Background In the summer of , Phair wrote and recorded songs on audio cassette tapes, which she circulated in Chicago using the moniker Girly-Sound.
Background In the summer of , Phair wrote and recorded songs on audio cassette tapes, which she circulated in Chicago using the moniker Girly-Sound. Soon she moved into his apartment and started playing her songs to him. Henderson brought in producer Brad Wood to help develop the 4-track demos into full songs. Originally, Phair's recordings were supposed to come out on Henderson's label.
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. Henderson preferred a stripped-down but precise sound, possibly with outside musicians, while Phair wanted a fuller sound. Phair has stated, "We both wanted something for me. He was projecting onto me what he wanted my music to come out like, which was wrong. So I blew him off. Eventually, a Girly-Sound tape had made it to the head of Matador Records.
Despite the outcome of the recording sessions, Henderson tipped off Brad Wood that Matador Records was interested in Phair. When Matador was contacted by Phair in , they signed her. 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.
But I had a hunch, and I called her back and said okay. Wood stated, "We did two or three evenings of recording just for fun where we tried to discover something. We recorded "Fuck and Run," and that's when I realized we were on to something. This really spare beat: It had so much exuberance. Eventually, engineer Casey Rice joined Idful and started working with Phair and Wood as she had no band of her own. Initially, there were many time constraints because Phair had moved into her parents' house which was far from the studio, and Wood had to manage his time between his work at the studio and his work as a janitor.
However, when Phair signed to Matador, she sublet an apartment close to the studio, which simplified the process. Regarding the recording process, Casey Rice stated, "We basically all sat around and thought about how to make the guitar and vocals versions of the songs into what we thought would be better ones. Listen to her four track versions of the tunes, and try to come up with ways of doing them as a 'band'.
I do recall there being no lack of candor and if someone wanted to do something, we tried it. If it sucked, no one would hesitate to say so if they believed it. Brad Wood provided a different recording approach, structuring the drum patterns and bass lines around Phair's vocal phrases and guitar riffs, instead of recording the rhythm section first and then layering the guitars and vocals on top.
Phair has commented, "It was fun. Actually we just played our parts separately. I laid down the guitar, and then I would just tell them what kind of song it would be and what kinds of instruments we needed to do. And then they would go in there and figure out a part and then do it. It was more like collage work than really playing with a band. Packaging Phair was also responsible for a great part of the artwork design. Originally, the album cover was largely collage based and involved "a fat lady in a pool".
The final cover design is a photo of Liz topless in a photo booth , taken and cropped by Nash Kato of 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. Liz Phair has explained the concept of the album, saying "For me, Guyville is a concept that combines the smalltown mentality of a 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.
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. This kind of guy mentality, you know, where men are men and women are learning. Guyville guys always dominated the stereo like it was their music. They'd talk about it, and I would just sit on the sidelines.
She commented, "That stuff didn't happen to me, and that's what made writing it interesting. I wasn't connecting with my friends. I wasn't connecting with relationships. I was in love with people who couldn't care less about me. I was yearning to be part of a scene. I was in a posing kind of mode, yearning to have things happen for me that weren't happening.
So I wanted to make it seem real and convincing. I wrote the whole album for a couple people to see and know me. Some critics contend that the album is not a clear or obvious song-by-song response, although Phair sequenced her compositions in an attempt to match the songlist and pacing of the Rolling Stones album.
Connect with Dave Barnes on Spotify to pre-save his new album, 'Who Knew It Would Be So Hard To Be Myself' to your library on February 9th, !. Read more...
The River bass tab. by Good Charlotte. 9, views, added to favorites 24 times. Author kukie Last edit by kukie on Feb 13, Read more...
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.