I don’t believe in “Heaven,” if what you mean by that is the whole St. Peter–pearly gates–throne of God–angels and harps and togas scenario.
But it would be cool if everyone ascended to their ideal place after they died — a genuine Good Place filled with whatever activities and people and locations they had found most pleasant and fulfilling in life. I’m thinking about this as Liz Phair greets me with a hug on a perfect blood-warm spring day high in the hills above Los Angeles. She smells like pinon incense and honey and she looks like a tiny, blue-eyed angel. Did I die? Whatever; here I am!
Liz Phair Tour
Phair, whose lyrics and music have been like scripture for me since I was 12, whose life and talent and career obsess me like no one else’s, is going to spend this whole day hanging out with me at the Getty museum, which in and of itself seems heavenly due to all the cream-colored marble and its panoramic perch high above the city. Then we’re going to eat several perfect salads at some airy sunlit rich-person L.A. lunch restaurant and a French chauffeur is going to drive us around, past manicured palms and Michael Jackson’s old house and the Playboy mansion. The only out-of-place detail in this me-specific eternal paradise is that I’m seven months pregnant and sort of waddling around and I always have to pee, but in L.A. there’s always a comfortable nice bathroom nearby and you never have to walk very far.
The museum currently hosts an exhibit about ancient Egypt, which fascinates Phair, though history fascinates her in general: She’s always scrutinizing art from other times and places and looking for the women. This is what she tries to do with her albums, too, she tells me. “In my mind, I’m making historical documents. I’m doing these things to log on to history, like, ‘A woman lived in this time, and this is what it was like for her back then,’ ” she says. Phair flits through the gallery like a hummingbird, all flowing hair and floaty boho-chic maxidress. We have fun assessing the statues’ attractiveness; one reminds her of an Egyptian Channing Tatum (stupid-looking in a hot way). A multi-chinned fellow reminds us both of Rob Kardashian. Then we come to the prettiest statue we’ve yet seen, of a boy who died in his prime, a young companion of Emperor Hadrian who, the legend on his vitrine says, was “posthumously honored with a cult.”
“That sounds good. Where’s my cult?” Phair jokes.
Of course, she sort of already has one: a group of faithful who’ve been haunting message boards and collecting B-sides and rarities since the 1990s, venerating their goddess even through career transitions that have flummoxed less-fervent devotees. Phair’s current project caters to those loyalists. A new boxed set titled Girly-Sound to Guyville is the first commercial release of the three bedroom-recorded tapes that first introduced the world to Phair; it includes a brief oral history of the tapes’ secretive creation and quasi-accidental initial release. It also has a simple, poetic essay by Phair about what a typical day of her life was like back in 1991, when she was 25: living in Chicago’s Wicker Park and hanging out in that very macho music scene. It was there that she began to transform these bedroom demos into what would be her debut album, Exile in Guyville—an influential record whose success has defined her career ever since, making her, forever and unimpeachably, a rock star.
From the beginning, Phair was ambivalent about her fame; she initially shared the tapes not to book gigs or launch a career but to convince a select group of mostly male friends that she was “serious.” When I ask if she cared whether anyone ever heard them, she tells me, “I cared, but my ambition wasn’t that wide. I needed certain people to see it. But no, honestly, in a weird way, I don’t have that gene … I have the need to be taken seriously.”
Though she played guitar and wrote songs from childhood on, she’d never considered herself a performer, and when she went to college, she studied visual art, not music. Many songs on the Girly-Sound tapes were composed on an unamplified electric guitar in a tiny Lower East Side apartment during a junior year spent away from Oberlin while interning in New York City for visual artist Nancy Spero. They sound so personal because Phair literally was trying to keep her roommates from hearing her record them in her bedroom. Paradoxically, they are lyrically bold, stadium-bombastic. Years before it was de rigueur for women to sing about sexual conquests and furious horniness, Phair sang, “I keep a close watch on this twat of mine / … and the condom on your dick’s the tie that binds.” There was a new kind of radical honesty there, too, not just braggadocio: “And we took off all our clothes / had a lot of sex and then fell asleep,” goes one verse of “In Love W/ Yself.”
The agonizing process of taking these songs out of the bedroom and into the recording studio for Exile in Guyville, and then out on tour, had a lasting effect on Phair. “I went from unemployed and super-avoiding-joining-society to being famous. Like famous-famous.” She is claustrophobic — carpools are a no-go, as are crowds and subways. And after her next album, Whip-Smart, failed to catch fire, she was ready to retreat, at least temporarily, into a life that was the complete opposite of the “adamantly free” one she’d described on Exile in Guyville. She met Jim Staskauskas, who’d also grown up in the posh suburbs of Chicago, when he edited one of her music videos, and in 1995, at 27, she married him. At 29, she gave birth to their son.
Elizabeth Staskauskas, as she was legally then known, was an entirely distinct entity from the woman Rolling Stone had featured on its cover under the headline A ROCK & ROLL STAR IS BORN. At first, this was a relief. Being a musician, even now, “doesn’t feel like my rightful job,” Phair explains. “It’s kind of weird — when I’m onstage now, I love it. Once I’m going, I feel like this is where I belong and this is where I am, but leading up to it, Elizabeth takes over. When I’m on downtime, she’s around.”
Elizabeth spent the six years of her marriage near Winnetka, where she grew up, surrounded by the rich Chicago doctors and their wives she’d lived among as a child and teenager. “You have to start giving dinner parties; you have to like do things in the community. There was just a whole extra job component.” I imagine the Phair I’ve long revered in this bizarre, reverse–Sasha Fierce mode, a suburban matron at 30; it makes me see the album she wrote next, Whitechocolatespaceegg, in a whole new light.
Whitechocolatespaceegg is almost nobody else’s favorite Liz Phair album, but lately it is mine. Of course, when it came out, I was 17, and I didn’t understand it one bit. At 36, pregnant and with a 2-year-old, I tear up as I tell Phair how much the lyric “It’s a death in our love that has brought us here / it’s a birth that has changed our lives” resonates with me. She says she can still cry thinking about that time, too. “I did bait-and-switch him a little bit,” she says of her ex-husband. She had thought that she could live happily as Elizabeth, but it soon turned out that she needed freedom to be Liz. Her claustrophobia isn’t only about crowds and tight spaces; it’s also about commitments. She had written “Divorce Song” many years before her actual divorce, but her insight about how it’s harder to be friends than lovers, and that you shouldn’t try to mix the two, turned out to be prescient.
She took five years to make her next album, a long time in pop culture; the difference between 1998 and 2003, to someone who wasn’t an adult during that time, is hard to explain. People stopped having CD collections and feeling safe in tall buildings? Everyone hated Liz Phair, Liz Phair fans most of all. And to be honest, I don’t love it either. The album contains no trace of Girly-Sound — no vestige of the lo-fi Phair who’d sung at the bottom of her register to avoid being heard. Instead, she posed nude behind an electric guitar on her album cover and sang about seducing a boy too young to “know who Liz Phair is.” The New York Timeslikened the album to a midlife crisis. Phair was 36.
Thinking about that moment now, Phair muses thoughtfully and without any visible rancor about how male rock musicians have long been allowed to have multistage, evolving careers, whereas women rock musicians haven’t often been afforded the same opportunity. “I felt like women are really seen as a version of a human. We’re not the main humans. We’re not here to stay. We’re not the firmament, we’re a shooting star.” She also says something that she claims no one wants to hear about those early-00s albums — that while she made them, she was “momming.” Her son was young; she was single and supporting him. “Everyone’s like, ‘Where’s your edge?’ And I’m like, ‘Well, I’m not attracted to the edge right now.’ But then later I was violently attracted to the edge, ’cause I’m like, Get me out of this momming phase.”
My very favorite of her songs, “Shitloads of Money,” appears in an early version on Girly-Sound and in a more polished version, with a very different verse but the same chorus, on Whitechocolatespaceegg. It contains what I’ve long thought of as her motto, words that she herself has possibly tried — and failed — to live her life by: “It’s nice to be liked / but it’s better by far to get paid.” When Liz Phair came out, I remember thinking, This is Liz being not liked but getting paid. Is that how she saw it, then, too? And did it work?
Her perspective now, at 51, about that particular dichotomy is that striving for anything pushes you further away from it — like the scene in Alice in Wonderland (which she loves) where walking toward the house pushes Alice further away from the house. These days, her eye is on a different prize entirely: “I’m not in it for approval. I’m in it for a totally different drug. I’m in it for creation itself. I’m obsessed with the creative process. I love it.” It doesn’t bother her that Mick Jagger has, she is almost certain, never heard Exile in Guyville, which she loosely structured as a “response” to Exile on Main St. It also doesn’t bother her that Harry Styles, whom she has run into at her recording studio a few times, definitely has no idea who she is. (She didn’t know who he was at first either; she joked around with him when she thought he was the new intern, then froze in starstruck terror when she realized her mistake.)
It might be that she’s currently — finally — just far enough above the fray to both see it clearly and make the kind of art she truly wants to, for the first time since the early days of her career. But that will come after the Guyville Buku fiqih 4 mazhab pdf. tour — five stops in intimate venues, a challenging prospect not only because she has to play songs she hasn’t played in years, some of which she’s never played in public at all, but also because those songs are so similar in some instances to versions that made it onto her later albums. “I’m actually abjectly terrified to be up there and have like a brain short-circuit.” But it’s exciting to know that she’ll be playing to some of her most devoted fans, as well as some new acolytes.
On the day we meet, Donald Trump’s lawyer’s office has just been raided by the F.B.I., and the national mood (at least in my bicoastal bubble) is hopeful, in that bitter, punch-drunk way we’ve come to be so familiar with. One of the first signs that I’m not actually in Heaven is when Phair brings up Trump: “I’ll do anything I can to take him down,” she says as we stroll through the peaceful gallery full of artifacts of a dead civilization.
But Phair feels energized by current events, not enervated, and almost obligated to be more visible now, even though part of her would still like to stay home and be Elizabeth. “I’m coming out with a lot of content the next couple of years, and it’s specifically to push back, to make sure that that influence is there available and present. Just like … a woman working. Here’s my thoughts. Here are my opinions. I feel like we are obligated to put stuff out to counteract what is coming in.” A new album, the first since 2010’s quirky Funstyle, is in the works and will supposedly be produced by Ryan Adams, who announced with great Twitter fanfare that he was thrilled to be working with Phair, though Phair’s currently mum about the specifics. And Random House has just signed her up to write a memoir called Horror Stories. She says she reads every sentence out loud as she writes to make sure it sounds right.
After our perfect salads, Phair insists that we order dessert, profiteroles for her and a warm chocolate-chip cookie for me, and we talk about my son and her son’s early childhoods and for a moment I forget that I’m interviewing my idol and that this Heaven is temporary, not just an average day in my life. Phair asks tons of questions, giant blue eyes blazing with fervent interest; she makes me feel like we’re close even as she explains that this is a skill she’s honed over years of being a confessor for fans who, tricked by her intimate lyrics, mistake her for a friend. “When people come up to me that I don’t know, and they have something really important to tell me, I have this depth where I can take them in enough to feel what they’re saying, but I don’t have to feel it all the way to my full self.” It’s so nice there in that depth; I wish I could stay there forever.
Production Credits
- Photographs byRadka Leitmeritz for New York Magazine
- Styling by Samantha Burkhart for the ONLY.AGENCY
- Makeup byMelissa Rogers for the ONLY.AGENCY using CHANEL
- Hair byFallon Chavez for the ONLY.AGENCY using Leonor Greyl
Exile in Guyville | ||||
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Studio album by | ||||
Released | June 22, 1993 | |||
Genre |
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Length | 55:51 | |||
Label | Matador | |||
Producer | Liz Phair, Brad Wood | |||
Liz Phair chronology | ||||
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Singles from Exile in Guyville | ||||
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Exile in Guyville is the debut album by Americanindie rocksinger-songwriterLiz Phair. It was released in June 1993 to widespread critical and commercial success, and it was ranked at 327 by Rolling Stone in its 500 Greatest Albums of All Time list. As of July 2010, the album had sold 491,000 copies.[2] The album is considered a landmark feminist album that changed indie music entirely by paving the way for more female singer/songwriters like Fiona Apple and Cat Power.
- 2Recording
- 9Charts
Background[edit]
In the summer of 1991, Phair wrote and recorded songs on audio cassette tapes, which she circulated in Chicago using the moniker Girly-Sound. Initially, she sent out only two tapes, one to Tae Won Yu from the band Kicking Giant, and the other to Chris Brokaw.[3] The recipients of the Girly-Sound tapes circulated copies with other early fans.[4]
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 Brad Wood 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 Matador Records was interested in Phair. When Matador was contacted by Phair in 1992, they signed her. Gerard Cosloy, 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.'[5]
Recording[edit]
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? See media help. |
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', 'Never Said' (as 'Clean'), 'Girls! Girls! 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 Girly-Sound, and were re-recorded for the album.
Packaging[edit]
Phair was also responsible for a great part of the artwork design. Originally, the album cover was largely collage based and involved 'a fat lady in a pool'.[citation needed] In 2008, Phair stated it was originally 'an orgy of Barbies floating in a pool',[6] a concept that Matador rejected, stating that such artwork wouldn't sell. The final cover design is a photo of Liz topless in a photo booth,[6] taken and cropped by Nash Kato 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 Dirty Harry.[5]
Meaning[edit]
The term Guyville comes from a song of the same name by Urge Overkill. 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. Work boots. 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.'[5]
Phair commented[7] in interviews that the album was a song-by-song reply to The Rolling Stones' 1972 album Exile on Main St. Some critics contend that the album is not a clear or obvious song-by-song response,[8] although Phair sequenced her compositions in an attempt to match the songlist and pacing of the Rolling Stones album.
Reception[edit]
Professional ratings | |
---|---|
Review scores | |
Source | Rating |
AllMusic | [9] |
Blender | [10] |
Chicago Sun-Times | [11] |
Christgau's Consumer Guide | A[12] |
Entertainment Weekly | A[13] |
Los Angeles Times | [14] |
Pitchfork | 10/10[15] |
Rolling Stone | [16] |
The Rolling Stone Album Guide | [17] |
Spin | [8] |
The resulting album was released in 1993, receiving widespread critical acclaim. It was the number one album in the year-end critics poll in Spin and the Village VoicePazz & Jop critics poll.[18]
Exile in Guyville was also a mild commercial success. The videos for 'Never Said' and 'Stratford-On-Guy' received airplay on MTV. By the spring of 1994, it had sold over 200,000 units, peaking at #196 on the Billboard 200 and was Matador's most successful release so far. In 1998, it was certified gold by the RIAA.
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 stage fright.[5]
Despite this, the album inspired a number of imitators, and the lo-fi sound and emotional honesty of Phair's lyrics were frequently cited by critics as outstanding qualities. It frequently appears on many critics' best-of lists. It was ranked 15 in Spin's '100 Greatest Albums, 1985-2005'. VH1 named Exile in Guyville the 96th Greatest Album Of All-Time.[19] In 2003, the album was ranked number 328 on Rolling Stone's list of the 500 greatest albums of all time. The album moved one spot up in its 2012 revised list.[20] In 1999, Pitchfork rated Exile in Guyville as the fifth best album of the 1990s.[21] However, in its 2003 revision of the list, it moved to number 30.[22]
15th Anniversary Reissue 2008[edit]
On March 31, 2008, Pitchfork Media announced that Phair had signed a new deal with ATO Records 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 DVD 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 The Troggs song) was planned for inclusion, but dropped at the last moment; the song was later included on the 'Girlysound' disc of Phair's 'Funstyle' album.[23] Patch gma x3100 kext.
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 Steve Albini, Ira Glass of the public radio program This American Life, John Henderson, Brad Wood, John Cusack (who founded the Chicago avant-garde theater group New Crime Productions) and Urge Overkill.
The reissue was released on June 24, 2008 in the United States and on August 25, 2008 in the United Kingdom.
25th Anniversary Reissue 2018[edit]
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.[24]
Track listing[edit]
All tracks written by Liz Phair.
No. | 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. | 'Never Said' | 3:16 |
6. | 'Soap Star Joe' | 2:44 |
7. | 'Explain It to Me' | 3:11 |
8. | 'Canary' | 3:19 |
9. | 'Mesmerizing' | 3:55 |
10. | 'Fuck and Run' | 3:07 |
11. | 'Girls! Girls! Girls!' | 2:20 |
12. | 'Divorce Song' | 3:20 |
13. | 'Shatter' | 5:28 |
14. | 'Flower' | 2:03 |
15. | 'Johnny Sunshine' | 3:27 |
16. | 'Gunshy' | 3:15 |
17. | 'Stratford-on-Guy' | 2:59 |
18. | 'Strange Loop' | 3:57 |
Total length: | 55:51 |
2008 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) | Lynn Taitt | 3:25 |
21. | 'Instrumental' (previously unreleased) | 3:29 |
2008 Reissue Advance Promo | |||
---|---|---|---|
No. | Title | Writer(s) | Length |
21. | 'Wild Thing' (previously unreleased) | Phair, Chip Taylor | 2:08 |
22. | 'Instrumentals' (previously unreleased) | 1:06 |
Personnel[edit]
As per the liner notes of the 2008 reissue:[25]
- Liz Phair – guitar, piano('Canary'), vocals, hand claps ('Mesmerizing')
- Casey Rice – lead guitar ('Mesmerizing', 'Divorce Song'), cymbal('Shatter'), background vocals, hand clapping ('Mesmerizing')
- Brad Wood – bass and drums(various songs), organ('Glory', 'Mesmerizing'), synthesizer, ('Explain It to Me'), percussion, bongos('Explain It to Me'), tambourine and shaker ('6′1'), maracas and hand claps ('Mesmerizing'), background vocals, vocals ('Say You'), drones and feedback ('Shatter'), 'sick guitar' ('Gunshy'), guitar ('Say You')
- Tony Marlotti – bass ('Johnny Sunshine', 'Say You'), vocals ('Say You')
- John Casey – harmonica('Soap Star Joe', 'Divorce Song')
- Tutti Jackson – backing vocals ('Soap Star Joe')
Charts[edit]
Album[edit]
Year | Chart | Position |
---|---|---|
1993 | BillboardHeatseekers | 12 |
1994 | US Billboard 200 | 196 |
Certifications[edit]
Organization | Level | Date |
---|---|---|
RIAA – U.S. | Gold | May 6, 1998 |
References[edit]
- ^Bill Wyman. ''Exile in Guyville' at Twenty'. The New Yorker.
- ^'Ask Billboard: Kylie 'Fever''. Billboard. 2010-07-16. Retrieved 2012-02-17.
- ^'Liz Phair Biography'. Matador Records. Archived from the original on 2013-06-15.
- ^Reilly, Dan (Sep 8, 2010). 'Liz Phair Releasing Rare Girly-Sound Demos With 'Funstyle' LP'. Spinner.
- ^ abcdWild and Unwise - The Liz Phair Story
- ^ ab'Liz Phair on 'Guyville' and the Secret to a Successful Topless Photo Shoot'. Vulture. 2008-06-25. Retrieved 2013-06-24.
- ^'He Said, She Said: How Liz Phair Took the Rolling Stones to 'Guyville''. Rolling Stone. 2010-05-21. Retrieved 2016-01-12.
- ^ abHultkrans, Andrew (July 2008). 'Reissues'. Spin. 24 (7): 94. Retrieved April 27, 2016.
- ^Erlewine, Stephen Thomas. 'Exile in Guyville – Liz Phair'. AllMusic. Retrieved April 27, 2016.
- ^Sheffield, Rob (June 4, 2008). 'Shawty is a 10'. Blender. Archived from the original on June 15, 2008. Retrieved April 27, 2016.
- ^DeRogatis, Jim (September 5, 1993). 'The Next Big Things On Local Rock Scene'. Chicago Sun-Times. Archived from the original on December 1, 2017. Retrieved April 27, 2016.
- ^Christgau, Robert (2000). 'Liz Phair: Exile in Guyville'. Christgau's Consumer Guide: Albums of the '90s. Macmillan Publishers. ISBN0-312-24560-2. Retrieved April 27, 2016.
- ^Aaron, Charles (June 4, 1993). 'Exile in Guyville'. Entertainment Weekly. Retrieved April 27, 2016.
- ^Ali, Lorraine (August 1, 1993). 'Liz Phair 'Exile in Guyville' Matador'. Los Angeles Times. Retrieved April 27, 2016.
- ^Petrusich, Amanda (May 2, 2018). 'Liz Phair: Girly-Sound to Guyville: The 25th Anniversary Box Set'. Pitchfork. Retrieved May 3, 2018.
- ^Kot, Greg (June 10, 1993). 'Liz Phair: Exile in Guyville'. Rolling Stone. Archived from the original on April 7, 2008. Retrieved April 27, 2016.
- ^Kot, Greg (2004). 'Liz Phair'. In Brackett, Nathan; Hoard, Christian (eds.). The New Rolling Stone Album Guide (4th ed.). Simon & Schuster. pp. 633–34. ISBN0-7432-0169-8.
- ^'The 1993 Pazz & Jop Critics Poll'. The Village Voice. March 1, 1994. Retrieved February 13, 2013.
- ^2001 VH1 Cable Music Channel All Time Album Top 100Archived 2007-11-08 at the Wayback Machine
- ^'Acclaimed Music Forums • View topic - NEW Rolling Stone Top 500 Albums of All Time'. Acclaimed Music. Retrieved 2012-09-15.
- ^Pitchfork's original 'Best Albums of the '90s' list
- ^Pitchfork's 2003 'Best Albums of the '90s' list
- ^Erlewine, Stephen Thomas. ''Funstyle' overview'. AllMusic. RhythmOne. Retrieved 2 March 2017.
- ^Records, Matador. 'Girly-Sound To Guyville'. Matador Records. Retrieved May 12, 2018.
- ^'Liz Phair – Exile In Guyville (2008 CD, ATO Records, ATO0059)'. Discogs. Retrieved 2017-03-01.
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Exile In Guyville.zip
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