Elizabeth Clark Phair (born April 17, 1967) is an American singer, songwriter, guitarist, composer, and actress. Born in New Haven, Connecticut, Phair was adopted at birth and raised primarily in the Chicago area. After graduating from Oberlin College in 1990, she attempted to start a musical career in San Francisco, California, but returned to her home in Chicago, where she began self-releasing audio cassettes under the name Girly Sound. The Girly Sound tapes led to her signing a recording contract with the independent record labelMatador Records.
(Redirected from Liz Fair)
Her 1993 debut studio album, Exile in Guyville, was released to critical acclaim; it has been ranked by Rolling Stone as one of the 500 Greatest Albums of All Time. Phair followed this with her second album, Whip-Smart (1994), which earned her a Grammy Award nomination for Best Female Rock Vocal Performance, and Whitechocolatespaceegg (1998). Ten years after the release of her debut, Phair's fourth album, Liz Phair (2003), was released on Capitol Records and her music began to move in a more pop rock-oriented direction, earning her a mainstream audience. The self-titled 2003 album spawned the single 'Why Can't I?,' which peaked at number 32 on the Billboard Hot 100.[1] After the release of her fifth album, Somebody's Miracle (2005), Phair parted ways with Capitol Records, and released her sixth album Funstyle independently in 2010. In 2016, she toured as an opening act for The Smashing Pumpkins. In 2018, it was announced that Matador Records would be releasing a retrospective set for Phair's debut album Exile in Guyville which includes remastered recordings from her original Girly Sound demo tapes. As of 2011, Phair had sold over three million records worldwide.[2]
Early life[edit]Phair was born in New Haven, Connecticut,[3] on April 17, 1967.[4] She was adopted at birth by Nancy, a historian and museologist,[5] and John Phair, an AIDS researcher and head of infectious diseases at Northwestern Memorial Hospital;[6] her mother later worked as a professor at the Art Institute of Chicago.[7][8] She has one older brother, also adopted.[9] On being an adopted child, Phair commented: 'My parents were very responsible .. They were perfect about it .. I've never tried to find [my biological] parents. My friend who was adopted from the same home requested information and got back a four-page letter about her mother's life. She said it was jaw-dropping.'[9] Phair spent her early life in Cincinnati until age nine, when her family relocated to the Chicago suburb of Winnetka, Illinois.[10] She graduated from New Trier High School in 1985. During high school, Phair was involved in student government, yearbook, and the cross country team, and took AP Studio Art her senior year, among many other advanced-level classes.[11] She attended Oberlin College in Oberlin, Ohio, where she graduated in 1990 with a B.A. in art history.[12][5] Career[edit]1990â1992: Girly Sound tapes[edit]
Phair's entry into the music industry began when she met guitarist Chris Brokaw, a member of the band Come. Brokaw was dating one of Phair's friends, and stayed at their loft in SoMa one weekend. After living in San Francisco for a year, Phair went broke and returned to Chicago, moving back in to her family's home.[13] There, she began writing lyrics and playing guitar, recording songs on a four-track tape recorder in her bedroom.[13] She used the name Girly Sound on these recordings.[14] She became part of the alternative music scene in Chicago and became friends with Material Issue and Urge Overkill, two of Chicago's upstart bands to go national in the early 1990s, as well as Brad Wood and John Henderson, head of Feel Good All Over, an independent label in Chicago.[3] (A later attempt at re-recording the Girly Sound tapes failed after arguments between Henderson and Phair.) 1992â2003: Exile in Guyville; critical recognition[edit]After asking Wood who the 'coolest' indie label was, Phair called up Gerard Cosloy, co-president of Matador Records, in 1992 and she asked him if he would put out her record. Coincidentally, Cosloy had just read a review of Girly Sound in Chemical Imbalance that very day and told Phair to send him a tape. Phair sent him a tape of six Girly Sound songs. Cosloy recalls: 'The songs were amazing. It was a fairly primitive recording, especially compared to the resulting album. The songs were really smart, really funny, and really harrowing, sometimes all at the same time. .. I liked it a lot and played it for everybody else. 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 O.K.' What is windows 7 ultimate k. Cosloy offered a $3,000 advance, and Phair began working on a single, which turned into the 18 songs of Exile in Guyville.
Exile in Guyville was produced by Phair and Brad Wood, and released in 1993.[14] The album received uniformly excellent reviews. The album received significant critical acclaim for its very blunt, honest lyrics and for the music itself, a hybrid of indie rock and pop, and established Phair's penchant for exploring sexually explicit lyrics such as in the song 'Flower': 'I want to be your blow job queen/ .. I'll fuck you and your minions too.' By contrast, her trademark low, vibrato-less monotone voice [15] gave many of her songs a slightly detached, almost deadpan character.
Liz Phair ExileThe release of Phair's second album received substantial media attention and an advertising blitz. Whip-Smart debuted at #27 in 1994 and 'Supernova,' the first single, became a Top 10 modern rock hit, and the video was frequently featured on MTV. Phair also landed the cover of Rolling Stone with the headline 'A Rock Star Is Born.' However, the album received mixed reviews,[citation needed] and although it was certified Gold (shipments of at least 500,000 units), it ultimately did not sell as well as expected, as it was hoped the album would introduce Phair to a wider, more mainstream audience.[citation needed] Following Whip-Smart, Phair released Juvenilia, a collection of some early Girly Sound tracks and several B-sides, including her cover of the 1980 song by The Vapors, 'Turning Japanese.' In 1994, Phair made several live television and radio appearances in an effort to promote Exile in Guyville and Whip-Smart, including David Letterman performing 'Never Said' and 'Supernova' and Jay Leno performing an acoustic version of 'Whip-Smart.' She even performed 'Alice Springs' live on Good Morning America. She also appeared on the MTV alternative rock show 120 Minutes performing 'Never Said', '6'1', 'Cinco de Mayo' and 'Supernova' live at various times during 1994 and early 1995. In 1995, Phair married film editor Jim Staskauskas, who had worked on her videos. They had a son James Nicholas Staskauskas on December 21, 1996.[3] Phair and Staskauskas divorced in 2001. Phair's third album, entitled Whitechocolatespaceegg, was finally released in 1998 after some delays, which included a disagreement about content; at one point, the label rejected the album as submitted, and asked Phair to write a few additional radio-friendly songs for the set.[16] The album displayed a more mature Phair, and reflected some of the ways marriage and motherhood affected her. While the single 'Polyester Bride' received some airplay, and the album received many positive reviews, it was no more successful commercially than her previous records. To promote the record Phair joined Lilith Fair. Phair performed on the main stage along with acts like Sarah McLachlan, Emmylou Harris, Sheryl Crow and Missy Elliott. She also opened for Alanis Morissette on her 1999 Junkie Tour. In the same year, she performed and recorded the Dragon Tales theme song for the hit PBS kid show. She portrayed the role of Brynn Allen, opposite Robin Tunney, in the film Cherish.[14][17] 2003â2007: Liz Phair and Somebody's Miracle[edit]
Phair in concert, October 26, 2005
In 2003, her self-titled fourth album was released on her new label, Capitol Records. Phair had not released an album in several years; she had been working on her record, as well as making guest appearances on other tracks (she lent backing vocals to the Sheryl Crow hit 'Soak Up the Sun'). Initially, Phair worked on several album tracks with songwriter Michael Penn as the producer. When she submitted the finished Penn-produced album to Capitol, the label gave it a lukewarm reception and was unwilling to release it as submitted. Having already exhausted her recording budget, label president Andy Slater offered Phair more money to record only if Phair agreed to work with the production team known as The Matrix (best known as songwriters for Britney Spears and Avril Lavigne) to come up with some singles for the album. Phair's collaboration with the Matrix resulted in only four songs, but much of the media attention focused solely on the Matrix-produced tracks, which were a notable departure from her earlier work.[18] The album received multiple unfavorable reviews, especially from several independent music presses, accused Phair of 'selling out' by making the record very pop-oriented.[19][20][21]The New York Times' Meghan O'Rourke's review, titled 'Liz Phair's Exile in Avril-ville', said that Phair 'gushes like a teenager' and had 'committed an embarrassing form of career suicide.'[22] Two years later, Somebody's Miracle, Phair's fifth album (and final album with Capitol Records), was released. The album returned to a more traditional rock sound as opposed to the pop rock-oriented style of the previous album.[23] The album received mixed reviews, with Amy Phillips of Pitchfork writing: 'Now this is a terrible Liz Phair record. Somebody's Miracle is mostly generic pap that any number of next-big-has-beens could have cranked out, a useless piece of plastic poking a pointy heel in the eye of the carcass of the artist Liz once was.'[24] Phillips also suggested it was worse than her largely critically derided previous album.[24] A review published by MSNBC noted that the album is 'less blatantly commercial [than her previous], but still smooth, reflecting her increasing shift toward a clearer sound.'[25] 2008â2009: Television composing[edit]Phair signed with ATO Records in early 2008 and re-released Exile in Guyville on June 24, 2008.[26]Exile in Guyville was reissued on CD, vinyl, and in digital format. The special reissue package includes three never-before-released songs from the original recording sessions: 'Ant in Alaska,' 'Say You,' and an untitled instrumental. Phair also completed a documentary DVD, 'Guyville Redux.' This DVD features an introduction by Dave Matthews, founder/co-owner of ATO Records, and describes the making of the album in the male-dominated Chicago independent music scene of the early 1990s (which included Urge Overkill, Material Issue, and Smashing Pumpkins), associated with the Wicker Park neighborhood where many of these bands often performed. 'Exile in Guyville is miles more complex than the porn-star manifesto it was often considered,' said Alan Light (former editor-in-chief of Spin, Vibe, and Tracks) in an essay written for the reissue. 'Phair spoke for the uncertainties facing a new generation of women, struggling to find a balance between sexual confidence and romance, between independence and isolation. .. Exile in Guyville sat at the center of a culture in transition.'[27] In May 2009, Phair released a new song, 'Faith and Tenderness,' sold exclusively at Banana Republic on a compilation disc featuring other artists.[28] Also in 2009, Phair began working as a television composer: Beginning with the theme song for NBC's The Weber Show she has also worked on the CBS show Swingtown, the CW reboot of 90210, for which she won the 2009 ASCAP award for Top Television Composer, the USA Network show In Plain Sight and most recently the CW's The 100.[29] 2010â2015: Funstyle[edit]On July 3, 2010, Phair's official website announced a surprise link to download her new album Funstyle, which she released independently after parting ways with Capitol Records and ATO.[30] The song 'Bollywood' was available to stream from the site for a limited time, before Phair took it down. Keygen xf-adsk2014_x64.exe. A note from Phair to her fans posted on her official website explained why the songs were problematic: How To Like It. You were never supposed to hear these songs. These songs lost me my management, my record deal and a lot of nights of sleep. Yes, I rapped one of them. Im as surprised as you are. But here is the thing you need to know about these songs and the ones coming next: These are all me. Love them, or hate them, but dont mistake them for anything other than an entirely personal, un-tethered-from-the-machine, free for all view of the world, refracted through my own crazy lens. This is my journey. Ill keep sending you postcards.
ââLiz
Phair revealed in an interview with the Wall Street Journal that the falling out with her record label, ATO, occurred after a change in management. She explained, 'The people who were still there didn't like, or didn't know what to do with, the music I was making, so we just stalled out and I asked to leave.'[31] Phair went on tour to promote the album, playing many songs from Guyville and Whip-Smart, along with songs from the rest of her repertoire. The Funstyle Tour ran from October 2010 to March 2011. The tour's last show took place at the SXSW festival in Austin, Texas. In 2012, she co-wrote and performed the song 'Dotted Line' with A. R. Rahman for the film People Like Us. 'The song 'Dotted Line' I wrote with A. R. Rahman for Alex Kurtzman's film 'Welcome To People',' she said in an interview. 'Both amazing. 'Welcome To People' is a truly powerful film. Very proud of being part of it.'[32] The dystopian holiday song 'Ho Ho Ho' was released by Phair in late 2014.[33] In 2014, Capitol released a greatest hits compilation of Phair's work entitled Icon. 2016â2018: Exile retrospective and tours[edit]In spring of 2016, Phair supported The Smashing Pumpkins on their In Plainsong tour, performing as the opening act.[34] In late 2015 and mid-2016, Phair stated on her Twitter that she intended to release two albums by the end of 2016.[35][36] It was confirmed via Twitter that Phair was working on a double album, produced by fellow singer-songwriter Ryan Adams in his PAX-AM recording studio.[37] In 2018, it was announced that Phair's former label, Matador, would be releasing a 25th-anniversary retrospective set for her debut album, Exile in Guyville; the set, titled Girly-Sound to Guyville, includes remasters of Phair's 1991 Girly Sound demo tapes from the original sources, and is due for release May 4.[38] In an April 2018 profile by Billboard, it was revealed that Phair had also signed a two-book publishing deal with Random House, and that she planned to release a memoir, tentatively titled Horror Stories, in November 2019.[38] Personal life[edit]In 1994, Phair began dating film editor Jim Staskauskas.[39][40] The couple married on March 11, 1995.[41] Phair gave birth to a son, James Nicholas Staskauskas, on December 21, 1996.[42] In 2001, she and Staskauskas divorced,[38] after which Phair sold her home in Chicago's Lincoln Park neighborhood and relocated to Los Angeles, California.[43] As of 2018, Phair resides in Manhattan Beach, California.[38] Discography[edit]
Awards[edit]
References[edit]
Works cited[edit]
External links[edit]
Retrieved from 'https://en.wikipedia.org/w/index.php?title=Liz_Phair&oldid=900675319'
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.
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.'
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.' Liz Phair Instagram'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]
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] 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.
Personnel[edit]As per the liner notes of the 2008 reissue:[25]
Charts[edit]Album[edit]
Certifications[edit]
References[edit]
External links[edit]
Retrieved from 'https://en.wikipedia.org/w/index.php?title=Exile_in_Guyville&oldid=896926008'
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