Liz Phair: Exile In Guyville CD Track Listing

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Liz Phair Exile In Guyville (1993)
Originally Released June 22, 1993 (Matador Records)\nRe-released December 21, 1999 (Capitol Records)\n\nAMG EXPERT REVIEW: If Exile in Guyville is shockingly assured and fully formed for a debut album, there are a number of reasons why. Most prominent of these is that many of the songs were initially essayed on Liz Phair's homemade cassette Girlysound, which means that the songs are essentially the cream of the crop from an exceptionally talented songwriter. Second, there's its structure, infamously patterned after the Stones' Exile on Main St., but not the song-by-song response Phair promoted it as. (Just try to match the albums up: is the "blow-job queen" fantasy of "Flower" really the answer to the painful elegy "Let It Loose"?) Then, most notably, there's Phair and producer Brad Wood's deft studio skills, bringing a variety of textures and moods to a basic, lo-fi production. There is as much hard rock as there are eerie solo piano pieces, and there's everything in between from unadulterated power pop, winking art rock, folk songs, and classic indie rock. Then, there are Phair's songs themselves. At the time, her gleefully profane, clever lyrics received endless attention (there's nothing that rock critics love more than a girl who plays into their geek fantasies, even -- or maybe especially -- if she's mocking them), but years later, what still astounds is the depth of the writing, how her music matches her clear-eyed, vivid words, whether it's on the self-loathing "Fuck and Run," the evocative mood piece "Stratford-on-Guy," or the swaggering breakup anthem "6' 1"," or how she nails the dissolution of a long-term relationship on "The Divorce Song." Each of these 18 songs maintains this high level of quality, showcasing a singer/songwriter of immense imagination, musically and lyrically. If she never equaled this record, well, few could. -- Stephen Thomas Erlewine\n\nHalf.com Details \nProducer: Brad Wood, Liz Phair \n\nAlbum Notes\nPersonnel: Liz Phair (vocals, guitar, piano, bongos, hand claps); Brad Wood (guitar, organ, synthesizer, bass, drums, percussion, background vocals); Casey Rice (guitar, cymbal, hand claps, background vocals); John Casey Awsumb (harmonica); Tony Marlotti (bass); Tutti Jackson, O (background vocals).\n\nFrom Big Mama Thornton to Madonna, the sexually aggressive woman has always held a special fascination for pop fans. With EXILE IN GUYVILLE, Liz Phair became the latest and by far the most foul-mouthed addition to the line. Her mission was to put a lacquered fingernail up the posterior of alternative rock's 'Guyville' establishment. Her model was the Rolling Stones' EXILE ON MAIN STREET and its portrait of a lonely, nihilistic world. Phair's ingenuous voice, stripped-down arrangements, and catchy melodies made her sound like a female Jonathan Richman. However, it was her biting lyrics that drew the most attention, making EXILE IN GUYVILLE one of the most critically acclaimed albums of 1993.\n\nIndustry Reviews\nIncluded in Rolling Stone's Essential Recordings of the 90's.\nRolling Stone (05/13/1999)\n\nRanked #13 in Spin Magazine's 90 Greatest Albums of the '90s.\nSpin (09/01/1999)\n\nRanked #1 in the Village Voice's 1993 Pazz & Jop Critics Poll.\nVillage Voice (03/01/1994)\n\nIncluded in Q's list of `The 50 Best Albums Of 1993' - ...superior garage rock...\nQ Magazine (01/01/1994)\n\n3.5 Stars - Very Good - ...Despite its low-fi production, EXILE IN GUYVILLE roams giddily all over the pop landscape...Phair writes sturdy riffs that render her rudimentary guitar technique beside the point...\nRolling Stone Magazine (06/10/1993)\n\nHighly Recommended - ...an astounding hunk of fresh-faced, edgy pop capped by Phair's clean but lacerating guitar-strum and a remarkable sense of vocal delivery...\nSpin (04/01/1993)\n\n...what makes Phair worth hearing isn't her conceptual ambition, but the sheer strength of her writing...she's an ace at conveying mood through melody and expressing complex feelings with simple, vivid imagery...\nMusician (09/01/1993)\n\n4 Stars - Excellent - ...a melodic sleight of hand that invokes the detachment of Suzanne Vega, some Throwing Muses opacity and Big Star's thoroughbred rattle...the kind of record to give your little sister some very big ideas...\nQ Magazine (08/01/1993)\n\n...[Phair] brings something a little bit fresh and dangerous to the articulate chantootsie genre...comes on like Polly Harvey with a sense of purpose and as much melody as attitude...\nMelody Maker (09/04/1993)\n\n7 - Very Good - ...she's capable of communicating her sexual politics with a fair degree of incisive anger, sarcasm and humour...\nNew Musical Express (08/28/1993)\n\n...Phair's confidently off-kilter voice gets over like a poetry slam winner unsatisfied with her last verse... - Rating: A\nEntertainment Weekly (06/04/1993)\n\nRanked #83 in AP's Top 99 of '85-'95 - ...The eighteen pop songs of EXILE IN GUYVILLE are a sweeping tour through the stupid blisses and devastating abuses of sex and love....Every song is self-contained and freshly conceived...\nAlternative Press (07/01/1995)\n\nIncluded in AP's 10 Essential Breakup Albums.\nAlternative Press (05/01/2001)\n\nRanked # 24 in Rolling Stone's Women in Rock: The 50 Essential Albums - ...A perfect debut album...\nRolling Stone (10/31/2002)\n\nAMAZON.COM CUSTOMER REVIEW\nI can feel it in my bones..., May 24, 2000\nReviewer: Jeff Williams\nhis album is a hit-or-miss case. I have friends who can't stand it, and I have friends who love it and claim it in their Top 10 of all time. It's worth listening to just to see where you stand. There isn't much debate about whether or not Liz can sing...she can't. She had to take singing lessons for her latest album. So ignore her voice...its whining, its monotone, it cracks, and it sounds like she was singing in her garage. That's also one of the strong points to those people who loved this album so much. When Liz's voice cracks, its usually because of the emotion in it. That's generous, given she doesn't really show much emotion...but she does deliver angst, longing, despair, guilt, and a little raw hatred. Her lyrics are witty, yet sometimes simple, but what her voice fails to deilver, her words do. Take the warnings of parental advisory seriously...she doesn't edit her feelings at all. It took me a long time to love this album. The songs don't work the first, oh, let's say 10 or so times you hear them. But if you think you hear something in her style, then listen some more. Memorize the songs...because they will grow on you, and infect you, and take you over. This is an ideal album for someone who just got out of a relationship. It runs the full range of emotions about breaking up...longing, hope, anger, guilt, despair, anguish. But ultimately the real charm of this album lies in its simplicity...most of the songs feature Liz as the sole musician. The songs seem as if they were recorded by Liz, her guitar, and a tape recorder (and actually, most of the songs came right from the demo tape that got this album recorded). The production quality may disapoint those looking for a studio-hyped album with richly woven melodies. I personally thought that the power and the charm of the album came from the fact that it was nothing more than Liz, stripped down to nothing but herself and her guitar. You'll either love it or hate it. But those who love it never take it out of their CD players.\n\nAMAZON.COM CUSTOMER REVIEW\nFantastic Record, June 24, 2006\nReviewer: Michael C. Daly\nThis album will grow on you faster then moss in a swamp. Lyrics that when you hear them - your just happy she's not singing about you - yet are sexy enough that you also wish she was singing about you. Also, in the songs you really can see Liz's inner thoughts and insecurities. It was said when she went to support this record her stage fright was enormous - you can also see that nervousness in her songs. Do yourself a favor and put up the 14 or 15 bones and be entertained by the sexy girl next door Liz. \n\nAMAZON.COM CUSTOMER REVIEW\n"I jump when you circle the cherry...", April 11, 2006\nReviewer: ADRIENNE MILLER (TENNESSE)\nExile in Guyville is raw, honest, and brilliant. Liz Phair's first and most personal album to date. Standout tracks include: F#ck and Run, Divorce Song, Flower, and Glory. Her lyrics are incredible, "And the license said you had to stick around until i was dead but if you're tired of looking at my face guess i already am." Awesome title, intelligent songs, and superior songwriting, Exile in Guyville will "shatter" your senses. \n\nAMAZON.COM CUSTOMER REVIEW\nThe Phairest of Them All: a M-A-S-T-E-R-P-I-E-C-E, December 3, 2005\nReviewer: Blake Maddux (Cambridge, MA United States)\nExile In Guyville is a landmark record. It is perhaps the biggest musical statement in indie rock by a woman, not to mention one of the first. It is easily the one of the best CDs of the 1990s. And it is one of the greatest debuts of all time. But Exile In Guyville is more than just a great record in terms of specifics. It is a great record period. Even if the rest of her catalog cannot hold a candle to it, any artist in popular music should be so lucky as to have a record like this as his/her crowning achievement. This is one of those critically revered records for which the reasons for such reverence are obvious, not obscure. \n\nIt is not really important to me if this is, as is claimed, a song-by-song response to Exile On Main Street. The fact that that record obviously inspired her to make this one is good enough for me. And whether this is a "post-feminist" masterpiece is also a moot point, as I don't think that she sat down to make such a record. I don't think her intention was to make a political statement, even if by making such an emotionally and sexually explicit record, she ended up doing so anyway. (I know, I said the same thing about The Hidden Cameras CD The Smell of Our Own. Hey, if the shoe fits....) I am more interested in what exactly makes this such a damn fine record, by any standard. \n\nI remember seeing Liz Phair on MTV in 1993. She was asked by Tabitha Soren, "Are you afraid that people might think you're a slut?" Obviously, that piqued my interest, but I was still in my tragically unhip classic rock phase at the time, so I didn't seek out the record that they were talking about. Over the years, I would constantly see this CD refered to as a masterpiece, but I still didn't buy it. That is until Ms. Phair's much-maligned 2003 CD was released and she began to get so much press. That was when I decided it was time to hear it. Needless to say, I was immediately taken by it, and never for a second did I ever have to wonder why this was such a critic's favorite. It was enough that several of the disc's 18 songs were brilliant, but I quickly realized that almost all of them were. I loved it so much that it may have caused me to like the aforemetioned eponymous CD a lot more than I would care to admit today. \n\nAs I have made the move from prog-rock junkie to indie-rock fan, I have come to think that any CD outside of the 30-40 minute range better be able to justify the extra time spent listening to it. I tend to believe that any CD over 45 minutes could have and should have been trimmed. Exile In Guyville remains a major exception. I am almost tempted to say that this CD makes me wish more records could be this long and this good. Guyville easily justifies its 55-minute running time. Its tracks run the tempo gamut, and the spare production doesn't starve the songs. Rather, it allows their details to be revealed over repeated listenings, instead of overwhelming the listener all at once. But producer Brad Wood isn't afraid to try a few tricks on songs like "Flower" and "Soap Star Joe". It is surprising Wood did not become a more sought after item in the 90s. Everything on this CD is so perfectly in place that it seems that no one else could have done the job. \n\nAllow me to begin the discussion of the songs themselves by mentioning what I consider to be the two weaker tracks on the disc. Although she continues to perform these songs live, I personally do not think that "Help Me Mary" and "Divorce Song" are as strong as the rest of the record. They are certainly not bad songs, they are simply not as impressive as most of the other ones. And when the other songs are as good as the ones on this record are, the not-so-great moments tend to stand out. \n\nThere. Now, it is true that Liz Phair comes across as a sex kitten in heat in some songs, and as a manhater in others. Be that as it may, I think that in some of the slower songs, ones in which the lyrics may not stand out as much, she is able to admit her flaws. While "Girls! Girls! Girls!" has her bragging about how she "takes full advantage" of every man she meets, "F--- And Run" (aka, "Oops! We Did It Again") has her realiizing that two can play at that game. She is a bit, oh...hypersexual on the songs "Glory", "F*** and Run", and "Flower", but she never seems like she is playing it up for effect. After all, she is just as sincere when she is vulnerable, as demonstrated on songs like "Dance of the Seven Veils", "Canary", and "Shatter". And while the Exile On Main Street song-by-song response claim might be a bit far-fetched, she achieves a beautiful Stonesy swagger on "6'1"" and "Mesmerizing", two of the best songs on the disc. The former song has her insisting that she doesn't need a particular man in her life, the latter has her lustfully wanting one. (It is easy imagine Mick and Keef having a ball with these songs.) \n\nPhair covers all of the singer/songwriter bases on this record: folk, confessional, spoken word, and rock 'n roll. And she does each in expert fashion. Her lyrics are literate but not pretentious, explicit but not juvenile. The instrumentation is neither virtuosic nor sloppy. Some songs are great to sing along to ("Never Said"), others are better off in her own voice ("Stratford-On-Guy"). She is fully formed on this record, and this is a major statement worthy of classic status and to be listened to 30 years from now, at which time it will still be in its own category. Two reviled pop records may have undermined her credibility, but if there is any justice in the world - and one has to wonder sometimes - it will not obscure the fact that the woman who recorded Somebody's Miracle was also the mastermind behind Exile In Guyville. Granted, she may never revisit the territory of her masterpiece, but that should not cause us to forget that she was once there to begin with. \n\nIn my honest opinion, this CD is good enough to raise your standards of what qualifies as a great record. Suddenly, certain records that you thought were great may not sound as good. I am not really sure what would make a person dislike this record. I don't understand why anyone would not consider it as matter-of-factly great as any other masterpiece of rock music. Some people say that she doesn't have a "great" voice. Even if I were willing to grant them this (and I am not), my response would be that a "great" voice is not essential to this brand of lo-fi indie rock. I think that even those who love the CD say this so as to not seem too hyperbolic in their praise. The only other explanation I can imagine is that guys see her as a manhater. Granted, she is quite confrontational on several songs, but as I said before, she is just as often able to concede her own culpability. Ah, the hell with it. I am not going to lend any further credence to those who can't hear exceptionally good Exile In Guyville is. It holds its own against any given record, be it Patti Smith's Horses, Closer by Joy Division, or, well, Exile On Main Street.\n\nAMAZON.COM CUSTOMER REVIEW\nan essential indie classic, January 16, 2005\nReviewer: Chris Stolz (canada)\nPhair's debut, even ten years later, is refreshing in its honesty, lyrically provocative and consistently musically inventive. \n\nMade on a shoestring budget, with Phair and producer Brad Wood doing all of the instruments, Exile in Guyville does it all-- from full-on stompin' rock and roll to eerie piano-based dirges. What the album lacks in professinal polish, it more than makes up for with Phair's unusual arrangements, bang-on ear for hooks and often suprisingly complex melodies. \n\nFrom the pornographic "Flower" to the tough-love "Divorce Song," you get the feeling listening that this is the coolest girl in the world, and even if she tries something totally stupid, the result will be hugely entertaining. Phair is sometimes lyrically allusive, and more often wittily direct, and indeed often screamingly funny. The disc is so refreshing, because you never feel that the producers, or the writer's self-consciousness, get in the way of what is happening. You feel, listening, like you are reading the diary of the weird but kinda hot chick who didn't open her mouth much in English class but had you, and everybody else, in stitches when she did. It is only when she tries to Make Big Points ("Soap Star Joe") that Phair becomes boring, like Ani DiFranco (an artist who is so insistent on her listeners GETTING THE POINT that she leaves them no room to use their imagination). \n\nAfter Exile, Phair has made decent records and written some superb songs, but none of them have the quirky charms and often profoundly moving writing we see here. This record belongs up there with other female classics: Patti Smith's "Horses," PJ Harvey's "Rid of Me," Joni Mitchell's "Blue," Laurie Anderson's Mister Heartbreak" and Lauryn Hill's "The Miseducation." Essential.\n\nAMAZON.COM CUSTOMER REVIEW\nUnorthodox, jarringly honest, and brilliant debut, May 4, 2003\nReviewer: whipsmart "ms.mystified@gmail.com" (Huntsville, AL USA)\nLiz Phair's debut album is, quite simply, one of the best debuts ever. It is no wonder that "Guyville" is consistently ranked highly in almost every "best of" and "must have" alternative album list to ever exist. From the stutter-drum introduction of "6'1" to the discordant instrumentation at the end of "Strange Loop?," "Guyville" will hold you captive and pound itself into your brain.\nMost people mistakingly assume that the majority of "Guyville" came from Phair's earlier Girlysound demos, recorded in her basement, but this is false. Only 6 of the 18 songs on "Guyville" are from these early recordings, and all of them have been at least slightly rewritten from the previous versions. (Also, the Girlysound demos did not immediately prompt Matador Records to sign Phair--at the signing, they had only listened to a scant few of the demo songs.)\n\n"Guyville," however, retains the lo-fi feel of the early demos, with relatively simple instrumentation, imperfect vocals, and a much less glossy production than her later albums ("Whip-Smart" and "whitechocolatespaceegg"). The songs are almost like diary entries, with Phair baring her soul to the world in blatantly open, sometimes shocking, ways.\n\nMany people characterize Phair as "angry female rock," but I don't see it. Phair is many things on this album--self-deprecating, sad, arrogant, and sexual--but I don't see a lot of overt anger. Rather, her songs deal simply with the wide range of emotions everybody feels with regards to life. Sometimes her issues are complex, such as in "F*** and Run," where she desires a stable relationship but is at the same time ashamed and seemingly incapable of having one. Sometimes they are simpler, like in "Help Me Mary," a reaction against the male-dominated independent music scene. Sometimes she even finds what she's looking for, like in "Strange Loop?"\n\nAlso, much has been said about her sexuality with regards to these songs. Phair takes traditional male viewpoints and standards with regards to women and sex and turns them on their head. She pokes fun at men and their conventions, but then, she pokes fun at herself, too. "Flower" especially, with its graphic sexual imagery, has to be taken with a grain of salt. She asks the question: Why is it that we react so harshly when these words are spoken by a woman, when we accept them from a man?\n\nMusically, the strongest songs are probably "F*** and Run," the poppy "Never Said," and "6'1." The most memorable songs are probably "Flower," "Girls! Girls! Girls!" (again turning the male-female dynamic in relationship upside down), "Glory," and the infinitely sad "Divorce Song." My personal favorite is "Mesmerizing," in which Phair asks her lover to think of her in better terms than what he does ("You said things I wouldn't say / straight to my face, boy").\n\nPhair has made many claims regarding "Guyville's" relationship to the Rolling Stones' 1972 double album "Exile on Main Street," calling "Guyville" a "female response" to the Stones' album. I highly recommend that you listen to the two albums together sometime. They really do work amazingly well together (plus, "Main Street" is just a great album, anyway).\n\n"Guyville" is a feminist work, and any woman who wants a fresh perspective on male-female dynamics should certainly check it out. However, it transcends that and becomes a commentary on life in general, for everyone, and the complicated emotions we have to face every day. Therefore, I recommend "Guyville" to anyone who likes their music to be thoughtful and fresh.\n\nWhether you're a hard-core indie music fan or someone who is just discovering the genre, "Guyville" is a definite must-have. More listener-friendly than many independent albums, "Guyville" has something for just about everyone.\n\nAMAZON.COM CUSTOMER REVIEW\nSublime, June 13, 2001\nReviewer: K. Roon - See all my reviews\nAlong with The Breeders' "Last Splash" and Hole's "Live Through This", "Exile in Guyville" is one of the best albums of the 90s. The first thing to check your ear is, of course, that Liz has a mouth that will make a sailor blush. "Flower" has simply got to be one of the most overtly sexual songs ever recorded. But don't be fooled by the obscenities, because they're only adjectives and also because this album is so much more than that. \n"F*ck and Run" perfectly describes that terrible morning after feeling when you know that the other person just wants you gone. "Divorce Song" is a musical I-told-you-so and "Canary" shows just how much someone is willing to do to be the perfect mate. My favorite song, after eight years, is still "Mesmerize". I have never heard anyone so perfectly convey the feeling of contentment that comes from being in love. A friend and I sat and listened to it for three hours one night over and over completely enthralled by Liz.\n\nAMAZON.COM CUSTOMER REVIEW\nLiz Phair?s Explosive Debut, December 19, 2000\nReviewer: M. Allen Greenbaum (California) \nThe first song blew away me from the beginning. Punk dissonance followed by a peppy 60's beat? She takes more chances than you realize, and they work. No way to pick out highlights, (every track is a winner) but I especially liked 6'1", Help Me, Mary (pulls on trad. Rock riffs), the jangly rocker "Never Said," Mesmerizing," f**k and run ("whatever happened to a boyfriend, the kind of guy who tries to win you over. . .I wan' all that stupid old sh*t, like letters and sodas...letters and sodas"), the dreamy, incredibly romantic "Shatter," and "Strange Loop?" The whole album is infused with the spirit of rock.\nFinally, a pared-down, somewhat minimalist album where every note counts. Co-Produced by band members Phair and Brad Wood (with Asst. Engineering credited to guitarist Casey Rice), each short song is a small gem, with the intimacy and immediacy of a garage recording (without the ego and the lousy sound).\n\nLiz Phair's voice is not particularly noteworthy, but that's not the point. The word paintings are as vivid as Patti Smith, and as cutting as Tracey Chapman. Her sometimes monotonic, weary voice has undertones of strength and defiance, and the lyrics are as poetry perfect and emotion-tinged as Lene Lovich or Joni Mitchell. (And there's an interesting Midwest accent to boot).\n\n"The fire you like so much in me. . . is the mark of someone adamantly free" \n\nThis (too cool fer school) persona could go stale after a while, but she doesn't seem pretentious or announce how hip she is (with the possible exception of some of "Divorce Song"). Rather, the tone is matter-of-fact; she knows when to let the music do the talking. The only artifice is her perfection of the virgin/whore male fantasy in such explicit songs as "Glory," "Dance of the Seven Veils," and "Flower." This got a lot of almost-hysterical attention from critics (she's the FEMALE Mick Jagger!!), and if it helped sell a lot of records, fine.\n\nBut that would miss the point. She knows how to construct an intense, personal statement with no waste, and she has a knack for the engaging hook. Every song shines on this CD: It's amazing how the power she achieves with some piano and harmonica, jangling/droning guitars, some background vocals, and peppered drumming. It's a tribute to the SONG qualities of rock, and especially, to the emotional complexity and accuracy of Ms. Phair's writing.\n\nWith the release of two excellent follow-ups, Liz Phair has proven she's no one-CD wonder. That was one question when she burst on the scene with this "Rolling Stone Album of the Year." And, though her output has been less than prodigious, this CD alone stands as one of the best of the nineties.\n\nAMAZON.COM CUSTOMER REVIEW\nLove It, June 22, 2000\nReviewer: "nishana" (The Country That Kicked England's Ass)\nThis CD is extreamly varied in it's songs. On one hand, you have "6'1"", "Never Said", and "Stratford-On-Guy", the rock songs. But then you have "F**k and Run" and "Flower" which are a cross between Alanis' angst and well . . . I guess you can't compare Liz Phair to anyone. A warning: Beware of "Flower"! It sounds so innocent, so pure, so chaste. It's title is the total opposite of "F**k and Run". It's about a promiscous woman lusting after a young man. She "wants to f**k him like a dog", and this is a quotable part of the song! Hey, I'm not saying this song is bad, it's certainly different, and I don't think we'll ever hear a song like it agian, but I'm just warning you not to play the song in front of your grandma.\nThe rest of the songs on Guyville are mostly ballads, or ones with long piano/guitar intros (ie: "Canary" and "Shatter"). This can get old fast, especially since I don't want to wait around for a minute or more, waiting for lyrics. I don't like instrumentals, I like lyrics! And the lyrics on this CD are fabulous, if you can wait to hear them. "Help Me Mary" is a favorite, because it reminds me of a wife and her in-laws. At least it did until I found out the last line wasn't "And watch how fast the run to the plane", but "to the flame". Ooops. But it's still a good song. "Dance of the Seven Veils" paints a nice picture in your mind and "Divorce Song" is just a great song, period. "Johnny Sunshine" is another great song about a girl getting dumped by her boyfriend who "killed the cat, put it in antifreeze". Ahh, young love.\n\nAMAZON.COM CUSTOMER REVIEW\nMesmerizing debut, March 1, 2000\nReviewer: Myke O'Clock (Seattle, WA - US)\nSince its release, this CD remains as a one of the musical milestones from the 1990s. It topped the lists of many critics, propelled Matador Records further into the big time, and helped open the door for Alanis, Fiona, Meredith Brooks and a hundred other female artists to follow. With a title adapted from an Urge Overkill song ("Goodbye to Guyville" from their 'Stull" EP), this impressive debut was supposedly structured as her song-by-song response to the Rolling Stones' "Exile On Main Street" album. Brad Wood's subtle production brings her sound out of the bedroom without sacrificing the intimacy and honesty of her "Girlysound" days. Several of those songs get updated, including the explicit "F&@k and Run" and "Flower." Pottymouth lyrics aside, the songwriting is outstanding and her quirky guitar riffs perfectly compliment her dry singing style. The subject matter is much more blunt than her later work (where her perspective was changed by marriage and motherhood), and the instrumentation has a stripped-down feel. For those just discovering this album, the freshness of the material will no doubt suffer a bit in the wake of Lilith Fair and the media's "Women In Music" saturation, but it's still superior to a lot of what came after it. Highly recommended.
This rock cd contains 18 tracks and runs 55min 51sec.
Freedb: fd0d1512
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