bought the album. It's a good touchpoint album for the time. A lot of the lyrics still hold true sadly. It's one of those albums that makes me wish the list was in chronological order. You could see how culture moved over time via music. Not sure how well this would be received now. I'd be interested in seeing the younger generation listen to this one.

3.5

She has an interesting voice and is an interesting voice….. by not way is she a technically gifted singer but there’s a grit and energy that captures you. Her voice is a genuine vehicle for her songs…. And the songs well they are bare and exposed. Almost aggressively emotionally transparent. The stripped back lunatic suits the emotional honesty. There’s nowhere to escape the words

weird

Not bad! 3.5/5

Didn’t listen to this again. Ex girlfriend was obsessed with Liz Phair. It’s a good album, yes. But I’ve heard it sooooo many times in my life

There's a bunch of divorced dad rock on this list but this is my first instance of divorced mom rock!! Wild. Honestly not bad. Love the unabashed feminism that shines through each track - this feels like an album that influenced many after it. My biggest hangup is that at times it feels like this weird mix of melodic spoken word, which isn't my favorite. I can understand why this made the list. Highlights: Shatter, Johnny Sunshine

Some songs are really good, others are fine. The album as a whole gets boring at times. I think the best songs elevate the album, though.

It's funny: I've heard songs from this album, but never connected them to her 2003 album (not that I heard anything besides the singles from that one either). I wouldn't have expected them to be the same artist, but I haven't paid enough attention before to notice. It's an interesting evolution. This album hits more squarely for me, with its clear early 90s sound.

a solid 3.5 liked the vibes

No. 217 At first it was nothing special to me but it kind of grew on me.

I think of Alanis Morissette when I hear this. Maybe it's familiarity bias, but I prefer Alanis.

⭐️⭐️⭐️ maybe ⭐️⭐️1/2 I actually didn’t mind this record, but didn’t find too much that I think I’ll come back to or that’ll get stuck in my head. I’d have guessed this was newer than 1993 as well. Maybe I’ll revisit it with time, but that just means I’ll have less time to revisit others like Getz / Gilberto.

3/5 when the whole band plays w her they’re good songs

best thing about this Liz Phair album is you can see her nipple on the cover

it's like an old-school less-interesting version of Courtney Barnett.

Starts strong and then just meanders off and honestly I couldn't wait for it to end. No doubt hugely influential, you could draw a line from songs like Fuck and Run to lo-fi emo/punk bands like mom jeans or the front bottoms and alt female bands like best coast, but there are just way too many songs and not many of them are that good

It was ok, not bad but not great.