Somebody (can't remember who, I pasted from the digest) said, with
magnificent understatement:
<<Songs like "Shatter" or "Divorce Song" would not resonate so powerfully for
me if coming from the likes of a Mariah Carey or Celine Dion.>>
This inspired me to dig out Exit In Guyville again - what a debut! I saw her
in London the year it was released, in a tiny venue in Camden. It was pretty
ropey, although she was endearingly honest ("I'm sorry, I know we suck live,
we promise to be better next time"). When gremlins struck the sound system,
she did an a capella rendition of Flower (the one that starts "every time I
think of you I go all wet between my legs" and gets progressively filthier),
which brought the house down.
What I love about this album is its complete insouciance, its (apparent)
indifference to what people think of her foul mouth, uncertainly pitched
singing, the don't-give-a-shit delivery and rudimentary production, often
dispensing with bass. Oh, and there are some bloody good songs too. I
particularly rate the Divorce Song and Stratford-on-Guy, while Fuck And Run
is as matter-of-fact and uncompromising as its title.
I've got Whitechocolatespaceegg, although it hasn't made much impression on
me on the two occasions I've listened to it. I don't have Whip Smart, but I
do have Juvenalia, which I think is comprised of early demos and possibly
outtakes from the first album. It's quite amusing - I seem to remember one
song about farmers enjoying unnatural congress with farmyard animals.
Anyway, what I wouldn't give to hear all those ghastly so-called divas having
a lo-fi go at some of Liz's saltier moments - I'm sure I could even enjoy
Mariah Carey in these circumstances.
Azeem in London, just about to listen to Polly Jean Harvey in conversation on
BBC London Live
NP: Liz Phair - Canary (the one with the spooky piano and background
muttering) - God this is a great record!
