![]() I was in a posing kind of mode, yearning to have things happen for me that weren't happening. I was in love with people who couldn't care less about me. She commented, "That stuff didn't happen to me, and that's what made writing it interesting. Phair has also stated that most songs on the album were not about her. You know what I mean? This kind of guy mentality, you know, where men are men and women are learning." Asked about what she sees in Guyville, Phair said that "All the guys have short, cropped hair, John Lennon glasses, flannel shirts, unpretentiously worn, not as a grunge statement. Guyville, because it was definitely their sensibilities that held the aesthetic, you know what I mean? It was sort of guy things - comic books with really disfigured, screwed-up people in them, this sort of like constant love of social aberration. When asked during an interview with Noah Adams on his radio show All Things Considered about the concept, she elaborated: "It was a state of mind and / or neighborhood that I was living in. Liz Phair explained the concept of the album in a Billboard article, stating that "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". The term Guyville comes from a song of the same name by Urge Overkill. 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. The interior artwork is based on that of Lopez Tejera's 1952 album The Joys and Sorrows of Andalusia. The final cover design is a photo of Phair topless in a photo booth, taken and cropped by Nash Kato of Urge Overkill. In 2008, Phair stated it was originally "an orgy of Barbies floating in a pool", a concept that Matador rejected, stating that such artwork would not sell. Originally, the album cover was largely collage based and involved "a fat lady in a pool". Phair was also responsible for a great part of the artwork design. But I had a hunch, and I called her back and said okay." Packaging 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. As a consequence, Phair contacted Matador in 1992, and they signed her. Despite the outcome of the recording sessions, Henderson tipped off Brad Wood that Matador was interested in Phair. 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.Įventually, a Girly-Sound tape had made it to the head of Matador Records. He was projecting onto me what he wanted my music to come out like, which was wrong. Phair has stated, "We both wanted something for me. Henderson preferred a stripped-down but precise sound, possibly with outside musicians, while Phair wanted a fuller sound. 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. Originally, Phair's recordings were supposed to come out on Henderson's label. Henderson brought in producer Brad Wood to help develop the 4-track demos into full songs. Soon she moved into his apartment and started playing her songs to him. John Henderson, owner of the Chicago indie label Feel Good All Over, heard the tapes and contacted Phair. The recipients of the Girly-Sound tapes circulated copies with other early fans. Initially, she sent out only two tapes, one to Tae Won Yu from the band Kicking Giant, and the other to Chris Brokaw of the bands Come and Codeine. ![]() In the summer of 1991, Phair wrote and recorded songs on audio cassette tapes, which she circulated in Chicago using the moniker Girly-Sound. Problems playing this file? See media help.
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