Liz Phair

Liz Phair’s self-titled new album of 14 brutally candid and clever confessionals. While just as frank as her previous work, the songs resonate with a new and earned maturity, not just in the brilliant and fearless lyrics, but also in the music. Indeed, these are the most brave-yet most insanely catchy-songs of Phair’s undoubtedly brave career. The album’s lead single, “Why Can’t I,” starts as a stomach-in-knots ballad that builds to a soaring, unforgettable chorus. Its infectious hooks belie Phair’s edgy exploration of the thrills of a new and forbidden crush, liberally spiked with her trademark wordplay. But while Liz Phair contains some of her most adult material yet, as the chorus of “H.W.C.” (“Give me your hot, white come”) makes clear, there are many dimensions to even Phair’s most explicit words. Playful and pointed, Liz Phair’s song cycle is a journey via love rollercoaster, taking the listener through the blissful highs, heart-dropping lows and the awkward in-betweens.

Liz Phair also rocks with bold authority-ranging from lush acoustic strum and fist-pumping power chords to trippy garage rock, it features her most crafted, rich sound yet. Produced variously by hot production trio the Matrix, Michael Penn (known as both solo artist and producer to Aimee Mann and the Wallflowers), multi-instrumentalist/studio guru R. Walt Vincent (known for his work with Pete Yorn) and Phair herself, Liz Phair reveals a huge rock sound that’s multifaceted and dimensional. The mix is further heightened by contributions from bold-faced guests like Dr. Dre bassman (and co-writer/producer of 50 Cent’s smash “In Da Club”) Mike Elizondo, Smashing Pumpkins/Zwan drummer Matt Chamberlin, Prince and the Revolution/Wendy and Lisa bassist Wendy Melvoin and Pete Yorn (who adds drums and guitar to “H.W.C.”). See below for a complete track listing.

Her new album is a fitting evolution for Phair, who’s been raising eyebrows since her 1993 debut Exile In Guyville won the Chicago native the top spot of 1994’s Village Voice “Pazz and Jop” critic’s poll (an honor that hadn’t been bestowed upon a woman since Joni Mitchell won two decades before). 1994 saw the release of her second album, Whip-Smart, a Rolling Stone cover, a marriage, and the birth of her son. She followed up with the artistic triumph of 1998’s whitechocolatespaceegg, which dealt artfully with themes of and layered production, landing it in the top ten lists of Entertainment Weekly, the L.A. Times, and Rolling Stone. Liz Phair, however, is her most important effort yet. Using just her name alone as the album title suggests this is Phair at her most uncut and naked, saying almost “This is me-take it or leave it.” After exposure to Liz Phair’s powerful first-person narratives-variously naughty, wistful, sexual, and humorous, often all at the same time-chances are you’ll take it.