Liz Phair Predicted the F-ckboy — and Ripped Them to Shreds

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Liz Phair Predicted the F-ckboy — and Ripped Them to Shreds
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On the 30th anniversary of Liz Phair's 'Exile in Guyville,' Rob Sheffield on why Phair's landmark debut is as relevant as ever and how she predicted the fuckboy and ripped them to shreds

where she confesses, “I want all that stupid old shit like letters and sodas.” “I wanted to show contradiction,” Phair says. “I wanted to carve out space for the complex woman, consciously. Which is weird, but I took that very seriously back then.”

One of the people who flipped for the original Girly-Sound tapes was Brad Wood, a local producer who played drums in the legendary Chicago band Shrimp Boat. He helped Phair create an album that any other producer would have screwed up. When they cutin his studio, they kept it minimal. There was no back-up band — almost every sound came from Phair, Wood, and guitarist/engineer Casey Rice. The swirly, sparse sound ofis a sound that nobody else has ever figured out how to duplicate.

Another crucial innovation of the sound: her flat Midwestern voice. “My poor mother, she just recently gave me singing lessons,” Phair admits. “I have such a nasal mumbly twang and there’s nothing to do about it now. It’s what everybody likes. But I hate hearing it.” “I have such a nasal mumbly twang and there’s nothing to do about it now. It’s what everybody likes. But I hate hearing it.”dropped in the summer of 1993, it was instantly controversial. But as it grew into a cultural phenomenon, the backlash got nastier and more misogynistic. “I had not been assigned a chaperone,” Phair says. “I had not been assigned a manager. I had not been assigned a Svengali. I was unbound by male ownership, which was strange.” Guyville did not appreciate her input.

There’s a famous photo of Phair playing live, in her early days, taken by Marty Perez. She stands onstage in a Chicago rock club. The whole audience is a sea of frowning male faces. As soon as I mentioned this photo to Phair, she had a lot to say about it. “was the wind I was shouting into. Those are the faces I saw every day. And every time I wanted to say something in the recording studio. Those are the faces I’m seeing every time I want to do something different with my career.

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