Liz Phair - Albums Collection 1993-2003 (3CD)

Growing out of the American underground of the late '80s, Liz Phair fused lo-fi indie rock production techniques with the sensibility and structure of classic singer/songwriters. Exile in Guyville, her gold-selling debut album, was enthusiastically praised upon its 1993 release, and spawned a rash of imitators during the following years, particularly American female singer/songwriters. For her part, Phair wasn't able to fully break into the mainstream, even with the support of the press and MTV. Whip-Smart, her second album, was heavily promoted upon its 1994 release, yet despite its relatively strong chart positions, it was viewed as a disappointment, and Phair's momentum declined steadily during the mid-'90s, as she took several years to record her third album.

Phair was born on April 17, 1967, in New Haven, CT. She was adopted by wealthy parents who raised her in the Chicago suburb Winnetka and later send her to Oberlin College in Ohio, where she studied art. At Oberlin, she became fascinated with underground indie rock and eventually became friends with guitarist Chris Brokaw, who would later join the alt-rock outfit Come. Following their college graduation, Phair and Brokaw both moved to San Francisco, where she tried to become an artist.

Eventually, Brokaw moved out east and Phair headed back to Chicago, where she began writing songs in earnest. She also started releasing homemade tapes of these songs under the name Girlysound. While she supported herself by selling her charcoal drawings on the streets of Wicker Park, she became entrenched in various portions of the Chicago alternative music scene; in particular, she struck up friendships with Urge Overkill, a drummer named Brad Wood, and John Henderson, the head of the Chicago-based indie label Feel Good All Over. Henderson and Phair tried to re-record some of the Girlysound tapes with Wood, yet the pair had a falling out during the sessions, leaving Wood as Phair's only collaborator. Brokaw, who had by then joined Come, was still receiving Girlysound tapes, and he eventually gave a copy to Gerard Cosley, the head of Come's record label, Matador. By the summer of 1992, Matador had signed Phair and she began recording her debut album in earnest.

Adapting its title from an Urge Overkill song, Exile in Guyville was released to strong reviews in the summer of 1993. Many articles focused on Phair's claim that the double album was structured as a response to the Rolling Stones' classic Exile on Main St. Over the course of the year, the record slowly built a dedicated following in America, both among critics and alternative rock fans. At the end of the year, it topped many Best of the Year critics polls, including The Village Voice and Spin. With all the attention focused on Phair, many indie rock figures – particularly members of the Chicago noise rock scene like Steve Albini – were developing a resentment toward her and launching an attack at the singer and the heavy media attention Exile in Guyville received. The criticism couldn't halt Phair's progress, though, and in early 1994 she launched her first tour, which was plagued by her stage fright. Around the same time, MTV began airing "Never Said" and, as a result of all the hype, the album briefly appeared in the charts in February. By the spring of 1994 it had sold over 200,000 copies – a remarkable number for an independent release. It eventually sold over 500,000.

By that time, Phair had begun work on her follow-up record. Matador had signed a distribution deal with Atlantic Records in 1994, and her second album was going to be one of the first to be heavily promoted by the alliance. Indeed, Whip-Smart was released to a whirlwind of media attention – including Phair, dressed only in negligee, on the cover of Rolling Stone – and debuted at number 27 upon its fall 1994 release. "Supernova," the first single from the album, received heavy airplay on MTV and alternative rock radio, becoming a Top Ten modern rock hit. However, Whip-Smart received mediocre reviews and never developed into the hit that it was expected to be, although it still went gold. Phair didn't tour to support the album and was slow to deliver a second single. By the time the title track was released as a single in the spring of 1995, the album had disappeared from the charts.

Phair quietly retreated from the spotlight during 1995, marrying Jim Staskausas, a Chicago-based film editor who had previously worked on Phair's videos. Later that summer, she released the Juvenilia EP, which was essentially the "Jealousy" single amplified with the first official release of Girlysound material. During the summer of 1996, she released "Rocket Boy," a single pulled from the Stealing Beauty soundtrack that received little attention. For much of 1996, Phair worked on her third album with producer Scott Litt, but she remained unsatisfied with their sound and had officially scrapped the sessions by the time fall came around. Toward the end of 1996, Staskausas and Phair announced she was several months pregnant. On December 21, 1996, Phair gave birth to her first child, James Nicholas Staskausas. Her long-delayed, much-anticipated third LP, whitechocolatespaceegg, finally appeared in mid-1998.

Five years later, Phair returned with a controversial self-titled album. Liz Phair, which appeared in June 2003, and found her working with singer/songwriter Michael Penn and the Matrix, the latter of whom had risen to prominence in the pop world by launching artists like Avril Lavigne. Jimmy Chamberlin, Wendy Melvoin, and Pete Yorn also contributed to Phair's newly slick sound. When Liz Phair appeared, though, it was panned by purist rock critics and militant Liz nerds who felt she'd sold them out with the record's pop star sensibilities. Phair stood up for her work in typically brash fashion – at times, it seemed like she even invited the fan boy ridicule – and the album was a decent hit, with the leadoff single "Why Can't I" peaking at number 27 on the Billboard charts. Another album, Somebody's Miracle, appeared in fall 2005, but its relatively soft sound resulted in the slowest sales of Phair's career.

After reissuing Exile in Guyville in 2008, Phair began working on a number of offbeat, highly unconventional songs, many of which dealt with her recent departure from Capitol Records. Tired of working with record labels, she chose to release the material herself. Funstyle was appropriately released on her own website in July 2010, with the bhangra-influenced "Bollywood" becoming the album's first single; a physical release of Funstyle, paired with an EP of Girlysound demos, appeared in the fall.

Biography by Stephen Thomas Erlewine, Allmusic.com

Exile in Guyville is the debut album by American indie rock singer-songwriter Liz 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. 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.

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.

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. [The 2008 deluxe edition features three "unreleased B-sides": "Ant in Alaska," an acoustic, six-minute song that shares the clarity and honesty of the album's tracks, but not their focus; "Instrumental," a darker piece similar to "Shatter" or "Explain It to Me," minus the vocals; and "Say You," a reverb-drenched fake reggae novelty, complete with lazy sax solos. The real reason this reissue can be called deluxe is the documentary on its DVD, which works as a reunion of Chicago's indie rock luminaries from the '90s as much as it explores the making of Exile in Guyville and its impact on everyone involved. Interviews with producer Brad Wood, John Cusack, Steve Albini, Chris Brokaw, Ira Glass, Matador's Gerard Cosloy, and Urge Overkill's Blackie Onassis and Nash Kato are in-depth, rewarding, and revealing, offering surprises even to fans who are well-versed in Chicago's, and Phair's, mythology when Guyville was released.]

Review by Stephen Thomas Erlewine, Allmusic.com (10/10)

You break all kinds of unwritten rules when you're a guy who admires a girl. The white suburban kids who idolize gangster rappers are old news, and the rich kids have always loved to rub elbows with the poor. But when a man tries to identify with a woman, he doesn't just hit the normal problems of "white male gaze" and "exploitation of the other" and "being a jackass": There's also the third rail of male sexuality, where identifying too closely with a woman might make you seem, perish the thought, sensitive. So instead, the guys who dig a girl like Liz Phair have to play up the attraction, the lust, the submission to a rock'n'roll goddess– even when, for many of them, the lust ain't the main draw.

The other tactic is to take credit for what she's done. And guys can take plenty of credit for Phair's early career. Rock critics like Bill Wyman brought Phair to Chicago's attention when they ranted and raved about Guyville weeks before the thing came out. The Rolling Stones recorded Exile on Main Street, the loose template for Guyville's 18 tracks– and one of the blues-rock genomes that saved this from being just another singer-songwriter set. And a couple other guys, co-producer Brad Wood and engineer Casey Rice, helped nail the minimalist production of Guyville and its follow-up, the underrated Whip-Smart.

It was the guys like her Johnny or her Joe– the titular guys in the indie boy's club centered in and around Chicago's Wicker Park– who preened for her, dicked her over, and taught her how to push back, inspiring her and making it necessary for her to write these songs in the first place. And it was guys who took the piss when she started headlining at venues that were too big for an amateur. Playing a New Year's Eve show at the Metro as your sixth or seventh gig is a lot to bite off. And if I recall correctly, she bit. But stagecraft and starpower weren't the point: Those of us who were taken in by Phair loved her because she was– sorry to use the word– real.

Men and women have written paeons to Phair since Guyville was released, putting her swagger, strength, and mundanity in whatever context meant the most to them– "girl next door," "older sister," "younger sister," "easy lay," "slut next door," "bitch." But let's start with "female rocker." Guyville still runs up your spine on track one with its full-on opener, "6'1'", which is the best song she's ever recorded: tough but exposed, with cute feints in the lyrics, a wicked riff, and the door slamming open on her sassy tomboy vocals. On cuts like these, guys can dig Phair because she's one of the guys.

The songs are mostly sprints or drones, and on relistening to it, it's striking to hear the full-band cuts next to the solitary head space of songs like "Glory" or "Shatter", where she's backed more by a memory of guitar than by the raunchy blues-rock of the album's other half. The production of the ballads replicates the intimacy of a bedroom recording without the tape hiss or bum notes, which is an awesome illusion; and only a beginning songwriter could make such elemental riffs sound so exciting.

Phair has famously struggled to become a star, and never quite made it. Guyville turned her into an object of fascination, but those early gigs revealed she wasn't a superstar: She had to get by on talent, and perceptiveness. She has the gift of turning everyday downers into rock, and the shock came when she sang about things that nobody else discussed in public.

The cover shot nipple, "I want to be your blow job queen," the outro of "Fuck and Run" ("…even when I was 12")– this stuff was startling at the time, but I'm guessing it won't register with any teenagers who discover this today. You can get Savage Love right on your cell phone, and young adults today can browse mainstream blogs and read about machines that will fuck you. Sad to say that at the time, it was shocking to talk about non-missionary sex with the girl you could take home to mom, but today, on "Flower"– the one about blow jobs– the line that surprises is her Dungeons & Dragons-like reference to "minions.” (On the original, she said she'd fuck the guy's girlfriend.)

Also hard to explain would be the sound, which is grey and wedged entirely in the midrange. When a "remastered" edition was announced, I had to wonder if the remasterer had actually heard the thing before taking the job– but hearing it now, the treatment works: the rhythm section, when there is one, has more punch, and Phair's vocals come a little closer to your earlobe. The package also comes with a poorly-made DVD of interviews that Phair conducted with people from Chicago who knew her when– Steve Albini, Ira Glass, the Urge Overkill guys. It makes a scene that fancied itself "the next Seattle" seem exactly as insular and provincial as it really was.

More useful would have been a tighter focus on Phair– say, a better set of her B-sides and demos. Would it have killed ATO to throw in more of her early, even less-inhibited Girly Sounds material? Three B-sides grace this reissue, including the meandering "Ant in Alaska" and a curious cover of Lynn Tait's "Say You". They're nice throwaways, but they explain little about what was going on around the making of her debut.

Fifteen years on, Guyville occasionally sounds dated– for its particular sexiness, and its particular indieness. But the songwriting holds up. She ticks off all the bruises and embarrassments of relationships, and never lets her defenses get in the way. Naturally as a guy, I can't speak for what women saw in the record back then, or how young women will take it now. But of all the albums written from a woman's perspective, this is one of the most accessible to men. It's intriguing to watch her deal with us– not as a mere revolutionary, but as someone who knows that sex will always be tough, so she always has to be tougher. She's been tested in ways we never will be, and we understand just enough to admire her for it. Men don't get what it's like to be a woman. But spinning this record, you swear that you could.

Review by Chris Dahlen, Pitchfork.com (9.6/10)

Exact Audio Copy V0.99 prebeta 4 from 23. January 2008

EAC extraction logfile from 20. August 2008, 21:42

Liz Phair / Exile In Guyville (15th Anniversary Edition)

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15 99,5 [40891290] [523E556A] CRC32
16 99,1 [3B8C5B93] [CF696D4E] CRC32
17 99,5 [789CFF06] [585483FC] CRC32
18 99,5 [8BBB9FD8] [134290A2] CRC32
19 99,5 [AF608D48] [5FBAFFD1] CRC32
20 99,5 [61B70FC6] [3AD798D8] CRC32
21 99,4 [C2122554] [2EFB3D22] CRC32

foobar2000 1.2 / Dynamic Range Meter 1.1.1
log date: 2018-12-27 00:16:12

––––––––––––––––––––––––––––––––––––––––
Analyzed: Liz Phair / Exile in Guyville (15th Anniversary Edition)
––––––––––––––––––––––––––––––––––––––––

DR Peak RMS Duration Track
––––––––––––––––––––––––––––––––––––––––
DR7 -0.04 dB -8.53 dB 3:07 01-6' 1"
DR7 -0.04 dB -8.72 dB 2:16 02-Help Me Mary
DR10 -0.04 dB -12.47 dB 1:30 03-Glory
DR10 -0.04 dB -12.48 dB 2:30 04-Dance of the Seven Veils
DR6 -0.04 dB -7.59 dB 3:16 05-Never Said
DR9 -0.04 dB -10.81 dB 2:44 06-Soap Star Joe
DR8 -0.04 dB -9.91 dB 3:12 07-Explain It to Me
DR9 -0.04 dB -13.17 dB 3:20 08-Canary
DR8 -0.04 dB -10.23 dB 3:56 09-Mesmerizing
DR10 -0.04 dB -10.72 dB 3:08 10-Fuck and Run
DR10 -0.04 dB -12.26 dB 2:20 11-Girls! Girls! Girls!
DR7 -0.04 dB -8.64 dB 3:20 12-Divorce Song
DR9 -0.04 dB -11.52 dB 5:29 13-Shatter
DR12 -0.04 dB -13.46 dB 2:03 14-Flower
DR7 -0.04 dB -9.21 dB 3:27 15-Johnny Sunshine
DR10 -0.07 dB -13.05 dB 3:15 16-Gunshy
DR6 -0.04 dB -8.66 dB 2:59 17-Stratford-On-Guy
DR7 -0.04 dB -10.11 dB 4:57 18-Strange Loop
DR9 -0.04 dB -12.39 dB 5:48 19-Ant in Alaska (unreleased B-side)
DR7 -0.04 dB -8.98 dB 3:25 20-Say You (unreleased B-side)
DR12 -0.05 dB -16.14 dB 3:29 21-Instrumental (unreleased B-side)
––––––––––––––––––––––––––––––––––––––––

Number of tracks: 21
Official DR value: DR9

Samplerate: 44100 Hz
Channels: 2
Bits per sample: 16
Bitrate: 657 kbps
Codec: FLAC
================================================================================

Expectations ran extremely high for Liz Phair's follow-up to Exile in Guyville, one of the most critically acclaimed debut albums of all time. If there are flaws in this generally first-rate follow-up, they mostly arise in comparison with Guyville, a record of such unexpected impact that most anything Phair could have done may have been found lacking. She continues to explore sex and relationships with exhilarating frankness and celebration, employing her much-touted profanity to a conversational rather than a sensational effect. The sound is somewhat more produced, though still pretty basic, and the compositions are by and large tuneful and lyrically intriguing. It's not, after all is said and done, quite as striking as Guyville; like many sophomore efforts, it mines similar territory without making huge strides forward. Several songs are reprised from her widely circulated Girlysound demo tapes, and in some instances the more heavily produced, self-consciously ingenious arrangements here suffer in comparison to their blueprints. The title track, one of the highlights of those tapes, comes off as particularly gimmicky in its new incarnation, with the addition of all manner of superfluous animal noises. There's no question that Phair is a major songwriter and artist, but this album is more a solidification of her talents than a breakthrough statement.

Review by Richie Unterberger, Allmusic.com

EAC extraction logfile from 28. December 2008, 21:22 for CD
Liz Phair / Whip-Smart

Used drive : PHILIPS DVD+-RW DVD8801 Adapter: 0 ID: 0
Read mode : Secure with NO C2, accurate stream, disable cache
Read offset correction : 618
Overread into Lead-In and Lead-Out : No

Used output format : C:\Program Files\Exact Audio Copy\FLAC\flac.exe (User Defined Encoder)
192 kBit/s
Additional command line options : -8 -V -T "artist=%a" -T "title=%t" -T "album=%g" -T "date=%y" -T "tracknumber=%n" -T "genre=%m" %s

Other options :
Fill up missing offset samples with silence : Yes
Delete leading and trailing silent blocks : No
Installed external ASPI interface


Track 1
Filename K:\my rips\Liz Phair (1994) - Whip-Smart\ 01 - Chopsticks.wav

Pre-gap length 0:00:02.32

Peak level 50.9 %
Track quality 100.0 %
Test CRC BFCAC02C
Copy CRC BFCAC02C
Copy OK

Track 2
Filename K:\my rips\Liz Phair (1994) - Whip-Smart\ 02 - Supernova.wav

Pre-gap length 0:00:00.02

Peak level 98.8 %
Track quality 100.0 %
Test CRC 8BBBF9A7
Copy CRC 8BBBF9A7
Copy OK

Track 3
Filename K:\my rips\Liz Phair (1994) - Whip-Smart\ 03 - Support System.wav

Pre-gap length 0:00:00.03

Peak level 98.8 %
Track quality 100.0 %
Test CRC E4AD8516
Copy CRC E4AD8516
Copy OK

Track 4
Filename K:\my rips\Liz Phair (1994) - Whip-Smart\ 04 - X-Ray Man.wav

Pre-gap length 0:00:00.02

Peak level 98.8 %
Track quality 100.0 %
Test CRC CCDB71E2
Copy CRC CCDB71E2
Copy OK

Track 5
Filename K:\my rips\Liz Phair (1994) - Whip-Smart\ 05 - Shane.wav

Pre-gap length 0:00:00.03

Peak level 76.7 %
Track quality 99.9 %
Test CRC 3410654E
Copy CRC 3410654E
Copy OK

Track 6
Filename K:\my rips\Liz Phair (1994) - Whip-Smart\ 06 - Nashville.wav

Pre-gap length 0:00:00.02

Peak level 98.8 %
Track quality 100.0 %
Test CRC DAC917A1
Copy CRC DAC917A1
Copy OK

Track 7
Filename K:\my rips\Liz Phair (1994) - Whip-Smart\ 07 - Go West.wav

Pre-gap length 0:00:00.02

Peak level 98.8 %
Track quality 100.0 %
Test CRC 198438E8
Copy CRC 198438E8
Copy OK

Track 8
Filename K:\my rips\Liz Phair (1994) - Whip-Smart\ 08 - Cinco de Mayo.wav

Pre-gap length 0:00:00.02

Peak level 98.8 %
Track quality 100.0 %
Test CRC 4E687964
Copy CRC 4E687964
Copy OK

Track 9
Filename K:\my rips\Liz Phair (1994) - Whip-Smart\ 09 - Dogs of L.A..wav

Pre-gap length 0:00:00.03

Peak level 98.8 %
Track quality 100.0 %
Test CRC 818EF54E
Copy CRC 818EF54E
Copy OK

Track 10
Filename K:\my rips\Liz Phair (1994) - Whip-Smart\ 10 - Whip-Smart.wav

Pre-gap length 0:00:00.02

Peak level 98.8 %
Track quality 100.0 %
Test CRC 9E83183E
Copy CRC 9E83183E
Copy OK

Track 11
Filename K:\my rips\Liz Phair (1994) - Whip-Smart\ 11 - Jealousy.wav

Pre-gap length 0:00:00.03

Peak level 98.8 %
Track quality 99.9 %
Test CRC 8C432E3F
Copy CRC 8C432E3F
Copy OK

Track 12
Filename K:\my rips\Liz Phair (1994) - Whip-Smart\ 12 - Crater Lake.wav

Pre-gap length 0:00:00.03

Peak level 98.8 %
Track quality 100.0 %
Test CRC 11B3EA0A
Copy CRC 11B3EA0A
Copy OK

Track 13
Filename K:\my rips\Liz Phair (1994) - Whip-Smart\ 13 - Alice Springs.wav

Pre-gap length 0:00:00.03

Peak level 78.5 %
Track quality 100.0 %
Test CRC CDC99E8F
Copy CRC CDC99E8F
Copy OK

Track 14
Filename K:\my rips\Liz Phair (1994) - Whip-Smart\ 14 - May Queen.wav

Pre-gap length 0:00:00.03

Peak level 98.8 %
Track quality 100.0 %
Test CRC D08C347C
Copy CRC D08C347C
Copy OK

No errors occured


End of status report

[CUETools log; Date: 04.06.2018 0:45:16; Version: 2.1.4]
Pregap length 00:00:32.
CDDBId mismatch: B009D80E vs AE09D80E
[CTDB TOCID: 8iJmXck8b_JEry8zXJcecwHvk2o-] found.
Track | CTDB Status
1 | (216/221) Accurately ripped
2 | (218/221) Accurately ripped
3 | (219/221) Accurately ripped
4 | (219/221) Accurately ripped
5 | (216/221) Accurately ripped
6 | (214/221) Accurately ripped
7 | (216/221) Accurately ripped
8 | (218/221) Accurately ripped
9 | (216/221) Accurately ripped
10 | (217/221) Accurately ripped
11 | (218/221) Accurately ripped
12 | (218/221) Accurately ripped
13 | (216/221) Accurately ripped
14 | (216/221) Accurately ripped
[AccurateRip ID: 0015e899-00ec2c42-ae09d80e] disk not present in database.

Track Peak [ CRC32 ] [W/O NULL] [ LOG ]
– 98,8 [BF3EABA0] [C99F79C2]
01 50,9 [BFCAC02C] [922D84BE] CRC32
02 98,8 [8BBBF9A7] [F080D16C] CRC32
03 98,8 [E4AD8516] [4FB0EBCC] CRC32
04 98,8 [CCDB71E2] [89E5E4FD] CRC32
05 76,7 [3410654E] [0DFCCE24] CRC32
06 98,8 [DAC917A1] [A2F9A835] CRC32
07 98,8 [198438E8] [145D48D8] CRC32
08 98,8 [4E687964] [50FF0AA1] CRC32
09 98,8 [818EF54E] [48AC77FC] CRC32
10 98,8 [9E83183E] [414D50C2] CRC32
11 98,8 [8C432E3F] [37617996] CRC32
12 98,8 [11B3EA0A] [29E7E455] CRC32
13 78,5 [CDC99E8F] [B26A1996] CRC32
14 98,8 [D08C347C] [FEB59AF7] CRC32

foobar2000 1.2 / Dynamic Range Meter 1.1.1
log date: 2018-06-04 00:01:06

––––––––––––––––––––––––––––––––––––––––
Analyzed: Liz Phair / Whip-Smart
––––––––––––––––––––––––––––––––––––––––

DR Peak RMS Duration Track
––––––––––––––––––––––––––––––––––––––––
DR10 -5.86 dB -18.86 dB 2:06 01-Chopsticks
DR11 -0.10 dB -11.57 dB 2:49 02-Supernova
DR10 -0.10 dB -11.55 dB 2:58 03-Support System
DR10 -0.10 dB -11.31 dB 2:14 04-X-Ray Man
DR10 -2.30 dB -15.64 dB 4:13 05-Shane
DR10 -0.10 dB -12.62 dB 4:43 06-Nashville
DR10 -0.10 dB -11.23 dB 3:18 07-Go West
DR10 -0.10 dB -10.76 dB 2:44 08-Cinco de Mayo
DR10 -0.10 dB -13.19 dB 2:21 09-Dogs of L.A.
DR9 -0.10 dB -11.94 dB 4:19 10-Whip-Smart
DR9 -0.10 dB -10.65 dB 3:37 11-Jealousy
DR11 -0.10 dB -12.89 dB 2:07 12-Crater Lake
DR10 -2.10 dB -15.40 dB 1:51 13-Alice Springs
DR10 -0.10 dB -11.47 dB 2:42 14-May Queen
––––––––––––––––––––––––––––––––––––––––

Number of tracks: 14
Official DR value: DR10

Samplerate: 44100 Hz
Channels: 2
Bits per sample: 16
Bitrate: 889 kbps
Codec: FLAC
================================================================================

Liz Phair is the fourth studio album by American singer-songwriter Liz Phair, released June 24, 2003 on Capitol Records. "Why Can't I?" and "Extraordinary" were released as singles. Initially, Phair worked on tracks for the album with songwriter Michael Penn as the producer, but the finished album received a lukewarm reception from Capitol. Having already exhausted the recording budget, label president Andy Slater offered Phair more money to record if she agreed to work on possible singles with the production team known as The Matrix. The Matrix was known primarily for producing glossy hits for female singers such as Avril Lavigne, Britney Spears, and Hilary Duff. Phair ultimately collaborated with The Matrix on four songs: "Why Can't I?", "Extraordinary", "Favorite", and "Rock Me".

Phair’s self-titled fourth album is her Post-Divorce Record, but not exactly like Annie Lennox’s–more like a guy’s midlife-crisis Maserati, except Phair has bought the Matrix’s cowriting and production for four cravenly catchy anthems with big guitars and bigger choruses. Five tracks also survive from the more sober project she originally cut with Michael Penn. The resulting hybrid is an honestly fun summer disc with plenty of dark crevices, and a fascinating exercise in just what it means to act your annum in these age-unspecific times.

Phair’s commercial ambition will cost her plenty of old fans, but no one can accuse her of not being as up-front about her age and status as she is about lusting after a hit. The nearly lullaby-like “Little Digger” is surely among the few rock songs written in which a mom frets about the effect of sleepover suitors on her small fry. The closest comparison for “Rock Me,” a slice of bubblegum metal about having an Xbox-addicted b.f. a decade her junior, would be “Hey Nineteen,” but instead of name-checking Aretha, it’s “Your record collection don’t exist/You don’t even know who Liz Phair is”–and, unlike Steely Dan, she’s too horny to get bogged down in May/December angst.

Review by Chris Willman, Entertainment Weekly

Eponymous albums are usually either debuts or the work of musicians trying to introduce themselves to a new audience. Count Liz Phair among the latter. It's Phair's fourth studio album, but her first since 1998, and it's a long way from the arty, low-fi sound that marked her true full-length debut, 1993's Exile in Guyville. Phair has developed into a considerably more confident singer, while her songs and the production they receive here are as slick and radio-friendly as anything by, say, Avril Lavigne. That's no surprise, since Lavigne's production team, the Matrix, produced many of the tracks here. (The rest are helmed by LA rock stalwarts Michael Penn and Pete Yorn producer R. Walt Vincent.) Sex is still Phair's primary subject, whether it's comparing a lover to a comfortable pair of old underwear ("Favorite"), asking a much younger man to "Rock Me" all night long, or praising the beauty benefits of oral sex ("H.W.C."). The only time Phair lets the cheery facade crack a bit is on "Little Digger," on which Phair tries to explain to her young son why the man she's currently dating is not the boy's father. Who could've guessed that even the freest, best-protected sex could have such far-reaching, unintended consequences?

Keith Moerer, Amazon Editorial Review

Who knew that all Liz Phair ever wanted was to be a pop star? Surely, her debut, Exile in Guyville, with its cinematic lo-fi production and frankness, never suggested as much, nor did its cleaner sequel, Whip-Smart, even if her appearance in negligee on the cover of Rolling Stone did imply she wanted a wider audience. In retrospect, perhaps the streamlined surfaces of Whitechocolatespaceegg were a bid for the big time, but it was undercut by songs of motherhood, marriage, and remnants of her time as an indie queen. All of that is a distant memory on her long-delayed eponymous fourth album, where she makes a long-delayed stab at superstardom, glamming herself up like a Maxim MILF of the Month and inexplicably pitching herself somewhere between Sheryl Crow and Avril Lavigne, on one side working with Michael Penn and adult alternative singer/songwriter Pete Yorn and on the other hooking up with 2003's hitmakers du jour the Matrix (not wanting to lose her aging core audience, she began her support tour for the album opening for the thirty-something darlings of the early 2000s, the Flaming Lips, even if her new music was a far cry from indie). As "Extraordinary" starts the album with a heavy guitar downstroke, it's clear that Liz Phair has piled nearly all her chips on making it as a pop act, delivering music that not just fits comfortably with Lavigne's, but follows her sounds and stance, right down to the insipid lyrics. This, to say the least, is disarming, not just to die-hard fans of Exile who could never have dreamed that, of all the directions she could have gone, she chose this, but because such sentiments sound painfully trite coming from a 36-year-old woman. Throughout the album, these sparkly banalities come fast and furious, sometimes interrupted by something a little deeper, sometimes sounding catchy enough to sound pleasant in passing if you overlook both the lyrics and the fact that they're written by Phair, who used to be one of the sharpest writers in rock.

There's nothing wrong with a change of pace, but there's a startling lack of depth in either the words, which are entirely too literal, or the music, whose hooks are at once too obvious and not ingratiating enough. Then, there's the weird realization that Phair has so little to say on Liz Phair. While this very well could be her most directly confessional album – nearly every song is in the first person, with many songs drawing parallels to her circulated life story – there's no insight here, particularly when compared to, yes, her earlier work. It's not just that "The Divorce Song" details a messy breakup better than either of the divorce songs here (although that's an important, telling truth), it's that the parenting song is confused and condescending, it's that the endless songs about sleeping with twenty-something guys are littered with ridiculous lyrics ("I'm starting to think young guys rule," "I want to play Xbox on your floor"), and it's that she can't manage to write either a funny or sexy ode to her underwear on "Favorite." It's also that toward the end of this deliberate bid for the mainstream, she tosses in the embarrassingly "naughty" "HWC," where she extols the virtues of semen in the hair and on the skin ("Without you I'm just another Dorian Grey"); sure, it might seemingly break taboos, but what good is explicitness if it is only smarmy, with none of the humor or candor of "Flower" or "Glory." Yes, let's not compare a new record to an LP that's ten years old (although she invites those comparisons with a song like "HWC"), but Exile in Guyville has such a lasting impact, it's impossible to shake its memory when hearing her other, newer works. Liz Phair is running away from that shadow on Liz Phair, creating a record that is pretty much the polar opposite of that album, a shiny bright affair that wants nothing more than to be taken as a confection, even when it tries to dig deeper. It may be that Phair no longer has much to say – three albums after Exile, that's looking more like an anomaly in her catalog – but even so, the clothing and trappings of mainstream pop don't fit her well, and Liz Phair is a fascinatingly awkward, clumsy album.

Review by Stephen Thomas Erlewine, Allmusic.com

Exact Audio Copy V0.99 prebeta 3 from 28. July 2007

EAC extraction logfile from 12. January 2008, 20:05

Liz Phair / Liz Phair

Used drive : SATA-DVDDROM6316 Adapter: 0 ID: 3

Read mode : Secure
Utilize accurate stream : Yes
Defeat audio cache : Yes
Make use of C2 pointers : No

Read offset correction : 6
Overread into Lead-In and Lead-Out : No
Fill up missing offset samples with silence : Yes
Delete leading and trailing silent blocks : No
Null samples used in CRC calculations : Yes
Used interface : Installed external ASPI interface
Gap handling : Appended to previous track

Used output format : User Defined Encoder
Selected bitrate : 192 kBit/s
Quality : High
Add ID3 tag : No
Command line compressor : C:\Program Files\Exact Audio Copy\flac.exe
Additional command line options : -8 -A tukey(0.25) -A gauss(0.1875) -b 4096 -V -T "artist=%a" -T "title=%t" -T "album=%g" -T "date=%y" -T "tracknumber=%n" -T "genre=%m" %s –sector-align


TOC of the extracted CD

Track | Start | Length | Start sector | End sector
––––––––––––––––––––––––––––-
1 | 0:00.00 | 3:24.47 | 0 | 15346
2 | 3:24.47 | 4:52.26 | 15347 | 37272
3 | 8:16.73 | 3:28.27 | 37273 | 52899
4 | 11:45.25 | 2:54.71 | 52900 | 66020
5 | 14:40.21 | 3:20.24 | 66021 | 81044
6 | 18:00.45 | 3:29.24 | 81045 | 96743
7 | 21:29.69 | 3:35.57 | 96744 | 112925
8 | 25:05.51 | 4:28.71 | 112926 | 133096
9 | 29:34.47 | 3:24.05 | 133097 | 148401
10 | 32:58.52 | 3:43.08 | 148402 | 165134
11 | 36:41.60 | 2:55.68 | 165135 | 178327
12 | 39:37.53 | 3:52.02 | 178328 | 195729
13 | 43:29.55 | 3:43.73 | 195730 | 212527
14 | 47:13.53 | 2:58.49 | 212528 | 225926
15 | 52:44.27 | 8:51.17 | 237327 | 277168


Track 1

Filename O:\My Music\FLAC rips\Liz Phair - Liz Phair (FLAC)\01 - Liz Phair - Extraordinary.wav

Pre-gap length 0:00:02.00

Peak level 94.3 %
Track quality 100.0 %
Test CRC FBB20E7A
Copy CRC FBB20E7A
Accurately ripped (confidence 18) [A7EE67CA]
Copy OK

Track 2

Filename O:\My Music\FLAC rips\Liz Phair - Liz Phair (FLAC)\02 - Liz Phair - Red Light Fever.wav

Peak level 99.8 %
Track quality 100.0 %
Test CRC A14E2F5F
Copy CRC A14E2F5F
Accurately ripped (confidence 18) [58788A62]
Copy OK

Track 3

Filename O:\My Music\FLAC rips\Liz Phair - Liz Phair (FLAC)\03 - Liz Phair - Why Can't I .wav

Peak level 98.8 %
Track quality 100.0 %
Test CRC 1C2D002F
Copy CRC 1C2D002F
Accurately ripped (confidence 18) [8D1DC0AE]
Copy OK

Track 4

Filename O:\My Music\FLAC rips\Liz Phair - Liz Phair (FLAC)\04 - Liz Phair - It's Sweet.wav

Pre-gap length 0:00:01.46

Peak level 96.7 %
Track quality 100.0 %
Test CRC 5C3BD3A8
Copy CRC 5C3BD3A8
Accurately ripped (confidence 18) [C2F08FA7]
Copy OK

Track 5

Filename O:\My Music\FLAC rips\Liz Phair - Liz Phair (FLAC)\05 - Liz Phair - Rock Me.wav

Pre-gap length 0:00:00.62

Peak level 94.3 %
Track quality 100.0 %
Test CRC A68AF719
Copy CRC A68AF719
Accurately ripped (confidence 18) [703E81EF]
Copy OK

Track 6

Filename O:\My Music\FLAC rips\Liz Phair - Liz Phair (FLAC)\06 - Liz Phair - Take a Look.wav

Pre-gap length 0:00:01.17

Peak level 94.3 %
Track quality 100.0 %
Test CRC 81091EF6
Copy CRC 81091EF6
Accurately ripped (confidence 18) [440251FE]
Copy OK

Track 7

Filename O:\My Music\FLAC rips\Liz Phair - Liz Phair (FLAC)\07 - Liz Phair - Little Digger.wav

Peak level 92.5 %
Track quality 100.0 %
Test CRC 11C2A216
Copy CRC 11C2A216
Accurately ripped (confidence 18) [00F57B96]
Copy OK

Track 8

Filename O:\My Music\FLAC rips\Liz Phair - Liz Phair (FLAC)\08 - Liz Phair - Firewalker.wav

Pre-gap length 0:00:01.08

Peak level 94.3 %
Track quality 99.9 %
Test CRC 3017A843
Copy CRC 3017A843
Accurately ripped (confidence 18) [4E7D4BF7]
Copy OK

Track 9

Filename O:\My Music\FLAC rips\Liz Phair - Liz Phair (FLAC)\09 - Liz Phair - Favorite.wav

Peak level 94.3 %
Track quality 100.0 %
Test CRC 9A4E5803
Copy CRC 9A4E5803
Accurately ripped (confidence 18) [A5FC6F6A]
Copy OK

Track 10

Filename O:\My Music\FLAC rips\Liz Phair - Liz Phair (FLAC)\10 - Liz Phair - Love,Hate.wav

Pre-gap length 0:00:01.32

Peak level 92.5 %
Track quality 100.0 %
Test CRC A884C27B
Copy CRC A884C27B
Accurately ripped (confidence 18) [7CBEB00D]
Copy OK

Track 11

Filename O:\My Music\FLAC rips\Liz Phair - Liz Phair (FLAC)\11 - Liz Phair - H.W.C..wav

Pre-gap length 0:00:01.33

Peak level 94.3 %
Track quality 100.0 %
Test CRC 062C85B2
Copy CRC 062C85B2
Accurately ripped (confidence 18) [C1B00F99]
Copy OK

Track 12

Filename O:\My Music\FLAC rips\Liz Phair - Liz Phair (FLAC)\12 - Liz Phair - My Bionic Eyes.wav

Pre-gap length 0:00:01.48

Peak level 94.3 %
Track quality 100.0 %
Test CRC 897D32D3
Copy CRC 897D32D3
Accurately ripped (confidence 18) [C8FBD599]
Copy OK

Track 13

Filename O:\My Music\FLAC rips\Liz Phair - Liz Phair (FLAC)\13 - Liz Phair - Friend of Mine.wav

Peak level 94.3 %
Track quality 100.0 %
Test CRC 9A3E97E2
Copy CRC 9A3E97E2
Accurately ripped (confidence 18) [FF4E435F]
Copy OK

Track 14

Filename O:\My Music\FLAC rips\Liz Phair - Liz Phair (FLAC)\14 - Liz Phair - Good Love Never Dies.wav

Peak level 94.3 %
Track quality 99.9 %
Test CRC 23436D41
Copy CRC 23436D41
Accurately ripped (confidence 18) [0D3184EE]
Copy OK


All tracks accurately ripped

No errors occurred

End of status report

[CUETools log; Date: 23.08.2018 18:15:35; Version: 2.1.4]
CD-Extra data track length 08:51:17.
[CTDB TOCID: zOWB6.dpnb3HjW.MejWTWpmc_Ew-] found.
Track | CTDB Status
1 | (184/194) Accurately ripped, or (2/194) differs in 2650 samples @00:00:64-00:00:67,01:01:67,01:04:02
2 | (186/194) Accurately ripped, or (2/194) differs in 16 samples @01:23:55
3 | (189/194) Accurately ripped, or (2/194) differs in 4 samples @01:24:22
4 | (187/194) Accurately ripped, or (2/194) differs in 30 samples @02:16:07
5 | (190/194) Accurately ripped, or (2/194) differs in 34 samples @03:02:36
6 | (187/194) Accurately ripped, or (2/194) differs in 50 samples @02:40:11,03:02:17-03:02:18
7 | (187/194) Accurately ripped, or (2/194) differs in 6 samples @02:28:46
8 | (188/194) Accurately ripped
9 | (188/194) Accurately ripped
10 | (186/194) Accurately ripped, or (2/194) differs in 3 samples @00:00:38
11 | (186/194) Accurately ripped
12 | (187/194) Accurately ripped
13 | (188/194) Accurately ripped
14 | (187/194) Accurately ripped
[AccurateRip ID: 001b0c65-0122efd4-d30e6f0f] found.
Track [ CRC | V2 ] Status
01 [a7ee67ca|fea59200] (050+044/108) Accurately ripped
02 [58788a62|bbe15c6f] (049+044/107) Accurately ripped
03 [8d1dc0ae|e3b60b75] (049+044/108) Accurately ripped
04 [c2f08fa7|e7b80f3b] (048+044/106) Accurately ripped
05 [703e81ef|0b3e35f0] (048+044/106) Accurately ripped
06 [440251fe|9d8d7738] (048+043/105) Accurately ripped
07 [00f57b96|dfae36ec] (048+044/106) Accurately ripped
08 [4e7d4bf7|870090b4] (048+044/106) Accurately ripped
09 [a5fc6f6a|4ba4e980] (048+043/105) Accurately ripped
10 [7cbeb00d|90b7de14] (048+044/106) Accurately ripped
11 [c1b00f99|6177b2bd] (048+044/106) Accurately ripped
12 [c8fbd599|4d901d8b] (047+043/104) Accurately ripped
13 [ff4e435f|a99d70a7] (047+043/104) Accurately ripped
14 [0d3184ee|0f0c14fa] (045+043/102) Accurately ripped
Offsetted by -676:
01 [e73d3aef] (002/108) Accurately ripped
02 [142e812d] (002/107) Accurately ripped
03 [44463c0e] (002/108) Accurately ripped
04 [43a89593] (002/106) Accurately ripped
05 [a97120b7] (002/106) Accurately ripped
06 [f01e9fe6] (002/105) Accurately ripped
07 [00c60682] (002/106) Accurately ripped
08 [f391d3c1] (002/106) Accurately ripped
09 [27d75a04] (002/105) Accurately ripped
10 [71fe738d] (002/106) Accurately ripped
11 [3bdf9591] (002/106) Accurately ripped
12 [73f9cd91] (002/104) Accurately ripped
13 [14a18335] (002/104) Accurately ripped
14 [e7d63ff3] (002/102) Accurately ripped
Offsetted by -664:
01 [f9a020e1] (006/108) Accurately ripped
02 [acf6d9b7] (006/107) Accurately ripped
03 [7486a6ee] (007/108) Accurately ripped
04 [bd962b6f] (006/106) Accurately ripped
05 [4a82681f] (006/106) Accurately ripped
06 [f1cc6ebe] (006/105) Accurately ripped
07 [a581340e] (006/106) Accurately ripped
08 [da9a9f50] (006/106) Accurately ripped
09 [b1c5afed] (006/105) Accurately ripped
10 [aa3b6d0d] (006/106) Accurately ripped
11 [cca3a9e9] (006/106) Accurately ripped
12 [32d57be9] (006/104) Accurately ripped
13 [188575ed] (006/104) Accurately ripped
14 [54d91903] (006/102) Accurately ripped
Offsetted by -1328:
01 [06996851] (000/108) No match (V2 was not tested)
02 [94d89293] (000/107) No match (V2 was not tested)
03 [5bef8d2e] (000/108) No match (V2 was not tested)
04 [b83bc737] (000/106) No match (V2 was not tested)
05 [24c64e4f] (000/106) No match (V2 was not tested)
06 [b1ea8aaa] (000/105) No match (V2 was not tested)
07 [5a8447e2] (000/106) No match (V2 was not tested)
08 [7695ede1] (000/106) No match (V2 was not tested)
09 [418e4094] (000/105) No match (V2 was not tested)
10 [d7b82a0d] (000/106) No match (V2 was not tested)
11 [d7974439] (000/106) No match (V2 was not tested)
12 [9caf2239] (000/104) No match (V2 was not tested)
13 [113a668a] (000/104) No match (V2 was not tested)
14 [6a2e4be5] (000/102) No match (V2 was not tested)

Track Peak [ CRC32 ] [W/O NULL] [ LOG ]
– 99,8 [5AFB4DD5] [28173CC4]
01 94,3 [FBB20E7A] [F7EC3AB9] CRC32
02 99,8 [A14E2F5F] [B83A38AE] CRC32
03 98,8 [1C2D002F] [FC100A43] CRC32
04 96,7 [5C3BD3A8] [4A1DCC88] CRC32
05 94,3 [A68AF719] [DB398B84] CRC32
06 94,3 [81091EF6] [60817429] CRC32
07 92,5 [11C2A216] [D7109DDD] CRC32
08 94,3 [3017A843] [DEAB3CC4] CRC32
09 94,3 [9A4E5803] [D0D1F40C] CRC32
10 92,5 [A884C27B] [F124E059] CRC32
11 94,3 [062C85B2] [7FD66B43] CRC32
12 94,3 [897D32D3] [B2A7717D] CRC32
13 94,3 [9A3E97E2] [15C36AE3] CRC32
14 94,3 [23436D41] [C8C3E6DB] CRC32

foobar2000 1.2 / Dynamic Range Meter 1.1.1
log date: 2018-06-15 03:08:27

––––––––––––––––––––––––––––––––––––––––
Analyzed: Liz Phair / Liz Phair
––––––––––––––––––––––––––––––––––––––––

DR Peak RMS Duration Track
––––––––––––––––––––––––––––––––––––––––
DR6 -0.51 dB -7.51 dB 3:25 01-Extraordinary
DR5 -0.01 dB -6.79 dB 4:52 02-Red Light Fever
DR6 -0.10 dB -7.56 dB 3:28 03-Why Can't I?
DR5 -0.29 dB -6.85 dB 2:55 04-It's Sweet
DR5 -0.51 dB -7.28 dB 3:20 05-Rock Me
DR6 -0.51 dB -7.51 dB 3:29 06-Take a Look
DR7 -0.67 dB -9.13 dB 3:36 07-Little Digger
DR7 -0.51 dB -9.04 dB 4:29 08-Firewalker
DR6 -0.51 dB -8.22 dB 3:24 09-Favorite
DR7 -0.67 dB -8.25 dB 3:43 10-Love/Hate
DR6 -0.51 dB -7.67 dB 2:56 11-H.W.C.
DR6 -0.51 dB -7.96 dB 3:52 12-My Bionic Eyes
DR7 -0.51 dB -8.16 dB 3:44 13-Friend of Mine
DR7 -0.51 dB -8.50 dB 2:59 14-Good Love Never Dies
––––––––––––––––––––––––––––––––––––––––

Number of tracks: 14
Official DR value: DR6

Samplerate: 44100 Hz
Channels: 2
Bits per sample: 16
Bitrate: 1032 kbps
Codec: FLAC
================================================================================