It's been a while since I've had an album really hit me, but I've got a current favorite right now (not to be confused with my all-time favorite, London Calling). This one requires a bit of getting in touch with your feminine side, but once you do. Damn, it's good. I actually didn't like Exile in Guyville on my first listen, but I caught onto a couple of songs and gave it a second chance and I'm hooked. If this thread gains steam, I'll go ahead and embed videos for all of the tracks.
Anyone else itching for some Liz Phair, the Queen of indie rock? Here are a few vids.DISCLAIMER! SOME LYRICS ARE VERY EXPLICIT, ESPECIALLY ON FLOWER - LISTEN AT YOUR OWN RISK!.: Divorce Song F.k and Run Never Said Flower.
What is PJ Harvey's best album? Tough call and perhaps a loaded question. 'To Bring You My Love' is probably the most successful album that Polly Jean released and it's definitely outstanding.
A lot of music critics would probably point you toward 'Rid of Me.' I've always really had a soft spot for the debut album, 'Dry.' More recently, as in within the past decade, 'Stories From The City, Stories From The Sea' would be highly recommended as well. Honestly, I don't know of any PJ Harvey album that would disappoint. They are all very strong with 'Is This Desire?' Probably being the weakest.
Two of my favorite songs, off of the top of my head, would probably be 'Sheela-Na-Gig' and 'Naked Cousin.' If you're not familiar with PJ Harvey, at least check those two out. Tough call and perhaps a loaded question. 'To Bring You My Love' is probably the most successful album that Polly Jean released and it's definitely outstanding. A lot of music critics would probably point you toward 'Rid of Me.'
I've always really had a soft spot for the debut album, 'Dry.' More recently, as in within the past decade, 'Stories From The City, Stories From The Sea' would be highly recommended as well. Honestly, I don't know of any PJ Harvey album that would disappoint. They are all very strong with 'Is This Desire?' Probably being the weakest. Two of my favorite songs, off of the top of my head, would probably be 'Sheela-Na-Gig' and 'Naked Cousin.'
If you're not familiar with PJ Harvey, at least check those two out. I remember a few of her videos from back in the day. I'll keep an eye out for her discs the next time I'm in the library (interestingly enough the library was where I was first exposed to Liz Phair). I'll rephrase the question to make it a little less loaded.
What album would you recommend for a beginner? I suppose either the most accessible yet artistically pure album would be best here. Or to comment. ©2013 HARMONIX MUSIC SYSTEMS, INC. ALL RIGHTS RESERVED.
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Contents. Background In the summer of 1991, Phair wrote and recorded songs on audio cassette tapes, which she circulated using the moniker, in. Initially, she sent out only two tapes, one to Tae Won Yu from the band, and the other to. The recipients of the Girly-Sound tapes circulated copies with other early fans. John Henderson, owner of the Chicago indie label Feel Good All Over, heard the tapes and contacted Phair. Soon she moved into his apartment and started playing her songs to him.
Henderson brought in producer to help develop the 4-track demos into full songs. Originally, Phair's recordings were supposed to come out on Henderson's label. However, the whole process was made difficult by the fact that he and Phair had opposite ideas regarding what direction to take in terms of sound.
Henderson preferred a stripped-down but precise sound, possibly with outside musicians, while Phair wanted a fuller sound. Phair has stated, 'We both wanted something for me. He was projecting onto me what he wanted my music to come out like, which was wrong. So I blew him off.' Eventually, Henderson stopped showing up at the studio, which made Phair move out of his apartment and start working exclusively with Brad Wood on what would become Exile in Guyville.
Eventually, a Girly-Sound tape had made it to the head of Matador Records. Despite the outcome of the recording sessions, Henderson tipped off Brad Wood that was interested in Phair. When Matador was contacted by Phair in 1992, they signed her., co-president of Matador, stated that 'We usually don't sign people we haven't met, or heard other records by, or seen as performers. But I had a hunch, and I called her back and said okay.' Recording After the early sessions with John Henderson, Liz Phair started working with producer Brad Wood at Idful Studios, in 1992. Wood stated, 'We did two or three evenings of recording just for fun where we tried to discover something. We recorded 'Fuck and Run,' and that's when I realized we were on to something.
This really spare beat: just guitar, drums and vocals. It was right: simple, driving, direct and blunt. It had so much exuberance.' These sessions were thereby very different from the recording sessions with John Henderson. Eventually, engineer Casey Rice joined Idful and started working with Phair and Wood as she had no band of her own. Initially, there were many time constraints because Phair had moved into her parents' house which was far from the studio, and Wood had to manage his time between his work at the studio and his work as a janitor.
However, when Phair signed to Matador, she sublet an apartment close to the studio, which simplified the process. Regarding the recording process, Casey Rice stated, 'We basically all sat around and thought about how to make the guitar and vocals versions of the songs into what we thought would be better ones. Listen to her four track versions of the tunes, and try to come up with ways of doing them as a 'band'. I do recall there being no lack of candor and if someone wanted to do something, we tried it. If it sucked, no one would hesitate to say so if they believed it.' Problems playing this file?
Brad Wood provided a different recording approach, structuring the drum patterns and bass lines around Phair's vocal phrases and guitar riffs, instead of recording the rhythm section first and then layering the guitars and vocals on top. Phair has commented, 'It was fun. Actually we just played our parts separately. I laid down the guitar, and then I would just tell them what kind of song it would be and what kinds of instruments we needed to do. And then they would go in there and figure out a part and then do it. It was more like collage work than really playing with a band.' 'Johnny Sunshine' was one of the first songs recorded in 1992 that eventually made the record.
The songs 'Fuck and Run', ' (as 'Clean'), 'Girls! , 'Flower', 'Johnny Sunshine', 'Divorce Song', 'Soap Star Joe', 'Shatter', and 'Stratford-on-Guy' (as 'Bomb') all originated from a set of home recordings by Phair under the moniker, and were re-recorded for the album. Packaging Phair was also responsible for a great part of the artwork design. Originally, the was largely collage based and involved 'a fat lady in a pool'.
In 2008, Phair stated it was originally 'an orgy of floating in a pool', a concept that Matador rejected, stating that such artwork wouldn't sell. The final cover design is a photo of Liz topless in a, taken and cropped by of Urge Overkill.
The interior artwork is based on that of Lopez Tejera's 1952 album 'The Joys and Sorrows of Andalusia'. The booklet also features a collage of several Polaroid photos of Phair, Wood, Rice (and various other people), with a paraphrase from lines from the movie. Meaning The term Guyville comes from a song of the same name. Liz Phair has explained the concept of the album, saying 'For me, Guyville is a concept that combines the smalltown mentality of a 500-person Knawbone, KY-type town with the Wicker Park indie music scene in Chicago, plus the isolation of every place I've lived in, from Cincinnati to Winnetka. All the guys have short, cropped hair, John Lennon glasses, flannel shirts, unpretentiously worn, not as a grunge statement.
It was a state of mind and/or neighborhood that I was living in. Guyville, because it was definitely their sensibilities that held the aesthetic. (.) This kind of guy mentality, you know, where men are men and women are learning. (Guyville guys) always dominated the stereo like it was their music. They'd talk about it, and I would just sit on the sidelines.'
Phair has also stated that most songs on the album were not about her. She commented, 'That stuff didn't happen to me, and that's what made writing it interesting. I wasn't connecting with my friends. I wasn't connecting with relationships. I was in love with people who couldn't care less about me. I was yearning to be part of a scene. I was in a posing kind of mode, yearning to have things happen for me that weren't happening.
So I wanted to make it seem real and convincing. I wrote the whole album for a couple people to see and know me.' Phair commented in interviews that the album was a song-by-song reply to ' 1972 album Some critics contend that the album is not a clear or obvious song-by-song response, although Phair sequenced her compositions in an attempt to match the songlist and pacing of the Rolling Stones album. Reception Professional ratings Review scores Source Rating A A 10/10 The resulting album was released in 1993, receiving widespread critical acclaim.
It was the number one album in the year-end critics poll in and the critics poll. Exile in Guyville was also a mild commercial success. The videos for 'Never Said' and 'Stratford-On-Guy' received airplay on. By the spring of 1994, it had sold over 200,000 units, peaking at #196 on the and was Matador's most successful release so far. In 1998, it was certified gold by the. Phair reacted to the reception of Guyville, saying 'I don't really get what happened with Guyville.
It was so normal, from my side of things. It was nothing remarkable, other than the fact that I'd completed a big project, but I'd done that before. Being emotionally forthright was the most radical thing I did. And that was taken to mean something bigger in terms of women's roles in society and women's roles in music. I just wanted people who thought I was not worth talking to, to listen to me.'
The sudden success of the album also generated a somewhat negative response from the local Chicago indie music scene. Liz commented, 'It's odd.
Guyville was such a part of indie. But at the same time.
I was kind of at war with indie when I made that record.' Another problem that arose from her success was also dealing with her. Despite this, the album inspired a number of imitators, and the sound and emotional honesty of Phair's lyrics were frequently cited by critics as outstanding qualities.
James Nicholas Staskouskas
It frequently appears on many critics' best-of lists. It was ranked 15 in '100 Greatest Albums, 1985-2005'. Named Exile in Guyville the 96th Greatest Album Of All-Time. In 2003, the album was ranked number 328 on 's list of. The album moved one spot up in its 2012 revised list. In 1999, rated Exile in Guyville as the fifth best album of the 1990s. However, in its 2003 revision of the list, it moved to number 30.
15th Anniversary Reissue 2008 On March 31, 2008, announced that Phair had signed a new deal with and that her first release for the label would be a special 15th Anniversary reissue of Exile in Guyville, featuring three bonus tracks from the original Guyville recording sessions and an accompanying about the album's creation. The album, which was out of print, was again available on CD, vinyl and, for the first time, in digital format. The reissue package includes three previously unreleased songs from the original recording sessions: 'Ant in Alaska', 'Say You', and an untitled instrumental with Phair on guitar (commonly known as 'Standing'). A recording of Phair's version of 'Wild Thing' (based on the melody of song) was planned for inclusion, but dropped at the last moment; the song was later included on the 'Girlysound' disc of Phair's ' album. Guyville Redux features Phair and all the people involved with the album, recounting its making and describing the male-dominated, Chicago indie music scene of the early 1990s. Phair interviews, among others, Gerard Cosloy and Chris Lombardi of Matador Records, indie producer, of the program, John Henderson, Brad Wood, (who founded the Chicago avant-garde theater group New Crime Productions) and. The reissue was released on June 24, 2008 in the and on August 25, 2008 in the.
25th Anniversary Reissue 2018 On March 15, 2018, Phair revealed that her former label Matador Records will be reissuing the album in celebration of its 25th anniversary. The reissue also includes CD and vinyl pressings of her famed Girly-Sound tapes recorded circa 1991; this marks the first time that the full set of demos will become available for official purchase. In addition to CD and vinyl pressings, the demos will be released on cassette tapes replicating the appearance of the originals.
These remasters were released on May 4, 2018 with the reissue of the album. Track listing All tracks written by Liz Phair. Title Length 1. '6′1″ ' 3:05 2.
'Help Me Mary' 2:16 3. 'Glory' 1:29 4. 'Dance of the Seven Veils' 2:29 5. 'Soap Star Joe' 2:44 7. 'Explain It to Me' 3:11 8.
'Canary' 3:19 9. 'Mesmerizing' 3:55 10.
Liz Phair Tour
'Fuck and Run' 3:07 11. 'Divorce Song' 3:20 13. 'Shatter' 5:28 14. 'Johnny Sunshine' 3:27 16.
'Gunshy' 3:15 17. 'Stratford-on-Guy' 2:59 18. 'Strange Loop' 3:57 Total length: Reissue No.
Title Writer(s) Length 19. 'Ant in Alaska' (previously unreleased) 5:48 20. 'Say You' (Lynn Taitt and The Jets cover, previously unreleased) 3:25 21. 'Instrumental' (previously unreleased) 3:29 2008 Reissue Advance Promo No. Title Writer(s) Length 21.
'Wild Thing' (previously unreleased) Phair, 2:08 22. Bill Wyman.
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Exile In Guyville Liz
(June 4, 2008). Archived from on June 15, 2008. Retrieved April 27, 2016. (September 5, 1993). Retrieved April 27, 2016.
(Subscription required ( help)). Christgau's Consumer Guide: Albums of the '90s. Retrieved April 27, 2016.
(June 4, 1993). Retrieved April 27, 2016. (August 1, 1993). Retrieved April 27, 2016.
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